#green-lung — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #green-lung, aggregated by home.social.
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Oh! My feed tells me the new #GreenLung album is out?
You’ll excuse me … -
Druidess – Trip Meadow Review By Creeping IvyWhen it comes to discerning the difference between doom and stoner metal, I subscribe to the Ned Flanders school of thought. While doom tends towards darker atmospheres at a slower pace, stoner metal generally grooves with a chiller vibe. Now, there are (at least two) exceptions, and it gets kind of tricky, one of which is the compound stoner-doom genre. This label nicely fits Druidess, who have become a staple of the UK doom and stoner scenes since the release of their 2024 EP, Hermits and Mandrakes. Two years later, this Newcastle upon Tyne quartet has finally dropped its independently-released debut LP, Trip Meadow. Whether a British stoner-doom scenester or a newcomer, you’re surely wondering whether Druidess’s musical trip feels like strolling through a meadow or slogging through a jungle.
Druidess travel through the crevices of Mount Doom and the streets of Stonerville, but they also haunt the alleys of Psychedelphia. Guitarist Daniel Downing powers this English engine, doling out an array of Sabbathian riffs that brood, gallop, and descend, often in the same song (“A Forest Witch’s Daughter”). Beneath Downing is drummer Sam Armstrong, who hits hard but sprinkles in peppery jazz accents, keeping things rhythmically dynamic (“Descended from Giants”). The highlight, however, is vocalist Shonagh Brown, who knows how to hold a straightforward verse and develop a sticky chorus (“Knightingales”). Brown claims Joan Jett (The Runaways) as a major influence, but I also hear Laura Donnelly (King Witch) in her penchant for effortless power.1 Draping Druidess’s stoner-doom core in a psychedelic haze is keyboardist James Hill, whose organ plinks owe a debt of gratitude to The Doors while recalling a contemporary band like Green Lung. If the presence of organ sounds insufficiently psychedelic, then you’ll be glad to hear that a saxophone occasionally moans melancholic melodies2 (“Trip Meadow,” “A Witches’ Sabbath”). Aesthetically and performance-wise, Trip Meadow brings home the goods.
The songwriting, however, sometimes sails the Inconsistent Sea. The songs hovering around 4 minutes deliver memorable jolts of Iommian riffs and Jettian choruses (“Mandragora,” “The Hermit of Druid’s Temple”). Even when Druidess expand to the 6–7 minute range, they usually do a good job balancing subdued excursions and tempo shifts with solid songcraft (“The Forest Witch’s Daughter,” “A Witches’ Sabbath”). A few tracks, however, could’ve definitely been pared down, the major example being the 10-minute title track. “Trip Meadow” opens with a sultry saxophone groove before reducing to an ominous organ line obliterated by a crushing doom riff. From there, it takes too long for the song to get to its good (not great) chorus. At around the 8-minute mark, however, Druidess goes off on gothic riff variations, variations that would’ve hit even harder were they to have come sooner.
I must also mention that Trip Meadow shares much in common with Druidess’s previous jaunt. Five of the album’s seven songs, in fact, appear on the Hermits and Mandrakes EP. Druidess does sonically improve these cuts for Trip Meadow, especially the vocal mix. Whereas Brown sits awkwardly atop the band on the EP, her voice feels prominent but porous on the LP, commingling with the fuzzy guitar tones while still carrying the tunes. It is disappointing, however, that roughly 70 percent of the material here exists on another release. The two new songs, though quite good, are not the strongest material on display. As discussed, “Trip Meadow” embodies enormous potential only partly realized. Meanwhile, “Descended from Giants” contains mighty fine bass-work, a neat pseudo-breakdown, and killer concluding wails, but it also retreads ground already covered.
Trip Meadow trips in a few ways, but ultimately, it’s a trip worth taking. If you’re already familiar with the Hermits and Mandrakes EP, the debut LP will probably feel like a tedious (albeit sonically improved) trek through well-worn terrain. If you’re like I was, however, ignorant of the EP and desiring of quality stoner-doom, then you should definitely take a stroll through Druidess’s comforting meadow of fuzzed-out riffs and fantastic vocals. At 41 minutes, Trip Meadow gets away with its redundancies because it sounds so good. If subsequent musical adventures tighten the songwriting while exploring experimentation under a cozy psych aesthetic, Druidess may find Greatness as a future destination.
Rating: 3.0/5.0
#2026 #30 #BlackSabbath #DoomMetal #Druidess #GreenLung #Jun26 #KingWitch #PsychedelicRock #Review #Reviews #SelfReleased #StonerMetal #TheDoors #TheRunaways #TripMeadow #UKMetal
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Instagram | Facebook
Releases Worldwide: June 26th, 2026 -
New Green Lung just dropped. (That sounds a bit wrong. 🙄)
"𝖂𝖊 𝖈𝖔𝖒𝖊 𝖙𝖔 𝖑𝖎𝖋𝖊 𝖎𝖓 𝖙𝖍𝖊 𝖉𝖊𝖆𝖉 𝖔𝖋 𝖓𝖎𝖌𝖍𝖙… is there a more fitting subject for a Green Lung song than the Necropolis Railway, a real-life train line that carried corpses and mourners across London in the late 19th Century? Mix in some inspiration from 1972’s London Underground-set shocker Death Line, an unhealthy dose of stabbing Jon Lord-esque organ, and a Lung-speed record BPM of 180, and you have the second single from our fourth album - streaming on all platforms now, with a video premiering on our YouTube channel at 3pm BST. Art by Vaderetro."
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If rock floats your boat you should give the new song by Green Lung a listen. 🤘🏻
Apple Music: https://music.apple.com/gb/album/evil-in-this-house/1892398281?i=1892398371
Spotify: https://open.spotify.com/track/1IpBvM8yVcFf5LBXxS2igg
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New Green Lung album coming in September. One to look out for.
Update from the album promo:
A monumental portrait of the power of nature over the dreams and dominion of humankind, 𝕹𝖊𝖈𝖗𝖔𝖕𝖔𝖑𝖎𝖙𝖆𝖓 is also a grand celebration of the occult lore, heavy music scene and Magnificent Seven Cemeteries of our birthplace as a band, the city of London.Necropolitan - GREEN LUNG
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New post: Nuclear Blast dives into tabletop gaming with Riffs & Realms series https://moshville.co.uk/news/2026/01/nuclear-blast-dives-into-tabletop-gaming-with-riffs-realms-series/ #BeastInBlack #Conjurer #GreenLung
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Castle Rat – The Bestiary Review
By Saunders
New York’s Castle Rat generated buzz off the back of their impressive slab of fantasy-inspired doom rock featured on 2024s Into the Realm. A fuzzy, female-fronted doom act with sword and sorcery shtick and a theatrical, unabashedly old school bent, the debut featured tight, infectious songwriting and enough retro flair and heavy metal swagger to rise above the familiar, throwback nature of their craft. Of course, the debut had its detractors, with their theatrical antics, coupled with a not especially original sound, failing to match the hype for some listeners enamored with the heavily populated throwback doom rock/metal scenes. Striking while the iron’s hot, Castle Rat return in quick time with sophomore album, The Bestiary. A quickfire turnaround is a welcome thing, though creates a sense of trepidation of rushed work. Riley Pinkerton (aka The Rat Queen) and her fellow minions return full of fire and ready to cast their doomy spell for the second time.
Castle Rat hit the ground running with their warm and cozy retro sound intact, albeit featuring a livelier, louder and more propulsive reiteration of the sound established on the debut. Whether listeners find their whole deal too gimmicky or not, it’s tough to doubt the authenticity and passion for their chosen style. Castle Rat channel a ’70s psychedelic haze, prominent Black Sabbath influence, and share surface similarities with acts such as the underrated and enchanting Purson, and modern stoner doom merchants Green Lung. The Bestiary is an altogether harder-hitting and boisterous entity compared to the debut, jacking up the NWoHM and fantasy-inspired bombast for extra crunch. “Phoenix I” unfurls in a slow-burning, dramatic and deliberate fashion, setting the scene for Pinkerton and co to unleash their full fury.
The Bestiary’s increased gallop and fiery guitar work ignite around the poppier sensibilities and smooth central doom grooves and prevalently catchy vocal hooks. Although not the most distinctive frontwoman in the biz, Pinkerton’s silky vocal hooks and confident, commanding delivery continue to a key focal point. Right out the gate, Castle Rat stockpile big-hitting rockers, courtesy of the bluesy doom swagger and earworm hooks of rollicking gems, “Wolf I” and “Wizard.” “Siren” keeps the good times rolling, employing tense rhythmic builds and seductively sinister vocals to cast its spell. There is an easy-to-like simplicity and infectiousness to Castle Rat’s songwriting that shines when the band’s craftsmanship is at its best. Dialing up the epic-ness and adding extra crunch and pepper creates a burlier, higher-octane effort. Within the rowdier experience, Franco Vittore (aka The Count) belts out some blazing solos, while lending doomy weight to straightforward rockers (‘Serpent, “Dragon”) and a grinding, ominous touch to “Unicorn.” Castle Rat’s willingness to experiment outside their comfort zone results in an adventurous, though mixed bag. The softer material nails mysterious, foreboding atmospheres and changes pace, though these shorter pieces are generally less engaging than the album’s rockier fare.
Amidst The Bestiary’s endearing and infectious songwriting, drawbacks appear, tainting an otherwise enjoyable opus. The bricked mastering and loud production detract from the music’s warmth and endearing charms. This issue is felt in numerous areas. The drums lack punch, the mix is squashed and muddied, while dynamic shifts, such as acoustic forays, or the noisy, climactic cacophony on “Unicorn” and “Sun Song” are sapped of their power, dulling impact. Another notable change from the debut is the increased runtime, climbing to nearly fifty minutes, in contrast to its predecessor’s refreshing efficiency. There are momentum drops and pacing issues. These factors and the front-loaded nature of the album contribute to bloat. An intro, outro, mid-album instrumental piece (“Path of Moss”) and three decent, acoustic-driven folkier tunes have their merits but combined contribute to pacing issues and overall padding.
Into the Realm was an impressive debut outing, signaling Castle Rat as a fresh force pedaling retro and fantasy-clad doom to strong effect. The Bestiary marks an ambitious, solid, if flawed follow-up. Significant production concerns and the aforementioned pacing issues, bloat, and an uneven backend detract from an album that reaffirms Castle Rat as a talented band with old school values and a vision to diversify their formula with intriguing results. While not everything hits the mark, there is still much to unpack, some killer tunes, and fun to be had. Hopefully Castle Rat can channel their creativity into a more consistent, tighter effort next time round.
Rating: 3.0/5.0
DR: 3 | Format Reviewed: 2304 kbps (Lossless)
Label: Blues Funeral Recordings
Websites: bandcamp | Facebook
Releases Worldwide: September 19th, 2025#2025 #30 #AmericanMetal #BlackSabbath #BluesFuneralRecordings #CastleRat #DoomMetal #GreenLung #HeavyMetal #NWOBHM #Purson #Review #Reviews #TheBestiary
