The Xroadie Files

Endless Floods - Passages

Louise Dehaye – Vocals/Saxophone, Benjamin Sablon – Drums/Synthesizers/Guitar/Vocals/Percussion,

Stéphane Miollan – Bass/Guitar/Vocals/Synthesizers

 

Visions take you deep into your dark imagination. Deuxième monde death destruction and mayhem. Liminal drifting in strange dreams. Primordial take a trip into your minds eye.

 

 

Nattskri- Blasfemisk Kangthrash

Freezing Jon, Jonas Ohlsson

 

Invikation punches you right in the thriat over and over, Dodens Hunger Efter Kott mosh shred and tear it up. Pulveriserade Piedestaler lost in dark emotions. Nar Doden Drabber Dog Ock crushing riffs screaming guitars and gruff vocals. Prometeus Laga (Intro) close your eyes and drift away. Prometeus Laga take you deep into strange imaginations.

 

 

Savage Beat- Bright Lights Tall Shadows

Gilian de Haas, Gilian Profundo P, Jeroen Blom, Lionn, Marko Petrovic, Paul Helmus, Rogier Heumakers, and Steven Van Der Werff.

 

Street Boogie Confidential slowly builds as it rock n roll. Cut To The Chase mosh pogo and let loose, Unhinged is a catchy tune that sticks in your head for days. Killer Inside will have the crowd on its feet rocking all night long. Blood On the Knees sway groove get up and rock n roll. Bright Lights Tall Shadows a catchy tune that has you moving and grooving and playing air guitar. The Side Hustle play air guitar fist pump and foot stomp. Worse For Wear lost in distant emotions. Three Chord Disciple crunchy guitars riffs screaming leads pounding drums and thumping bass. Tomorrow (Might Never Come) get up clap foot tap and let loose.

 

 

Sick Shooters – Super Sonic Rock Saga

Laurens - Guitar, Kees – Guitar, Bradley- Drums, Rube – Vocals

 

Heartbreaker Soulshaker clap foot tap groove and play air guitar. Evacuation will have the crowd on its feet just letting loose. Sick Shooters pounding drums thumping bass crunchy guitars and strong vocals. Daisy lost in distant emotional memories. Sweet Telephone takes you back in time to a different place. Supersonic Lovin grab your air guitars mosh and pogo around. Never Comin Home clap foot tap play air guitar and have fun. In Between will have the crowd rocking all night long. Holding On just let loose and have a blast. Gambling Girl grab you girl and dance the night away. Great Escape (On The Run) hard punk rock music.

 

 

Nibiru- Hypostasis

Ardat - Guitar/Vocals/Percussion/Theremin, RI – Bass/Keyboard/Organ, L.C. Chertan- Drums 

 

Azoth death destruction and madness. Binah lost in darkness and space without time. Idolum destroys your very being. Sekhmet drifting thru the openness of a black hole. Shalicu pulls you int nothingness. Obeah drifting in open space alone.

 

 

-Xroadie

 

UK heavy rock pillars STEAK to release new self-titled album on Ripple Music and Stickman Records this October 9th; new singles available now!

UK progressive stoner rock spearhead STEAK have announced the release of their fourth studio full-length "Steak" this October 9th, in collaboration with Ripple Music (North America) and Stickman Records (Europe & UK). Stream the first two singles "Cometh" and "Luxury Junk" now!

 

London-based heavy rock heroes STEAK have recently released their new single Luxury Junk, the latest track from their forthcoming self-titled studio album, due this fall through Ripple Music (North America) and Stickman Records (Europe/UK).

 

Following the badass, comic-inspired first single Cometh (designed by Schoph and animated by director Samuel Smith), "Luxury Junk" offers another glimpse into the band's next chapter, expanding on STEAK's unmistakable blend of crushing riffs, desert rock grooves and immersive sonic weight. Equal parts hypnotic and hard-hitting, the track explores themes of escapism, excess and emotional detachment, wrapped in a hazy atmosphere that balances raw heaviness with an almost otherworldly sense of longing.

 

One track after another, the UK quintet continues to showcase the depth and diversity of their upcoming album, further building anticipation for what promises to be one of the band's most ambitious and powerful releases to date.

 

New album "Steak"

Out October 9th on Ripple Music (North America)

and Stickman Records (Europe/UK) - Preorder coming soon

Hailing from London, STEAK have established themselves as a key force within the global desert rock and stoner scene. Known for their relentless riffs, hypnotic grooves, and high-energy live performances, the band has built a strong following across Europe and beyond.

 

Blending elements of classic heavy rock with modern fuzz-drenched intensity, STEAK continue to push their sound into darker and heavier territories while staying rooted in the spirit of the desert rock movement. Self-described as a “shit kickin’ band”, their ethos reflects the raw, no-frills energy that defines both their recordings and their explosive live shows. Earlier this summer, the band joined Nashville heavy rock giants All Them Witches as special guests on selected tour dates, further cementing their reputation as a must-see act within the heavy underground scene.

 

Steak links

Website⎪Facebook⎪Bandcamp⎪Instagram

Ripple Music links

Website⎪Facebook⎪Bandcamp⎪Instagram

Stickman Records links

Website⎪Facebook⎪Bandcamp⎪Instagram

Doomherre ★ Plaguelords

 

If Bonegoat was Doomherre announcing their arrival, Plaguelords is the sound of a band realizing the throne was never occupied in the first place. There's no hesitation here, no sophomore uncertainty—just forty-something minutes of towering Epic Doom that knows exactly what it wants to be. Released through Skatbo Records and Majestic Mountain Records, this is an album that doesn't chase the past. It grabs it by the collar, drags it into 2026 and reminds you why you fell in love with Doom Metal in the first place.

 

Right from the opening notes of "Serpent Shrine", Doomherre make their intentions clear. Massive riffs, soaring melodies and an infectious sense of momentum immediately pull you in. "Stormfather" keeps that energy alive, while "Wrath Of A Mountain God" is one of the album's real highlights, slowly building tension before crashing down with enormous riffs and a chorus that refuses to leave your head. "Hymn For Helios" perfectly balances melody and weight, and the haunting instrumental "Blodregn (Sabbatsberg II)" offers a welcome breather without losing any of the atmosphere the band has built.

 

The second half is every bit as strong. "Dark Hand" rolls forward on huge, memorable riffs, "Dead Ship Bay" pulls you deeper into Doomherre's world of mythology and towering landscapes, and the title track delivers exactly the kind of epic payoff you'd hope for. The riffs don't just feel heavy—they feel inevitable. Every chorus arrives at exactly the right moment, every lead melody lifts the songs higher, and before you notice it you're no longer listening to individual tracks. You're wandering through the same storm, one chapter after another. By the time "This Burning Guilt" closes the album with its mix of quieter passages and crushing heaviness, it feels less like an ending than an invitation to hit play all over again.

 

A lot of what makes Plaguelords work so well comes down to Victor Takala. His voice moves naturally between powerful Heavy Metal melodies and darker, rougher moments, giving the songs both character and emotion. Whether he's singing about Nordic myths, inner struggles or apocalyptic visions, he sounds completely believable. Backed by Max Coljin's thunderous bass, Daniel Strachal's rock-solid drumming and a guitar attack that effortlessly blends Doom and traditional Heavy Metal, the band never falls into the trap of repeating themselves.

 

What really stands out is how naturally Doomherre wear their influences. You can hear echoes of Candlemass, Trouble and Black Sabbath throughout the record, but Plaguelords never feels like a tribute or an exercise in nostalgia. The songs have their own personality, the hooks feel genuine and the riffs are memorable because they're well written—not because they're trying to imitate the past.

 

That's what makes Plaguelords such a satisfying listen. It captures everything that makes Epic Doom Metal great while sounding fresh, hungry and completely sincere. Doomherre have taken a huge step forward with this album, and it honestly feels like the moment they establish themselves among the most exciting bands in today's Doom scene. One of the year's strongest Doom Metal releases without question.

 

-Helge Neumann

Beware Of Gods - Upon Whom the Last Light Descends III: Behead the Oracle

John from SOJ here. Here is another new release I wanted to talk about: Beware Of Gods Upon Whom the Last Light Descends III: Behead the Oracle. Colin turned me on to this project awhile ago, but I felt like a spectator in the space, not a "commentator". After hearing the Mothertomb release and giving my 2 cents when nobody asked for it, I felt emboldened to share another creator that I love.

 

Jason O'Donnell is the brainchild of Beware Of Gods and the main creator, but he's joined by Kellii Scott and Eric Plonka and they all operate together to craft a beautifully dark, frightening and violent internal journey. I have no insight and I shouldn't phrase that like I have an insight to what "Upon Whom..." is trying to convey, but it just feels like a wildly introspective experiment.

 

Anybody that knows me, knows my first love has always been early thrash, death metal and hardcore. Those roots are what kept me coming back to Beware of Gods over and over, but there is so much more here. They are none of those things yet all of them, simultaneously. I can't quite put my finger on it. There is no beginning or end of the spectrum that Beware of Gods dances on. Jason is able to seamlessly flow from the most ferocious, blood curdling screams that make the hair on my neck stand on end to such clean and evocative melodies, with harmonies gliding in the background providing an eerie texture. Often there are almost spoken word segments that sound like they caused pain to speak into being.

 

More than anything, there is a driving heaviness, ferocity and power that I LOVE. Tempos range from slow-moving zombie pace to redlined on the tach and it all works so well together.

 

I fear offering band comparisons for many reasons as the musicians may hate the comparisons! I also don't want to convey to potential listeners a reference that might turn them off before giving them a listen, but I'm gonna anyway! Beware of Gods has a production quality that is perfectly overdriven. It feels like it's on the edge of even being contained. It reminds me a bit of Trent Reznor and the palpable desperation of Nine Inch Nails. I also hear the punishment of Soundgarden and dark simplicity of A Perfect Circle. But there is one more name I'd like to throw into the mix...VoiVod. Please hear me out...

 

"Upon Whom..." (for me) isn't an album you say, "I think ABC is my favorite track." You have to listen to and absorb the album as a whole. The album has to be heard as a complete unit.

 

Now, back to my reference to VoiVod. Beware of Gods SOUNDS NOTHING LIKE VOIVOD but both share this industrial, post-apocalyptic, barren atmosphere type of ambiance. It's oppressive and dense. You can almost smell the aggression, fear, burning carcasses on emotional battlefields and the terror of being alone in your own head in a vast wasteland. It's a VIBE.

 

Music is a very personal experience and the same song or album can tell 100 different stories to 100 different listeners. I don't know the true meaning of what Jason, Kellii and Eric created here, but to me the entire album feels personal and painful and angry and uncertain and scared and empowering. It's different. Treat yourself to something out of the ordinary and moving. Pick up Beware Of Gods Upon Whom the Last Light Descends III: Behead the Oracle and let yourself experience it from start to finish. Broaden your horizons and let Beware Of Gods brutalize you.

 

Thank you for taking risks, Beware of Gods. It's just what the doctor ordered.

 

John/SOJ

The Albums That Shape Us - Judas Priest: Painkiller (1990)

The early 1990s were a great time to be a hard rock/heavy metal fan. Grunge hadn’t happened yet. It seemed like everyone listened to some version of hard rock or heavy metal, even if it was in a “light” form like Poison or Bon Jovi.

 

In 1991, every long-haired guy in my school had a “Clash of the Titans” tour shirt. The North American lineup had Megadeth, Slayer, and Anthrax headlining, with “newcomers” Alice in Chains opening.

 

Metallica’s Black Album came out in 1991 and made them even more globally massive with “Enter Sandman.”

 

But let's go back to 1990. Some of the bands were at the absolute pinnacle of their careers: 

 May 15  Sacred Reich released The American Way 

 July 3  Suicidal Tendencies released Lights...Camera...Revolution! 

 July 24  Pantera released Cowboys from Hell, changing the trajectory of thrash metal (in my opinion) 

 September 4  Queensrÿche released Empire, and you couldn’t turn on a hard rock radio station without hearing “Silent Lucidity” or “Another Rainy Night” 

 September 17 Judas Priest released Painkiller, and nothing in my music collection sounded like it.

 

There was a grocery/magazine store at the bus stop where I waited every morning for the B49 bus to take me to school. Once a week, I’d look at the new heavy metal magazines, some of them imports like “Metal Hammer” and “Kerrang!!”, to check out new promo pics from my favorite bands and see upcoming release dates and tour listings I was too young to attend. This was back when we’d tear the glossy posters out of magazines and hang them on our walls. The running joke with my friends was that they had Bon Jovi, Europe, and Cinderella in their bedrooms, and I had Judas Priest, Motörhead, and Iron Maiden.

 

There was nothing like buying those magazines and seeing the new promo pictures (which were probably weeks or months old by the time we saw them): “Oh look, Tipton has a new hairstyle,” “Look, Dickinson dyed his hair...” Really stupid shit now that I look back, but it was fun.

 

There was no internet. No YouTube. No social media. If you missed those magazine photos, you might never see them again.

 

We all knew bits and pieces about Judas Priest’s now infamous 1990 trial in Reno. In 1985, two young men in Sparks, Nevada made a suicide pact after drinking, getting high, and listening to Stained Class for hours. One died instantly; the other survived with severe injuries.

 

Their families sued the band and CBS Records for $6.2 million, claiming hidden backward messages like “do it” in “Better by You, Better Than Me” pushed the boys toward suicide. Prosecutors and hired “audio experts” played the track backwards, forwards, sped up, slowed down; anything to make the accusation stick. Rob Halford explained that the supposed “do it” was just him taking a breath.

 

It was ridiculous, but for a moment the metal world genuinely didn’t know how it would end. This was still the era of PMRC panic, Parental Advisory stickers, and the “Filthy Fifteen”, all the albums we immediately went out and bought.

 

Fresh out of their legal victory, Judas Priest unleashed Painkiller. Longtime drummer Dave Holland was out, and gasp, an American named Scott Travis (Racer X) was behind the kit. He announced himself like a bulldozer through a condemned building. When the title track kicks off with that opening double-bass drum manifesto, we instantly knew this was a new era for Judas Priest.

 

To put this into perspective: this was the first new Judas Priest album since Ram It Down in 1988. That album was ... I don’t want to say disappointing, but it wasn’t one of their finest moments. We won’t discuss the cover of “Johnny B. Goode”...

 

Maybe I have nostalgic, happy, fuzzy memories of this album because it was a simpler, more innocent time in my life. But listening to it now with over-the-ear studio quality headphones, 36 (!!) years later, it still stands up. Out of the gate, it’s the one-two punch of the thrashy title track into the mid-tempo, double-kick drum heavy “Hell Patrol.” Then “All Guns Blazing,” which literally starts off with the band doing just that, Rob Halford a cappella in full glass-shattering falsetto:

 

“Twisting the strangle grip 

Won't give no mercy 

Feeling those tendons rip 

Torn up and mean”

 

Rob Halford’s voice is on another level on this album, almost in King Diamond territory on some songs.

 

Honestly, there are no filler tracks here, although “Metal Meltdown” is not one of my favorites, but it’s not terrible by any means. “Leather Rebel” is a standout to me, especially the chorus. “Between the Hammer and the Anvil” is about the harrowing literal trial the band just faced (according to Rob Halford).

 

The album comes to a roaring close with the beautiful guitar harmonies on the instrumental “Battle Hymn” into “One Shot at Glory.”

 

Oh did I fail to mention the absolutely stellar guitar work by Glenn Tipton and K.K. Downing throughout this album? You can hear their Hamer guitars squealing throughout. The CD booklet credits have a breakdown of which guitarist played which solo. Amazingly, I still have my original CD that I bought from Sam Goody in 1990.

 

Bassist Ian Hill locks in with Scott Travis and gives the band the steady foundation they need to show off their thrasher side.

 

Listening back to this album as I write this puts a stupid smile on my face as I remember the time when the cassette didn’t leave my Walkman, but I’m dating myself here.

 

Maybe it's nostalgia talking, but I don't think so. Almost 40 years later, Painkiller still hits like a freight train. Some albums take me back to a certain time in my life. This one practically drops me right back on the B49 bus with a Walkman in my pocket. Maybe that's the mark of a truly great album, it doesn’t age, it just becomes part of who you are.

 

-Rys