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  • Whitechapel Premiere New Music Video For “Nothing Is Coming For Any Of Us” – Announce 2027 European/UK Tour With Sylosis, 200 Stab Wounds & Tribal Gaze

    Whitechapel have released a new music video for their track “Nothing Is Coming For Any Of Us.” The visuals were directed by David Brodsky, whose past work includes videos for Lorna Shore and Revocation. The video arrives alongside the announcement of the band’s January 2027 European and UK tour. The trek will feature support from Sylosis, 20… Read More/Discuss on Metal Underground.com
  • Album Review: Rush – Grace Under Pressure

    Album Review: Rush – Grace Under Pressure

    Reviewed by Dan Barnes

    Not going to lie – but I loves me some Rush. There are, naturally, some of their studio records I reach for less than other: Caress of Steel, perhaps, and maybe Presto; but generally I’m down with all phases of the band, from their hard rockin’, pre-Neil Peart, debut, through the synth-heavy Eighties output, to the overlooked later gems, such as Test for Echo and Snakes & Arrows. I even like the much-derided Hold Your Fire record, and the 2012 swansong, Clockwork Angels, is a vital as anything the band have done.

    By the time of the original release of Grace Under Pressure in 1984, Rush had already established themselves as one of the most inventive and technically proficient bands of the scene. The run of still-classic releases started with 2112 in 1976 and continued, unabated through A Farewell to Kings, Hemispheres and Permanent Waves; those progressive elements were not quite as noticeable on Moving Pictures in 1981, but that didn’t stop the band’s eighth album being rightly recognised as one of their crowning achievements.

    Eighteen months later and Signals would attract criticism from some quarters for its emphasis on synthesisers in favour of Alex’s guitar; while others praised the bravery of the band for continuing their electronic exploration and not simply making a Moving Pictures, part II. Lauded for its more adult lyrical themes, Signals would ultimately lay the groundwork for album number ten: Grace Under Pressure in 1984.

    The subject of this Super Deluxe Reissue set, Grace… found Rush pushing on with the wide use of synthesisers, while also incorporating ska and reggae elements. Guitars, which had taken a backseat on Signals, now came back to the fore and vied for prominence across the album’s eight tracks.

    The lyrical maturity continued through this album – which took its title from Earnest Hemmingway’s comment that “courage is grace under pressure” in a letter to F. Scott Fitzgerald – in the poignant Afterimage, the Holocaust imagery of Red Sector A, and the trenchant critique of the Capitalist model that is Between the Wheels.

    Those ska and reggae influences can be heard through The Enemy Within, Kid Gloves seems ahead of its time, especially with the knowledge of what would come barely a decade later, and the digital-humanoid protagonist of The Body Electric is represented by sharp, staccato musical phrasing. More traditional Rush flavours can be heard on opener – and lead single – Distant Early Warning, which blends the synths with some hard rocking sounds, and Red Lense’s upbeat vibes. It’s notable that Grace Under Pressure does not sport any acoustic guitar and has no relieving ballad to break up the force of the generally bleak message.

    A month after its April 1984 release, Japan, Canada and the UK all got an additional single issued, though each territory got something different: Afterimage in the Far East, Red Sector A in the Frozen North, and we here in good ol’ Blighty had The Body Electric. With all that activity it’s almost Rush’s Thriller.

    Album Review: Rush - Grace Under Pressure

    Disc one features a new remaster from the original 1984 analogue stereo tapes, which gives the album some hefty low end. Disc two gives the us the chance to hear what the album would have sounded like had long-time co-producer, Terry Brown, who had worked with Rush on every album, barring the debut. Mr Brown was not only in the producer’s chair for the band, but would also appear as an additional musician, arranger and backing vocalist, but did not work on Grace, with his place being taken by Peter Henderson, who had worked with the likes of King Crimson, Paul McCartney and Jeff Beck. Terry’s version of Grace Under Pressure is a lush love song to what might

    have been, including supplementary musical pieces and punishing driving energy. That Terry also produced for Dream Theater and Voivod might give you some idea the man is no stranger to heavy music.

    Discs three and four (and five for the vinyl collectors) contain the hometown show at Maple Leaf Gardens, Toronto, on 21 September 1984 as part of the Grace Under Pressure world tour. Originally released in full on VHS, and in an edited version on 2006’s Rush Replay x3 DVD boxed set, the audio was originally issued in 2009, again in truncated form, on the Grave Under Pressure Tour album.

    These discs represent the first time the complete twenty song performance has been made available after having been newly remixed from the original masters. The whole of the Grace Under Pressure album can be found here, with the exception of Distant Early Warning; other Rush classics The Spirit of Radio, Tom Sawyer, and Red Barchetta vie with more proggy parts of the band’s past: The Temples of Syrinx, Fly By Night’s closing tune, In the Mood, taking a similar position here, as well as YYZ and the obligatory Neil Peart drum solo.

    This Super Deluxe reissue is available in a couple of media options: a four CD version and a five vinyl edition, both are accompanied by a Blu-Ray which features an array content, including the video of the Toronto show, various audio mixes of the album, including Dolby Atmos and Dolby TrueHD 5.1 of the 1984 recording, and PCM Stereo version of that and the 2025 album mix; and the promotional videos for Grace Under Pressure’s four single releases, offered in TrueHD 5.1 and 48khz 24-bit PCM Stereo, some of the audio options being available for the first time.

    Away from the discs, the package comes with a hardcover book, featuring sleeve notes by Geddy Lee and new illustrations for each song by cover artist, Hugh Symes, an illuminated LED display, replicas of the Grace Under Pressure tour book, a poster and replica ticket from the Toronto show, a back-stage pass, band photos and a six-page press release.

    The review version I got was just the audio parts, but knowing the care and attention Rush put into their packages, the bits that I didn’t see are sure to be of the highest quality. The price tag appears to reflect that, but to a collector, this represents exceptional value for money.

    Coming out a little after the R50 Something shows went on sale, with Rush-fever starting to build over the next twelve months, I can’t imagine a better time to be reacquainting yourself with that unassuming Toronto three-piece.

    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: Rush – Grace Under Pressure appeared first on The Razor's Edge.

  • CREYE – Creye IV, The Aftermath (Album Review)

    CREYE have a problem. 4 albums, 4 singers, and this album also features a completely different line-up, with only guitarist Andreas Gullstrand left to represent the original band. Described as the man behind the band’s vision and its driving force, he’s the one testing fans patience with these changes.   Creye III ‘Weightless’ was a glorious slice of Scandi-melodic rock which I claimed had found the band reaching ‘full blown musical maturity.’ This album, the aptly titled ‘Creye IV – The Aftermath’ is unfortunately a big step backwards. It still has moments of the Scandi-brilliance the first 3 records delivered, but at the heart of the problem here for me – I just don’t like the new singer.   The material in large part tries to replicate the band’s sound, but it lacks the spark the Creye name has come to represent and the vocals are a big part of that problem. New singer Simon Böös sounds like he could be singing out of his comfort zone. It just sounds forced, especially on the higher notes. It’s not easy to listen to. There are also a few different styles at play within this album, as if the band is trying to find themselves again (no surprise with an all-new line-up). Shame, as they nailed it last time around.   Still plenty of keyboard and guitar driven AOR in the truest sense of the term, but the highlights are a few songs here and there rather than a slather of gloriousness that the band and their last album in particular have previously delivered.
    Categories: 
    Reviews
  • CREYE – Creye IV, The Aftermath (Album Review)

    CREYE have a problem. 4 albums, 4 singers, and this album also features a completely different line-up, with only guitarist Andreas Gullstrand left to represent the original band. Described as the man behind the band’s vision and its driving force, he’s the one testing fans patience with these changes.   Creye III ‘Weightless’ was a glorious slice of Scandi-melodic rock which I claimed had found the band reaching ‘full blown musical maturity.’ This album, the aptly titled ‘Creye IV – The Aftermath’ is unfortunately a big step backwards. It still has moments of the Scandi-brilliance the first 3 records delivered, but at the heart of the problem here for me – I just don’t like the new singer.   The material in large part tries to replicate the band’s sound, but it lacks the spark the Creye name has come to represent and the vocals are a big part of that problem. New singer Simon Böös sounds like he could be singing out of his comfort zone. It just sounds forced, especially on the higher notes. It’s not easy to listen to. There are also a few different styles at play within this album, as if the band is trying to find themselves again (no surprise with an all-new line-up). Shame, as they nailed it last time around.   Still plenty of keyboard and guitar driven AOR in the truest sense of the term, but the highlights are a few songs here and there rather than a slather of gloriousness that the band and their last album in particular have previously delivered.
    Categories: 
    Reviews
  • Review TEMPLE OF VOID “The Crawl”

    Temple of Void hail from Detroit, a city with a storied and influential musical legacy. Formed in 2013, the band have released four full-length albums to date. With “The Crawl”, their fifth longplayer, Temple of Void add another powerful chapter to their musical journey. Known primarily for their death/doom metal roots, the band’s earlier albums… Continue Reading →
  • Live Review: The Hara – Norwich

    Live Review: The Hara – Waterfront, Norwich

    6th March 2025
    Support: Profiler

    Words & Photos:
    Tom Atkin

    Early doors on a week night, even on a Friday, are a great thing! The Waterfront Studio is tonight venue of choice, a small venue which is perfect for intimate gigs, 7pm doors means that people are able to get ready and out early.

    Opening band is Profiler, an outfit referred to as a re-awakening of nu-metal. This is a statement that is backed up substantially with tonights performance. From the word go we have ingredients from so many first generation nu-metal bands; vocals that shift effortlessly between haunting and melodic verses that wouldn’t feel out of place on the soundtrack to Queen Of The Damned to excellent screams/shouts that made the Nu Metal genre stand out in the first place.

    Profilers live presence is spot on, a great amount of energy and what looks to be a great bond between the members. The band don’t let up, with only a thirty minute set they manage to cram in seven songs, all of which welcomed by the audience. 

    There was no down points, no parts that feel like a lull in their performance, a great way to get the show warmed up for the night, with majority of the fans already head banging along.

    Photo Credit: Tom Atkin

    Now it’s time for the main attraction, The Hara, a band that is consistently growing in popularity, hitting festivals and tours throughout the UK and America. 

    Instantly, the band are demanding movement from their fans and they oblige with no protest with the pit stirring before the end of their opening track. This peak level of energy stays at this heightened level throughout the evening, helped by guitarist Zack Breen leaving the stage to open up a circle pit around him. Josh Taylor, brings a crazy amount of confidence to the band, almost arrogance but with enough charm to not come across as some one that feels entitled. As a band they have worked incredibly hard in the nine years since they were formed, and it is now starting to pay off.

    Photo Credit: Tom Atkin

    For that hour and a half of the set they give everything, mixing in some occasional humour, but all the time being the absolute centre point of attention. It is almost fan service half of the time as it seems they are playing all the songs that the crowd wants to hear, with almost every word being sung back to them. In reality, their fans are just that dedicated to them.

    It is hard to place the sound that they create, they mi so many styles together, all of which works perfectly. I am certain they picked their set intentionally to stay on the heavier side of their catalogue to keep the level of energy up. Only slowing the pace for one song.

    Playing around twenty songs in to their set, at no point does this feel too long. Tonight it feels very much the opposite, they could have continued for another thirty minutes and it still would only feel like a short set. The energy, atmosphere and diversity of the songs makes time just disappear during The Hara’s show.

    Norwich was the first stop on their Southern tour. If you are a slight fan of even just one or two songs get out there and support them. I can guarantee you will enjoy the whole night and come away from it liking a lot more than what you went in liking. 

    Photo Credit: Tom Atkin
    Photo Credit: Tom Atkin

    Photo Credit: Tom Atkin

    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 Review: The Hara – Norwich appeared first on The Razor's Edge.

  • Rest In Peace, Tommy DeCarlo

    Photo from Frontiers Music srl Facebook.

    From Frontiers Music srl Facebook:

    We are deeply saddened to learn of the passing of the great Tommy DeCarlo.

    Tommy will forever be remembered by fans around the world as the powerful voice behind the album ‘Life, Love & Hope’ with Boston, as well as for the other music that he created with us. Through the years we had the privilege of working with him on several releases, including ‘Lightning Strikes Twice’ and his solo album, ‘Dancing In The Moonlight’.

    Tommy also joined us on stage at the Frontiers Rock Festival in 2019, delivering a memorable performance that perfectly captured his passion for music and connection with the fans.

    Beyond his extraordinary voice, Tommy was a kind and genuine person who will be greatly missed by everyone who had the pleasure of knowing and working with him.

    Our thoughts are with his family, friends, bandmates, and fans around the world.

    Rest in peace, Tommy.

    God Bless The Soul Of Tommy DeCarlo.

  • The Skies The Limit With BENNY WHISKEY From THE FINAL FALL

    The Final Fall have never been a band to rush things. Instead, they have always written and released material when they are ready and feel like they have something relevant and important to say. After a prolongued period of inactivity, The Final Fall resurfaced in 2024 with the single Sold, reminding fans and music punters […]
  • KRAAN Offer Fans An Inclusive Experience

    KRAAN Offer Fans An Inclusive Experience

    Since KRAAN returned to the fray in 2000, the Krautrock veterans have added not one but two chapters to their story, the first ending with the band’s third post-reunion record, “Diamonds” from 2010, and the second starting with their fourth, … Continue reading

    The post KRAAN Offer Fans An Inclusive Experience appeared first on DMME.net.