GRAVE DIGGER – Bone Collector

(RPM ROAR)
Rating: 6.5

45 years of Teutonic heavy metal. Grave Digger shows no signs of slowing down on their 22nd full-length album and second under the RPM ROAR banner. The most notable change is this the first foray for guitarist Tobias Kersting, who entered the band in 2023 in place of longtime axman Axel Ritt.

He acquaints himself well on Bone Collector showcasing varied lead styles fitting within the context of the music. And the music is what we’ve come to love from Grave Digger, no frills heavy metal dealing with death and earthly horrors led by the ever charismatic and distinctive Chris Boltendahl.

The best of the bunch are is the Accept/Priest like fist pump of “The Devils Serenade”, the doomy rumble in “Riders Of Doom”, the ear worm vocals in speedster “Made Of Madness” and closer “Whispers Of The Damned”. The closing 6-minute tune recalls their older longer songs building a gray, humbling atmosphere before a powerful riff takes control.

Some trimming could be used – the flow and texture of the album would have best served if weaker cuts like “Kingdom Of Skulls”, “The Rich The Poor The Dying”, and “Forever Evil & Buried Alive” were tinkered and saved for an EP.


Bone Collector is a solid outing from the vets. Take note of a more prominent bass presence from longtime tumbler Jens Becker and Marcus Kniep is crisp behind the kit. I know these guys have at least one more outstanding album in them, but for now this will do.

AVANTASIA – Here Be Dragons

(Napalm)
Rating: 7.5

Swagger mixed with whimsy and wonder. This is how Tobi got his groove back. Outside of a few months on Moonglow, the last two Avantasia forays have withered in stagnation. Instead of focusing on a story, running with a general theme on Here Be Dragons allows for Tobias to spread his wings and showcase confidence, fun arrogance (one of the few that can pull it off), and his oddball humor.

With the usual suspects returning, it’s the new faces that leave the biggest impression. Tobias out Kamelot’s Kamelot on the Tommy Karevik guested “The Witch” and former Kamelot voice Roy Khan brings a majesty to the sentimental, schmaltzy closer “Everybody’s Here Until The End”. The stunning “Avalon” is a catchy, folky tune utilizes the brilliant talent of Seven Spires’ Adrienne Cowan. It reminds of “Farewell” from the first Avantasia album.

“Against The Wind” is classic Tobias, a speedster about doing what you want and going against the grain. H.E.A.T.’s Kenny Leckremo does a great job with his vibrant grit on the track. Helloween’s Michael Kiske of course is back at “The Moorland At Twilight” showcases the fantastical whimsy and humor that’s sorely been missing.

First single and opener “Creepshow” was an interesting choice. It’s hard rock, simple Tobi and quite frankly is not one of his best, but the fun carnival element to it is appreciated. Always nice to hear Bob Catley and it’s a tribute written for late Magnum member Tony Clarkin. It pulls at the heartstrings and possesses an ‘80s aesthetic, however it does not quite the feel of the album.


Credit to Tobi is given for grabbing the strengths of Geoff Tate on the longest track, the almost 9 minute “Here Be Dragons”, an atmospheric slow burn with a big chorus. There’s also a heartfelt attempt to recreate the Hellfire Club mentality on “Unleash The Kraken” with a one of the heaviest riffs in the middle section and a quick hooray with the Ronnie Atkins guested “Phantasmagoria”.

It warms the heart hearing Tobias having fun again. His voice is not what it used to be and can’t quite the highs like he’s known for, but there is still power and gusto in his delivery. While not possessing the highs like “The Raven Child” or “Book Of Shallows”; Here Be Dragons is a consistent and endearing listen.

Now, how about some Edguy?

DESTRUCTION – Birth Of Malice

(Napalm)
Rating: 8.0

In a sign of the digitally connected times we live, almost half of this album has already been issued: five of the eleven proper tracks (the title track is a minute long intro), including the disc closing Accept cover, were out, pre-release, as lyric videos/visualizers, singles, etc. Fine line between advance promotion and what the Red Hot Chili Peppers called, “Give it away, give it away, give it away now!”

Following the aforementioned intro, the band’s signature tune, “Destruction” (amazing it has taken Schmier more than 40 years to come up with a song by that name!) utilizes vintage titles (or allusions to the same) within its lyrics. Thematically, it’s a “We are (all) together, we are Destruction” call to arms, for metal fans. It’s not the first time they’ve gone down this road (see: “The Alliance Of Hellhoundz”, although that was a more flagrant name dropper). There’s an 8-bit guitar rhythm running throughout, but the “We’re Destruction” chorus is sure to be an in-concert favorite. At 5:23 it is the longest cut, and just one of two that eclipse the five minute mark.

As with Motörhead (iconic, one-name bass player/leader, who spent most of his career in a trio), there are no “new” albums, just updated variations on beloved themes. Sadly, there’s little hope that (m)any of these cuts (with the exception of the self-titled number, mostly for the “We’re Destruction!” chant/chorus) will survive the live show, beyond the current touring cycle. There are few slots in the setlist, with perennials like “Butcher” (#1 and/or #2), “Curse The Gods”, “Bestial Invasion”, etc., Like the ’27 Yankees, it’s tough to crack a line-up filled with all-stars.

That said, let’s examine the rest of the album. Schmier (like Lemmy) has no time for idiots, regardless of which side of the political or culture divide they reside. He enjoys poking them in the eyes, nevertheless. A female voice-over greats the much more frenetic “Cyber Warfare”, with its staccato hammering, complete with wild guitar runs/dives. Wild. Throughout the platter, the twin guitars lay down speedy, strafing fire, repeatedly.


Case in point, the full-on “No Kings No Masters”, released as an early taster of what’s to come. Latest single, “Scumbag Human Race’ varies in tempo and a close listen will reveal brief nods to both old Metallica and Slayer. “God Of Gore” return to the Teutonic side of the influences pond (fit firmly planted in Germanic thrash) although the over-too-quickly, galloping section is a nice, unexpected touch.

Slow and grinding out of the gate, “A.N.G.S.T.” keeps a low profile, rarely breaks a sweat. “Dealer Of Death” (is it me, or do a lot of these song titles sound like early ‘80s arcade game?) raises the temperature to lukewarm: a bit of a chug, with the occasional guitar sweep. Lyrically, it takes a swing at the German chemical giant, for their unsavory history in both World Wars. “Evil Never Sleeps” might be as close as Destruction have come to a ballad, but still megatons heavier than “one.” Truthfully, it’s more of a traditional rock song, but with Schmier behind the mic, it’s never can truly be sedate/commercial.

“Chains Of Sorrow” apparently concerns Greek mythology and the tale of Sisyphus (sure the music business can parallel that story, at times). The final original is “Greed”, a cautionary tale that warns, “Greed will make you blind.” As mentioned earlier, the true album-ender is “Fast As A Shark”, including the same scratched Tyrolean ditty that originally appeared on the Accept version.

PINK FLOYD Share New Teaser Video For Upcoming “Pink Floyd At Pompeii – MCMLXXII”

Pink Floyd At Pompeii – MCMLXXII, the groundbreaking 1972 film directed by Adrian Maben, returns to cinemas in spring 2025. Trafalgar Releasing and Sony Music Vision will release the concert film in select cinemas and IMAX worldwide from April 24 and tickets are on sale here.

Digitally remastered in 4K from the original 35mm footage, with enhanced audio newly mixed by Steven Wilson, the upcoming theatrical release presents the definitive version of this pioneering film.

Pink Floyd At Pompeii – MCMLXXII is accompanied by the live album, set for release by Legacy Recordings, the catalog division of Sony Music, on CD, Digital Audio, and for the very first time in Dolby Atmos and on vinyl, from May 2.

Watch a new teaser video below:




Pink Floyd At Pompeii pre-dates the release of The Dark Side Of The Moon. The film documents what Pink Floyd did before they became giants of the album charts on both sides of the Atlantic – where their music remains celebrated to this day. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique and immersive film captures Pink Floyd performing an intimate concert without an audience. Filmed in October 1971, the performance marked the very first live concert to take place at Pompeii, and features the vital “Echoes”, “A Saucerful Of Secrets”, and “One of These Days”. The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance. Additionally, the film includes rare behind-the-scenes footage of the band beginning work on The Dark Side Of The Moon at Abbey Road Studios.

Nick Mason said, “Pink Floyd: Live At Pompeii is a rare and unique document of the band performing live in the period prior to The Dark Side Of The Moon.”




The film has been meticulously hand restored, frame-by-frame, from the original 35mm cut negative – discovered in five dubiously labelled cans within Pink Floyd’s own archives. This momentous breakthrough unearthed the very film that rolled through the cameras during those sweltering days amidst the ruins of Pompeii over 50 years ago.

Led by Lana Topham, Director of Restoration for Pink Floyd, the team’s mission was to preserve the integrity and beauty of the original picture. The film was scanned in 4K using advanced techniques to ensure the finest, sharpest detail. Colors were enhanced, and every frame was meticulously reviewed and repaired, maintaining a natural and vivid appearance with minimal grain adjustments.

“Since 1994, I have searched for the elusive film rushes of Pink Floyd At Pompeii, so the recent discovery of the 1972 original 35mm cut negative was a very special moment. The newly restored version presents the first full 90-minute cut, combining the 60-minute source edit of the performance with the additional Abbey Road Studios documentary segments filmed shortly after,” said Lana Topham, Director of Restoration for Pink Floyd.

The film also features stunning sound quality with a new theatrical and home entertainment mix by Steven Wilson in 5.1 and Dolby Atmos that enhances the film’s depth and clarity, preserving the authenticity and spirit of the original 1972 release. Wilson’s aim was to remain faithful to how the band would have sounded on those scorching hot days in 1971.


Wilson added, “Ever since my dad brainwashed me as a kid by playing The Dark Side Of The Moon on repeat, Pink Floyd has been my favourite band. They are my “Beatles”, deeply ingrained in my musical DNA. I first saw Pompeii from a grainy print at a local cinema. It made an incredible impression on me with its untethered and exploratory rock music made by four musicians that seemed to epitomise the notion of intellectual cool. It was an honour to remix the soundtrack to accompany Lana Topham’s incredible restoration of the film, which looks like it could’ve been filmed yesterday.”



The accompanying album release Pink Floyd At Pompeii – MCMLXXII will see the performance presented as a full-length live record for the very first time. The 2025 remix by Steven Wilson is newly available on CD/LP/Blu-Ray/DVD/Digital Audio/Dolby Atmos from May 2.

Pink Floyd At Pompeii – MCMLXXII is presented by RM Productions and directed by Adrian Maben. It is executive produced by Reiner Moritz and Michelle Arnaud. Sony Music Vision is the distributor.

Tickets are on sale at pinkfloyd.film. Visit the event website for more information and ticketing details for IMAX® and standard format cinemas.



Album tracklisting:

Side A
Pompeii Intro
“Echoes – Part 1”
“Careful With That Axe, Eugene”

Side B
“A Saucerful of Secrets”
“Set The Controls For The Heart Of The Sun”

Side C
“One Of These Days”
“Mademoiselle Nobs”
“Echoes – Part 2”

Side D
“Careful With That Axe, Eugene” – Alternate take
“A Saucerful Of Secrets” – Unedited

HEXVESSEL Announces Nocturne Album, “A Dark & Graceful Wilderness

Hexvessel unveil the frost-bitten video clip “A Dark & Graceful Wilderness” as the spectacular first single taken from the forthcoming new album Nocturne. The seventh full-length of the enigmatic Finnish black metal shapeshifters has been slated for release on June 13, 2025.

Preorder here.

“This song is a macrocosm of our new Nocturne album and it embraces all the elements that are represented throughout,” singer and songwriter Mat “Kvohst” McNerney writes. “It ranges from epic black metal structures that evoke nature’s grand epiphany to the minimal synths as we drone out to the chaos of wild space. All the influences are there from Thorns to Tangerine Dream, Darkthrone to Philip Glass to Dead Can Dance. As an artistic tradition, a ‘Nocturne’ captures the essence of night, a somber veil where nature is the liminal path.”

With their seventh full-length Nocturne, Hexvessel explore the liminal spaces between light and darkness, nature and solitude on an epic album. The ever evolving and shifting Finnish band has reawakened their treasured roots in folk music and psychedelic rock as they artfully weave acoustic interludes, cosmic synths, and spectral piano into the frost-spun threads on their black metal loom.


Nocturne sounds both familiar and fearlessly progressive as echoes of tradition entwine with a fresh reinvention of their characteristic sound. According to singer and songwriter Mat “Kvohst” McNerney, this work has been created to capture the essence of night, a sombre veil where nature is a path between worlds. It is furthermore revolving around spiritual growth, transcendence through darkness, and enlightenment.

RUSH – The Genius Of Drum Legend NEIL PEART And “Tom Sawyer

“Tom Sawyer” is a drummer’s dream, showcasing late Rush drummer Neil Peart’s unmatched skill and creativity. From the instantly recognizable intro hi-hat groove to the intricate 7/8 groove during the keyboard solo, and the explosive drum solo that follows, Peart’s performance on this track is a masterclass in drumming. It’s a perfect example of why he earned the nickname “The Professor”.

Featured as the opening track on Rush’s 1981 album, Moving Pictures, “Tom Sawyer” was the song that propelled the band into the mainstream. It marked a pivotal moment in their career, following the more radio-friendly direction they began with their previous album, Permanent Waves. The band’s ability to blend progressive rock with more accessible, radio-friendly hooks resonated with a global audience, and “Tom Sawyer” became one of their most enduring hits.

Join Drumeo’s Brandon Toews as he breaks down what makes Neil Peart’s drumming on “Tom Sawyer” so legendary, exploring the intricate grooves, complex drum fills, and the explosive drum solo that continues to inspire drummers worldwide—more than forty years later.

ALBUM REVIEW: The Return of Magik – Rwake

A return is exactly what we have on our hands here. It has been over a decade since the last release from six-piece RWAKE. The title, The Return Of Magik, is also apt, because the six tracks on offer with this new album are a slice of audio magic. Visceral and engrossing. Following a path of doom laced psychedelia. Fourteen years is a long time and many things have changed. Life experiences and real world reflections have been distilled into these new tracks. Already they have found a home in the live sets and are now set to provide an immersive suit for the next chapter of RWAKE.



This is an album of expansive highs and crushing lows. RWAKE are happy to combine powerful doom drenched distortion and carefully crafted moments of immersive grace. This is immediately apparent on opening track You Swore We’d Always Be Together. Opening with a delicate, acoustic framework. The passages swell and the band are happy to let loose a crushing onslaught at the perfect time. The overall effect of which is a track that ensnares right from the beginning. The guitar work is the pinnacle of the enchantment. Delivering as much heartfelt emotion through the melodies as it does unburdened aggression through the hammering riffs. There is no illusion that RWAKE have been idle for the last 14 years.



With Stardust Flowers stretches and flexes the extreme metal muscles. Guttural bellows cut through the mix while rhythm section roll an unstoppable rhythm. Once again, the guitars are commanding. Searing lead lines converge and the riffs chug through with engrossing groove. Like the opening track, RWAKE once again prove themselves the masters of composition. The dynamics shift to delivery overwhelming highs and emotion drenched lows that offer doom, post metal, prog and more extreme elements with a mastery. It’s a testament that they can combine so much within one track and make it a clear and unified sound. An absolute shining highpoint within an expertly crafted album.


For all of its majesty. There is a sense that all of the power is in the first half of the record. The opening salvos feature some of the finest prog adjacent doom metal that anyone could wish for. However, the penultimate track feels a little over the top. In After Reverse has all of the elements that have preceded it combined, and is a fine standalone track. However, after what has been a relatively breathless opening section it feels like a lot of the same and as such, unfortunately, a bit forgettable. With the closing track rounding everything out with a calm piano based construction. It’s a soothing balm to the powerful onslaught, and is perfect to close an album. However, it doesn’t have quite the same standalone presence of the other numbers.

For whatever short comings could be picked at, The Return of Magik is a heavyweight in every sense. The sextet has delivered an engaging and emotive bruiser and these tracks will leave a lasting impression on the fanbase and will certainly prove to be a wonderful starting off point for those new to the RWAKE style. The musicianship on offer is of the highest calibre and with the combination outright riff laced menace, progressive melody and tender grace it is a standout album for their return after ten years away.

Rating: 8/10



The Return Of Magik is out now via Relapse Records.

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