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Musipedia Of Metal
Reviews: Wormwood, Negative Frame, Sinsid, The Vicious Head Society (Mark Young & Matt Bladen)
Wormwood - Å (Black Lodge) [Mark Young]
A two track EP from the Stockholm based melodic black metal act Wormwood. There is a subtitle, Contemporary Decay Of Stockholm, in two parts which suggests that this could be on the darker side. I’ll leave others to tell me if its darker than their other material. Their bio certainly suggests a lot, so let’s dive in.
YRA|Extas starts in a way that expected; no messing or wasted moments but without the traditional speed fest of blasting drums or manic vocals. Instead, it coasts along until they decide its time to show their teeth.This is a brief moment, manic until they fall back into slight chordal movements and melodic lines that play off each other. The song length should have clued me that this was going to be an exercise the band showing off their talents in being able to fill that space by doing whatever they want.This is fine, but once they kick it into gear it becomes something else. The trouble is that they feel the need to pull that speed back once more and dive into the cinematic side of their sound. This might mean more to me if I’d heard more by them prior to this, but hey ho. Comparing this against other black metal I’ve reviewed recently, this sounds like what could be the higher end of that movement.Other bands are approaching it from maybe one perspective, and the music they are releasing is good, don’t get me wrong but there is a huge amount of confidence on display here. Here is a band that have touched down in a number of different lanes and are closing this out with a brilliantly pitched lead break.This is quality, and Purposeless Geometry starts with what sounds like a choir singing, but I think it’s a guitar tracked many times. It’s like night and day compared to YRA, just another facet of a band that grows more and more interesting as this song unfurls.I mean if you dived into this at around 4 minutes 40, you could be forgiven for thinking you were listening to a completely different style of music. Its as far removed from extreme metal and then they kick the legs from under you and throw in the guttural vocals to provide that extreme edge, working as a counterpoint to the music underneath it.And that is all she wrote. Two songs, 16 minutes of frankly spellbinding music. 9/10
Negative Frame - Break The Ice (Blood Blast Distribution) [Matt Bladen]
The UK has become a center for bludgeoning metallic hardcore in recent years, with bands like Malevolence, Guilt Trip and Pest Control all bringing the disgusting breakdowns, mechanized precision, some epic soundscapes, hardcore punk aggression and melodic elements that steal from early metalcore and melodeath.
Maybe it's the weather or the insane times we live in politically but bands have a lot to be angry about so there's and influx of bands coming from the underground grabbing on to the cultural zeitgeist that the whole metallic hardcore sound brings with it. A rage against oppression, injustice and a general feeling of emptiness that many may have with this world.
The extremity of the daily grind has informed this debut album from Negative Frame, a band born from the London skate scene who throw together their love of hardcore punk, thrash and groove metal on Break The Ice, their first studio record where these influences are very strong especially on tracks such as the lead guitar filled Cut Throat and the thrashing Cold Nights.
It's visceral and volatile as any bands who've emerged from the UKHC scene always are, songs with an intense communal spirit that are designed to get you moving, be that circle pits, stage dives or throwing high kicks, it's music for stages and you can feel the livewire energy bristling though every single note of this record.
However there's also maturity shown, more complexity coming through with a dedicated lead guitarist offering plenty of solos as a accoutrement to the stomping riffs on tracks such as the incensed Pay To Play, the steamrolling, fret sliding monster that is Rat Trap or the Pantera-like Heavens Blue which shows Negative Frame in whole new light.
Negative Frame are a band born from UKHC scene but Break The Ice, is a different beast with the lead guitar parts and the shift in tone towards more melodies in the latter part of the record, there's evidence that Negative Frame could ascend to the lofty heights of Malevolence and even beyond. 9/10
Sinsid – All That Remains (Pitch Black Records) [Matt Bladen]
Like traditional heavy metal with vocals that sound like prime Blackie Lawless? Then I’d suggest picking up a copy of All That Remains from Norwegian metal act Sinsid.
A band that is built on the foundation of Terje Singh Sidhu’s raw, gritty vocal, they’ve been playing classic heavy metal for 14 years and they’re a band who do thing traditionally. Those vocals, the twin axe riffs, melodic elements and choruses that are built to be shouted back by loyal warriors.
All That Remains is their fourth album and I’d love to tell you it’s a revolutionary piece but it isn’t, this is Sinsid doing what they do with a record of heavy metal that’s got grit and guts, elements of Grim Reaper, Helstar, Accept, Running Wild or any of the NWOBHM/Teutonic crew who play down tuned and tough heavy metal.
There’s galloping work outs like Breaking All The Rules and Sarcophagus, anthemic moments such as the Title Track some strutting street metal on the very W.A.S.P-like Running and the spooky The Horror (I Know), all delivered by a band who live for heavy metal and mixed/mastered to give it an authentic throwback sound of the bands I've mentioned.
If you like traditional heavy metal but a bit gnarlier then Sinsid's new record will get you pumping that fist. 7/10The Vicious Head Society - Call Of The Void (Crime Records) [Mark Young]
This is one of those albums where there is so much going on, a lot of it good, a lot of it very good and some of it that caused me to skip forward. I have to be honest with you, that prog isn’t my thing at all, but I would suggest that lovers of prog, especially with a technical skew this has (is that just prog?) will go nuts for this.
The Vicious Head Society hail from Ireland, with Graham Keane occupying the creative and driving force behind it. What the band does is provide an outlet for some of the most virtuoso displays of musicianship you will hear anywhere. Some of this is mind blowing, absolutely jaw dropping in execution and in some ways, they hit like a modern day Deep Purple – guitar/keyboard interplay that is something to behold.
Fractured is as good as example of what they can do – pummeling double bass, off-kilter riffs and some soaring cleans that are machine built to sit with each other, its difficult to put into words how good this sounds as opening blast. That technical approach I mentioned starts to creep in, but the real quality is in how this has been put together. You will know what I mean when you hear it, promise. And obviously there is the lead breaks that come in around 4 minutes. Just fabulous stuff.The Edge Of Time occupies the same space as Fractured, well built on a solid riff foundation and giving the vocals room to do their thing. I’m not doing the best in describing this but just take my word for this. I need to give a shout out to Nathan Max, who delivers a stunning vocal performance on this and deserves his moment in the sun. These two are belters, dripping with quality. When they are firing like this, I have to say I could listen to it all day long.It’s when they step off the gas a little that I find myself losing a little bit of interest, such as with Holding On To Forever which after a good start pulls back into what I call ‘soft track three mode’ and makes me skip onwards. The Tide picks up after this, and its back on track, admittedly with a familiar riff build. This one does have those mint chord changes to it, plus more of that stunning guitar work, it can’t fail.
And then they do it again, Ignite opting to lean into that softer style of things, which turns me off almost instantly. I think a lot of its is to do with my personal preferences, and the way that the band have pulled this together. Its their art, not mine but it didn’t work for me. The Void comes back stronger, but still feels light in its touch, driven more by synths which is no bad thing but for me something is missing.The Edge Of Time Pt 2 comes across like they want it to be an epic piece and certainly possesses all of those required ingredients but I can’t get on with it. That heavier approach that I locked into has gone, at least to this point and its likely that this will excite fans of the scene.So Speaking of epics, They close up with Distant Lights of Home, which is an epic piece of work. There are elements, that remind me of the Running Man’s soundtrack (the OG one) and yes, it does pick up after a soft opening section. I think that it represents the good and bad in one spot, and I guess that it fits into milieu that they are going for – a journey taking in a number of steps, changes in arrangement and the use of light/dark tones to get to where they need to be. I’ve said this before that some songs don’t need to be the length they are, and if you are going to do this make the song interesting all the way through.Whether this is derived from an extended jam that has been hammered into shape, I don’t know but depending on your tastes this will either be a climax of climaxes or something you skip onwards.For me, this is one of those albums that has some amazing moments on it that are undone. Again, you cannot argue with the virtuoso displays on here, or with the vocal performances. Had they kept that momentum built from the first two tracks, we would have been having a different conversation. 6/10
A View From The Back Of The Room: Repent Fest - Summer Bash (Heather Louise Ash)
Repent Fest - Summer Bash: Cro-Mags, The Oppressed, Rancour, Flubber, System Slaves & Bottom Of The Barrel, Corn Exchange Newport, 08.08.26
Repent Summer Fest saw Bottom Of The Barrel, System Slaves, Flubber, Rancours, The Oppressed and Cro-Mags take over the Corn Exchange for a day of Punk/Hardcore.Presented by South Wales Collective who strive to keep hardcore, ugly, real and for the working class.
It was my first time at the Corn Exchange and when I arrived the room was almost empty. Concrete floors, exposed pipes across the ceiling and accessible seating near the front of the stage, meaning those using it could still be part of the experience, something I don't usually see at a venue.
There had been some changes to the line-up before the event. Hoods were removed following footage of transphobic comments being made at another gig, with the bands touring alongside them also coming off the bill. It was quite clearly the right call.
Bottom Of The Barrel (7) got things started to a small crowd, with messages of support around gender, sex and race. “Don't be a cunt” probably summed it up best.They also spoke about free speech not meaning freedom from consequences, particularly fitting given the changes to the line-up. The crowd engaged well and they were a great start to the day. I'm looking forward to hearing more from them.
System Slaves (7) were next. I really enjoyed the vocals but just wished the crowd had pulled in and moved more like the other sets. There was plenty of space at the front, with most people choosing to hang further back.One young teenage girl clearly wasn't bothered, dancing away and enjoying herself regardless. With the age range already standing out to me, it was nice seeing someone so young getting involved and supporting the local scene.
Before Flubber (8) started I overheard someone say, “I'm gonna get Flubbed to fuck”, followed by “any band can become a verb”.
Then came the Cape Fear intro with “Councilor, Councilor I am as big as God and he is as small as I” being bellowed down the mic.
Once things got moving there was plenty of pacing and swinging arms back and forth in front of the stage, with members of the band smirking at each other clearly enjoying themselves.Someone two-stepped onto the stage before later being carried around over someone’s shoulders with their legs stretched out. One of those legs ended up against my back and accidentally pushed me along with them, so I unexpectedly went for a little walk through the crowd too, but that's hardcore/punk.
By Rancour (8), the crowd had picked up. Their energetic set came with messages of a "Freee Palestine" and the climate crisis, alongside a dedication to their friend. More people started moving as the set went on until arms and legs were flying and that familiar musky smell of trainers started filling the room.
The Oppressed (9). With age comes experience and they have nailed the art of storytelling, something I wish we had more of at shows personally. Each song had a story and everyone hung off every word.At times it felt really intimate, particularly when another man joined them on the mic. You could really sense the respect between them both. The love for these Cardiff legends was clear throughout the crowd as they sang along and moved their bodies to every song.
Cro-Mags (10) finished the day. Harley showed that age really is just a number. A few songs in and the shirt came off, with compliments about the shape he was in coming from several directions around me. Then there were the vocals, followed by fists pumping, bodies piling at the front and high energy throughout, with the rest of the band matching Harley's intensity.
There were messages of equality and peace between songs, with Harley thanking The Oppressed for being such a big influence. It was nice seeing that respect between two bands from different ends of the world who have both been doing this for decades.
Harley also spoke about how music connects us, and it was something I saw all evening . In-between sets I noticed people gathering outside, catching up with friends, making new ones, networking and sharing stories with each other. Inside there were teenagers alongside people who had been going to shows for decades.I'd watched younger and older generations throwing themselves around the same floor, while multiple generations of bands shared the same stage. People who perhaps would never have met if it hadn't been for this particular gig.
Reviews: Electric Callboy, Din Of Celestial Birds, Temple Of Dread, Niveous (Matt Bladen & Mark Young)
Electric Callboy - Tanzneid (Century Media/Sony) [Matt Bladen]
Tanzeid, which translates to 'Dance Envy' for you non German speakers, is the anticipated new record from German rave metal kings Electric Callboy.
Staring back in 2010 with a chillier name, since they've added the Electric moniker they've taken the world by storm with a style of music that is almost unclassifiable but also has a massive following from lovers of multiple genres.
Within the metal community there's just as many who love them as loathe them but you know what they're headlining both Waken and Bloodstock next year so what do the gatekeepers know? Their previous album Tekkno (2022) was a worldwide smash so they are looking to recreate that with this new record, their seventh studio release.
They're looking to do by taking more risks musically than on their other records, pushing the Electro pop choruses, techno hyperbeats, emo anthemics and metal breakdowns further to create a collision of sounds that swirl together resulting in a record of urgent, heavy music that's right on the pulse of modern metal while also taking them further into a genre of one.
Their meteoric rise can been witnessed by the company they keep as single Ratatata brims with Euro/J-Pop Dance energy and features Babymetal. Let The Good Times Roll however has a nostalgic pop punk bounce as The Offspring add their gang shout choruses. The pop punk influence doesn't stop there though as Still Waiting is an electo metal cover of the Sum 41 hit, the band where drummer Frank Zummo played until they disbanded.
Written while in tour, in backstage areas, flashes of studio time, Tanzeid feels like a band who are creating music for the stage, there's few breaks in the pace, but definitely a more mature way of songwriting that uses space to create more an impact than just audio battery, even on the metallics blasts of Heartclub there's huge clean choruses, as The Way You Are takes us into the realm of boy bands and close harmonies then explodes into the heaviest track here.
Tanzneid encourages you to dance like no one's watching and with the ten new Techno-metal bangers and four remixes you'll definitely be hearing these in an arena near you soon so start throwing shapes. 8/10
Din Of Celestial Birds - Takeoffs & Landings (Big Scary Monsters) [Matt Bladen]
Din Of Celestial Birds are Matt Benatan (bass/synths), Chris Core (guitar), Andie Gill (guitar/synth), Tom Hazlehurst (guitar) and Vince Knight-Schrijver (drums/percussion).
They've been making waves in the post rock scene for a while now and with their second record Takeoffs & Landings they've enlisted Joe Clayton and Brad Boatright to make sure it sounds the absolute best it can.
On their sophomore record the have made a concept album about "adventure, travel, and the journey of life" these journeys and experienced channeled though their progressive, vibrant, instrumental post rock. Three expansive, cinematic guitars sounds interplay, an insistent rhythm section and innovative synth patterns make sure that this Leeds based band are able to showcase serious emotion without vocals.
They've become post rock scene darlings after performances at Arctangent and across the UK and beyond, following their 2023 debut album The Night Is For Dreamers. This established their heart on sleeve style of instrumental goodness and directly influenced this follow up release.
Even though many of the songs were written before these ventures onto stages across the world they all are connected by a sense of discovery and the spirit of adventure, the melodies of the record soar high from the Title Track where clean and heavy combine and through the anthemic Marmoris that shimmers in post rock brilliance.
There's a cinematic quality here which does feel like the beginning of a journey, leading into From This Summit We Can See The Heavens, a more intense number that does feel like a climb towards the top of mountain, while there's a grooving detour on the thundering electro rock of When Suddenly.
The dreamlike You Are My Temple imbues itself with a sense of deep longing as Migratory Patterns follows repeating motif that mimics that of birds in flight with the guitars and bass, layering the approach until once again into harmonic brilliance.Takeoffs & Landings is a captivating listen, instrumental post rock at is absolute finest, dynamic, inventive and just emotionally powerful, it's stunning! 10/10
Temple Of Dread - Dreadspawn Dominion (Testimony Records) [Mark Young]
This is why I love reviewing music. Sometimes you get release that is the musical equivalent of meat and potatoes; filling, comforting food that does a job. Dreadspawn Dominion is little bit more than that, but I think you get the picture. Temple Of Dread formed in 2018 and have consistently dropping new music since 2019.
After the now customary acoustically driven introduction with Wings Of Immortality, we are driven headlong into a full bore death metal kicking, customary of these scene veterans. This is death metal with no time to lose, the title track flying in and setting us up for some old school goodness. This might not be groundbreaking in any shape or form but what it lacks in modern day subtlety or production it makes up for it in the brutality stakes.Born To Rot takes that delicious old school flavour and keeps it in check. Its like going back to the early 90’s and as a fan from then its great to hear. Its similar in execution to Left To Die, in the way that the songs are built from what feels like a fans perspective. I’m sure that it won’t have the same affect on everyone but sometimes you need your death metal to sound like its 1990. Riffs are the order of the day here, hard edged riffs and after all that is what we have come for.
Even when they slow down, and I use that description loosely, there is still a feeling of movement to it. Death March opting for that approach, building to one of those head shaking arrangements that will cause spontaneous head banging live. Its also controlled, deciding to avoid going down the expected route of blasting itself with increased speed. Blood Pyre does it in a similar way but breaks out the lead breaks so we forgive them for that.As good as these slower paced tracks are, an injection of speed is sorely needed otherwise that good work they have built up will disappear. Scorched By Cosmic Fire starts off slowly, but wisely they take the brakes off and increase the temperature accordingly, until they pull back at the end. Rites Of Blasphemy is then sent from the gods, a snarling 3 minute burn that injects that pace back into the album, recovering some of that momentum lost earlier. It is possibly my favourite track on this, just for its intent.Artisan Of Oblivion sees them back on solid ground, this time mixing tempo to suit but keeping that push going. You remember I said meat and potatoes? This is a prime example of that, Solid riffs, speed and aggression. Infernal Eternity sees them close out in a barrage of solid riffs and that medium crawl that has dominated elsewhere. All things being equal it is a suitable end for the album, one that provides a decent set of songs with a lot to like.
For me had they avoided that mid-album lull, and maintained that early intent, then I would have scored it higher. As it is, its still a strong album. 7/10
Niveous - Cult Of The Void Star (Hypnotic Dirge Records) [Mark Young]
If someone was to ask me what does black metal sound like, at least in 2026 then I would have no issue in putting Niveous forward as an ideal example of what it is supposed to sound like. This is their debut full length record, following in the footsteps of an EP (Endless Snowfall) which dropped in 2025. The fact that this is a (whisper it) concept album of sorts doesn’t change that view, and having such a strong focus in place does them no harm at all.
The six songs, all weigh in on a hefty side with only two of them coming in under 6 minutes. The rest are all six plus, so it gives you an indication of their approach on this. It takes in the classic tropes you would expect – frantic chord changes, the blast beats, the shriek style of vocals these are all in place, which is great what is added to that is a frigid energy that courses though each of these tracks as they unravel this concept story.Harbinger Of The Void Star is their opening ticket, a blast through those comforting black metal touches but done in their own style. It’s worth listening to this with decent headphones just to pick up on those little touches that are dropped in throughout. Its that kind of attentiveness to making this and the others such an engaging listen. Does it go on slightly too long, well yes and that is something that you can level at this genre, but when the riffs within are as a good it is something, you can put up with.Servants Of The Monolith is up next and seizes the opportunity to pummel you. Again, its style is familiar but, in their defense, trying to sound too dissimilar would move them away from their core audience. This one is built more from a speed perspective The question you have to ask yourself is does it grab you, is it interesting? The answer is yes. Even the lead break that comes in towards the end is spot on, flash without being overly technical. I’m not the greatest fan of black metal, but it doesn’t mean that I can’t appreciate good metal when I hear it and there is plenty of it on here.From Frostborne Resistance and its sing-along refrain that should be quality live through to Northbound, each track has a forward thinking approach hammered into it. I’m sure that there will be those that will decry them as not being from Scandinavia, but what are you going to do? They write good extreme metal that ensures that the key objectives are met: Its aggressive, its fast and sounds like they enjoyed making it.Boreal Stronghold is the last track and brings those core requirements one last time. This one has this rapid build to it, which still allows for little flourishes to be observed right through it. What it gives you is a closing moment that is as strong as the opener, and for me that is the sign of good metal, no matter the genre. Niveous don’t lose sight of doing what they know they must do, approaching this from a fan perspective in ensuring they let no one down.
It will be interesting to hear what they have in store next, and I’m hoping that they maintain this level of craft and quality observed on here. 8/10
Reviews: Rezn, Dead Meadow, Emptiness, Hexorcist (Matt Bladen, Rich Piva, Mark Young & Joe Guatieri)
REZN - Cycles In The Infinite Dream (Sargent House) [Matt Bladen]
Doom? Prog? Psych? Saxophone? Flute? Lap Steel? Ok you got me, I guess I'll dive into and probably love another album from Chicago, Illinois, virtuosos REZN.
It's been a decade since they formed and defined their own niche in the music world, coming from the heavy foundations of psychedelic stoner doom over the years and across five previous albums they've added extras that have shifted them into the prog-sphere, using instruments I've mentioned that may be more at home in jazz or country genres.
It's this experimentalism that has gained them a very dedicated following and positive reviews across the board, fusing cavernous doom riffs and a tsunami of synths, on new record Cycles In The Infinite Dream they've expanded their minds to go further into psychedelia while amplifying the other elements of their music as well.
The album explores "the nexus of our waking and nocturnal worlds" as if lost in the subconscious, they weave a sonic tapestry that combines multiple skilled performances into nine complex songs, that never stay too long as prog often does, but squeezes a lot into run times that are between 4 at their shortest and 8 at the longest.
With Rob McWilliams up front on guitars/vocals, he's joined by Phil Cangelosi on bass and rainstick, Patrick Dunn on drums and Spencer Ouellette, who has a lot of work to do with synths/lapsteel/sax/flute/keys, this is the four piece who create all of incredible music here as Natalie Drakes and Ómkara Gil add violin and cello to two tracks, to add yet more musical dexterity and dynamism.
Dreamy textures on Aerial Birth, through to the Mastodon meets King Crimson of Transient, and the cascading melodic doom of The Vessel which reminds me of Pallbearer while Primal Thread takes me into the realms of Elder whom REZN will be supporting on tour next year. That promises to be a brilliant set of shows as Cycles In The Infinite Dream is another incredible record from these Chicago innovators. 9/10
Dead Meadow - Foundlings (Heavy Psych Sounds) [Rich Piva]
Dead Meadow rules, so any new Dead Meadow material is very welcomed, even if it is an odds and sods type deal, like the band’s latest release, Foundlings. Foundlings is one of those “deep dive into the archives” type releases that, not surprisingly, has some pretty great songs on it, both covers and original material from sessions over the past two decades.What makes this one even more special is that it is dedicated to late band founder and bassist Steve Kille, who recently passed away from cancer and who plays on all of the tracks on Foundlings.
So what are these seven songs all about? Fuzzy, spaced out psych goodness that you expect from one of the best bands ever to do it, like on the opener, Lost To Light, which quality-wise is as good or better than anything that wound up on the great Voyager To Voyager, the sessions from which it was recorded. A killer version of the track Nobody Home, from the 2018 record The Nothing They Need, recording for an EarthQuaker session, is up next and it is more of the same greatness from the band, with the rhythm section locked in and that guitar tone, highlighting how great the band is live, even if it is live in the studio.Also recorded live in the studio, Kingdom Of Heaven is a cover of a Powell St. John, who I have not heard of before, but whose song is a spacy, atmospheric Twin Peaks vibes journey that has a killer solo. We even go back to 2001’s classic Howls From The Hills, and a session version of the killer trippy-as-hell Everything's Goin' On. Sure, throw in a cover of one of the greatest songs of all time, The Beatles’ Tomorrow Never Knows, done in Dead Meadow fashion, and have me listen to it 20 times in a row.This one is worth the price of admission alone. While we are at it, let’s get a cover of the Led Zep classic No Quarter. Also great. From The Children Of Planet Earth closes Foundlings out, and is a weird, synth driven mindbender that closes this set up perfectly.
Any Dead Meadow is great Dead Meadow, and the seven “from the archives” tracks on Foundlings are certainly worth your time, especially if you are a fan who can’t get enough of unheard material from one of the best bands out there. RIP Steve Kille. 9/10
Emptiness - Nowhere Speaks (Season Of Mist) [Mark Young]
Emptiness’s Nowhere Speaks is a timely reminder that its simply impossible for me to like every piece of music that I hear. There are some things that were they to fall into someone else’s lap then the conversation would be different and to be fair I have been on a good run so I guess it’s the law of averages.In any event, it’s the kind of thing that attempts to do something different and ends up being falling short, at least of the promises made in the extensive bio that accompanies the release. Its good enough to explain to those who may not know that its opening track directly where a track from 2014 abruptly finished, bearing in mind that there have been releases in between then and now. I’m not sure if that statement set the tone for me, are those in the community really scratching their collective heads as to what happened back then? I don’t know, I’m sure someone will tell me.
What follows next is a collection that merges differing approaches – true extreme metal, noise, electronica that looks to shine a light on them for how unique they are as a band. One thing their bio gets right is that they have no interest in making things easy for the listener. That’s completely fine, be abrasive and uncompromising but come armed with songs that provoke a reaction, be it joy or pain. Their songs fall largely into the middle groove, offering neither to me.I expect extreme metal to excite me, to be visceral and here they fail until they get late into things and drop The Clash Of Forces, which at least has a direct, forward kicking movement to it. It is saying a lot that we have got to track 8 before something has landed and has made a mark. Is this what they had in mind, is this what they wanted from this release?No idea but the cacophony falls away, replaced by Next In Line. It’s a 4 minute track where 2 or more minutes are wasted and any kind of late album momentum is lost. Its more than likely that fans of the band will get onto this immediately, understanding and maybe expecting that the content here will deploy the way it does. For me, it just feels like a gigantic waste of my time.All For Nothing is the closing piece and lives up to its name. I've looped backwards to the start again, just to see if I pressed play at the wrong time, but no. Its definitely you not me. 5/10
Hexorcist - Evil Reaping Death/Bestiarum Vocabulum (Invictus Records) [Joe Guatieri]
Hexorcist are a Death Metal band out of Miami, Florida, in the United States. They’ve been together since 2019, already having a sizable discography then any band would be happy with two demos, a full-length and two splits to their name. Known for their raw sound, your poor ears won’t last long with the sound being turned all the way up.
A unique situation for me today as I’m not only covering their new LP, Crucificial Imprecations, but also a combo release featuring two remasters, one being their first studio effort Evil Reaping Death and the other one is of their first demo, Bestiarum Vocabulum.
Starting off with their first album, Evil Reaping Death, it presents pummelling drums and bass which reach through your stereo and contort your body into shapes that you didn’t think were possible.
In under 40 minutes it achieves chaos and what it set out to do but at what cost? The crop of songs that flow in and out of each other have a real hitting quality to them, a lot of them with dynamic changes which keep you guessing and your head banging. Hexorcist are definitely showing a lot of love here for classic Death Metal, Raw Black Metal and for sure a lot of old-school Doom too.
Now I haven’t heard the original mix but if this is a remaster then you can definitely here it. A lot of the time in this warts and all approach the bass often gets forgotten about but not here, it seems to be turned all the way up. It’s organic though as slides and curves around the other instruments very well.
As I mentioned beforehand, packaged alongside Evil Reaping Death, you also get the band's first moment with the demo, Bestiarum Vocabulum. This early recording strikes me as more of a full on assault by Hexorcist. What I mean by that is, the instruments come together in one full swoop, comparing it to their other releases, Bestiarum Vocabulum is more like a gun, every little element works together to form a movement, whether the others feels like five archers, shooting their arrows at one target, it’s not the same. 7/10
Hexorcist - Crucificial Imprecations (Invictus Records) [Joe Guatieri]
2026 is a new era for Hexorcist, their last record at this stage was their split with Morbid Messiah which was put out in 2023 and a lot can happen in three years, now Crucificial Imprecations awaits…
The album presents half an hour of power with eight tracks, again keeping things concise which is something that we all like to see. Guess what happens here? Yep full-throttle blasting from every direction, sending you to an early grave.
The drums across the album are the highlight for me, being at times they are so overpowering, they might as well have knocked out the bass and guitar in real-time. Crucificial Imprecations takes on a deep love for Black Metal here, so much so that all of the dynamics and detail are sucked into a black hole.
If you’re looking to be buried by repetition then this record is for you. Compared to the band's previous material it only really has one thing going for it, it’s an evil scientist that focuses on one thing constantly and rolls around in bed endlessly sleeping on that thought and that is destroying the world that created him.
Thankfully it ends before the point where it gets far too much for me, I can only hear the same thing so many times. I’m left hungry for more and I come out of Crucificial Imprecations with the same feeling that I have a lot of the time with Death Metal, if you want to end existence, it doesn’t have to be done in one way.It’s easy for a band to make something sound dark but it’s going to take a lot more than that for Hexorcist to scare me. 5/10
A View From The Castle: The Sex Pistols (Michael Chapman)
The Sex Pistols, The Stranglers, The Undertones & Panic Shack - Cardiff Castle - 01.08.26This castle has seen many things, but tonight may be something new, as the keep towers over the castle grounds there is a rumbling…the Punks are coming.Celebrating 50 years of Punk, the Sex Pistols with Frank Carter are here to take us on a journey from Punk’s inception, and those turbulent and innovative days back in the late 1970s.
Starting the afternoon were Welsh band Panic Shack (7), bringing an energy that was truly infectious. Hailing from Cardiff, the male-backed band ripped through a confident and electrifying set of punk rock tunes. Sarah Harvey (lead vocals), Meg Fretwell (guitar, backing vocals), Romi Lawrence (guitar, backing vocals), Emily Smith (bass) and accompanied by Nick Doherty-Williams on drums engaged with the crowd and looked every bit a headline act in waiting, songs such as Jiu Jits You, Tit School and Ick were standouts in a set that should ignite the interest of any punk rock fan young and old, a tremendous outing by the five piece that set the tone for the evening ahead.
Following Panic Shack were Norther Irish stalwarts The Undertones (7). Kicking off with Jimmy Jimmy and flowing into You’ve Got My Number (Why Don’t You Use It) and Male Model the audience was hooked, by the time the indelible Teenage Kicks arrived the tempo shifted upwards. Ending a well balanced set with My Perfect Cousin The Undertones proved to be a more than welcome addition to the lineup.
Soon it was time for The Stranglers (8) to take the stage. Toiler On The Sea beginning what would be a fantastic set, the audience with them every step of the journey. Duchess & ‘Nice ‘n’ Sleazy’ preceded the ever popular ‘Golden Brown’ & ‘Peaches’, their unique sound complimenting the speed and energy of the support bands, ‘Always the Sun’ a tempo shift before ‘Hanging Around & ‘No More Heroes’ round of a brilliant set and very much laid the way for the main act to take to the stage.
The Sex Pistols (8) need no introduction, but for those very few amongst us who aren’t familiar with one of British Punks originators, Guitarist Steve Jones, Drummer Paul Cook, Bassist Glen Matlock definitely made themselves and their legacy known. Front man Frank Carter, of Gallows & Rattlesnakes fame felt a perfect addition to the band, ‘Holidays in the Sun’ beginning a raucous set of Punk classics. Not long into the set the brilliant ‘Pretty Vacant’ was sung by Carter in the thick of a circle pit, surrounded by feverish fans young and old, very much showing the world that Punk is not dead. As ‘God Save The Queen’ was displayed on the huge screen and guitar chords rattled it really was a pinch me moment, these songs helped to usher in a movement and still resonate as strongly today as ever. As the band prepared for ‘No Feelings’ Carter demanded all Men to vacate the mosh pit, creating a Women's only space as the drums pounded and guitars rang. Finishing their ferocious set with ‘E.M.I.’, a cover of ‘My Way’, then straight into ‘Anarchy in the UK’ was the perfect statement to punctuate a fantastic night of nostalgia and everlasting punk energy, you really had to be there.
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Outlaws Of The Sun
Italian Heavy Rockers SBARCO Unveil New Single and Video “The Divorce”
Italian heavy rockers SBARCO continue the journey toward their highly anticipated second studio album with the release of their powerful new single and official video, “The Divorce.”
Watch the official video below:Following the release of “Get to Know Me,” the new track further showcases the band's renewed artistic direction, blending heavy rock intensity with emotionally charged songwriting and the expressive power of their dual vocal approach.
“The Divorce” is an intense introspective journey through loss, vulnerability, and rebirth. The song portrays a protagonist facing a profound existential crisis, where every certainty begins to collapse and identity itself seems to dissolve. Images of lost skin and a shattered shield reflect the fragility of confronting pain without defenses, while the narrative gradually evolves into one of transformation and hope.
Speaking about the song, the band comments:
“The Divorce is about finding the strength to rebuild after everything seems lost. From the deepest darkness comes the possibility of change, and faith becomes the force that allows us to trust ourselves, the people we love, and the future. It is ultimately a song about healing, resilience, and embracing a new beginning.”
Currently working on their sophomore album with producer Simone “L'Architetto” Colombo, SBARCO continue to refine a sound that combines crushing heavy rock with deeply personal and introspective storytelling, setting the stage for what promises to be their most mature and compelling work to date.
For more info:
https://www.facebook.com/sbarcomusic
https://www.facebook.com/ArgonautaRecords
The Fierce And The Dead - Regional Theatre (Album Review)
Release Date: September 11th 2026. Record Label: SPM Records. Formats: CD/DD/Vinyl
Regional Theatre - Tracklist
Loungeside
The 1234
Shake Hands & Exit
Somehow
Hey Nightmare
Superbia
Dream Sequence
Thrash
Hypernormalisation
Signal Bleed
Members
Kevin Feazey: Vocals, Bass, Production
Tom Hunt: Keys, Vocals, Percussion
Matt Stevens: Guitar
Steve Cleaton: Guitar
Stuart Marshall: Drums
Review
Alternative/Stoner/Prog Metallers The Fierce And The Dead return with their fifth full length album Regional Theatre which takes a different direction compared to their acclaimed 2023 album News From The Invincible World. The record is compounded by a heavy Shoegaze effect which gives the band a whole new level of creativity to go with their already well-known and highly established experimental sound.
The Fierce And The Dead use their musical influences wisely with sounds reminiscent of the likes of QOTSA, Mastodon, Slowdive, HUM, HELMET, At The Drive-In, Faith No More and Sonic Youth. I would even add MELVINS and BORIS to that impressive list as how the band create different QUIET vs LOUD musical dynamics with the powerful strands of Post-Rock and Shoegaze transforming into a battering ram of Doom/Stoner Metal dimensions.
Regional Theatre does have a theatrical or cinematic aspect to the whole story where the music drastically changes with each individual track. The heartfelt poppier / stadium rock friendly aspects soon give way to a more damaging Grunge, Heavy Psych and Prog Metal dynamic. The Fierce And The Dead are very hard to categorize here and they do remind me of the amazing band CLOAKROOM. As both bands have similar styles of delivering HEAVY MUSIC though multiple different lenses of the ROCK / METAL spectrum.
There’s a wonderful Eighties Rock sound that feels inspired by The Smiths and The Cure but with a subtle Sludgy Rock sound still being heard in the distance. Then the band changed musical direction for an abstract Punk Rock and Grunge sound on the amazing tracks of Somehow and Hey Nightmare being my favourite two tracks on the album.
Regional Theatre is perhaps one the hardest albums I’ve reviewed this year but that’s a great thing as the whole musical journey keeps you on your toes with it’s outlandish and surreal vision fully coming to life on the standout tracks of Loungeside, The 1234, Somehow, Hey Nightmare, Superbia, Hypernormalisation and Signal Bleed. I know that’s almost the entire album listed there but I love those tracks the same as each other.
The melodies are wonderfully subversive and superbly confusing at the same time with a jangled approach still allowing The Fierce And The Dead to show you what FAITH NO MORE, MASTODON and AT THE DRIVE-IN would sound like if they enter the Stoner Rock/Metal underground scene with a dash of TOOL and KING CRIMSON just to fuck things up even further but in a good way.
The lyrics are slightly fantastical but are the perfect gateway and introduction for casual listeners to find a way into The Fierce And The Dead’s wonderfully inventive world. There’s a great use of SONIC experimentation which brings a fresh perspective to the band’s entire musical output.
Regional Theatre is an absolute masterclass of warped and passionate heavy music which manages to project almost every genre possible but still being mostly part of the Doom/Stoner Metal scene. Yeah, The Fierce And The Dead are in a league of their own which will no doubt push them onto greater, bigger and better things once more.
Words by Steve Howe
Thanks to The Fierce And The Dead for the promo.
Regional Theatre is available to buy now on CD/DD/Vinyl via SPM Records.
Links
Official | Facebook | BandCamp | Instagram
The Home - The Home (EP Review)
Release Date: August 15th 2026. Record Label: Self Released. Formats: DD
The Home - Tracklist
1.Disguise 04:25
2.Beyond It All 04:25
3.Leech 04:50
Members
Vocals - LJ Brazil
Guitar + Additional Instruments - Lewis Barnes
Drums - John Mclean
Review
Alternative/Sludge/Stoner Metallers The Home self-titled debut EP is quite an intriguing record with the band playing stripped back sounds that merge modern day Sludge Rock/Metal grooves against a classic Fuzz, Doom and Proto-Metal energy. The vocals are quite different with lead vocalist LJ Brazil performing in areas of Classic Doom, Hard Rock, Stoner Metal and even a great experimental style which has a slight Mike Patton influence.
The EP lasts under fourteen minutes but The Home creates some stirring grooves powered by elements of Alt Metal within the flashier aspects that appear throughout. There’s even traces of Soul, Funk and Blues Rock hidden amongst the Doom & Gloom melodies which provides a brutal style of amplified Sludge Rock/Metal on tracks Disguise and Beyond It All.
They’re not the finished article by no means but they have a great sound of their own making which can be quite freaky, outlandish and superbly progressive. The final track Leech allows The Home to prove they have some unfinished business for their next release as it does feel open ended where you’re expecting a massive instrumental riff to power through.
This is a great record for The Home to introduce themselves with as they do generate some HEAVY SOUNDING moments throughout and the production values ain’t half bad either. Some of the musical ideas don’t fully succeed but I’m quite excited to see what The Home delivers next.
Excellent and Highly Recommended.
Words by Steve Howe
Links
Philly Doom-Jazz Legends Stinking Lizaveta return with 10th album "Cassandra, Prophet of Doom" out September 16th on SRA Records
Bursting forth in doom-jazz glory from the punk underground, Stinking Lizaveta was forged in the 90s in the basements of West Philly.
Yanni Papadopoulos, guitar, Alexi Papadopoulos, upright electric bass and Cheshire Agusta, drums have produced ten full length albums and are road dogs of rock in the US, UK and EU. For over 30 years they have been playing every show like its their first and last..jpg)
Bear Stone - Photo credit: SanjaMatic
Having just returned from yet another tour of Europe, including festival highlights Stoned From The Underground and Bear Stone, the band is ready to unleash their new album Cassandra, Prophet of Doom and set forth on a tour with Philadelphia’s science fiction noise rock / metal hybrid Deathbird Earth in November..jpg)
Bear Stone - Photo credit: SanjaMaticAcross eight tracks of adventurous, winding, raucous rock that can only be Stinking Liz, the trio chart a grand, unpredictable course.
Furious rhythms, staccato attacks, and wiry guitar heroics bring Cassandra to sprawling life, ranging from the dark, doomed epic of the title track to the anthemic, punky roar and folk touches of "Sherman's March". Stinking Lizaveta are back and as iconoclastic as ever..jpg)
Bear Stone - Photo credit: SanjaMaticStinking Lizaveta dates Fall 2026:
8/29 – BAD CATT FEST
9/26 – RECORD RELEASE SHOW JOHNNY BRENDA’S PHILADELPHIA
10/10 – EMISSIONS FROM THE MONOLITH.jpg)
Bear Stone - Photo credit: Valerio Baranović
US November 2026 tour with Deathbird Earth:
FRIDAY 6TH – BALTIMORE, MD – OTTOBAR w/ Arbouretum & Darsombra Sol
SATURDAY 7TH – RICHMOND, VA – NORTHSIDE GRILLE
SUNDAY 8TH – KNOXVILLE, TN – PILOT LIGHT
MONDAY 9TH – RALEIGH, NC – KINGS
TUESDAY 10TH – CHARLOTTE, NC – THE MILESTONE
WEDNESDAY 11TH – BIRMINGHAM, AL – THE FIREHOUSE
THURSDAY 12TH – LAFAYETTE, LA – THE FREETOWN BOOM BOOM ROOM w/ Spickle
FRIDAY 13TH – NEW ORLEANS, LA – POOR BOYS
SATURDAY 14TH – AUSTIN, TX – THE LOST WELL
SUNDAY 15TH – SAN ANTONIO, TX – THE LONESOME ROSE (matinee)
MONDAY 16TH – MEMPHIS, TN – HAVENHUAS
TUESDAY 17TH – CINCINNATI, OH – NORTHSIDE TAVERN
WEDNESDAY 18TH – MILLERSVILLE, PA – PHANTOM POWER
Stinking Lizaveta - Cassandra, Prophet of Doom
Abum out September 16th, 2026
SRA Records (Vinyl, CD, Digital)
Philadelphia, Pennsylvania, US
FFO: Black Flag, Gone, Bad Brains, Steve Albini, Earthless, The Obsessed
Recorded and mixed at Permanent Hearing Damage by Steve Roche
Mastered by James Plotkin
Artwork by Stathis Panou
Stinking Lizaveta is:Yanni Papadopoulos - Guitar
Alexi Papadopoulos - Upright electric bass
Cheshire Agusta - Drums
Tracklist:1. Champion of My Mind (2:31)
2. Stinkface (3:08)
3. Please Start Now (3:36)
4. Lindsay Wagner Intro (1:07)
5. Lindsay Wagner (3:35)
6. Cassandra, Prophet of Doom (5:05)
7. Sherman's March (3:44)
8. Never to Be Believed (5:09)Stinking LizavetaThanks to Good Boy PR for the details.
FANE - Armageddon Scars (Album Review)
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Release Date: August 28th 2026. Record Label: Octopus Rising. Formats: DD
Armageddon Scars - Tracklist
1.Flatline
2.Dead Shepherd
3.Poisoned Crown
4.The Mariner
5.Passages
Members
Ryan Ashmore - Vocals
Trey Porche - Instruments, Programming
Review
Doom/Sludge Metal duo FANE debut album Armageddon Scars creates a brutal and emotionally engaging style of music that ventures into similar waters of bands such as THOU, Primitive Man, YOB and Neurosis. The brooding atmospherics has plenty of heavy progressive weight that powers the DRONED OUT dimension that is added at different stages of the record. There are hidden traces of Punk, Black Metal and some small instances of Death Metal which gives Armageddon Scars quite a violent and hypnotic sound from the very start.
The opening track Flatline allows FANE to demonstrate some subversive levels of Doom Metal that allows the listener to fully lose themselves within the Sludge Metal textures that become more accustomed to the Post-Metal world. The vocals from Ryan Ashmore are delivered with a grim extreme and menacing style that has a solid HARSH and THUGGISH energy to them. FANE are never afraid to explore the dominant Black Metal environments which offer crushing, violent and destructive instrumental grooves that last the course and where any uplifting soundscapes are wisely banished from existence here.
Second track Dead Shepherd only solidifies the eternal DOOM & GLOOM message that FANE project throughout the album with punishing Post-Metal sounds and some brief Psychedelic interludes that offer a dramatic feeling to emerge from the darkness. Trey Porche has his work cut out providing all the Instrumental and Programming aspect for FANE to devour everyone’s soul with. This is a great counterbalance with Ryan’s vocals, perhaps opening the gateway for that brutal and monolithic style of music to explore the darkest corners of the whole album.
Third track Poisoned Crown follows a similar path to the previous track but operates with a simpler riff based structure without compromising the violent progressive sounds that have already been set out from the start. FANE delivers the most straightforward grooves that have that classic YOB influence behind them. The extra layer of Psych Metal just pushes the album into different sonic based arenas whilst keeping that Blackened Post-Metal atmosphere fully intact.
The final two tracks The Mariner and Passages bring a different aura of darkness from FANE with that Progressive sound adding abstract soundscapes and Ambient sound effects for perhaps the best part of the album. FANE feel more determined to forge their own identity with these two tracks with tighter vocals and better instrumental control whilst punishing the listeners yet again with an intense blast of pure Doom/Sludge Metal brutality.
Armageddon Scars is quite subversive and superbly inventive with the Ambient Sounds and Psych Metal effects which allows FANE to never lose focus on releasing an epic sounding debut album that will leave you an emotional shivering wreck when everything is said and done.
Words by Steve Howe
Thanks to Grand Sounds Promotion for the promo.
Armageddon Scars is available to buy now on DD via Octopus Rising.
Links
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Stoner HiVe
Druglord – Hear It Breathe
Druglord – Hear It Breathe
Self-released - 2026
Doom, Stoner, Metal
Rated: ****Druglord might have been around for ages... Centuries perhaps. In different shapes and forms… And this incarnation went dark for eight years since releasing New Day Dying in 2018. But now, from the mire rises… A heavier, hungrier form. Druglord is back. Shedding none of their grime, sharpening the edges, forging a release of six songs where suffocating sludge collides with galloping metal, hardcore fury and doom. Doom, but often fast moving, fuzz drenched riffs. Changing between relentless charge and oppressive crawl. It’s the contrast that keeps on dragging you along, just like those ragged snarls and solemn harmonies. Hear It Breathe feels like a storm gathering over a scorched earth, crushing all beneath them before disappearing into a final shimmering haze of noise…
(Written by JK)
Stoner HiVe’s Top 10 Most Listened Artists Last Week…
Stoner HiVe’s
Top 10 Most Listened Artists Last Week…
Buzzard
Stoned Jesus
Heavy On The Ride
Coffin Hunters
Slow Goat
Wailin Storms
Temple King
Old World Astronaut
Rezn
TravoThe most important thing this week… We are honored to present to you new Weekly Top 10 Most Listened art by the one and only Bobby Rayfield from Inherent Records and Monuments In Ruin. Prompted by Shrubbery Terror and his remark that those vinyls on top of each other hurt, Bobby immediately went to work and made this wonderful Stoner HiVe Cabinet, within a week! We can’t thank him enough for all his time and energy, and we can’t wait to start spinning those records all situated nicely in upright position! Grin!
Another week in front of us, which means another one in the books. Hope it’s been a good one for you all! It was a busy one and hectic finish, but that seems to be the status quo recently. We hope to finish a few things we’ve been working on this week or at least before we leave for Down The Hill Festival. We’re leaving for Belgium on Thursday the 20th, so let’s get cracking on all we want to do till then! Last we week we managed to spread the word on that magnificent and free Bootleg Series by King Buffalo, wrote about that wild Ancestro album, that gritty grunge release by Last Band and the weird and eclectic Modula Nation. And we had the privilege and honor to Premiere the new single by Buzzard! The week ended with the new July edition of the Doom Charts going live! Which is always a good way to end things… Right? Here’s hoping we can get some HiVe stuff done this week… We’ve got a lot waiting to be finished… Enjoy yer week!
The Doom Charts for July 2026
DOOM CHARTS
JULY 2026
“I’m a cold heartbreaker, fit to burn
~ misheard Guns ‘n Roses lyrics
And I’ll rip your heart in two
And I’ll leave you lyin’ on the bed
I’ll be out the door before you wake
It’s nothin’ new to you
‘Cause I think we’ve seen that Doom Charts, too, aw…”One of our contributors had the audacity to ask an AI program to predict this month’s Doom Charts Top 5. It got the order wrong, but remarkably, every single one of its predicted albums made the chart. Even more unsettling, three of them landed in the actual Top 5. Scary stuff. I think it’s time to break Sarah Connor out of Pescadero State Hospital. She tried to warn us about this sort of thing. We just assumed she was talking about killer robots. Turns out she might have meant doom metal prediction algorithms…
Scary stuff indeed. There’s an ominous feeling in the air, an uneasy current, a lingering sense of dread. It seems to have become the soundtrack all year round. Ever present, impossible to ignore, yet strangely difficult to put your finger on. Zeitgeist on the Run, as the new Iron Jinn album is aptly titled. The spirit of the age itself appears rattled, looking for somewhere, anywhere, to escape to…
Luckily we can escape into the Heavy Underground. Still, beyond the Top 40 albums below, there might still be a small glimmer of hope. For if an AI can learn to understand the Doom Charts, perhaps it can also come to understand the heavy underground… And the people who pour their heart and soul into keeping this beautiful thing alive. Absolutely not for the algorithms or statistics, but because of the strange, stubborn, irrational passion that keeps it alive. All of us, all over the world, creating, writing, recording, promoting, buying records, filling venues, dubious watering holes and bars, and keeping this music alive simply because we all believe it matters. And maybe, in doing so, it can begin to make sense of us. Of humanity. Of why music matters so much to so many of us. Of why life matters. Right? And well… Because if a machine can learn the value of human life… perhaps we can, too…
Burning hot, blazing and scorching! The brand new July edition of the Doom Charts! Forty amazing albums straight out of the Heavy Underground... And of the ones that made the list I happened to vote for quite a few myself...But as usual, I could have voted for all of them! Starting the rundown with Number 40. That wild Drowner EP by Blackstaff !Welcome to Doom Charts, representing some of the finest bloggers, journalists, radio, podcasters and reviewers from the heavy underground around the globe. Each month, our critics submit their picks for the best new doom, sludge, metal, stoner, psychedelic, progressive and heavy rock albums. The results are compiled and tabulated into the chart below. This is a one-stop shop for the best new albums in the world…
Single Premiere - Buzzard - Disunion
SINGLE PREMIERE
Buzzard - Disunion
Buzzard. Our very own heavy underground town crier... The doom troubadour, the one who continues to deliver universal truths in a way our little niche deserves. His music drifts out of the twilight, carried on woodsmoke and echoes of forgotten hills. And his way of preaching continues in grand form on the new album Hush Now. To be released on October 16th. But right here, right now, we’re honored to present to you the lead single of that new album. Out tomorrow, it’s the opening track and first opening statement: Disunion!Disunion rumbles like classic metal rolling down those hills, rooted in the weight of doom and is filled with the enduring soul of folk. A song, translating those restless nights, when the world feels heavy and the truth is hard won. Shadowed melodies, minor moments of respite, walk hand in hand with those earth shaking riffs. It’s the old bard’s simple lyrics though, which cut like old wisdom and sting of lived experience. And as on the rest of the album, there is anger here, but it burns like watchfire rather than wildfire. Warning and illuminating. Impossible to ignore. Music for wandering hearts and weary spirits alike, the ones that howl beneath the moon, share glasses of bourbon, and wait for those beacons everywhere to be lit. Or Disunion is simply here, as the rest of Hush Now, to remind you that even in dark times… There’s someone sill singing the truth…We’re honored to present to you…
The SINGLE PREMIERE for the new Buzzard album Hush Now called: Disunion
PR Wire:
Buzzard - Hush Now
Scathing, revolutionary doom folk from Massachusetts
Fourth LP “Hush Now” out October 16th, 2026
Lead single "Disunion" out August 7th
Genres: Doom metal, folk rock, americana, stonerBuzzard presents its 4th doom folk metal LP installment Hush Now, expanding on the one-man band's trademark blend of heavy fuzz guitar, Americana instrumentation, and socially relevant songwriting. From mellotron to mandolin, Sabbathian riffs to Dylan-esque wordplay, H.P. Lovecraft to Bill Hicks, Hush Now is the fullest expression yet of Buzzard’s unique artistic vision.
Following the success of the politically charged 2025 EP Everything Is Not Going To Be Alright (expanded to a 10-song LP earlier this year), Hush Now broadens its scope. “Disunion” delivers a state of the union address to the void above. “Fireball” is an ode to the music of America. “Knock on the Door” laments the plight of the pawn. “Contaminate, Consume” reveals the purpose of humanity’s finite tenure on Earth.
The 10-track LP has been mastered for vinyl by MixCave Mastering with original art by Indonesian artist Bintang Pratama. As bonus tracks the CD version of Hush Now adds the 6 singles released in 2026, including “The Bombing Will Continue Until There’s Peace,” “Cinderella’s Midnight Surprise,” and “Hillbilly Fuckery (Original version),” all remastered for digital in a digipak featuring additional artwork by Doomolith. EP Everything Is Not Going To Be Alright will also be released on cassette by Doomshire Tapes on August 7th.
But wait, there’s more! Also coming 10/16 is a 7-inch pressing of “Hillbilly Fuckery (Extended WTF International Choir Version)”, wherein over 50 Buzzard fans contributed recordings of themselves saying, “What the fuck?”
An apocalyptic lullaby for the absurdity that is 2026, Hush Now suggests that everything, in fact, is going to be alright. As the album’s penultimate track “Take Comfort” proclaims:
“One fine day, the Sun will burn this wicked world away/I take comfort from the fact the Sun will explode some day."
Buzzard - Hush Now
Album out October 16th, 2026
Self-released (Digital, Vinyl, CD)
Massachusetts, United States
Exterior front and back artwork by Bintang Pratama
Mastered by Mixcave Mastering
Tracklist:
1. Disunion (4:49)
2. Shutting Down (4:06)
3. Satan, Your Kingdom Shall Come (3:07)
4. Knock on the Door (4:45)
5. Mount Din (3:51)
6. Fireball (3:32)
7. Contaminate, Consume (4:32)
8. Ten Extinction Credits (3:18)
9. Take Comfort (4:55)
10. Doomsayer Fairy Tale (Heavy Groove Story Time) (4:43)
Everything written, performed, and produced by Christopher Thomas Elliott in his home among the eldritch hills of Western Massachusetts.
Modula Nation – The Rift
Modula Nation – The Rift
Tonzonen Records – 2026
Rock, Funk, Prog, Metal, Hardcore, Industrial, Space
Rated: ***In an era obsessed with labels and algorithms, Modula Nation seems determined to tear a rift straight through them. Heehee.. See what we did there? It’s for albums like these that the term crossover must have been invented. The sheer number of genres thrown into the blender is nothing short of astonishing. Even more remarkable is the fact that it all works. Hailing from Graz, Austria, Modula Nation released their debut three-track EP back in 2009. Now they return with The Rift, a record that effortlessly blurs stylistic boundaries. Across its runtime, the band weaves together elements of funk, progressive rock, psychedelia, space rock, metal, hardcore, industrial, synth rock, krautrock, and even pop, creating a sound that is as adventurous as it is cohesive.
With The Rift they mark their territory, they piss on convention and set the tone as a genre-defying rock act. It’s a bold high energy sound that embraces all that the word crossover might stand for. Inventive arrangements, dynamic on all fronts, balancing funky groove, progressive structuring, moments or riffage and atmospheric textures with a highly danceable and fun attitude. The Rift, Silicon Carne and the expansive Soul Fever all showcase the band’s versatility and commitment to push musical boundaries. Or the Faith No More inspired Shred. And we can only praise the more experimental moments that offset all that pop sensible movement. The reward comes later, after a few sessions with The Rift… For they refuse every musical rulebook. The band transforms unpredictability into an addictive journey that reveals something new with every spin…(Written by JK)
Homepage
Bandcamp
Facebook
Instagram
Tonzonen Records
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Screaming From the Heavy Underground
Rock im Wald: A Bavarian Music Festival Keeping the Heavy Underground Community Thriving
Each summer, the pulse of the heavy underground beats resolutely from the heart of the Bavarian forest, delivering resounding waves of not just killer music, but palpable warmth and contagious energy.Rock im Wald is an underground music festival that takes place in Neuensee, a small village in Upper Franconia, Bavaria, Germany, nestled inside the municipality of Michelau im Landkreis Lichtenfels. The festival got its humble beginnings in 1995 and has been going strong ever since, developing strong roots and growing into the cult event that it is today. Rock im Wald draws fans and bands from all over the world and, especially for the last twenty years or so, has featured a wonderful mix of well-known acts (such as Orange Goblin, Red Fang, Truckfighters, and Slomosa) alongside supremely talented up-and-coming bands.So...how did this reclusive American find herself over 4,000 miles away from home at such an event? Well, a trip to Germany for me has been inevitable for several years now. It's no secret that my musical tastes within the heavy underground have always leaned heavily in the direction of Europe, with an extra special place in my heart for the German stoner rock scene. When I learned that Giant Lungs, my favorite band on the planet, would be getting a big break by being included in Rock im Wald's 2026 lineup, I absolutely had to be there to cheer them on. In addition to Giant Lungs, the festival boasted what I would call one of their best rosters ever this year, featuring bands such as 1000Mods, Elder, Fu Manchu, My Sleeping Karma, Kryptograf, Kylesa, Gluecifer, Kal-El, Hällas, and Dozer. Rising German stoner rockers Capacopter, one of my favorite picks for the Doom Charts this year with their debut self-titled album, also made a much-deserved appearance on the Holzbock Stage.
After a long-overdue in-person meetup with the lads of Giant Lungs, I got acquainted with the festival grounds and some of the Rock im Wald crew. The festival took place on a beautifully manicured football field, converted for the weekend into an ideal space for music fans to see some of the best acts in the heavy underground in an open and natural setting. I was immediately taken by the attention to detail within the setup and the professionalism and care with which the festival crew made sure everything ran like clockwork. Rock im Wald is a well-oiled machine, providing adequate camping space for festival goers along with everything they might need (or had forgotten to bring along) in the well-stocked camping store, plenty of food options, an expansive space for merch tables, a homey backstage area, and strikingly clean and well-kept grounds. Even more impressive than their expertise was the warmth of the Rock im Wald crew, delivering heartfelt welcomes and genuine care to fans and bands alike.Then there are the fans...some of the most accepting and friendly people I've had the pleasure of standing next to at a show. Enthusiastic chatter among complete strangers is the norm, and warm, electric vibes are felt from the moment one enters the crowd. As someone who has been injured in an aggressive mosh pit before, I was especially happy to see the respect with which these ritualistic metalhead dances went down at Rock im Wald: never violent, always courteous, and truly what they're supposed to be: coordinated and natural outpourings of intensity that occur when the love of music that feeds us all overflows.One of the best things about Rock im Wald is the intimacy of the setting. It's not uncommon to have a conversation with the frontman of one of your favorite bands after the show or to have a beer with the guitarist. Although the space here is much larger than the typical heavy underground stage in a bar or club, the performances feel incredibly up close and personal, and the bands are very down to earth.Of course, next to a stellar performance from Dozer that blew my mind, the highlight of the festival for me was finally getting to see Giant Lungs take the main stage and deliver what I would call their most energetic, enthused live show to date. And seriously...how lucky am I? Being involved in the heavy underground scene had afforded me many great opportunities, but to be able to hang out with your favorite band backstage before cheering them on from the front row as they perform is insane...I still don't think I've completely wrapped my head around it. But that's the most beautiful thing about the scene, and the great thing about keeping things small, right? There's such a sense of humanness and oneness within the heavy underground community, and that feeling was powerful at Rock im Wald. Whether you're a local or have to travel across an ocean like me, I would highly recommend taking in this incredible festival if you have the opportunity. Sure, you'll see some of the best groups the heavy underground has to offer, but more than anything, you'll be deeply immersed in the good vibes that make the stoner rock scene so great.A few photos and memories...
Hyper focused on the backstage goings-on.
Hanging out on stage with the coolest band in the world. 😎 From left to right: Flo (drums), Patrick (guitar), me, Jochen (vocals and guitar), and Don (bass).
Don, Patrick's head, Jochen, and me backstage before the big show.
Backstage with Don, looking out over the festival grounds.
The Giant Lungs set!
I may be biased, but I think the Rock im Wald t-shirts were particularly cool in 2026!Acknowledgements
An extra special thanks to Christian from Rock im Wald for allowing me to be so involved in this epic event while making sure that I was well taken care of during my time there. Massive respect to all of the festival crew for their professionalism, attention to detail, and welcoming demeanor. Much love to the heavy underground fans at Rock im Wald for your loving and accepting attitude, ensuring the community continues to thrive. And of course, an overwhelming surplus of hugs and air kisses to my dear friends Giant Lungs for being the best hosts a girl could ask for. You all rock! 🤘🖤Day-by-Day Video Recaps of Rock im Wald
Rock im Wald Day 1 RecapRock im Wald Day 3 RecapMore About Rock im Wald
You can keep up to date with the Rock im Wald festival by checking out the following links:Check out Giant Lungs!
You can follow Giant Lungs and listen to their music at the following links:- Giant Lungs Bandcamp
- Giant Lungs Spotify
- Giant Lungs Apple Music
- Giant Lungs Soundcloud
- Giant Lungs YouTube
- Giant Lungs Instagram
- Giant Lungs Facebook
German Stoner Trio Kuyper Makes a Powerful Introduction with Their Debut EP "The Great Belt"
If you're at all immersed in the German stoner rock community, you've likely seen Stefano of the Fuzzy Time page in your Instagram feed as he tirelessly and enthusiastically reviews, promotes, and reacts to European underground music and festivals. Unsurprisingly, Stefano has been in a few bands of his own, including a trio called Kuyper since 2023. Stefano, along with two lads who are both named Malte (Malte L. and Malte S., to be precise), draw upon their passion for stoner rock on a broad scale, including its offshoots and amalgamations in Kuyper's larger-than-life sound.Kuyper - The Great Belt
In fact, the band's debut EP The Great Belt (self-released by Kuyper on August 1, 2026) packs a ton of variety, with each song highlighting multiple styles of music while embodying a distinct mood and personality.The song Blue Dog takes on a foot-stomping, southern-fried heavy blues cadence marked by a gravelly stoner/desert undertow. This track flows perfectly into Dead Kitty Cat, whose intro is also saturated with blues. This time, however, it's a much more atmospheric, soulful sound with strong psychedelic space rock influences. Walls of bluesy stoner riffs suddenly drop in just past the one-minute mark, and soaring vocals add even more dimension. This multi-layered track evolves into a blistering, jammy outro by its end, having taken the listener through the entire scope of moods and rhythms a band can possibly manage in just under four-and-a-half minutes. Earthbuddies, which was the premier single from The Great Belt EP, changes gears to focus on heavy spaced-out riffs and vibrant heavy rock grooves - more of a classic stoner/desert sound. Limestone Branch really brings it all together, starting off with a chugging, doom-laden stoner riff before seamlessly flowing into that bluesy heavy rock swing and adding in some confident vocals. The persistent low growl of the bass is really the glue that holds it all together. Finally, Time Driver makes great use of similar stoney heavy rock sounds, but this time, it quiets down for verses with a more open feel, kissed by a light. spacey/psychedelic influence and delivering sharp contrasts between the heavy and the light.A "first spin" music video for the single "Earthbuddies"Final ThoughtsAfter listening to The Great Belt, it's beautifully clear that this EP was fashioned by a group of musicians with a profound love and respect for stoner rock and its subgenres. You'll hear nods to stoner/desert, psychedelic, space, and heavy rock, as well as a strong backbone of southern-leaning heavy blues. And, while big names such as Kyuss, Fu Manchu, and Truckfighters will certainly float around your mind as you listen, the best part of The Great Belt EP is it still projects a strong, independent identity.I'm also blown away by the off-the-charts energy that Kuyper maintains from start to finish here, leaving no doubt that these guys must put on a live show to remember, electrifying even the sleepiest of crowds.With a knack for playing a wide variety of ultra-infectious stoner-oriented sounds in a palpably spirited way, Kuyper is poised to become a mainstay in the heavy underground scene - not just in their home country of Germany, but on a global scale.More About Kuyper
Kuyper is:Malte L.Malte S.StefanoYou can follow Kuyper and listen to their music at the following links:
Best New Releases July 2026
July was an incredibly hectic month for me, as I prepared to travel internationally for the first time ever in my almost-forty years. In fact, there's a good chance that as you're reading this, my happy ass is overseas attending a music festival and doing other obnoxious, touristy things (with some extra-special hosts). Because of my trip, I had to make my Best of the Month List early, so I'm sure I'll miss a few things (again). I promise, as soon as I'm home and reacclimated, I'll catch up. Until then, here are my favorite albums from the month in descending order (plus one honorable mention):Honorable Mention:
Dead Meadow - Foundlings
Foundlings is a seven-track collection of previously unreleased gems from US psychedelic stoner trio Dead Meadow. This album unearths songs that were recorded between the years of 2002-2024, including an utterly mesmeric cover of Led Zeppelin's No Quarter.Favorite Track: Lost to LightBest New Releases July 2026
(in descending order)4.) Ultracombo - Season 3
After a four-year studio hiatus, Italian stoner/alternative quartet Ultracombo is back with their new EP Season 3.The vibrant opening track Out of My Mind is filled with soaring melody, darting guitar tones, and off-the-charts energy, an anthemic song reminiscent of modern fuzz rockers such as Truckfighters, Carson, and Witchrider. From here, the EP takes a sharp and ominous turn, launching into a set of moody tracks sung in a mix of English and the band's native Italian. Under a discernible cloak of darkness, these last four songs mount with tension before exploding into massive choruses, often launching directly into a towering wall of fuzz. This EP is also adorned with some standout spacey tones, giving some songs a discernible sci-fi feel.All in all, Season 3 picks up right where Ultracombo's Season 2 EP (2022) left off. Much more than just a natural continuation, however, Season 3 shows the band energetically delivering their fuzzy signature sound while experimenting with darker moods.Favorite Track: Out of My Mind3.) Irata - Human
Stoney alt rock trio Irata packs a ton of variety on their fourth album Human. Within the eight powerful tracks you'll find the perfect balance of tranquil respites, bursts of intensity, and exciting twists and turns. Generally speaking, the more laid-back songs on Human feature soothing 90s-era grunge and alternative tones, soothing vocal harmonies, and hypnotic melodies, reminiscent of bands like Torche. Conversely, the heavier tracks have a steely, spacey, Tool-esque progressive metal sound with crawling basslines and palpably tense atmospheres. The production is noticeably polished, but the recurrent stoner buzz and crunch of the guitar remind you that, at its core, Human is a raw underground rock album, giving me no doubt that these songs would sound incredible live.Human marks the first time that I've listened to Irata, but it was more than enough to convince me that it won't be the last!Favorite Track: Altar2.) Troy the Band - (des)
The release of (des) is an interesting yet undeniably opportune time to stumble upon shoegazy noise rockers Troy The Band.After the release of their debut album Cataclysm (2024), the London group parted ways with their original vocalist. Since then, Troy the Band has been working with a prime selection of guest singers including Soozi Chameleone (ex-Dead Witches) and Matt Sutton (Tayne), adding a plethora of unique and talented voices to their sophomore release. Further, the band has confirmed that one of these vocal contributors, keeper of badass siren song Ana-Maria Terr Bordei, will take over as their permanent singer (an absolutely perfect choice).With that said, I have to implore you not to balk at the word "shoegaze" here. While Troy the Band certainly makes use of some bleak, atmospheric tones throughout (des), there are an equal or greater number of swells of stormy intensity in the mix, stirring forces summoned as much from rumbling instrumental crescendos as the unfettered expression from each and every vocalist. Undertows of doom add an additional layer of darkness while blistering stoner metal movements contribute an unrelenting harshness that effectively completes the spectrum of moods explored on (des).However, I must add that, particularly as a millennial and a diehard fan of Lilith Fair-era female voices in rock, I'm utterly blown away and inspired by the girl power here. Fellas, you did a fantastic job as well, but the ladies really took it to another, goosebump-inducing level. Bravo!Favorite Track: Denial1.) Solace - Fading Failing Ruin
I've recently learned that Solace is kind of legendary around here - both in sound and when it comes to standing the test of time. The New Jersey-based band got their start 30 years ago and, over the years, has been artfully building upon a sturdy base of heavy metal, doom, and stoner metal.Solace's fifth full-length album Fading Failing Ruin marks my first time hearing the band and I was absolutely giddy to find myself immersed in a sea of some of my favorite things upon pressing "play": smooth but powerful classic metal vocals, epic storytelling, and the sinister heft of doom combined with intricate heavy metal guitar work (think traditional doom bands such as Trouble and Reverend Bizarre), all often mixed with the longer-form style and twists and turns of prog.Far from over-processed, Fading Failing Ruin possesses the perfect amount of raw analog quality to its sound, making it feel even more like it was plucked directly from the golden age of 80s-era traditional doom. Even so, the album simultaneously boasts a keen cinematic soul that's crystal clear, pulling the listener deep into its saga.In short, Fading Failing Ruin is a modern classic from a band whose creative momentum knows no bounds (and no brake pedal).Favorite Track: Beyond BelowThat's it for July! I hope you enjoy these albums as much as I do!Be sure to check out the Doom Charts this month where there are forty albums waiting for you to discover and show your favorite heavy underground artists some much- deserved love!Follow Doomcakes on TikTok!
@doomcakes4 My picks for the best new heavy underground albums of July 2026! This list is short and possibly incomplete, since I'll be leaving on vacation soon and didn't have as much time to listen to music this month. I'll catch up, though! 😉 More info can be found on the blog, Screaming from the Heavy Underground, link in comments. #doomcharts #screamingfromtheheavyunderground #doom #stonerdoom ♬ original sound - Doomcakes 
Late to the Party: 22ad - "See the World"
22ad is a quartet from the Netherlands who creates a markedly smooth blend of grunge, alternative, psychedelic, and stoner rock.I deeply regret missing the band's full-length debut See the World back in March, but fortunately, a lovely post from Stoner Hive about the release provided a much-appreciated introduction.See the World, generally speaking, is one of the most mesmeric albums I've heard since I started writing reviews, with calming melody, hypnotic low-end pulses, spacey interludes, and refreshing breezes of ethereal atmospheres making up the framework of the release. However, my favorite thing about See the World is the powerful, well-timed surges of intensity it contains throughout. Be it a warm rush of soaring, jubilant tones that have you mentally flying away on winds of euphoria, or electric jolts of palpable trepidation that will leave you with empathetic goosebumps, these rushes of feeling have a way of snapping you out of your contented trance, making you feel vibrantly alive.A no-skip gem best listened to from start to finish, See the World is a nearly spiritual experience that's as invigorating as it is meditative."Bus 14" official music videoMore About 22ad
You can follow 22ad and listen to their music at the following links:
Transonic Science Releases New Single "Vincent Price", Continuing Their Journey with Argonauta Records for the Release of Their New Album "Velvet Doom"!
Pioneers of the German stoner rock scene Transonic Science are regulars here on Screaming from the Heavy Underground for many reasons. First, this dynamic quartet has stood the test of time, perfecting their characteristic brand of "bulldozer blues" for going on three decades now. Secondly, the band is a paragon when it comes to the classic stoner sound, generating warm and gravelly, desert-kissed grooves with turbulent breakdowns, energetic drums, unstoppable bass, and adaptable guitar. The band also brightens up their sound occasionally with hookier tracks, marked by soaring alternative rock tones. Transonic Science doesn't stop there, however...the group also peppers moody songs into their albums, typically relying on murky grunge or soulful blues influences to tug at your heart while stimulating lyrics encourage thought and inner reflection. Finally, the distinct vocals of Ergün Aktürk are what truly lights the fire within the band's soul. While he usually leans on his trademark husky croons and raspy yowls, Ergün can also deliver velvet-smooth melody at the drop of a hat, particularly on those aforementioned soulful tracks.I instantly fell in love with Transonic Science's sound when I happened upon their Bulldozer Blues EP in 2023, an attachment that was made super official after the band released their full-length album Psychobulb in 2024. Now, I'm thrilled to announce that Transonic Science is cooking up something new, and they're giving us a first taste via the single Vincent Price.Featuring a melancholic, grunge-infused stoner riff, a standout sinister bass line, haunting bridges, and impassioned ire in the choruses, Vincent Price moves among feelings of longing, anguish, and rage. This emotional vehemence crescendos as the song plays on, with the instrumentals seamlessly shifting into some doomy atmospheres along the way. My favorite part of the song is one that palpably bleeds with internal conflict: the repetition of the phrase "Where's the one to guide old Mr. Devil Devil?" amid the contrasting weighty thrum of the bass and sorrowful interjections of the guitar.As if the release of Vincent Price wasn't enough for this old girl to handle in one day, Transonic Science has also announced that they will be continuing their sonic journey with Italian label Argonauta Records (who the band worked with on Psychobulb) as they prepare to release their next album Velvet Doom this fall.Says the band:"Once we had finished recording, we immediately knew that we wanted to ask Gero if he would release our album. We had such a great experience with our last release on Argonauta. It's a cool label, relaxed, welcoming, and professional all at once. Gero agreed right away, and here we are!"Ladies and gentleman...the signal has returned!Be sure to follow Transonic Science and Argonauta Records for more updates! Of course, you can bet that I'll be here to spread the word about every step of the way to what is one of the most highly anticipated releases of the year for me!More About Transonic Science
You can follow Transonic Science and listen to their music at the following links:
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