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On October 16th 2026, Greek collective Elysion will put out their next studio record entitled Identity. It was mixed by Fotis Bernardo at Devasoundz Studio and mastered by Nasos Nomikos at VU Productions. Check out also the first streaming single, “Guardian Angel”, together with an official music video. The latter was directed by Jonas Sommer and filmed at Green Screen Studio Athens.
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As in any other scene, singer-songwriter music is often hit or miss, with many artists delivering some of

Denmark’s Raunchy have released a video clip for “Darkest Self”, the third single off their forthcoming Prisoner album. The latter will be their first since 2014.
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Album Review: Motörhead – Kiss of Death

Reviewed by Dan Barnes

Motörhead ’s eighteenth album, Kiss of Death, turns twenty this year and BMG have decided to mark the occasion with a new anniversary edition. Being issued on a double vinyl and double CD, the new master is taken from the original tapes, with fresh liner notes and an acknowledgement of the recently passed, Phil Campbell’s, contribution to the Motörhead phenomenon. The CD also includes three bonus tracks, and both editions include a second disc featuring the full performance at Holland’s Lowlands Festival from 2007.

As with the previous album, Inferno, Kiss of Death was produced by Cameron Webb and is in many ways continuation of the that record’s heavy sound, it garnered a generally positive reception from critics across the board. Strangely, Kiss of Death is mentioned only once in passing in the revised edition of Lemmy’s autobiography, White Line Fever (Simon & Schuster: London, 2016) in reference to its success in the German charts.

To the casual Motörhead listener, it is business as usual from the outset, with the screaming guitars and blistering pace of Sucker; Lemmy’s vocals are sufficiently snarling, and this driving tune sketches out some classic ‘Head heavy rock. Trigger matches in tempo as its speedster riffs bully the track along; closing tune, Going Down is a rapid run-through countless references to the band’s past and makes a fun drinking game.

To the more intense listener, you know Motörhead have always been more than the speed machine some would assert. Lemmy openly insisted the band took its influences from old school Rock & Roll, which comes through on the bluesy swing of One Night Stand, the Fifties feel of Christine and the sharp riffage throughout Devil I Know, notable for Mikkey Dee’s pre-chorus drum fill.

But that’s only half of Kiss of Death’s story. Alice in Chains / Ozzy bassist, Mike Inez, lends additional weight to Under the Gun’s relaxed tempo and outlaw attitude, Sword of Glory turns its attention to the theatre of war, going for a more punk styling as it does, and Be My Baby shows the band can modernise their sound without losing its core dynamism.

The only single issued from this record was Kingdom of the Worm, a monstrous, grooving, sludgy piece that threatens to overwhelm in the same way Nightmare/ Dreamtime did from 1916. Living in the Past is built from dark riffs and ominous vocals, proving – should proof be needed- Motörhead were always far more nuanced than the mainstream may have you believe.

Sitting central on Kiss of Death is God Was Never on Your Side, a doomy consideration of the nature of the world and of that other Motörhead fascination: Religion. Lyrically phrased in a cause-and-effect reflection on the nature of God, and the relationship He has with the people who claim to speak for Him, this one is up there with 1916 itself for poignancy and pathos. Poison’s CC Deville provides a guest solo and former Pennywise and Ignite singer, Zoltán Téglás, adds backing vocals.

Some additions featured alternate bonus tracks when Kiss of Death was issued back in 2006, and those are both included here: R.A.M.O.N.E.S. from 1991’s 1916 album, rerecorded in 2006, and Motörhead ’s cover of Metallica’s Whiplash, only available on the SPV limited edition CD digipack. For good measure, they’ve also included a live version of R.A.M.O.N.E.S. unavailable elsewhere.

Disc two is a dozen live tracks from the 2007 Lowlands Festival in Biddinghuizen, Netherlands, which have not previously been available. No Motörhead show could be complete without the likes of Stay Clean, Metropolis, Killed By Death and the obligatory Ace of Spades, but there’s also a rare outing for Another Perfect Day’s I Got Mine and 1916’s manic Going to Brazil.

As this was recorded during the Kiss of Death touring cycle, we have renditions of Be My Baby and One Night Stand, as well as Killers and In the Name of Tragedy, both from Inferno, and all four fitting in among the older, more establish live favourites. There’s even the opportunity to hear rarities Snaggletooth and Over the Top being dusted off and having an airing. As would be expected, the band is tight and focused. Lemmy entertains and is at his self-deprecating best, particularly when introducing I Got Mine from 1983, “Before you lot were born.”

Kiss of Death feels like one of Motörhead ’s records that came and went. Little remained in the live set for long, with perhaps the exception of One Night Stand. Which is a shame as Kiss of Death, like those other overlooked Motörhead records, has much to offer, whether you’re after balls-out blasts, bluesy rock & roll, ominous terror, or just want to sit and ponder the nature of God Himself, it’s all here.

It’s a great opportunity to revisit a hidden gem from one of rock’s greatest bands; and to fill that gap in your collection if, for some reason, it’s missing.

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Symphonic metal outfit Eleine are streaming a new single, “We March”. The latter will be part of the upcoming album The Water Taste Of Blood, set for release in December 2026 via Reigning Phoenix Records.
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Live Review: Acid Bath – Academy, Manchester

25th June 2026
Support: Green Lung, Conan
Words: Oli Gonzalez
Photos: Tim Finch

Perhaps the hottest gig of the year, in more ways than one! Whilst there’s no promises that this will be last joke about or reference to the heat, tonight was no joke. This wasn’t an ordinary gig. This was big. A night many thought would never happen.

The UK debut of the legendary Acid Bath!

The O2 Ritz was simply not going to be big enough so an upgrade to Manchester Academy was needed, and the sold out stamp was pressed for the second time, and months before this night too! Being at Manchester Academy, we huddled in the cover of Kro Bar’s beer garden, comparing on the events that would transpire a few hours before doors. We weren’t alone as the place littered with black shirts; it was obvious where they were all headed. Those not here or in another bar were braving the fierce Manchester sun (probably the first time you’ll ever read that sentence) in the queue in order to get an optimal viewing spot at the venue. A good decision as the place was absolutely packed out long before the first note of tonight’s opening act was played…

The lights went down, and the ensuing roar tested the decibel meter on the sound desk. The room filled with the epic and frosty soundtrack to Skyrim, with the nerds in the audience purring in admiration (myself included). Though this was quickly and abruptly cut by Conan‘s sludgy tones of ‘Hawk Is Weapon’.

There was barely enough room to swing a cat on the stage as the power trio squashed themselves in somehow. Still, their presence was felt as within seconds the entire Academy was headbanging, under the hypnotic trance of the doom infused attack on the venue. This was the antithesis of aesthetic, with the grimmest distorted walls of noise bellowing out. Only 2 songs in and the pits were already open. Not a band you’d normally expect to have a pit for, but then again this night was unlike any other. Frontman Jon surely knew he had the crowd right in the palm of his sweating hand tonight, and a simple circular motion with his other hand was enough to send them into a circle pit during the aptly named ‘Levitating Hoax’. Would the young pups in the pits be able to keep the energy going for the rest of the night?

From the moment the doors opened, the merch stand was packed out, and only grew after Conan’s set. But £45 a t-shirt? Is that worth it? Is that capitalism gone mad, capitalising on the event and bleeding the consumer dry, or a genuine reaction to venues taking an unfair merch cut and band’s desperately trying to break even ?

There wasn’t too much time to ponder this as a band set to headline this venue in 6months time was up next…

The tune of Type O Negative’s ‘My Girlfriend’s Girlfriend’ blasting over the PA was interrupted by the deafening roar of the crowd.

It was time.

The crowd now red hot in more ways than one, Green Lung’s set opened with the instantly recognisable riffs to ‘Evil In this House’. All part of an excellently paced set packed full of blazing guitar solos, chunky headbanging riffs, all underlined with a satiating psychedelic spice, and spearheaded by the towering presence and soaring lead vocals of Tom Templar! Play a studio recording of the band and compare it to this live rendition and you’ll barely notice the difference, such is their exquisitely tight and polished live sound. See, Green Lung are one of those names I had seen crop on headline shows and festival posters all over the country for many years. It had been a mystery as to how and why they had got so popular,

and how they had headlined Desertfest London only a few weeks prior. But if you were there whilst ‘Let The Devil In’ was bellowing out, you’d understand why. Even so far away from London, their popularity in Manchester could not be understated. No matter where you looked, you could see people singing along at the top of their lungs; a song as crushing yet anthemic will do that. Green Lung have headlined and sold out pretty much every venue they’ve played in Manchester to date. This will only continue in their seemingly unstoppable ascendancy to the top.

It was hot. A sauna. An oven. Pick your analogy. People were not even trying to hide their discomfort. The bar staff were kept busy as hydration breaks were a necessity to survive, with plenty of free drinking water readily available too. Surely this was all worth it for such a rare gem of a headline set though?

With Green Lung’s backline removed from the stage and the cloth removed from Acid Bath’s, a gargantuan wall of amplifiers revealed themselves! From the line check, we could see they were going to shift some serious air. Only to be matched by the sheer venom of the drums. They were pulling no punches with the production either with what was going to be a dazzling lighting display.

Over the PA we could hear the song that started the entire metal genre; ‘Black Sabbath’ by Black Sabbath. Everybody was clearly in the mood for a sing along too! Then in the mood to thrash around and dance within seconds of Acid Bath’s first notes being struck. Some even decided to go airborne and towards the barrier and the waiting arms of the security staff who kept everybody safe and hydrated tonight. A slow and steady stream of crowd surfers was a recurring theme of the night. Though the main theme was nostalgia. Fulfilment. Manifestation. A genuine ‘I was there’ and bucket list moment. Call it what you want, this was special. Take ‘Bleed Me An Ocean’ as an example.

Vocalist Dax didn’t need a backing vocalist on stage as he had over 2000 in the arena! The crowd was only a few decibels away from drowning him out. That’s how you know you’ve won as a band! Whether it was calmer slower ballads like this or the primitive and crushing riffs that engulfed the venue, Acid Bath were omnipotent on that stage!

Schedule for seventy five minutes, sadly the heat became too much for me at roughly the 60 minute mark, and I weaselled out! Being able to beat the rush to get home and the prospect of a cool shower feeling more desirable than ever, perhaps this was the right choice at the time. I’ve seen some rare sets in recent times, whether it’s the Uk debut of Blackbraid, a rare set from the ever elusive Portal, or the worldwide live debut of Gallowbraid. Seeing Acid Bath resurrected and in the flesh definitely ranks up there in terms of prestige!

Photo credits: Tim Finch

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In addition to starring in the movie as the Goblin King, he also wrote half the soundtrack. Continue reading…

Well it only took 52 years, but Bastard finally has a record out! Famously, Bastard was the early-to-mid ’70s U.K. and Belgium–based heavy rock band that featured Brian James (later of The Damned) and Alan Ward (later of Elton Motello). When we talk about “proto” punk rock, Bastard was a prime example. Listening to the single “Doctor Gong” (recorded in 1974), you can hear a band building off of The Stooges, MC5, Alice Cooper, etc. and cultivating a sound that has much in common with punk rock as we know it. The songwriting and musical approach aren’t quite as lean as what “New Rose” would be a couple years later, but you can hear the raw energy and hard-pounding sonic attack starting to take shape. In celebration of issuing its 30th release, the red hot Dutch label Wap Shoo Wap Records did something special and rescued these two tracks from the dustbin of history. For those who thought these recordings might be interesting for music historians or Brian James super-fans but not exactly essential tracks in their own right, I’d say this record pretty much erases the skepticism. These tunes rip! Man, that Brian James sure could play the guitar! I honestly can’t believe these tracks went unheard for five decades plus. The classic punk recordings of 1976 and ’77 certainly weren’t created in a vacuum, and it’s thrilling to find one of the most direct precursors to first wave punk finally getting a record out. With a pressing limited to 300 copies, this thing is bound to be gone before you can blink twice. Pounce, my friends!

A few months since they released a super-promising demo online, Boston’s Adult Learners have a 7″ record out on Saccharine Tryst Records. Just in case you wondered if having properly released music would cause this wicked awesome foursome to sell out and record in a pricey studio with some overbearing slick producer, I can assure you that the band’s lo-fi, low-budget charm remains fully and enthusiastically in tact. There’s really only one word that rightfully sums up this EP, and that’s fun! Adult Learners may be a very hard band to Google, but they’re a joy to listen to with their high-energy, organ-driven mashup of garage rock, punk, and power pop. No songs cross the two-minute mark, and they don’t need to. Each track gets to the hook as fast as possible, and that leaves room for more songs on the record. That’s genius! This band keeps it simple and catchy, and these tunes will make you wanna get up and dance around the house (or whatever other physical space you happen to be inhabiting as you blast these tunes — you could do a lot of damage in a drug store or dentist’s waiting room). There’s definitely a ton of Boston garage rock DNA in Adult Learners’ music, and at times I’m picking up early Blondie vibes as well. What’s not to love? Push play and bop ’til you drop!

Toronto, Ontario based Cursed Blessings Records release provides an opportunity for smaller bands to get their records on wax for more ears to hear bands that may not have a far reach. Their latest release features two of Toronto’s best: Almighty Trigger Happy and Het Up! This four-song split features two songs from each band and is perfect for that 1990s punk rock fan in your life.

A lot of bands want to move on from the melodic skate punk sound that they started playing in their youth, but Almighty Trigger Happy leans into it with their two contributions to the record. Their first song, “The Ghost of Jim Cherry,” is about the fallen punk rock bass player of Strung Out, Pulley, and his own band Zero Down. Their two-minute ode is the strongest song on the split and a fantastic way to start this record. Working simultaneously as a memorial and a song in the vein of the era, Almighty Trigger Happy Tribute is a riffy remembrance for a fallen friend. Much faster in tempo, Almighty Trigger Happy’s half also includes a cover of “Cops Ain’t Tops” by Chronic Submission. The band is currently working on a full-length LP, but these two songs are a good sample of what’s ahead.

While HET UP! may have been formed during the pandemic, they sound like they’ve been around for much longer. After releasing an album in 2023, the band continues to release a couple of songs here and there to keep their fans satiated. Their first song, “Down with You,” is a pop-punk song with fingerprints of genres from a decades-long history. The best way to describe it would be melodic and fun. “Smile… (See You In Hell)” is a different beast, although from the same era. A double-bass-pedaled punk song that sounds straight from Fat Wreck Chords in the mid-1990s.

This is a solid EP. The musicianship, the sound, and, more importantly, the songs are all top-notch. These songs feel more like contributions to the era, rather than homage. Pick up the Almighty Trigger Happy/Het Up! split on Cursed Blessings Records.