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Does Void of Light refer to a source of luminescence, or is it shorthand for its total absence? The group might know something about the latter, hailing as they do from the northerly latitude of Glasgow, Scotland. Their musical medium—a sludgy, atmospheric post-metal—also reflects a dichotomous embodiment of light and dark: often crushingly heavy and thematically bleak, but also upliftingly melodic. Asymmetries—another nod to duality and imbalance—is a debut four years in the making, drawing together the fragments of brutality and reflective ambience from the preceding EPs into a bold statement on who Void of Light are. And decisive that statement certainly is.

Void of Light’s approach to post-metal is rich and dynamic, layering leaden riffing, melancholic melody, and flexible tempos around one another to augment the music’s ability to captivate. Strikingly, flatteringly akin to Deadly Carnage in the expert intermingling of delicacy and harshness (“Still the Night Skies”) and an ever-evolving rhythm, the album flows gracefully. Dips into The Ocean of steady, progressive builds, tangles with LLNN-levels of skull-bashing heaviness (“Mirrorings”), and even flirtation with black metal (“Ends,” “Mirrorings”) compliment a nuanced, emotional soundscape with heart and bite.

The magnetism of Asymmetries is felt gradually and with progressive strength, like approaching a planet’s gravitational field. Things begin almost understatedly in “The Passing Hours,” with a loose, modulated melody and a steady onward crush that only hints at the depths to come. That is, before the final act gives the game away when soft singing gives way to a jubilant guitar solo over the rush of blackened percussion: a dramatic backdrop for the final reprise. These soaring, energetic guitar lines weave in and out across the record, communicating joy and bittersweet blueness as they variously dance (“Silver Mask,” “Ends”) and float (“The Passing Hours,” “Still the Night Skies”) over the comparative bluntness. Gentle (“The Passing Hours,” “Ends”) and impassioned (“Silver Mask,” “Still the Night Skies,” “Mirrorings”) cleans add still more layers of emotion as they move in pitch and volume with or in brilliant opposition to the instrumentation, and equally ardent screams (“Silver Mask,” “Still the Night Skies”). None of this would be half as stirring, however, were it not wrapped around the multidimensional rhythmic core that spills over from the percussion to riffs and vocals alike. Rippling fills and agile rolls thread texture upon which singing floats or screams rain down (“The Passing Hours,” “Mirrorings”). Frequent slides into snappy off-beats (“Silver Mask,” “Ends”) and impressively rich, cascading blackened tirades (“Ends,” “Still the Night Skies,” “Mirrorings”)—the kind you’d expect from Panopticon—intensify already incendiary peaks where aforementioned guitars dance or soar.

Asymmetries, as a name, can only be used complimentarily here; perhaps the worst that could be said is that the album might get even better as it progresses. If I had to be incredibly harsh, I would point to the oft-repeated pattern of songs lapsing midway into stripped-back plucking and singing before the reprise of heaviness. Even then, songs don’t sound the same, and the formula is an effective conduit for tension and emotion, formula though it may be. Really, though, Asymmetries feels ideally formed and structured to deliver the maximum impact as it is: the rhythms growing more fluid and restless, the layers of sung and screamed vocals more multiplicitous, and the returning spaces of poignant ambience serving to gradually dial up the pathos as well as the more tangible force of the riffs, drumbeats, and roars. If the ascendant singing in the final act of “Silver Mask” lifts you up, wait until “Still the Night Skies,” and the cascading multitracking on “Mirrorings”. If “The Passing Hours” jolts you into attention with its final forcefulness, wait until the sudden savagery that closes “Ends” and then how the following songs stack this ardour with that singing, and the consistently gorgeous waves of clear and hazy melody.

Asymmetries’ power was not instantly obvious, but with every listen its grip grew tighter and the sky around it lost its colours as they were drawn into the void. Void of Light effectively communicate a dichotomy between light and shadow in their sad, uplifting, harsh, fragile debut. And if this is where they’re starting from, then heads, hearts, and score-safety-counters everywhere will need to watch out in the future.

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Rating: Great!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 3rd, 2026

The post Void of Light – Asymmetries Review appeared first on Angry Metal Guy.

Organisers are giving one band the opportunity to step onto the altar and ignite the chaos. This is your chance to perform at Necrosonic Festival 2026 alongside 30 heavy acts in front of a live crowd that came for one thing: volume. WHAT YOU WIN • Your Band OPENS Necrosonic Festival 2026 • Perform on […]

Hey, it’s finally happening! For months, we’ve been getting teasers and rumors for a new album from critically beloved pop star Olivia Rodrigo. Today, she makes it official. Her third album is called you seem pretty sad for a girl so in love, and it’s coming out June 16.

The post Olivia Rodrigo Announces New Album <em>you seem pretty sad for a girl so in love</em> appeared first on Stereogum.

Why Are Fans Rallying For A Randy Rhoads Memorial In Burbank Right Now?

A fan-led petition backed by Rhoads’ family is gaining traction, aiming to establish a permanent memorial in his hometown with early support already building.

TL;DR

• Petition launched to create Randy Rhoads memorial in Burbank
• Over 3,500 signatures gathered in two weeks
• Project supported by his sister Kathy
• Proposed site: Stough Canyon Park
• Estimated cost: $200K–$250K
• Funding planned through crowdfunding and sponsorships

There’s A Reason This Conversation Keeps Coming Back

Spend enough time around rock and metal history, and one thing becomes obvious — Randy Rhoads isn’t just respected, he’s foundational.

Which makes the current situation hard to ignore: in Burbank, the city tied directly to his life, there’s still no major public landmark that reflects that impact.

That disconnect is what’s now driving a growing push to change it.

How This Effort Quietly Turned Into Something Bigger

What started as a simple idea between fans didn’t stay small for long.

Bill Lonero, founder of the Randy Rhoads Memorial Project, connected with Kathy Rhoads D’Argenzio and began outlining a plan to create a permanent tribute in Stough Canyon Park.

Family involvement shifts the tone immediately — this isn’t speculation or outside pressure, it’s aligned with those closest to Rhoads’ legacy.

From there, a petition was launched to bring the proposal in front of the city.

Early Momentum Is Real — But Nothing Is Locked Yet

In just two weeks, the petition has crossed 3,500 signatures.

That’s enough to signal real interest — but not enough to guarantee approval.

Lonero has initiated early discussions with Burbank officials, but projects like this move slowly. Multiple approvals, funding pathways, and design considerations all have to align.

Right now, it’s gaining traction — not secured.

Loaded Radio Recommends – On Randy Rhoads’ Death Anniversary, Bob Daisley Shares Rare Lost Recording

The Concept Is Already Taking Shape

This isn’t just an idea floating around without direction.

Early renderings suggest:

• A statue of Rhoads playing guitar
• A surrounding water feature
• Seating areas for visitors

The intention is clear — create a place people actually spend time in, not just walk past.

And critically, the family will have final say on both design and inscription.

Funding Will Decide Whether This Becomes Real

The estimated cost sits between $200,000 and $250,000.

The plan isn’t to rely on a single donor. Instead, the project aims to combine sponsorships with crowdfunding.

That approach does two things:

• Makes the project viable
• Gives fans a direct role in building it

If it happens, this won’t feel like a city-installed plaque. It will feel earned.

His Influence Never Slowed Down — It Expanded

Before his death in 1982 at 25, Randy Rhoads helped reshape guitar playing through his work with Ozzy Osbourne.

Albums like Blizzard Of Ozz and Diary Of A Madman didn’t just succeed — they rewired expectations for what heavy guitar could sound like.

That influence is still visible in modern players today, which is exactly why the lack of a hometown landmark feels out of step.

Recognition Exists — Just Not Where It Matters Most

There is acknowledgment of Rhoads’ legacy.

He has a plaque at the Rock Walk in Hollywood.

But for many fans, that misses the point.

Burbank is where his story is rooted — and that’s where the absence feels most noticeable.

What Happens From Here Will Decide Everything

The foundation is there:

• Family support
• Early fan momentum
• A defined location
• A working concept

Now it comes down to execution — city approval, funding, and follow-through.

If those pieces fall into place, this becomes more than a tribute.

It becomes a destination tied directly to the life behind the legacy.

Check This Out – Unreleased Randy Rhoads Tapes: Bob Daisley Reveals Why We Might Never Hear the Lost Riffs (Loaded Radio Exclusive)

FAQ

Where is the proposed memorial location?
Stough Canyon Park in Burbank, California.

Who started the petition?
Bill Lonero of the Randy Rhoads Memorial Project.

Is the family involved?
Yes, his sister Kathy supports the project.

How much will it cost?
Estimated between $200,000 and $250,000.

How can fans support it?
By signing the petition and contributing to future crowdfunding.

Randy Rhoads (Artist Overview)

Randy Rhoads was a pioneering guitarist whose blend of classical influence and heavy metal helped define Ozzy Osbourne’s early solo career.

His work continues to influence generations of players, cementing his place as one of the most important guitarists in rock and metal history.

The post Randy Rhoads Memorial Petition Surges As Fans Push Burbank To Honor Guitar Icon appeared first on Loaded Radio.

Prepare for the international theatrical debut of TISM‘s Death To Art Live at Sidney Myer Music Bowl film this May. The band’s exclusive one-off screening at PICA in Melbourne includes additional support from DRUNK MUMS, HOT MACHINE and SANDY DISH added to the stacked line up with THE BELAIR LIP BOMBS, DR SURE’S UNUSUAL PRACTISE […]

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Continuing to prove themselves as one of metals most exciting up and coming acts, Japan-based metalcore outfit Prompts tread new ground on silky smooth new single Death of Me, out now via Greyscale Records in partnership with Papercut Records (US). Leaning into a more subdued and atmospheric direction, Death of Me sees the band trade […]

NEVERMORE Is Back On Stage And Supporting JUDAS PRIEST This September Purchase Tickets HERE! Storming ahead into their next chapter, NEVERMORE has solidified their new […]

The post Legendary Heavy Metal Powerhouse NEVERMORE Announce Shows Supporting JUDAS PRIEST This September appeared first on Metal-Rules.com.

Toronto producer Loukeman has worked with artists like PinkPantheress, A$AP Rocky, and Aminé, and he also makes blissfully chilled-out electronic music on his own. Last month, Loukeman released two tracks, “Elktorn” and “All I Could Think Of.” Both of them will appear on Sd-3, the new album that he’s announcing today, as will his new…

The post Loukeman Announces New Album <em>Sd-3</em>: Hear “To The Sky” appeared first on Stereogum.