-
Musipedia Of Metal
Reviews: Exploring Birdsong, Mortiis, B*tthole Surfers, Duir (Matt Bladen, Cherie Curtis, Joe Guatieri & Adz Redpath)
Exploring Birdsong - Every House We Built (Long Branch Records) [Matt Bladen]
The debut from Exploring Birdsong has been long expected and anticipated, so long a brilliant live staple at shows and festivals, they have managed to find enough time to head to the studio to record their first full length record.
Every House We Built is a conceptual metaphor for the creating a relationship, exploring human connections through a particularly intensely emotional and diverse musical style that is cinematic and intimate all at the same time.
This thematic tether, means these songs are filled with refences to homes, foundations these things that build both places to dwell and relationships, poor quality of either leading to disaster, while the strongest last forever.
Throughout the album, these themes are tested and tried, sense is made, lives changed, hearts broken but somehow there's always a chance for renewal, a feeling feeling of what comes from the ground, goes back to the ground and can always be rebuilt no matter how hard.
Every House We Built opens with beautiful piano balladry of Archipelago that will stop you in your tracks, before we start properly with 42 where the likes of The Dirty Loops is the influence due to the funky slap bass, twinkling keys and lashings of groove.
While Romanticise brings the 80's synthwave vibes of The Midnight, pulsating drum beats, electronic atmosphere and piano before the huge industrial power comes crashing in during the middle eight, the Djent influence of a band that has featured at Radar festival amongst others still a huge part of their sound. This is despite Exploring Birdsong using it like so many artists as a way to make their poppier approach heavier.
With Every House We Built, the complexity of the are arrangements means that the loud metallic riffs are augmentations for other styles of music, here to get you grooving, or indicate catharsis and release. There's a glut of bands that I would call metal adjacent in that the influence is there and the music appears but it's in brief flashes behind something that's ultimately pop.
For instance Sleep Token have been doing this for a long time so it's no wonder that Exploring Birdsong's Lyndsay Ward is part of the live Sleep Token line up, and has taken some of these tricks over into Exploring Birdsong, using them to accompany her fantastic vocal prowess while the impressive instrumental side comes from Jonny Knight (bass/synth) and Matt Harrison (drums/percussion).
Mainstream pop acts are even incorporating these palm muted riffs into their work. However bands like Exploring Birdsong manage to get the mixture just right. Yes they're band driven by piano so with Spy In The House Of Love, where I can hear the Celtic influences of Steeleye Span and the electronic pop of Phil Collins or Mike & The Mechanics, but the heavier end comes on the darker edge of You Like It Best When It Hurts.
I_You is an empowering song about love, while Cartography is another dramatic piano ballad, both of these bring to mind one of my favourite performers Sara Bareilles, while The Warning gives me the ethereal, string driven chills of Kate Bush.
The innovative musical style of Exploring Birdsong means they can create a kaleidoscope of emotions with their music, though it's the title track that hits hardest as a "devastating portrayal of heartbreak and the sudden collapse of something once thought unshakeable" there's layers that build into a crescendo which serves as the collapsing endpoint, leading to Meadowlands where the cycle can start again.
The expectation for this record has been high, personally Exploring Birdsong floored me when I saw them at Radar festival so I've personally been waiting for this for a long time. Every House We Built is the story of every experience, every foundation, every brick that has been built emotionally so far by this brilliant Liverpool act.
This however is their debut and just the beginning, Exploring Birdsong are special, mark my words. 10/10
Mortiis – Ghosts Of Europa (Dark Dungeon Music) [Cherie Curtis]
I’m embarrassed to say that this album is the first I've ever heard of Mortiis and it’s real shame because I've been missing out all these years. I’ve found what I've been looking for and they’ve been under my nose this entire time and now I have a lot to catch up on.
Mortiis has been lurking in the shadows since the 90s and previous albums like The Smell Of Rain has done well so it’s safe to say they know how to put out a great album. Mortiis has an addictive sound, one we never get to hear unless you dig out a dusty gothic rock record from the attic, they melt together an amalgamation of electronic rock and dark wave creating what you may know as dungeon synth.
With their past successes tucked away in their back pockets, Ghosts Of Europa has 8 tracks of stunningly crafted groovy and yet hauntingly bitter and intense tracks to our scorching hot summer heatwave. This album is atmospheric and gloomy much more than their previous work by leaning heavily into their stylised and high fantasy image they’ve spawned in their earlier days.This album primarily contains long and textured intros with layers of synths and keyboards that builds steadily before launching into a powerful swell of Ellefsen’s signature tortured vocals; The Faith That Fades Away is a prime example with airy female vocals to knock it out of the park with some energetic bangers like Tundra, Heart Of Hell and which sounds like classic Mortiis for the long-time fans.
Ultimately, Ghosts Of Europa is a very strong album. Its deep and impactful and musically creative that shows a lot of thought went into it. You’re guaranteed to get goose bumps, and all that passion and energy is captured beautifully within an underrated genre that feels more like the score to a cinematic masterpiece, this album somehow makes music visual.It comes to no surprise after 32 years, Mortiis gives us a sharp and professional piece of work. The overall mix and layout is great especially in the build ups and as you work your way through, there’s a captivating increase of tension. There’s a track that will make you cry, a track to make you dance, and a track to make cry again all the while feeling like the hottest version of yourself.As a Mortiis newbie, I have added this album to my favourites as well as all the others – and there’s a good few out there. I can’t recommend these guys enough if you aren't already a fan. 10/10
Butthole Surfers - After The Astronaut (Sunset Blvd) [Joe Guatieri]
The Butthole Surfers are a legendary American rock band who formed in Austin, Texas, all the way back in 1981. They were known for constantly pushing the envelope and challenging audiences both in the studio and live as well, their experimentation lead to a boom of creativity within Punk and in art when it needed it the most.Records like Locust Abortion Technician and Hairway To Steven sound like no other, they constructed planets made out of people’s nightmares, developing a catalogue that is both genuinely deranged and terrifying. The most unexpected thing happened as in the 90s as songs of theirs like Pepper from Electriclarryland had chart success and were in constant rotation on MTV, how unfortunate for the general public.
Gibby Haynes and Jeff Pinkus previously had a House project called The Jackofficers where they were indulging in new creative pastures in hopes of progressing their production and experimentation. After that brief fling of an endeavour, the Butthole Surfers were now finding themselves as a crossroads, they were looking at these trends and the rise of outsider music, Industrial, Hip Hop and Nu metal and seeing if they could grow big wings from that sphere and attempt to try and fly high to gain admiration again.
Continuing on from that, today I’ll be having a look at an album of theirs that was never released until now, originally scheduled for 1998, After The Astronaut sees the Butthole Surfers playing catch up with their contemporaries and bands that were inspired by them like Ween, The Flaming Lips and Nine Inch Nails. They were flying the freak flag high and going even further than what the Butthole Surfers ever did, amplifying weirdness to an extreme volume which is hard to describe.To provide some context, After the Astronaut was originally going to come out after Electriclarryland but due to a strained relationship with Capitol Records and splitting off from their manager Tom Bunch, the LP was shelved. The songs were later repurposed for Weird Revolution which came out a few years later. Now with After The Astronaut seeing the light of day, what will I say?
The record opens with Weird Revolution, a four minute song where Gibby Haynes leads a political rally with a big Martin Luther King Jr.-esque speech about the weirdo’s of the world wanting complete separation from normality and freedom of self. The instrumentation is represented by an electronic Hip Hop beat which is the basis for most of the album, its paired Paul Leary’s classic guitar stabs which put impact upon the statement being made, it's anything but easy listening, it makes me want to get off my seat and take charge of my life.
The following track Intelligent Guy (Astronaut Version) presents a more Boom bap flavour style of Hip Hop which is very much in the vein of the band's unexpected hit in Pepper. The guitar follows this click clack approach in a thick and fuzzy style, trying to give this song more of a soul. I can see what Intelligent Guy (Astronaut Version) is trying to do, it’s going for a more hypnotic feel, something for the listener to get lost in but unfortunately, with Gibby’s Run-D.M.C style rhymes, it doesn’t make it all the way there.
Moving on we get track four with Mexico where a Pungi Flute becomes the star of the show. It makes for a beautiful melody in which the listener can finally tune in too. Gibby’s lyrics take the form of religious experiences, feeling like they were being dropped in a subconscious state, completely spontaneously. The instrumental sweeps me off my feet and just makes me want to dance like a cobra answering a snake charmer.
Getting deeper into the track listing we get track seven with The Last Astronaut. Maybe the most unique song on this album, it’s glitchier than anything else here and feels both makeshift and broken at once as a result. There are heavenly pianos which stretch across the background like a comforting hug, finding a place of solace.Those are at odds in battle to the death against buzzing synthesizers and noise throughout the duration of the piece. It all puts the song on red-alert, it has its guard up and is ready to evacuate spectators when problems escalate. It’s a tightrope of emotions between joy and anger. Much like the narrator at the end of the song, I’m only left with questions, “Control, are you there?”, “Is there anyone left?”, “It killed all of them”. Your sleep paralysis demon has come to life.
Later on we get track ten with They Came In. Out of everything shown on After The Astronaut, this is definitely the most complete song here. Every element at play from King Coffey’s live busy drums, synths of all shapes and sizes that add colour to the mix and the groovy forever moving guitar, it’s not only got a pulse but it’s own style too. There are beat changes also which keeps the listener guessing from spacey psychedelics to the all out assault of guitar fuckery. They Came In is without a doubt my favourite song on After The Astronaut!
Overall, the Butthole Surfers have seen a gap in the market that they didn’t need to feel. Some of the songs presented here feel so demo quality and primitive, like a ready-made template for Hip Hop beats but they all have that special Butthole Surfers sauce which makes them stick out like a sore thumb.At its best After The Astronaut provides jams for people to get lost in and at worst the record is an afterthought. No matter what the Butthole Surfers do, they can’t avoid being themselves which has always been their best quality. They’ve never sold out! 7/10Duir - Catarsi (AOP Records) [Adz Redpath]
Duir seem like a driven and focused group having toured extensively since their formation in 2013 they have shared stages with names like Darkend, Garea & Elvenking amongst many others they have evolved their image from the more classic black metal style to a more modern masked style in keeping with the likes of Batushka and aforementioned Gaerea which might not set them apart but certainly looks badass in the promo shots if seen. This is their second full length release after 2022's T.S.N.R.I - Impermanenza and a new chapter for the band it would seem.
At over 45 minutes for 6 songs this is quite the opus, clearly recorded in a studio with zero programming and with a feel and production harking back to true early Scandinavian black metal in the most positive way this release has a refreshingly live and real feel to it.Well layered vocally and with clear musical expression throughout incorporating eclectic traditional instrumentation ( Flute, bagpipes, hurdy gurdy ) in a way that adds and doesn't distract from the music and compliments and thankfully doesn't have any "cheesy" aspects at all. This may not be the most progressive black metal or musically adventurous having clear styling and feel that is consistent throughout, this has the vibes any true fan of the genre would gravitate towards all day long With solid playing and vocals from start to finish.
My main critiques would be that the songs really are a touch too long, they have several repetitive riff ideas although despite this It does feel that it is represented more as a theme throughout the release similar to early Emperor or Immortal just not to such a captivating standard as the aforementioned.The tracks Impeto and Oltre l'Alba are particular standouts with a great feel that truly takes you down that old school nostalgic black metal road where I almost wish I was listening to this on a cassette back in my teens in the best possible way. I would personally recommend these guys massively and would love to catch them live at some point and recommend you do also. 7/10
Reviews: Voivod, Druidess, Tidal Wave, Mascot Moth (Rich Piva & Matt Bladen)
Voivod - Symphonique (Centruy Media Records) [Rich Piva]
It seems these days a lot of people, who may not have known before, know now how awesome Voivod is. The entire back catalog is anywhere from very good to God tier, and their influence is blabbered about by countless musicians.Even their latest studio releases are essential listening. I am not sure if anyone saw this release coming from the Montreal legends. Not because it is a new live record, but because Symphonique is a live record of all the Voivod classics with the. Quebec Symphony Orchestra.Now, metal bands doing live records with orchestras is old news, but what makes Symphonique unique to this particular form of live records is how complex Voivod compositions are and how hard it seems the band had to make the orchestra work to keep up. This is no string section playing along to Enter Sandman, this is some serious virtuoso stuff.
I mean just listen to the perfect opener for this record, Experiment (indeed). Everyone is playing crazy shit with insane changes and nothing straightforward. Oh, and it’s killer. You get the chug of a track like Holographic Thinking while the orchestra builds behind it.There is so much to love on here, but my favourites are the huge Forgotten In Space, which sounds like a deranged 50s sci fi movie soundtrack, Nuclear War, from their classic first record, and, of course, their take on the Pink Floyd classic, Astronomy Domine, which is even more mind blowing with an orchestra. The recording sounds amazing and the band(s) are super tight.
Voivod fans will love this, because we are nerds and Voivod rules. This is no gimmick and no re-tread. The Voivod classics come alive (again) on Symphonique, breathing new life into songs we have been loving for decades as fans of one of the best and underrated bands out there still today. 9/10
Druidess - Trip Meadow (Self Released) [Matt Bladen]
Once More we plunge into the world of psychedelic stoner doom with Newcastle based Druidess present their debut album, Trip Meadow, having shared stages with some of the riff world's best and brightest.
The band follow up their 2024 EP Hermits And Mandrakes with a a record that pulls more sonic inspiration than just Iommi worship, though of course you can hear Tony all over this record in Daniel Downing's guitar playing, his tone is sharp and fuzzy (Descended From Giants), rarely going fully clean, though he switches to sax to bring a slight jazz flair on Witches Sabbath, it's the riffs though that matters most.
With Trip Meadow they taking more mind altering route through 60's psychedelia (Mandragora) as James Hill's keys/organs as muscular as the thunderous riffs on the Green Lung-like Title Track which shifts from heavyweight classics rock thunder to bass/drum driven grooves.
Sam Armstrong's drums are huge, setting the steady doom pace on the title track while on Knightingales there's a drive to them. Shonagh Brown meanwhile gives us the head nodding bass rhythms and reverbed, otherworldly vocals, drawn from the astral plane.
Druidess fit comfortably into the modern occult doom crowd, guitars and organs bleeding together, lyrics drawn from Albion's history/mythology all wrapped in retro trappings. Trip Meadow defines Druidess' journey so far. 8/10
Tidal Wave - Volume Tree (Ripple Music) [Rich Piva]
Tidal Wave started like a good morning, with Blueberry Muffin, their debut record that blew people away. It was a hard act to follow but The Lord Knows they were able to with The Lord Knows.Now, Ripple Music brings us their latest record, the cleverly named Volume Tree. It took me a second, but their take on doomy stoner rock once again has these guys from Sundsvall, Sweden stand out amongst the throngs of bands doing this today both with their excellent playing and witty lyrical stylings.
The Orb kicks it off, a doomy number with the great vocals we have come to love from Tidal Wave. You even get a nice death growl. The album is recorded expertly, really capturing the band’s sound, and a special shout to 'Raz' Sundberg who kills it on the drums throughout Volume Tree. I love the groove on the next one, Hangman, that is until it gets a bit trippy to make the riff even more filthy when it returns as he is swinging his axe so hard. I love the different tempos on this one.Earth is some serious Sabbath worship done Tidal Wave style, and it works so very well. Temple Of Humanity is an interesting one. It almost reminds me of one of those slowed down early 80s metal tracks, and it works very well within the confines of the record. Good stuff. The dual guitar adds to that 80s metal vibe.Sideburns is where the sense of humour comes out, but it comes with a killer riff and excellent vocals (as usual with these guys). Shapeshifter has this rawness to it and kicks ass while Manuscript: 512 is the stoner rock banger everyone expects from Tidal Wave. Skitliv closes the record out in an interesting and chill way, with more 80s vibes from which I hear Scorpions all over it. Oh, and that solo.
Volume Tree is another great record from Tidal Wave. Don’t compare the previous works from the band because they are all great, just let Volume Tree live on its own and enjoy it for all that it is; a very cool imagination of the genres of heavy music these guys love. 8/10Mascot Moth - MOTHerSHIP (Self Released) [Matt Bladen]
Since 2015 Mascot Moth have been the premier prog, jazz. rock combo from Cymru (that's Wales for you non Welsh), they cross musical boundaries several times on all of their records.
Journeying into the outer reaches of space with psychedelic wandering of Hawkwond, the depths of the earth with blues, through smoke filled clubs with sax driven jazz of Krautrock and into the gardens and rolling hills of their homeland with pastoral folkisms drawn from the Canterbury scene.
Their new album MOTHerSHIP is another hour of sonic exploration that sees this experimental crew of Sioned Camlin (drums/vocals), Rob Harrison (flute/saxophone), Eric Heath (synths), Jack Hunter (bass/keys/vocals), David Thomas (guitar/trumpet/vocals) and Gavin Williamson-King (synths) combining their powers.Ellis The Horn comes from Captain Beefheart jazz, while (I Think I'm) Grooving It goes into some funk shaking, Whatever It Was combines Frank Zappa with Can and with just three songs you can hear the sort of band Mascot Moth are, paying homage to a particular era when prog was daring and leaned into other genres.The dreamy Lullaby In Giliminour the first prog rock masterclass on the record with sweeping guitars against flutes, You're On Your Phone meanwhile puts funk with Styx synth/vocoder, it's an alchemic mix of styles that keep things quirky but catchy. Fans of Krautrock, Psych and Canterbury prog will love this record, the MOTHerSHIP has landed and if this is your first contact be not afraid. 8/10
Reviews: Elder, Prince Of Failure, Alunah/Samavayo, Leoni Jane Kennedy (Rich Piva & Matt Bladen)
Elder - Through Zero (Stickman Records) [Rich Piva]
I have heard whispers from long time fans that Elder, one of the biggest bands who have broken through out of the heavy underground, have gone too soft. They are too prog, they are more Yes than anything else at this point.I also saw that Elder’s new record, Through Zero, finished at number one on the May Doom Charts, and it wasn’t even close, even with All Them Witches putting out a record the same day. Is Elder more proggy now? Absolutely. Are they a better band musically now? Yup. Is Through Zero amazing and some of the best stuff they have ever done? A resounding yes indeed.
Sigil To Ruin, the opener, simply rules. How clean the recording can sound without being overproduced is pretty amazing. The guys rip it up on this one too, as we get some seriously killer guitar work to go along with the atmospheric prog. The synths on Capture/Release add to the complexities of the proggy/Krautrock composition that, when it kicks in, is a beautiful piece of art, with Nick DiSalvo’s vocals never sounding better and the guitar work from him and Michael Risberg at another level, even for Elder.The changes are so great as these guys are just locked in. The title track has a nice chunky riff no one will say is too soft and the build on this one is just epic. If people want to say there is too much Yes going on listening to Through Zero they may call out Strata. This one is eleven minutes of proggy atmospheric goodness, with layered vocals, cool changes, and a ton of complexity. I wonder if the same people who say Elder is too proggy love King Buffalo? To be clear, I love King Buffalo, but I digress.Sight Unseen goes towards Krautrock again in parts, but there is always this underlying heavy in these songs, no matter if the naysayers want to hear it or not. Just listen at about 5:30 and you will see what I mean. Closing with the most chill song on the record, Blighted Age, is a nice comedown from all of the complexity on the record, and doubles down on the beautiful atmosphere Through Zero brings.
I am probably (absolutely) overstating the new Elder naysayers, but I think they come across louder because there really has been no pushback before on their material. Rest assured people, Through Zero has everything you want from Elder, and more. Yeah, it is not recorded in a garage or shed, and yes more time and money can now go into the recordings, but the songs are still top notch and the band continues to grow as musicians and songwriters.This is top top top shelf stuff that should not be ignored because they are bigger now. Elder still rules and this record is truly something to behold. 9/10
Prince Of Failure - Prince Of Failure (Kscope) [Matt Bladen]
Daniel Tompkins is one of the premiere voices in the metal world, his work with Tesseract has made them one of the best modern metal bands to come out of the UK in years, moving away from their initial Djent groupings into something more well rounded and brilliant than us lowly journalists could have predicted in the beginning.
Away from that though he's and in demand guest vocalist and has his own solo project where he can show a side that's not always heard in Tesseract. Both of his solo albums Castles and Ruins were just as inventive as his day job but added soundscapes that you may not have heard, one was also a reinterpretation of the other so clearly Daniel has a mind that is ever creating.
From that mind comes Prince Of Failure a project that deals with "neurodivergence, masking, and the psychological weight of living out of alignment with expectation" created over a long period of time alongside Paul Ortiz aka Chimp Spanner another originator of that Djent sound that is now so ubiquitous in both metal and modern pop too.
Rather than being a solo project or having it compared to either man's musical legacy, Prince Of Failure is it's own creation, a true collaboration that has grown into something familiar but different. The blending of oscillating electronics, intense guitar workouts and floating ambience with the intimately emotive vocals highlights the skillset of both men but never takes this album off into needless virtuosity.
It's an album that is song focussed and projects it narrative theme through the dynamic music this duo create as Ortiz's instrumental brilliance drives a darker edged sound than falls back to those djent early days but retains all the modernity of where it is now with track such as the menacing Phantom where Daniel's vocals are at their rawest and most melodic too, the deeply personal lyrics about living in shame of who you really are and masking that for the everyday really resonating.
It's told with a narrative arc, from the initial self pity though to self acceptance, built within a world of progressive, atmospheric and expertly crafted instrumentals by Ortiz that accentuate the vocal brilliance of Tompkins, joined by Krystyn Hope of Daedric. Fans of Tesseract, Chimp Spanner will obviously love this but it's also hinged on the style of Karnivool or any band that is signed to Kscope.
No sign of failure here Ortiz and Tompkins are a winning combination. 9/10
Alunah/Samavayo - Embers Of Belief (Heavy Psych Sounds) [Rich Piva]
I love a good split album. Labels like Ripple Music and Heavy Psych Sounds have really perfected this form of release. The latter are up now with their latest split from two killer bands: UK’s Alunah and Germany’s Samavayo. These two bands have released some killer stuff before, and this does not stop on this split album, titled Embers of Belief.
Starting with four tracks from Alunah, who are now featuring a new lead vocalist, Daisy Savage, who brings a more Pat Benatar poppy feel to the big riffs and proto sounds of the band. When I say “poppy” this is a complement; Savage’s voice fits perfectly with the sound of the band, with case in point being the opener, On Blacklow Hill, which comes along with a killer riff too.La Pucelle has some killer guitar work and shows a bit of Savage's range as a vocalist. The other two Alunah tracks are live and feature Savage’s debut as the new singer, taking on two previously recorded tracks, Hazy Jane (from 2024’s Fever Dream) and a melody from their 2019 record, Violent Hour. Both sound excellent and show how Savage will be a welcomed addition to the band.
Samavayo brings their heavy stoner psych stylings to three tracks. First, the crunchy BAVAR, which has interesting origins to the point that is worth checking out the description of it on their Bandcamp page, but all you need to know here is that it is very, very cool. Mottainai is an aggressive number that shows the band’s heavier side and rips it up. California Sky is an interesting one. A ten minute acoustic psych number inspired by their US tour and trip to the desert. Very cool stuff.
Another cool split from Heavy Psych Sounds. It was a great move by Alunah to get some tracks out there with their new singer to show how perfectly she fits in the band, while Samavayo do their thing like they seem to always do. Good stuff from two great bands. 7/10
Leoni Jane Kennedy - Synthetic (Self Released) [Matt Bladen]
There aren't many artists who can tour with both neo-prog outfit Solstice and veteran blues man Walter Trout, but Leoni Jane Kennedy is just that sort of artist. The PRS Guitars sponsored artist, multi award winner and recipient of the Freddie Mercury Scholarship which financed her university tuition.
She's previously released acoustic versions for Rush classics on New World Woman but returns with an album of her own material that was financed by her fans through Kickstarter in just 6 days. A few of these songs have been with Kennedy for many years but they are all presented here for the first time to an audience that are now well aware of Kennedy's style of inventive, progressive rock.
Leoni takes vocals, guitars on the record, co-producing with Eliot Kennedy who mixes, masters and Nick Andrew who assisted in production and engineering while also playing synths and Midi Guitar. It's a record that sounds lush and vast, which lets Leoni express her inventive sound fully, moving away from the covers many will associate her with and into a world created by her own compositions.
Will Plunkett plays bass, James Jackman plays drums, the driving, expressive rhythms to Kennedy's fluid playing and soulful vocals ala Susan Tedeschi. From the orchestral title track, through the jazzy Closer, there's musical dexterity to this release with the dreamy Sloe reminding me of Jeff Buckley while Test The Water and Different Kind Of Woman brings a bit of bluesing.
Synthetic is an excellent record from Leoni Jane Kennedy, blues, prog and more there's lots here to love. 8/10
A View From Blackweir: The Cure (Matt Bladen)
The Cure, The Twilight Sad & The Joy Formidable, Blackweir Live, Cardiff 24.06.26
Remember folks: "Goths Die In Hot Fields" and it didn't get much hotter than today, the warmest June day on record saw 35,000 decamp to Blackweir Fields, Cardiff newest outdoor event space, to take in the indie/goth/rock pioneers, and Olivia Rodrigo's favourite band.
Before all that though we made our way across the vast field filling up our water bottles and looking for the promised additional shade, which didn't appear, we settled into place for Flintshire alt rockers The Joy Formidable (8).
They began the evening loudly with some jangling post rock guitars, alt rock grooves and dual vocals from guitarist Rhiannon "Ritzy" Bryan and bassist Rhydian Dafydd, accompanied by their current drummer and another member who shifted between keys and singing saw, they're a big sounding band, despite basically being a duo, at a crossroads where post meet alt rock.
With the final "Diolch" they left the stage to applause from the early arrivers as the files began to fill for the headliners. This meant that The Twilight Sad (7) had a bigger crowd and while their style is a bit more theatrical, their music did sort of blend into one grungy post punk noise at times.
The issue is differentiation, the music is suposiyto be the focus here, each track adding to the stage performance, the licks and melodies of guitarist Andy MacFarlane, flowing through the body of vocalist James Graham who releases them into the world through his voice. I get it, but I did find little variation in what they do, still, it set the right moody atmosphere for what was to come.
Now the field felt like 35,000, all here to worship his gothness Robert Smith and as the chimes began the lights came down and Robert along with his band of misery makers took to the stage in Cardiff to a heroes welcome. Smith took his bows, stepped up the microphone and the magic began with Plainsong, Cardiff bewitched by The Cure (10) and the usual mammoth set list.
Much like New Jersey's favourite son Bruce Springsteen, The Cure setlists are fluid beasts, often hooked around a few "key songs" and then drawing songs from across the various albums and styles The Cure have adopted over the years. Be that electronic industrial bruising, driving post punk, moody goth shoegazing or shimmering new wave pop.
There's even time for, as my colleague put it, "Mr Smith's House Of Funk" all bass and choppy guitars but mostly this was The Cure in goth opulence as six from this set of twenty eight(!) songs came from 1989's Disintegration, with four from Head On The Door and the rest from another seven of their fourteen albums, even busting out Burn (very apt for the day) from their rarities collection and Wrong Number from their 1997 single release, as well as Hot! Hot! Hot! which too was apt for the day.
Ultimately though, amongst the sold out crowd those that were down the front would have been hanging on every single song but for the rest it's Pictures Of You, Just Like Heaven, A Forest, Disintegration , Friday I'm In Love, Lovecats and Boys Don't Cry that illicit the biggest cheers.
With these in their arsenal and the shifting setlist, it's easy to see why so many people would put The Cure as their favourite band and it's a testament to the enduring legacy, as they managed to indoctrinate this hardened metalhead into the cult of Robert Smith.
A View From The Back Of The Room: Drowning Pool/Spineshank (Alex Tobias)
Drowning Pool/Spineshank & Silly Goose, Tramshed, Cardiff 16.06.26There are gigs that ease you into the evening, and then there are gigs that kick the doors off their hinges before you've even finished your first drink. The June 16 stop of Drowning Pool and Spineshank's UK run at the legendary TramShed belonged firmly in the latter, delivering a sweaty, bruising celebration of nu-metal's legacy. With Atlanta chaos merchants Silly Goose opening proceedings, Cardiff was treated to a three-band bill that never once let the energy dip.
If anyone in the room arrived unfamiliar with Silly Goose (7), they certainly weren't by the end of their set. The Atlanta outfit stormed the stage with the kind of swagger and reckless enthusiasm that feels increasingly rare. Blending rap-rock attitude, hardcore aggression and a non stop energy boost that lasted the entire time they were on stage. They turned the packed venue into a bouncing mass of limbs within minutes.
Their performance felt less like an opening set and more like a challenge issued directly to the audience: keep up if you can. Frontman antics, relentless grooves and a wall of low-end punishment immediately established the tone for the evening. As support acts go, this was a masterclass in how to win over a room.
Spineshank (8) have always occupied a unique place in my music collection and brain ever since I heard the bands first album, sitting somewhere between industrial precision and nu-metal groove. On stage in Cardiff, they sounded anything but nostalgic.
From the opening moments, the Californian veterans were razor sharp. We start with four songs from The Height Of Callousness album, Asthmatic, Synthetic, (Can't Be) Fixed and Cyanide 2600 which everyone in the building sings at the top of their lungs before the band switch to material from their other albums to mix it up.Vocalist Johnny Santos states that he and the band are so humble to have had been given the amazing welcome the band have from Wales all day before praising new friends Silly Goose and oldest brothers in the game, Drowning Pool. The mechanical riffs hit with machine-like accuracy while the electronic textures that helped define their sound add a layer of menace many modern bands still struggle to replicate. More importantly, the songs have aged remarkably well.
The crowd response suggested many had waited a long time to see these tracks performed live again. Circle pits erupted throughout the set, while every recognisable chorus was met with a roar from all here tonight. The band round off the set with Dead To Me from the bands 2003 album Self-Destructive Pattern which sent everyone into even more of a frenzy of pits and joy. Rather than feeling like a reunion cash-in, Spineshank looked and sounded like a band with unfinished business.
Drowning Pool (8) took the stage and this Tramshed crowd was primed for absolute carnage.
The Texas metal veterans have spent years proving that they're far more than a one-song band, but let's be honest: everyone knew what was coming eventually. The band get going with classic after classic in the shape of Sinner, from the bands first album then switching up through the bands very impressive back catalogue with Feel Like I Do and no stops straight into the classic Step Up from 2004s album Desensitized. This is a set packed with groove, aggression and crowd participation.
Jasen Moreno remains a formidable frontman, effortlessly commanding the room while balancing the band's heavier moments with an infectious sense of fun. The rhythm section hit like a wrecking ball, while CJ Pierce's riffs still possess the simple, devastating effectiveness that made Drowning Pool such a force in the first place.
We then come to the awesome cover of Rebel Yell which sends everyone here crazy with surfs and pitting with singing almost louder than the noise coming from the stage. When Bodies finally arrived, the reaction bordered on predictable chaos. Hundreds of voices united, the floor became a sea of movement and for a few glorious minutes Cardiff collectively lost its mind. It was exactly the moment everyone wanted and the band delivered it flawlessly.
This wasn't a nostalgia trip. It was a reminder that heavy music built on riffs, hooks and genuine crowd connection still works exactly as intended.
Silly Goose brought the unpredictability. Spineshank delivered precision and intensity. Drowning Pool provided the anthems and the payoff.
Three bands, three very different approaches to heavy music, and one of the most relentlessly entertaining metal shows Cardiff has hosted this year so far.
-
Outlaws Of The Sun
Manchester Morgue - III (EP Reviews)
Release Date: July 03rd 2026. Record Label: Self Released. Formats: DD
III - Tracklisting
1.The Sorcerer 04:58
2.Farewell To Gleann An Ghad 02:50
3.Betrayers! 05:43
Review
III is the debut EP from Manchester Morgue who fuse Doom, Psych, Folk, Sludge and Stoner Rock into their wider cinematic universe of riff-driven melodies. Their debut EP is a concept record of sorts which is explained by the band below:
“III tells three stories, each dedicated to one of the protagonists of our narrative concept: a necromancer brought back to life, an Irish emigrant fleeing his past, and a fallen nobleman consumed by betrayal.”
III does have a multimedia narrative for the most part but this allows Manchester Morgue to be quite creative with their music with the hidden storylines appearing within the individual tracks. The band have also stated their influence is driven by their passion for 19th-century gothic, adventure and horror literature, B-movies, and pulp imagery.
The EP also has a slight video-game influence as well which allows different sounds and textures to appear with Manchester Morgue playing songs that could easily be inspired by the Red Dead Redemption universe but still creating their own haunting identity. The record is a vibrant mix that’s played on each track with some superb Post-Doom and Gothic sound being played on the excellent opening track The Sorcerer.
Second track Farewell To Gleann An Ghad is a Folk Rock driven number which is more melancholic and dramatic to the other tracks on the album. It’s perhaps my least favourite song on the EP but it shows a different side to Manchester Morgue compared to the hard-rocking sounds of the other tracks. The song is dominated by a historical Irish background which is quite surprising since the band are actually Italian but they pull this off with superb realism.
Third track Betrayers! is a great style of Doom, Stoner and Psych Rock driven track with Manchester Morgue applying a trippy Eastern vibe into the mix. This feels like a completely different band compared to the other tracks with Manchester Morgue delivering the standout track on the EP. The song feels inspired by the likes of Black Sabbath, Uncle Acid, Led Zepp and Green Lung where the song moves into heavier distorted sludgier grooves.
III is a solid and superbly entertaining record. I’m still not fully sold on the second track but that will change over time. However, Manchester Morgue has real potential here and you can feel they have the talent to deliver something really special in the near future. Until then, embrace the dark and twisted fantastical vision that Manchester Morgue has delivered with “III”.
Words by Steve Howe
Links
Psych/Fuzz/Desert/Stoner Rockers ULTRACOMBO Return With Epic New Song/Video For OUT OF MY MIND
Psych/Fuzz/Desert/Stoner Rockers ULTRACOMBO release their first new song in over four years with OUT OF MY MIND. A song that has a mind-expanding Desert Rock energy with a sublime Grunge, Psych and Fuzz Rock delivery. However, what really seals the deal and stands out is ULTRACOMBO's epic use of Electronic beats and sweet Alt-Rock hooks. The sound can be dominated by a classic Nineties Alt Rock swagger which you can instantly feel and hear throughout the song.Check out the excellent song and video below. I'm hoping there's an EP or full length album being released soon as this song has really got me hooked!!!ULTRACOMBO are:Alessio - Voice / SynthAlberto - GuitarGiordano - GuitarGiordano - BassFlavio - DrumsLinks
Gutward - I (Album Review)
Release Date: June 06th 2026. Record Label: Self Released. Formats: DD
I - Tracklisting
1.Reign of the Wicked 04:28
2.What's with the Rush? 04:58
3.Dead Eyes 03:48
4.Mass Delusion 05:07
5.Rot Alone 05:03
6.The Messages 11:58
Members
Dafiq Achmad - Bass, Vocals
Paskahline Putra - Drums
Nabiel Habibie - Vocals, Guitar
Review
Indonesian Doom/Stoner Metallers Gutward debut album is a great mix of Doom, Stoner Metal, Psych and Space Rock that’s filled with fractured Amplified textures that brings a groovy sound influenced by the likes of Electric Wizard, Black Sabbath, Slomatics and Monolord. The record has a stripped back sound within the recording process and production values that allows Gutward to play a distorted Cosmic sound. Gutward has that dominant Power Trio energy which allows each member to play their part in demonstrating a down tuned melodic energy that’s packed with violent delivery coming from the speakers.
The album runs for around thirty six minutes across six tracks with Gutward showcasing a delicious LOW & SLOW theme throughout the whole record with great vocals coming from Nabiel Habibie and Dafiq Achmad providing excellent support. Though, it’s the music that’s the real “STAR” or “MAIN ATTRACTION” here with Gutward adding a sludgy sideline of Psychedelic Fuzz Rock sound that has a hidden Atmospheric depth that can be quite destructive the best of times on tracks such as Reign Of The Wicked, What’s With The Rush, Dead Eyes and The Messages.
There is some great riff-centric build up here with Gutward edging more closely to the likes of Black Sabbath and Monster Magnet on the heaviest parts of the record. The level of SONIC interplay contained on this record has a classic Nineties Grunge and Stoner Metal energy which is brought bang up-to-date with thrilling modern day psychedelic soundscapes but with Gutward keeping with that classic down-tuned delivery that can be quite long drawn out at times.
Though, most of the grooviest and impressive instrumental beats come from when Gutward rely firmly on Seventies Hard Rock musical worship which shows prominently on the later stages of the record. There’s a hidden backline of Proto-Metal and Classic Doom appearing which is perhaps used as an afterthought at times but this gives the album an unpredictable energy which Gutward use to their full advantage.
Gutward have delivered a debut album that shows how they’re a band with real potential to last the course and gain a cult following within the scene. If you like your Doom/Stoner Metal music with the classic LOW & SLOW approach the “I” is a record you need to play on the BIGGEST, LOUDEST and most AGGRESSIVE speakers you can lay your hands on and just let yourselves FLY!!!
Excellent and Highly Recommended.
Words by Steve Howe
Links
Sweden’s KONGH Return with New Album "Dissolved in Time" and First Single "Staining the Ether"!
After nearly a decade of silence, Swedish sludge/doom metal heavyweights KONGH return with "Staining the Ether", the first single and lyric video taken from their long-awaited fourth full-length album, "Dissolved in Time", due for release on September 25 via Trust No One Recordings.Photo by Malin Helenius
Between 2007 and 2013, KONGH released three critically acclaimed albums that established the band as one of Sweden’s most distinctive voices in heavy music. Extensive touring alongside acts such as Meshuggah and YOB earned the band a devoted international following before entering an extended hiatus.
Now, KONGH re-emerge with a record that does not seek to recreate the past, but rather continues and sharpens it. Written from ideas accumulated over the last decade and developed during six months of intensive work, "Dissolved in Time" expands upon the band’s trademark blend of crushing heaviness, vast atmosphere and hypnotic repetition, while incorporating electronics, layered textures and some of the most ambitious compositions in the band’s history.
The album was written and recorded under the direction of founding member David Johansson, who performed guitars, bass, electronics, and lead vocals, while also handling the mixing process. Drawing on years of experience gained both within Kongh and through his time as a touring guitarist for Cult of Luna between 2013 and 2019, Johansson shaped a record that is both deeply personal and structurally expansive.
The first glimpse into this new era comes with "Staining the Ether", presented here as a specially edited ten-minute single version, while the full album version unfolds across nineteen minutes. The track moves through overwhelming weight, expansive sonic space, and moments of fragile and eerie restraint, offering a condensed entry point into the broader world of the album.
Watch the lyric video here:Speaking about the song, David Johansson comments:
"During the years when the band was on hiatus, with no plans in sight of bringing it back, this song slowly and silently developed in the back of my mind. It began with that eerie opening riff and gradually expanded into what it is today. I think it’s a very complex yet organic composition. Not the kind of song I would sit down and write over a weekend. It evolved over several years and through different phases of my life. It’s a 20-minute journey through heaviness, complexity, and existential themes. In my opinion, it is the ultimate Kongh song."
Tracklist:01. Staining the Ether (18:51 min)
02. Guided to The End (07:02 min)
03. Dissolved in Time (13:21 min)
Furthermore, "Dissolved in Time" features contributions from several key figures in the Scandinavian heavy music scene, including three of Johansson’s former bandmates from Cult of Luna. Christian Augustin performed drums and engineered the vocal sessions, while Kristian Karlsson engineered and mixed the drum recordings. The album was mastered by Magnus Lindberg, who also worked on KONGH’s 2013 release, reinforcing a sense of continuity in sound and vision. Additional backing vocals are provided by Jörgen Sandström, known for his work with Grave, Entombed, and many other seminal acts.
David Johansson on the new album: "After 'Sole Creation', it felt as though Kongh had fulfilled the artistic vision that inspired its creation in the first place. There was no reason to continue simply because another album was expected. Music needs to come from a genuine creative necessity. For many years, Kongh remained dormant while life moved in other directions. Eventually, new ideas began to emerge, and over time they became too strong to ignore. During those years, I also immersed myself in audio engineering and music production, which ultimately allowed me to take on the role of the album’s main producer. That became a way of bringing the music even closer to the vision that has always defined Kongh. This album exists not because of nostalgia, but because there was once again something that needed to be expressed."
Tim Bertilsson of Trust No One Recordings comments: "Having worked together almost two decades ago, releasing the band’s debut album 'Counting Heartbeats' and the follow up, 'Shadows of The Shapeless', I’m stoked to welcome David and Kongh back to the label. Kongh has always been in a league of their own and 'Dissolved in Time' is a further proof of that."
Rather than functioning as a reunion in the nostalgic sense, KONGH’s fourth album stands as a continuation - a record shaped by absence, persistence, and renewal. It reconnects with the foundations of the band while presenting its most focused and fully realized expression to date.
"Dissolved in Time" will be released September 25 via Trust No One Recordings on CD, LP + digital formats and is now available for pre-order here: PHYSICAL | DIGITAL
Line-up:David Johansson - guitar, vocals, bass, electronics
Christian Augustin - drums
Jörgen Sandström - backing vocals
For more info visit:
https://www.facebook.com/KonghDoom
https://www.instagram.com/kongh_official
https://www.kongh.net
https://www.facebook.com/tnorec/
https://www.tnor.se/
Thanks to All Noir PR for the details.
Wailin Storms - The Arsonist (Album Review)
Release Date: July 10th 2026. Record Label: Season Of Mist. Formats: CD/DD/Vinyl
The Arsonist - Tracklisting
1. Dead End (4:48)
2. Heart of Mine (5:13)
3. You Never Answered (4:53)
4. The Arsonist (4:52)
5. Never Rest (4:59)
6. Saved (4:24)
7. Patient Night (3:22)
8. The Wind (6:01)
9. It's All Dark Now Where Your Eyes Used to Be (6:30)
Members
Justin Storms - Lead vocals, rhythm guitar
Ben Melton - Lead guitar, backup vocals, Rhodes organ, piano
Steve Stanczyk - Bass
Mark Oates - Drums
Review
Wailin Storms return with their fifth album The Arsonist that once again features their potent mix of Doom, Gothic, Southern Rock, Alt Rock and Americana that’s doused in a heavy dose of Blues Rock that’s held together by a Swamp Rock narrative. There’s always been an air of mystery behind Wailin Storms records which taps into the darkest corners of the Doom Rock and Southern Rock scenes. Lead vocalist / rhythm guitarist Justin Storms is the main creative force here with his grounded and gothic lyrics being one of the main highlights of the record.
There are shades of Nick Cave, Jeff Buckley, Black Sabbath, Alice In Chains and even DANZIG which shows the broad musical landscape the band have projected within their impressive discography. The Arsonist is quite subdued and is alarmingly heavy when the need arises but it’s a different kind of HEAVY ROCK with a stripped back style being semi-acoustic in places which develops very early on tracks such as Dead End, Heart Of Mine and You Never Answered. These songs are cautiously slow and bleakly pessimistic at the best times but the thundering melodies and post-doom surroundings allows Wailin Storms to portray a mellow and blues rock environment which never lets a ray of sunshine or uplifting grooves to appear.
The Arsonist can be too unforgiving for its own good but it shows you the depths of Occult Rock and Gothic Doom that the band are willing to thrust upon the listener. There’s some great use of psychedelic instrumental passages and drone rock appearing within the later stages of the record with an aggressive sideline of moody Grunge melodies. The other members of the band Ben Melton (Lead guitar, backup vocals, Rhodes organ, piano), Steve Stanczyk (Bass) and Mark Oates (Drums) all play to their musical strengths by putting in phenomenal performances throughout. This record sounds and feels like a real team effort even when Justin’s vocals and majestic persona takes centre stage for large parts of the record.
Another great aspect of the record is the stripped back production values that have a lovely analogue feeling which gives the whole thing a crisp, clean and moody atmosphere from beginning to end. This allows the Post-Punk themes of the record to fully shine through on the second half of the album, even impressing me the most.
Other great tracks on The Arsonist include: The Arsonist, Never Rest, Saved, The Wind and It’s All Dark Now Where Your Eyes Used To Be. There’s a haunting romantic aspect that does start to form here which feels like there’s a massive EARTH influence appearing when you least expect it but the bleak and sometimes nihilistic lyrics allows Wailin Storms to form their own definitive musical legacy.
The band are five albums into their career at this point and are really starting to gain a reputation as one of America’s best Gothic Rock bands currently out there as they explore different musical themes that’s so brilliantly original and emotionally striking with each passing record. The Arsonist is a towering achievement that’s deeply unflinching vision with Wailin Storms leaving you emotionally satisfied with an intense and gut wrenching musical experience. There’s no other way I can describe this album and that’s where I’m going to end this review.
Words by Steve Howe
Thanks to Season Of Mist ffor the promo.
The Arsonist is available to buy now on CD/DD/Vinyl via Season Of Mist.
Links
Facebook | BandCamp | Instagram
-
Stoner HiVe
22AD – See The World
22AD – See The World
Self-released – 2026
Rock, Stoner, Grunge
Rated: ***I don’t know about you. But the band name 22AD immediately reminded me of Alain Johannes’s fabled studio 11AD. And listening to their new album See The World there is absolutely a moment here and there that will surely lead you to think they might be fans and named their band thusly. On the other hand, a lot of what they might have in common with Mr. Johannes might be in the ears of the beholder, although the album also definitely hints of love for that other fabled studio: Rancho De La Luna…
And continuing the talk about studios, it was recorded at Far Out Sound Studio in Rotterdamn, run by Baardvader’s Niek van den Driesschen and mastered by the one and only Karl Daniel Lidén. The result is a powerful blend of grunge, alternative nineties and stoner captured in a highly melodic jerrycan of diesel. There is a lot of fuel running through See The World, and once on the stereo, it will surely make you kick the accelerator through the cracked asphalt and let it be the soundtrack for your long haul across an imaginary desert.
Brooding melancholy, detached commentary, all laced with sun scorched riffs that seem to roll on like a heat waves over endless dunes. There’s groove here, riding the sandstorm, but the melodic overtures are never buried beneath the dust. The songs breath and exhume, never bludgeon, never smother. Warm bass lines, and earthy guitars, have it all unfold through patient builds, that on a small occasion are left to drift into a psychedelic mirage…
But always present are that grunge ghost and a punk spirit, not added as an afterthought, but used to either convey a message or remind you that bands like the Meat Puppets could use some more attention. The Spot In Magic track for instance or the You’re Not song. Did we mention the melodicism yet? Of course we did, but there is so much of it, and with a production so slick and thick, yet organic, it something becomes syrupy. But don't worry, it's the good kind of goo! And luckily, there’s also enough low end rumble to shake loose the last bolts of your rusted pickup.
22AD, are not chasing yesterday’s legends, instead they waltz with their adoration of grunge and foxtrot with all the stoner that came out of that legendary desert. It’s a dance of many, an album that feels heavy, but also hypnotic and romantic. Charming on every song and unmistakably alive, See The World offers a plethora of landscapes and vistas to enjoy. Take the ride!(Written by JK)
Bandcamp
Homepage
Spotify
Facebook
Instagram
Stinking Lizaveta Summer 2026
Stinking Lizaveta Summer 2026
They’re already out there… Over here… In Europe! That wild trio named Stinking Lizaveta! Starting the tour during a European heatwave that hasn’t occurred in this vicious capacity many times before must have been bewildering. But I am sure the embrace of the ones lucky enough to already have seen them must have provided them with all they needed. And they’re still here. For quite some time! And yes, I will see them too. Cause I will be attending Stoned From The Underground Festival for the very first time. Are you going to see them live somewhere?
They’ve been releasing music for some thirty years, a fact that was celebrated by the remastered and release of their debut album; which was recorded by Steve Albini in 1996. SRA Records did the deed, but Stinking Lizaveta did the dirty! The dirty business that made Hopelessness and Shame an album that left your nerve endings in tatters and anxiously awaiting a smoke break in the hallway. A thunderous instrumental manifesto that burst out of the Philadelphia underground with all the grace of a runaway freight train! Perfectly captured by Albini, a trio at full energy! Yanni Papadopoulos' already battered and bruised Les Paul screaming like machinery possessed, Alexi Papadopoulos' electric upright bass growling from somewhere beneath the city's cracked pavement, and Cheshire Agusta battering every available surface with glorious intent. Punk? Metal? Free-form jazz? The labels disintegrate under the pressure and give way to something new, beautiful and desired. A brick through the window of convention! And now, three decades later, the maturity of the album, and the rhythm it still contains, makes Hopelessness and Shame even feel less like a debut and more like the opening salvo for a revolution… And we are always in need of one of those!PR Wire:
Philadelphia's cult doom-jazz rockers Stinking Lizaveta return this Summer to Europe for a festival-hopping tour, beginning Saturday June 20th in Italy, including rocking through Croatia for the mighty Bearstone Festival, and completing the circuit July 10th with Germany's iconic Stoned From The Underground festival.
On what is is Stinking Lizaveta's third summer in a row over in Europe booked without an agent, the tour will see Stinking Liz share stages with the likes of Elder, Naxatras, Altın Gün, Mars Red Sky, and more.
Tour Dates:
JUNE 20 - THE STRONG HEART OF WOMEN FESTIVAL - DRUSO CLUB, BERGAMO PROVINCE, ITALY
JUNE 21 - NEW LONG FEST - SPORTS CULTURAL CENTER, NEA MAKRI, GREECE
JUNE 24 - GERMANY
JUNE 26 - UNDERWATER - WROCLAW, POLAND
JUNE 27 - HÁROM HOLLÓ / DREI RABEN - BUDAPEST HUNGARY
JULY 2 - BEARSTONE FESTIVAL - CROATIA
JULY 4 - ART MUSIC FESTIVAL - M.A.U. CLUB ROSTOCK, GERMANY
JULY 8 - NEUE - ZUKUNFT, BERLIN
JULY 10 - STONED FROM THE UNDERGROUND - ERFURT, GERMANY30 years on from their 1996 debut album Hopelessness and Shame, the trio show no hint of slowing down as they bring their iconoclastic mix of doom, noise rock, jazz, and more across the pond. 2025 saw their vinyl reissues of Hopelessness and Shame and sophomore effort Slaughterhouse on SRA Records (Soul Glo, HIRS), and 2026 will see them release a new album with SRA this Fall.
Back from the mountains…
Back from the mountains…
We’re back! And sure to be ready for action soon enough… What a trip it was! We travelled down slowly towards the National Parc des Ecrins in France to hike some mountains there and on route got treated to a super surprise concert by Ben Marula & Philip Doyle on the back of a car in the center of Toul. One of our first stops, which promised nothing but good and wild times! After hiking around the Ecrins we departed for the Cottian Alps, did some hikes there, topped the Pain De Sucre mountain and travelled towards Piemonte in Italy. Staying with local farmers of all sorts and then tried a bit of the city life by hitting Turin. A beautiful city ! And if you are ever near Dr Fake Cabinet and his art exhibition store by sure to visit! Curiosa and art at its finest! But we longed for the mountains, so after tasting a bit of beautiful Turin we headed off for the Aosta valley promising ourselves to return. Hiking both the Matterhorn side and the Conge side showed us we could have been there for a week or two as well as in the Ecrins… It was a beautiful trip in every way, letting ourselves be guided by the wind, nature and whatever came out way… No plans… No headache… It was beautiful!
And now… Now we have almost a thousand emails waiting on the Stoner HiVe account. Almost an equal amount on the various personal and work accounts… So, we’re back… And soon we will get back the usual business of posting words on whatever album that found its way into our ears and hearts! It make just take a few more days though… But listening to all that’s good and heavy starts now…
What has been your favorite of the past month? What should I listen to first?
Off to… France and Italy…
Off to… France and Italy…
It’s that time again… Three weeks off grid, connecting with nature and all the good stuff life has to offer… We’re off to the Ecrins Natural Park to hike around the mountains there and then off to the Piemonte region in Italy. Lots of hiking there as well… And since we’re close to Turin, we might visit that. Hence, we will be taking the Dune Aurora album with us for sure. Got any more tips we definitely need to bring on the road?
Seeya in a few weeks!
Cesar Sun - The Palace
Cesar Sun - The Palace
Self-released – 2026
Rock, Stoner, Punk
Rated: *****Wow. Wow. WOW!!! There are debut albums that leave a lasting impression. There are also the ones that radiate with hellish joy and hit your skull with a concrete brick. And then there's 'The Palace' by Cesar Sun, a young band from Ghent, Belgium, that ties you to a pole just to run you over while driving a revved-up tank at 100 miles per hour. This is the real shit people. The kind that feeds you razorblades for breakfast and rips the fuzz from your guts.
The intro 'Easy Come' starts with subdued speech before the rope gets payed out, serving energy on a bed of tension before the chest gets pumped up and ripped open with the first real song 'Where Is The Wine?', a belter of gargantuous proportions that displays the utter desperation when one runs out of a certain type of liquid at an inappropriate time. And man, those vocals! It's hard to put into words how they sound, but they're phenomenal with the perfect balance between emotion and power.
Even though the whole album pays homage to the church of rock and its complacent aggression, there are also moments where the gas pedal gets some relief. A great example are the verses in 'Paradies' (the German word for paradise) that form a stark contrast to the chorus and makes the latter blast even harder than it already does. In the jumpy and diverse 'Backwards Overbender' the title appears out of nowhere in whispering form before things get back to the nitty gritty of kicking the shit out of you. And there we've got the key word to this splendid album: diversity. Because the sound of Cesar Sun is all over the place, borrowing from lots of styles while staying coherent all the way through.
Take - for example - the punk influences that spice up 'Piss In Peace' and 'The Line'. Or the way they appear to enter the night shop at some point asking (again) where the wine is before they settle for almost one minute of furious doom, leading to the conclusion the shop might be all sold out in that department. 'Tunacan' is more straight forward and has the line 'you need more money to need more money' ringing in your head for an elongated period of time. It all leads up to the final song 'Easy Go' that shows their most sensitive side during the first one and a half minute, after which elements of postrock are added until the last chord fades out into something that can be called a quiet emptiness, a place where your feelings (that have been so thoroughly tested) are echoing in the large halls of an empty palace, totally in sync with what you've heard the past 24 minutes.(Written by Ronny Dijksterhuis)
-
Screaming From the Heavy Underground
Champions of Grunge Stonebourne Release Lyric Video for the Poignant Single "Hope is for Believers".
Rocking since 2017, Stonebourne is a quartet from Germany in the thick of their mission to "make grunge great again". Their soulful sound features memorable hooks, heartfelt vocal expression, and the very essence of 90s rock. In the band's own (very accurate) words, their music contains "a little bit of Drop D, a little bit of teenage angst, world-weariness, and lots of anthemic, energetic rock". Naturally, Stonebourne's sound is ideal for fans of Alice in Chains, Soundgarden, and Stone Temple Pilots as it draws inspiration from both the height of grunge as well as the more polished post grunge movement.Stonebourne has released one EP (a self-titled work in 2018), and two full-length albums: Squirrels on a Plane (2020) and Play This Record Backwards (2025). Hot off the heels of last year's album, the band returns with a lyric video for their emotive single Hope is for Believers:CLICK THIS LINK TO WATCH ON YOUTUBE
Beginning with soothing, warm tones and introspective moods, Hope is for Believers triumphantly swells in emotive intensity as infectious choruses keep you hooked and relatable lyrics clench at your heart.While Stonebourne pours a tremendous amount of passion into everything they do, this song feels especially meaningful, conjured from deep within a weary soul.Give this track a spin for yourself and be sure to show Stonebourne some much-deserved love!More About Stonebourne
Stonebourne Is:Sven Kartscher - Vocals, GuitarsDierk von Tesmar - Vocals, BassPeter Loy - GuitarsHeinz Salomon - DrumsYou can follow Stonebourne and listen to their music at these links:
Celebrating 21 Years of "The Future Embrace", a Polarizing Album That Helped Shape My Musical Tastes
I cover so much stoner/doom on my social media accounts that I sometimes forget that this little blog of mine was also designed to highlight alternative music as well. The twenty-first anniversary of Billy Corgan's solo album The Future Embrace seems like a good opportunity for such a post, specifically one that strolls down memory lane a bit in my case. If this topic isn't for you, I totally understand...thanks for stopping by anyway! Otherwise, read on and you'll learn a few random facts about me in the process :)As I'm sure a few of you know (or have deduced), The Smashing Pumpkins are one of my favorite bands on Earth, and Billy Corgan, contentious figure that he is, remains one of my favorite musicians. My devotion began just before I started college...while my peers were listening to bands like The Killers and Jimmy Eat World, I was walking around campus with Gish spinning endlessly in my Sony Walkman. I had every Smashing Pumpkins album released up until that point, ending with Machina/The Machines of God. I also bought Billy Corgan's book of poetry, Blinking with Fists, which I found to be rather silly at the time (perhaps my young adult mind hadn't yet acquired the patience and wisdom required to clear the lens that aids in decoding simile, metaphor, and wordplay). D'Arcy Wretzky and Melissa Auf der Maur (who both played bass for the 'Pumpkins) were two of the women in rock who inspired me to pick up a bass guitar (that didn't work out...I still have the bass, though). Within my sketchbooks, I had doodled various tattoo ideas related to the band including stanzas of lyrics that I ached to have permanently etched upon my body (that never happened, as I came to the conclusion that ghastly pale, heavily freckled skin such as mine isn't suited for the harshness of ink). Ah, youth...In 2005, Billy Corgan released his first solo album: The Future Embrace (which was released exactly twenty-one years ago on the day of this writing). Naturally, I had to get my paws on it and, since I had just begun working in a record store, it was the first album I used my employee discount to purchase (fun fact: I was the only person who bought the album from that store during my stint there).If you don't know, The Future Embrace is essentially an electronic album, with elements of shoegaze and synth pop, starkly different from the guitar-driven sounds of The Smashing Pumpkins. Critics mostly hated it, and I was fully prepared to hate it...but I didn't. In fact, this controversial little album became one of my favorite Smashing Pumpkins-associated things.No one can deny that Billy Corgan has a distinguishable voice...an admittedly grating voice at times as it peaks in intensity, but we all recognize that's part of the appeal. Interestingly, this style of singing is naturally quite adaptable. When paired with dream pop/shoegaze instrumentals while crooning in hushed, melodic tones, it has a calming effect (By Starlight from the Mellon Collie and the Infinite Sadness album is an example). Conversely, when placed over heavier guitars, the voice becomes a bit of a character; something fittingly dark, evil, or deranged as the situation calls for (as heard in X.Y.U., another track from Mellon Collie). I found that, when coupled with the crisp, often impersonal tones of electronica, the soothing qualities of Billy Corgan's voice became more pronounced, adding enough humanness to relay emotion but remaining "unearthly" enough to fit inconspicuously into the automation-like atmosphere. The style of electronic music present on The Future Embrace isn't the type to encourage you to dance...whether a song is fast-paced or more relaxed in tempo, the music here has more of a hypnotic effect. However, and perhaps the best part, is there are an adequate amount of swells of intensity that rouse you from your trance and make you feel giddy and alive (as goofy as that might sound).I'd implore you to listen for yourself if you haven't already, but this album can't be found on streaming services (some live performances and a few tracks can be found on YouTube). Luckily for me, I still have my trusty decades-old CD, with me both physically and abstractly as just one of the many pieces that helped broaden my musical tastes.Do you remember hearing this album when it was released? What were your impressions? Feel free to share them with me in the comments.
The official music video for "Walking Shade", one of my favorite songs on "The Future Embrace".
SFTHU Quick Reviews: Vanderwalls - "The Wonderer & the Wanderer"
This is one that I've been waiting for on pins and needles for since it was announced: The Wonderer & the Wanderer, the new EP from post-punky alt rockers Vanderwalls.
The first thing I noticed about this release is it feels a bit stripped down compared to the band's previous album Life Like Liar. While The Wonderer & the Wanderer is still very post punk forward, the guys generally keep the synths turned down to a low roar this time, resulting in a softer sound that revolves a bit more around alternative rock/indie. This shift allows the listener to really focus in on Vanderwalls' thought-provoking lyrics and perceive more emotion and warmth in the band's expression.
The smartly placed middle track Big Shoes stands out as the album's fun and quirky, upbeat song, a bit of a nod to Vanderwalls' earlier works, but The Wonderer & the Wanderer remains markedly soothing overall. In fact, this is the kind of album that one can count on for any mood: It's light and refreshing enough to enjoy leisurely while being serious enough to elicit deep introspection and emotion.
Bravo, Vanderwalls! This is exactly what the doctor ordered. I knew The Wonderer & the Wanderer would be great, but you completely blew my expectations out of the water and then some. Brilliant work!
Be sure to check out this beautiful EP and criminally underrated band for yourself and give Vanderwalls a follow on social media to show your support!More About Vanderwalls
Vanderwalls Is:Michael Colontonio - Vocals and GuitarKalon Forest - DrumsRobin Spencer Kiefer - Bass and VocalsYou can follow Vanderwalls and listen to their music at the following links:
Daily Thompson Releases "BTK", the Second Single from Their Upcoming Album "Glue"
While it's not often that I take the time to write an entire blog post about a new single these days, I'm inspired by the amount of heart, creativity, and passion that Daily Thompson (one of my favorite bands in the German underground scene) is showing ahead of their upcoming album Glue, so I think some special recognition is more than appropriate.The talented trio released the first glimpse into their seventh full-length album via the song Heart of Bones in late April. This track delivers buoyant, upbeat grooves that I like to think of as the sonic version of the happy and free feeling that's generated when you put the windows down on the first warm day of Spring, wind in your hair and golden sun kissing your skin. However, like many grungy songs of this nature, the music and vocals can be deceptively sugary in comparison to the lyrics. In this case:"Girl, you taught me how to feel againAnd now you know I'll never be the sameYou left me standing all aloneI can't fight with my heart of bones."That last line is particularly poignant and relatable, as I think it's easy to recall a time when your heart felt that spent and unfeeling - devoid of the humanness of flesh and surviving as a dry cluster of bones.The official music video for "Heart of Bones"For their second single, the band decided to give us a look at a very different side of their sound.You would think that it would be rather difficult to create a seven minute, supremely soulful song about the BTK killer, right?"Hold my beer!" exclaims Daily Thompson, as they do just that.Featuring a measured amount of trepidation, a dash of that saccharine sweetness we know and love from the band in the choruses, and a great showcase of bassist Mercedes's vocals, BTK takes a multi-faceted look at the infamous serial killer from a victim's perspective. Moving from fear, a bit of Stockholm syndrome ("you love me, you touch me, you kept me every day"), empathy ("love is all you need"), and resignation ("please kill me"; "please take my breath away"), Daily Thompson introduces stoner rock to the world of true crime. In the end, however, BTK is a song about female "strength, resilience, and empowerment" as it describes an "emotional journey from hope to fierceness".The official music video for "BTK"BTK demonstrates that, now more than ever, Daily Thompson draws from their stylistic influences while continuously challenging themselves creatively - the mark of a band poised for exponential growth.Be sure to check out BTK and your favorite streaming platform, and be ready for Glue to drop on August 21, 2026 via Noisolution!More About Daily Thompson
Daily Thompson Is:
Danny Zaremba - vocals, guitar, cigar boxMercedes Lalakakis - bass, vocalsThorsten Stratmann - drums, vocalsYou can follow/listen to Daily Thompson's music at the following links:
King Potenaz - "Arcane Desert Rituals Vol. 2"
Arcane Desert Rituals Vol. 2, the culmination of a two-album series from beloved Italian doom trio King Potenaz, is "doom" in every sense of the word. By that, I don't simply mean this release embodies a Sabbath-worshipping, fuzzed-out, low and slow sound, though there's certainly plenty of that going on as well. When it comes to the current incarnation of King Potenaz's music, it's more fitting to think of the literal definition of the word "doom" - "death or ruin" according to the reliable Merriam Webster - rife with despair, hopelessness, and torment.King Potenaz began diving deeply into a more atmospheric, evocative version of doom on the first volume of the Arcane Desert Rituals series, taking their already well-honed drone and storytelling chops and expanding upon them both literally and figuratively. On these two albums, the band's songs tend to take on long-form, cinematic manifestations, and that's especially the case on the final installment of the tale at hand.King Potenaz - Arcane Desert Rituals Vol. 2
On Arcane Desert Rituals Vol. 2, often haunting, bone-chilling tones guide the listener at a slow, churning pace through dramatic, sinister sonic visuals. While turbulent, energetic bursts are especially saturated with these evil vibes (particularly on the second third of opening song Sumerian Nights and throughout second track Lord of the Rust), pockets of desert-baked psychedelia tend to either express mournful emotion or serve as mind-bending, trace-like interludes.The official music video for Sumerian NightsAs with other King Potenaz releases, vocals aren't always at the forefront of each song, often waiting for an especially powerful instrumental peak to appear. When they do show up, however, the voice of frontman Giuseppe never disappoints in its ability to switch from somberly melodic to evil incarnate at the drop of a hat.All in all, the Arcane Desert Rituals series shows King Potenaz taking sonic cinema to new heights, fully immersing themselves (and their listeners) in the stories they want to convey and the cast of characters that grapple with the bleak situations that unfurl throughout the sinister trudge of the albums. And, in spite of the heightened focus on drone, atmospheric passages, and scene-building, the band ensures that their music is still filled with plenty of their signature bone-rattling heaviness, which comes in highly anticipated waves following tense buildups. Will this be a trend for King Potenaz, or will their next release be more in-line with their classic Goat Rider sound? Only time will tell, but chances are whatever the band does next will orbit around a damn good story.Arcane Desert Rituals Vol. 2 is out now via Majestic Mountain Records!You can read my review of Arcane Desert Rituals Vol. 1 here!More About King PotenazKing Potenaz is:Giuseppe Guarini: guitars/vocalsFrancesco Pensato: bassPiero Schiavone: drums/synthYou can follow King Potenaz and listen to their music at the following links:A massive thank you to Viral Propaganda PR for the promo, and virtual hugs for King Potenaz...thank you for being valued, supportive members of the heavy underground community!
