#heavypsychsoundsrecords — Public Fediverse posts

Ritual Arcana – Ritual Arcana Review

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms,…
#NewsBeep #News #Music #2026 #3.0 #AmericanMetal #CastleRat #DoomMetal #Entertainment #Hardrock #HeavyPsychSoundsRecords #Jan26 #JessandtheAncientOnes #Moth #OccultRock #review #Reviews #RitualArcana #SabbathAssembly #SaintVitus #SpiritCaravan #TheBlackLips #TheObsessed #UK #UnitedKingdom #Wino #WitchMountain
https://www.newsbeep.com/uk/404160/

Ritual Arcana – Ritual Arcana Review

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms,…
#NewsBeep #News #Music #2026 #3.0 #AmericanMetal #CA #Canada #CastleRat #DoomMetal #Entertainment #HardRock #HeavyPsychSoundsRecords #Jan26 #JessandtheAncientOnes #Moth #OccultRock #review #reviews #RitualArcana #SabbathAssembly #SaintVitus #SpiritCaravan #TheBlackLips #TheObsessed #Wino #WitchMountain
https://www.newsbeep.com/ca/449512/

Ritual Arcana – Ritual Arcana Review

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms,…
#NewsBeep #News #Music #2026 #3.0 #AmericanMetal #AU #Australia #CastleRat #DoomMetal #Entertainment #HardRock #HeavyPsychSoundsRecords #Jan26 #JessandtheAncientOnes #Moth #OccultRock #review #reviews #RitualArcana #SabbathAssembly #SaintVitus #SpiritCaravan #TheBlackLips #TheObsessed #Wino #WitchMountain
https://www.newsbeep.com/au/453870/

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms, it seems par for the course for yours truly. Time spent enjoying a break from the everyday job grind, catching up on the bounty of overlooked 2025 releases, and, as per tradition, enjoying the comfort of personal favorites and metal classics has occupied my time. As we plunge on through a wild, erratic, and intermittently sweltering Aussie summer, some hard-rocking doomy fun seems like a suitable seasonal pastime. Thus, while wading through the promo sump, I stumbled across the self-titled debut of fresh project, Ritual Arcana. Soon discovering this seasoned power trio features none other than the legendary Scott ‘Wino’ Weinrich (Saint Vitus, The Obsessed, Spirit Caravan), wielding his scuzzed-up axe alongside Sharlee LuckyFree (ex-Moth) on bass and vocals, and drummer Oakley Munsen (The Black Lips).

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms, it seems par for the course for yours truly. Time spent enjoying a break from the everyday job grind, catching up on the bounty of overlooked 2025 releases, and, as per tradition, enjoying the comfort of personal favorites and metal classics has occupied my time. As we plunge on through a wild, erratic, and intermittently sweltering Aussie summer, some hard-rocking doomy fun seems like a suitable seasonal pastime. Thus, while wading through the promo sump, I stumbled across the self-titled debut of fresh project, Ritual Arcana. Soon discovering this seasoned power trio features none other than the legendary Scott ‘Wino’ Weinrich (Saint Vitus, The Obsessed, Spirit Caravan), wielding his scuzzed-up axe alongside Sharlee LuckyFree (ex-Moth) on bass and vocals, and drummer Oakley Munsen (The Black Lips).

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms, it seems par for the course for yours truly. Time spent enjoying a break from the everyday job grind, catching up on the bounty of overlooked 2025 releases, and, as per tradition, enjoying the comfort of personal favorites and metal classics has occupied my time. As we plunge on through a wild, erratic, and intermittently sweltering Aussie summer, some hard-rocking doomy fun seems like a suitable seasonal pastime. Thus, while wading through the promo sump, I stumbled across the self-titled debut of fresh project, Ritual Arcana. Soon discovering this seasoned power trio features none other than the legendary Scott ‘Wino’ Weinrich (Saint Vitus, The Obsessed, Spirit Caravan), wielding his scuzzed-up axe alongside Sharlee LuckyFree (ex-Moth) on bass and vocals, and drummer Oakley Munsen (The Black Lips).

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms, it seems par for the course for yours truly. Time spent enjoying a break from the everyday job grind, catching up on the bounty of overlooked 2025 releases, and, as per tradition, enjoying the comfort of personal favorites and metal classics has occupied my time. As we plunge on through a wild, erratic, and intermittently sweltering Aussie summer, some hard-rocking doomy fun seems like a suitable seasonal pastime. Thus, while wading through the promo sump, I stumbled across the self-titled debut of fresh project, Ritual Arcana. Soon discovering this seasoned power trio features none other than the legendary Scott ‘Wino’ Weinrich (Saint Vitus, The Obsessed, Spirit Caravan), wielding his scuzzed-up axe alongside Sharlee LuckyFree (ex-Moth) on bass and vocals, and drummer Oakley Munsen (The Black Lips).

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

I’m a tad slow out of the blocks to kick off the new year. Though in reviewing terms, it seems par for the course for yours truly. Time spent enjoying a break from the everyday job grind, catching up on the bounty of overlooked 2025 releases, and, as per tradition, enjoying the comfort of personal favorites and metal classics has occupied my time. As we plunge on through a wild, erratic, and intermittently sweltering Aussie summer, some hard-rocking doomy fun seems like a suitable seasonal pastime. Thus, while wading through the promo sump, I stumbled across the self-titled debut of fresh project, Ritual Arcana. Soon discovering this seasoned power trio features none other than the legendary Scott ‘Wino’ Weinrich (Saint Vitus, The Obsessed, Spirit Caravan), wielding his scuzzed-up axe alongside Sharlee LuckyFree (ex-Moth) on bass and vocals, and drummer Oakley Munsen (The Black Lips).

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

Witchcraft – Idag Review

By Mystikus Hugebeard

Once, Witchcraft were a prominent figure in the analog rock/metal scene, mentioned alongside acts like Orchid, Uncle Acid and the Deadbeats, and The Sword. They treated us to some right bangers like 2005’s Firewood and 2012’s Legend, and I was eagerly anticipating whatever might come after 2016’s Nucleus. What eventually followed was the acoustic and intensely somber Black Metal, which struck me as less of a Witchcraft album and more as a hyper-personal form of artistic expression by multi-instrumentalist frontman Magnus Pelander, something meant for him and him alone. It’s an honest and compelling artistic work, but it can be difficult to recall amidst the context of Witchcraft’s proggy occult doom/rock discography. Now, with two fresh band members, Witchcraft have reincorporated the lo-fi buzz n’ fuzz of their analog roots in 2025’s Idag.

When I first snagged Idag, I was struck by Witchcraft’s label change from Nuclear Blast to Heavy Psych Sounds, but it becomes immediately apparent as to why upon first listen. Idag is notably fuzzier than Witchcraft’s previous work, leaning heavily into the stoner-doom sound. In some cases, this manifests as Pentagram-adjacent chugging doom in the beefy riffs of “Burning Cross” or the slowly building grooves of “Idag.” The Coven-meets-Sergeant Thunderhoof nature of proto-Witchcraft is still present in the faster grooves of “Drömmar Av Is” and “Drömmen Om Död Och Förruttnelse,” though they haven’t escaped a healthy coat of fuzz. Some moody Black Metal acoustics return as well, given a refreshing shot of vigor without sacrificing atmosphere like in “Christmas.” Idag is all around well-produced and well-performed; it’s easy to buy into Idag, whether you’re a newcomer or returning fan.

Then again, it’s never been hard to buy into Witchcraft, because Witchcraft have long since established a pattern of writing rock solid music, and that’s exactly what Idag is: rock solid. The best songs in Idag will often find a strong core groove and then let it carry the bulk of the weight. “Drömmar Av Is” is a punctual tune that lands on a critically funky groove right out of the gates and hammers it home with minimal distraction. This song contrasts well with the more varied tunes like the eight-minute opener, “Idag,” which follows a similar philosophy of sticking to strong core ideas, all of which are given appropriate time to germinate with a delightful tempo increase in the latter half to keep the song from stagnating. Idag’s riffs might not always be the most audacious or inventive riffs ever made, but they’re effective and catchy. Then again, Idag is undeniably elevated by Pelander’s killer pipes. He’s the sort of singer you could recognize in anything, and his rich voice adds a lot of character to the music. Unintentional or not, I enjoy the detail of his voice sounding oh-so-slightly off-key with some of the guitars in “Om Du Vill.” It’s a nice touch of authenticity and reintroduces some of the vulnerability from Black Metal.

That authenticity also strikes at the chord of what makes Idag work for me; to my ears, from a songwriting standpoint, Idag is the sort of thing one might hear blasting from a garage, whereupon you’d find a couple of lads bangin’ on their instruments in ways that Just Sound Neat. That unrefined quality, that coarseness, is something I cherish, and Idag scratches that itch. The lead guitars across Idag howl with warbling feedback, and I love the unrestrained summer fun of the drum and guitar fills in “Irreligious Flamboyant Flame.” It is a bit of a double-edged sword, though. I appreciate the grime, but I also recognize that Idag lacks the consistency and focus to truly hook me like Legend did. It’s not like Witchcraft are suddenly a “jam band” on Idag, but it’s giving the moniker some funny looks. There are just enough frustrating oddball choices to be noticeable. As a comparatively longer song and practical closer, “Spirit” lacks the escalation that made “Idag” work, and the chorus in “Irreligious Flamboyant Flame” is a bit limp. Furthermore, both “Gläntan (Längtan)” and the actual closer “Om Du Vill (Slight Return)” feel out of place and borderline pointless.

I was lukewarm on my first spin of Idag, but it has grown on me. It might not be the most essential Witchcraft record, but it is nevertheless worth the time of any Witchcraft fan or purveyor of fuzzy stoner jams. But no matter how I felt about Idag, it wouldn’t have been a more potent feeling than my relief that Witchcraft is still making music. I will always look forward to their next release.

Rating: 3.0 / 5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook | bandcamp
Releases Worldwide: May 23rd, 2025

#2025 #30 #BlackMetal #Coven #Firewood #HeavyPsychSoundsRecords #Idag #Legend #May25 #OccultMetal #OccultRock #Orchid #Review #Reviews #SergeantThunderhoof #StonerMetal #StonerRock #TheSword #UncleAcidAndTheDeadbeats #Witchcraft

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Warlung – The Poison Touch Review

By Steel Druhm

What better way to bounce back from a week of depressive, melancholic doom than to marinate oneself in a hard-rocking retro stoner/occult release by an act totally unknown to me? Texas-based Warlung boast a spectacular name and though The Poison Touch is their 5th album, they’ve managed to evade my metal detector until now. Their sound is a mix of 70s rock, stoner doom, and occult metal with flashes of NWoBHM-inspired rowdiness sprinkled throughout. It’s highly riff-centric and the band has a certain carefree charm and likeablity factor. Over the course of The Poison Touch, you’ll be reminded of acts like Ghost, Doctor Smoke, Uncle Acid and the Deadbeats, and of course, Black Sabbath. That’s not the worst recipe to work from and the band has chops. That should be enough to keep you breathing, right?

Warlung coughs up a solid first impression on opener “Digital Smoke” which is a raucous, groovy rocker that reminds me equally of Cauldron and Doctor Smoke. It’s catchy as fook and easy to like with meaty riffs churning away as George Baba and Phillip Bennet swap vocal lines. One of them (I’m not sure which) sounds a lot like Doctor Smoke’s Matt Tluchowski and his nasally delivery is upbeat and pleasant. This one got stuck in my brain on the first spin and I can’t seem to dislodge the smoke. “White Light Seeker” delivers a lead riff that sounds like it was “borrowed” from Sabbath Bloody Sabbath and the song delivers hooky, groovy retro rock with a strong 70s doom edge. It’s an instant winner that sticks like Alien Tape™. Album set piece “Spell Speaker” is a nearly 9-minute odyssey that starts life sounding a lot like Iron Butterfly’s immortal classic “In-A-Gadda-Da-Vida” before drifting into lazy hazy 70s hard rock and veering into Sabbath and Ghost territories. It’s a sprawling, unhurried saga that takes as much time as it wants to set the mood, with side quests into trippy guitar noodling. Surprisingly, it all works very well and the minutes fly by before you realize it. A very cool tune.

The back half of The Poison Touch is less adventurous, opting for more direct stoner rock attacks, but they generally hit pay dirt. “Holy Guide” reminds of Freedom Hawk and Uncle Acid, and closer “29th Scroll, 6th Verse” goes hard on the same kind of fuzzy bounce and groove Uncle Acid made their name with. The band’s agile songcraft makes things entertaining and memorable and they bring real chops to the execution, especially in the fretboard department. While no track feels completely unworthy, short interlude “Mourning Devils” doesn’t add much, and “Rat Bastard” is a bit too goofy, though the riffs are there in abundance. At a trim 36 minutes, the album flows past in a flash, and even “Spell Speaker” doesn’t interrupt the rocking momentum.

Baba and Bennett share axe work as well as vocal duties and they do a fine job on both fronts. The guitar tandem loads the material with sharp riffs of various eras and styles and it’s a pleasure to hear them playing off one another as they move from hard-charging riffs to 70s psych rock, doom, and bong-fueled noodle sessions. They borrow from all the right sources and keep things interesting most of the time. The vocals are good too, vibrant and quirky, sometimes sounding a lot like Papa Emeritus. There’s a playfulness to them that works well with the music and throughout the album Baba and Bennett remind me of roughly 10 other stoner and doom vocalists, so variety is not an issue here.

Warlung bring a sense of joy and just enough inventiveness to the stoner/retro rock genre to make a lasting impression and what they do on The Poison Touch is mighty tough to dislike. It’s the kind of album that grows on you with every spin and there are some slick, killer tunes camping out here. I almost gave it a higher score and I’m enjoying it enough to start examining their back catalog, so they’re doing something right. If you need a fun, mindless palate cleanser of an album that pairs well with beers, buds, and other buds, catch yourself a nasty case of Warlung. Cough, cough, cough, cough DA-DA, DA-DA-DA!

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 302 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/warlungband | instagram.com/warlung
Releases Worldwide: February 14th, 2025

#2025 #30 #AmericanMetal #BlackSabbath #Cauldron #DoctorSmoke #Feb25 #FreedomHawk #Ghost #HeavyPsychSoundsRecords #OccultRock #Review #Reviews #StonerRock #UncleAcidAndTheDeadbeats

Warlung – The Poison Touch Review

By Steel Druhm

What better way to bounce back from a week of depressive, melancholic doom than to marinate oneself in a hard-rocking retro stoner/occult release by an act totally unknown to me? Texas-based Warlung boast a spectacular name and though The Poison Touch is their 5th album, they’ve managed to evade my metal detector until now. Their sound is a mix of 70s rock, stoner doom, and occult metal with flashes of NWoBHM-inspired rowdiness sprinkled throughout. It’s highly riff-centric and the band has a certain carefree charm and likeablity factor. Over the course of The Poison Touch, you’ll be reminded of acts like Ghost, Doctor Smoke, Uncle Acid and the Deadbeats, and of course, Black Sabbath. That’s not the worst recipe to work from and the band has chops. That should be enough to keep you breathing, right?

Warlung coughs up a solid first impression on opener “Digital Smoke” which is a raucous, groovy rocker that reminds me equally of Cauldron and Doctor Smoke. It’s catchy as fook and easy to like with meaty riffs churning away as George Baba and Phillip Bennet swap vocal lines. One of them (I’m not sure which) sounds a lot like Doctor Smoke’s Matt Tluchowski and his nasally delivery is upbeat and pleasant. This one got stuck in my brain on the first spin and I can’t seem to dislodge the smoke. “White Light Seeker” delivers a lead riff that sounds like it was “borrowed” from Sabbath Bloody Sabbath and the song delivers hooky, groovy retro rock with a strong 70s doom edge. It’s an instant winner that sticks like Alien Tape™. Album set piece “Spell Speaker” is a nearly 9-minute odyssey that starts life sounding a lot like Iron Butterfly’s immortal classic “In-A-Gadda-Da-Vida” before drifting into lazy hazy 70s hard rock and veering into Sabbath and Ghost territories. It’s a sprawling, unhurried saga that takes as much time as it wants to set the mood, with side quests into trippy guitar noodling. Surprisingly, it all works very well and the minutes fly by before you realize it. A very cool tune.

The back half of The Poison Touch is less adventurous, opting for more direct stoner rock attacks, but they generally hit pay dirt. “Holy Guide” reminds of Freedom Hawk and Uncle Acid, and closer “29th Scroll, 6th Verse” goes hard on the same kind of fuzzy bounce and groove Uncle Acid made their name with. The band’s agile songcraft makes things entertaining and memorable and they bring real chops to the execution, especially in the fretboard department. While no track feels completely unworthy, short interlude “Mourning Devils” doesn’t add much, and “Rat Bastard” is a bit too goofy, though the riffs are there in abundance. At a trim 36 minutes, the album flows past in a flash, and even “Spell Speaker” doesn’t interrupt the rocking momentum.

Baba and Bennett share axe work as well as vocal duties and they do a fine job on both fronts. The guitar tandem loads the material with sharp riffs of various eras and styles and it’s a pleasure to hear them playing off one another as they move from hard-charging riffs to 70s psych rock, doom, and bong-fueled noodle sessions. They borrow from all the right sources and keep things interesting most of the time. The vocals are good too, vibrant and quirky, sometimes sounding a lot like Papa Emeritus. There’s a playfulness to them that works well with the music and throughout the album Baba and Bennett remind me of roughly 10 other stoner and doom vocalists, so variety is not an issue here.

Warlung bring a sense of joy and just enough inventiveness to the stoner/retro rock genre to make a lasting impression and what they do on The Poison Touch is mighty tough to dislike. It’s the kind of album that grows on you with every spin and there are some slick, killer tunes camping out here. I almost gave it a higher score and I’m enjoying it enough to start examining their back catalog, so they’re doing something right. If you need a fun, mindless palate cleanser of an album that pairs well with beers, buds, and other buds, catch yourself a nasty case of Warlung. Cough, cough, cough, cough DA-DA, DA-DA-DA!

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 302 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/warlungband | instagram.com/warlung
Releases Worldwide: February 14th, 2025

#2025 #30 #AmericanMetal #BlackSabbath #Cauldron #DoctorSmoke #Feb25 #FreedomHawk #Ghost #HeavyPsychSoundsRecords #OccultRock #Review #Reviews #StonerRock #UncleAcidAndTheDeadbeats

Warlung – The Poison Touch Review

By Steel Druhm

What better way to bounce back from a week of depressive, melancholic doom than to marinate oneself in a hard-rocking retro stoner/occult release by an act totally unknown to me? Texas-based Warlung boast a spectacular name and though The Poison Touch is their 5th album, they’ve managed to evade my metal detector until now. Their sound is a mix of 70s rock, stoner doom, and occult metal with flashes of NWoBHM-inspired rowdiness sprinkled throughout. It’s highly riff-centric and the band has a certain carefree charm and likeablity factor. Over the course of The Poison Touch, you’ll be reminded of acts like Ghost, Doctor Smoke, Uncle Acid and the Deadbeats, and of course, Black Sabbath. That’s not the worst recipe to work from and the band has chops. That should be enough to keep you breathing, right?

Warlung coughs up a solid first impression on opener “Digital Smoke” which is a raucous, groovy rocker that reminds me equally of Cauldron and Doctor Smoke. It’s catchy as fook and easy to like with meaty riffs churning away as George Baba and Phillip Bennet swap vocal lines. One of them (I’m not sure which) sounds a lot like Doctor Smoke’s Matt Tluchowski and his nasally delivery is upbeat and pleasant. This one got stuck in my brain on the first spin and I can’t seem to dislodge the smoke. “White Light Seeker” delivers a lead riff that sounds like it was “borrowed” from Sabbath Bloody Sabbath and the song delivers hooky, groovy retro rock with a strong 70s doom edge. It’s an instant winner that sticks like Alien Tape™. Album set piece “Spell Speaker” is a nearly 9-minute odyssey that starts life sounding a lot like Iron Butterfly’s immortal classic “In-A-Gadda-Da-Vida” before drifting into lazy hazy 70s hard rock and veering into Sabbath and Ghost territories. It’s a sprawling, unhurried saga that takes as much time as it wants to set the mood, with side quests into trippy guitar noodling. Surprisingly, it all works very well and the minutes fly by before you realize it. A very cool tune.

The back half of The Poison Touch is less adventurous, opting for more direct stoner rock attacks, but they generally hit pay dirt. “Holy Guide” reminds of Freedom Hawk and Uncle Acid, and closer “29th Scroll, 6th Verse” goes hard on the same kind of fuzzy bounce and groove Uncle Acid made their name with. The band’s agile songcraft makes things entertaining and memorable and they bring real chops to the execution, especially in the fretboard department. While no track feels completely unworthy, short interlude “Mourning Devils” doesn’t add much, and “Rat Bastard” is a bit too goofy, though the riffs are there in abundance. At a trim 36 minutes, the album flows past in a flash, and even “Spell Speaker” doesn’t interrupt the rocking momentum.

Baba and Bennett share axe work as well as vocal duties and they do a fine job on both fronts. The guitar tandem loads the material with sharp riffs of various eras and styles and it’s a pleasure to hear them playing off one another as they move from hard-charging riffs to 70s psych rock, doom, and bong-fueled noodle sessions. They borrow from all the right sources and keep things interesting most of the time. The vocals are good too, vibrant and quirky, sometimes sounding a lot like Papa Emeritus. There’s a playfulness to them that works well with the music and throughout the album Baba and Bennett remind me of roughly 10 other stoner and doom vocalists, so variety is not an issue here.

Warlung bring a sense of joy and just enough inventiveness to the stoner/retro rock genre to make a lasting impression and what they do on The Poison Touch is mighty tough to dislike. It’s the kind of album that grows on you with every spin and there are some slick, killer tunes camping out here. I almost gave it a higher score and I’m enjoying it enough to start examining their back catalog, so they’re doing something right. If you need a fun, mindless palate cleanser of an album that pairs well with beers, buds, and other buds, catch yourself a nasty case of Warlung. Cough, cough, cough, cough DA-DA, DA-DA-DA!

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 302 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/warlungband | instagram.com/warlung
Releases Worldwide: February 14th, 2025

#2025 #30 #AmericanMetal #BlackSabbath #Cauldron #DoctorSmoke #Feb25 #FreedomHawk #Ghost #HeavyPsychSoundsRecords #OccultRock #Review #Reviews #StonerRock #UncleAcidAndTheDeadbeats

Warlung – The Poison Touch Review

By Steel Druhm

What better way to bounce back from a week of depressive, melancholic doom than to marinate oneself in a hard-rocking retro stoner/occult release by an act totally unknown to me? Texas-based Warlung boast a spectacular name and though The Poison Touch is their 5th album, they’ve managed to evade my metal detector until now. Their sound is a mix of 70s rock, stoner doom, and occult metal with flashes of NWoBHM-inspired rowdiness sprinkled throughout. It’s highly riff-centric and the band has a certain carefree charm and likeablity factor. Over the course of The Poison Touch, you’ll be reminded of acts like Ghost, Doctor Smoke, Uncle Acid and the Deadbeats, and of course, Black Sabbath. That’s not the worst recipe to work from and the band has chops. That should be enough to keep you breathing, right?

Warlung coughs up a solid first impression on opener “Digital Smoke” which is a raucous, groovy rocker that reminds me equally of Cauldron and Doctor Smoke. It’s catchy as fook and easy to like with meaty riffs churning away as George Baba and Phillip Bennet swap vocal lines. One of them (I’m not sure which) sounds a lot like Doctor Smoke’s Matt Tluchowski and his nasally delivery is upbeat and pleasant. This one got stuck in my brain on the first spin and I can’t seem to dislodge the smoke. “White Light Seeker” delivers a lead riff that sounds like it was “borrowed” from Sabbath Bloody Sabbath and the song delivers hooky, groovy retro rock with a strong 70s doom edge. It’s an instant winner that sticks like Alien Tape™. Album set piece “Spell Speaker” is a nearly 9-minute odyssey that starts life sounding a lot like Iron Butterfly’s immortal classic “In-A-Gadda-Da-Vida” before drifting into lazy hazy 70s hard rock and veering into Sabbath and Ghost territories. It’s a sprawling, unhurried saga that takes as much time as it wants to set the mood, with side quests into trippy guitar noodling. Surprisingly, it all works very well and the minutes fly by before you realize it. A very cool tune.

The back half of The Poison Touch is less adventurous, opting for more direct stoner rock attacks, but they generally hit pay dirt. “Holy Guide” reminds of Freedom Hawk and Uncle Acid, and closer “29th Scroll, 6th Verse” goes hard on the same kind of fuzzy bounce and groove Uncle Acid made their name with. The band’s agile songcraft makes things entertaining and memorable and they bring real chops to the execution, especially in the fretboard department. While no track feels completely unworthy, short interlude “Mourning Devils” doesn’t add much, and “Rat Bastard” is a bit too goofy, though the riffs are there in abundance. At a trim 36 minutes, the album flows past in a flash, and even “Spell Speaker” doesn’t interrupt the rocking momentum.

Baba and Bennett share axe work as well as vocal duties and they do a fine job on both fronts. The guitar tandem loads the material with sharp riffs of various eras and styles and it’s a pleasure to hear them playing off one another as they move from hard-charging riffs to 70s psych rock, doom, and bong-fueled noodle sessions. They borrow from all the right sources and keep things interesting most of the time. The vocals are good too, vibrant and quirky, sometimes sounding a lot like Papa Emeritus. There’s a playfulness to them that works well with the music and throughout the album Baba and Bennett remind me of roughly 10 other stoner and doom vocalists, so variety is not an issue here.

Warlung bring a sense of joy and just enough inventiveness to the stoner/retro rock genre to make a lasting impression and what they do on The Poison Touch is mighty tough to dislike. It’s the kind of album that grows on you with every spin and there are some slick, killer tunes camping out here. I almost gave it a higher score and I’m enjoying it enough to start examining their back catalog, so they’re doing something right. If you need a fun, mindless palate cleanser of an album that pairs well with beers, buds, and other buds, catch yourself a nasty case of Warlung. Cough, cough, cough, cough DA-DA, DA-DA-DA!

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 302 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/warlungband | instagram.com/warlung
Releases Worldwide: February 14th, 2025

#2025 #30 #AmericanMetal #BlackSabbath #Cauldron #DoctorSmoke #Feb25 #FreedomHawk #Ghost #HeavyPsychSoundsRecords #OccultRock #Review #Reviews #StonerRock #UncleAcidAndTheDeadbeats

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

#2025 #40 #BelgianMetal #BlackAleph #DoomMetal #DroneMetal #FiveTheHierophant #FolkMetal #HeavyPsychSoundsRecords #Jan25 #Lowen #Review #Reviews #WyattE_ #ZamaruUltuQerebZiqquratuPart1

Wyatt E. – Zamāru Ultu Qereb Ziqquratu Part 1 Review

By Killjoy

With so many bands vying for attention in this digital age, sometimes it takes something truly original to catch a listener’s eye. This is what fixed my attention on Zamāru Ultu Qereb Ziqquratu Part 1 as it poked out of the fertile soil in the promo pit. Wyatt E.1 was originally founded in Belgium as an instrumental drone/doom group by guitarists Sébastien von Landau and Stéphane Rondia to portray the captured people of Jerusalem during the Babylonian Exile in 587 BCE. They made some bold alterations on this latest record to expand their sonic footprint, namely the addition of two drummers recorded simultaneously and collaborations with vocalists Nina Saeidi (Lowen) and Tomer Damsky. Did these creative shakeups succeed in enriching Wyatt E.’s sound?

A few of Wyatt E.’s more unconventional résumé entries have visibly impacted the development of Zamāru. Traces of the synth-heavy soundtrack they wrote for the 2022 film Bowling Saturne are scattered throughout, and the album has a distinct cinematic flair. They also teamed up with Tomer Damsky and Five the Hierophant for a specially commissioned performance at the 2022 Roadburn Festival titled Atonia.2 Five the Hierophant is a convenient starting point for comparison with Wyatt E., as they both rely on continuous repetition of key melodies embellished by a rich assortment of instruments. However, while the former favors wild saxophone passages, the latter prefers to lean on Middle Eastern instruments like the saz and sitar in a manner similar to last year’s Black Aleph release. With these accomplishments under its belt, Wyatt E. was primed to continue where the last album Āl Bēlūti Dārû left off with the intensity now cranked up to 11.

If we liken Zamāru’s structure to a sandwich, the 10-12 minute drone-laden treks bookending the album are the reliable bread that holds everything together. Opener “Qaqqari la târi Part I” begins with a single recurring note forming a rhythmic pattern underpinning the song as subtle fills are gradually layered on and the music suddenly erupts with sitar and percussion. It can’t be overstated how much drummers Jonas Sanders and Gil Chevigné boost the power and scope of the music. They sound positively thunderous when they play the same rhythm and in the finale of closer “Ahanu Ersetum” one anchors the steady beat while the other focuses on complex fills and dramatic crashes. If I had to nitpick, I’d say that a minute or so from the beginning of each of these two longer tracks could have been shortened, but it’s hard to complain much when the buildup and subsequent payoff are so compelling.

Of course, a good sandwich needs delectable filling, and the three middle tracks of Zamāru add tons of piquancy. Much of this comes from the stellar guest vocalists. Tomer Damsky’s singing in “Im Lelya” is nothing short of captivating, especially her vocal undulations at key moments. Likewise, Nina Saeidi’s hypnotic voice rises and falls like gigantic sand dunes in “The Diviner’s Prayer to the Gods of the Night” as she sings an ancient Akkadian poem. The guests don’t do all the heavy lifting, though. “Kerretu Mahrû” is a fascinating whirlwind of Middle Eastern instrumentation underscored by an elaborate drumming dance that all ends much too soon. In fact, this is my only real disappointment with Zamāru as a whole—it feels a bit incomplete. This isn’t exactly surprising, given that it’s titled Part 1, but I still can’t help but crave more after the 35 minutes are over.

It’s barely January, but I’d wager that Wyatt E. has fashioned one of the most unique records of 2025. The novelty factor may be what prompted me to investigate, but Zamāru more than stands on its own merits. Wyatt E. has mastered the tricky art of balancing the repetitive nature of drone with exotic exploration, making good use of the new resources available to hit several creative stretch goals with ease. This is a thoroughly engrossing experience that has earned my attention and rapt anticipation for Part 2.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds Records
Websites: wyattdoom.bandcamp.com | facebook.com/Wyattdoom
Releases Worldwide: January 10th, 2025

Show 2 footnotes

1. Surprisingly, not the band I’ve reviewed with the most unusual name during my short tenure thus far as an AMG writer. ↩
2. Recordings of the performance can be found here and here. ↩

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