#folkrock — Public Fediverse posts on home.social

#jeffbuckley #Grace #90smusic #folkrock #altrock #jazzrock #rock #rockmusic #music #musicsky #musiciansky One album. And then, he was gone. It's produced by Andy Wallace -- known for mixing Nirvana's Nevermind -- and deftly combines alternative rock, folk, blues and even some art-pop. All that and Buckley's four-octave range and you have something special. It had poor sales but over the years its reputation has risen to legend.

https://robinbannks.com/2026/08/23/grace-5/

#jeffbuckley #grace #90smusic #folkrock #altrock #jazzrock

Robin Bannks @[email protected] · 2026-08-20 · 15:52 UTC

Slow Train Coming

#dylan #slowtraincoming #70srock #americana #bobdylan #orpheus #folk #folkrock #rock #rockmusic #music #musicsky #musiciansky Orpheus releases Slow Train Coming on August 20, 1979. Like many of his albums, it's controversial among fans. Dylan lays his personal faith on the line which doesn't sit well with many of his tight-ass fans. But the album also welcomes many new fans to the work of Orpheus. He wins a Grammy for best male vocal performance and…

https://robinbannks.com/2026/08/20/slow-train-coming/

#bobdylan #orpheus #folk #folkrock #rock #rockmusic

Robin Bannks @[email protected] · 2026-08-11 · 13:26 UTC

Down To Earth

#jimmybuffett #downtoearth #70smusic #folkrock #gulfandwestern #music #musicsky #musiciansky #country #countryrock Jimmy's first album ... classic "Gulf and Western" ... is released on August 11, 1970. It's recorded in Nashville and is our intro to his acoustic folk, country rock and socially conscious storytelling. The album was a flop in terms of sales -- some say less than 500 copies got sold.

https://robinbannks.com/2026/08/11/down-to-earth/

#jimmybuffett #downtoearth #70smusic #folkrock #gulfandwestern #music

Robin Bannks @[email protected] · 2026-07-28 · 11:42 UTC

Gordon

#barenakedladies #BLN #Gordon #90srock #90smusic #altrock #collegerock #folkrock #comedyrock #rock #rockmusic #music #musicsky #musiciansky The debut album so big it had to have two album covers ... Released July 28, 1992. "Two covers of this album were released. The original Sire Records cover features all five band members in front of a big grey word which spells "Gordon" and has the band name in front of a red and blue ball with a stripe on it (a reference to…

https://robinbannks.com/2026/07/28/gordon/

#barenakedladies #bln #gordon #90srock #90smusic #altrock

Panorama of the Mountains @[email protected] · 2026-07-11 · 15:00 UTC

Album Recommendations – July 2026

I’ve given up on trying to regularly write reviews of new albums, but I still want to share albums I enjoyed. Below are several new (and new-ish) albums – no ratings, no criticism – just music I enjoy listening to and hope you will to.

Album: Wendy Eisenberg
Artist: Wendy Eisenberg
Genre: Folk Rock, Country Pop
Release Date: April 3, 2026
Label: Joyful Noise
Favorite Tracks:

Take a Number
Meaning Business
Old Myth Dying
Vanity Paradox
The Walls

An avant-guarde approach to folk music combined with introspection and a sense of hopefulness shape this album by the Brooklyn-based singer/songwriter.

Album: Nine Inch Noize
Artist: Nine Inch Nails, Boys Noize
Genre: Industrial Techno
Release Date: April 17, 2026
Label: The Null Corporation, Interscope
Favorite Tracks:

Heresy
Parasite
Came Back Haunted
As Alive As You Need Me to Be

Nine Inch Nails (Trent Reznor and Atticus Ross) and Boys Noize (Alexander Ridha) collaborate on this compilation of live and remixed tracks from the Nine Inch Nails catalog. While I initially thought it was a mashup of boy bands with industrial techno, it’s still pretty cool if not legendary.

Album: Gongbu
Artist: Balming Tiger
Genre: Alternative K-Pop
Release Date: May 19, 2026
Label: Awal Recordings
Favorite Tracks:

Janjan
Home
It’s the Night

Balming Tiger is classified as K-Pop which is kind of absurd, since K-Pop is a whole music industry not a genre. And as an experimental music collective, Balming Tiger doesn’t even fit a genre.

Album: Ultra
Artist: Six Sex
Genre: Perreo, Electroclash
Release Date: June 6, 2026
Label: Dale Play
Favorite Tracks:

LOVE ME HATE ME
CALIENTE
BEAUTY privilege
no more porn

Argentine Francisca Cuello electronic dance project Six Sex is kind of like if someone crossed reggaeton with Charli XCX.

Album: Olivia Rodrigo
Artist: you seem pretty sad for a girl so in love
Genre: Indie Rock, Dream Pop
Release Date: June 12, 2026
Label: Geffen
Favorite Tracks:

drop dead
stupid song
maggots for brains
the cure
what’s wrong with me
expectations

Olivia Rodrigo was born in 2003 but is keeping the sounds of the 80s & 90s alive with her mix of synthpop, power pop, pop punk, and thoughtfully-worded ballads. She even features a guest appearance by Robert Smith of the Cure!

Album: Floyd Mercantile
Artist: Peter Mulvey & Jenna Nicholls
Genre: Folk, Singer/Songwriter
Release Date: June 12, 2026
Label: Righteous Babe Records
Favorite Tracks:

Some People
Dreamers Awake
Butterfly Kisses

Floyd Mercantile is the name of a store in rural Virginia where singer songwriters Peter Mulvey and Jenna Nicholls, and guitarist Ross Bellenoit recorded this album. It includes original works by Mulvey (whom I’ve been following for a long time) and Nicholls (who is new to me but has a lovely voice) and classic pop songs from the Great American Songbook, all in a folk/jazz style.

Album: Public Luxury
Artist: Downtown Boys
Genre: Punk Rock
Release Date: June 26. 2026
Label: Sup Pop
Favorite Tracks:

No Me Jodas
The City Begins
Yellow Sun
You’re A Ghost
Public Works

The socialist punk rock band from Providence, RI return with their first album since 2017’s Cost of Living.

#AlbumRecommendation #AlternativeMusic #BalmingTiger #BoysNoize #CountryPop #DowntownBoys #DreamPop #Electroclash #FolkMusic #FolkRock #indieRock #Industrial #JennaNicholls #KPop #Music #NineInchNails #OliviaRodrigo #Perreo #PeterMulvey #PunkRock #SingerSongwriter #SixSex #Techno #WendyEisenberg

#albumrecommendation #alternativemusic #balmingtiger #boysnoize #countrypop #downtownboys

Mrowster @[email protected] · 2026-07-03 · 14:29 UTC

#NowPlaying #FalsettoFriday #FolkSongs #FolkRock

#LenNovy - "Rain & Snow" (1969)

Who exactly was Len Novy? I know of that raw fiddle player #ByardRay leading this - he's the cousin to old-timey banjoist #ObrayRamsey (who is often credited as this song's writer). The in-demand backing session guys I've heard of too: Chuck Rainey, Herb Lovelle, Sam Brown. But all I really know is Len's high lonesome #falsetto sends chills down my spine every spin. Eat your heart out, #JerryGarcia.

https://music.youtube.com/watch?v=ZxPzCWwAU0k

#jerrygarcia #falsetto #obrayramsey #byardray #lennovy #folkrock

Mrowster @[email protected] · 2026-07-03 · 14:29 UTC

#NowPlaying #FalsettoFriday #FolkSongs #FolkRock

#LenNovy - "Rain & Snow" (1969)

Who exactly was Len Novy? I know of that raw fiddle player #ByardRay leading this - he's the cousin to old-timey banjoist #ObrayRamsey (who is often credited as this song's writer). The in-demand backing session guys I've heard of too: Chuck Rainey, Herb Lovelle, Sam Brown. But all I really know is Len's high lonesome #falsetto sends chills down my spine every spin. Eat your heart out, #JerryGarcia.

https://music.youtube.com/watch?v=ZxPzCWwAU0k

#jerrygarcia #falsetto #obrayramsey #byardray #lennovy #folkrock

Mrowster @[email protected] · 2026-07-03 · 14:29 UTC

#NowPlaying #FalsettoFriday #FolkSongs #FolkRock

#LenNovy - "Rain & Snow" (1969)

Who exactly was Len Novy? I know of that raw fiddle player #ByardRay leading this - he's the cousin to old-timey banjoist #ObrayRamsey (who is often credited as this song's writer). The in-demand backing session guys I've heard of too: Chuck Rainey, Herb Lovelle, Sam Brown. But all I really know is Len's high lonesome #falsetto sends chills down my spine every spin. Eat your heart out, #JerryGarcia.

https://music.youtube.com/watch?v=ZxPzCWwAU0k

#nowplaying #falsettofriday #folksongs #folkrock #lennovy #byardray

Robin Bannks @[email protected] · 2026-04-28 · 15:51 UTC

Argus

April 28, 1972. Andy Powell and Ted Turner's twin lead guitars. Life was never the same again. That "prog folk-rock" sound and the blending of medieval lyrics combined with those twin lead guitars still make a head swim. #wishboneash #argus #70srock #rock #rockmusic #music #musicsky #musiciansky #andypowell #folkrock #hardrock #progreock #tedturner

https://robinbannks.com/2026/04/28/argus-3/

#wishboneash #argus #70srock #rock #rockmusic #music

GetMusic - Free Bandcamp Codes @[email protected] · 2026-04-01 · 20:23 UTC

Free download codes:

Slippery When Wet - House of the Rising Sun

"An intense hardcore backbeat, dual electric guitar version from a female point of view"

https://getmusic.fm/l/mdPhPJ

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill repute #music

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill

Ben! (Boo!) @[email protected] · 2026-03-27 · 15:20 UTC

Of course hearing Bruce's really good Rainy Night in Soho cover means I have to sit down and listen to the entirety of Rum Sodomy and The Last for yet another time in my life. A nearly perfect record.

#punk #punkrock #irishfolk #folkrock #folkpunk

#folkpunk #folkrock #irishfolk #punkrock #punk

Thoughts Words Action @[email protected] · 2026-02-24 · 11:36 UTC

Wüstenberg – The King’s Gambit LP

The European folk rock scene experienced a seismic shift a few years ago when Franz Wüstenberg, known to many fans by his former stage moniker Sean O’Reilly, announced his departure from the highly successful Celtic punk outfit The O’Reillys and the Paddyhats. After dedicating a decade of his life as the charismatic frontman to a project that heavily defined the modern Irish folk-punk landscape in Germany and beyond, his exit left supporters wondering what the future held. Fast forward to February 2026, and the answer has finally arrived in the form of an absolute powerhouse of a debut album. Operating out of Cologne, Germany, Wüstenberg has assembled a formidable six-piece backing band and released The King’s Gambit, a record that completely redefines his musical trajectory. This long-awaited full-length release sheds the constraints of his past, presenting a deeply personal, incredibly ambitious, and sonically expansive take on folk rock. Wüstenberg has confidently opened a brand new chapter, and the resulting music demands immediate attention from anyone invested in the genre. To truly understand the emotional weight and the natural authenticity of The King’s Gambit, you have to look at the environment where these ideas were born. Seeking a fresh start and a disconnect from the relentless pace of the modern music industry, Wüstenberg retreated to an old 1880 stone house situated far away from the noise of the city. This countryside isolation provided the perfect canvas for a sound that needed to be fiercely powerful, yet completely honest and vulnerable. The atmosphere of isolation seeps into the very pores of this record. You can almost feel the rustic textures of the stone walls and the quiet expanse of the rural landscape translating directly into the arrangements. Wüstenberg realized that his next artistic move had to be entirely reflective of his own identity, free from any pre-existing expectations. He needed a sound that embraced conflict, drama, and a distinct touch of melancholy. The isolation allowed him to craft a living mixture of genres where the only rule was to serve the song.

Sonically, the album flourishes on a brilliant tension between high-octane rock energy and delicate, intimate folk instrumentation. The arrangements are heavily built upon marvelous themes delivered on violin, mandolin, and banjo. These traditional instruments never fade into the background, they drive the melodies forward, threading complex, memorable themes that immediately sink into your ears. The interplay between the folk instruments honors the traditions of Irish folk while injecting them with a modern, rebellious edge. These acoustic elements are flawlessly supported by incredible chord progressions and riffs delivered on acoustic and subtly distorted electric guitar. The crunchy, overdriven tone of the electric guitars provides a gritty, rock-solid foundation that perfectly counterbalances the bright, ringing twang of the banjo and the lofty elegance of the fiddle. The band relies upon those magnificent themes that unquestionably grab attention, making sure that the listener remains completely engaged from the first downbeat to the final fading chord. Beneath the driving guitars and the upfront folk instrumentation, the record boasts a lush, tastefully crafted rhythmic and atmospheric foundation. Subtle yet vividly hearable keys, including gorgeous piano and organ passages, add more depth and ambiance to the mix. These keyboard layers provide a cinematic quality to the music, filling out the sonic spectrum and enhancing the dramatic weight of the storytelling. The low-end is equally impressive, featuring warm-sounding basslines that lock entirely into the groove. The bass tone is thick, round, and highly articulate, providing a heartbeat that guides the complex arrangements with ease. The percussion acts as the true engine of the band, flawlessly maintaining the pace while dictating the overall groove. The driving drums easily transition between explosive waves of energetic rock beats and subtle, intricate folk rhythms, proving that the rhythm section completely understands the dynamic requirements of the material.

The songwriting on The King’s Gambit completely ignores traditional boundaries. Wüstenberg essentially opens the stylistic drawers and leaves them open, pulling whatever elements serve the immediate emotional needs of the music. You will hear traces of Americana, heartland rock, traditional Irish folk, and gritty alternative rock blended together. What ties this eclectic mix into a cohesive whole is the absolute strength of the melodies and the cinematic nature of the storytelling. The record is packed with catchy, anthemic choruses and intricate instrumental passages, carefully designed for large festival crowds and intimate club settings. Wüstenberg draws the audience into a deeply engaging world filled with vivid pictures of inner battles, magical realism, and the terrifying thrill of new beginnings. At the very center of this massive sonic whirlwind stands Franz Wüstenberg’s vocal performance, which is arguably the crowning achievement of the entire album. His signature twangy voice has matured significantly, and his voice offers a soulful, sincere, confident, passionate, emotional, and powerful performance that elevates this material to new heights. He sings with the conviction of a man who has lived every single word of his lyrics. There is a commanding, gravelly resonance to his tone that fits perfectly alongside the explosive rock anthems, yet he handles the delicate, melancholic folk ballads with heartbreaking fragility. His voice effortlessly conveys the pressure, playfulness, and the underlying drama that define the core ethos of the record. When he sings about the struggles of starting over or the haunting ghosts of the past, you believe him completely. The King’s Gambit is a monumental achievement in contemporary folk rock music. It completely justifies the wait and solidifies Franz Wüstenberg’s position as a premier songwriter and performer on the European scene. The record captures the lightning-in-a-bottle energy of a band firing on all cylinders while maintaining the intimate, vulnerable core of a solo artist discovering his true voice. The flawless integration of crunchy electric rock, driving percussion, and delicate acoustic textures creates an enchanting atmosphere that will remain in your mind long after the album finishes spinning. Wüstenberg took a massive risk by stepping away from a highly successful project to pursue his own vision, and this debut album proves that the gamble paid off immensely. A must-have album for any true folk rock fan, it sets a remarkably high standard for the genre in 2026. Do yourself a massive favor, secure a copy of this record, and experience the phenomenal next chapter of an artist operating at the absolute peak of his creative powers.

#folkRock #IRISHFOLK #MUSIC #REVIEWS #WUSTENBERG

#folkrock #irishfolk #music #reviews #wustenberg

Adrian @[email protected] · 2026-01-15 · 19:00 UTC

With Ronnie's role with the Faces now just a memory, the co-founder of both that group and its predecessor the Small Faces, was now striding out into new territory...

#ClassicRock #RockMusic #70sMusic #MusicHistory #UKCharts #1970s #RetroMusic #BritishRock #RockHistory #Vinyl #SmallFaces #RonnieLane #SlimChance #HowCome #FacesBand #ModRock #FolkRock

https://thearchiveofmylife.com/no-32-on-the-top-50-official-u-k-singles-chart-on-my-2nd-birthday/?utm_source=mastodon&utm_medium=jetpack_social

#classicrock #rockmusic #70smusic #musichistory #ukcharts #1970s

Ben! (Boo!) @[email protected] · 2026-01-08 · 00:51 UTC

Been consuming a lot of #folkmusic but particularly focused on British and Irish folk as my knowledge of American folk music is pretty good but I'm much less well versed in folk music from across the ocean outside of The Pogues and The Incredible String Band.

#folk #folkrock #irishfolk #music

#music #irishfolk #folkrock #folk #folkmusic

Exposé Online @[email protected] · 2025-12-17 · 16:55 UTC

New #review today: "#TheOwlService is an English alternative folk music collective formed in 2006 by multi-instrumentalist #StevePaulCollins. Back in 1990 Collins was a teen, and unsurprisingly a metalhead. One day, while working in his local record shop he discovered #Fotheringay’s 1970 debut album, and a new world opened up. His love of #SandyDenny’s music led to the formation of The Owl Service sixteen years later." #ExposeOnline #FairportConvention #FolkRock http://expose.org/index.php/articles/display/the-owl-service-a-tribute-to-sandy-denny-6.html

#folkrock #fairportconvention #exposeonline #sandydenny #fotheringay #stevepaulcollins

Ben! (Boo!) @[email protected] · 2025-11-30 · 01:23 UTC

I consider it #selfcare to sometimes sit my ass down and listening to an album by The Pogues

#punk #folkpunk #irishfolk #folk #folkrock #folkmusic

#folkmusic #folkrock #folk #irishfolk #folkpunk #punk

GetMusic - Free Bandcamp Codes @[email protected] · 2025-11-05 · 11:03 UTC

Free download codes:

Slippery When Wet - House of the Rising Sun

"An intense hardcore backbeat, dual electric guitar version from a female point of view"

https://getmusic.fm/l/M1nWMQ

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill repute #music

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill

Angry Metal Guy @[email protected] · 2025-10-06 · 11:01 UTC

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

#7degreesrecords #addictedtotheviolence #aliceinchains #altarsofbrutality #americanmetal #atesalchemist

1001 Other Albums @[email protected] · 2025-08-09 · 16:01 UTC

Self-Titled Summer | Fotheringay (1970, UK)

Our next Self-Titled Summer spotlight is on number 280 on The List, submitted by baz. Here’s a quick rundown:

Point of origin(s): Fotheringay was a British folk rock quintet formed by Sandy Denny after she left Fairport Convention (following the release of their 1969 Liege & Leaf, which we looked at nearly a year ago in a SpaceAce Sunday), named after Denny’s song of the same name from the Fairport Convention album What We Did on Our Holidays. The other members were Denny’s partner and Australian guitarist Trevor Lucas plus drummer Gerry Conway (both formerly of folk psych prog rock band Eclection), and American guitarist Jerry Donahue and Scottish bassist Pat Donaldson (both formerly of prog psych group Poet and The One Man Band). This was their debut album.
Tasting notes: Folk rock with some jazzy bits, Sandy Denny’s remarkable voice, wistful longing
Standout track: Their cover of Canadian singer-songwriter Gordon Lightfoot’s “The Way I Feel” – I want that song to last forever. The opener “Nothing More”, the first piano track Denny would write, is also fantastic (as it is on their live album, Essen 1970, released in 2011).
Where are they now?/RIP: This is the only album released while the original lineup was together. They disbanded in January 1971 during recording sessions for a second album. While some of this material would later be released in 2008 under the title 2, some was used for Denny’s debut solo album (the 1971 The North Star Grassman and the Ravens) and on a Fairport Convention album (the 1972 Rosie), as Conway, Donahue, and Lucas had all joined that band after Fotheringay broke up (Donahue and Lucas from 1972-5, Conway just briefly at the time as a session musician, but then again later from 1998-2022). Denny would go on to have a successful but short solo career (with her former bandmates appearing on some of her albums), and would also briefly rejoin Fairport Convention in 1974-5. She tragically died in 1978 at the age of 31. Lucas then returned to Australia and mainly worked as a producer and film score composer until his death in 1989. In addition to his long stint in Fairport Convention, Conway was also in Pentangle from 1987 until his death just last year (he was married to Pentangle’s singer, Jacqui McShee). Donahue has a rather lengthy CV, working as both a musician (including guitar trio The Hellecasters plus being in The Yardbirds around 2004-5) and producer, at least up until a stroke in 2016 that affected his ability to play guitar. Donaldson was also in a few other bands and worked as a session musician (including for John Cale and Stevie Nicks)[1] at least into the 2010s. Quite a group, this one.
Websites: Wikipedia

Happy listening!

Though a non-Fotheringay/Fairport Convention-related tidbit, a fun find for me in writing this up is Donaldson’s work on Mae McKenna’s Everything That Touches Me (1976). I know this album as McKenna is the mother of Jamie Woon, whose debut LP we’ll see in a future spotlight because I had added it to The List. ↩︎

#1970s #BritishFolk #FairportConvention #folkRock #Fotheringay #GerryConway #JerryDonahue #music #musicDiscovery #PatDonaldson #SandyDenny #selftitled #TrevorLucas

#1970s #britishfolk #fairportconvention #folkrock #fotheringay #gerryconway

Kazuky Akayashi ฅ^•ﻌ•^ฅ @[email protected] · 2025-07-05 · 16:45 UTC

FEUERSCHWANZ - Berzerkermode

#Musique #Feuerschwanz #Metal #FolkMetal #FolkRock

#musique #feuerschwanz #metal #folkmetal #folkrock

GetMusic - Free Bandcamp Codes @[email protected] · 2025-07-04 · 18:10 UTC

Free download codes:

Slippery When Wet - House of the Rising Sun

"An intense hardcore backbeat, dual electric guitar version from a female point of view"

https://getmusic.fm/l/oATI8N

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill repute #music

#bandcampcodes #rock #folkrock #brothel #redlightdistrict #houseofill

The Ö ... Rock and Blog @[email protected] · 2025-05-08 · 05:25 UTC

Van Morrison / Avalon Sunset (1989); Mit "Avalon Sunset" zeigt sich Van Morrison in einer seiner spirituellsten und sanftesten Phasen. Das Album vereint warmen Folk, souligen Jazz und keltische Einflüsse zu einem tief empfundenen, fast meditativen Werk. Ein Album getragen von poetischer Tiefe, warmer Produktion und einer Stimme, die Trost spendet. Ein Spätwerk mit Seele. #VanMorrison #VanTheMan #Blues #Them #Folk #folkrock #folkpop #IrishFolk #singersongwriter #singer