Live and recent posts from across the Fediverse tagged #spiritadrift, aggregated by home.social.
🔥 ¡Nueva edición de #4x4 en Rockaxis! 🔥
Nos sumergimos en el mundo de los riffs junto a los nuevos discos de #SpiritAdrift, #Gozu y #Truckfighters 🤘. Además, hacemos la previa para la despedida de #Pentagram este próximo 18 de agosto en Sala Metrónomo!
📻 Lunes 10:00 y 22:00 hrs en http://rockaxis.fm 📻
🎙 Conduce: @PabloCerda1
🎟 @PassLineChile
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/2089351541920862224#m
SPIRIT ADRIFT (Estats Units) presenta nou single: "No Evil Shall Befall Us" #SpiritAdrift #DoomMetal #HeavyMetal #Juny2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
Back in 2015, an unknown band from Denver called Khemmis came out of nowhere and clobbered me with their massive Absolution debut. It was a shrewd and crafty mixture of classic doom, stoner, and sludge idioms, and I ate it up greedily. They came back the following year with an even bigger, better opus called Hunted, and it looked to all the world as if Khemmis would be joining acts like Pallbearer and Crypt Sermon as the vanguard of an American doom revival. 2018s Desolation saw the band inject loads of epic and trve metal into the sound, and it worked, but felt less stellar overall. 2021s Deceiver pushed this concept even further, loading down their long compositions with 80s metal influences, losing more of the doom cred they’d developed over their crucial early releases. It felt as if Khemmis were drifting away from what made them so thrilling, much as Pallbearer did, and they too would end up lost at sea if things continued this way. With this negative trending in mind, I approached their eponymously titled fifth album with a gnawing sense of dread. Would this signify surrender to the forces of diminishing recordings, or would they make a push to reclaim the lofty heights of Absolution and Hunted? With teeth clenched, I pressed play and prayed for Mojo.
It turns out, Khemmis is a partial return to what we heard on Desolation, but with some crucial differences. Firstly, the songs are all much shorter and tighter, with only one cracking the 6-minute mark. Secondly, their blending of classic and epic doom with trve and traditional heavy metal and blackened influences feels more carefully thought out, and it flows better than it did on Deceiver. The songsmithing is also vastly superior this time. Most importantly, they haven’t lost sight of the fact that they’re a doom band at heart, despite this being a more “accessible” sound for them. Opener “Invocation of the Dreamer” runs from black metal aggression into classic heavy metal and onward into doom without becoming disorienting. It’s an engaging, entertaining song from start to finish, and it will remind you of roughly 20 other acts as it shifts tempos and genres in smart, interesting ways. There are even hints of Archspire in some of the neo-classic guitar noodling. “Corpsebloom Garden” is a dead ringer for Crypt Sermon, and it works as an epic doom sonnet despite the occasional death vocals, which add a nice edge to the otherwise forlorn clean singing. “Grief’s Reverie” keeps the epic doom coming with an uptick of trve badassery, and the death vox shares space with a kind of radio-ready vocal style from Phil that’s unexpected but cool.
The best stuff comes later on, with my personal favorite being “Beneath the Scythe.” This is doom for those who want the classic style married to the trve in never-ending holy headlock. It adroitly conjoins classic doom and heavy metal with just enough chest-thumping badassery to win me over. It’s a legitimately great song and one of the band’s best. “Carrion King” starts with scathing, blasting black metal before settling down into a sort of mellow doom with upbeat clean vocals, only to mutate into absolutely crushing death-doom. There are some harsh, gruesome moments here that reek of Triptykon, re-establishing the band’s doom bona vides. Closer “Benediction Tones” is classic doom with moments of upbeat, poppy vocals that could be on a YES album, and it shouldn’t work, but it definitely does. At a trim, muscular 42 minutes, Khemmis glides by effortlessly and demands replays.
As ever, the Khemmis formula depends on Ben Hutcherson and Phil Pendergast successfully beguiling us with killer riffs and memorable vocal exchanges. Phil improves as a singer with every release, and some of his most gripping, poignant moments occur here. He drifts from wounded sadboi to burly trve metal and hits into AOR at key moments, all effectively rendered. Ben provides nasty death roars and guttural spewings and plays the rampaging beast to Phil’s morose beauty. Guitar-wise, they deliver a lot of killer moments too, with somber, melancholic leads and harmonies rubbing against blackened mania and death-doom when they aren’t engaged in 80s metal gallops and NWoBHM noodling. It’s a heady mix, and it all hangs together because the writing is sound and focused.
While Khemmis doesn’t bring the band back to the glory days of Hunted, it does find them righting the ship and sailing in the right direction. In fact, the album glides right between the Very Good and the Great with no song feeling like a letdown. I’m very relieved to see Khemmis back in the black with a release I enjoy from start to finish, and this will be getting mucho airtime over the next few months. Mojo listens to his faithful apes!
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: khemmis.bandcamp.com | khemmisdoom.com | facebook.com/khemmisdoom | instagram.com/khemmisdoom
Releases Worldwide: June 12th, 2026
Lavender Larcenist
Over a decade ago, I made a concerted effort to get into doom metal. Like many of my fellow writers, sitting down to delve into new genres or artists is a favorite pastime. So, I bought myself a copy of Decibel Magazine’s special edition issue that focused on their top 100 doom metal albums and dove right in. Needless to say, I fell in love, and one of my favorites to this day is Khemmis. The band’s brand of doom was immediately captivating, with Phil Pendergast’s echoing, enveloping vocals and sword-and-sorcery-as-metaphor lyrics. They remain a staple in my household to this day, and their 2016 magnum opus Hunted is one of my all-time favorite records. Now they are back after a five-year gap with their eponymous album, Khemmis. Typically, a self-titled release signals a change in direction or the solidification of a trademark sound, but is this record a new lease on life for Khemmis or a creative stumble for an incredibly consistent doom metal staple?
Contrary to our Simian Sovereign (lashings forthcoming for this difference in opinion), I found Deciever to be one of Khemmis’ best records, and their trademark sound was still as affecting and pervasive as ever. The last thing I expected was a reevaluation of their endeavors, but as an artist myself, the war against creative stagnation never ends. I fully understand why the band would want to branch out, and while Khemmis isn’t a sea change in the way some acts completely reinvent themselves, it feels markedly different than anything they have previously done. The doom is toned down significantly, and the heavy metal is dialed up, while a not-insignificant number of death and borderline power metal influences have seeped in. Big choruses anchor each, while the roaming guitars and drawn-out tones of previous records are all but missing. There are no thirteen-minute epics, and the majority of the tracks follow the lines of songs that were previously one-off pace-breakers, such as the indomitable “Three Gates” or the bouncing “Isolation”.
Khemmis is straightforward as far as the band’s previous records go. The album bleeds together on the first few listens, and songs tend to follow the same flow and general pacing. It falls into the trap of being stuffed with mid-paced rockers, making it hard to differentiate between listens without really digging in. While not immediately grabbing, Khemmis begins to show its strengths with repeated spins. Tracks may all be mid-paced and conceptually repetitive, but every one is incredibly solid to downright great. Only one chorus stuck out to me as grating; “Gilded Chambers” is an all-around solid song with a ripping opening riff and great melodies, but the chorus reminds me of power metal or even something like Boston, ripped straight from the annals of classic rock. Ultimately, it is campy, and the backing harmonic vocals send it into the stratosphere of cheese. The track isn’t bad, but just not to my taste, especially for Khemmis.
Longtime fans like myself may be left wanting for the doom epics of olde, but there is no shortage of great music on this record. Outside of the album’s repetitive pacing and some odd stylistic choices, there is very little to complain about. “Invocation of the Dreamer” is classic Khemmis and an immediately gripping song that features incredible work on the low end instrumentally and vocally from Ben Hutcherson. Production throughout is solid if a little safe; everything has its place, and the bass is a highlight, but there is little range from song to song. For a self-titled record, I was hoping for more creativity and bombast from a band that has so many great records under its belt. Khemmis, like the production, is very safe. While not breaking the mold, it does stand as a testament to the band’s ability to write catchy, melodic death doom. “Grief’s Reverie,” “Beneath the Scythe,” and album closer “Benediction Tones” are highlights outside of the aformented opening track.
While Khemmis slightly disappointed me as a superfan, I was able to move beyond what I wanted from the record and fully appreciate its more focused approach. Khemmis doesn’t reach the heights of previous releases, but it is still a very solid album that straddles the line between heavy metal and death doom, making for a listen that is immediately more approachable than their previous records but less rewarding as a result. It seems like Khemmis wants to move away from their traditional doom metal trappings and lean into more arena-driven, heavy metal tracks, and for a band with their talent, the sky is the limit.
Rating: Very Good
#2026 #35 #AmericanMetal #CryptSermon #DoomMetal #HeavyMetal #Jun26 #Khemmis #NuclearBlastRecords #Pallbearer #Review #Reviews #SpiritAdrift
https://www.europesays.com/es/585553/ SPIRIT ADRIFT publica su mensaje de despedida: «Cada noche, vuestro cariño y emoción han sido desbordantes» #DoomMetal #Entertainment #Entretenimiento #ES #España #HeavyMetal #Music #Música #Spain #SPIRITADRIFT
🇺🇦 #NowPlaying on #KEXP's #VarietyMix
Spirit Adrift:
🎵 You Will Never Hold the Key
#SpiritAdrift
▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify
▶️ Song on #Spotify:
You Will Never Hold The Key
Cryptopsy tore through Los Angeles on the Decibel Magazine Tour alongside Necrot, Spirit Adrift, and Blood Monolith for a stacked night of death metal chaos at the Belasco.
#Cryptopsy #Necrot #SpiritAdrift #BloodMonolith #DeathMetal #LiveReview #MetalNews
SPIRIT ADRIFT (Estats Units) presenta nou àlbum: "Infinite Illumination" #SpiritAdrift #DoomMetal #HeavyMetal #Abril2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
https://www.europesays.com/es/492525/ Nuevo disco y single de FOREIGNER. Reedición de DOKKEN. Último disco de SPIRIT ADRIFT. #DOKKEN #Entertainment #Entretenimiento #ES #España #FOREIGNER #Music #Música #Spain #SPIRITADRIFT
Spirit Adrift have released their final album.
Infinite Illumination closes out the band’s decade-long run with a heavy, direct sendoff.
https://www.europesays.com/es/492320/ la banda de Heavy-Doom Metal pone fin a su carrera #DoomMetal #Entertainment #Entretenimiento #ES #España #HeavyMetal #Music #Música #Spain #SPIRITADRIFT
https://www.europesays.com/es/448826/ Reedición especial de KISS. Tema del directo de ASIA. SPIRIT ADRIFT estrenan single. #asia #Entertainment #Entretenimiento #ES #España #kiss #Music #Música #Spain #SPIRITADRIFT
SPIRIT ADRIFT (Estats Units) presenta nou single: "Eternal Celestial Energy" #SpiritAdrift #DoomMetal #HeavyMetal #Març2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
Spirit Adrift Release Standalone Single “Eternal Celestial Energy”, Next Album and Show to Be Their Last
They say all good things must come to an end and in the case of Nate Garrett‘s brainchild…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #SpiritAdrift
https://www.newsbeep.com/us/520402/
Spirit Adrift’s Nate Garrett launches GoFundMe for wife’s cancer battle:
#SpiritAdrift #NateGarrett #Gofundme #Support
Link: https://metalinsider.net/news/spirit-adrifts-nate-garrett-launches-gofundme-for-wifes-cancer-battle
In the subway getting the energy i need for the day form the excellent band #SpiritAdrift
https://spiritadrift.bandcamp.com/album/hot-heavy-live-in-tejas
Hazzerd – The 3rd Dimension Review
By Dr. A.N. Grier
Let’s get this fucking year started with some THHHHRRRRRAAAAASSSSSHHHHHH. First up is the third release from the Canadian quartet, Hazzerd. An up-and-coming outfit, Hazzerd plays the traditional, Bay-area thrash that continues to be a thing. But, their first record, Misleading Evil, was a tasty morsel that had me rooting for these neo-thrash Canucks. Then, 2020 arrived with Covid and Hazzerd’s sophomore release, Delirium. It’s not a bad record, but as the band continues to flex their songwriting and technical skills, Delirium was too much of everything. Be it the fifty-minute runtime, the exaggerated drum fills, or the focus on solo placement instead of song structure. What it did reveal was these boys can shred, and their desire to create interesting leads and harmonizing guitar work can work with the proper structure. Four years later, The 3rd Dimension sets out to prove the band can pull it off. The only question is, can they?
Since the debut, Hazzerd’s core three remain: vocalist/drummer, lead guitarist, and bassist. With an additional guitarist in the studio, this foursome hopes they’ve found that perfect guitar duo to achieve their goals. And The 3rd Dimension will put that to the test. Though the vocals are similar to Death Angel’s Mark Osegueda, you’ll also find some new vocal variations. Not only that, but the dueling guitar work stretches their skills and, at times, even removes them from the thrash genre. As with all young bands, there’s a point when a band must push against their walls of comfort to create something unique and beautiful. Compared to the entire thrash scene, I’m not sure they have (or could) fully achieve that. But, in comparison to their previous efforts, The 3rd Dimension is the band’s most ambitious record yet.
“Interdimension” might be the band’s best opener to date, driving the thrashtastic mood, permeating throughout the rest of the disc. After a fun trashy intro, the opener shifts into gear when the vocals arrive. After the midpoint, the back half is reignited, delivering a sinister, Slayer-esque chug. With the mood set, we roll into the impressive and interesting back-to-back numbers, “Scars” and “Unto Ashes.” The first is basically a clinic on scales, injecting melodic elements up the fretboard. Then, we’re cruising, dragging along the emotion as we approach the chorus. Once we arrive, the vocals deliver higher-range sustains that are odd and distracting as fuck, but work on repeat listens. The most surprising element of the song is the guitars. Playing off each other, the guitars swirl around with varying leads, harmonization, and fitting solos. They are so intricate that they are almost Neoclassical. “Unto Ashes” also borrows these fine elements from its predecessor, stoking the fire with gang shouts and one of the slickest rebuilds on the record.
Other killer tracks are so opposite in approach that I couldn’t help but analyze them together. Hazzerd continues to include absolutely absurd lyrics and, like so many thrash bands before them, instrumentals. The short but sweet “ThArSh TiLl DeTh” brings to mind the unrelenting attacks of moshpit classics like Exodus’ “Bonded by Blood” and Testament’s “Into the Pit.” For those who have opinions that do not align with someone else’s,1 this song is a direct attack on all you posers. It’s a fun ditty that is so comical and bludgeoning that I suspect it’ll be the band’s quintessential pit go-to. “A Fell Omen” is a nine-minute instrumental beauty that is a clear nod to the days of yore when a thrash instrumental could be a memorable track on the album.2 This track has it all: acoustic guitars, emotional builds, dueling guitar solos, technical prowess, and a closing riff that will give you neck pain.
The skill of The 3rd Dimension alone is superior to anything Hazzerd has released before. While Delirium displayed many of the traits appearing in this new record, the greatest achievement was pulling it all together and restraining it just enough to let the album shine. Though some of the vocal risks are odd to me (as mentioned in “Scars”), it’s a good first step in this new direction. I also wish “A Fell Omen” closed the album instead of the unforgettable “Control.” It would have made for a stronger conclusion to a tight album. David Sprague’s stellar bass work isn’t as prominent as Delirium, but that could be corrected with a more dynamic master—and would also support the layered guitar work. Much like how I’d wished Spirit Adrift’s Curse of Conception was more dynamic for these reasons, The 3rd Dimension has the potential to be more impactful. That said, 2025 finds Hazzerd in a great place.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 192 kb/s mp3
Label: M-Theory Audio
Websites: hazzerdthrash.bandcamp.com | facebook.com/hazzerdthrash
Releases Worldwide: January 17th, 2025
#2025 #35 #CanadianMetal #DeathAngel #Exodus #Hazzerd #Jan25 #MTheoryAudio #Review #Reviews #Slayer #SpiritAdrift #Testament #The3rdDimension #ThrashMetal
Bloodstock 2025 – lucky thirteen new bands added!
Off the back of Bloodstock’s first announcement of 19 bands for 2025, tickets have been flying out the door in record numbers. Adult standard weekend tickets
https://www.moshville.co.uk/news/tours/2024/10/bloodstock-2025-lucky-thirteen-new-bands-added/
#ToursLiveDates #Bloodstock #CageFight #FearFactory #FlotsamJetsam #Heriot #HighParasite #Ministry #Nailbomb #PalefaceSwiss #RiversOfNihil #SpiritAdrift #thrown #Undeath #Warbringer
Hands of Goro – Hands of Goro – Review
By Steel Druhm
On a day when a NASCAR-themed album hits the mean streets, why shouldn’t we cover a kinda-sorta Mortal Kombat-themed throwback metal opus by members of Slough Feg, Spirit Adrift, and Angel Witch. Hands of Goro is a project playing a style that the members refer to as the “Third Wave of British Heavy Metal.” That’s a fancy-pantsy name for what is essentially the classic NWoBHM sound being unearthed anew in 2024, and that basic NWoBHM sound composes the core of what the band delivers on Hands of Goro. It’s a charmingly retro blend of hard rock, punk, and early-days metal combining for some energetic, exuberant fare with a whole lot of old school flair. Will that be enough to earn a flawless victory? Will Lord Goro reign supreme? FIGHT!
As opener “Prince of Shoka” kicks into life, you get flavors of early Diamond Head, Thin Lizzy and even Foghat. It’s that classic template of hard rock taken up a notch or 3 to transmogrify it into heavy metal and it works well thanks to the major guitar acumen of Tom Draper (Sprit Adrift, ex-Angel Witch, ex-Carcass) and the stellar bass-work of Adrian Maestas (Slough Feg) which feels very vintage, wrapping a punky, rowdy Mötörhead-friendly vibe into the beef salad. This pays rough, slapdash approach pays big dividends on the hyperactive charge of “Dwmonizer” which bears a bit of a Nucleus-era Dawnbringer feel. The frantic riffing and solos make this one tough to resist and Maestas outdoes himself with some wild vocals and wails. “Uncanny” is like a shotgun marriage between Iron Maiden and Thin Lizzy and Focus with Lemmy on vocals, so you know that’s an easy win you need to play at 12.
Elsewhere, “21st Century Plague” injects more Motörhead mania with slight but effective touches of black metal, and the pièce de résistance comes with 6-plus minute closer “Archduke of Fear,” which channels all the rowdy, riffy charm of vintage Raven crossed with the stadium rock sensibilities of Scorpions for a hard-charging good time. At a shockingly fast-moving 36 minutes, there’s not much chaff to sift out and every song has its own charm and moments of “FUCK YEAH!” guitar heroics. I love the charmingly retro production which often sounds warm and organic like the old Black Sabbath or Thin Lizzy albums.
This is a highly talented trio, with tons of road experience under their bullet belts. Tom Draper puts on a crazed clinic on 70s and 80s rock, punk, and metal riffology, crafting many fist-raising, headbanging moments along the way. He has a keen ear for riffs that stick and there are many moments when his playing elicited a smile and unstoppable air guitar noodling. His infectious fretboard romps alone are worth the investment in this thing. Maestas is right there with Draper the whole time, sitting in the bass pocket rumbling and clanging along in fine fashion, giving everything a deep, funky edge. His particular style of playing does make the material sound a bit like Slough Feg, but that’s a bonus. Maestas also hands lead vocals and if there is a weak point, it’s here. His delivery is fine for the rough, rocking style the band plays, but no one will consider him a vocal powerhouse. He reminds me of a less proficient Chris Black (Dawnbringer, High Spirits) and though he certainly hits the mark on the faster tracks, he can seem a bit rough around the edges on the slower cuts. Behind it all we have Avinash Mittur (Nite, Wretched Stench) tearing it up on the kit like a raving maniac. There’s no way to listen to this guy’s gonzo percussive assault and not feel yourself getting amped up and edgy. The trio plays in a loose, punky style which gives everything a live feel and that suits the hard rocking material to its bones. Anything more polished would do this stuff an injustice.
Much like the High Spirits output, Hands of Goro is so damn throwback that you might bust a shoulder joint listening to it, but boy is their style good fun. It’s simple in design but big in entertainment factor and it has an endearingly sincere feeling that comes from how much those involved love this style of music. It may not be the kind of album that people will be talking about come end-of-year lists, but I suspect it will get a nice little following by those who were born after 1960. Regardless of age, take a flyer on it and get your elder rock on. Hail our new many-fisted overlord. WAR GORO.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: BSP Records
Websites: handsofgoro.bandcamp.com | facebook.com/thehandsofgoro
Releases Worldwide: March 1st, 2024
#2024 #35 #AngelWitch #BSPRecords #Dawnbringer #HandsOfGoro #HeavyMetal #InternationalMetal #Mar24 #Motörhead #NeoNWOBHM #Raven #Review #Reviews #SloughFeg #SpiritAdrift
So I am currently revisiting albums on my #AOTY2023 list to see if they are properly rated.
I am now playing "Ghost At The Gallows" by #SpiritAdrift
I can't help but notice that this song 👇
🎵 Hanged Man's Revenge
https://song.link/y/KfQVm568Yic
...reminds me a lot of these two 👇
Ram It Down by Judas Priest
Battering Ram by Saxon
@HailsandAles did you notice this as well by chance?
SPIRIT ADRIFT - Hanged Man's Revenge (OFFICIAL VIDEO)
#music #metal #heavymetal #spiritadrift #centurymediarecords
#TheMetalDogArticleList
#BraveWords
SPIRIT ADRIFT Release "Hanged Man's Revenge"; Ghost At The Gallows Album Out Now
#SpiritAdrift
#HangedMansRevenge
#GhostAtTheGallows
#AlbumOutNow
#HeavyMetal
#DoomMetal
#ProgMetal
#DoomLabel
#NuclearBlastRecords
#ChadIDsVocals
#GrantIDSGuitars
#TheMetalDogArticleList
#MetalInjection
THE WEEKLY INJECTION: New Releases From SPIRIT ADRIFT, HORRENDOUS & More Out Today 8/18
Plus releases from Skalmold, Ringworm, Nott, and Atreyu.
#SpiritAdrift
#Horrendous
#MetalReleases
#MusicReleases
#MetalInjection
#NewMusicFriday
#BluesRock
#ThrashMetal
#BlackMetal
#GothicMetal
#DeathMetal
#HeavyMetal
@HailsandAles Giving #SpiritAdrift a spin now.
I know you don't like intros, but I can already tell that the first minute and 30 seconds are essential for this record 😂
Also: they sound Swedish for some reason 🤔
#TheMetalDogArticleList
#Loudwire
10 Songs About Death That Help the Healing Process, Chosen by Spirit Adrift's Nate Garrett
Music can always help manage emotions.
https://loudwire.com/songs-about-death-help-healing-spirit-adrift-nate-garrett/
#SongsAboutDeath #SpiritAdrift #Healing #NateGarrett #MetalMusic #Relief #Loudwire
#NowPlaying #TheMetalDogIsNowPlaying
#SpiritAdrift
Death Won't Stop Me
Death Won't Stop Me
YouTube Search:
https://youtube.com/results?search_query=Spirit+Adrift+Death+Won't+Stop+Me+Death+Won't+Stop+Me
Lyrics:
https://genius.com/Spirit-adrift-death-wont-stop-me-lyrics
#NowPlaying #TheMetalDogIsNowPlaying
#SpiritAdrift
Death Won't Stop Me
Death Won't Stop Me
YouTube Search:
https://youtube.com/results?search_query=Spirit+Adrift+Death+Won't+Stop+Me+Death+Won't+Stop+Me
Lyrics:
https://genius.com/Spirit-adrift-death-wont-stop-me-lyrics
SPIRIT ADRIFT - Death Won't Stop Me (LYRIC VIDEO)
#music #metal #heavymetal #spiritadrift #centurymediarecords