PROX Intake

Blog

  • Live Gallery: Agriculture – Manchester

    Live Gallery: Agriculture – Rebellion, Manchester

    22nd June 2025
    Support: Healing Wound
    Photos: Rich Price

    We look back at the epic Agriculture show through the eyes of our photographer Martin Hingley!

    Agriculture

    Healing Wound

    Gig Review

    Photo credits: Rich Price

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Live Gallery: Agriculture – Manchester appeared first on The Razor's Edge.

  • Backstage Hangs With DAD FIGHT At DEAD OF WINTER FESTIVAL 2026

    Interview by Ali Williams Videography by Kyle Watson – @CounterfeitFilms If there’s one thing better than going to a metal festival, it’s chatting with the bands backstage before, during, or after their set. Backstage is where the magic happens, and it’s also where bands can be at their most vulnerable – and exciting… HEAVY has just finished […]

  • Reviews: Yawning Balch, Stormkeep, Wage War, Joseph Tholl (Rich Piva, Mark Young, Matt Bladen & Cherie Curtis)

    Yawning Balch – Volume 4 (Heavy Psych Sounds) [Rich Piva]

    Of course, the super group, and I am in no way using that term loosely, Yawning Balch, produced another killer atmospheric, desert-psych-trip on the fourth installation of the collaboration, aptly titled Volume 4. 

    Yawning Man have been consistently awesome for decades now, with their what can only be described as legendary psychedelic desert instrumental goodness, but adding Mr. Balch to the mix gives them this vibe of just a little bit heavy too, but never enough to throw off the delicate balance of what Gary, Bill, and Mario in YM are all about.

    Volume 4 is part of the second hour’s long jam sessions the guys did in the desert, with Balch talking about his new pedal that played a prominent role in the two tracks offered here. Bob likes pedals and I like Bob using pedals. Pyramid Of Djoser is the first one, and Bob certainly has all sorts of trippy tricks going on with said pedal and his mastery of the instrument he has been known for. The most amazing thing about Balch is his ability to be awesome in any setting; as the riff maker in Fu Manchu, playing 80s Priest worship in Axe Dragger, or the desert trippy stuff you get here. 

    The chemistry is obvious between these four amazing musicians, as Water Ritual may be my favourite on any of the volumes thus far. It is so hard to put a 22 minute jam into words, but if you want to take or not take your substance of choice and just chill, Yawning Balch got you. Bob never goes too far, sometimes you feel he may or maybe even you want him to, but he always keeps it right down in the good part of the trip.

    Yawning Balch. As a fan it is fun just to write the name. It is even better experiencing all the goodness this collaboration brings. Bring on the next volumes, we are here for it for sure. 8/10

    Stormkeep – The Nocturnes Of Iswylm (Vesperian) [Mark Young]

    There is something about atmos black metal that when done right can’t be touched.

    The Taste Of Immortal Blood has that lofty opening touch, allowing the swells and Eddie’s before they drop the hammer.

    Fast drums, riffoloa

    Then cleans that I actually liked in this context, they attempted to support or underpin the music in front of it. However, they remember that this is heavy metal and that having the atmosphere is nice but what really is key is guitars, drums and bass. It’s suitably energetic, punching forward when it needs to, and allows the use of keys to come in to act as a natural break. The outer lead break, as quick as it is has the song in mind by actively not overshadowing it. 

    It’s a very strong start, one that The Black Dragons Of Iswylm maintains. It’s a tightly wrapped song, the component parts are equally distributed behind a solid riff. Having this one run shorter means there is a race to get as many parts played as possible; piano here, atmos break there. T3 continues that run, a classic BM start that sees galloping guitars and machine gun double bass. By now it’s settled into a pattern that shows a consistent approach to their craft. Its full of melodic lines (the early lead break as an example) that are positioned well within its arrangement. Obviously, we are never too far from a moment where they remind us they are about the atmosphere.

    Imperious Sanguine Erotiscm gradually eases into play, a slow fade in that sees them deploy the clean singing first then rip into those harsh bm vox and back again. I think it was expected that they would have a relatively slow one which would give them room to breathe and spread out. There’s still opportunity for them to go heavy, and they do whilst maintaining restraint ensuring that it flows as opposed to lurching into new ground. 

    T5 decides its had enough and kicks into high gear once more. There’s a hurry about this one, manifested in how they position lead breaks and changes in velocity to suit. Of the tracks so far I think that it suffers from being padded out slightly. Personally, this could have been reduced in length but given that the overall level of craft that has go e into these songs has stayed constant it really is a minor niggle. 

    T6 has a cracking riff set to it, relying on speed to SOMETHING HERE. Whilst it has that in its favour, its shares a lot with the tracks preceding and its a good track there is a familiarity dropping into play. Again, its a personal thing, but the closing track, Ballad Of A Fallen Star needs to shake things up. I’m hoping that its not an actual ballad, because the last song has to be the one that stays with you once it wraps. Well, any thoughts that they would avoid expansive song lengths are put to bed straight away. 

    It’s a 9 minute showcase for the good stuff that they have done, but also one that highlights the need for a ruthless hand. It doesn’t deviate from the path laid out at the start, nor does it throw in something out of character.

    Something else. 8/10

    Wage War – It Calls Me By Name (Fearless Records) [Matt Bladen]

    Floridian band Wage War dwell in hot and humid swamps of Florida and on the opener of their new EP they encompasses the hidden threat of the alligators that lurk just under the water. It’s a song that’s brutal, oppressive and dangerous beginning to this record, Wage War at their most vicious and biting, massive grooves and breakdowns with ferocious vocals it’s Wage War going down their heaviest route to date.

    This renewed danger and aggression continws into 4×4, more screams low end booms but still massive chorus hooks. Wage War state their influenced by Florida itself and the aggressive power of nature, this has made sure that this EP is muscular and loud.

    The five piece of drummer Stephen Kluesener, bassist Chris Gaylord, guitarists Seth Blake and Cody Quistand as well as vocalist Briton Bond all give incendiary performances especially Bond on closer Purify as the duality in the vocals on Blindfolded and Karma are more what you may expect from Wage War.

    Inspired by the harshness of their home, Wage War, step up the ferocity on It Calls Me By My Name. 7/10

    Joseph Tholl – It Might Be Art (High Roller Records) [Cherie Curtis]

    Multi-instrumentalist Joseph Tholl brings us his second solo album, It Might Be Art and its hearty, melodic and sincere. It doesn’t rely on sickening breakdowns to be noticed and appreciated. Joseph Tholl has a respectable vocal range swinging from balmy to unfaltering passion with a dark bitter edge complimented by contrasting tension building backing vocals which brings a satisfyingly rich texture and dynamic.

    It Might Be Art is something everyone can enjoy, though it’s not metal; it’s a piece of well-crafted, hard-hitting rock. It’s not distracting or pretentiously overcomplicated in any way, but what’s great about this album is that each track is unique from each other in style slightly so if you’re not a fan of one, you’re bound to enjoy the next.

    For example; The Burial is a personal favourite, it’s fun and quick with sharp riffs with creative solos and a catchy chorus that’s darker and more atmospheric with more of a specific narrative than the others and I’m In A darkness is measured, powerful and laced with romanticism and reverb that makes it more of a ballad which is an excellent change of pace.

    As a whole, It Might Be Art is clear cut and undemanding and very well made. It will be a great addition to your everyday playlist when you want a pallet cleanser. It can come across on the first listen as safe and ordinary but as the album unfolds and you hear what’s being offered, you do get to appreciate the sheer effort being made, the level of thoughtfulness and years of experience that shines through. 

    The album is different to what Joseph Tholl has worked on within bands past and present, so the energy, passion and creativity is obvious, and it’s always makes a huge difference when someone creates out of love, fun and curiosity over comfort and expectation. 6/10

  • Album Review: Daydream Plus – Second Last Day of Summer

    Album Review: Daydream Plus – Second Last Day of Summer

    Reviewed by Oli Gonzalez

    A math-rock side project from members of Tomb Mold? That got my attention. See, having seen the Canadian death metallers tear up London at Incineration Festival this year, it begs the question of how musicians with such a clear appetite for destruction can venture down a completely different musical genre avenue! Described as blending jazz and space-rock, this was going to a complete 180 from brutal extreme metal.

    The album kicks off with ‘Tutorial’, something with the pace and rhythm of an early 00s emo banger blended with the melody of a video game theme track, alongside the unpredictable nature of jazz. All rolled into one aesthetic and easy to consume package. How light can shine from the blackened hearts of those involved in Tomb Mold. The guitars clean and accessible in their tones, you can really admire the skill and technical prowess needed to pull off some of these crazy complex passages. Easy to fudge behind layers of distortion which will mask over your mistakes; not so much with an all clean tone. So bravo for pulling this off. The bass clearly not happy with sticking to root notes and joins the guitar in churning crazy lick after crazy lick, demonstrating what bass can and should be, locking in elegantly with the metronomic drums. The end result is something deceptively complex and deep, with an undeniable smokey lounge jazzy undertone.

    Buy on CD

    But then, sadly, things start to go downhill. Slowly at first, but then more rapidly. Why? It’s a well-produced product no doubt with just the right amount of studio polish so that it’s clean and crisp but not overly engineered either. The issue is simply repetition.

    Listen to one song and it feels like you’ve listened to them all!

    There doesn’t seem to be an attempt nor desire to evolve from a melodic point of view, and it becomes difficult to differentiate between each song. The funeral doom giants like Bell Witch produce crazy long songs (‘Mirror Reaper’ coming in at a whopping 83 minutes for instance) yet keep things engaging and intriguing! This is mostly through the use of space, where each deep hitting note is given time to be ingested and properly processed. Here, Daydream Plus just seem to throw guitar lick and bass runs at you willy-nilly. Consequently, it’s difficult to stay engaged after 25 minutes or so. They seem to have the right idea with ‘Undertow’ and ‘Constellation’, both more ambient and easy listening piano led segments to break things up a bit. ‘Lockpick’ also provides a change of pace with just the guitar being the melodic focal point. So there’s certainly scope for more songs like this on future records. Anything to give the listener assurance that ideas aren’t just being recycled and there’s an attempt to progress.

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Album Review: Daydream Plus – Second Last Day of Summer appeared first on The Razor's Edge.

  • Backstage Hangs With WITCHGRINDER At DEAD OF WINTER FESTIVAL 2026

    If there’s one thing better than going to a metal festival, it’s chatting with the bands backstage before, during, or after their set. Backstage is where the magic happens, and it’s also where bands can be at their most vulnerable – and exciting… HEAVY has just finished doing the rounds at Dead Of Winter Festival […]

  • Birmingham Museum to host one-day event in honour of Ozzy Osbourne

    Birmingham Museum and Art Gallery are hosting a one-day event in honour of late Black Sabbath frontman Ozzy Osbourne.

    Legacy of a Madman: A tribute to the Prince of Darkness – which is in addition to the Museum’s ongoing Ozzy Osbourne: Working Class Hero exhibition – will take place on July 25 in the Industrial Gallery.

    “Legacy of a Madman is a free memorial and legacy event celebrating the lives, music and cultural impact of Ozzy Osbourne and Black Sabbath,” say the organisers. “Created in partnership with Birmingham Museum & Art Gallery, the event brings together fans, musicians and the wider community to celebrate Birmingham’s place as the birthplace of heavy metal and honour the artists who inspired generations around the world.”

    The event is being held in conjunction with a pair of guided walks, which will take participants through some of the most significant landmarks in Ozzy’s story, before arriving at BMAG for two hours of live music.

    The walk departs from BMAG at 10am on the 25th, with a second leaving at noon, and will visit the Black Sabbath Bridge and the Black Sabbath Bench, the Black Sabbath mural on Navigation Street, Ozzy the Bull at New Street Station, and the Crown Pub, widely recognised as the birthplace of Black Sabbath. The live music runs from 2pm to 4pm, and an after-party will follow.

    The event’s organisers include Children Of The Grave Bookings, an organisation dedicated to the preservation of Birmingham’s musical heritage, and the UK branch of the Black Label Society, who organised the fan memorial held just days after Ozzy’s passing in July 2025.

    For more information, visit the Children Of The Grave Bookings Instagram page.

  • Album Review: Moonspell – Far From God

    Album Review: Moonspell – Far From God

    Reviewed by Rich Oliver

    Portugal’s finest metal exports Moonspell return with their fourteenth album “Far From God”. Formed in 1989 as Morbid God before changing their name in 1992, Moonspell have been flagbearers for European gothic metal and one of the most popular and influential bands to come from Portugal and the south Mediterranean. There has been a fair gap since their last release – 2021’s “Hermitage” – and this is an album that the band cites as a rebirth and rediscovery. An album that “reconnects with the darker spirit of Moonspell’s classic era while sounding powerful and contemporary. Their “Irreligious” of the 21st century”.

    When the title track and lead single was released back in March, my first thoughts was that it felt like a throwback to the band’s 90’s sound recapturing that dark romanticism that made albums like “Wolfheart”, “Irreligious” and “Sin/Pecado” gothic metal classics. This is definitely not Moonspell retreading old ground as it captures the mature moody feel of previous album “Hermitage” with the gothic atmosphere of those 90’s albums but with a very stripped back and minimalistic feel. “Far From God” is a testament to the expression “less is more” with the stripped back feel of the album allowing everyone to shine and to ensure the most gorgeous moments of the album knock you off your feet. The guitar work from Ricardo Amorim is gorgeous with less reliance on traditional metal riffs but rather carries the atmosphere and emotion, the rhythm section of bassist Aires Pereira and drummer Hugo Ribeiro is a tight unit but keeps things simple for the majority whilst the keyboards from Pedro Paixão create the backbone of the gloomy atmosphere. The vocals from Fernando Ribeiro lean very much to his baritone cleans with his harsh vocals making a few fleeting appearances.

    Buy on Vinyl
    Buy on CD

    The album highlights include ‘The Great Wolf In The Sky’ which is the most epic song on the album featuring gorgeous strings courtesy of special guest Alicia Nuhro. ‘For The Love Of Mortals’ really leans into the gothic romanticism and is one of the most beautiful songs on the album whilst album opener ‘Cross Your Heart’ really sets the scene for the rest of the album and is a defining Moonspell song. The heaviest moment of the album comes in ‘Our Freedom To Fall’ with chugging metal riffs and dark atmosphere and is another definite highlight.

    “Far From God” is far more rooted in mood and atmosphere and for that reason it is classic Moonspell. It reaffirms why they are one of the greats and sees Moonspell reaching to reclaim that gothic metal crown. Considering that there was talk of the band coming to an end a few years ago, it is superb to see the band in such good form. The five years between albums has served Moonspell well and allowed to write an album that will certainly be seen as a classic.

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Album Review: Moonspell – Far From God appeared first on The Razor's Edge.

  • Listening Now : Fierce Friend – Sing All Night

    Fierce Friend recently returned with Sing All Night, a mesmerizing blend of dream pop, psych-pop, and shoegaze textures that effortlessly pulls listeners into its hazy world. Anchored by intertwined male and female vocals, shimmering melodies, and warped guitar lines, the track balances warmth with an undercurrent of unease. Rich electronic layers and inventive arrangements keep the song in constant motion, revealing new details with every listen. Both hypnotic and emotionally resonant, Sing All Night is a beautifully crafted slow-burn that lingers long after it fades into silence.

    Connect:

    Instagram

  • Listening Now : Lana Crow – Ten Days To Lose A Guy

    Lana Crow captures the thrill and emotional chaos of modern romance on Ten Days to Lose a Guy, an infectious indie-pop rocker bursting with attitude and charm. Driven by punchy guitars, crisp rhythms, and irresistibly catchy hooks, the track balances playful wit with heartfelt vulnerability. Lana’s charismatic vocal delivery brings personality to every line, while the vibrant production keeps the momentum high from start to finish. Effortlessly blending indie rock energy with polished pop sensibilities, Ten Days to Lose a Guy is a hook-filled anthem that demands repeat listens.

    Connect:

    Instagram

  • LUMEN AD MORTEM Drop New Album A GRAVE ASCENT

    Following the release of their debut record Upon the Edge of Darkness in 2023, South Australia’s Lumen Ad Mortem returns with A Grave Ascent – a striking dose of ferocious black metal that balances perfectly between an energetic drive fueled by lightning-fast tremolo riffs and a mid-paced dirge drenched in atmosphere. Crafting anthemic black metal […]