#stonerrock — Public Fediverse posts

🔴 LIVE NOW ON VORTEX
📻 Vortex Sessions 🎧 (Indie pop, synth-pop, alternative rock)
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🎵 Queens Of The Stone Age - Easy Street

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
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#VortexWave #QueensOfTheStoneAge #StonerRock #AlternativeRock #2000s

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Uncle Acid & The Deadbeats - House By The Grave

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
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#VortexWave #UncleAcid #PsychedelicRock #StonerRock #2010s

In 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
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripple Music
Websites: Instagram | Facebook
Releases Worldwide: September 4th, 2026

You’ve likely never heard of him, but Mauricio Guerrero has been a busy man of late. I hadn’t either, until Peruvian stoner-doom band Illwind, featuring lead guitar from Guerrero, dropped their debut album in early July. Clarkkent’s positive review of The Unfolding at the End of Light drew my attention to this ‘chill record with some outstanding moments,’ many of which arrive via Guerrero’s transportive solos. Not two months later, Guerrero returns with another stoner/doom debut: Argul’s Soledad & Orgullo (‘Solitude & Pride’). In Argul, Guerrero shares guitar and vocal duties with Jose María Venturi, both of whom formed the band in 2014. Filling out the lineup are Peruvian scene veterans Jian Holmes (bass) and Alonso Guerrero (drums).1 In snatching Soledad & Orgullo from the promo bin, I was quite curious whether Argul’s debut would continue Guerrero’s hot streak or flood Peru’s stoner-doom market with middling/subpar wares.

Argul build their musical edifice on doom and stoner cornerstones, old and new. Based on Soledad & Orgullo’s cover art alone, you wouldn’t be wrong in guessing that this Peruvian quartet primarily channels early Black Sabbath. While its sylvan visual aesthetics scream ‘self-titled debut!’, Argul’s debut more closely parallels the tones and riff-work of Master of Reality. Indeed, M. Guerrero and Venturi generally keep the guitar lines dark, slow, and bluesy (“Ritual”), but they also bust out some livelier boogies that get the head boppin’ (“Hor Hodin”). The duo frequently melodicize in funerary modes (“Animal Dog”), sure to bring joy to those wallowing in sorrow at the extinction of old Pallbearer. And in their droniest moments, Argul recall Matt Pike’s minimalist axe-work in Sleep (“Engendro”). Soledad & Orgullo’s artwork perfectly portends its open, earthy music; the production is spaciously organic, and the interplay between the guitars, Holmes’s exploratory bass runs, and the backbeat drumming feels refreshingly present. You can hear minor deviations during rhythmic shifts, which is not a criticism—the album sounds like a well-curated live band.

Vocally, Argul avoid the bombast frequently found in doom and the coarseness often favored in stoner metal/rock. Instead, M. Guerrero and Venturi utilize not quite reverb-drenched ethereal lilts, frequently harmonizing with one another. This isn’t to say that Argul are peerless in how they drape voices over doom/stoner metal. Their approach reminds me of the way bands like Windhand and REZN summon ghostly atmospheres through singing, emphasizing the somber, resigned aesthetics of the genre. Soledad & Orgullo doesn’t deal out memorable hooks like the above-mentioned acts, but M. Guerrero and Venturi stitch a warm vocal blanket that’s enchanting in its own right. Other than the occasional sound clip,2 which took me out of the album’s aura, Argul have a compelling vocal duo on their hands that could be further enhanced with more attention to memorability.

Soledad & Orgullo plays as a consistently enjoyable album, though it suffers from some issues. For starters, the album can be divided into stronger/weaker cuts. Epic opener “Ritual” sits in the stronger category, itself opening with an instantly striking descent that’s harmonized to Pallbearian heights. “Hor Hodin,” a shorter track, also triumphs, developing absolutely delectable Iommian shuffles. Meanwhile, “Engendro” and closer “Animal Dog” are comparatively weaker tracks, though they aren’t bad by any means. Soledad & Orgullo can also be knocked for its occasionally overdone songcraft. While “Ritual” mostly succeeds as a long song, “Animal Dog” definitely drags at times. Nevertheless, this four-track album runs for a reasonable 31 minutes, if you don’t count the concluding bonus track. With “Kamog,” Soledad & Orgullo clocks in at 45 minutes. Yes, that’s right—the bonus track (which could be trimmed) adds a whopping 15 minutes to the runtime.3

On the whole, though, count Soledad & Orgullo as another solid stoner-doom offering from Mauricio Guerrero. He and Venturi are a talented duo that know how to dress irresistible riffs in morose guitar melodies and gossamer vocal harmonies. While Argul’s songwriting is a bit hit-and-miss, they possess a captivating sound out of the gate that bodes well for the future. Argul should be proud of this debut, which fans of doom and stoner metal should certainly sample.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: Bandcamp | Instagram
Releases Worldwide: August 21st, 2026

DJ Ricardo Wang #guesthost Guitar Shop #radio on #FreeformPortland

90.3 FM & 98.3 FM #ontheradio in #portlandoregon

#GuitarRock #ExpunkimentalMusic #heavypsych #noiserock #protometal #protopunk #postpunk #postmetal #garagerock #stonerrock #spacerock #AvantGarage #postrock #classicmetal #freedomrock #freemusic #freeformradio #freeform

#archive (#listen anytime!):
https://whatsthiscalled.net/2026/08/16/guest-host-of-guitar-shop-radio-16-august-2026

Monolithic riffs, hypnotic grooves, and immersive live visuals—we are hitting the road to take you on a cinematic journey through heavy soundscapes and shadow.

Mark your calendars and join us live:

🎬 Sep 19, 2026 – Kino Center, Weißenburg (Cinema Live Show)
📽️ Sep 26, 2026 – Filmcenter, Dillingen (Cinema Live Show)
🎙️ Oct 10, 2026 – Kultur im Alten Kino, Bamberg (w/ King Father Baboon)
🪩 Nov 21, 2026 – Kulturgewächshaus Birkenried, Gundelfingen (w/ Jewelled Moon)
🏛️ Jan 23, 2027 – Tempel Festival @ Feierwerk (Kranhalle), Munich

🔗 More details & music: fogdriver.de

#Concerts #PsychedelicRock #StonerRock #PostRock #InstrumentalRock #HeavyPsych #VisualArts

Today is #BandcampFriday and a band I really love is #TheMachine from the #Netherlands, they make very good #stonerrock / #heavypsych / #spacerock:

https://the-machine.bandcamp.com/album/another-sun-european-version

#Bandcamp

Giöbia // B.L.O. Kantine Berlin (support: Icarus Burns)

B.L.O. Kantine, Monday, September 7 at 07:00 PM GMT+2

East Side Delta, Swamp Conspiracy, Lockkunst e.V. & Heavy Psych Sounds present: GIÖBIA

The neo-psychedelic acid rock band from Milan returns to Berlin with the latest LP “X-AEON”. Support by ICARUS BURNS, visual live performance by SECTOR 7G.

*********************************

> Monday, 7 September, 2026

> B.L.O. Kantine (Kaskelstr 55, 10317 Berlin)

> Doors 19:00, start 20:00

> Presale via TixforGigs (until 7 Sept at 4 pm, tix as well at the door): https://www.tixforgigs.com/Event/73819

*********************************

GIÖBIA

The history of the band starts in the mid 2000 in Milan, a path through mesmerizing neo-psychedelia, space rock and acid rock. With the 9th album “X-AEON”, released in fall 2025 via Heavy Psych Sounds records, Giöbia push their signature into uncharted territory. Echoes of the ’70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. The band has missed a proper club show for almost 10 years, it is time to welcome them as they deserve!

https://giobiagiobia.bandcamp.com

https://youtu.be/_F914AT9bL4

https://youtu.be/VZCTrMucz4Q

ICARUS BURNS

When the riffs hit, they burn. When the melodies soar, they sear. This is Icarus Burns.

The band's debut S/T album dropped in Feb 2025 to great reception, and with live gigs across various stages across Germany and Europe.

http://icarusburns.bandcamp.com

https://youtu.be/IvczVkHngxU

SECTOR 7G

The extra boost of the BLUES BUMPS series! By fusing cutting-edge techniques with vintage-inspired visuals, this visual collective pushes concerts way beyond the boundaries of sound.

https://youtu.be/_9DqQwewj_A

https://s7g.show

The event is aka the 2nd warmup for the Berliner Swamp Fest (10-12 Sept at Neue Zukunft): https://www.swampconspiracy.org/10-12-september-2026-berlin-swamp-fest

https://berlin.askapunk.de/event/giobia-blo-kantine-berlin-support-icarus-burns-1

♬️ Just announced: Tue Sep 29, 7pm: KAL-EL
https://www.dnalounge.com/calendar/2026/09-29d.html?utm_source=sp_ma
#dnalounge #kalel #goya #volume #sludgemetal #doomrock #stonerrock #metal #livemusic #concert #sanfrancisco

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

KING BUFFALO verzichteten in Hamburg auf eine Vorband und ließen stattdessen von der ersten Sekunde an ihre eigene Klangwelt sprechen. Die insgesamt knappe 90-minütige Show war ein Musterbeispiel dafür, wie moderner Psychedelic und Stoner Rock klingen muss: repetitiv, druckvoll und zutiefst einnehmend. #kingbuffalo #stonerrock

https://www.burnyourears.de/live/54903-king-buffalo-in-der-markthalle-hamburg-hypnose-im-sitzen.html

Gänsehautmusik (10:16, instrumental):

Mother Engine – Hangar

https://motherenginerock.bandcamp.com/track/hangar

#PsychRock #HeavyPsych #SpaceRock #Kraut #Krautrock #StonerRock #Vogtland #Plauen

2026.04 - Last month I mostly listened to:
1. Karma to Burn
2. We Stood Like Kings
3. Tons
4. Troy the Band
5. Ghost Funk Orchestra
6. Phantom Logic

Full list, stats and extra faff at https://shrike.writizzy.com/p/2026-04-last-month-i-mostly-listened-to

Playlists with sample songs here http://dy.fi/iio

#music #nowplaying #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #musiclists

More comprehensive version of this list and link to the playlist is located at: https://shrikefin.substack.com/p/202601-last-month-i-mostly-listened

2026.01 - Last month I mostly listened to:
1. GYLT
2. Lord Elephant
3. Dust Giant
4. Giant
5. In A House Of Heartbeats
6. Tarlung
7. Sleaford Mods
8. The Who
9. The Grasshopper Lies Heavy
10. Heilung

Track obsession: Lord Elephant - Astral Crypt
Bubbling under: Lychgate, Old Year, Gavran, Wild Fuzz Trip, Mindbloom, Nothing3000, Dhyana
Total artists in rotation: 199

tags: #music #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #playlist #toplist #musiclists

For 2026 I'm moving my lists to Substack and will then post a lot more compact versions of these lists. You'll find them here: https://shrikefin.substack.com/

2025.12 - Last month I mostly listened to:
1. Homegrown
2. Palm Desert
3. Skogskult
4. Hum
5. Hexjakt
6. Non
7. Sowa
8. Bygone
9. Gurm
10. Black Pig Meat

By playtime (h:mm:ss):
1. Fucked Up 3:41:44
2. Palm Desert 3:41:11
3. Skogskult 2:45:45
4. Non 2:33:36
5. Yurt 2:33:35
6. Teleost 2:32:06
7. Black Pig Meat 2:26:44

Track obsession: Old Year - Death Frequency
Bubbling under: Fuzz, Nílim, Yurt, Teleost, Elder, G.B.H, Sun Empress
Total artists in rotation: 175

Relevant albums:
Homegrown - Homegrown (2025)
Palm Desert - Rays of the Gold and Grays (2025)
Skogskult - Skogskult (2025)
Hum - Three (2025)
Hexjakt - Blessing of the Damned (2025)
Non - Vipassana (2025)
SOWA - Gdansk Macabre (2025)
Bygone - Bygone (2025)
Gurm - Gurm (2025)
Black Pig Meat - Symbiotic Dream (2025)
Nílim - Uncoiling (2025)
Yurt - VI: Rippling Mirrors of the Other (2025)
Teleost - Atavism (2025)
Old Year - No Dissent (2025)
Elder - Reflections of a Floating World (2025)
Fucked Up - Year Of The Goat (2025)

Tracks from each artist can be found in these playlists (sort by 'date added' if applicable): http://dy.fi/k9y

tags: #music #nowplaying #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #playlist #toplist #musiclists

Sabbra Cadabra - #Radio 🔥 Ya disponible "The Best Of 2025" 🎧 🔥 Ya está disponible "The Best Of 2025" #sabbracadabra #stonerrock #desertrock #heavypsych #doommetal #sludgedoom #stonerdoom #occultrock #Metalsky #Press #Music #Cultura #Underground collectorseriesdiy.blogspot.com/2025/12/sabb...

2025.11 - Last month I mostly listened to:
1. Pale Horse Ritual
2. Yawning Man
3. Dome Runner
4. Slôdder
5. Cold In Berlin
6. Maha Sohona
7. Dune Aurora
8. Papir
9. Bogwife
10. Zebulon

By playtime (h:mm:ss):
1. Papir (4:08:34)
2. Pale Horse Ritual (3:25:27)
3. Maha Sohona (3:17:41)
4. Yawning Man (3:14:45)
5. Cold In Berlin (2:14:58)

Track obsession: Pale Horse Ritual - Holy Lies
Bubbling under: Beastwars, Black Sabbitch, Oslo Tapes, Wire, Kadavar, Saint Omen, All India Radio, Barren Heir, Brutus, Sapata, The Cyclist Conspiracy
Total artists in rotation: 225

Relevant albums:
Pale Horse Ritual - Diabolic Formation (2025)
Yawning Man - Pavement Ends (2025)
Dome Runner - World Panopticon (2025)
Slôdder - Narcissist (2025)
Cold In Berlin - Wounds (2025)
Dune Aurora - Ice Age Desert (2025)
Papir - IX (2025)
Bogwife - From Ashes (2025)
Maha Sohona - A Dark Place (2025)
Zebulon - Come Day of Reckoning (2025)
Black Sabbitch - Unrest in the West
Oslo Tapes - Låst Comet
Kadavar - Kids Abandoning Destiny Among Vanity and Ruin
All India Radio - The Unified Field (2025)
Barren Heir - Far From (2025)
Sapata - Veins (2025)

tags: #music #nowplaying #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #playlist #toplist #musiclists

Tracks from each artist can be found in these playlists (sort by 'date added' if applicable): http://dy.fi/k9y

Aktuell in meiner #heavyrotation #Dopesmoker mit #HVNTXDDXWN: https://song.link/d/3429435411
#stonerrock #doom #hiphop

2025.10 - Last month I mostly listened to:
1. Old Year
2. Birds of Nazca
3. All India Radio
4. Howling Universe
5. The Re-Stoned
6. Frayle
7. Azell
8. Vantre
9. Castle Rat
10. Psychonaut

By playtime:
1. High Mountain
2. Birds of Nazca
3. Azell
4. Bong
5. Wolvennest
6. Modder

Track obsession: Old Year - Mechanical Birth
Bubbling under: M.E.L.T, Sandōkaï, Wolvennest, Litania, Kickstarter Ritual, High Mountain, Year of the Goat, Eevil Stöö, Howling Giant, Modder, Cranial, Black Charger, Verona Florrist, Zombie Eater, Author & Punisher

Total artists in rotation: 305

Minutes listened: 8851

Relevant albums:
Old Year - No Dissent (2025)
Howling Universe - Skullflower Magic (2025) @ Bandcamp http://dy.fi/ii0
The Re-Stoned - Dreams from the outside. Stories of the Astral Lizard vol.3 (2025)
All India Radio - The Unified Field (2025)
Birds of Nazca - Pangaea (2025)
Frayle - Heretics & Lullabies (2025)
Azell - Astralis (2025)
Vantre - Clonocracy (2025)
Castle Rat - The Bestiary (2025)
Psychonaut - World Maker (2025)
High Mountain - Wasted Tales (2025)
Bong - We are, we were and we will have been (2015)
Modder - Destroying Ourselves For A Place In The Sun (2025)
Wolvennest - Procession (2025)
M.E.L.T. - Innervate / Obliterate (2025)
Sandōkaï - Special Computer (2025)
Litania - Litania (2025)
Kickstarter Ritual - Get Lost (2025)

tags: #music #nowplaying #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #playlist #toplist #musiclists

Tracks from each artist can be found in these playlists (sort by 'date added' if possible):
Updated playlists at: https://sdz.sh/5XfsGv
Except Howling Universe's "Skullflower Magic" only at Bandcamp http://dy.fi/ii0

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

2025.09 - Last month I mostly listened to:
1. Les Dunes
2. Zombie Eater
3. Slomatics
4. Lowrider
5. Dhuma
6. Lucius Fox
7. Dhyana
8. Castle Rat
9. Cosmic Reaper
10. WDNHF

By playtime:
1. Les Dunes 4:36:25
2. Dhyana 3:53:58
3. Lowrider 3:51:29
4. Dhuma 3:34:00
5. Elder 2:25:06

Track obsession: Zombie Eater - Corner
Bubbling under: Hypnotic Floor, Orsak:Oslo, Sunniva, Warcoe, Carson, El Michels Affair, Year of the Goat, Esses, Clutch, Faetooth, Grails

Total artists in rotation: 236
Minutes listened: 8289

Relevant albums:
Les Dunes - From Etne to the Edge of Space (2025)
Zombie Eater - Faces (2025)
Slomatics - Atomicult (2025)
Lowrider - Ode to io Deluxe Edition (2025 re-release)
Dhuma - Reptile Cosmic Mambo (2025)
Lucius Fox - The Death and Life of the Great Lakes (2025)
Dhyana - Mu (2025)
Castle Rat - The Bestiary (2025)
Cosmic Reaper - Bleed The Wicked Drown The Damned (2025)
WDNHF - Consideration (2025)
Hypnotic Floor - The Friendly Moss Forest Creatures Lived Happily In Perpetual Twilight (2025)
Orsak:Oslo - Silt and Static (2025)
Sunniva - Hypostasis (2025)
Warcoe - Upon Tall Thrones (2025)
Carson - When Gods Know Why (2025)
Year of the Goat - Trivia Goddess (2025)
Faetooth - Labyrinthine (2025)

Updated playlists at:
https://sdz.sh/5XfsGv

tags: #music #nowplaying #metal #doommetal #stonerrock #psychedelicrock #sludge #postrock #playlist #toplist #musiclists

Ghost:Whale formación belga #Stoner #Doom #PostMetal compuesta por tres integrantes: un batería -Vicent de Santos- y dos bajistas: Yves Vränckx y #Lionel Beyet collectorseriesdiy.blogspot.com/2025/09/ghos... #Metalsky #Punk #Metal #DoomMetal #StonerRock #Music #Press @losmejoresrock.bsky.social

My #LastWeek most listened albums were:
Dhyana - Mu (2025)
Zombie Eater - Faces (2025)
Dhuma - Reptile Cosmic Mambo (2025)
Lowrider - Ode to Io (Deluxe Edition) (2025)
Lucius Fox - The Death and Life of the Great Lakes (2025)
Grails - Black Tar Prophecies Vol's 4, 5 & 6 (2013)

#toplist #music #metal #stonerrock #sludge #drone #doommetal #psychedelicrock

Das war mal wieder ein wunderbares #SwampFest, mit vielen Perlen aus dem #Sludge #Doom und #DeathMetal – nur in's Kino hab ich's schon wieder nicht geschafft. 😅

Und hier eines meiner Highlights:
https://skraeckoedlan.bandcamp.com/album/ppeltr-det

Viele Grüße aus dem Sumpf!

#radio27 #music #festival #metal #punk #MetalPunk #DoomMetal #Grindcore #WarMetal #SpeedMetal #BlackMetal #StonerRock #Dungeon #Wave #Art #Graffiti #Cinema #Horror

2025.08 - Last month I mostly listened to:
1. Les Dunes
2. Netherlands
3. Ouzo Bazooka
4. Goblyns
5. Thee Oh Sees
6. Carbon Decoy
7. Astroqueen
8. Havukruunu
9. Vuvuvu
10. Robot God

By playtime:
1. Robot God
2. Ouzo Bazooka
3. Les Dunes
4. Havukruunu
5. Netherlands
6. Carbon Decoy

Bubbling under: Slayer, Alligator Rodeo, DJ Shadow, Botch, Montell Fish, Foot, Ivy Gardens, Coltaine, Dhuma, Kombynat Robotron, Luurang, Talaqat

Track obsession: Les Dunes - Lost Signals From Utsira

Total artists in rotation: 260
Minutes listened: 6884

Relevant albums:
Les Dunes - From Etne to the Edge of Space (2025)
Netherlands - Vapors (2025)
Ouzo Bazooka - Kapaim (2025)
Goblyns - Three Sisters (2025)
Thee Oh Sees - Abomination Revealed At Last (2025)
Carbon Decoy - Crush the Sun (2025)
Astroqueen - Rufus Rising EP (2025)
Vuvuvu - Vuvuvu (2023)
Robot God - Time Capsule Chronicles (2025)
Alligator Rodeo - Optimists Club (2025)
Foot - The Hammer (2025)
Talaqat - S/T (2025)

#music #nowplaying #metal #stonerrock #psychedelic #soul #blackmetal #playlist #toplist #musiclists

Tracks from each artist can be found from these playlist (sort by 'date added' if possible): https://sdz.sh/5XfsGv

#nowplaying King Buffalo - Dead Star

One of the albums that got me back into vinyl records. Slowly but steadily building crescendos, excellent vocals and lyrics. "Eta Carinae" is probably one of my fave KB tracks.

#kingbuffalo #vinyl #vinylrecords #stonerrock

Gestern ein super mitreißendes Konzert von #kingbuffalo in #Dortmund im #pianoclub gesehen. #stonerrock

#NowPlaying something I ran across the other day - Columbus, Ohio's BRIDESMAID is two bass players & a drummer. No vocals. Song titles are weird riffs on peoples' names, and it sounds thunderous and sludgy and catchy and doomy and fucking AWESOME. They have two LPs, the first of which from 2013 is called 'Breakfast at Riffany's 😂 : https://bridesmaid.bandcamp.com/album/breakfast-at-riffanys

and then of course you have 2016's International House of Mancakes: https://bridesmaid.bandcamp.com/album/international-house-of-mancakes

Play them LOUD

#riffs #FuzzRock #instrumental #StonerRock #ColumbusOhio #OhioBands #Bridesmaid #sludge @wendigo

New Doom Charts for April is out!

#doommetal #metal #stonerrock #music #musiclists

https://doomcharts.com/2025/05/02/doom-charts-april-2025/

2025.04 - Last month I mostly listened to:
1. Daevar
2. Messa
3. Demonic Death Judge
4. Conan
5. Greenleaf
6. PondDigger
7. The Seeds
8. Mary Ann Hawkins
9. Ball
10. The Miffs

By playtime:
1. Messa
2. Daevar
3. Temple Fang
4. Psychedelic Source Records
5. Greenleaf

Tracks from each artist can be found in this playlist (sort by 'date added'):
https://open.spotify.com/playlist/59jOpNwLYsEVNJrVy8YAkc?si=52b945785d7a4aa9

#music #musiclists #doommetal #stonerrock #psychedelicrock

#Dopesmoker - Same old trip

https://open.spotify.com/track/4ArRDUbE2bIhP7f7iQ8wpB?si=FFhKq_UySrCHMiAGnDxLZQ

#doommetal #StonerDoom #stonerrock #stonermetal #Fuzzrock #mastoradio

#NowSpinning

In Times New Roman... by Queens of the Stone Age

#vinyl

https://qotsa.bandcamp.com/album/in-times-new-roman

#alternative #rock #stonerrock #PalmDesert

https://youtu.be/yt7Z9LyctvI

La meva #CançóDelDia és avui dels #ThulsaDoom #Oslo #StonerRock #DoomMetal #HardRock ♒!