#stoner-doom — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #stoner-doom, aggregated by home.social.
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The release of the self-titled debut album by Wellington's Beastwars on 6 May 2011 saw them reach the TOP 15 of the NZ charts.
"The country suffering through a recession, the end of the good times.
We may of kind of brought a sound that people want to hear right now[...]"- "I think us playing live really created a buzz because thankfully we have this shaman/Jim Jones like singer - our live shows are almost like a heavy metal sermon!"
01. Damn the Sky
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This Saturday! Or better, Saturdoom!
We are so stoked. See you there! 🖤Event link: https://berlin.askapunk.de/event/in-the-garden-of-unearthly-delights-2026
#Berlin #Concert #OpenAir #Festival #Doom #Sludge #PsychedelicRock #HeavyRock #StonerRock #StonerDoom #PsychedelicDoom #NoiseRock #Metal #DoomMetal #PsychDoom #Crust #Drone #SaturDoom
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Wann kann man denn schonmal gute Musik für umme hören und gleichzeitig mit Biertrinken den #FediDay supporten?
Na eben. Pflichttermin. Komm vorbei, am 22. Mai im Drugstore (@ Berliner Rockhaus in Lichtenberg).
https://berlin.askapunk.de/event/black-sadhu-ira-funesta-stoned-medusa-medium-diamond-drugstore
#Berlin #Concert #FreeEntry #FreeConcert #Doom #Sludge #PsychedelicRock #HeavyRock #StonerRock #StonerDoom
#PsychedelicDoom #Metal -
Black Sadhu + Ira Funesta + Stoned Medusa ⬥ Drugstore
Drugstore, Friday, May 22 at 08:00 PM GMT+2
An evening full of Psychedelic Stoner Doom Sludge. Free entry! All donations and earnings go to Digitale Gesellschaft, who fight against mass surveillance and for free and open social media alternatives, the Fediverse. Learn more at FediDay Berlin: https://berlinfedi.day/
No fascism, no racism, no sexism, no animals, no drugs, no hard booze!
Get excited for the bands:
𖤐 BLACK SADHU
https://blacksadhu.bandcamp.com/
𖤐 IRA FUNESTA
https://irafunesta.bandcamp.com
𖤐 STONED MEDUSA
https://stonedmedusa.bandcamp.com/
Friday, 22.05.2026
@ Drugstore (Berliner Rockhaus)
Buchberger Straße 6, 10365 Berlin
Doors: 20:00 h
Doom: 21:00 h
More info on the Fediverse: https://punx.social/
Doom, not Doomscrolling!
https://berlin.askapunk.de/event/black-sadhu-ira-funesta-stoned-medusa-medium-diamond-drugstore
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Or you can also find us in the Garden of Unearthly Delights on the 9th of May, our next gig at Pumptrack promoted by Doom and Bloom. Until then, here are some photos from our gig. Thank you Khaled für your amazing work! https://khaledalshannan.wordpress.com/
(3/3)
#StonedMedusa #Band #Concert #StonerDoom #PsychDoom #StonerRock #PsychedelicDoom #DoomMetal #PsychedelicRock #HeavyRock
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Free download codes:
Buzzard (Doom Folk Metal) - Crushing Burden of Despair
"Both soulful and sarcastic, this bluesy, doomy stomp pulls zero punches with its social commentary."
#doom #stonerrock #stoner #bluesrock #stonerdoom #protestsongs #music
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Posting this because... I don't know it should be obvious
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Monday is the big day. We're celebrating 4/20 at our favourite venue in Berlin, the Neue Zukunft!
Together with Psychrusader, Zeynep, Pete D'Elia and psychelicous visuals by Sektor 7G! Let's get high and higher! 🌿#StonedMedusa #band #concert #Berlin #StonerRock #StonerDoom #PsychDoom #DoomMetal #PsychRock #PsychedelicRock #PsychedelicDoom #HeavyRock
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vold – duck and cover
#Metal #doommetal #heavypsych #heavyrock #psychedelicrock #stonerdoom #stonerrock #Berlin
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://voldband.bandcamp.com/album/duck-and-cover -
Bin gerade dabei, Lesezeichen zu sortieren bzw. auszusortieren und hab dabei das hier gefunden.. Ich mag das Albumcover! Und irgendwie brauch ich mal eine konsistente Weise mir Musik, die ich nicht besitze, zu merken...
https://wearedeem.bandcamp.com/album/-
#radio27 #music #Daem #PsychedelicRock #PsychedelicFolk #Stonerrock #StonerDoom
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SPLIFF'N'RIFF Berlin 2026
Neue Zukunft, Monday, April 20 at 06:00 PM GMT+2
Dustown presents:
SPLIFF’N’RIFF Berlin 2026
4/20 @ Neue Zukunft
Berlin's annual Psych'delicious Stoneriffic Hardrockin' gathering to honor 420. In 2026 it will go down again at Neue Zukunft, close to Ostkreuz. 3 heavy bands, 1 happy banjo-män and psychedelic visuals will take you higher!
PSYCHRUSADER
https://psychrusader.bandcamp.com/
ZEYNEP
STONED MEDUSA
https://stonedmedusa.bandcamp.com/
special guest:
PETER D’ELIA
https://peterdelia.bandcamp.com/
Live Visuals:
SECTOR7G - https://s7g.show/
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Stuck in the Filter: January 2026’s Angry Misses By KenstrosityFinally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.
These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!
Kenstrosity’s Freaky Foursome
Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]
Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.
Forefathers’ Eve (Redemption) by Upiór
KadavriK // Erde666 [January 9th, 2026 – Self Released]
Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!
Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]
Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.
Like Crushed Violets and Linen by Luminesce
Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]
As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!
Creeping Ivy’s Riffy Remainder
Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]
Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.
Andy-War-Hall’s Salvaged Windfall
Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]
Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.
Thus Spoke’s Obscure Offerings
Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]
Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.
In Unreality’s Coffin by Ectovoid
Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]
Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.
ClarkKent’s Canadian Catch
Turpitude // Mordoré [January 1, 2026 – Self Released]
Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.
Grin Reaper’s Heavy Haul
Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]
Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.
Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]
Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!
Death Is Your Master by Fili Bibiano’s Fortress
Baguette’s Brutal Burglary
Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]
While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!
Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]
What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!
Mountains Of Madness by Total Annihilation
Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]
On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!
Drifting Through Voids by Polaris Experience
#2026 #AbyssCallsToAbyss #AmericanMetal #Atramentus #BearMace #BlackMetal #BlackRoyal #BlackSabbath #BlackenedDeathMetal #BlindGuardian #BoltThrower #BoneStorm #Brainstorm #BurningWitches #CalliopeCarnage #CanadianMetal #CoffretDeBijoux #CrypticShift #Cryptopsy #Cynic #DaemonBreed #DeathMetal #Dismember #DistantCometEntertainment #Doom #DoomMetal #DormantOrdeal #DriftingThroughVoids #Earthless #Ectovoid #Enslaved #EpicMetal #Erde666 #EverlastingSpewRecords #Exxûl #FiliBibianoSFortress #FleshgodApocalypse #ForefatherSEveRedemption #Fortress #GallowglassGalas #GermanMetal #Gojira #Gorod #GreekMetal #Hardcore #HeavyMetal #HeavyPsychSounds #HighRollerRecords #Immolation #InUnrealitySCoffin #Inferi #InternationalMetal #Iotunn #ItalianMetal #Jan26 #JapaneseMetal #JudasPriest #Judovarnis #KadavriK #Kalmah #KingBuffalo #LikeCrushedVioletsAndLinen #LithuanianMetal #LordElephant #Luminesce #MelodicDeathMetal #Mitski #Mordoré #MountainsOfMadness #Neverealm #Obscura #OldNick #PolarisExperience #PowerMetal #ProductionsTSO #ProgressiuveMetal #ProgressiveBlackMetal #ProgressiveDeathMetal #Punk #Review #Reviews #Savatage #SealedIntoNone #SelfRelase #SelfReleased #Skulld #Slayer #Sodom #Species #SpiderGod #StonerDoom #StonerMetal #StuckInTheFilter #StuckInTheFilter2026 #SwissMetal #SymphonicDeathMetal #TechnicalDeathMetal #Tékmés #TestimonyRecords #TheogoniaRecords #Therion #ThrashMetal #TimeToKillRecords #ToEscape #TotalAnnihilation #Trhä #Turpitude #UltraSoul #Upiór #Vader #ValiantSentinel #Wachenfeldt #WizardKeep #Worm #Xaoc -
Mammon's Throne – Skies of Flame
#BlackMetal #DeathMetal #Doommetal #Metal #blackeneddoom #deathdoom #deathdoommetal #doom #doommetal #melodicdoommetal #stonerdoom #Melbourne
CC BY-ND (#CreativeCommons Attribution No Derivatives) #ccmusic
https://mammonsthrone.bandcamp.com/album/skies-of-flame -
We're playing in the dungeon of K on 21st of March, together with Stonus and Sheev! Hell yeah! 🖤
Come, come, come to the sabbath! 🐐#PsychDoom #ProgressiveRock #StonerRock #StonerDoom #ProgressiveMetal #StonerMetal #GrungeRock #Berlin #Concert #SaturDoom
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Free download codes:
Buzzard (Doom Folk Metal) - Crushing Burden of Despair
"Both soulful and sarcastic, this bluesy, doomy stomp pulls zero punches with its social commentary."
#doom #stonerrock #stoner #bluesrock #stonerdoom #protestsongs #music
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Free download codes:
Buzzard (Doom Folk Metal) - Crushing Burden of Despair
"Both soulful and sarcastic, this bluesy, doomy stomp pulls zero punches with its social commentary."
#doom #stonerrock #stoner #bluesrock #stonerdoom #protestsongs #music
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DIB pres.: Crowskin + Slať (CZ) + Kaiman | Neue Zukunft, Berlin
Neue Zukunft, Friday, February 13 at 08:00 PM GMT+1
Three Stoner Sludge Doom bands at Garage, Neue Zukunft on Friday the 13th to Sludge 'em all!
Entrance price will be affordable for everyone! Just get your ass there and support the underground!
❥ CROWSKIN - Potsdamn
fb.me/crowskin666
crowskin.bandcamp.com❥ SLAT' - Brno, CZ
fb.me/slat666
slat.bandcamp.com❥ KAIMAN - Berlin
fb.me/KaimanSludge
kaiman-band.bandcamp.com-----------------------------------------
Friday, 13.02.2026
Neue Zukunft, Garage (Smaller room, vice versa the big one)
Alt-Stralau 68, 10245 Berlin
Doors 20:00 h
Doom 20:30 hWANT TO SUPPORT US ?
Presale only viahttps://doominbloom.bigcartel.com/.../dib-pres-crowskin...
There will be bargain tickets for sure at the door. Doom is for everyone!
Presented by
DOOM IN BLOOM
www.doominbloom.de&
Neue Zukunft
Respect and support D.I.Y. shows. Thanks.
RIDE OR DIE!
https://berlin.askapunk.de/event/dib-pres-crowskin-slat-cz-kaiman-or-neue-zukunft-berlin
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Tarlung – Axis Mundi Review By Tyme
Vienna, Austria’s Tarlung has been coughing up thick clouds of resinous doom and smoky sludge since 2013, when, after just six months in existence and having never performed live, they released their eponymous debut album. Now, with two additional full-lengths—2017’s Beyond the Black Pyramid and 2021’s Architect—and some healthy touring under their belts, Tarlung braces to bring their fourth album in nearly five years, Axis Mundi, to the masses. With a catalog predicated on fair to middling sludgy doom, I was curious to hear if Axis Mundi would be the product of a Tarlung doing more of the same, or if the album would represent a defining ‘center’ in the discography and, per its namesake, link the Tarlung of old to the Tarlung that’s progressing into the future.
Tarlung remains devoted to the almighty riff, but with a sound that has become increasingly less fuzzy over the years. Guitarists Rotten and Phillip Seiler deliver massive doses of ear-drum damage via swampy, thick riffs bristling with taut, chuggy muscle (“State Noise,” “Between the Earth and Moon”) and bluesy swagger (“Swans”), which serve as the bong water for most of these melodies to bubble up through. Seiler’s chesty, Akerfeldtian roars are ever-present, which, along with Marian Weibl’s beastly drum beatings, provide the excess sonic weight Tarlung has become increasingly known for. Purveyors of Crowbar, High on Fire, and Dopethrone will find warm pockets of familiarity here. Yet, Axis Mundi indeed signals a progression as Tarlung evolves its sound, introducing elements of refined psychedelia and vocal variation.
Axis Mundi takes marked steps to set itself apart from the rest of Tarlung’s catalog. With an airy, soft-strummed melody and some subdued, clean vocals to start, “Burning Out” evokes a feeling akin to lying alone in a country field, exhaling smoky clouds of organic green and staring at kaleidoscopic prisms of light as they filter through dew drops on sun-dappled daffodils. Even after the track picks up a little steam with a chugging riff that seems to build more speed than it does, and Seiler’s growls return, the warm feeling doesn’t dissipate. Follow-up “Sea of Drowned Souls” continues down an experimental path, as its mournful melodies merge with clean vocals from Thérèse Lanz and Casey Rogers of Mares of Thrace in pensive passages that keep giving me Alice in Chains vibes. Particularly effective here, too, is the vocal interplay between Seiler and Lantz as each takes brutal swipes at the mic; Lantz’s visceral, blackened screams serving as a satisfying counterpoint to Seiler’s guttural grumblings. These two tracks really stood out to me and make up the core of my overall Axis Mundi experience.
Axis Mundi represents Tarlung operating at its most mature. Beautifully simplistic and wildly effective songwriting that, with repeated spins, did nothing but chip away at my critiques. What first seemed like a lagging back half continued to sink its claws into my brain. Before long, I was looking forward to the laid-back melodies of “Full Circle,” where Seiler channels his inner Matt Pike (High on Fire) to significant effect, and anticipating the very Crowbaric pounding of album closer “Axis Mundi.” Running just thirty-eight minutes, it became easier and easier to hit that replay button every time. There are moments when the melodies seem to trip over themselves, like on the bluesy main riff of “Swans,” which gets a bit muddy at times, but not so much that it took me out of the experience.Fans of Tarlung are in for a special surprise, and if you’re just now getting to the party, Axis Mundi is an excellent place to get started. I hadn’t spent any time at all with this power trio before writing this review, and I can wholeheartedly say Tarlung has won me over. After a more than cursory dive into the bands previous efforts I can say without a doubt, Axis Mundi is the best Tarlung album to date. A slow-paced ride that delivers riffs for days and melodies that settle in, wrapping you in blankets of crushing warmth for one helluva satisfying experience.
Rating: 3.5/5.0
#2026 #35 #ArgonautaRecords #AustrianMetal #AxisMundi #Crowbar #DoomMetal #Dopethrone #HighOnFire #Jan26 #Review #SludgeMetal #StonerDoom #Tarlung
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026 -
Another day another #StonerDoom meme
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current mood: Mankind is unkind man!
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Temptress – hear Review By Killjoy
The best things in life often happen organically. Temptress1 began in 2019 in Dallas, Texas, as three friends casually jamming together, and they had enough natural chemistry to decide to take their alluring stoner doom to the studio. Like someone who is well-versed in the art of seduction, they appear to be working their way through each of the five senses. Their debut full-length, see, was born in 2023, but now the time has come to close your eyes and hear what Temptress has conjured up for their sophomore record.
hear is both more immediate and less straightforward than its predecessor. Temptress has livened up the laid-back stoner rock of see with copious amounts of grunge. Kelsey Wilson’s guitar lines are equally likely to slip into a hypnotic, looping groove as they are to burst into peppy riffs. The passages occasionally slow to a doomy plod or bear a passing resemblance to the psychedelic side of Messa. Regardless of style, much of the repetitive songwriting has been tightened across the board, making hear’s average track length and total runtime noticeably shorter.
hear is a concerted group effort that respects each member’s individuality. All three members share mic duty, which affords variety rather than synergy because most songs have only one vocalist (with the exception of some backing vocals during the chorus of “Narrows”). The ethereal female croons2 in “Edge” and “Downfall” tend to fit the music best; however, the singing elsewhere can sound a bit flat (“Now or Never,” “Narrows”), not quite matching the passion with which they play their respective instruments. Andi Cuba’s drumming has an endearing, quirky character—I like that intro track “Into” uses only tom and bass drums, although there are small annoyances such as the overuse of syncopation (“Edge”) or snare drum fills (“Downfall”). Christian Wright takes the lead with bass guitar in outro track “Out of,” which I hope to hear more of in the future.
Temptress is becoming adept at writing a cohesive record that keeps a live setting in mind. The first half is much more energetic, giving hear the initial impression of being front-loaded, but the back half contains additional nuance upon closer listening. “Be Still” and “Downfall” experiment with tempo shifts to overall success, save for the 30 seconds or so of dead time at the end of each track. The bookends tie hear together well as a package, with a crisp transition from “Into” to “Narrows” and “Out of” complementing the introduction neatly. The one song that I struggle with as a whole is “Now or Never” due to the deadpan vocals and repetitive lyrics, but the instruments are spirited enough that I can imagine that this would work better when performed live.
Temptress comes across as a tight-knit group that retains a refreshing “no expectations” attitude from their early jamming days. The stoner doom and grunge work very well together to produce plenty of enjoyable licks and riffs, although the vocals are something of a mixed bag. Temptress’ growth between see and hear is impressive. I’d like to see them continue to refine their more subtle, contemplative songwriting approach in addition to their more straightforward, bouncy side. All in all, what I’ve heard so far makes me eager to touch Temptress’ next album.
Rating: 3.0/5.0
#2026 #30 #AmericanMetal #BluesFuneralRecordings #DoomMetal #Grunge #hear #Jan26 #Messa #Review #Reviews #StonerDoom #StonerMetal #Temptress
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: temptressofficial.bandcamp.com | temptressofficial.com | facebook.com/temptressdfw
Releases Worldwide: January 23rd, 2026 -
I'll be hosting my first ever Bandcamp listening party for Chronostasis next Wednesday, Jan 14th at 7PM west coast time (aka PST).
30 minutes of instrumental downtuned fuzzy riff goodness. Album goes live on Bandcamp right after the party.
Come hang!
https://wasterider.bandcamp.com/live/chronostasis-listening-party
