#occultrock — Public Fediverse posts

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 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

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UNCLE ACID & THE DEADBEATS Announces New Live Album, Hints At New Material
Get slaughtered.

https://metalinjection.net/new-music/uncle-acid-the-deadbeats-announces-new-live-album-hints-at-new-material

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