#stonerrock — Public Fediverse posts

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#VortexWave #Graveyard #DoomMetal #StonerRock #2000s

WEEDEATER - BULL

https://www.youtube.com/watch?v=SQkTQIN_5Fk

I don't, don't like to see you
You are always so untrue
We don't, don't think like you do
I have no time left for you

#WeedEater #Bull #StonerRock #Music #Fraudsters #Everywhere

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

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

Merch is ready!
Look at thouse fabulous Flyers 👍

#Ehingen #Fogdriver #instrumental #stonerrock #psychedelicrock

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

Ready for a cinematic trip? 🎬💨

Please note: The date for our cinema concert in Dillingen (Donau) has been brought forward by a week!
We’ll now be playing on September 26, 2026, at Filmcenter Dillingen for our 3rd annual "Konzert im Kino".

We’re bringing our blend of hypnotic Stoner and Psychedelic Rock to the big screen – literally. Watch our mascot Kurt and other stop-motion creatures come to life in a live-mixed visual show that complements our instrumental soundscapes. No tricks, no safety net, just the fog.

See you in the fog! 🌑

#StonerRock #Psychedelic #PostRock #Cinematic #VisualArts #FOGDRIVER #Dillingen #Terminänderung

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

For nearly two decades, Desert Storm has stood at the cornerstone of England’s fuzz-drenched underground. One can imagine my surprise, then, to find that I claim the first review of their catalog here. The group’s maturation has been a process of trial and error, evolving from smoky, blues-soaked stoner and southern rock roots into a heftier, sludgy, doom-infused form. Despite the unevenness of the Oxford outfit’s earlier efforts—Forked Tongues and Horizontal Life—Desert Storm’s more recent output (specifically Sentinels and Omens) found that sweet spot where sludge, doom, and stoner rock collide. While 2023’s Death Rattle saw these lads largely revisiting their old psychedelic ways, their seventh record, Buried Under the Weight of Reason, reverses course with a Saharan surge of down-tuned, resonant grooves and explosive riff drops poised to shatter many a bong.

As the opening notes of “Newfound Respect” hit, Buried Under the Weight of Reason reveals itself as a blunter, more dynamic beast than its predecessors. The guitars have thickened into a sludge/doom/stoner hybrid of epic proportions, blending Boss Keloid-like phrasing (“Rot to Ruin,” “Newfound Respect”) with Baronessian textures (“Twelve Seasons,” “Law Unto Myself”) and even the occasional djenty chug (“Cut Your Teeth,” “Rot to Ruin”). Huge, low-slung riffs drive Desert Storm’s definitive songwriting pattern. Songs lurch between stampeding verses and clean, crestfallen bridges, often featuring playful bass flourishes and blues refrains. Elliot Cole’s drums hit with massive, tom-forward authority. Each booming strike fuses with new bassist Andrew Keyzor (ex-Beard of Zeuss), carving deep pockets on tracks like “Woodsman” and “Shamanic Echoes.” By the time the first few tracks roll by, it’s obvious that Buried Under the Weight of Reason finds Desert Storm operating squarely in their wheelhouse.

DESERT STORM – Buried Under The Weight Of Reason by HEAVY PSYCH SOUNDS Records

Desert Storm commits to a single mission on Buried Under the Weight of Reason: delivering crushing, irresistible grooves from start to finish. Though lesser bands often bail on a great hook too early, Desert Storm has the confidence to lock in and let a sequence breathe like a fine wine, avoiding the common pitfall of over-complicating a riff before it reaches its zenith. Their controlled songwriting approach shines on the “Woodsman” and “Shamanic Echoes,” where the group adds nuance through minimalist, hook-heavy phrasing that feels both exciting and fresh. “Rot to Ruin” and “Cut Your Teeth” utilize spacious, bluesy transitions to reset the listener’s palate before building toward massive payoffs. The latter succeeds because the quartet holds back, patiently waiting for the precise moment to strike with a mammoth closing riff. The album closes with “Twelve Seasons,” a standout track that balances technical complexity and eccentricity with Desert Storm’s conviction to mine every ounce of a groove’s energy until it runs bone-dry.

Matthew Ryan’s vocals have historically been Desert Storm’s hollow point, but on Buried Under the Weight of Reason, they arrive with a newfound polish and reliability. Hitting with a grizzled, Crowbar-like growl, Ryan provides a solid—albeit largely safe—foundation that underpins Desert Storm’s low-frequency bulk. While Ryan’s vocals struggle to elevate the plethora of high-caliber riffs, they sit comfortably in the mix, serving their purpose without overreaching. Inconsistencies surface, however, on “Woodsman,” where mechanical chanting feels like a unique angle tripped up by its own peculiarity. More jarring is “Dripback,” where Ryan’s barking cadence feels a bit too unhinged, overshadowing an otherwise great groove. Beyond the vocal performance, the compressed mix masks the finer nuances—like the cowbell on “Twelve Seasons”—and the quartet’s commitment to the almighty riff sometimes results in songs feeling overextended. While Desert Storm’s “groove-first” philosophy is surely their strength, it leads to some bloat on the record’s longer cuts (“Rot to Ruin,” “Shamanic Echoes”). Additionally, the inclusion of the interlude “Carry the Weight” feels pointless in the context of the album’s flow.

But for Desert Storm, Buried Under the Weight of Reason is a cause for celebration. By knowing and staying largely within their established limits, the group has created not only a good record, but easily their best to date. While it occasionally oversteps its bounds or struggles to maintain its momentum, the songwriting and groove are infectious enough to have every head in the club bobbing in unison. Their sharpest effort to date, with enough weight to kill an elephant, Buried Under the Weight of Reason is a damn good time and a reminder that sometimes, that’s all a record needs to be.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Heavy Psych Sounds
Websites: desertstorm.bandcamp.com/music | desertstormband.com | facebook.com/desertstormuk
Releases Worldwide: March 6th, 2026

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

Howling Giant – Crucible & Ruin Review

By Dear Hollow

Howling Giant occupies such an odd place within its scene. The Nashville collective is stoner metal and psych rock to the core in an energetic way that recalls the down-and-dirty acts like High on Fire or Mastodon, but layers of melody and creative chord usage feel progressive a la Intronaut or Baroness and the triple vocal harmonies are catchy yet evasive, not unlike Torche or Helmet. They also don’t take things too seriously, with a solid sense of humor and a relatable relationship with fans to bring their formidable technical skill to earth.1 Now a release removed from the formidable debut full-length The Space Between Stars and even more from the Black Hole Space Wizard suite, Howling Giant proves their worth once more.

To address the elephant in the room, Glass Future saw Howling Giant’s progressive tendencies flying their freak flag too much. While attempting to keep the stoner murk and reconcile it with aptly crystalline melody, the band lost what is so great about them: solid songwriting. It’s completely contrary to what gave them the edge over genre mates Sergeant Thunderhoof in their dueling split – their head-first dabbling in more elusive chord progressions felt like a more stoner-inclined dime-store version of Intronaut’s Habitual Levitations. This is what makes third full-length Crucible & Ruin so refreshing:2 it’s everything you love about the Nashville now-quartet – and more. The template of killer riffs, soaring choruses, searing solos, and stoner haze is amplified by new guitarist/synth player Adrian Zambrano – adding layers and textures to Howling Giant’s already winning formula.

Howling Giant feels reinvigorated with Crucible & Ruin. Songwriting prowess on full display, the kitchen sink of riff, solo, melody, and catchiness has never looked so clean. While some remnants of Glass Future hang around in more evasive chord structures and emphasis on melody (instrumental “Lesser Gods”), the tracks shift from the anthemic to the kickass, rounded out by the understated Helmet-esque triple-vocal attack – a potentially divisive element of Howling Giant’s sound –3 and that warm stoner haze. Chunky riffs dominate and add a jolt of energy (“Hunter’s Mark,” “Beholder I: Downfall”), while anthemic choruses and transcendent chord progressions take listeners to a psychedelic heaven (“Archon,” “Archivist”). Southern fried bluesy vibes a la All Them Witches also grace the vibe with a backwoods atmosphere (“Beholder II: Labyrinth,” “Melchor’s Bones”), paying homage to their home state of Tennessee. All assets culminate in the two parts of “Beholder,” the Phrygian key giving them a more epic and grandiose feel.

With the addition of Zambrano, Howling Giant has never felt so fleshed out. Compared to the flashy vocals and melodies of Sergeant Thunderhoof, Howling Giant has always been a meat-and-potatoes type of band, but Crucible & Ruin finds the band building upon this template using more versatility in its musical arsenal. Layers of melodic overlays grace rhythmic punch a purpose and intensity (“Canyons,” “Scythe and Scepter”), the tasteful balance between the melodic and the skronky add intrigue and madness (“Hunter’s Mark,” “Archon,” “Beholder I: Downfall”), and ethereal atmosphere is built atop and duels with more downtuned riffs and bass (“Lesser Gods,” “Archivist,” “Beholder II: Labyrinth”). The dueling guitars add a much-needed and ridiculously tantalizing dimension that takes Howling Giant’s already solid sound to new heights.

Howling Giant’s vocal approach of hyper harmonies will remain a divisive element, the central riff and spoken word of “Melchor’s Bones” can get a bit repetitive, and instrumental “Lesser Gods” is a bit questionable, but don’t let that distract you from the fact that it’s the band’s best album to date. Crucible & Ruin distills everything that makes Howling Giant great and beefs it up, weaponizing their already formidable songwriting with Zambrano’s melodic and textural synth and fretwork. Featuring riffs upon riffs with complex songwriting that doesn’t fly over listeners’ heads, relatable vocals that don’t lose their punch, and new guitar work that takes the band to new heights, across a forty-eight-minute runtime that zips by, it’s hard not to bob your head. While comparisons to Mastodon, Baroness, and Anciients are fair, Howling Giant is its own beast, an intersection of stoner haze, riffy intensity, and melodic taste. Crucible & Ruin caught me by surprise in the best way, and is sure to appear at year-end.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Magnetic Eye Records
Websites: howlinggiant.bandcamp.com | howlinggiant.com | facebook.com/howlinggiant
Releases Worldwide: October 31st, 2025

Show 3 footnotes

1. Even their artwork was created by guitarist/vocalist Tom Polzine’s mother, Susan M. Davies, who has contributed artwork in the past. ↩
2. Fourth full-length if you count Black Hole Space Wizard, Part 2 in its qualifying length. ↩
3. Their ubiquitous harmonies remind me of the post-hardcore band Cry of the Afflicted. ↩

#2025 #40 #AllThemWitches #AmericanMetal #Anciients #Baroness #CrucibleRuin #CryOfTheAfflicted #Helmet #HighOnFire #HowlingGiant #Intronaut #MagneticEyeRecords #Mastodon #Oct25 #PsychedelicRock #Review #Reviews #SergeantThunderhoof #StonerDoomMetal #StonerMetal #StonerRock #Torche

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

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

Hello Fediverse

Next stop: Vienna - The High Sky Festival

We'll be playing with Methadone Skies, Swanmay, and Krpl at the
“Escape - Metal Bar - Live Club.”

The evening starts at 7:30 p.m. - Tickets at the door are €25, advance tickets are €20 (advance tickets: [email protected])

#wien #spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #Visualart #visuals #stopmotion #diy #stopmotionanimation #fogdriver

A sneak peek at yesterday evening at the Filmcenter Dillingen.

#spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #Visualart #visuals #stopmotion #diy #fogdriver #cinema

It was so wonderful that we did it for the second time ;-) Fogdriver live in the cinema.
A fantastic evening with a fantastic audience. Many thanks to the Filmcenter Dillingen, to everyone who helped, and of course to everyone who came.

#spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #Visualart #visuals #stopmotion #diy #fogdriver #cinema

Hey, you!
You're probably wondering what to do tonight after the #fridaysforfuture demonstration. https://chaos.social/@fff/115231065411882578

Look no further and come to our concert at the cinema in #Dillingen an der Donau.
It's one of the best ways to spend the evening. Just relax and enjoy the show. ... did I mention that there will be popcorn?

#spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #Visualart #visuals #stopmotion #diy #fogdriver #cinema

https://www.youtube.com/watch?v=QtSwh6MQZVw

get your Tickets here: https://filmcenter-dillingen.de/programm/film/fogdriver

Concert at the cinema - FOGDRIVER - Psychedelic Stonerrock & Live Visual Arts Saturday, September 20 at the Filmcenter Dillingen - come on by! 🙂
Fogdriver Live at the cinema September 20, 2025, 9 p.m. Tickets and seat reservations are available here: https://filmcenter-dillingen.de/programm/film/fogdriver
https://fogdriver.de

#spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #Visualart #visuals #stopmotion #diy #stopmotionanimation #fogdriver #konzertimkino #filmcenterdillingen

https://www.youtube.com/watch?v=QtSwh6MQZVw

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

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

Today we released our new video “Meet the Landfill”!
Keep an eye out for it!

https://www.youtube.com/watch?v=n61TQ0ZeXwU
#fullfuzzattack #fuzz #bigmuff #stonerrock #spacerock #psychedelicrock #visualart #albumrelease #newvideo #fogdriver #instrumental

Kulturbetrieb ZAPPA was awesome, such a fantastic audience - we had a total blast!
Thanks a lot!!! 😘

#SchwaebischGmuend
#spacerock #psychedelicrock #stonerrock #instrumental #Visualart #visuals #fogdriver

some psychedelia for your afternoon by 35007

https://35007.bandcamp.com/track/voyage-automatique

#music #ERisNowPlaying #LOOSE #βαράτε_βιολιτζήδες #παίζειτώρα #nowplaying #psychedelicrock #spacerock #stonerrock

Would you like to find out more about our live visuals?
How and why does Tanja actually do it?
You can read about this and much more in the new Isidor - Fanzine #8!
You can order the magazine here: https://isidor-fanzine.de/bestellen/
#stopmotion #diy #stopmotionanimation #isidorfanzine #fogdriver #spacerock #psychedelicrock #psychedelic #stonerrock #instrumental #livemusic #visualart #visuals

Oh yeah. I just released a new song the other day. A collaboration with @Onj! Have you heard it yet?

#DgarMusic #Rock #420BlazeIt #Indie #StonerRock #MusiciansOfMastodon #collaboration #music

https://song.link/i/1738768404