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White Knight Records [Release date 25.09.26] We’ve followed 25 Yard Screamer since their formation in 2002 and their onward trajectory has reflected our own since that time. We were mightily impressed with their third album ‘Cassandra’ in 2007, took over … Continue reading →

The post Album review: 25 YEAR SCREAMER – …And From The Deep, There Is A Light… appeared first on Get Ready to ROCK!.

EVILLE have kickstarted a brand-new era, signing to Easy Life Records and dropping a huge single with RedHook’s Emmy Mack.

The trio’s first release via their new label home is titled ‘Flip Phone’, and it’s filled with energy, attitude, and heaviness.

Speaking about the new single, EVILLE vocalist Eva Sheldrake has shared:

“When we were writing Flip Phone we wanted to make something nostalgic, fun and liberating. We also knew straight away that we wanted Emmy to sing on it and she absolutely nailed it.”

Lending her talents to the track for a guest appearance, here’s what RedHook vocalist Emmy Mack had to say about the collaboration:

“I’ve been a huge fan of Eville since we toured the UK together last year so it was a total no-brainer when they hit me up to collab! The song itself had such a fun lyrical concept, I unreservedly enjoyed the challenge of cramming as many cheeky Y2K refs as I possibly could into these bars. I hope people have as much fun listening to it as we had making it!”

EVILLE are currently on the road with Lake Malice for some shows across the UK and Europe.

Check out the full list of remaining dates below.

SEPTEMBER

28: LEIPZIG Naumanns
29: HAMBURG Betty
30: NIJMEGEN Merleyn

OCTOBER

02: BRISTOL Exchange
03: LEEDS The Key Club
04: GLASGOW G2
06: MANCHESTER Academy 3
07: NOTTINGHAM Rescue Rooms
09: LONDON The Garage

The post EVILLE Team Up With RedHook’s Emmy Mack On ‘Flip Phone’ appeared first on Rock Sound.

Posted on September 28th 2026, 12:40pm

Frost* return to the stage for six UK shows in Spring 2027 to celebrate a multitude of milestones as 2026 marks the 20th anniversary of Milliontown as well as the 10th anniversary of Falling Satellites.

The band will reunite onstage for the first time in five years to play a full two-hour set showcasing songs from all five Frost* albums, including the long-awaited live debut of the most recent award-winning and hugely acclaimed album Life In The Wires.

Tickets are on sale from Friday 2 October 2026, 10 am UK time at frost.life/frost-live.

MetalTalk covered the Frost* show at Islington Assembly Hall on 1 December 2022, where the band all wore white T-shirts with black sleeves, and they had their names, dates of birth and gender on them.

“It’s so tough to go out on the road nowadays as everything is so expensive,” Jem Godfrey said at his last MetalTalk Interview talking about that tour. “We did one show in Europe on that run, and the carnet was ridiculous. They even wanted to know the serial numbers of the cables we took.”

Robert Adams then suggested that they could kill two birds with one stone and have carnet t-shirts made up as merchandise, which list each band member’s equipment used.

“That’s a brilliant idea,” Jem smiled, furiously scribbling on a piece of paper. “Do you charge commission?” We wait with bated breath to see their tour dress.

Announcing this tour, Jem Godfrey says, “It’s going to be the longest set we’ve ever played at two hours, and we hope to cram as much in as we can from the entire back catalogue.

“That said, we also need to give Life In The Wires a bit of a spin too, don’t we? Nice problem to have, really.”

To further commemorate the anniversaries of Milliontown and Falling Satellites, the band are working on a re-recorded version of Milliontown featuring the now-considered classic lineup of Jem Godfrey, John Mitchell, Nathan King and Craig Blundell, as well as an updated recording of Falling Satellites for later release.

Canadian cellist Raphael Weinroth-Browne probably needs no introduction at this point, which is a bit surprising, given that this is a metal blog. He first graced these halls in 2015 through The Visit, and, as a soloist, in early 2020 with the spectacular Worlds Within. By now, his “not not metal” approach to cello is a familiar comfort to this reviewer in particular. He is a frequent guest on my year-end lists, and I always look forward to his work, especially since last year’s Lifeblood, which—hang on, that was just last year? Turns out Weinroth-Browne has been busy over the last little bit, with his third full-length, Empyrean, coming less than a year after the last. That might be an indication we should be wary, or maybe the man is simply filled with good ideas. Let’s find out.

Empyrean is different than most everything Raphael Weinroth-Browne has done recently. Generally, I think of his work as being neo-classical, but there’s a clear metal influence in what he does that acts as a sort of anchor to his work—certainly Lifeblood had a heavy spine that guided much of its direction. But Empyrean began its days as a commission from a contemporary dance company, an invitation for Weinroth-Browne to build a score for a show called BACH Reimagined. The metal influence is there, of course, but this time intertwined with baroque sensibilities. As a result, it is less tangible, more open, and really highlights the “classical.” Tracks flow in and out of each other without clear breaks—I often check my player around track four (the dream-like “Murmuration”), surprised to realize I’m not on the first song anymore. Nowhere near it, in fact—Empyrean is stealing my sense of time.

That is the album’s main strength: it flows. Not quite like Worlds Within, where everything was re-dedicated around core ideas, but in a natural, airy way that just sort of glides from one idea to the next without looking back. The brief-yet-dramatic romp of “Remnant” becomes the journeying “Evocation” before you know it, and it’s not until “Integration” (track five!) that I notice we’ve moved well past the opener. Speaking of “Evocation,” it’s a gorgeous song and an album highlight. It swells softly, capturing an adventurous feeling with impressively quiet grace. Later, “Reflection” brings in more of that metal influence Raphael Weinroth-Browne knows and loves, with percussion and backing riffs that support a searching, soaring melody. It maintains the quiet dignity Empyrean is built on while still feeling like the kind of thing you might read about on a metal blog—”classic” Raphael Weinroth-Browne. Of course, we get there without really realizing we’ve gotten there; it doesn’t flow seamlessly from the earlier “Sanctum,” but the groundwork is laid so well that it doesn’t feel out of place on an album much more classical than I’d expected.

I could argue that the flow of Empyrean is perhaps its greatest drawback too. There are many great ideas on Empyrean that appear once only and are quickly discarded as the unyielding cello moves to its next idea. On Lifeblood, the longer track lengths often meant we stayed with one central idea for an extended length of time, building around it and creating something impactful. While Empyrean is ten full minutes shorter (around 48 minutes over nine tracks), it feels somehow longer as the songs blend and occasionally lose ground transitioning from one ephemeral idea to the next. We end the journey with the title track, which sets down a gorgeous melody that builds and swells and fades, but never really goes anywhere or does anything. It’s beautiful, but it’s restrained. That may just be the metalhead in me talking—Empyrean takes us further from our “comfort zone” (in that this is a metal blog) than previous Raphael Weinroth-Browne albums—but it does feel like Empyrean is not as focused as it could be.

In fact, Empyrean feels almost like an improvisation, like Raphael Weinroth-Browne is speaking through his instrument, freehand, and inviting us to just listen. It’s a great way to spend the better part of an hour, and it sounds beautiful as ever—he is a master of his instrument. Empyrean feels a touch unfocused compared to previous releases, but if you want to just close your eyes and follow the threads of this journey, it is still as rewarding and enriching an experience as I’ve come to hope for.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self release
Websites: raphaelweinroth-browne.bandcamp.com | raphaelweinrothbrowne.com | facebook.com/raphcello
Releases Worldwide: September 11th, 2026

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