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Musipedia Of Metal
A View From The Quest: Quest Fest 2026 (Matt Bladen)
Quest Fest, KKs Steel Mill, Wolverhampton, 10.10.26
There are certain events that you look forward to, certain ones that you want to go to and then there are events that totally consume you, representing everything you first loved about music when you discovered your own taste and not the ones inherited from parents and family members.I've mentioned before about my love of stoner and doom but in the flip side of that I discovered power metal in my early teens and bands like Stratovarius, Sonata Arctica, Hammerfall, Dragonforce and many other were given regular rotation, and they still do today.
There's nothing quite like the feeling of a galloping beat, intricate basslines, shreddy guitars, histrionic vocals and songs about fantasy, mythology and sci-fi, it's music for fun.No overt politics (not that there's anything wrong with that), just for escapist enjoyment, through the things we love as children, be it witches and warlocks, knights, vikings and even dinosaurs, there's something for everyone.It's also the genre that is perhaps most overlooked in the UK. Go to continental Europe, there's power metal bands touring every country and major city. In the UK? London, if we're lucky!
Thank whatever deity you want for Quest Fest, formerly known as Power Metal Quest Fest, the UK's premier showcase of power/prog/symphonic metal, nearing its tenth anniversary.Amie and her dedicated team have put together a totally inclusive, slickly run, celebration of this genre which has been growing in stature and impact since its early days in Birmingham's Asylum to its current home in KK's Steel Mill.It doesn't matter who you are, what you are dealing with outside these hallowed halls, once you get your wristband, you're questing collectively with every other enthusiast in the room.Whether you're there for the music or the countless other side quests available, such as Guitar Hero Tournaments, Table Top Gaming, Magic The Gathering, Crafting or just enjoying the vibe, catching the wandering bard and soaking up being in place where everyone is united by what they love, then you will love every moment of your Quest.
I do. 2026 is my fifth year attending and I always have a massive smile on my face the counting down the days until the festival before it begins and then for the entire day.While I'm not a gamer, or a crafter, Quest Fest has exactly what I want in a festival, a collection of bands performing sets between 30 minutes and an hour, a lot of whom I have never seen before and who I never thought I would see.
This is what makes Quest Fest special for me, it's being able to finally watch Masterplan or Myrath or Serious Black live while also witnessing some of the UK's best flaunt their skills and even getting a few surprises throughout the day. It's given me some of my favourite bands (Hello Tiberius) and ticked off a tonne from my 'must see' list.
I unfortunately missed the pre-show at The Giffard Arms this year, but I know all three bands smashed it, I hope this becomes a regular thing as starting the party early is always a good idea.
However I was there bright and early for doors, into the new layout configuration for KK's this year which saw the second stage as an actual stage, the main stage more enclosed for a bit more intimacy with the bands and host of stalls, bars and food outside that in the main concourse. I can't say enough about KKs as a venue as I think it's one of the best in the UK.
Anyway to the band's and getting us started were Crown Solace (8) who are a unique prospect in the world of power metal as they feature soaring clean and harsh vocals, but unlike their influences such as Epica and Nightwish their mixture of symphonic and modern metal moves away from the norm with both male screams and male soprano vocals, which as a tenor myself impressed the hell out of me.
Weaving classical training with modern metal crunch, the Scots took a lot of the crowd by suprise, still relatively but I'm expecting them to have gained a tonne of new fans with this performance, myself being one of them.
Next it was Fortune Teller (8) a relatively new band but with some experienced musicians of the British metal scene within its ranks. Most notably former Metaprism vocalist Theresa Smith who's vocals have always been mate for this style rather than in a modern metal act in my opinion. So it was brilliant to hear her unleash those pipes on the Quest Fest stage.
The band delivered some mighty symphonic metal as keyboard player Meyrick De La Fuente brings the orchestrations and some co-lead and backing vocals to the stage but it's the twin guitars of band founder Ross McLennan and Ian Rockett, that manages to pair melodic metal with proggy modernity.
This group of veterans have momentum behind them and clutch of muscular power metal, you will see more of them soon, however after it was two newbies brought into the family, we had the return of a band that last took to the Quest Fest stage at The Asylum.
There it was leather and chains, here the neon glow of 80's retroism as Battle Born (8) stormed the stage with some classic Euro power metal. Widdly guitars, macho posturing and huge vocals, Battle Born lead everyone through some Elder Scrolls inspired heavy metal with might and magic along with a storming cover of Electric Eye by Judas Priest.
The irony of playing a Priest cover co-writen by the founder of the venue was not lost on me or anyone else probably as this is an educated, refined crowd. It was also quite numerous early on so Battle Born they took the chance of the state of the art surroundings of KK's to record a music video for their new single which got the right response ensuring that horns, fists, inflatable swords and at least one plush shark was in the air.
Battle Born start a party right and from here it was into two German bands founded by the same person but only one actually featured that person. Let me explain as the first band Serious Black (8) took to the stage. Co-founded by bassist Mario Lochert and ex-Helloween guitarist Roland Grapow in downtime from his other projects.
Since then they've had many changes in members as Grapow moved on to other projects (more later) but with they're still led by Mario who has ecently recovered from a stoke, meaning that they take to the stage as four piece of two guitarists Dominik Sebastian and Maurus Mayer, drummer Christian Schictl and vocalist Nikola Mijic who British audiences may know as the vocalist of Eden's Curse.
Serious Black play very straightforward style of Teutonic metal with some emotive lyrics and some balladry that got lighters aloft. Now relegated to sound desk, but absolutely killing it Mario, came on stage for three songs (as many as his doctor allowed) and played with his band.
This made for lovely moments but a slightly disjoined set from Serious Black, though seeing them for the first time was a great experience for someone like me that has followed them from their debut album.
Next though it was Mr Grapow himself, with another band he founded and another tick off the list from me as I FINALLY was able to see Masterplan (9) live!
Formed when Roland Grapow dropped from Helloween Masterplan too has been through line up changes, with former singer Jorn Lande now more at home with the Midlands own Tony Iommi, the current line up, since 2012, features Rick Altzi on vocals along with a who's who of the European metal scene as members have featured in At Vance, Stratovarius, Almanac and Gamma Ray.
At Quest Fest there was a sense of reverence as they took to the stage, they're bonafide legends, from some of the most influential acts in power metal and leaving most of their progressive tendencies at the door they treated Wolverhampton to a power metal masterclass.
Melding tracks from their recent record and some older nuggets of gold, you'd be hard pressed to find anyone who didn't have their fist/sword/shark in the air during their set of Teutonic heavy metal (despite only two members being German).
A rapturous applause for Masterplan, the presents from this year's Quest Fest better than any Christmas and they just kept coming as next it was a band who I've followed from their debut and thought I'd never get the chance to see after the issues they had at Bloodstock 2016 where they had to pull from the bill due to outside factors.
No such shenanigans at Quest Fest and to a packed house Myrath (10) took to the stage with the Middle Eastern influenced melodic metal that is both incrediblly slick and emotionally powerful. Myrath have it all, the songs, the performance, the style, shout out to their feathered keyboard player, it's no wonder that there's always been such a buzz about this band.
The set, quite rightly was taken from their most recent release Wilderness Of Mirrors including Les Enfants Du Soleil, with a few such as Dance from Shehili and even throwing back to Legacy with Believer, it was mainly the last three records that were played but the crowd didn't mind, these are the ones that have opened up Myrath to a wider audience and performed live they feel almost exactly like the record.
A virtuoso performance from the entire band I will of course highlight, the incredible vocals of their front man Zaher Zorgati as Myrath brought "blazing desert metal" to a dreary Wolverhampton. Well worth the wait and I already want some more.
Ther fun didn't stop there though, we had one more act to go and while Myrath offered all the poise and precision of a headliner, the last band of the day brought it all back to how much of the power metal scene started, muscular blokes singing about battle. Be it Manowar, Virgin Steel, Hammerfall or Heavy Load, if you get a load of dudes in leather singing about heavy metal it's going to go down a storm at a power metal festival.
Amie and the team know this so All For Metal (9) closed the day out perfectly. Another band I'd not seen and one that I'll admit I wasn't particularly looking forward too as I thought it might be a bit of joke. However I was very wrong as from the first notes this was macho heavy metal with it's tongue in cheek but a mighty fistful of fantasy metal anthems.
Delivered by a masked rhythm section, a statuesque guitarist (Dawid Wieczorek) and two burly frontmen who trade off low booms and shrieking highs, All For Metal's current form (they've had a few) seems to be the closest to the likes of Manowar, they even have bass solo section that built into frenzy just shy of ripping out the strings.
The vocals are shared by Tim Schmidt of Asenblut (low) and Amerigo Vitiello (high) and these are the focal point of the band, leading the Epic Fest choir in sing-alongs, call and response and more, treating their headline set like this was an arena and they were the invading Vikings, ready to pillage the town with pure heavy metal machismo!
With the last growl and the shriek it was over another Quest Fest complete, the audience exhausted but elated, gathering their coins and trophies as they look forward to the next chapter of this special festival, built by fans for fans and curated brilliantly every single time.
The next chapter promises to be even more special.A 10th Anniversary party that already has Rattlesnakes, Power Paladin, Frozen Crowd and Firewind (From Greece!) confirmed to join the Quest. Prepare yourself for more might, majesty and metal in 2027 as Quest Fest continues to be the most inclusive heavy metal celebration of the year!
Reviews: Iapetus, Defects, Master, Sidus (Keith Boswell, Matt Bladen, Mark Young & Mateusz Stefanow)
Iapetus – The Mother Void (Willowtip Records) [Keith Boswell]
Iapetus release the third and final instalment of their conceptual trilogy with the album The Mother Void. It seeks to follow up on the 2017 Long Road Home and the 2019 The Body Cosmic albums, both of which have received rave reviews ensuring that this album is hotly anticipated from those in the melodic death metal world and beyond.
One thing I can say from the off is that the anticipation is not misplaced in the least as The Mother Void is a fantastic album and is easily in my top five for the year! One could describe this offering as atmospheric, melodic, intense and most importantly for me, it provides a considerable amount of variety throughout being it vocal, instrumental or atmospherical.
Iapetus, founded in 2010, originate from Long Island New York and comprise only two full-time permanent band members Matthew Cerami and Jordan Nevarro, who are supported by collaborators invited in to contribute to the project. This in my opinion sort of makes sense with the main direction provided by the permanent members and the variety of approach supplied and delivered assisted by the invitees.
The Mother Void starts its journey with an introductory melodic piece entitled Parturition, evident in this song are the angelic vocals of Fabienne Erni (Eluviation) which I positively love, such vocals are a continuing presence and intermingled throughout.
This brief opening offering is soon interrupted by an intense avalanche of very melodic but aggressive guitar riffs, guttural death metal vocals and softer supporting vocals setting the tone for more to come in the form of the track The Mother Void. This song catches hold of the listener and does not let go for the nearly 13 minutes duration. In the first two songs the scene for the record is set. With its quality apparent, its tempo changes, variety in heavy guitar riffs, melodic undertones, vocal variations and an atmosphere in which the band deliver a melodic masterpiece in Aniara.
Using similar ingredients only mixed and presented in another fantastic arrangement the album progresses on with the equally as powerful Red Giant. Once again, a tempo change is noted and enjoyed throughout the excellent song Emolument which, in my opinion, is almost operatic in nature and similarly leads into TON and the final tempo change of The World Be Undone.
Wow! I cannot praise this album enough, what a great piece of work, such a complete journey from start to finish. Make sure you give this a listen; you won’t be sorry! 10/10
Defects - Artificial Icons (Mascot Records) [Matt Bladen]
It's probably not too much of a stretch to say that without Trivium a band such as Defects wouldn't exist, so it's only natural then that Matt Heafy completes another side quest by adding vocals to Signs, the precursor single to the new album from Defects.
A band who never shy away from having an opinion, unlike some other metal legends recently. Signs is about war, the current conflicts across the world that are leading to countless people dying for basically no reason. The collaboration between Heafy and Tony Maue, manages to balance the anger and search for hope this song conveys through both of them giving a great performance.
Not that Defects need guest singers, Maue has a brilliant vocal, anthemic cleans come through on massive electronically-tinged groove numbers such as Where Did I Go Wrong, while his snarl is right up there in the deathcore steaks on the crushing Critic.
Their previous album Modern Error was about Maue's history in the care system, the trauma that caused still present in the lyrics of Artificial Icons but now the aggression is pushed outwards towards the world at large, it's about "the balance of survival" with topics such as war, addiction and societal systems all put under a microscope and delivered with the bristling modern metal sound of Defects.
Production from Jim Pinder (Sleep Token, Bring Me The Horizon), allows the album to feel distinctly modern but never too clinical, the electronics bleep and oscillate, the riffs are filled with groove, the vocals passionate and there's also some great lead/solos on State Of Mind and Hollow.
Maue and guitarist James Threadwell are the only two remaing from the line up that recorded Modern Error, as Rowan Jack (drums) and Orlando Morris-Winmill (guitar) join the ranks for this intense and emotional second record, that has profundity throughout.
Closing with its most heartfelt moment on Afterglow, Defects are more than just a modern metal/metalcore band, they take a lot inspiration from that early NWOAHM sound favoured by Trivium, Killswitch Engage (The Other Side) and other but make it their own and push their style forward with album number two. 8/10
Master - Among The Seeds Of Death (Hammerheart Records) [Mark Young]
There is a note at the bottom of the accompanying press sheet for Among The Seeds Of Death which makes sure you are aware that Master is one of the original Death Metal bands and that this is a release for fans of (Old) Death, Massacre, Venom, Autopsy amongst others. In a way, it is setting the scene for any new listener about to jump on.Like those bands? Well you should like this too is the argument being pushed here but I’m not sure that it works. My experience of Master is that I think I saw them on tour with Obituary at the Bradford Rios, back in 2004 and from memory (which isn’t the best) I didn’t then go out and find more of their music. It seemed fine, but I was there for Obituary.
Anyway, that’s not really important here, except that as Twas Always A Plan unspools I’m reminded that it kind of sits in a no-mans land. Its not death, its not quite thrash so what the hell is it? Well, its fast, aggressive that is decidedly old school in its execution, which given the direction that bassist and leader Paul Speckman has taken (I’m reliant on online sources and the exceptional Choosing Death by Albert Mudrian) where he ploughs a singular field that remains true to his vision.Its not overly technical, yes there are lead breaks present and the death growls are definitely more aligned with Venom as an example. Each track doesn’t move from that lane, the variations found are in tempo as some do charge at top speed, others happy to occupy a more medium pace where a lot of the heavy lifting is done by the drummer Peter Bajči who propels each song along (Unsettled Loss is a great example of this).The issue I have is that they don’t land with me and 20 years on from that live show, there is nothing here to change my mind and make me dive into their back catalogue. I don’t find myself hating or loving it, just ambivalent to it. I’m pretty sure that there are fans out there, there has to be considering that this is album number 16 which is an incredible achievement (no, I’m not being snarky) so let’s celebrate that and leave it there. 6/10
Sidus - Lotus (Dunk! Records/A Thousand Arms/Black Box Records) [Mateusz Stefanow]
Having never come across post-metal before, Sidus’ Lotus is a unique experience, and a very interesting listen. Bearing this in mind, this review may not be my most educated one, but a lot more vibe-based.
Immediately the most striking aspect is the album cover, a melancholic image of a drowning lotus flower, which we can experience aurally through the slow strumming upon the start of Origins Beneath. The drummers use of cymbals contrasts nicely against the slight distortion effect on the guitar, which has a fuzzy, soft sound to it, pairing with the gentle background vocals. Over time the drummer moves towards the toms more for a thicker sound, which gives the song an organic evolution.
Chasmal in contrast sounds a little harsher, if the first track was someone floating downstream, then this track is them fighting to break out of the water but losing strength. Embrace The Void feels like the middle ground between the last two songs, it’s slow with some quicker sections, but most distinct are the vocals, as we have growls breaking through the guitar and drums, once again feeling like this imaginary person of ours is fighting for breath.
Awaken is slow, melancholic and strangely meditative, calling back to the peace of the first track and tying wonderfully to the album cover again. Awaken bleeds into Soul Gazing, a track that is strangely reminiscent of modern Gojira, with funky guitarwork over a steady and prominent drumbeat. Around halfway into the song we get a space-like melody, which gives way to chugging riffs, before fading out to that similar melody again.
Divine Paradox follows the same scheme as Awaken- Soul Gazing, where the beginning continues the previous song before morphing into it’s own unique sound. This album is interesting, in that it is sonically different to any other albums I’ve heard before, but personally I find it a little repetitive at times, but it is absolutely worth a listen. 6/10
Reviews: Carnation, Throes, UnTeachers, Sundowner (Will Bond, Mateusz Stefanow, Jordan Griffiths & Mark Young)
Carnation - Symphony In Flesh (Self Released) [Will Bond]
Symphony In Flesh is the fourth studio album from Belgian death metallers Carnation. Nine blood soaked tracks overflowing with thundering double kicks, power saw riffs and bone breaking guttural vocals.
Blackmouth opens ferociously, with razor sharp riffs and a lot of groove in the verses. Flesh-Eating Frenzy follows with screaming feedback bursting into full mosh out death metal. The guitar tone is filthy, the vocals are strong and intelligible, but no less brutal for it.
Symphony In Flesh, brings the pace down into a rotting death waltz, the tempo change signifying the variety on offer from this album. The production is clear, with a heavy low end, double kicks thundering in that space. With the guitar occupying the high mid area it leaves space for the pummelling vocals to cut through. The guitar solos feel well thought out, instead of just shredding for the sake of shredding. The record has an analogue feel, taking me back to rustling through cassettes, looking for the brutal gems hidden within.
Labyrinth Of Silence begins with a clean guitar, offering a short palette cleanser, followed by a fantastic high register riff as the track gathers pace and power. Towards Death then throws a bucket of gore in your face, with a frenzied fast intro moving into a head banging groove, and even leaning towards blackened death.
The deeper I went into the album, the more I was blown away by the quality of the song writing. No section outstays it’s welcome, and each part hits you just when you need it to. Not that it’s predictable music by any stretch, it’s just incredibly well written death metal.
Legacy Of The Forefathers is a magnum opus of a track at over ten minutes, with hailstorms of blast beats, chugging verses and wide open chorus parts. Evoking a horror soundtrack aesthetic at times, it evolves and keeps surprising the listener.
Symphony In Flesh is a glorious gore splattered joyride. It moves seamlessly from pummelling blasts, to neck breaking grooves and soaring euphoric horror. Fire up the chainsaw and get stuck in. 9/10
Throes - The Colorless Light Of Emptiness (Church Road Records) [Mateusz Stefanow]
Coming in like a sledgehammer in slow motion, Western Violence crushes us under it’s heavy drums, fuzzy riffs and growls, leaving us too soon, for Revenge Death is awaiting it’s turn in the spotlight.
Revenge Death could be taken off a death-doom album without anyone batting an eye, it has a heavy, oppressive atmosphere, similar to the greats of sludge metal like Grief, Sludge or Buzz*Oven, and the drumming being slower during sections without vocals, then speeding up when the vocals kick in is an awesome touch.
Joy is the third track, and once again the Grief parallels are clear. The song has static effects, a pounding chunkiness to the sound that makes you feel like you’re drowning in liquid concrete and the faster segments add frenzy and desperation without weakening the sludge metal crawl. Eat Glass is quick and pummelling, a track that takes no prisoners and shows that Throes are a band who know what makes up the heart and soul of sludge and retain that while garnishing it with their own unique spin.
Coming in with punk-esque fury is ApePersonAnimalHuman, a track full of violence, rage, groovy riffs and thundering drums and a thick bassline that adds a feeling of oppression. Spiritual Debt is nearly completely melodic, showcasing the technical skills of the guitarists and drummer, just pure gravelly sludgey goodness for 2 minutes and 31 seconds.
Over the trio of Pain, Beg and Basura we see the variety of styles that sludge metal can take, from the quicker paced pain, to the uber-slow and crushing Beg and the mixed, fuzz-led Basura these three songs bookend the album by showing that experimentation brings you exciting new albums like this one to listen to.
Overall this album was fantastic, showcasing depth and range in one of my personal favourite subgenres. 8/10
UnTeachers - Under Bright Sadness (Rottweiler Records) [Jordan Griffiths]
Once again, I am back, with another album from a band that I have not heard of before!
The first track of this 11-track stretch was extremely repetitive, utilising the same guitar riff for the entire 6:52 that the track runs for, with the first clearly understandable lyrics coming in at the 3:06 mark. While I definitely appreciate the atmosphere and tension in this drawn-out composition, I found myself, overall struggling to keep engaged with a track that seemed to go nowhere for much of its runtime.
Psalmnambulist, picks things up instrumentally, with much more variation than the first track, however, despite the change in tempo and sound, I still found myself struggling with the overall repetitive nature of the album as a whole. Don’t get me wrong, there are progressions in the songs, however I found myself ever wanting for more from the compositions, specifically in their ability to build and maintain momentum.
However, onto the good things! The vocals themselves, really set the overall tone and vibe for the album, often feeling strained, expressive and vulnerable at times, adding a quite emotional undertone throughout the entire album, while not my cup of tea, I can really appreciate the intent and process behind this artistic direction.
Under Bright Sadness feels like an experimental prog metal project, instead of the more conventionally structured and compositionally intricate progressive metal that I am accustomed to, and enjoy. This album seems to largely avoid any sort of immediate hook or memorable choruses. But I feel that this is the intention of the album itself. Opting for a more expansive, unconventional approach to the prog mental genre.
Overall, while I can really appreciate the balls it takes to really put yourself out there, and experiment with music in the way that Unteachers have done here, I really do feel that I am not the intended audience for this album, as such, while I can respect the artistic direction and ambition behind Under Bright Sadness, I don’t see myself returning beyond this review. 6/10
Sundowner - Cesspool (Disdain Records) [Mark Young]
Well, as we try to find new and wholly inappropriate adjectives, todays stab is ‘Cavernous’. Probably the not-quite-right way to describe Sundowner’s sound, but I like it so I’m running with it. This is their third full length release, touted by them as an album of ‘poisoned blues and sludge-soaked hostility’ which just about writes the review for me. What it also shows is that Australia’s metal scene is doing some of the lord’s work when it comes to extreme music and its great to see it making its way over here.
The Deep is their opening shot and well its glorious. A great set of proper riffs, pounding drums and harsh vocals delivered with a swing. If I say that the guitar has a tone on this that you could chew on, that should give you an indication of how thick this sounds. They blast through and the bit I love is that its straight into Golden Skinned Gods with no pause, barely a touch of feedback and then bang, we are off.A trick they repeat into Grave Wax which pulls in from eastern influences but doesn’t miss with their riff choices. Absolutely killer in how they have put these together, because I suppose if you held these up against some technical metal (I don’t know why you would do that) yes there is an argument for it being ‘relatively simple’ but there is a load more expression and life here, its not cold or sterile.
If you take the start of Bleach Sniffer, there is moment where its feeding back then they kick it in the guts and let the bass and Pagey’s vocals take the lead. If this is the blues, this is for people who are truly suffering with their lot. When they kick it up a notch, it doesn’t lose any of its impact for the tempo shift and live this will cause carnage, that marrying of the sludge with hardcore gives it that violent edge, and the step back into that slower pace, whilst expected doesn’t mean it loses any momentum.That is one of the key things you pick up from this album, is that it is in a state constant movement, always pushing forward and there isn’t a moment where that is arrested in any way. Another strength is their approach. I mentioned simplicity earlier; they make it so that each track doesn’t overcomplicate anything. Patterns are built so the riff takes centre stage, and with a tone like they have here, why not?The sub 2 minute Complete And Utter Ruin is a great example of this and its difficult to pick out a highlight when you have 10 tracks that are consistently abrasive and heavy from start to finish. Ultimately, if you lean towards super thick guitars, memorable riffs then this should be right up your street. If you are into fleet-fingered virtuosity and guitar solos that approach the speed of sound without saying anything then avoid. 7/10
Review: Thrakian - The Way (Matt Bladen)
Thrakian - The Way (Aonair Records)
I first heard, saw, felt Thrakian when they played alongside Pantheïst at a gig in Cardiff. They share a membership and an ethos for creating music that is forward thinking and devastating in it's heaviness and its intelligent lyrical content.
Though reformatted in Wales, Thrakian's beginnings are in Bulgaria, the birthplace of three of its members, their music is directly inspired by their immigrant experience with themes of displacement and identity, forged with ancient Thracian mythology which speaks of loss and resilience.
Thrakian in a live setting are a force of nature, from their dominating run at M2TM through almost constant gigging, playing with the likes of Pantheïst, Warcrab, My Silent Wake, Ba'al and Ofnus. Thrakian have become a live beast with some imposing, megalith flattening, post metal that creates a crushing union of heaviness and introspection.
I hoped that when the time came for recorded output it would reflect who they are on stage so now with The Way, their debut album we can put that to the test, as things begin with the kind of ferocity I want from them on Labours Of Insanity, at just over 6 minutes the shortest cut here but it welcomes you into the world of Thrakian with a slow burning beginning.
The melodic lead guitar lines of Kristiyan Peshev are evocative, before the rhythmic chug of Atanas Kyurkchiev (guitar) and Matt Strangis (bass) begins the song properly, the blasting of Svetoslav Simeonov irrepressible even under this slower riffage, as Atanas' pained growls bring a a passionate veracity but also sense of clarity where you can hear what he's shouting.
It's a skill many bands struggle with but even when the pace quickens into blackend blasts at the end you can still feel the introspection and emotion in the vocals as you're drawn into the mesmeric riffs of the band with only song one, proving that they can mirror their live assault on record.
Following Labours Of Insanity is the epic of the record, the 12 minute plus Ancient Glory, a track that has all the monolithic density of modern Rotting Christ, layered with ritualistic guitar riffs, intricate and constantly shifting drumming, it moves between time signatures and styles with the ease of serpent, the full intensity and melodic beauty here showcasing the skills of engineer Timothy Vincent who I've waxed lyrical over before.
Ancient Glory lives for the instrumental sections, elongated moments of that insistent riff, punctuated by ambient parts as the pace quickens and slows for devastating effect, arguing into the blasting beginning of The Way itself, another slab of post metal/sludge sound shifting that showcases Matt's bass work and how the band merge extremity and melody, through atmospherics that always keep the potent drumming.It dictates its own unravelling, the counteracting soundscapes leading you on an auditory journey through classical antiquity, punctuating every triumphal and hubristic moment with more intense musicality, similar in many ways to bands such as Neurosis, where multiple genres are all used at once, wrapped in distortion and volume.
Oddly The Way (the song) is Thrakian at probably their most direct, even with 7 minutes behind it and little vocals, it powers along ready for you to bang your head. I don't want to call it mainstream but it showcases that Thrakian don't have to do, layered complexity to be effective. The mainly instrumental cut has a propulsion to it, its post metal meets a more classic metal output and, like the best post/sludge bands around, the ever shifting momentum means that there's never a moment to ease into but rather you get caught in a swirling vortex of heavy rhythms, where all you can do is just to let go.
Similarly In The Grips Of Illusion, takes things further the other way, cleaner spoken word vocals, textured ambience and a clarity at the beginning, takes them into some progressive textures, that are edffective although shortlived because it's not long before the heavy comes back in with modern metal groove that again is built around repetition and an insistence, that I can only liken to Rotting Christ, when they are locked in, heads down and taking an audinece with them. It's a closer where there feels like there's both finality but also a opening to the next chapter, as if there's plenty more to come but a unknonwing about what form it will take.
At 35 minutes across 4 tracks, Thrakian showcase why they are one of the bands to keep an eye on in the South Wales/UK scene, capturing their live power on record brilliantly, The Way highlights their dedication to their craft and how extreme heaviness can also be atmospheric and full of melody. 10/10
Reviews: Frozen Crown, Tungsten, Smoulder, Crimson Steel (Matt Bladen)
Frozen Crown - The Legend Of The Six Kings (Napalm Records)
Italian power metal act Frozen Crown return with their six album The Legend Of The Six Kings, giving us another ten tracks of bold, power metal that sits on the heavier end of the scale.
This record takes things further with an album that's darker in its sound, using more of a narrative style to these songs so vocalist Giada “Jade” Etro is able to mix up her vocal style a bit as guitarist Federico Mondelli adds growls and cleans to the Title Track, advancing Frozen Crowd towards melodeath than anywhere else.
It's like everything is permitted on this new album, there's Tolkien influences everywhere, especially on The One, while theres stories of resilience on Reborn, radio bothering melodic cuts such as River Of Time and even a cover of Iris by Goo Goo Dolls that gets a Euro power metal overhaul.
Every song showcases the musical skill of the band from the galloping rhythms of Niso Tomasini (drums) and Francesco Zof (bass), through the triple guitar interplay between Mondelli, Alessia Lanzone and Aleksandra Stamenkovic, all of whom are credited as lead guitar and prove that they all are with every virtuoso solo/harmonic melody on this record.
Power metal with more muscle, Frozen Crown still reign supreme in their own kingdom with album number six. 8/10
Tungsten - Ashes (Perception)
Ever wanted some modern power metal with yodelling then play Joker, the first track on the fifth album from Swedish band Tungsten. Guitarist Nick Johansson is the one singing to the milking cows here, as Mike Andersson provides the main vocals, his voice we'll suited to the melodic power style here, going from gritty lows to high screams.
Mike is joined by screams from bassist Karl "Kalle" Johansson on Bite My Tongue, Nick and Karl laying down the riffage while the changes of pace of is dictated by Niklas and Kalle's father Anders Johansson behind the kit, keeping the rudder in a strut for Supernova and a speed for Happy.
With so many power metal bands these days it's symphonic keys that's are the most important element to Tungsten's overall style, adding a bit of countrymen Ghost here, with Fuego Del Sol they add some throbbing Europop that would work well in Eurovision, industrial throb for Ted The Exorcist and folkisms on For Thee.
Tungsten are almost a jukebox if power metal styles, all linked by the synths shifting between the genre changes, Tungsten have a humours side that reminds me of Edguy, while when they really want to showcase their chops they do so with a track like The North Shall Rise which is a blitz of double kicks, chuggy riffs and a special vocal appearance from Tony Kakko of Sonata Arctica.
Tungsten don't do anything radical on album six but they still deliver anthemic power metal. 7/10
Smoulder - Witch Wife In An Alien World (Cruz Del Sur Music)
Smoulder return with their third record of epic doom metal and with vocalist Sarah Ann's move to Finland, Witch Wife In An Alien World contains more black metal influences than on previous releases.
Having recorded a cover of Bathory before, the black metal influence of this record is not actually from the Scandinavian style but more so from the Hellenic scene where death and black combine for a more intense and muscular style of extreme metal that is perfect for the powerhouse sound of Smoulder, see both Crush The Neophytes and Empathy's Wrath.
It means that album three is a much more diverse release, with Sarah Ann's vocals on tracks such as Noitien Loitsu (sung in both English and Finnish) and Shadow Of The Vulture, adopting styles that you may not expect but fit brilliantly into this experimental approach to the album.
She has always been a brilliant singer, one of the best in the epic doom genre but here she shows that she can do much more than just that while the band; guitarists Collin Wolf and Shon Vincent, bassist Adam Blake and drummer Kevin Heste, take these changes to style in their stride, the studio band differing from the live one, though live guitarist Bootleg Henkka (Havukruunu), drops in for a solo
The spirit of epic doom remains on Water Wars and Their Name Lives On but Witch Wife In An Alien World, takes Smoulder further into the blackness, the inspiration of the black metal scene tightening its grip upon the band to make their third album an overall more menacing record. 8/10
Crimson Steel - Show No Fear (Heaven And Hell Records)
Heavy metal from Raleigh, North Carolina now with Show No Fear the new record from Crimson Steel. The intro As Above, So Below, lets you know what you're getting into with the sound of a battlefield, horses charging and the triumphal parp of trumpets, before we kick off properly with Dark Rider.
Dark Rider, features distorted guitars from David Ryan, galloping lead bass from band founder Joel McGee, who gives himself a solo before the six string widdling, but don't worry he gets to show off on Final Phase too. All the while the drums of Will Adkins has a measured power, which lends itself to the more epic and progressive arrangements Crimson Steel have here.
Influences such as Savage, Crimson Glory and Manowar can all be felt through these songs, the latter in the vocals of Tina Langevin who can shriek with the best of them as they tune into some Judas Priest on No Absolution, from the vocals right down to the dirty guitar sound it's pre-British Steel Priest for sure as there's definitely an old school ethos from Crimson Steel.
The instrumentals are all full of that classic metal power with a technically that may go overlooked by I really enjoyed. Vocally too McGee joins for Purifier while on the atmospheric Bleed Into One, James Rivera (Helstar/Vicious Rumors etc) duet with Tina for extra theatrics.
Crimson Steel, Show No Fear with album number two. Classic heavy metal that's a little bit cleverer than normal. 7/10
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Outlaws Of The Sun
Oscillotron - Axiom (Album Review)
Release Date: October 16th 2026. Record Label: Self Released. Format: DD
Axiom - Tracklist
1.Epoch 01:16
2.Prime Neuron Disintegration 12:24
3.Nullification Sequence 09:32
4.Autogenic Kernel 02:54
5.Colossal Suspended Tensor Nexus 20:21
6.Archaic Cognitive Unit 11:14
7.Axiom 03:01
8.Miasma (2024 Demo - Bandcamp exclusive bonus track) 19:36
Members
D.A. Johansson - Everything
Review
Axiom is the latest release from Ambient/Doom/Drone Metal project Oscillotron which is the creative project from D.A. Johansson, who is also the main creative force behind the mighty Sludge Metal powerhouse known as KONGH. Oscillotron is a completely different beast to KONGH where the music is delivered through slowly played Distorted elements of Ambient, Doom, Drone, Psych and Industrial sounds.
The record is quite mechanical and ice-cold with a wide arrangement of different sounds and gloomy textures being played against an electronic based environment. Oscillotron is quite cinematic and heavily soundtrack driven which you can appreciate throughout tracks such as Prime Neuron Disintegration and Nullification Sequence.
The cautious and highly methodical sounds become quite spaced out when the music becomes more Ambient determined. The early stages of Axiom reminds me of films made by John Carpenter and James Cameron with the gloomy synths and electronic elements providing a cautionary style of delivery.
Axiom does feel heavily inspired by classic films of the early Eighties which I may be looking far too much into. Oscillotron is a surreal experience but once that’s quite grounded with that slow paced narrative adding that fractured Drone / Doom aspect that feels inspired by the likes of SUNN 0))), NIN and Author & Punisher but with that massive Electronic and Industrial theme bringing a sense of highly original mystery to the party.
The album lasts for around an hour with each track offering a different style of Eighties based paranoia into the mix. Oscillotron even starts to develop some excellent “video game” narratives into the record which fully sells that soundtrack narrative I mentioned earlier. It’s great to hear David bring some intense slabs of heavy distorted doom into the mix which gives the album a whole destructive energy with vicious electronic beats becoming quite central to how the album fully plays out.
The Progressive Musical environment is wonderfully subversive with David showcasing a wealth of different Electronic and Ambient Metal styles on tracks such as Autogenic Kernel, Colossal Suspended Tensor Nexus and Archaic Cognitive Unit. Axiom is quite forward thinking and superbly dystopian which is quite hard to pull off especially for an instrumental album such as this. However, Oscillotron prove they have a great creative insight by blending different areas of Ambient and Electronic based music that tells a truly captivating story.
Axiom is an absolute masterclass of Ambient Doom Metal and Instrumental Music. Everything is played amazingly throughout and I wanted to hear more when everything was said and done. It’s also quite cool that David has included the 2024 Demo Bonus track of Miasma which is where the idea for this album originally started from.
If you’re up for a challenging and highly experimental style of instrumental music then you’re going to have your mind blown with Axiom.
Words by Steve Howe
Links
American guitarist Jason Walker to issue Jason Walker's Gravity Amplifiers debut album (featuring Nick Oliveri and Mucho Drums) on Ripple Music this fall!
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American heavy metal guitarist Jason Walker signs to Ripple Music for the release of his debut solo project JASON WALKER'S GRAVITY AMPLIFIERS — featuring drummer Mucho Drums and bassist Nick Oliveri — on November 20th, and presents the debut track today!
Stream debut single The Powerful Lie (featuring Nick Oliveri)
Jason Walker has spent years channeling a singular obsession into sound: the unwavering belief that we are not alone in the universe. Long before the New York Times forced the Pentagon's UFO programs into the public eye in 2017, Walker was already a witness, and his debut solo album Disclosure Vol. 1 is his testimony.
Backed by Mucho Drums (El Perro, Great Electric Quest) and featuring guest bassist Nick Oliveri (Queens of the Stone Age, Mondo Generator) on half the record, Walker builds a heavy, layered guitar album that works on two levels. On the surface, these are songs about an incident, about humanity, about contact. Beneath it, they're work as allegories about a kid who never felt like he belonged, about instinct, about the strange isolation of seeing something the rest of the world wasn't ready to see. Equal parts riff-centric heavy metal and deeply personal reckoning, Disclosure Vol. 1 is a powerful concept release and a sonic statement all at once.Debut album "Jason Walker's Gravity Amplifiers"Out November 20th on Ripple Music (LP/CD/digital) - PRE-ORDER.jpg)
Jason Walker's musical journey began unusually early, with his first instrument being a makeshift drum kit built from coffee cans and welding rods. His first concert — Crosby, Stills and Nash — solidified his path toward guitar, and he began learning on his father's 12-string acoustic. By age 14, he was already being paid to play, armed with a late-'70s Marshall JMP and a Les Paul Standard. Walker joined the Gene Simmons Band after being recommended by drummer Brian Tichy and passing an audition. He has since toured extensively and established a strong on-stage presence throughout countless shows across North America.
Jason Walker's Gravity Amplifiers is:Jason Walker — guitar & vocals
Mucho Drums — drums
Nick Oliveri — bass
Ripple Music linksThanks to Purple Sage PR for the details.
KING BUFFALO Release Music Video for New Single "Vagabond" From Upcoming Studio Album Doomsayer, Out December 4th
[Photo credit: Mitch Kline]
King Buffalo have released “Vagabond”, the second single from their upcoming album, Doomsayer, out December 4th, 2026, as a self-release in North America and through Stickman Records in Europe. Preorders are available via http://kingbuffalo.bigcartel.com and https://www.stickman-records.com.
“’Vagabond’ was recorded in our new studio space, so it felt fitting to have the video take place there too,” drummer Scott Donaldson shares about the band’s newly constructed Rochester studio space. “It’s been a long road getting the space to where it is today, and there’s still plenty to do. From the beginning we have a vision of creating somewhere that functions as a proper recording studio while also being presentable and versatile enough for video. It feels great to finally share a glimpse of the new home we’ve built for ourselves, and to debut the second single from Doomsayer.”
The trio previously released “The Slick and The Dead,” a track Consequence said “merges classic desert rock a la Kyuss with Deep Purple-style organ accents and melodic flourishes.” The Obelisk also weighed in, saying the new songs “capture the dynamic chemistry between the three of them at its most vibrant, breathtaking and viscerally heavy.”
“Doomsayer originated in early 2026 out of many hours of jam sessions in our new studio space, playing around and seeing where it took us,” explains guitarist/vocalist Sean Roa, who also produced and mixed the album. “We didn’t really have an end goal in mind of what we were going for. We were simply exploring ideas and seeing what ended up speaking to us the most. So much has happened, both as a band and in our personal lives since our last record, that ended up becoming the inspiration to many of the lyrics on Doomsayer. I think as a result, this is some of our most upfront, direct and riff-driven work to date. We are incredibly proud of it and can’t wait for it to get out into the world.”
Four years on from Regenerator, King Buffalo returns with a record shaped by years of international touring and a deepening confidence in their own sound. Recorded in the new studio the band built themselves, Doomsayer finds the trio continuing to reach into the unknown, while bringing a greater sense of focus and intention to their sound. The experience they have gained on the road is evident throughout the album, both in the poise of the material and the confidence of their delivery. Like the pandemic trilogy that preceded it, Doomsayer was made at home, but the band’s new surroundings have given them the freedom to continue exploring and finding new ground, with a maturity they have earned one stage at a time.
Cover artwork by See Machine
Doomsayer Tracklist:1. Battling The Mystagogues
2. The Slick and the Dead
3. Vagabond
4. Hell or High Water
5. Into the Foundry
6. Ether on the Dark Side
7. Doomsayer
The band launch their North American tour on Oct. 29 in Boulder with support from L.A. Witch (Oct. 29 to Nov. 21, except Los Angeles), Doom Gong (Dec. 3 to 5 and Dec. 18), and Handsome Jack (Dec. 8 to 12). A European trek was announced with Spirit Mother opening on all dates. Ticket links are available at Kingbuffalo.com/tour.USA Tour Dates10/29 Boulder, CO - Fox Theatre.jpg)
10/30 Denver, CO - Bluebird Theatre - LOW TIX
10/31 Salt Lake City, UT - Urban Lounge
11/2 Portland, OR - Aladdin Theatre - LOW TIX
11/3 Vancouver, BC - The Pearl - LOW TIX
11/4 Seattle, WA - Neumos
11/6 San Francisco, CA - The Independent - LOW TIX
11/7 Los Angeles, CA - Lodge Room
11/9 Solana Beach, CA - Belly Up
11/10 Phoenix, AZ - Crescent Ballroom
11/11 Albuquerque, NM - Sister
11/13 Dallas, TX - AM/FM
11/14 Austin, TX - Mohawk
11/17 Houston, TX - Bad Astronaut
11/19 Nashville, TN - Basement East
11/20 Asheville, NC - The Grey Eagle - LOW TIX
11/21 Cincinnati, OH - Woodward Theatre
12/3 Detroit, MI - El Club
12/4 Chicago, IL - Thalia Hall
12/5 Cleveland, OH - The Roxy
12/8 Toronto, ON - The Mod Club - LOW TIX
12/9 Montreal, QC - Theatre Fairmount - LOW TIX
12/10 Boston, MA - Brighton Music Hall - LOW TIX
12/11 New York, NY - Le Poisson Rouge - LOW TIX
12/12 Philadelphia, PA - Underground Arts
12/15 Richmond, VA - The Broadberry
12/16 Durham, NC - Motorco
12/17 Washington, DC - Black Cat
12/18 Columbus, OH - Skully’sEuropean TOUR DATES
02.03 Hamburg, DE - Grunspan
03.03 Antwerp, BE - Trix
04.03 Haarlem, NL - Patronaat
06.03 London, UK - Scala
07.03 Manchester, UK - Gorilla
09.03 Bristol, UK - Electric Bristol
11.03 Paris, FR - Petit Bain
12.03 Essen, DE - Zeche Carl
13.03 Cologne, DE - Kantine
14.03 Stuttgart, DE - Wizeman
15.03 Munich, DE - Backstage Halle
17.03 Berlin, DE - Festsaal
19.03 Copenhagen, DK - Pumpehuset
20.03 Gothenburg, SE - Monument
21.03 Oslo, NO - John Dee
22.03 - Stockholm, SE Debaser NovaConnect with King Buffalo:King Buffalo is:Sean Roa - Guitar, Synth & VocalsDan Reynolds - Bass & SynthScott Donaldson - Drums & Percussionhttp://kingbuffalo.com
http://kingbuffalo.bigcartel.com
For Socials: @kingbuffalobandThanks to All NOiR PR for the details.
Hexecutioner - Ascension Rock (Album Review)
Release Date: October 23rd 2026. Record Label: Self Released. Format: CD/DD/Tape/Vinyl
Ascension Rock - Tracklist
1. Shapeshifter (5:52) 2. Usurper (5:57) 3. Manifested (7:10) 4. Star and Stone (4:42) 5. Sink or Swim (5:22) 6. Billionaires (4:45)
Members
Erin Gravina - Guitar and Vocals
Daniel McManus - Bass Guitar
Bryce Hebner - Drums
Review
Ascension Rock is the third album from Doom/Stoner Metallers Hexecutioner with the band adding a grounded cosmic energy into their music. The record itself is quite grimy and stripped back which gives Hexecutioner a heavier approach compared to their previous albums. This allows Hexecutioner to align themselves closer to the likes of OM, SLEEP and Acid King throughout this album.
There is also a killer Proto-Metal and Garage Rock delivery being used on huge parts of the record but it’s that COSMIC DOOM sound that makes the most lasting impression which is brought superbly into life within the excellent opening track of Shapeshifter. The sound is quite down-tuned and led by moments of amplified distortion which still forms an epic style of sludge melodies amongst the gritty atmosphere that develops in the background.
Erin Gravina works creative overtime on this record by playing guitars, delivering vocals and writing the lyrics and music for this record alone. However, this feels like a real team effort with Daniel McManus (Bass) and Bryce Hebner (Drums) forming a powerful rhythm section that allows Erin to play some intense grooves that remind me of Acid King and Shrinebuilder.
Ascension Rock does allow Hexecutioner to move into areas of Progressive Rock and Spaced Out dimensions along the way on tracks such as Usurper, Manifested, Star And Stone and Billionaires. The stripped back production values work surprisingly well for the more COSMIC aspects of the album but Erin has written some great lyrics to keep the mood human and superbly real. I adored the Punk Rock aesthetic that the album delivers so well with this record, perhaps showing you how the band actually sound like in the real world.
There’s some great Post-Doom and Post-Punk elements that start to develop on the later stages on this record which Hexecutioner have used on previous albums but this is perhaps when they’re fully fleshed out and the music becomes a more thrilling experience because of how everything plays out.
Ascension Rock has allowed HEXECUTIONER to re-invent themselves for the better with an album that’s bound to become a firm favourite within the underground rock scene and allow the band to become more well known at the same time.
This record is an absolute blast from start to finish with seedy FUZZED OUT grooves and psychedelic soundscapes that’s highly addictive with massive amounts of violent grooves emitting from your speakers that will leave you a shivering wreck!!!
Words by Steve Howe
Thanks to Hexecutioner and Good Boy PR for the promo.
Ascension Rock is available to buy now on CD/DD/Tape/Vinyl.
Links:
Nightscape - The Great Beyond (Album Review)
Release Date: October 16th 2026. Record Label: Self Released. Format: DD
The Great Beyond - Tracklist
1.Tired Morning 07:20
2.Trembling Paradox 06:46
3.Floating Mind 07:30
4.Freedom of Knowledge 07:16
5.Polluted Crisis 07:44
6.Painted Stars 06:54
7.The Great Beyond 06:36
Members
Guglielmo Allegro - Everything
Review
Guglielmo Allegro aka Nightscape returns with The Great Beyond which is a more Droned Out affair compared to the last album Sakura with this record having a heavier and aggressive approach as well. There are similarities between The Great Beyond and Sakura though Nightscape relies heavily more on Psychedelic textures and Ambient sound effects with the music having a Post-Metal identity throughout the album.
The songs are quite long and very intense when Guglielmo applies massive amounts of Distorted Drone against a backdrop of fuzz, reverb and amplified textures which you can violently experience throughout the albums opening tracks of Tired Morning and Trembling Paradox. There’s a sense of isolation and detachment that I experienced with this album which I never experienced with previous Nightscape records. I appreciate the creative energy and focus that Nightscape needed for this album but there are some great uplifting moments when the music shifts to a cerebral style of Ambient Rock, Cinematic Rock and Post-Rock.
However, the most exciting parts of the album is when Nightscape solely focuses upon creating and delivering those sudden bursts of Drone/Doom Metal exploration where the mood becomes bleak and aggressively violent which left me wanting to hear more. The majority of the tracks run near for around seven or eight minutes in length and if you’re accustomed to the works of SUNN 0))), BORIS, Bongripper and EARTH then you know what to expect but this is perhaps more riff-driven.
Standout tracks for me include: Tired Morning, Floating Mind, Freedom Of Knowledge and Polluted Crisis. These are the tracks I found myself most emotionally engaged with. The level of Psychedelic and Droned Out passages is quite euphoric despite the sense of isolation that I mentioned earlier in my review. Another great aspect of the album is the actual journey that Guglielmo takes you upon which he does on every Nightscape album but he manages to offer a different journey for each album.
The journey may be slow and highly methodical but you can’t deny the huge talent and creative vision that’s behind The Great Beyond with Guglielmo once again showing why he’s one of the best “solo” instrumental artists the scene currently has right now.
This is another masterful release from Nightscape and perhaps my favourite album yet from this creative project.
Words by Steve Howe
Links
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Stoner HiVe
The Doom Charts Peroration - September 2026
The Doom Charts Peroration
September 2026
“Though I’m past one hundred thousand miles
~ misheard David Bowie lyrics
I’m feeling very still
And I think the Doom Charts knows which way to go…”Time flies by ever faster. And the faster the world spins, the shorter the lights will glow. But luckily, we have these amazing albums to bring us into a time and space where everything can last forever. Music is an entirely different kind of art, and the only one that can truly do this. Because those sounds, those notes, those rhythms, and those riffs, leaking away from the Earth, will travel through the universe for all time, beyond our comprehension of the very concept of time itself… Below are 18 albums capable of granting you escape velocity. Climb aboard, leave the world behind, and let the music carry you beyond the boundaries of time…
This month featuring: 7 WEEKS, Castle, Early Moods, Earth Altar, Equisetum, Exitium Sui, Lume, Mama Doom, Maunah, Mister Earthbound, Moon Destroys, Mortuary Cave, Problem With Dragons, SATURNA, Still Water Zombies, Sub Ruinam, The Well and Villagers of Ioannina City...
The following are words of adoration from Doom Charts Contributors, devotions to albums they could not stop spinning. Each month, our writers gather to celebrate the finest in doom, sludge, metal, stoner, progressive, psychedelic, and other heavy realms. Their selections are woven into the Doom Charts, published on the first Friday of every month. But some affections run too deep for the regular edition. Some albums fall just outside the chart, or inspire so many write-ups, and only one was chosen. Here, those excesses of love remain… Unfiltered, unbound, and still echoing… A few last words which hopefully will inspire you to listen to those albums…
The Doom Charts Peroration - September 2026
Adjustable Mustard – Denatured Blue
Adjustable Mustard – Denatured Blue
Dumpster Dog Records – 2026
Rock, Psych, Sixties
Rated: ****I’m always extremely happy when the postman drops off a package obviously containing a new vinyl record. Completely giddy before opening the package. Even more so when I haven’t ordered one or even expecting one. And to top that feeling, it all turns golden brown when you open the package, put the vinyl on the player, the needle down and hear those warm soulful and fuzzy sounds of Denatured Blue, the new album by the Adjustable Mustard duo…
And with the new Denatured Blue, the Adjustable Mustard two drift deeper into the fuzz-drenched haze of psychedelic rock, without ever losing their soulful sixties glow. But on the new album, the guitars are allowed to bloom like wildflowers and Katie Pitts smoke tinged vocals rise like incense in a room lit by winter sunlight. There are echoes of a long forgotten acid dream here, that is without any doubt that sixties glow that courses through their veins, even though it might feel half remembered, it is still restless and alive in these tunes.
Born from intuition, old notebooks and the beautiful poetry that is coincidence, so I’ve learned, the album feels like a gem discovered in the attic. The couple of Will White and Pitts followed the fragile sparks of inspiration wherever they lead, and allowed melodies to wander, as ideas took on a life of their own. Thanks to a great interview by former Doom Charts colleague Nick Pipitone, from The Third Eye blog and site, I’ve learned about a brutal Nashville ice storm, which became part of this album. And perhaps, the album might indeed feel like the eye of the storm, where chaos was suspended into the creative process.
Your music muscle memory will spark to life on many occasion, without ever coming close to naming the legends of yore that might have made it flare up. Most of all, Denatured Blue sounds like the perfect reminder, that some things, cannot be manufactured. True artist don’t search for perfection. They search for the right lightning strike in the storm. The one they want to capture. The beauty and poetry of the unexpected. Denatured Blue is pure. The quiet freedom of making music simply because the soul demands it…(Written by JK)
Go listen to the first two singles, Dickerson and Need To Work On Me, now and get ready for the Denatured Blue album to drop on November 9th!
Homepage
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Adjustable Mustard – Adjustable MustardAdjustable Mustard – Your Love
King Buffalo - Vagabond
King Buffalo - Vagabond
We could almost state, instantaneously quintessential, like a sonic blueprint for the King Buffalo sound! That’s right, the new Vagabond single is all that and a calling card for the new Doomsayer album to arriving December 4th! Go check out the new Vagabond… Or the earlier released The Slick And The Dead and feel at home in the distilled essence of all that is King Buffalo!
Homepage
Bandcamp
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InstagramSean Mcvay of King Buffalo Interview
Review of Burden of Restlessness
Review of Longing To Be The Mountain
Regenerator, Number 2 on the Stoner HiVe Top 20 Countdown of 2022
The Burden Of Restlessness, Number 2 on the Stoner HiVe Top 20 Countdown of 2021
Dead Star, Number 4 on the Stoner HiVe Top 20 Countdown of 2020
Longing To Be The Mountains, Number 5 on the Stoner HiVe Top 20 Countdown of 2018
Helldorado Festival
Helldorado Festival
One Month! Till we get to travel to fabled Helldorado once again! Drive your stake through a darkened heart... That wild festival in Eindhoven, the Netherlands where anything can happend and everything will. Ooooooo-ooo-oh yessssssss! These long strange nights... These warped and twisted nights! But you will never be quite sure you were even there... A lost golden festival of rock 'n roll! Lost in a haze and lost in time... Are you ready to get lost?
Still a handful of tickets left...
Look at that stunning line-up!
Amazing bands one and all, but with 30 years of Peter Pan Speedrock, the party atmosphere will surely be grand from the get-go! Amenra! Converge! Ramkot! Prong! The Lords of Altamont and so many more! The Eagles Of Death Metal for instance! Let's boogie!
Stoner HiVe’s Top 10 Most Listened Artists Last Week…
Stoner HiVe’s
Top 10 Most Listened Artists Last Week…
The Grok
Queens of The Stone Age
Domkraft
LáGoon
Black Space Riders
Dozer
Phe
Steak
Bobbie Dazzle
Stinking LizavetaGood mornin! Rent paying work keeps interfering, but I guess you all know the deal. Some of it is fun though, and this week will have another cool assignment, hanging out with the guys from DeWolff in their studio. It does mean, less time to HiVe… So, last week we only had time to post about the wild new Stinking Lizaveta and Argentinian doom masters En La Niebla. Besides editing and reposting about that awe inspiring Golem album and scuzzy skater crazies of LáGoon. Hopefully we can post some more this week. Cause listening to the new Phe, Domkraft, Dozer, Steak, Queens Of The Stone Age, The Grok and Black Space Riders damn well get the creative juices flowing! Have a great week y’all!
Below is the playlist for Week 42, featuring a selection of albums and tracks from my Bandcamp collection that are currently available to listen to...
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Screaming From the Heavy Underground
Godzilla Snacks - "Tribes of Lost Children"
Japan has a knack for churning out hidden gems in the underground stoner/doom world, and the Fukuoka-based trio Godzilla Snacks can certainly be counted among them. The band has been around for fourteen years now, churning out a refreshingly bare-bones but multifaceted rendition of stoner rock that makes the listener feel as if they're right there in the rehearsal room.For their fifth release Tribes of Lost Children, Godzilla Snacks visualizes a dystopian future in which people are overly reliant on technology, blinded by groupthink, and are mesmerized by the idea of recolonizing another planet (sound familiar?).Says the band:"The main rhythm section takes were done in a room, live, August 2026. It was important to play live for us, because of the lyrical themes and concepts. We’ve only got one planet, yet there is ridiculous talk of transcending it and living on other worlds. This is the only world we have, and sometimes it feels like we’re being led like children by other greedy children and computers. So, yeah. Computer-like perfection is getting boring, and so are our childish leaders. Hopefully you can excuse some of our imperfections and enjoy."Godzilla Snacks - Tribes of Lost Children
The six tracks of Tribes of Lost Children play out in a noticeably cinematic manner in spite of their perfectly unpolished, rugged tones, or perhaps because of them. In fact, the album naturally evokes images of gritty 70s sci-fi films as its captivating blend of coarse stoner and groovy heavy rock merge with expanses of spacey psychedelia.Lightyears away from being campy, however, Tribes of Lost Children tackles subject matter that would have probably been considered fantasy back in the 70s, but is unfortunately all too relevant and relatable now:"These blank walls, these beige thoughts,Lock away your fire, so you've been toldHammer down that nail, keep it on the railsKeep hitting that nerve to get your doseLet this machine do it for ya, feel it all for you, no more labors of loveThis cold touch, this cold steel, this symmetry, the progress, is the only way.Just give me some soul, Gotta grind those stones, Gotta keep it hot (Wanna human touch), Gotta move it or lose itYou're on a grid, you're on a grind, attention noose around youSnort up that thrill, doping up your worth, a trillionaire has hacked your brain..."-from the song The Grind"Is this gonna be the new usRunning away from our worldMother can’t save usInventing new problems, gonna run away to SaturnI see the blue light fadingExiled behind black curtains, hidingSaw the trust melt in your eyesBlinded by a crucible mind..."-from the title track Tribes of Lost ChildrenBy poetically setting real, modern threats to humanity to a space opera fueled by retro heavy rock, Godzilla Snack removes the blinders with Tribes of Lost Children, showing us that we are, in our current state, the stuff of science fiction.Tribes of Lost Children was self-released by Godzilla Snacks on October 9, 2026.More About Godzilla Snacks
Godzilla Snacks Is:Tsukasa Aoki - DrumsNobuto Watanabe - BassAaron Lum - Vocals, Guitars, KeyboardsYou can follow Godzilla Snacks and listen to their music at these links:
Oakfarm Seeks a "Darker, More Daring" Sound on Sophomore Album "Too Hard For Some Too Soft For Others"
Oakfarm is a trio from Kiel, Germany who "is like an old hidden vinyl from the 70s you've never heard of, lying untouched in an abandoned log cabin. When you put it on, sparks of live energy fly and the deep resonance of heavy rock raises the roof."Getting their start in 2022, the band quickly developed their signature sound - a smooth and soulful blend of blues rock, heavy rock, and psychedelic rock - which they premiered on their self-titled debut album in 2024. For their sophomore release, Oakfarm sought to achieve a "darker, more melodic, and more daring sound", delivered in a noticeably vulnerable manner.Oakfarm - Too Hard For Some Too Soft For Others
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It's safe to say that the band achieved this goal and then some with their new album, the memorably titled Too Hard For Some Too Soft For Others, released by Pink Tank Records on October 3, 2026. The tones of this release rise from a soul of fuzzed-out, analog 70s rock, a rich sound that envelops the listener with perpetual warmth. However, it's the heart of Too Hard For Some Too Soft For Others - Oakfarm's raw and unfettered emotional expression - that's the star here. Beautifully conveyed by vocals and instrumentals alike, this passion is always projected in a powerful but organic manner. And, while the noticeably heart wrenching songs are arguably the most standout for their sheer emotional impact, Oakfarm isn't creating a drama here; the album is still super energetic, with pockets of vibrant, live show-ready surges of pure groove dotted throughout. By unabashedly wearing their hearts on their sleeves while expanding upon their knack for feel-good retro rock, the boys of Oakfarm have ultimately created a collection of songs that has the power to be a go-to for any mood.The official music video for "Lucy"More About Oakfarm
You can follow Oakfarm and listen to their music at these links:A massive thank you to Broken Music for the promo!
The Machine - "Another Sun"
The Machine is a spacey stoner rock trio from The Netherlands. Making music for nearly two decades, the band is known for being a genre-defying act in the European heavy underground, blending the heft of stoner/doom with the infectious hooks of 90s-era alternative rock, the hypnotic qualities of heavy psych, and the often-delicate intricacies of space and progressive rock.The Machine released their eighth studio album Another Sun on October 2, 2026, an effort that, while more than open to embracing newness and change, never intended to reinvent the wheel for the band. Says frontman David Eering: "Another Sun is an important milestone to me personally, after a couple of years with (apparent) reduced activity of the band - it's the first record with this great lineup and the first one that I recorded at my own place Evolver Studio. Without the intention to do so, I think we managed to honor a more old school The Machine vibe while also stepping into the future."In spite of almost twenty years and eight albums, the release of Another Sun marks my first time hearing The Machine, and to say that I was blown away would be the understatement of the century.The Machine - Another Sun
Another Sun possesses one of the most dimensional sounds I've ever heard in heavy underground music. The Machine has a knack for hooking their listeners with soaring, memorable alternative rock phrases and mesmerizing them with passages of the trance-inducing repetition of heavy psych before launching them directly into a solid wall of rumbling, spaced-out stoner/doom sound. Not content to stop there, the band also delights in twists and turns, dropping us into more delicate atmospheres that range from eerie and vast to dreamlike and serene. Guitar tones effortlessly move from coarse and gritty to cold and steely to warm and golden, diffusing like sunbeams through glass. The steadfast bass is truly the backbone of the sound, providing a reliable, and often somewhat sinister stoner groove no matter where the mood of Another Sun goes. Adaptable percussion goes with the flow, energetically and organically crashing along in the more jammy excursions but tightening up at the drop of a hat during tense moments. The vocals are melodic and relatively even-keeled, reminiscent of the post grunge era, which underlines the soothing, hypnotic qualities of The Machine's sound. As a matter of fact, vocals often take a back seat on Another Sun as free-flowing instrumental expanses frequently and very naturally emerge, especially in the two longest songs found at the end of the album. While one could easily say that The Machine incorporates a lot of moving parts on Another Sun, the natural, instinctive manner in which it all unfurls is most impressive, indicative of a band whose musical prowess and creative chemistry have zeroed in on the perfect balance.The official music video for "Drop/See"Another Sun is out now via Blues Funeral Recordings (USA/UK) and the band's own imprint Awe Records in collaboration with Stickman Records (Europe).More About The Machine
The Machine Is:David Eering - Guitars, Vocals, Sitar, Synthesizers, Theremin, PercussionChris Both - BassKlaas Dijkstra - Drums, PercussionYou can follow The Machine and listen to their music at these links:A massive thank you Purple Sage PR for the promo!
Best New Releases September 2026
September delivered an utter landslide of new releases to put it mildly. I'll be the first to admit that I had a difficult time keeping up, and it's very likely that I missed a few things here and there. In any case, here are my fourteen favorite albums from the month (so far):Best New Releases of September 2026
(in descending order)
14.) Shovelhead - A Place of Dead Roads
New Jersey-based stoner rockers Shovelhead have released their first new music in over twenty years with their fourth album A Place of Dead Roads. The album explodes right out of the gate with timeless, riff-driven stoner rock underlined by punchy energy and groove. This atmosphere quickly blends with a strong presence of vintage heavy rock, adding an abundance of warmth to Shovelhead's tone as it unfurls like a ribbon of sun-parched highway, an image made even more vivid by long instrumental stretches. Naturally, heavy psych makes an appearance, delivering refreshing waves of hypnotic trippiness that tend to get stronger in the latter half of the album. To add to their immersive sound, completely capable of standing on its own instrumentally, Shovelhead is graced by a powerful vocalist whose echoing, unrestrained intonations are often less about melody and all about raw expression. Taken together, all of these elements create a rollicking ride that seems to end far too soon, hooking the listener from start to finish with the driving energy of classic stoner, the timeless grooves of heavy rock, and cool splashes of psychedelia.You can read my review of the album here.Favorite Track: Witching Hour13.) KITSA - II
KITSA is a highly underrated band from Port Orchard, Washington who you may remember from their 2024 debut Dead by Dawn (which came in at #11 on the February Doom Charts that year). The riff-driven grungy stoner rockers are now back with their sophomore album II, and this time around, KITSA employs a darker sound that's heavily inspired by the current political climate. While the tones are doomier and more metal-forward, they're also grungier than ever. And, in spite of the more serious atmosphere, KITSA doesn't fail to deliver pockets of the soulful, feel-good vibes they enchanted us with on their debut album. Speaking of soulful, the powerful, unfettered vocals give their most emotionally charged performance yet, diving deep into the gravity of the lyrical subject matter.Even with a heavier, darker presentation, KITSA maintains an organic, approachable, and AUTHENTIC sound that will encourage you to open your eyes as much as rock out.Favorite Track: Avaleigh12.) Hazemind - Inner Sanctum
On their memorable debut album Inner Sanctum, Canadian stoner quartet Hazemind builds upon a strong foundation of energetic, classic stoner rock, while keeping their listeners invested with soaring melody, infectious hooks, and powerful vocals. Secondary to stoner rock, Hazemind's sound also boasts a pronounced grunge and alternative rock component, but the band also adds a dash of heavy-blues-tinged southern rock as well as sinister surges of doomed-out riff rock. It's very apparent that Hazemind feels just as comfortable playing more melody-driven tracks as they do heavier ones, giving them the ability to appeal to a wide variety of music fans.You can read my review of the album here.Favorite Track: Welcome to the Void11.) Iron Jinn - Zeitgeist on the Run
I've said it before, I'm no wordsmith when it comes to writing about the captivating complexities of prog, but it would be absolutely criminal not to mention Zeitgeist on the Run, the new album from Dutch progressive psych maestros Iron Jinn. This intricately layered, ultra-immersive sonic journey is packed with trippy tension and surreal twists and turns that will not only effortlessly draw you in but will leave you marveling at the stellar musicianship you hear while in your inevitable trance. My favorite thing about Zeitgeist on the Run, however, is its persistently eerie quality, delivering a perfectly spine-chilling listening experience that keeps you on your toes. As I could never do this album justice with my own words, I'll happily refer you to Stoner Hive for that, where the one and only Ronny Dijksterhuis has penned a beautiful encomium to Zeitgeist on the Run.Favorite Track: Landing on a Dream10.) Moon Destroys - OMNI
Moon Destroys is a heavy underground supergroup from Atlanta with a clear mission: to save the world with heavy rock.Composed of founding members Juan Montoya on lead guitar (ex-Torche, MonstrO), Evan Diprima on drums and bass (Gold Pyramid, ex-Royal Thunder), and, as of 2026, Zach Amster (Abrams) on vocals and rhythm guitar, Moon Destroys draws upon post grunge, riff-doom, and psychedelic influences to create their infectious and energetic sound dotted with storms of melancholic moods.The band's new album OMNI utilizes the hook-driven vibrance of alternative rock and the hypnotic, trance-inducing movement of psychedelia, all propelled by standout heavy riffage and kissed by a spacey aura. Zach Amster quickly proves to be the perfect choice for vocal duties as his gruffly melodic voice belts out heartfelt verses and impassioned, soaring choruses in a raw and unfettered manner.In a nutshell, OMNI sees Moon Destroys settling flawlessly into their new lineup while delivering their most dimensional sound to date.You can read my review of the album here.Favorite Track: Flowers9.) Vulture Neck - (self-titled)
Swedish sludgy doom trio Vulture Neck takes their listeners on a trippy and delightfully spooky ride on their self-titled debut album.The first thing you'll notice about Vulture Neck's sound is its vintage analog tones and strikingly thick viscosity, instantly creating a palpably eerie haze in your mind as you listen. From here, you'll surely pick up on the feral vocals, doom-laden trudge, mind-bending waves of psychedelia, epic lyricism, electrifying interludes of heavy metal, and the often-punky delivery of these seven songs. However, the most noteworthy aspect of Vulture Neck's music is that it takes on the true spirit of doom, delivering an unnerving end-of-the-world atmosphere from start to finish with no time for pleasantries or decorum, just raw anguish.You can read my review of the album here.Favorite Track: Abyss Made of Stone8.) The Whisper - Find a Way In
Headed by James Vieco, The Whisper is a Spanish rock band who delivers a noticeably softer take on heavy rock than the frontman's other band Saturna, but packs just as much raw emotional expression. The Whisper's new album Find a Way In features five new songs as well as four tracks from the band's first EP Silence. My favorite thing about the album, however, is the perfectly serene, warm, inviting atmosphere it creates with golden retro rock tones - easy to listen to but equally effortless to get lost in on a deeper, reflective level.Favorite Track: Whatever You Do7.) Muddy - In Medias Res
Muddy is a quartet from Bordeaux, France who is poised to make a big splash in the heavy underground with their debut album In Medias Res. The band prefers to keep descriptors to a minimum by calling their music "heavy saturated rock", but it doesn't take the listener long to hear that there's a LOT going on within Muddy's eclectic sound.Each song on In Medias Res will take you on a captivating sonic journey, navigating rugged terrain in the form of gritty stoner/desert rock, providing mystery and intrigue through creeping tendrils of psychedelia, passing through waves of darkness via surges of doom, and even occasionally blasting off into spacey atmospheres. An infusion of alternative rock energy, a dash of punk here and there, and soaring vocals top things off, ensuring the album is as infectious as it is mesmerizing.Muddy traverses these ever-shifting landscapes with remarkable smoothness, so much so that the listener naturally focuses more on the emotive swells each movement brings about instead of the transition itself, further speaking to the bewitching qualities of In Medias Res.While each of the ten songs has a unique identity, mood, and story to tell, Muddy truly ensures that each and every note is "saturated" with stirring, colorful, chameleon-like sound.You can read my review of the album here.Favorite Track: Alter Ego6.) Spirit Mother - Thistle
With a sound imbued with folk and classical inspirations, the haunting music of heavy fuzz rockers Spirit Mother has an uncanny ability to evoke vivid images of both the breathtaking beauty and the crushing might of the natural world that materialize through a delicate, misty veil of smoke.On their third album Thistle, the rural Oregon-based group delivers a powerful showcase of everything they do best. This collection of thirteen songs (including three instrumental interludes) moves deftly between deeply poignant, melancholic tempests (made exponentially more stirring by the band's trademark string arrangements) and heavy blues/rock-forward surges of intensity. While undeniably sophisticated and artful, Thistle still manages to implement plenty of memorable hooks throughout, ultimately creating a powerfully moving and cathartic release that will keep you coming back for more.You can read my review of the album here.Favorite Track: Narrows5.) Saturna - Light and Shadow
On their sixth album Light and Shadow, Saturna continues to charm us with their spot-on blend of 70s/80s hard rock with nods to heavy blues. However, the band makes beautiful use of more subdued tones here, especially when compared to their previous album The Reset. As a result, the emotional expression is stronger than ever, even easier for the listener to access through this more intimate, cozy atmosphere.In spite of the slightly more stripped-down feel, Saturna effortlessly maintains every facet and shade of their dimensional, colorful sound. This is evident in moods that seamlessly drift from a melancholic haze to crisp, buoyant notes bathed in hopeful light, and the natural inclusion of the swells of emotive intensity the band is known for. In fact, I would argue that both feeling and depth are even sharper for Saturna on this album, made infinitely more tangible through a more natural lens.With all of that said, my favorite thing about Light and Shadow is its inviting feel. Throughout the album, Saturna's inherent warmth surrounds you, inviting you to settle in and listen like the crackling of a bonfire.You can read my review of the album here.Favorite Track: Self told lies4.) Mister Earthbound - Mabon
Virginian psychedelic swamp rockers Mister Earthbound are back on the fall equinox with Mabon, the third in a series of four season-themed EPsFor this autumnal release, the band appropriately allows a noticeable amount of darkness to creep into their sound, replicating the onset of decay that spreads through previously lush vegetation and the sudden bite of acrid chill in the air. While you'll still hear the hazy waves of psychedelia and the swampy, bluesy soul that make up Mister Earthbound's signature sound, the band's doom influences really come to the forefront, adding a palpably sinister edge.While I've thoroughly enjoyed each of Mister Earthbound's seasonal EPs, marvelling at how well the band captures the mood of each period while painting strikingly vivid sonic landscapes to match, I can safely say that Mabon is my favorite...so far!Favorite Track: Gone3.) Mr. Bison - The Garden of Forgotten Dreams
Italian heavy psych and prog wizards Mr. Bison deliver a moving blend of the heavy and the light with their new album, The Garden of Forgotten Dreams.Here, the band continues to focus more on gentler tones that evoke clear images of the natural world, saturating their sound with gossamer psychedelic atmospheres. Far from a somnolent experience, The Garden of Forgotten Dreams is layered with a multitude of auras including some spacey moments, smokey heavy rock interludes, and surges of coarse stoner riffage, creating a highly textured and ever-changing sound. Blink and you might miss something. Of course, Mr. Bison's masterful use of prog provides a perfect framework for the aforementioned elements to reside in, molding them into emotive swells and stirring shifts in mood.My favorite aspect of The Garden of Forgotten Dreams is Mr. Bison's clever employment of the garden theme, which stands out brilliantly throughout the album. Managing to be equally as strong and established as the roots of an old tree and as delicate as a Sakura blossom in both sound and deeper meaning, the idea of the garden serves "as a metaphor for refuge". According to the band, this haven is a place "where we can keep our secrets, our most authentic truths, our aspirations, and our dreams...guarded until we are ready to reveal them to those who can contain and appreciate them".You can read my review of the album here.Favorite Track: Astray2.) Earth Altar - Hawk and Swan
As its title might suggest, Hawk and Swan, the second full-length release from Earth Altar, is an album filled with beautiful contrasts. Across the eight tracks, the Canadian duo maintains an utterly captivating balance between warm, earthy tones and the eerie coolness of electronica. In addition, the enchantingly unpredictable path of space and progressive rock adds mystery, while a healthy amount of trippiness ensures the listener never knows what's coming next from the mind-bending ride that is Hawk and Swan. And, although the album is primarily instrumental, Earth Altar proves that they don't require words to relay a spellbinding story, setting brilliantly colored scenes and enthralling the listener with the thrilling twists and turns found on each and every track.Much less about genre affiliation and entirely about the immersiveness of the experience, Hawk and Swan is sure to charm music fans from both the heavy and light sides of the underground music scene.You can read my review of the album here.Favorite Track: Triptych1.) Deathchant - KOVA
Los Angeles-based stoner rock/heavy metal quartet Deathchant is back with their fourth album KOVA. This highly personal release is named for the band's late friend Danny Kova and is "simultaneously a raucous send-off worthy of a Viking, an introspective look at manhood, and a dyed-in-the-wool badass brainstorming hard rock record". The album is deeply poignant for the most part, showing a vulnerable, emotionally expressive, and palpably authentic side of the band. And, though the album is profoundly heartfelt, Deathchant maintains their signature sound, delivering a standout blend of hazy 70s heavy psych reminiscent of Budgie, hard rock laced with traditional heavy metal in the vein of Rose Tattoo, and all the barreling grittiness of Motörhead. Overall, KOVA supplies that characteristic silky smooth yet delightfully turbulent sound we know and love from Deathchant while providing a distinctively sincere and moving listening experience that will sear its mark directly on your heart.Favorite Track: EnemySo that's it for September! Be sure to check out this month's Doom Charts 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 Here are my picks for the best new heavy underground albums of September 2026! 🔥 It was a big month, and October is already looking like it will follow suit. 🤘 you can find more information about the albums that I chose on the blog, Screaming from the Heavy Underground, at this link: https://screamingfromtheheavyunderground.blogspot.com/2026/10/best-new-releases-september-2026.html #doomcharts #stonerdoom #stonerrock #screamingfromtheheavyunderground #doom ♬ original sound - Doomcakes
Som Är Död Embraces the "Comfort of the Cold" with New EP
Som Är Död is a Finnish grunge quartet who, in their own words, "leans sonically on a wall of bricks that is built with action, noise, twists, turns, and alternative hooks that will hit you in your grunge loving ass."Som Är Död - Comfort of the Cold
On October 1, 2026, the band released their EP Comfort of the Cold. Embracing "a darker and colder time" and images of "concrete, dead flowers, and cold light", this release is a natural follow-up to Som Är Död's previous EP Warmth of the Sun (2024; review here), which depicts "summer, natural sunlight, and organity". This difference in sound is immediately apparent in Comfort of the Cold's harsher, less forgiving tones rooted firmly in stark reality, especially when compared to Warmth of the Sun's dreamy reveries, buoyant movement, and golden glow.Far from being all "doom and gloom", however, Comfort of the Cold contains plenty of Som Är Död's trademark delivery, drifting among heartfelt, soulful moods, palpable melancholia, rock and roll swagger, and every so often, a little punk rock attitude. Also combating the veil of darkness are the band's signature alternative hooks, which easily keep the listener invested while remaining raw and unpolished enough to be credibly authentic.Whether you too possess a "grunge loving ass", are a die-hard fan of the heavier stuff, or lie somewhere in between, you'll find that on Comfort of the Cold, Som Är Död has mastered that bona-fide and gritty, 90s-era rock sound that we can all agree upon.
A massive thank you to the band for the promo!More About Som Är Död
You can follow Som Är Död and listen to their music at the following links:
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