Blog

  • Sofia Isella’s Dark Pop Is Poetic, Feminist and Right on Time

    The 21-year-old singer, songwriter and producer often cakes herself in dirt — a representation of the cultural filth she sings and chants about. Her new EP is out Friday.
  • Low Standards, High Fives – Everything Ends LP (Engineer Records, N. Says)

    The European underground scene, and particularly the Italian independent circuit, has always possessed a remarkable, almost magical ability
  • Undertakers – Share First Details Of Upcoming Record

    Brutal death metal machine from Italy, Undertakers, has revealed first details in what will be their next full-length effort. It’s going to be entitled Global Dominion and released on July 10th, 2026 via Time To Kill Records.
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  • Symphonic Power Metal Opera Sensations Liva Sign With Wormholedeath

    Wormholedeath is proud to announce the signing of Canada’s premier Symphonic Power Metal Opera force, Liva, for the worldwide reissue of their masterful album, ‘Ecce Mundus‘, due for release on May 29th, 2026. Ten years after their previous release, Liva returns with a new album, ‘Ecce Mundus‘ (“This is the world”). According to composer Pier […]

    The post Symphonic Power Metal Opera Sensations Liva Sign With Wormholedeath appeared first on ROCKPOSER DOT COM.

  • Avarice – Ink Deal With Mighty Music

    Danish death thrashers Avarice have announced the signing of a new conctract with Mighty Music for the release of their second long player, the successor to self-titled debut from 2023.
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  • Live Review: Blackbraid – Bristol

    Live Review: Blackbraid – The Fleece, Bristol

    9th April 2026
    Support: Winterfylleth, Noctem

    Words: Rich Oliver

    Three black metal bands. Three different styles. This evening was a showcase of how varied a genre that black metal can be. Despite certain fans of the genre having some of the most close minded attitudes in metal, the genre itself is probably the richest and most diverse within metal. This was the first show of a near sell out tour and a packed out Fleece in Bristol enjoyed a barrage of black metal goodness.

    Opening the show were Spanish band Noctem returning to the UK for the first time since 2022. Valencia might not seem the most likely location for a black metal band but there is nothing warm or sunkissed about Noctem’s sound or performance. This was a bludgeoning assault from start to finish with the band pouring every bit of energy into their short performance. Noctem’s brand of black metal is very blast-beat heavy with elements of death metal mixed in meaning this was music that was brutally heavy yet darkly atmospheric. The atmosphere was maintained between songs with dark ambient noise interludes whilst the band’s south mediterranean heritage came through in flamenco style acoustic guitar parts. With machine gun style blast-beats, crushing guitar riffs and the bestial roar of frontman Beleth, Noctem certainly grabbed the audience’s attention with plenty of headbanging and horns thrown. By the time their set came to a close, Noctem had gained some new fans and appeased their established ones.

    Next on the bill were the biggest and most well known band in UK black metal – the mighty Winterfylleth. With their new album “The Unyielding Season” still warm off the record press, a good chunk of the set was dedicated to the new material – we were actually the first crowd to hear the new material in a live setting. No complaints here as the new songs sounded absolutely incredible. Incredible is the term that could be used for this set in general as Winterfylleth absolutely stole the show with one of the best performances I’ve ever seen from the band. Whilst Noctem bludgeoned the crowd, Winterfylleth took everyone on an epic and atmospheric journey. There were many in the crowd, myself included, who were just lost in the music and the band also got the loudest cheers of the night with it being clear that the majority in attendance were there to see Winterfylleth. Considering it was the first show of the tour, the band chemistry was in full flow and they were a well oiled machine though it was hard to take your eyes of keyboard player Mark Deeks who looked like he was having the time of his life. As well as new material, there were Winterfylleth set staples such as ‘The Reckoning Dawn’ and ‘A Valley Thick With Oaks’ which got some of the best reactions from the crowd. From a slick performance to a fantastic song selection, Winterfylleth were in incredible form and it felt like they should probably have been in the headlining slot.

    Headlining the evening were the band I was least familiar with – US act Blackbraid. There has been a lot of hype around Blackbraid in recent years most likely due to the unlikely marriage of black metal and Native American themes and mythology. On record, Blackbraid are the sole project of Sgah’gahsowáh who writes and performs all the material. However for live performances, he is joined by a bunch of excellent musicians to bring his vision to the stage. With a set drawn from the three albums, Blackbraid performed a mix of atmospheric and melodic black metal with nods to bands such as Bathory, Watain and Dissection in their sound. The inclusion of Native American flute to the band’s performance in the last two songs added to the performance and made for an epic conclusion to the band’s set.

    It was an animated performance with the frontman barely keeping still and putting a lot of energy and physicality into their performance but there was a distinct lack of crowd interaction and some awkward silences between the songs. With the band being hired live musicians rather than a full time band, there wasn’t much in the way of stage presence and chemistry though it was a very solid, competent and enjoyable performance with a very high level of musicianship but it just felt like it was lacking something in comparison to the previous two bands that had played in the evening. Blackbraid is impressive on record but they were very much outshone by the support acts in the live setting.

    Live Review: Blackbraid - Bristol

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    The post Live Review: Blackbraid – Bristol appeared first on The Razor's Edge.

  • Bolan – Reveal ‘At War With Myself’ Song And Video

    Bolan, the newly formed one-man band by Rachel Bolan (Skid Row), presents a music video for “At War With Myself”, the first single off the upcoming debut album Gargoyle Of The Garden State.
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  • Reviews: Robben Ford, Anneke Van Giersbergen, Timeless Rage, Growth (Matt Bladen)

    Robben Ford – Two Shades Of Blue (Provogue Records)

    Down into the blues now with Robben Ford, the 74 year old veteran bluesman still delivering the goods on what I think is is thirteenth solo album, who who knows as he’s been a sideman for some of the best, in multiple bands peeling off those sophisticated guitar licks with ease.

    From playing with Jazzman Jimmy Witherspoon, folks songstress Joni Mitchell, the mighty Bonnie Raitt, the man himself Miles Davis and even a damn Beatle in George Harrison. He’s five time Grammy nominated, constantly in flux, constantly hungry for something new and here he comes again with an eclectic new record.

    Never wanting to repeat anything before, Two Shades Of Blue is an that spans the traditional funky blues on Make My Own Weather, some brass fuelled slickness on Black Night, while The Light Fandango and The Fire Flute, show off his six string skills, while a ballad like the title track is a tribute to his songwriting.

    Ford’s move to London giving him the idea to make an album that’s a tribute to the legendary player Jeff Beck and it seems that Ford is very much channelling Beck on The Fire Flute especially, though there’s also a cover of Jealous Guy from another UK music icon John Lennon.

    With about half of the record being instrumental you get a glimpse of Ford’s vocals but mostly it his guitar skills and the virtuosity of his band Ianto Thomas on drums, Jonny Henderson on keys, Robin Mullarkey on bass and a brass section of Paul Booth (saxophone), Ryan Quigley (trumpet) and Trevor Mires (trombone).

    On their instrumentals there’s guests in the shape of Rollling Stones bassist, Darryl Jones, keyboardist Larry Goldings and drummer Gary Husband, these collection of players bolstering just how good this record is, and how diverse and talented the pool of London UK musicians is.

    After a 67 year career you may think an artist like Robben Ford may rest on his laurels, but with Two Shades Of Blue he’s inspired by a whole country and a legendary artist to bring some of his best work. 9/10

    Anneke Van Giersbergen – La Mort (Self Released)

    The second part of Anneke Van Giersbergen’s trilogy of EP’s La Mort, which translates to ‘the death’ is another beautifully, introspective offering which follows the overall concept of love, loss, and grief.

    The EP’s are inspired by the passing of her parents within two months of each other, so these like the ones on La Vie some of her most personal songs and while not every song is about death, the atmospheric closing number Sail Towards The Sun, is about a boat her father built and how those journeys still hold a strong memory as part of the life of her father after his passing.

    It’s a beautiful closing piece but not a solitary one as Van Giersbergen’s vocals are some of the most wonderful in the rock spectrum, they carry weight and fragility behind them, very like Dolores O’Riordan in terms of delivery and power, she’s adaptable to any sort of genre, as anyone who has followed her career will know.

    On La Mort you get a mixture of styles with Anneke and her large live band, which features strings and horns, playing everything very well indeed. Be it the reverb drenched guitars of Fade In Fade Out, the throbbing 808 drumbeat of Blondie-like Handle Me With Care, the punky, funky, groove of Red Sky.

    With The Gathering reunion dates on the way, the third part maybe a bit more of a wait but with La Mort and La Vie before it, there’s enough beauty and brilliance here to keep you excited for part three, if you can control your The Gathering fandom that is! 8/10

    Timeless Rage – My Kingdom Come (Metalalpolis Records)

    My Kingdom Come is the second record from German symphonic power metal band Timeless Rage. Their album Untold was reviewed here well but since then they have changed both their frontman and their bassist, but has this changed the band?

    Nope not really, if anything it’s made this second album have a much more theatrical edge to it. Good thing too as My Kingdom Come is a concept album where the band can really flex their creative muscles. Whether that’s power metal, symphonic metal, melodic metal and any manner of gothic/mystical tones to it.

    Be it when they draw inspiration from the likes of Kamelot and Myrath on the dramatic A Vampire’s Legacy but also Helloween and Stratovarius as dramatic symphonic elements of Conquistadors merge with speedy neo-classical ones on The Devil’s Masquerade.

    The concept is driven by power, freedom, love, rebellion and more, the six piece the dual guitars switch between riffs and solos, blending with the keys which bring the symphonic moments as the rhythm section switch from galloping power metal on The Enemy Is You and thrashier We All Shall Fall.

    My Kingdom Come is a glorious follow up to Untold, it’s a more audacious, heroic offering than their debut from Timeless Rage. 8/10

    Growth – Under The Under (Wild Thing Records)


    Started in 2017 as a way for brothers Tristan (guitar/bass/artwork) and Nelson Barnes (drums) with vocalist LF, to explore trauma, mental illness and grief. The music they create is not just catharsis for them but to highlight the journey towards recovery to anyone who has felt the same, drawing it into the cold light of day without any trappings or sugar-coating. They were joined by Nick Rackham (bass) and Ben Boyle (guitar), their debut album was released in the height of the pandemic.

    Six years later they unleash the second part of their trilogy Under The Under a brutal six tracker that bring about 50 minutes of technical death metal which brings the Avant Garde tendencies and crush of bands like Ulcerate and Gorguts. That start-stop battery begins on Remember Me As Fire, the technical death metal coming with a sledgehammer fist before it shifts tones with the title track, a nine minute movement though different styles of extremity as the massive grooves go into clean vocal doom at the end.

    Under The Under is an album that continues where their debut left off, crawling up from rock bottom, to try and work out whether it’s self destruction or self repair that is the answer to dealing with grief, every moment of hurt and and anguish comes through Slings That Shatter and Pain Is Never Far Away as they both undulate with shifting heaviness and thick extreme grooves.

    Part two of this trilogy of albums has had a long but deliberate gestation, however it’s now out in the world and ready to take you through a the immensity of their pain. 7/10
  • Reviews: Robben Ford, Anneke Van Giersbergen, Timeless Rage, Growth (Matt Bladen)

    Robben Ford – Two Shades Of Blue (Provogue Records)

    Down into the blues now with Robben Ford, the 74 year old veteran bluesman still delivering the goods on what I think is is thirteenth solo album, who who knows as he’s been a sideman for some of the best, in multiple bands peeling off those sophisticated guitar licks with ease.

    From playing with Jazzman Jimmy Witherspoon, folks songstress Joni Mitchell, the mighty Bonnie Raitt, the man himself Miles Davis and even a damn Beatle in George Harrison. He’s five time Grammy nominated, constantly in flux, constantly hungry for something new and here he comes again with an eclectic new record.

    Never wanting to repeat anything before, Two Shades Of Blue is an that spans the traditional funky blues on Make My Own Weather, some brass fuelled slickness on Black Night, while The Light Fandango and The Fire Flute, show off his six string skills, while a ballad like the title track is a tribute to his songwriting.

    Ford’s move to London giving him the idea to make an album that’s a tribute to the legendary player Jeff Beck and it seems that Ford is very much channelling Beck on The Fire Flute especially, though there’s also a cover of Jealous Guy from another UK music icon John Lennon.

    With about half of the record being instrumental you get a glimpse of Ford’s vocals but mostly it his guitar skills and the virtuosity of his band Ianto Thomas on drums, Jonny Henderson on keys, Robin Mullarkey on bass and a brass section of Paul Booth (saxophone), Ryan Quigley (trumpet) and Trevor Mires (trombone).

    On their instrumentals there’s guests in the shape of Rollling Stones bassist, Darryl Jones, keyboardist Larry Goldings and drummer Gary Husband, these collection of players bolstering just how good this record is, and how diverse and talented the pool of London UK musicians is.

    After a 67 year career you may think an artist like Robben Ford may rest on his laurels, but with Two Shades Of Blue he’s inspired by a whole country and a legendary artist to bring some of his best work. 9/10

    Anneke Van Giersbergen – La Mort (Self Released)

    The second part of Anneke Van Giersbergen’s trilogy of EP’s La Mort, which translates to ‘the death’ is another beautifully, introspective offering which follows the overall concept of love, loss, and grief.

    The EP’s are inspired by the passing of her parents within two months of each other, so these like the ones on La Vie some of her most personal songs and while not every song is about death, the atmospheric closing number Sail Towards The Sun, is about a boat her father built and how those journeys still hold a strong memory as part of the life of her father after his passing.

    It’s a beautiful closing piece but not a solitary one as Van Giersbergen’s vocals are some of the most wonderful in the rock spectrum, they carry weight and fragility behind them, very like Dolores O’Riordan in terms of delivery and power, she’s adaptable to any sort of genre, as anyone who has followed her career will know.

    On La Mort you get a mixture of styles with Anneke and her large live band, which features strings and horns, playing everything very well indeed. Be it the reverb drenched guitars of Fade In Fade Out, the throbbing 808 drumbeat of Blondie-like Handle Me With Care, the punky, funky, groove of Red Sky.

    With The Gathering reunion dates on the way, the third part maybe a bit more of a wait but with La Mort and La Vie before it, there’s enough beauty and brilliance here to keep you excited for part three, if you can control your The Gathering fandom that is! 8/10

    Timeless Rage – My Kingdom Come (Metalalpolis Records)

    My Kingdom Come is the second record from German symphonic power metal band Timeless Rage. Their album Untold was reviewed here well but since then they have changed both their frontman and their bassist, but has this changed the band?

    Nope not really, if anything it’s made this second album have a much more theatrical edge to it. Good thing too as My Kingdom Come is a concept album where the band can really flex their creative muscles. Whether that’s power metal, symphonic metal, melodic metal and any manner of gothic/mystical tones to it.

    Be it when they draw inspiration from the likes of Kamelot and Myrath on the dramatic A Vampire’s Legacy but also Helloween and Stratovarius as dramatic symphonic elements of Conquistadors merge with speedy neo-classical ones on The Devil’s Masquerade.

    The concept is driven by power, freedom, love, rebellion and more, the six piece the dual guitars switch between riffs and solos, blending with the keys which bring the symphonic moments as the rhythm section switch from galloping power metal on The Enemy Is You and thrashier We All Shall Fall.

    My Kingdom Come is a glorious follow up to Untold, it’s a more audacious, heroic offering than their debut from Timeless Rage. 8/10

    Growth – Under The Under (Wild Thing Records)


    Started in 2017 as a way for brothers Tristan (guitar/bass/artwork) and Nelson Barnes (drums) with vocalist LF, to explore trauma, mental illness and grief. The music they create is not just catharsis for them but to highlight the journey towards recovery to anyone who has felt the same, drawing it into the cold light of day without any trappings or sugar-coating. They were joined by Nick Rackham (bass) and Ben Boyle (guitar), their debut album was released in the height of the pandemic.

    Six years later they unleash the second part of their trilogy Under The Under a brutal six tracker that bring about 50 minutes of technical death metal which brings the Avant Garde tendencies and crush of bands like Ulcerate and Gorguts. That start-stop battery begins on Remember Me As Fire, the technical death metal coming with a sledgehammer fist before it shifts tones with the title track, a nine minute movement though different styles of extremity as the massive grooves go into clean vocal doom at the end.

    Under The Under is an album that continues where their debut left off, crawling up from rock bottom, to try and work out whether it’s self destruction or self repair that is the answer to dealing with grief, every moment of hurt and and anguish comes through Slings That Shatter and Pain Is Never Far Away as they both undulate with shifting heaviness and thick extreme grooves.

    Part two of this trilogy of albums has had a long but deliberate gestation, however it’s now out in the world and ready to take you through a the immensity of their pain. 7/10
  • Anarcho-Punk: Music And Resistance In London 1977–1988 (Expanded Edition) By David Insurrection (Earth Island Books)

    The history of punk rock is too often reduced to a handful of marketable fashion statements and the