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Musipedia Of Metal
A View From The Back Of The Room: The Crystal Teardrop (Spike)
The Crystal Teardrop, Scott Hepple And The Sun Band & Lassie, Voodoo Daddy's, Norwich, 07.03.2026
The air in the basement of Voodoo Daddy’s has a way of thickening before a single note is even struck, a damp, expectant humidity that tells you the next three hours are going to be physical. It is a space that offers no room for vanity, where the small stage acts as a pressure cooker for any band brave enough to step onto it. Saturday night, that pressure resulted in a three-act descent into the strange, the psychedelic, and the brilliantly nostalgic."It sounds like Lassie’s in a well."That single, dry observation from the stage during the opening set from Lassie (8) was the moment the room truly unified. A two-piece specializing in "psychedelic folk laced with tribal punk," their 30-minute performance felt more like a series of fragmented, urgent stories than a standard set. Vocally and musically these two delivered. For those of us old enough to remember the TV canine’s penchant for rescuing Timmy from various subterranean predicaments, the ad-lib was a masterstroke of wit that grounded their eccentric, tribal energy in a moment of genuine local humour.
The momentum shifted gears significantly with Scott Hepple And The Sun Band (8). Hailing from Newcastle, this garage rock outfit brought a blistering, 70s-influenced fire to the basement. The band was anchored by an absolutely incredible lead guitarist who commanded her space on the tiny stage with the kind of effortless authority you usually only see in much larger venues. Her playing was a high-velocity tribute to the greats, fluid, technical, and possessed of a rhythmic grit that turned the room into a single, head-nodding entity. It was a sophisticated, high-octane set that left the air vibrating.
By the time The Crystal Teardrop (9) took the stage, the venue was at capacity. I’ll admit to being a newcomer to their specific brand of chaos, but when a fellow Musipedia Of Metal writer like Rich Piva tells you a band is worth seeing and specifically requests you export their debut album across the Atlantic (read hand deliver it) you listen.
The Crystal Teardrop are a ball of kinetic energy, a band that manages to soak their sound in the late 60s without ever feeling like they’re wearing a costume. It’s a blend of garage rock, psychedelia, and acid folk that feels visceral and immediate. From the opening notes, they treated the small stage like it was a launchpad, tearing through a set that culminated in a riotous performance of the title track from their album ...Is Forming.
Alexandra’s vocals are a crystalline anchor amidst the feedback-laden psych-rock, delivered with a conviction that suggests the band is enjoying the riot every bit as much as the audience. A brief chat with her after the show confirmed as much, there’s a genuine, unpretentious love for the craft here that is infectious.
By the time the final, feedback-saturated roar of "...Is Forming" was bouncing off the damp brickwork, the room felt less like a basement in Norwich and more like a portal to a better, weirder 1967. Rich was right, it’s the kind of energy that deserves to be exported, but for Saturday night, it was exactly the kind of noise we needed in Norwich.
Reviews: Salos, Vanity's Disciple, Winter Eternal, Sinistrous Mist (Matt Bladen)
Salos - A Slaughter For The Empire (Self-Released)Salos are 🜄 on guitar and 🜃 on drums, an instrumental duo from Kalamata who showcase that music can definitely speak louder than words. From their early rumblings in a decade ago, they have grown Salos into a project that brings together soaring post rock and complex prog metal with an explorative focus that is built on massive riffs and blissful atmospheres.
Arriving fully fledged on their debut, there's maturity and experience pulsating in every guitar riff and drumbeat, the A Slaughter For The Empire is cinematic musical masterclass akin to bands that play with dynamics such as God Is An Astronaut and Russian Circles along with the ones that could easily hold their own in the prog realms like Earthside or Intervals.
On Arches they take a leap into some of the high profile juxtaposition of Mono or Pelagic with those guitar lines, heavy moments and the addition of sax from Greek jazz musician Yiannis Kassetas. With Slaughter they bring out the death/thrash metal battery, as We Deteriorate detonates when necessary. Hvitserkur, Leviathan and Sagittarius all have the impressive duality that Salos have crafted for this debut.
Salos shout about their talent louder than many other bands do, proving that's vocalist isn't always necessary, when you have a duo that sound like a collective. 8/10
Vanity's Disciple - Blind Belief… Ill Intention (Self Released)An amazing power/prog metal debut from Athens now as Vanity's Disciple release their first album Blind Belief… Ill Intention. They kick off their recording career as a band with a with a concept album in nine chapters which is a bold thing to do but with a story that revolves around sin, belief and manipulation, they have crafted nine songs that drive the layered narrative which these virtuoso musicians are backing with some muscular heavy metal that brings both the US and European scenes together, where thrash, power, neoclassical and good old fashioned heavy metal combine with a sprinkling of prog when they launch into longer tracks.
Blind Belief… Ill Intention was written by guitarists Dimitris Kouroutis (rhythm) and George Rosenberg (lead), they are responsible for the music, lyrics and concept, as well as all the tasty riffs and solos on the record, showing that their playing is just a expressive as their writing. The duo have some excellent musicians with them as a part of Vanity's Disciple as that darker, meaner steak comes from the history of bassist/drummer/producer Dimitris Sakkas, who has paid his dues in the extreme metal scene, so can blast with the best of them, bring nuance when needed, lay down the gallops and groove all while giving the album it's polished heft.
Up front Vanity's Disciple have brought in vocalist Jon Soti, he is the singer in the brilliant Floating Worlds, so I knew instantly what to expect and he brings his skyscraping, Geoff Tate meets Michael Kiske-like vocals to this record, adding drama and power brilliantly over yet more conceptual heavy metal. They've grabbed a few guests too with Mark Minoa brings a guest bass slot on Forged Faith while Soti is joined by powerhouse Stu Block of Into Eternity on the closing chapter Descend Decay, which you can imagine sounds like Into Eternity or IE.
Guest slots are all well and good but Vanity's Disciple don't need them, when it's just the four of them they remind me of the brilliance of bands such as Queensyche, Savatage and Shadow Gallery, with Blind Belief… Ill Intention they have created a conceptual masterclass of a debut album. 9/10
Winter Eternal - Unveiled Nightsky (Hells Headbangers Records)
Originally formed in Athens but having relocated to Glasgow, Winter Eternal is a one man black metal project that is five albums deep into existence. Their latest, Unveiled Nightsky is another set of melodic black metal tracks that are inspired more by the Scandinavian style than the Hellenic one.
Soulreaper peels off trem picking, clean leads and thrashy riffs from the opening moments of Born Of Winters Breath. The theatrical touches coming from that anthemic middle section of Omen Of The Cosmic Order where V.Nuctemeron's drumming is relentless, as it is on the biting Nurtured By The Night which races by.Unveiled Nightsky is a record that bring a lot of speed and often locks into headbanging rhythms. The balance between the black metal extremity and melodic moments is struck very well, with frenzied assaults such as Descent Into Hades Embrace, evolving into the likes of the mid-pace The Deceivers Tale or the dramatic Echoes Of A Fallen Crown.
Despite being a one man project the additional drummer and strings players all add depth to this great melodic black metal record. 7/10
Sinistrous Mist - A Voice Through Constellations (Self Released)
Over to the more vicious side of black metal now as Athens band Sinistrous Mist bring anti-Christian black metal that dwells in the shadow and darkness of the Hellenic Scene, but also fully utilises keys to great effect. Divine Black driven with the gothic twinge of Type O Negative. While Mother Mary is not a UFO cover but a track that builds on orchestrations, through throat shredding vocals and a symphonic closing moments where the drums hit full power.It's breathless stuff and shows that even though it's a debut A Voice Through Constellations, it's been composed by veterans who can manipulate multiple styles into incendiary black metal that's got heavy cinematic leanings from the keys, the title track begins with some creepy carnival organs before unleashing hell again.
It seems they're so focussed on the keys, drums and vocals, that their guitarist no longer seem to be in the band, still that only really matters on the live stage, as the core line up on this record deliver some really excellent atmospheric black metal for what is a debut. 8/10
Reviews: Dauðaró & Pantheïst, Wolfbastard, Gotthard, Zepter (Matt Bladen, Mark Young, Cherie Curtis & Simon Black)
Dauðaró & Pantheïst — Af Holdi Og Málmi (Melancholic Realm Productions) [Matt Bladen]
From the frostbitten, isolated, alien landscapes of Iceland comes the figure known as JTS. Draped in mystery, this musical enigma has singlehandedly created a scene all of his own within the Icelandic underground. JTS is the anchor point for numerous projects but one of the prolific is Dauðaró, one that expresses the introspective outlook of a musician at the end of the earth through doom/drone/ambient textures.
Who better then, to collaborate with then than funeral doom maestro and ambient soundscape creator Kostas Panagiotou of Pantheïst. An internet/social media friendship that has birthed a sprawling, claustrophobic, intense 77 minutes of music, that plays with dissonance and directness, the slow repeating drone, the gothic ambience and a sense of foreboding, engulf this record in maudlin brilliance.
It's complex but never flashy, the musical skills of JTS creating most of what you hear, from the riffs that cave in reality itself, to a low end that will threaten to dislodge the tallest building and drums that so often are there to set a glacial pace, the layered, all consuming style of his JTS performance is what fans of Dauðaró will switch on for.
However here the addition of Kostas' terrifying vocals, that are often manipulated to be made more intense and inhuman than they are on a regular Pantheïst record and of course his mastery of the keys which bring a whole other level of sacred synthetism with his keys/organs and general otherworldliness to this conceptual piece.
Af Holdi Og Málmi, which translates to Of Flesh And Metal, delves into the philosophical argument between humanity and A.I and what truly defines as the record moves through an Asimov inspired story where an A.I built to protect humanity determines that we are flawed and uses it's technological superiority to correct the behaviour of human beings.It's filled with existential questions, philosophical arguments, asks wider questions on autonomy and ideology as more people are able to do incredible things with A.I at what point do states have to intervene on individuals rather than other states and ultimately it tries to answer moral questions that with our own debates about the A.I explosion currently raging, are all very pertinent and perhaps may prove to be a little prophetic too.
There's little point trying to pick out individual parts of this work as it's meant to be heard in one sitting, a complex, cavernous record of two masters of the craft coming together with shared ambition and creative flair. A testament to our digital age that it can bring together like-minded individuals from across the globe, but as this record deals with very well, a small fleck of silver in a huge black cloud. 9/10
Wolfbastard - Satanic Scum Punks (Apocalyptic Witchcraft) [Mark Young]
This is going to be a relatively brief review. You just have to look at that top line to basically get all of the information you will need prior to diving into this album. Throw in that its for fans of Venom, Exploited and Extreme Noise Terror and is a savage welding of black metal with crust punk, and you can be under no illusion about how these 11 songs will sound.
If you are looking for soft, gentle melodies that escape into the spring air, this isn't the band. There are no ballads, introductory soundscapes with cod orchestral movements (in the dark) or anything approaching subtlety. This is a full on, boot to the head old school assault. They don’t attempt to be anything other than true to their art and to themselves.By the time this review lands, they will have kicked off their national tour at the Star And Garter in Manchester, and I cannot think of a more suitable place to start this tour. For me, this is a good album that doesn’t stray from a path in any respect. It starts and expects you to stay with them from Its Fucking Dark to B-I-F-F-O, taking in a frenzied 30 minutes along the way. There are some pearlers on here, lyrically very funny but always backed up with a feral punk approach. It may sound like a joke, but they deliver it in a completely straight way.
Wolfbastard are one of those bands where the live show is what its all about. It’s a powerful album, but I get that feeling that once they are in front of you, marshalling that crowd and absorbing that energy then they become something more than what is committed to tape. Its not for the faint of heart, or for those wanting technical wankery. This is straight forward, stove your skull in music that your parents warned you about and the clergy bathe in holy water for. 8/10
Gotthard – More Stereo Crush (RPM) [Cherie Curtis]
Swiss Rock legends Gotthard bring More Stereo Crush to follow their previous hit album, Stereo Crush, and it’s just that: the icing on the cake. This release offers 8 tracks, including unreleased songs, a radio edit, and a fan-favourite duet featuring Marc Storace from Krokus.
It's straight- up hard rock: catchy, nostalgic and feel- good. It isn’t revolutionary, but it doesn’t have to be; Gotthard has been around since the early 90s and doesn’t have to knock your socks off to prove their worth. Their tracks are solid enough to speak for themselves, bringing just enough spark to a classic formula to keep you interested.
It's an album that's felt like an old friend you haven't seen in years - you may not be enraptured, but you're glad they are there. There is a contrast throughout that works; Gotthard provides hard rock nostalgia with a polished and contemporary sheen, so it doesn't feel overdone. This is a difficult balance and marks them as true professionals.
More Stereo Crush features sharp, bristly riffs and gravelly vocals, delivering a lively and satisfying rock n’ roll all-rounder with sprinkles of sentiment. It’s perfect for a long drive or a productive Sunday afternoon, as the tracks are undeniably punchy and raw; they’ll certainly get your hands drumming on the steering wheel. It’s a fun, casual listen; that’s undemanding and feels effortless. Their strength shines through their consistency and their understanding of what their fans want from them right now.
Overall, it’s a textbook hard rock LP. Gotthard hasn’t reinvented the genre here, but they have executed it very well. After all, who doesn’t like a bit of hard rock? I liked what I heard; while it won’t make its way into my daily rotation, i certainly won’t skip it if it comes on. They have stuck to their guns and, once again, produced something high-quality and very likeable. 7/10
Zepter – Zepter (High Roller Records) [Simon Black]
Zepter hail from Austria, and this is their first full length LP. It’s very much trying to sound like it was found behind the back of a filing cabinet in a studio from the early 80’s, following the continuing trend of bands aping analogue sounds with digital kit. Unusually it does that better than most, as the mix has a good low-end rumble that does have the analogue feel I get through my sound stack when I play old vinyl records of the period, with enough crispness and clarity from the digital sounds of the current era.That however misses the point I have laboured many times before, that the energy and zeitgeist that those old recordings often had early in an act’s recording career were more often the product of the need to cram the recording process into very tight time windows at ungodly (and cheaper) studio slots, aided by adrenaline and chemistry, rather than whatever benefits the actual ageing recording kit gave.
Musically this is twin guitar traditional Heavy Metal and does this by the numbers. Which is part of the problem… It has a very demo-sounding feel to it, despite the fact time was spent in the studio doing this properly, the net result is the desire to capture the single take effect was of more importance than getting the best out of the arrangements.
Vocalist Lukas Götzenberger also delivers synth and half the guitar parts, and although it’s not specified in the press release, I would lay odds that he’s mostly doing the rhythm parts as his vocal phrasing synchs with these. That works well in other styles of the period, like early Thrash where the staccato delivery of the vocal arrangements aided the overall sense of brutality, but here it has the effect of detracting from the vocals, which is a shame as he has quite a good vocal timbre and range. The net effect is his vocal lines get lost in the mix, which is a shame. I would recommend splitting the tasks in the future, as freeing him up from the six string gives space to expand the vocal delivery into the songs, rather than being a slave to the instrumental arrangements.
Don’t get me wrong, I love the musical feel which works really well instrumentally, it’s just missing that final bit of pizazz that would dial things up a notch or two. A promising start however, and definitely something to build on. 6/10
Reviews: N.M.B, Fangus, Red Sun Atacama, White Skies (Simon Black & Rich Piva)
N.M.B. (Neal Morse Band) – L.I.F.T. (Inside Out Music) [Simon Black]
There was a time during the most frustrating depths of lockdown when Neal Morse seemed to be at his most prolific. Let’s be honest, the guy is an absolute cornerstone of all things prog, and with his various collaborators and frankly formidable array of projects seemed during that period to be cranking out something new every month.
I suspect that this was more to do with the inability to cut anything new face-to-face back then meant that projects that never saw the light of day, plus a plethora of live recording got to see the light of day in a positive bow wave of releases.
The master of all things progressive varies his style enormously, but for me the releases branded under the Neal Morse Band (or N.M.B. as it has morphed into this time around) always ticked my boxes more than many projects have because fundamentally it was often a bit heavier than Transatlantic, Morse, Portnoy and George, Flying Colours and most definitely Worship, despite the fact that musicians were shared across so many of the projects.Absolutely a cross-project cornerstone of the last few decades has been former and once more current Dream Theater maestro Mike Portnoy, and the NMB output often felt closest to that of that most successful of Prog Metal acts in style, whilst clearly being Mr Morse at its heart.
This album may mark something of a change then…
Portnoy’s much publicised return to Dream Theater means a huge chunk of his availability just disappeared well into the medium term, because DT are both globally successful, and fairly prolific as well in terms of recorded outlay, so the reality is that we are unlikely to see Portnoy sitting behind Morse live or in the studio as frequently.It’s also been a while since the NMB released a studio album, and clearly Portnoy’s shift back to DT has precipitated one (I am reluctant to say) final studio opus from this fluid and frankly spot on line-up. Time was a pressure here, with a limited window of Portnoy’s availability for direct collaboration compressing writing and recording somewhat, yet as is so often the case that pressure has resulted in one of the most dynamic and fresh sounding releases of the NMB range.
OK, there’s a bit of after the fact polishing going on here, with all the members of the band able to come back and tweak the core tracks cut in the studio from their home studios, but that hasn’t taken away the energy and dynamism of L.I.F.T. A challenge often laid against Morse and his projects is their repetitive nature, but this one feels both of that stable and clearly moving the dial into fresher territory.There is a feeling here that they want to cram as much as they can into the record stylistically too, and there are many moments that feel like a nod to heights of the past, but it’s also thematically contiguous, with a lot of lyrically influence from Morse’s religious inclinations, but let’s face it they’re as constant in his recorded output since he left Spock’s Beard as Portnoy.
Unlike many of previous releases though, the energy here makes the album fly by despite it’s run time. When you have an hour and ten minutes of music, sounding concise is something of a challenge here, but the band pull it off because they have distilled all their writing experience together into one polished whole. Not so much a Best of Compilation, as a stylistic compendium of what they all do best, this is one of the freshest slabs of Prog to hit my platter in some considerable time. 9/10
Fangus - Emerald Dream (From The Urn Records) [Rich Piva]
I first heard of the band Fangus when interviewing Sons Of Arrakis for The Rich & Turbo Heavy Half Hour while discussing the Montreal scene and some cool bands that we may not have been familiar with that we really should be.I immediately went and grabbed the EP and was blown away by the frantic 70s proto metal vibe, and, of course, the organ. That EP, Meet The Reaper, was so cool and had an aura of mystery to the mad men behind this organ driven goodness. Thankfully, out of the shadows they come with their debut full length, Emerald Dream, and boy does it rip the place up and take that raw, early EP sounds to another level on these eight tracks.
The opener, Howling Hammer kicks it off with a cool, heavy 70s riff that Leslie West would be proud of, the drums kick in and sound great, and then the organ. Oh, the organ. A man named Chub plays all the keys on the record and I bow to his greatness. What an amazing opener and just a frantic, LSD fuelled proto trip that will leave you wanting more and more, which is what you get as Pyre Of Love keeps this amazing energy and vibe going.The organ here is next level, which I have now said for two weeks in a row, with the Gjendferd record from last week being another example. While Gjenferd is firmly rooted in the 70s too, they lean a bit more proggy and classic rock, while Fangus goes full Sir Lord Baltimore without ever letting their foot off the gas.Layers of keys kick off Psychoïd Telepath, and while the pace slows just a bit, the proto psych vibe does not. This track could absolutely be in a classic B horror movie and steal the show. An organ solo kicks off Quest For Fire before the riff kicks in and the guitar and organ meld to form one epic monster ready to tear up 1976 Montreal. The title track opens up with an operatic organ solo that slowly builds up to that perfect pairing of instruments that is like a freight train off the tracks heading right towards your city center.For a second it looks like someone jumped in the engine and took control, until it all goes off the rails again. Fangus has the fast slow/loud quiet thing down pat with the killer heavy psych of Time Gambler. The guitar work on this one is just massive. Shapeshifter sounds like Witchfinder General, with an organ. Enough said. Somehow the band saved the best track for last, as the energy on Stardust Regulator is off the charts, making me try to figure out a way to see these guys live at some point.
Fangus really kills it on their debut full length. Emerald Dream is non stop 70s inspired proto psych heaviness driven by amazing organ and guitar work, great song writing, amazing sound, and next level playing all around. I am not sure how a debut could be much better, given this album has been blasting non stop and am getting really good at air organ. Killer, next level stuff. 10/10
Red Sun Atacama - Summerchild (Mrs Red Sound) [Rich Piva]
Red Sun Atacama are a psych punk band out of Bordeaux, France. Psych punk you say? Yup. Up tempo rippers with some serious mind bending guitar work, cool tempo changes, and a frantic energy that landed their last album, Darwin, in my top 20 of 2022. The band is back with their new record, Summerchild, with very similar (killer) results.
The band self describes as “desert punk” and I can certainly get behind that, especially with the stoner gallop of a track like Conveyor, with its big chunky riff and punk rock tendencies all encompassed by a nice thick layer of fuzz. The opener, Passenger, is a straight up punky QOTSA style ripper that sets the stage nicely for the rest of the record. The snotty vocals add to the desert punk thing they have going on too, which all works great.It’s not all breakneck punk speed, as RSA can plant their feet firmly in the (French?) desert with a trippy slow burn too, like on Weightless. At least that is what you think you are getting until you remember these guys love big riffs too. I dig the guitar work on the back half of this one. Great stuff. Speaking of rippers, Commotions lives up to its name with the drum work standing out on this psych punk explosion. That is until it slams on the breaks and goes all quiet…until the (of course) big riff breaks through the wall and the reverb drenched vocals grab you.Graze The Sun may be my favourite on the record, with some more killer guitar work, a 90s feel, but also this Hanoi Rocks with lots of Fuzz thing that I hear. Not sure anyone else will but I hear it, and it is wonderful. The riffs are endless on this one too. This one shows how RSA have mastered the start fast, slow down, end fast formula. The title track is ear worm material, showing off the band’s pop sensibilities while still channelling Rated R/SFTD era QOTSA.Thankfully Ragdoll is not an Aerosmith cover, but it is eight minutes of what RSA does best; snotty desert punk with a side of psych, with the psych being layered on heavy over this one. The closer, the very chill and perfectly titled Sundown, is just the thing needed to come down from the wild ride that is Summerchild.
A worthy follow up to their last killer record, Summerchild will show the Red Sun Atacama are the real deal and in no way any sort of side project or one off thing. Eight driving songs touching on a bunch of genres but never veering off the path of awesome. 9/10
White Skies – Shouting At The Hurricane (Conquest Music) [Simon Black]
I first came across White Skies opening up for Ten at a show in Cardiff about 18 months ago and was hugely impressed by them at the time. It was a tough gig to open, as despite the calibre of the headliner the promoters at The Globe elected to do zero publicity whatsoever, so the room was rather depressingly sparse for them (never mind for the headliners), yet they did an admirable job of delivering their well-crafted Melodic / AOR Rock to an audience that had never heard of them.It was good enough for me to splash out on their debut CD Black Tide that night, and the album did not disappoint either, so spotting this sophomore in the slush pile at Musipedia Towers (well, more of a two up, two down to be honest) was a no-brainer for me.
Shouting At The Hurricane does not buck the trend. It’s a consistently strong album, which, as the title implies has a slightly rougher edge to it than its predecessor. Not in terms or recording or quality, but it’s definitely more a Hard Rock affair than their debut, although there’s plenty of steady synth-laden hooks that the fan base isn’t going to see too much of a step beyond their debut.To be fair, the band may be new, but the members are all old school pros. White goes all the way back to one of the late 80’s incarnations of Samson, and many things since, but the rest of the band have been around the block some as well. That’s always a help when everyone has a depth of writing and recording experience and often means they tend to cut straight to the point with little padding when the chemistry is right. Which it certainly is here.
When an album kicks things off with the two banging singles, then I usually start to worry that there is a risk of shooting the load a little early, but in this instance, I need not have lost anymore hair than time and genetics have already taken so cruelly from me. These two are obvious singles to be fair, particularly 88 Crash, which has all the anthemic hallmarks of a track that they will be closing their live sets with forever, but quality and consistency are in harmony here. This album is positively dripping with catchy anthems however…
…And so well delivered to boot. The arrangements are crisp, precise and well-tailored, but there’s enough freshness in the performance that this feels neither derivative, unoriginal nor stale. Whichever way you look at it, this is a sub-genre mostly played by and listened to by folks who have circled around the sun for a fair few turns to the power of ten, but when something rocks up feeling that it just fell out of this decade as well as any since the mid-80’s so effortlessly.Mainly through that reliable formula or good musicians, who know what they are doing and who know how to trim the fat from their work what you end up with is this: a strong, well-crafted and refreshing record for a band who are rapidly becoming a firm favourite. 10/10
A View From The Back Of The Room: The Hara (Spike)
The Hara & Profiler – The Adrian Flux, Waterfront Studio, Norwich, 06.03.2026
There is a specific, claustrophobic magic to the Waterfront Studio. When you pack a couple of hundred people into that upstairs space, the boundary between the band and the audience doesn't just blur, it disappears entirely. It’s a venue that rewards the bold and exposes the half-hearted. Last Friday, it played host to a bill that felt like a deliberate middle finger to genre boundaries, moving from the tech-heavy emotion of Bristol's Profiler to the high-octane, theatrical defiance of The Hara.
The evening began with Profiler (8). In a world where nu-metalcore is often reduced to a series of predictable breakdowns, this lot manages to find a much more vulnerable frequency. Their set was a masterclass in balance; the guitars were thick and bruising, yet they left enough air in the room for the emotive, almost fragile vocal lines to land. It’s a sophisticated sound, properly technical but never cold. They didn't just warm up the room; they filled it with a dense, atmospheric weight that felt far larger than the guys on stage.
By the time The Hara (8) took the stage, the humidity in the room had reached a tipping point. Josh Taylor and his lot don't just "perform" a set; they stage a minor riot. From the opening salvos of Autobiography and Faking It, it was clear that the "genre-less" label they wear is less of a marketing tag and more of a survival strategy. They move through alt-rock, pop-punk, and gritty industrial-tinged anthems with a frantic, heart-attack energy that refuses to settle.
The highlight of the night was the sheer, unvarnished charisma of Taylor. He spends as much time in the crowd as he does on the stage, turning the tiny Waterfront Studio into a single, kinetic entity. Tracks like Okay That's Me and Circus were delivered with a level of vocal precision that survived the chaos of the mosh pit. It’s a polished, professional act dressed up in a "fuck you" attitude.
The setlist was a relentless march through their latest material, peaking with the roar of Afterlife. Without the need for massive screens or arena-sized pyrotechnics, The Hara proved that they are one of the most dynamic live acts currently working the circuit. They have a gift for making every person in a two-hundred-cap room feel like they are part of something exclusive and dangerous.
It was an honest, exhausting, and utterly brilliant bit of work. The Hara provided the proof that you don't need a stadium to create a massive moment. This was a reminder of why we bother with small-club shows in the first place, loud, intimate, and massively important for both bands and the people who want to see them.
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Outlaws Of The Sun
Catapult The Sun - MARTYRDOM (Album Review)
Release Date: March 12th 2026. Record Label: Self Released. Formats: DD.
MARTYDROM - Tracklisting
1.A Pale Stine 07:31
2.Powerful Dark Objects (Mind Bender) 06:03
3.Insanity Has Thin Walls 05:48
4.Noon Creeper 03:15
5.The Word Made Flesh 04:40
6.Black Sails On Wine-Dark Seas 07:18
Review
Instrumental Doom/Stoner Metallers Catapult The Sun return with another cautionary tale of gloomy heaviness with their latest album MARTYRDOM. The band have evolved from their previous EP’s with a sudden shift into Atmospheric Sludge and Post-Metal heaviness with echoes of PELICAN appearing very early on. Catapult The Sun bring a foreshadowing style of Post-Rock, Prog Metal and Ambient Metal into their overall sound whilst remaining slightly apprehensive when bringing a heavier dynamic to their creative outlook for the album.
The album does feel slow paced at times but this allows the band to bring some creepy elements into their music but adding a cautious Sludge Metal appetite which you can feel and fully appreciate within the excellent opening track A Pale Stine. The song does take time to fully find its footing but once that happens there’s no stopping Catapult The Sun evolving into more OCCULT and GOTHIC based sound.
Though fans of Clouds Taste Satanic will find much to enjoy here. I would even mention BONGRIPPER as well with Catapult The Sun moving into quite bleak sonic based territory on the majority of the tracks especially Powerful Dark Objects (Mind Bender), Insanity Has Thin Walls and Black Sails On Wine-Dark Seas.
MARTYRDOM can be too ethereal and sometimes out there but that’s one of the best things about the album with Catapult The Sun never playing it safe. The record can be quite fantastical and methodical at the same time with the band experimenting with different psychedelic sound effects and cosmic atmospherics which perhaps impresses the most on Powerful Objects (Mind Bender).
Every song is superbly structured with a great balance of “LOUD vs QUIET” dynamics which allows a certain Post-Stoner energy to fully appear and immerse with the dominant Instrumental Doom/Stoner Metal sound that is the band’s main weapon of choice to impress listeners with.
There’s a lot going on with this record and I recommend you give this album a few listens to fully understand and digest with Catapult The Sun exploring many different levels and areas of the whole Instrumental Metal world. The album is quite moody and action-packed as it draws closer to it’s natural conclusion that’s set against a wave of emotionally charged musical performances from the entire band.
MARTYRDOM is a richly engaging and deeply powerful album that delves into the heart of instrumental music and allows Catapult The Sun to create their own signature style of music to impress the underground scene with.
Words by Steve Howe
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Doom/Stoner Metallers Sea Of Snakes Release New Single “Behind The Mask” — First Taste of Upcoming EP Magmantus
Los Angeles doom metal outfit Sea of Snakes have released their crushing new single “Behind The Mask,” out now on all streaming platforms.
The track serves as the first preview of the band’s upcoming EP Magmantus, scheduled for release April 2.
Built on sludgy, riff-driven foundations, “Behind The Mask” blends the weight of doom metal with the grit of stoner rock and flashes of ’90s heaviness. Driven by pounding drums, thick low-end and melodic yet powerful vocals, the song delivers a dark and confrontational atmosphere that reflects the band’s evolving sound.
Lyrically, the track explores themes of hypocrisy and false virtue — questioning the figures people blindly idolize and the moral façades that often hide self-serving intentions.
Formed in Los Angeles in 2021 by guitarist Jim McCloskey, Sea of Snakes quickly established themselves in the underground heavy scene. The band debuted with the EP World on Fire, and after several lineup changes solidified with:
Line Up:
Jim McCloskey – Guitar
Greg Noriega – Bass
Chris Lowbridge – Drums
Jason Busiek – Vocals
Drawing influence from decades of heavy music — from early ’70s psychedelic rock to ’80s metal and ’90s grunge — Sea of Snakes channel those elements into a modern doom sound rooted in thick riffs, dark atmosphere and raw energy.
“Behind The Mask” offers the first glimpse of the band’s upcoming EP Magnamantus, a release that further expands their sonic approach while staying grounded in heavy, riff-driven songwriting.
Listen to the single here: Spotify | BandCampLinks
Skyraker - Society Of The Triode (EP Review)
Release Date: March 06th 2026. Record Label: Self Released. Formats: CD/DD
Society Of The Triode - Tracklisting
1.Surreal p1 01:25
2.Surreal p2 05:25
3.Barrel 03:38
4.It's A Lie 04:00
5.Shifting Gears 03:30
6.Gremlin 04:20
Members
Jason Baker (vocals / guitars)
Ben Carey (vocals / bass)
Bryan Fairfield (vocals / drums)
Additionally featuring:
Matt Sulikowski (sax and flute on Surreal p1 and Surreal p2)
Matt Jones (keys / synth on Barrel)
Review
Society Of The Triode is the latest EP from Psych Stoner Rockers Skyraker who impressed me with their highly original and superbly eclectic debut album Stars And Screams. This EP continues a similar creative journey with their wicked blend of Psych, Space Rock and Prog Rock contained within the whole EP. Though, Skyraker introduces a slight Jazz and Experimental core to their music which is evident within the excellent two opening tracks of Surreal p1 and Surreal p2.
The introduction of sax and flutes featuring a great performance from Matt Sulikowski did take me out of my element when first listening to this but it’s superbly surreal and I wished Skyraker allowed more elements of this style of music to appear on the whole record. However, it’s their show and they know what’s best for them. Even the vocals are quite different with a certain left-field charm to them. The sudden influx of Hard Rock and Stoner Rock melodies changes the game and allows the record to be more closely to their debut album.
The rest of Society Of The Triode focuses upon experimental rhythms and increasing reliance on familiar Stoner Rock/Metal structures but Skyraker at least try different SONIC passages that remind of bands such as NEBULA and MONSTER MAGNET with a fucked up rebellious streak appearing within the lyrics. Other great tracks to check out are Barrel, Shifting Gears and Gremlin with mood exploring Grunge, Electronica and Indie Rock.
When everything is said and done, Skyraker have released a superbly realised vision of modern day Stoner Rock/Metal that stands on its own creative merits especially when they play a freakier and aggressive style of music.
Excellent and Highly Recommended.
Words by Steve Howe
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GHOROT - Obsidian (Album Review)
Release Date: April 10th 2026. Record Label: Lay Bare Recordings / King Of The Monsters Records. Formats: CD/DD/Tape/Vinyl
Obsidian - Tracklisting
1.Void Drinker
2.Lascaux
3.A Seeping Infinitude
4.Beneath the Soil
5.Lafayette
6.Deluge
Members
Carson Russell - Bass Guitar, Acoustic Guitar, Vocals
Brandon Walker - Drums, Vocals
Chad Remains - Electric Guitar, Amplifiers, Vocals
Review
Blackened Doom/Sludge Metallers Ghorot return with their impressive third album Obsidian which is perhaps their most daring, heaviest and darkest record to date. The band go all in with their Blackened Doom Metal vision which goes into slight Post-Metal territory with its Progressive themes making an early appearance within the outstanding opening track Void Drinker, The vocals are a mixture of harsh growls, death chants and some clean vocals which are quite easy to understand even when they’re all singing over each other.
Though, that only tells half of the story as Ghorot brings a wicked Stoner Metal influence which allows the band to play some truly epic instrumental solos with a fresh modern day Psychedelic element despite the apocalyptic surroundings and filth ridden chaos happening for the majority of the album.
There’s a grizzled and determined commitment from Ghorot to provide some of the heaviest and filthiest extreme sounds on the record but they still bring a wonderful sense of rhythm and melody to the listener. You feel this sense of musical wonder on tracks such as Void Drinker, Lascaux and A Seeping Infinitude with that violent EXTREME energy being played through every angle.
The album does become ever more creepy and violent with each passing moment with Ghorot venturing into abrasive SONIC METAL landscapes on the later stages of the album. The vocals are quite challenging at times with each band member having their own individual chance to take the spotlight from each other but it works superbly well as you’re giving a unique perspective when they all suddenly appear or change at will.
If you ever wonder what HIGH ON FIRE would sound like if they added elements of BLACK METAL into their music then I urge you all to listen to the standout tracks of Lascaux, Beneath The Soil and Deluge though that’s my own thoughts and impressions. You can also hear bands such as THOU, NEUROSIS, MASTODON and PRIMITIVE MAN but Ghorot always keep to their own musical vision and create their own great blend of music which will have you coming back for more punishment long after the record has finished.
Obsidian is perhaps the album that allows Ghorot to be truly considered as a force to be reckoned with. As this is their most impressive record to date on all counts. This is an exciting blend of crushing grooves and punishing beat downs that can be quite complex at the same time. Ghorot never shy away from touching upon hard-hitting subjects whilst putting the listener through a pulsating and brutal workout of EXTREME levels of DOOMED OUT HEAVINESS.
This is a masterclass of Blackened Doom/Sludge Metal. End Of.
Words by Steve Howe
Thanks to GHOROT for the promo.
Obsidian is available to buy now on CD/DD/Tape/Vinyl via Lay Bare Recordings, King of the Monsters Records, and GHOROT.
Links:
DOOM METALLERS SPIRIT ADRIFT RETURNS WITH NEW SINGLE "ETERNAL CELESTIAL ENERGY"
Heavy metal doom giants SPIRIT ADRIFT have returned with a cathartic, crushing new single, “Eternal Celestial Energy,” out today via 20 Buck Spin.
The long-awaited new music from revered songwriter and frontman Nate Garrett follows the band’s critically acclaimed 2023 album Ghost at the Gallows and arrives ahead of their March 20th appearance in San Antonio at Paper Tiger alongside Crowbar and Eyehategod.
Marking their first new release in three years, “Eternal Celestial Energy” signals SPIRIT ADRIFT’s highly anticipated return to the forefront of doom and offers a glimpse of what lies ahead in the band’s next monumental chapter.
Stream "Eternal Celestial Energy": Youtube | Bandcamp | Spotify | Apple Music.jpg)
About SPIRIT ADRIFT:
Spirit Adrift’s music is an alchemical sonic melting pot that combines classic doom, traditional heavy metal, and the intensity of old school thrash, forging a unique and forward-thinking sound. Led by founder, multi-instrumentalist, and frontman Nate Garrett, the band has built a reputation for towering riffs, anthemic songwriting, and emotionally charged performances rooted in both personal struggle and defiant perseverance.
Since emerging in 2016, Spirit Adrift has released a string of critically acclaimed albums—Chained to Oblivion, Curse of Conception, Divided by Darkness, Enlightened in Eternity, and Ghost at the Gallows—earning praise from outlets such as Decibel, Revolver, Metal Hammer, and Kerrang!, who ranks the band among the best of the decade.
Spirit Adrift has toured and shared stages with the likes of High on Fire, Yob, Crowbar, Corrosion of Conformity, Midnight, and has appeared at major festivals such as Download, Hellfest, and Psycho Las Vegas. Their live shows are visceral and cathartic—equal parts power and conviction.
Follow SPIRIT ADRIFT:Website | Instagram | Bandcamp | Spotify | Apple MusicThanks to Secret Service Publicity for the details.
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Stoner HiVe
Stoner HiVe’s Top 10 Most Listened Artists Last Week…
Stoner HiVe’s
Top 10 Most Listened Artists Last Week…
Mientras Las Abejas Duermen
Lord Of Confusion
Bad Mothers Union
Phantom Druid
16
Grave Disgrace
OogWei
Skip Danko B-Movie Road Club
Desert Colllider
EleanoreMorning everyone! Another week stretches out before us as we look back to a decent week when it comes to Stoner HiVe activity. We look forward to doing the FULL ALBUM PREMIERE this week for Bad Mothers Union and we have a few reviews going up for sure. Last week we did a Video and Single Premiere for Lord of Confusion and managed to write a few words about the Witching Buzz’s Tribute albums and that amazing Mientras Las Abejas Duermen album. We mentioned the new single by supergroup Bear Bones and Onioroshi, who are currently on tour through Southern Europe. And started the week by publishing a few thoughts on the new Kal-El record Astral Voyager Vol.2. And besides all that we were honored to receive words written by our own poet Ronny Dijksterhuis about the thrilling new Cowboys & Aliens album and Madman Tony Maim graced us with a words on the new Belzebong. So, enough silly words to read and great music to listen to! Check’m out, check’m all out!
Witching Buzz’s A Tribute To…
Witching Buzz’s A Tribute To…
As Witching Buzz and Grand Sounds Promotion announce the third installment in their A Tribute To series, we realized we never mentioned the earlier two. And although we now look forward to hearing all those bands pay homage to Sleep on the soon to be released A Cathedral of Smoke: A Tribute to Sleep, we can still dive head first into the renditions of all those wild Ozzy Osbourne songs from the second A Tribute To and everything related to Kyuss from the very first one…
The journey of praise started with A Spaceship Landing: A Tribute To Kyuss. And let’s be honest, Stoner HiVe, you, me, would not be here if it had not been for that legendary band. And the cover album before you right now will in no way add anything to that legend. And if you are of the mind that all Kyuss songs are sacred relics and should not be messed with, you might want to keep on walking...
For everyone else, are you ready for a fuzz-drenched playground where underground bands tear into these classics, keep their ear to the Kyuss beat or reshape them in their own dusty image? Sonic Wolves for instance rip through Thumb with swagger and sharp guitar flair. While Rhino stays close to the original Green Machine and on some level of course therefor does the most homage. Poste942, the main man from the band also responsible for the artwork of the series, give Demon Cleaner an eighties touched tumbling over and over kind of groove. Isaak’s Odyssey version hits every riff out of the park and so does Fuzz Evil and their version of Supa Scoopa and Mighty Scoop. Versions that could one day make the world famous Stoner HiVe posts named The Cover That Could. Grin! But yeah, you will probably have your own favorite after listen to all twenty Kyuss songs done right. And perhaps a new favorite band if the names that riff you wild, where unknown to you before this session… So, open a can, find a cactus and let the desert spin around you…
Iron Man’s Anthem: A Tribute to Ozzy Osbourne followed last February. It’s only been a bit more than half a year since the Legend gave us his final bow. And on this tribute there are twenty-two bands paying homage to the great and only Oz. And where the Kyuss tribute featured bands I already knew, this one sports some lesser known ones. And that is perhaps another reason why these albums are fun, you might just discover a band and dive into their own work after hearing a fine rendition of a famous song. Even though it might be a different reason than expected, the Kazoo-laced and Elvis-infused madness in second track The Wizard for instance. But that’s of course what Heaven and Hellvis from Scotland is all about. Luckily this is followed by a faithful rendition of N.I.B. by Rainbow Bridge and puts you back on track to enjoy the album. A more stoner and sludge approach to Paranoid by Corruption out of Poland hits the spot right. Poste942 is still roaming around in a cloud of the eighties, but this time more metal and absolutely compelling with their No More Tears version. Will every of the twenty two renditions keep you from immediately turning to the original, absolutely not! But most of them are definitely full of passion and sound like they wanted to do right by the one true king. I guess there’s enough proof here for all that reckless devotion and their love for the way in which the man rattled your bones, made amps explode and bats take a detour whenever and wherever the ominous sounds of Black Sabbath were heard…
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Captain Maoos
Belzebong - The End Is High
Belzebong - The End Is High
Heavy Psych Sounds – 2026
Psychedelic, Stoner, Doom, Sludge
Rated:Hey you! Yeah, that's right .... you in the corner with the blank stare and drool coming out the corner of your mouth. You look the sort of person who would be into Earthless .... yep me too. I guess you like to light up a "doobie " and jerk off to Sonic Prayer .... yep, me as well.
Well, Belzebong are a much heavier version of the afore mentioned band - which means hard hitting riffs of heavy freakout acid guitar brilliance. Belzebong play instrumental slabs of heaviness and the question has to be asked ... is there enough going on to keep your attention wandering due to lack of vocals? In this case, the answer is a resounding yes!
The riffs are sharp and fuzzed, combing sun-baked desert sounds but with a heaviness drawn from sludge. Drones and atmospherics throb underneath the songs bringing in some space-rocks undercurrents. Songs are tight and varied always with enough variation within to stop your attention wandering. For me, this is a very early addition to my AOTY.This is the good shit.
(Written by Tony Maim)
Video and Single Premiere - Lord Of Confusion - Wander (Live)
Video and Single Premiere
Lord Of Confusion - Wander (Live)
We’re honored to premiere the new video Wander (Live) for the Portuguese Doom Metal magicians Lord Of Confusion. Taken from their The Weight Of Life album releasing on March 20th through Morbid And Miserable Records and Larvae Records…
So… Enter the maelstrom! For the raw, unhinged chaos of Lord Of Confusion erupts in Wander (Live). It’s the second and final single from their new record releasing next week. The video was captured on grainy VHS during their Portuguese descent with the La Casa Fantom duo out of Norway. Twisting riffs writhe like molten metal, dual vocals claw from the void, and drums thunder like a collapsing cathedral. A haze of sound beckons listeners to wander through fevered corridors of intensity, interpretation, and delirium. Answers are absent; and we shall only be only governed by sensation. For those daring enough to follow, this is a live odyssey of noise, fury, and unearthly wonder… An invitation to lose yourself in the heart of confusion…
Press play on Lord Of Confusion’s Wander (Live) now and get ready for the full The Weight Of Life album dropping om March 20th !
Words from the band:“Wander is the second and last single from our new record. In this song you can listen to us pulling from various influences, from the guitar riffing to the double vocal duty, drumming, etc... It truly showcases what we are doing and what this record is about. Hope people like it, and understand what we are all about, and most importantly, that people do their own interpretations. If you're looking for an answer in our songs, you are not going to get that.”
PR Wire:Behold! The psychedelic doom metal nightmares of Lord Of Confusion have been made manifest once again! Their second full-length album The Weight of Life is cloaked by a heavy fog, but beckons listeners to enter with an unnatural call. For those with enough curiosity to follow the haunting sound, unearthly wonders await: eerie, shrieking keyboard melodies, bewitching, wailed vocals, deep booming guitar riffs, and the terrifying atmosphere of a mausoleum during an earthquake.
According to the band: “The Weight of Life’s first ideas were thrown around somewhere in 2023, and we finished writing those songs in late 2024. A lot has changed inside the band and in everyone’s life, so this came out as a way to mark a new stage for everyone. The recordings took place in January of 2025 at garage16.studio, and the last details were done later in March that year. A lot of work was put into the mixing stage, and the master was done by Chris Fielding himself. This record shows a big step forward for us. The songs present more movement, more noise, and more influences without ever losing our signature sound. The band is super proud of it, and we cannot wait to show it to you.”
The Weight of Life is being released as a collaboration between Morbid And Miserable Records and Larvae Records. Morbid and Miserable will be printing tapes, Larvae will be pressing CDs, and both are working together on a double LP. All formats are scheduled for release on March 20.
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Mientras Las Abejas Duermen – MLAD
Mientras Las Abejas Duermen – MLAD
Estudio Mazmorra / Kozmik Artifactz – 2026
Rock, Psych, Stoner, Doom, Prog
Rated: *****In the sun-baked hills of southern Spain, a secret stirs. Hailing from Cadiz, Spain, we’ve been keeping an ear open for everything these three produce ever since we first got wind of their first single El Camino Silencioso. The name alone, Mientras Las Abejas Duermen, has a magical dream like quality. And as you listen, you hear that this trio of wandering alchemists of sound, have crafted a treasure. Their debut album, whispered and howled in Spanish, carried on riffs that feel older than the land itself, whispers of a path your heart has always known. Each song a step along this once hidden path, moving from meditative valley of slow hypnotic grooves, into towering peaks of doom-lade intensity. El Camino Silencioso was but the first map, as the full album now reveals the landscape in its entirety, unfolding through improvisation and collective instinct, riding forward on riffs that feel like hoof falls or watching them crash over forgotten ruins like a storm meant to steer the wayward spirit into the right direction. As if the music knows the way better than any guide ever could. Psychedelic textures shimmer like mirages, progressive turns surprise like sudden clearings in a forest, and the subtle Andalusian air present on all compositions, but even more on the two Cruz interludes and ending Cruz de la Viñuela track, warms every bit of the traveler’s soul. The album feels like mystery turned sound and like a hidden treasure for everyone who dares to follow its path. And as some of you might know, following that path will lead you to your own personal and unique destiny. So fear nothing, even when the music storms and swells, the path of sound is truly alive and it will know the way…
(Written by JK)
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Screaming From the Heavy Underground
California Doomsters Sea of Snakes Release "Behind the Mask" Single Ahead of Upcoming Album
Sea of Snakes has released Behind the Mask, the debut single from their upcoming album Magmantus (slated for release on April 2, 2026).Says the band:"We wrote this track as a reflection on the figures that try to tell you how to live and dress. The people that try to hold you back. The people that tell you what you can and can't say.The self-serving, the ones hiding behind moral façades. We see through it. Hiding behind the mask. We personally don't need that crap.Riffs first.No polish. No sugarcoating.Turn it up. Stay heavy."Sea of Snakes - Behind the Mask
Somehow, in spite of the rumbling doom riffs and stormy drums that Behind the Mask opens with, the track feels especially raw, open, and ever-so-slightly stripped down. In this way, it's already apparent that Sea of Snakes intends to be unapologetically honest with their listeners about a very relatable topic, all while staying true to their trademark weighty sound. That sense of openness really blooms near the song's midway point, as Jason Busiek's vocals (giving a stellar performance as always) take off and soar triumphantly, and the instrumentals begin to follow suit. By the song's end, there's a keen sense of victory over those masked hypocrites, as well as a newfound sense of confidence and connection among those that choose to stay true to themselves and keep their eyes open. While Sea of Snakes always packs a powerful, doom-laden punch, Behind the Mask is particularly heavy in a very meaningful way.Be sure to give Behind the Mask a spin for yourself, be on the lookout for Magmantus to drop VERY soon, and show this incredible band some much-deserved love!More About Sea of SnakesSea Of Snakes is:Jim McCloskey – GuitarsGreg Noriega – BassChris Lowbridge – DrumsJason Busiek – VocalsYou can follow Sea of Snakes and listen to their music at the following links:
Best New Releases February 2026
I'll be the first to admit that I didn't have high expectations for February, but the shortest month of the year ultimately delivered in a big way when it comes to new releases in the heavy underground. In fact, I found myself scrambling to keep up with them and, in the process, I'm sure I missed a few! Here is the cream of the crop, in descending order:12.) L'Ira del Baccano - The Praise of Folly
Self-described "doomdelic instrumental space prog rockers" L'Ira del Baccano are back with their latest sonic narrative: The Praise of Folly. Here, the quartet continues to deliver their trademark blend of stoner rock, psychedelic rock, prog, space rock, and doom. The Praise of Folly is composed of four tracks, each of which unfurls slowly and ethereally, that is, until it inevitably encounters a fierce bout with the weighty tones of doom. My favorite thing about the album (and about L'Ira del Baccano as a band), is their ability to approach heavier music with a sense of delicacy - taking great care to include soft nuances, complex intricacies, and my personal favorite: captivating spacey moments that add rich details to their well-rounded soundscapes.Favorite Track: Stigma11.) Eleanore - Between Here And Anywhere
On their full-length debut Between Here And Anywhere, Eleanore doesn't attempt to reinvent the wheel, something that I often appreciate. The band retains their (noticeably more polished) signature sound, continuing to utilize classic stoner rock intertwined with vibrant alternative rock and murky grunge. This time, some whispers of trippy psych and soulful blues make an appearance here and there.True to form, the mood of Eleanore's sound vacillates between a pensive, expressive state and feel-good energy via a catchy stoner groove. However, the contrast between these dispositions is infinitely starker than on the band's previous works, as the band offers up their grittiest tones and rawest emotional expression yet.Eleanore's music likely encompasses the very sounds that filled your teen/young adult years if you're anything like me, but the band's lyricism and expression are marked by the self-reflection, regret, and awareness that time is limited that can only come after a lifetime of good, bad, and ugly experiences.You can read my quick review here.Favorite Track: Time10.) Weedpecker - V
At this point in their career, it only makes sense for Weedpecker to pause and reflect, which is exactly what they did on their fifth album V. While the band continues to expertly meld the heavy and the light on this release, blending rumbling riffs and delicate atmospheres into a homogenous, spellbinding cocktail, V is particularly ethereal. Throughout the album, gossamer threads weave intricate patterns, often passing through some captivating spacey moments, gradually building in density. Not long after reaching peak fortitude, these bulwarks finally give way to a cathartic overspill of emotional expression. The result is an undeniably dreamy but deeply immersive album that, for Weedpecker, encompasses their most personal work to date.Favorite Track: Mirrors9.) Mount Palatine - Wormholy World
Finnish trio Mount Palatine brilliantly showcases their ability to expertly blend contrasting sonic textures on their new album Wormholy World. For this sophomore release, Mount Palatine combines malleable psychedelic rock with the coarse textures of stoner metal and the steely resilience of progressive metal, topping it off with raw and unfettered vocals that strain under the authenticity of their expression. Ultimately, this combination creates six longer-form tracks that have a tendency to emulate the images of desert landscapes their sound generates, delivering deceptively serene beauty, intimidating vastness, unrelenting ruggedness, and hypnotic oases...a moving kaleidoscope of the heavy and the light.Favorite Track: The Sands8.) Black Toaster - Astrobird
On their latest EP Astrobird, Swiss stoner/heavy rockers Black Toaster deliver their most sophisticated sound to date. The band's increased focus on heavy rock creates a timeless, warm atmosphere that's beautifully emphasized by their analog production. Meanwhile, vibrant alternative rock gives the EP a modern and catchy brightness, while punk and stoner rock deliver a characteristic gritty soundscape. Perhaps best of all, these styles effortlessly bleed into each other and combine so seamlessly that they're often hard to pick apart - the mark of a well-rounded signature sound that Black Toaster has truly made their own.You can read my review here.Favorite Track: Astrobird7.) From Yuggoth - and ever since my paths were crooked and forsaken
From Yuggoth is a doom metal trio from Dresden whose colossal sound is beginning to make some seismic waves here in the stoner/doom underground. The band employs a dense and rumbling brand of doom as their base, a foundation they adorn with epic fantasy. Their repetitive structures are utterly trance-inducing, but the jarring intensity of the band's cataclysmal eruptions keep the listener on their toes. Named for a Lovecraftian planet, From Yuggoth's formidable sound is made especially unique by an understated but discernible infusion of spaciness. You can get lost in the intoxicating heaviness on From Yuggoth's latest album, and ever since my paths were crooked and forsaken.Favorite Track: Deathlike Living (We Are Alpha)6.) Stargo - Violet Skies
Stargo brings us their most metal-forward sound to date on their new album Violet Skies, offering up emotionally charged bursts of gritty intensity. At the same time, the band holds fast to their roots by peppering in their trademark spacey psychedelia, alternative rock energy, and stoner rock groove. The result is an evolved but authentic sound that is by far Stargo's most expressive yet.You can read my review here.Favorite Track: The Great Machine5.) Hermano - Clisson, France
Not to be outdone by the sampling of strikingly high-quality live recordings from Hermano on when the moon was high..., Ripple Music has bestowed an entire live album from the legendary stoner/desert rockers upon us: Clisson, France. The album features twelve live tracks from Hermano's 2016 performance at Hellfest, the pulsing notes of which reverberate through your ears and into your brain with velvety smooth quality and palpable energy. This performance marked a reunion of sorts for the band, their first time playing live together in eight years. In spite of having only a few hours to rehearse after arriving in Clisson, Hermano hit the stage with electrifying dynamism, the chemistry between band members, as well as between the band and the audience, evident in every deliciously fuzzy note. I'm not big on live albums - but Hermano is always an automatic exception.Favorite Track: The Bottle4.) Kröwnn - Santa Somnia
Kröwnn has been releasing music since 2013, establishing a signature sound rooted in "dark fantasy doom" with stoner metal and heavy psych influences. Heavily inspired by fantasy movies and novels, art, and even video games, Kröwnn's albums are always bewitchingly conceptual and unfailingly epic.For their fourth album Santa Somnia, Kröwnn adds some well-placed classic and thrash metal influences to their music, along with a few punky moments. This of course only adds even more depth to the band's already immersive brand of storytelling and creates an even heavier, tougher sound.Favorite Track: You Died3.) Motorpsycho - The Gaia II Space Corps
Nearly a year to the day after the release of their monumental self-titled album, Norwegian progressive chameleons Motorpsycho are back with yet another stellar collection of spellbinding tracks: The Gaia II Space Corps. While last year's album clearly marked a new beginning for the band, featuring a wide variety of styles and moods delivered in a noticeably expressive manner, The Gaia II Space Corps feels a bit less personal. By that, I simply mean that this album sticks much closer to its conceptual framework, never straying far from its retro space epic theme. Motorpsycho also adheres mostly to a 70s heavy rock-infused style of prog this time around, filling the vibe to the brim with retro groove. True to form, the band's cinematics and stylistic nuances remain razor sharp, relaying a vivid and fast-paced tale that only taps the brakes for two dreamlike interludes that serve to illustrate pivotal moments in the story. In a nutshell: The Gaia II Space Corps is Motorpsycho Theater at its finest.Favorite Track: Black As Night2.) Oath - Unteach
Unteach, the new album from Greek doomsters Oath, is a gem from start to finish, offering up a solid slab of classic proto doom sound that could easily have teleported straight in from the genre's peak in the mid-to-late-1980s. You'll hear the thick and hazy riffs we all know and love punctuated by some energetic bursts, occult-themed lyrics, and an appropriately frantic vocal style (think Witchfinder General). Best of all, just when you think you've heard the top song on the album, it only gets better.Favorite Track: Alucarda 771.) Fátima - Primal
Parisian grungy doom rockers Fátima are back with Primal, their fifth album and the final chapter in "The Monsters Trilogy". Here, Fátima adds a plethora of dimension to their signature blend of doom, grunge, and psychedelic rock adorned with intricate Eastern influences. The band also experiments with incorporating some post-punk tones into their music, a fusion that fits in seamlessly while adding discernible moods throughout the album. In keeping up with the "monsters" motif, Fátima fashioned an imposing Sasquatch/Kong creature to grace the cover of Primal and utilized an ice age/prehistoric theme throughout. For me, this is representative of the base carnal instincts and darkness that exist within us all... We're not quite as sophisticated as we think, and that's ok.You can read my review here.Favorite Track: Dog HamThat's it for February! I hope you enjoy these albums as much as I did!Don't forget to check out this month's Doom Chart where there are forty albums waiting for you to discover, and as always, show your favorite heavy underground artists some much-deserved love!@doomcakes4 The Screaming from the Heavy Underground Best New Releases of February 2026: My picks for the best new underground stoner/doom releases. More info and Bandcamp links on the blog! #screamingfromtheheavyunderground #doomcharts #stonerdoom ♬ original sound - Doomcakes Note: You might notice that my typical YouTube video isn't here this time, and that's because I've decided to phase out my video reviews/monthly lists on that platform. I kind of knew this before I started uploading content to YouTube, but I've found the community there to be incredibly immature, closed-minded and, well...toxic...and that's something that I refuse to be part of! So, for the foreseeable future, you'll be able to find all of my video content in the form of reels and short videos on Instagram, Facebook, and TikTok. I will still keep my YouTube page active, post YouTube shorts about new stoner/doom singles, and will keep my "New Stoner/Doom" Playlist updated.
Celebrating 2k Follows on Insta with an Ask Me (Almost) Anything Post!
Hey! Thank you ALL soooo much for 2,000 follows on Insta and 1,300 on Facebook! 🌟 While I'm totally aware that's not a huge deal for many, it means a ton to me. When I first started my Instagram page about 3 years ago, I was just haphazardly posting pictures of album covers. I had no clue what the Doom Charts were and never would have dreamed that bands would be coming to me wanting me to review their music. Now here we are, and I have you all to thank!
To celebrate, I'd like to do an "ask me anything" post if it generates enough interest. You can ask me your burning questions by messaging me on social media (links at the bottom of this page) or sending me an email (doomcakes0130@gmail.com). To protect everyone's privacy, I will not be reading or otherwise giving out names or usernames when I answer questions. Also, I request that anything you ask is not super personal. 👍
So get those questions in, and once I have enough, I'll start answering them! 📬
Thank you all again for your support over the years; it absolutely means the world to me! 🤘🫶
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Wasteland Haze Releases "Wstlnd Messiah", the Final Single from Their Upcoming Album "Lonestar"
In preparation for the release of their upcoming sophomore album Lonestar, Düsseldorf-based instrumental trio Wasteland Haze has graced us with two outstanding singles so far: Pathfinder (The Great Hunt) and Handful of Dust. After a sneak peek via a "First Spin" on the German heavy underground promotion page Fuzzy Time (seriously, go follow those guys!), Wasteland Haze is officially releasing the final single from Lonestar: a moving, atmospheric track titled Wstlnd Messiah.While all three of these songs from Lonestar boast a definite post-rock vibe, Wstlnd Messiah is the most ethereal of the bunch, devoid of the grittiness found throughout Pathfinder and Handful of Dust. A hint of country-western flair can be heard in the mournful twangs of Wstlnd Messiah's intro, and some rumbling bass near the song's midway point reminds the listener that Wasteland Haze definitely knows their way around stoner/doom.Wstlnd Messiah starts in a very somber, bare-bones manner, builds into a triumphant midsection, and finishes with a brief, haunting spoken word part that signals a pivotal turn of events within the album's conceptual tale. In fact, the coolest thing about the singles Wasteland Haze has released from Lonestar is that each song is like getting another piece of the puzzle - building onto and clearing up the image of the story the band plans to tell with this album. Even better, every track is a communication that resounds so distinctly, it doesn't even require words as it sets its vivid scene.You can find Wstlnd Messiah on your favorite streaming platform beginning today (March 5, 2026), and you can also pre-order the vinyl version of Lonestar via the amazing Clostridium Records HERE.Be sure to check it out and show Wasteland Haze some big love!Follow/Listen to Wasteland Haze:A massive thank you to the band for the promo!
SFTHU Quick Reviews: Eleanore - "Between Here and Anywhere"
Eleanore is a stoner rock trio from Emden, Germany whose grungy proclivities first got my attention back in 2023 when the group released a very memorable Demotape. Eleanore's sound was designed around the various musical influences of each band member, ultimately resulting in a "wall of sound...that surrounds you with heavy riffs, catchy beats, and honest lyrics."The band's demo tape was followed by the EP Full Throttle In All Directions in 2024, all while Eleanore stayed busy playing live gigs and working on new songs. On February 26, 2026, the hard-working trio unveiled their debut fell-length album Between Here And Anywhere, delivering their most unfiltered sound yet.Eleanore - Between Here and Anywhere
Eleanore doesn't attempt to reinvent the wheel on Between Here And Anywhere, something that I often appreciate. The band retains their (noticeably more polished) signature sound on this album, continuing to utilize classic stoner rock intertwined with vibrant alternative rock and murky grunge. This time, some whispers of trippy psych and soulful blues make an appearance here and there.True to form, the mood of Eleanore's sound on Between Here And Anywhere vacillates between a pensive, expressive state and feel-good energy via a catchy stoner groove. However, the contrast between these dispositions is infinitely starker than on the band's previous works, as the band offers up their grittiest tones and rawest emotional expression yet.Eleanore's music likely encompasses the sounds that filled your teen/young adult years if you're anything like me, but the band's lyricism and expression are marked by the self-reflection, regret, and awareness that time is limited that can only come after a lifetime of good, bad, and ugly experiences.In a nutshell: On Between Here And Anywhere, Eleanore gives their listener a genuine and relatable take on the quintessential stoner sound.The official music video for "Rail Tracks"More About EleanoreYou can follow Eleanore and listen to their music at the following links:A massive thank you to the band for the promo!
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