#psychedelicrock — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #psychedelicrock, aggregated by home.social.
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Setting up inside a real cinema is always a thrill for us. Huge screen, heavy riffs, and hypnotic visuals filling up the whole room while everyone leans back in cinema chairs. We’ve put together an audiovisual ride we’re really excited to share live.
To anyone around the Nuremberg or Middle Franconia area looking for a proper Saturday night trip: it’s just a short ride down south, and we’d love to have you with us.
📅 Saturday, September 19, 2026
⏰ 21:00
📍 Kino Center Weißenburg in Bayern#Fogdriver #PsychedelicRock #StonerRock #LiveVisuals #KinoKonzert #Weissenburg #Nürnberg #Mittelfranken #visualarts
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🔴 LIVE NOW ON VORTEX
📻 Vortex Shadow 🌑 (New wave, synthwave, cold wave, goth)
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🎵 MGMT - Electric Feel▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
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The Dharma Chain - Album Launch
Neue Zukunft, Saturday, September 26 at 07:30 PM GMT+2
Join The Dharma Chain in Berlin for the official release celebration of their second album, 'Some Kind of Pure State'. After a year of extensive touring across Europe, including appearances at Fuzz Club, Desertfest, SXSW Austin and shows all across Europe, the band return home to present their new record live.
Blending neo-psychedelia, shoegaze, post-punk, and krautrock influences, The Dharma Chain create immersive soundscapes that move between hypnotic rhythms, abrasive guitars, and atmospheric vocals.
Featuring visuals by Maria Secio, a custom light show, and never-before-played songs, this will be a one-night-only experience built around the world of Some Kind of Pure State.
For fans of: Slowdive, The Brian Jonestown Massacre, The Black Angels, The Underground Youth, Spiritualized, Fontaines D.C.
https://berlin.askapunk.de/event/the-dharma-chain-album-launch
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Free download codes:
Mystical Space Tigers - Color Shift
"ROOOAAAAAAAAARRRRRRRRR!!!"
#ambient #experimental #rock #synthwave #lofi #instrumental #soundtrack #psychedelicrock #jazz #lofi #psychedelic #progressiverock #progressive #krautrock #nujazz #jazzfusion #psychedelicjazz #spacespace rock #tiger #music
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Free download codes:
Mystical Space Tigers - Color Shift
"ROOOAAAAAAAAARRRRRRRRR!!!"
#ambient #experimental #rock #synthwave #lofi #instrumental #soundtrack #psychedelicrock #jazz #lofi #psychedelic #progressiverock #progressive #krautrock #nujazz #jazzfusion #psychedelicjazz #spacespace rock #tiger #music
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Free download codes:
Mystical Space Tigers - Color Shift
"ROOOAAAAAAAAARRRRRRRRR!!!"
#ambient #experimental #rock #synthwave #lofi #instrumental #soundtrack #psychedelicrock #jazz #lofi #psychedelic #progressiverock #progressive #krautrock #nujazz #jazzfusion #psychedelicjazz #spacespace rock #tiger #music
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Free download codes:
Mystical Space Tigers - Color Shift
"ROOOAAAAAAAAARRRRRRRRR!!!"
#ambient #experimental #rock #synthwave #lofi #instrumental #soundtrack #psychedelicrock #jazz #lofi #psychedelic #progressiverock #progressive #krautrock #nujazz #jazzfusion #psychedelicjazz #spacespace rock #tiger #music
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DRAMATIST
Neue Zukunft, Friday, January 22 at 07:00 PM GMT+1
Es gibt Debüts, die sich vorsichtig vortasten. Und es gibt „Wasting Words“. Ein Album, das nicht fragte, ob es da sein darf, sondern am 23.01.2026 mit voller Wucht in den Raum trat.
Mit Produzenten Gregor Hennig und Kurt Ebelhäuser an den Reglern entstand ein Erstling, der sich nicht wie ein Anfang anfühlt, sondern wie ein Manifest. Ein Postcore-Statement, roh und unversöhnlich, getragen von drei Gitarren, die eher schneiden als begleiten, und Texten, die sich weigern, sich hinter Metaphern zu verstecken. „Wasting Words“ ist ein Album, das nicht gefallen will – und gerade deshalb trifft.
Pressestimmen:„Gesellschafts- und Kapitalismuskritik vom Feinsten.“ – Metal Hammer
„Unglaublich toll, unglaublich berührend. Und manchmal auch: hart.“ – Plattentest.de
„Magisch erdrückend und erschütternd. Kalter Schweiß trifft wissendes Lächeln.“ – Gästeliste.de
„Atmosphärisch, packend, vehement – ohne jemals aufdringlich zu werden.“ – Fuze
„Ein Auftakt nach Maß.“ – metalfactory.ch
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Los Bitchos; Ambrose Kenny-Smith - Holding Cell▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Free download codes:
Dino DiMuro - Elmwood was a Rock Star (2006)
"An unreleased song from the abandoned concept album ELMWOOD from 2006"
#psychedelicrock #folkrock #lofirock #slackerrock #psychedelicfreak folk #music
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Free download codes:
Dino DiMuro - Elmwood was a Rock Star (2006)
"An unreleased song from the abandoned concept album ELMWOOD from 2006"
#psychedelicrock #folkrock #lofirock #slackerrock #psychedelicfreak folk #music
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Free download codes:
Dino DiMuro - Elmwood was a Rock Star (2006)
"An unreleased song from the abandoned concept album ELMWOOD from 2006"
#psychedelicrock #folkrock #lofirock #slackerrock #psychedelicfreak folk #music
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Free download codes:
Dino DiMuro - Elmwood was a Rock Star (2006)
"An unreleased song from the abandoned concept album ELMWOOD from 2006"
#psychedelicrock #folkrock #lofirock #slackerrock #psychedelicfreak folk #music
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The Byrds
#thebyrds #rock #rockmusic #seventiesrock #music #musicsky #musiciansky #countryrock #jamrock #psychedelicrock #rogermcquinn #clarencewhite #skipbattin #geneparsons #gramparsons #sneakypetekleinow The Byrds release their ninth on September 14, 1970 -- a double album that features one disc live stuff and the other new material. This is the album that settled things down a bit for the band after a few years of musicians coming and going and declining sales and…
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The Byrds
#thebyrds #rock #rockmusic #seventiesrock #music #musicsky #musiciansky #countryrock #jamrock #psychedelicrock #rogermcquinn #clarencewhite #skipbattin #geneparsons #gramparsons #sneakypetekleinow The Byrds release their ninth on September 14, 1970 -- a double album that features one disc live stuff and the other new material. This is the album that settled things down a bit for the band after a few years of musicians coming and going and declining sales and…
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Free download codes:
John Titor's Time Machine - It's Time to Bounce, Amigo!
"Running in at 50 minutes 'It's Time to Bounce, Amigo!' is a short and sweet punk rock odyssey that is influenced by the likes of the Pixies, The Flaming Lips and Guided by Voices!"
#indierock #alternativerock #psychedelicrock #postpunk #noiserock #music
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Free download codes:
John Titor's Time Machine - It's Time to Bounce, Amigo!
"Running in at 50 minutes 'It's Time to Bounce, Amigo!' is a short and sweet punk rock odyssey that is influenced by the likes of the Pixies, The Flaming Lips and Guided by Voices!"
#indierock #alternativerock #psychedelicrock #postpunk #noiserock #music
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Free download codes:
John Titor's Time Machine - It's Time to Bounce, Amigo!
"Running in at 50 minutes 'It's Time to Bounce, Amigo!' is a short and sweet punk rock odyssey that is influenced by the likes of the Pixies, The Flaming Lips and Guided by Voices!"
#indierock #alternativerock #psychedelicrock #postpunk #noiserock #music
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Free download codes:
John Titor's Time Machine - It's Time to Bounce, Amigo!
"Running in at 50 minutes 'It's Time to Bounce, Amigo!' is a short and sweet punk rock odyssey that is influenced by the likes of the Pixies, The Flaming Lips and Guided by Voices!"
#indierock #alternativerock #psychedelicrock #postpunk #noiserock #music
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Zlypni - Hluzd (Mind) / #PsychedelicRock
>I’m not losing my mind, I’m not losing my mind, I’m not losing my mind
>My head feels so empty, my head feels so empty, my head feels so empty
>It happens, it changes, so run to the edge
>Escape your head, escape your head, escape your head -
Zlypni - Hluzd (Mind) / #PsychedelicRock
>I’m not losing my mind, I’m not losing my mind, I’m not losing my mind
>My head feels so empty, my head feels so empty, my head feels so empty
>It happens, it changes, so run to the edge
>Escape your head, escape your head, escape your head -
Zlypni - Hluzd (Mind) / #PsychedelicRock
>I’m not losing my mind, I’m not losing my mind, I’m not losing my mind
>My head feels so empty, my head feels so empty, my head feels so empty
>It happens, it changes, so run to the edge
>Escape your head, escape your head, escape your head -
Zlypni - Hluzd (Mind) / #PsychedelicRock
>I’m not losing my mind, I’m not losing my mind, I’m not losing my mind
>My head feels so empty, my head feels so empty, my head feels so empty
>It happens, it changes, so run to the edge
>Escape your head, escape your head, escape your head -
Zlypni - Hluzd (Mind) / #PsychedelicRock
>I’m not losing my mind, I’m not losing my mind, I’m not losing my mind
>My head feels so empty, my head feels so empty, my head feels so empty
>It happens, it changes, so run to the edge
>Escape your head, escape your head, escape your head -
The Flaming Lips – Zaireeka (19.67 Fanmix)
#Alternative #baroquepop #baroquerock #flaminglips #psychedelicrock #zaireeka #Nashville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://1967fanmixes.bandcamp.com/album/zaireeka-1967-fanmix -
The Flaming Lips – Zaireeka (19.67 Fanmix)
#Alternative #baroquepop #baroquerock #flaminglips #psychedelicrock #zaireeka #Nashville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://1967fanmixes.bandcamp.com/album/zaireeka-1967-fanmix -
The Flaming Lips – Zaireeka (19.67 Fanmix)
#Alternative #baroquepop #baroquerock #flaminglips #psychedelicrock #zaireeka #Nashville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://1967fanmixes.bandcamp.com/album/zaireeka-1967-fanmix -
The Flaming Lips – Zaireeka (19.67 Fanmix)
#Alternative #baroquepop #baroquerock #flaminglips #psychedelicrock #zaireeka #Nashville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://1967fanmixes.bandcamp.com/album/zaireeka-1967-fanmix -
The Flaming Lips – Zaireeka (19.67 Fanmix)
#Alternative #baroquepop #baroquerock #flaminglips #psychedelicrock #zaireeka #Nashville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://1967fanmixes.bandcamp.com/album/zaireeka-1967-fanmix -
🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Portugal. The Man - Feel It Still▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE#VortexWave #PortugalTheMan #IndieRock #PsychedelicRock #2010s
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🎸 FOGDRIVER – an audiovisual expedition from southern Germany. Instrumental psychedelic spacerock, deliberately no vocals – but live visuals on screen.
Our album "Dancing Fire" is radically DIY: recorded live in the rehearsal room – no overdubs, no digital fixes. Artwork & booking: all in-house.
🎬 New trailer for our 2026 cinema concerts. --> https://youtu.be/BjdBGR9LenM?
Next and recent Gigs --> https://fogdriver.de/live/
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New #review today: "In the early 70s, #MarianneSegal emerged as the principal songwriter, vocalist, and guitarist for #Jade, one of the more cherished cult names of the British #ProgressiveFolk movement. The Gathering, originally released in 2007, found Segal surrounded by an unlikely but inspired cast that included members of the neo-medieval psych-folk ensemble #Circulus." #ExposeOnline #PsychedelicRock #PsychedelicFolk #SilverJade http://expose.org/index.php/articles/display/marianne-segal-featuring-circulus-the-gathering-6.html
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Pelegrin – The Curse of Nephtar Review By Creeping IvyIn the proliferating bustle of the AMG promo bin, citing Elder, King Buffalo, and Slift as comparable artists will absolutely grab my attention. Hence, I seized The Curse of Nephtar, the third album from French psych-rockers Pelegrin, with much excitement. Thus Spoke, however, tempered my enthusiasm with her Mixed review of the band’s previous outing. While Thus enjoyed Ways of Avicenna (2023) for its groovin’ riffs and hooky choruses, she found these to be fleeting moments on an incoherent album.1 In their press sheet, Pelegrin promise that The Curse of Nephtar ups both the catchiness and heaviness factors. Meanwhile, the album’s narrative arc—an allegory about the tragic influence of fossil fuels on the Middle East and the world at large—suggests attention to cohesion.
The aforementioned acts sonically capture The Curse of Nephtar, though a hint of originality comes through. Here’s the elevator pitch: Pelegrin sounds like Elder, King Buffalo, and Slift collaborating on the Dune soundtrack. The latter two bands stand as especially apt comparables, seeing as Pelegrin is also a power trio. In his role as guitarist, François Roze deals in mixed-mode melodies, metal-adjacent chuggery, and psychedelic solos (“Eons”). Bassist Jason Recoing possesses a rattling tone that initiates grooves (“Sun and Blood”) and builds bridges (“Price to Pay”).2 Rounding out the trio, drummer Antoine Ebel establishes the album’s chill vibe, propelling the heavier riffs with a peppery swagger when needed (“Plenty”). Seasoning Pelegrin’s Middle Eastern tonalities with what they describe as ‘a dash of Arabian spices’ are guest vocals from Halima Joy and sound effects from Mathieu Houeix. Couched in organic, airy production, Pelegrin submits a unique enough entry into the contemporary pantheon of heavy psych rock with The Curse of Nephtar, even if the album isn’t as heavy as the band wants it to be.
In his role as vocalist, Roze vacillates between vibe-setting and hook-sinking on The Curse of Nephtar. His voice sits in a lower-to-upper middle range, sinking into the musical sand and then surfacing to attack. On standout song “In the Company of Stars,” Roze amplifies tasty psych grooves and key shifts with a catchy chorus, powered by bluesy undertones and riveting high notes. Other verses and choruses on The Curse of Nephtar, however, fail to reach these heights. Sometimes, it sounds like Roze is searching for a stable hook and not quite finding one. Because the music of Pelegrin isn’t overtly proggy, or heavy, or jammy, the vocals need to carry more memorability than they do. Still, Roze’s is not a bad performance by any means—his voice fits the psychedelic aura Pelegrin is going for.Like its vocals, The Curse of Nephtar’s narrative generally satisfies while leaving this listener wanting more. That striking black orb on the equally striking album cover is Nephtar itself, ever-so-slowly surfacing from a prehistoric ocean to subdue all living things on earth (humans included). Initiating the narrative, “Eons” overlays voiceovers that collide with the harmonization of the irresistible main riff, conveying a sense of grandeur.3 The shift from the upbeat “In the Company of Stars” to the doomier “Drawn to Nephtar” nicely veers the narrative into sinister terrain. Meanwhile, some songs don’t live up to their narrative station. “Price to Pay” serves sweet melodies, heavy riffs, and proggy tempo shifts, but Roze doesn’t quite convey the unleashing of chaos with his vocals. The same can be said for the epic closer, “Break the Omen”; it deals out delectable riffs and wah-wah solos, but Roze doesn’t vocally bring it home. The Curse of Nephtar clocks in at a somewhat svelte 43 minutes, which is a good and bad thing here. Pelegrin should be applauded for broaching a timely eco-political concept in a timeless, economical manner. Still, a little more time and space would suit this eons-in-the-making narrative.4
In the end, The Curse of Nephtar counts as a positive step forward for Pelegrin. The band has struggled on past efforts with the meandering temptations of psych rock, but their third album feels more immediate and impactful. Still, it’s hard not to hear Pelegrin’s latest as more potential than payoff, especially in the vocal department. In a year where Elder and Slift5 have released high-quality albums,6 The Curse of Nephtar sits below these stalwarts. But Pelegrin possess the tools for greatness, and I’ll definitely be keeping tabs on them.
Rating: 3.0/5.0
#2026 #30 #Elder #FrenchRock #KingBuffalo #Pelegrin #ProgressiveRock #PsychedelicRock #Review #Reviews #RippleMusic #Sep26 #Slift #StonerRock #TheCurseOfNephtar
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripple Music
Websites: Instagram | Facebook
Releases Worldwide: September 4th, 2026 -
Just sharing bread with the world! 🎶🎵🍞
Spreading Hope, Love & Peace! 🌐🌈💖✌️Download the album free here:
https://panthemaid.bandcamp.com/album/latte-side-effects#bandori #バンドリ #yumemita #anime #music #DIY #alternative #psychedelicrock #bedroommusic #breadcore #hopecore
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SONG OF THE WEEK “Josephine” by Tim Andrews a.k.a Chris Andrews
https://timchrisandrews.bandcamp.com/track/josephine#josephine #timandrews #chrisandrews #chamberpop #britpop #psychedelicrock #echoplex #harpsichord #beachboys #beatles #beegees #leftbanke #parlophone #abbeyroad #tonyhall #davidmackay #paulbuckmaster #eltonjohn #pinkfloyd #sydbarrett #clique #sugar #Sunday #tommyjames
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Druidess – Trip Meadow Review By Creeping Ivy
When it comes to discerning the difference between doom and stoner metal, I subscribe to the Ned Flanders school of thought. While doom tends towards darker atmospheres at a slower pace, stoner metal generally grooves with a chiller vibe. Now, there are (at least two) exceptions, and it gets kind of tricky, one of which is the compound stoner-doom genre. This label nicely fits Druidess, who have become a staple of the UK doom and stoner scenes since the release of their 2024 EP, Hermits and Mandrakes. Two years later, this Newcastle upon Tyne quartet has finally dropped its independently-released debut LP, Trip Meadow. Whether a British stoner-doom scenester or a newcomer, you’re surely wondering whether Druidess’s musical trip feels like strolling through a meadow or slogging through a jungle.
Druidess travel through the crevices of Mount Doom and the streets of Stonerville, but they also haunt the alleys of Psychedelphia. Guitarist Daniel Downing powers this English engine, doling out an array of Sabbathian riffs that brood, gallop, and descend, often in the same song (“A Forest Witch’s Daughter”). Beneath Downing is drummer Sam Armstrong, who hits hard but sprinkles in peppery jazz accents, keeping things rhythmically dynamic (“Descended from Giants”). The highlight, however, is vocalist Shonagh Brown, who knows how to hold a straightforward verse and develop a sticky chorus (“Knightingales”). Brown claims Joan Jett (The Runaways) as a major influence, but I also hear Laura Donnelly (King Witch) in her penchant for effortless power.1 Draping Druidess’s stoner-doom core in a psychedelic haze is keyboardist James Hill, whose organ plinks owe a debt of gratitude to The Doors while recalling a contemporary band like Green Lung. If the presence of organ sounds insufficiently psychedelic, then you’ll be glad to hear that a saxophone occasionally moans melancholic melodies2 (“Trip Meadow,” “A Witches’ Sabbath”). Aesthetically and performance-wise, Trip Meadow brings home the goods.
The songwriting, however, sometimes sails the Inconsistent Sea. The songs hovering around 4 minutes deliver memorable jolts of Iommian riffs and Jettian choruses (“Mandragora,” “The Hermit of Druid’s Temple”). Even when Druidess expand to the 6–7 minute range, they usually do a good job balancing subdued excursions and tempo shifts with solid songcraft (“The Forest Witch’s Daughter,” “A Witches’ Sabbath”). A few tracks, however, could’ve definitely been pared down, the major example being the 10-minute title track. “Trip Meadow” opens with a sultry saxophone groove before reducing to an ominous organ line obliterated by a crushing doom riff. From there, it takes too long for the song to get to its good (not great) chorus. At around the 8-minute mark, however, Druidess goes off on gothic riff variations, variations that would’ve hit even harder were they to have come sooner.
I must also mention that Trip Meadow shares much in common with Druidess’s previous jaunt. Five of the album’s seven songs, in fact, appear on the Hermits and Mandrakes EP. Druidess does sonically improve these cuts for Trip Meadow, especially the vocal mix. Whereas Brown sits awkwardly atop the band on the EP, her voice feels prominent but porous on the LP, commingling with the fuzzy guitar tones while still carrying the tunes. It is disappointing, however, that roughly 70 percent of the material here exists on another release. The two new songs, though quite good, are not the strongest material on display. As discussed, “Trip Meadow” embodies enormous potential only partly realized. Meanwhile, “Descended from Giants” contains mighty fine bass-work, a neat pseudo-breakdown, and killer concluding wails, but it also retreads ground already covered.
Trip Meadow trips in a few ways, but ultimately, it’s a trip worth taking. If you’re already familiar with the Hermits and Mandrakes EP, the debut LP will probably feel like a tedious (albeit sonically improved) trek through well-worn terrain. If you’re like I was, however, ignorant of the EP and desiring of quality stoner-doom, then you should definitely take a stroll through Druidess’s comforting meadow of fuzzed-out riffs and fantastic vocals. At 41 minutes, Trip Meadow gets away with its redundancies because it sounds so good. If subsequent musical adventures tighten the songwriting while exploring experimentation under a cozy psych aesthetic, Druidess may find Greatness as a future destination.
Rating: 3.0/5.0
#2026 #30 #BlackSabbath #DoomMetal #Druidess #GreenLung #Jun26 #KingWitch #PsychedelicRock #Review #Reviews #SelfReleased #StonerMetal #TheDoors #TheRunaways #TripMeadow #UKMetal
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Instagram | Facebook
Releases Worldwide: June 26th, 2026 -
Self-Titled Saturday | Brama (2024, France)
For our next STS 2.0 spotlight, we’re going to take a look at number 0y[1] on The List, submitted by riff. Here’s a quick rundown:
- Point of origin(s): This group began in 2019 as a psychedelic power trio with Simon Guy (lead vocals, guitar), Paolo Gauthier (drums, vocals), and Baptiste Lherbeil (hurdy-gurdy, vocals). Yes, hurdy-gurdy. The album we look at here is Brama’s debut LP, following their 2022 EP La Glane. Their lyrics are in the Occitan language – continuing their partnership seen on the EP with Dominique Decomps, a professor/translator of Occitan, Decomps wrote or co-wrote the lyrics for nearly all the songs, with the final track using a traditional text.
- Tasting notes: Translated from their Bandcamp: “Brama’s music draws as much from the violin music of the Massif Central, as from the Pakistani Qawali, the guitar from Mali, the German krautrock and the ritualistic rock riff full of fuzz. Always sunny and hypnotic, Brama invites you into a ceremony at the crossroads of a tarantella and a psychedelic rock’n’roll mass. The hurdy-gurdy as a liturgical organ, the guitar/bass as an exorcised subject and the shamanic voice, mistress of worship.” The Quietus review of this album compared them to Mdou Moctar “in the way they revitalise hoary rock tropes through a combination of local flair, blistering musicianship and infectious enthusiasm”,[2] and I’d have to agree.
- Standout track: “S’enraija”, but, also, all of them rock.
- Where are they now?: Brama is now a quartet, with Amandine Pauvert at the hurdy-gurdy helm and Antony Miranda on bass.
- Websites: Bandcamp, Discogs (has links to their socials)
Happy listening!
- We use 0 followed by a letter to denote albums on The List that weren’t in Discogs at the time of adding (or at least I couldn’t find them). I’ve since found this one on Discogs, but the entry is currently separate from the already established page for the group. ↩︎
- https://thequietus.com/quietus-reviews/quietus-international/french-music-reviews-jac-berrocal-aluk-todolo-brama/ ↩︎
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MONDAY MATINEE MUSIC VIDEO “Josephine” by Tim Andrews a.k.a Chris Andrews
https://www.youtube.com/watch?v=ms4IHSSkeVw
#josephine #timandrews #chrisandrews #chamberpop #britpop #psychedelicrock #echoplex #harpsichord #beachboys #beatles #beegees #leftbanke #parlophone #abbeyroad #tonyhall #davidmackay #paulbuckmaster #pinkfloyd #sydbarrett #clique #sugar #Sunday #tommyjames #edisonlighthouse #london #baroquepop
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Hällas – Panorama Review By Creeping Ivy
Hällas—Sweden’s self-styled administrators of ‘adventure rock’—has suffered a nearly decade-long absence from AMG. Back in 2017, El Cuervo (rightly) awarded Excerpts from a Future Past a 4.0, praising the debut for its transportive aesthetic and cohesive performances. Since this one-off review, Hällas has become a premier neo- proto-metal act, yet they haven’t reached the exceptionality of their entrance. Conundrum (2020) continued in the vein of Excerpts with a synth-heavy slow burn that (why not?) feels less adventurous than the debut.1 Redressing this safeness, Isle of Wisdom (2022) favors tighter, jauntier tunes that bleed into each other.2 On the heels of two very good albums is Panorama, the first to be released on Hällas’s own (aptly named) Äventry Records. This shift seems to signal the kind of confidence arising from a veteran band coming into their own. Accordingly, Panorama experiments more than any previous Hällas album, but experimentation alone does not guarantee Greatness.
Panorama deftly delivers Hällas’s now-familiar take on heavy, psychedelic prog rock. Indeed, these Swedes still sound like Uriah Heep counseling Iron Maiden. Pre-release single “The Emissary” and closer “At the Summit” best encapsulate classic Hällas. On these tracks, Rickard Swahn and Marcus Petersson bounce between wee-da-lee guitarmonies, Ren-faire acoustic plucks, and driving riffage. Nicklas Malmqvist supplies texture via sparkling synthesizers and percussive organ. It is the infectious guitar/key interplays, however, that define Hällas. Towards the end of “At the Summit,” Swahn, Petersson, and Malmqvist unite for delicious harmonized noodling, building drama before a serene denouement. Wrapped in warm, 70s-sounding production fans have come to expect, Panorama supplies some of the strongest Hällas tunes yet.
Panorama’s experimentations, however, make it Hällas’s most singular statement. Its boldest innovation is “Above the Continuum,” a 20-minute, 7-part suite akin to the eponymous openers of Rush’s 2112 and Yes’s Close to the Edge. On this cinematic saga, Hällas brings Gregorian chants, strings, and horns to their brand of synth-rock. Floydian voice-overs materialize Panorama’s somber narrative, in which a hermit laments encroaching dystopia atop his tower. An imperceptible escalation that finally burrowed under my skin after ten or so listens, “Above the Continuum” is an early Song o’ the Year candidate.3 How does one follow such a sprawling epic? With a trotting jam, of course. On “Face of an Angel,” another pre-release single, drummer Kasper Eriksson rides a sleazy Thin Lizzy groove with bassist/vocalist Tommy Alexandersson, who lays down a droningly hooky chorus. Hällas has dropped crowd pleasers before (“Star Rider,” “Carry On”), but “Face of an Angel” is their poppiest ditty yet and the perfect counterbalance to the opening beast. It is “Bestiaus,” though, that truly spotlights Alexandersson’s vocals. His smoky baritone and booming bellow sit center stage on this affecting piano ballad, standing alone in Hällas’s catalogue.
Five scenes spliced into one holistic picture, Panorama is a grand album, which might not register when glancing at the runtime. Like every Hällas record, Panorama clocks in at just under 45 minutes, yet its more limited track count (5, instead of 7–8) renders every song utterly distinct. There is zero filler here, only questionable moments. “Above the Continuum” has abrupt transitions in its opening minutes, but they don’t hinder the track as a whole. Additionally, the immediate fadeout on the punk ending of “The Emissary” always frustrates me. Frustration is surely the intended effect, but Hällas could have stretched the part a few measures and achieved the same. And “Bestiaus” itself feels a little like a moment, striving for songhood but not quite reaching it. Still, it’s an elegant setup for “At the Summit”—an epic but unprotracted finale.
With Panorama, Hällas has delivered (why not?) their most adventurous album, but it’s also their best work to date. Excerpts hinted at excellence—Panorama achieves it. Per its namesake, Panorama provides a virtually seamless showcase of all that Hällas has done while splendidly surveying new terrain. A fun yet serious record, Panorama puts an angelic synth-rock face on a devilish narrative circulatory system. It’s only January, but these Swedes may have already dropped the neo- proto-metal album of 2026 (and a list-topping contender for yours truly).
Rating: 4.5/5.0
#2026 #45 #ÄventyrRecords #BloodIncantation #Hällas #HardRock #IronMaiden #Jan26 #Panorama #PinkFloyd #ProgressiveRock #ProtoMetal #PsychedelicRock #Review #Reviews #Rush #SwedishRock #ThinLizzy #UriahHeep #Yes
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Äventyr Records
Websites: facebook.com/haellas | hallasband.com
Releases Worldwide: January 30th, 2026 -
Free download codes:
Home Hearing Records - Adventures in Sound Vol.2
"Adventures in Sound Vol.2 is a snapshot of contemporary underground music, unified not by style but by adventure and intent."
#alternativerock #psychedelicrock #goth #postpunk #darkwave #garagerock #country #altrock #trippy #electronicrock #altfolk #artpunk #technorock #digitalhardcore #music
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Pale Horse Ritual – Diabolic Formation Review
By Creeping Ivy
2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.
Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.
Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.
Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.
Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.
Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses
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Howling Giant – Crucible & Ruin Review
By Dear Hollow
Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.
To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.
Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.
With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.
Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025Show 3 footnotes
- Even their artwork was created by guitarist/vocalist Tom Polzine’s mother, Susan M. Davies, who has contributed artwork in the past. ↩
- Fourth full-length if you count Black Hole Space Wizard, Part 2 in its qualifying length. ↩
- Their ubiquitous harmonies remind me of the post-hardcore band Cry of the Afflicted. ↩
#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche
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#NewRelease: #BlackCatsEye - Decrypting Dreams of Weird Animals and Strange Objects out in October on #TonzonenRecords #PsychedelicRock https://www.youtube.com/watch?v=n0J5vrnVm9s
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By ClarkKent
At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.
One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.
A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.
While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.
With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1
Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: September 12th, 2025#2025 #30 #AltMetal #Grunge #GwenStefani #HighOnFire #LiminalSpace #Nirvana #NoDoubt #PsychedelicRock #Regina #Review #Reviews #SelfReleased #Sep25 #SergeantThunderhoof #StonerRock #UruguayanMetal
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Tim Andrews a.k.a Chris Andrews SONG OF THE WEEK: Tiny Goddess” https://timchrisandrews.bandcamp.com/track/tiny-goddess
#tinygoddess #nirvana #baroquepop #psychedelicrock #britpop #beachboys #britishrock #beatles #beegees #leftbanke #moodyblues #procolharum #harpsichord #orchestra #paulbuckmaster #timandrews #chrisandrews #abbeyroad
