AVALANCHE conjur Sabbathian riffs on their debut full length ‘Interstellar Movement’. This is a solid slab of sludge-infused, hardcore influenced rocking riff worship, every performance is tight to a fault with not a foot wrong. You could be forgiven for expecting a release filled with prog-anthems given the title but AVALANCHE skew towards a more Sleep orientated sci-fi approach, but with the pace of High On Fire at their most pulverising.
Since day one, the band’s goal was to play sophisticated, mostly instrumental Heavy Psych with little hints of classic Prog, Space Rock, Doom and plenty of other stuff. RYTE is not limited by any means as long as it sounds fresh and interesting and does the band’s initial idea of adventurous heaviness justice. RYTE’s self-titled debut album is out via Heavy Psych Sounds!
Swedish doom / sludge metal band from Malmö formed in 2001.
Hailing from Malmö, Sweden and formed in 2001 : SUMA has been spreading the plague of their sonic weight, noise-ridden hallucinatory doom metal on the world for the past decade. Through these years they’ve lured hordes of humans into the lair with their devastatingly heavy, one way trip into the vortex live performances and crushing delivery on their recorded matters.
With a strong DIY mind, SUMA has been releasing most of it’s music through their own label and hitting the roads across Europe over the years through their own booking and with kindred spirits across the plains.
Initially made up of George Clarke (vocals) and Kerry McCoy (guitars), Deafheaven has a sound that blends black metal with elements of shoegaze, adding a layer of warmth to the genre’s typically icy sound while expanding the emotional range outside of the typical themes of death, despair, and hopelessness. As a duo, Clarke and McCoy wrote and recorded a demo on their own that would get the attention of Converge frontman Jacob Bannon’s label, Deathwish Inc., which released the untitled EP in 2010.
The pair expanded the lineup to include guitarist Nick Bassett, bassist Derek Prine, and drummer Trevor Deschryver, who appeared on Deafheaven’s 2011 full-length debut, Roads to Judah, before parting ways with the band the following year. Looking to get back to their roots a bit, McCoy and Clarke worked on the writing for their follow-up album as a duo again, though they would recruit drummer Daniel Tracy to join them in the studio for the recording process.
The result was their sophomore effort, Sunbather, which was released to critical acclaim in the summer of 2013. Recruiting new bassist Stephen Clark and guitarist Shiv Mehra, Deafheaven toured across the globe extensively as a quintet, including gigs with Between the Buried and Me, Pallbearer, No Joy, and many others.
In 2015, Deafheaven signed to Anti- for the release of their highly anticipated third album, New Bermuda. Produced by frequent collaborator Jack Shirley, it arrived in early October. The set reached number 16 on the Top Rock Albums charts, and was supported by lengthy international tours. Its critical and commercial success brought it to the ears of listeners not normally enamored of heavy metal.
In late 2017, Deafheaven de-camped to 25th St. Recording in Oakland with Shirley again listed as producer. By their own admission, they expanded their heavy, kinetic sound by adding psychedelia-inspired vocals, jazzy percussion, and intricate organic piano melodies to juxtapose against their trademark black metal-inspired and post-hardcore trademark sonics. Ordinary Corrupt Human Love took its title from Graham Greene’s novel The End of the Affair, reflecting a theme of yearning romanticism. The set’s first single and video, “Honeycomb,” was issued in April of 2018, and clocked in at nearly 12 minutes.
In 2020, the band planned a ten-year anniversary tour that had to be postponed due to the COVID-19 pandemic. To celebrate the occasion anyway, Deafheaven released 10 Years Gone (Sargent House) in December, a live-in-studio recording of their planned touring set. In addition to revitalizing long-established crowd favorites such as “Vertigo” and “Kettle,” they also included a recording of “Daedalus,” the first song the band ever wrote together.
Infinite Granite, the band’s fifth studio album, arrived in 2021. A departure from their previous albums, Infinite Granite featured barely any screaming or metal riffs, instead featuring swirling guitars and clean vocals reflecting influences including Radiohead, Ride, Tears for Fears, and Chet Baker.
Slow Crush is a compelling abrasive shoegaze band, dealing with the aesthetics of contrasting sounds. Heavy like a gloomy dream yet soothingly vibrant. The vulnerable soft floating voice of Manchester’s Isa Holliday underneath layers of grungy shoegaze soaked noisepop, seeking shelter from a f’ed up world.
Little Rock, Arkansas’ Pallbearer are a doom metal quartet whose penchant for extreme, monstrously thick heaviness has drawn fans from across the globe. With a sound rooted in the slow, riff-centric traditions pioneered by Black Sabbath, the band’s approach is appended by a neo-psychedelic application of guitar harmony and later on, prog elements.
It was initially showcased on a three-song demo that included a cover of the Billie Holiday standard “Gloomy Sunday.” They hardwired that guitar interplay into their core sound on their 2012 debut album Sorrow and Extinction
Their third full-length, 2017’s Heartless, marked their international breakthrough as it reached the top spot on several charts. The single “Atlantis” appeared in 2019.
Pallbearer’s original lineup came together out of the local metal scene in 2008, with Brett Campbell (guitars/vocals), Devin Holt (guitars), and Joseph D. Rowland (bass); their drum chair remained in flux until 2012 when Mark Lierly joined the band.
By continuing to incorporate new elements to their sound, Elder’s output has repeatedly set benchmarks for their peers. Beginning with 2008’s Elder and 2010’s “Dead Roots Stirring”, Elder made ripples in the stoner rock scene with their uniquely melodic approach to the genre.
In 2015 they surprised again with “Lore”, a watershed moment in the band’s career (recently crowned “Album of the Decade” by The Obelisk) which brought in elements of post-, prog- and space rock into the Elder sound.
Despite several years of heavy touring surrounding the album, “Reflections of a Floating World” was released just two years later, earning a spot at the top of many best-of lists including Rolling Stone (#5, 20 Best Metal Albums Of 2017), Stereogum and others.
Elder’s most recent album „Omens“ answers any speculation about new directions with affirmation: evolution or extinction. Lush, intricately interwoven melodies grow and dissolve into spaced-out jams; massive riffs thunder down into a churning sea of psychedelic sounds and unpredictable grooves carry away the listener.
After thirteen years, this is the first full-length recorded with a new lineup including guitarist Michael Risberg and new drummer Georg Edert, along with guest performances by Fabio Cuomo on Rhodes piano and synthesizers.
Irist was formed in the summer of 2015 by Pablo Davila (guitar) and best friend Bruno Segovia (bass). Originally from Argentina and Chile, the twosome brought on fellow Atlantans Adam Mitchell (guitar) and Jason Belisha (drums). But Irist wouldn’t become Irist until vocalist Rodrigo Carvalho (vocals), a Brazilian, joined the fold. It was then, after measured improvement as songwriters and an extended courtship with renowned A&R man Monte Conner, that Irist inked the Nuclear Blast deal and the rest is history.
In short, Irist’s debut, Order of the Mind, is a must-hear.
Richmond’s INTER ARMA, reigning masters of the slow build, continue to trace a distinctly ambitious trajectory through modern metal. Their impulses tend toward the epic, but never bloat; they meld several styles — doom, sludge, and hard psych — without coming off like dilettantes. This newest full-length, Sulphur English, finds them mining deeper in the proggy organic doom fields that made both Paradise Gallows and Sky Burial so thrilling while expanding further the on the psych-folk strain that made those albums’ peaks seem so lofty.
Few metal bands have ever made such effective use of acoustic instruments in truly heavy environments as INTER ARMA do; the acoustic guitar that stitches “Stillness” together is as effective as any overdriven bass; a two-minute gloomy piano-and-feedback piece titled “Observances of the Path” rolls out the carpet for “The Atavist’s Meridian,” an album highlight that rides a gigantic, roomy drum sound into realms akin to a murkier Paradise Lost, a more aggressive Om, and a dreamier, more stoned Kylesa all playing together at once.
Few bands make music as engrossing as INTER ARMA; their lengthy, almost meditative songs rumble patiently forward until you’re ready to get thrown off a bridge — and then they throw you, with great force. –
BRIQUEVILLE is a band shrouded in mystery. On stage, they create an instrumental mantra of spooky guitars, modified field recordings and eery sampled chants. These meditative build-ups, based on the perseverant element of repetition, are contrasted with and ripped apart by sudden, unforeseeable outbursts of the purest and sheerest heaviness.
After 2017’s dazzling instrumental opus „II“, the Flemish 5-piece finally return with their 3rd studio album, one of the first real pandemic-albums to be released on Pelagic. The band members had to finish the album in separation, which worked out better than they had initially expected: the forced distance allowed them to take distance not only to each other, but also towards their own song material. Some pieces grew larger than originally intended, others were stripped down to the essentials and reinvented.
1000mods’ highly anticipated fourth full length album ‘Youth Of Dissent’, produced by legend Matt Bayles (Pearl Jam, Mastodon, Isis, Soundgarden etc.) breaks the spacetime continuum and achieves the impossible: 1000mods meet their childhood heroes, by performing a time travel to the glorious ’90s, when fused elements of punk rock and heavy metal changed the face of the music industry and lead to the legendary grunge rock explosion.
Primitive, original and inspiring, the songwriting of this release is not only is their best to date, but also appears to be inevitably leading to their mighty breakthrough.
The impressive crux of Pagan Science, the sophomore album by Austin trio The Well, is that It’s a multiplicity of itself. From the band’s dual male/female vocals to their transcendently timeless sounds and erudite lyrical themes, Pagan Science is crystalline in its complexity and clarity at the same time.
The Well walk an intriguing line between authentic early 70s doom/heavy psych and the more frayed-edge-of-sanity weirdness of their hometown’s legendary noise rock scene, whilst also splicing in shades of chamber choir vocals, occult rock and dark folk.
Villagers of Ioannina City, one of the leading Greek heavy rock bands, comes from the mountains of Epirus. They are deeply influenced by Greek nature and cosmic phenomena and infuse their unique brand of heavy psychedelic rock with folk instruments such as bagpipes, flutes and, didgeridoo.
The region of Epirus is famous for it’s landscape of mammoth mountains and holy rivers – and now experimental heavy rock. Villagers Of Ioannina City are deeply influenced by Greek nature and cosmic phenomena.
Their second album, Age of Aquarius – originally released in September 2019 – now reissued by Napalm Records. Epirus may become the unlikely epicentre of the heavy rock universe: A mantra for the new Age!
Dvne are a band of great contrasts, weaving titanic heaviness and intricate gentleness together, complex lyrical ideas with engaging storylines, and this has only been expanded upon and concentrated on second album Etemen Ænka. “It’s an album that has a narrative musically and we hope will encourage the listener to explore the universe we’ve created around it,” states guitarist/vocalist Victor Vicart.
“It is a very dense and layered album which will reward multiple listens, and while this is becoming a recurring aspect of our music, we feel that we went further with it this time. It’s also a very polarising album, emotionally speaking. The heavy sections are, well, very heavy, while the clean sections are much more intricate and delicate and in a way wouldn’t be out of place in a Studio Ghibli anime soundtrack.” Exploring everything in greater depth in every way, it is a profound step forward from 2017’s Asheran, starting an exciting new chapter in the existence of one of the most thrilling and imaginative metal bands active today.
Heaviness, riffs, psychedelic, science-fiction… SLIFT’s progressive sound is a colorful and legendary journey to the edge of kraut and stoner rock. From the many shows performed across Europe – sharing the stage with Jon Spencer, DeWolff or Mars Red Sky – to the KEXP session (December 2019 during Les Trans Musicales), the French trio launched an outstanding astral adventure.
SLIFT released their debut EP ‘Space Is The Key’ in June 2017 via Howlin Banana (France) and Exag’ Records (Belgium). Inspired by Alain Damasio’s sci-fi novels and Pierre Ferrero’s illustration work, ‘Space Is The Key’ is a raucous wall of sound and energy. The five nervous tracks are loaded up with fuzz mayhem and maniac beats sharp enough to knock your head off spinning with their hypnotic riffs.
n 2018, Toulouse-based outer space jammers released their first LP ‘La Planète Inexplorée’, helped by garage rock producer Lo’Spider (The Monsters, Aqua Nebula Oscillator, Magnetix) and Jim Diamond (Fleshtones, Sonics, White Stripes) from the mighty Ghetto Recorders, Detroit. The record is the result of many overnight improvised sessions, probably due to their obsession with the krautrock scene and the 70s free jazz albums. Made of sci-fi digressions, the lyrics are about creating space warps and waking up ice giants after a millennia sleeping on a distant planet.
In February 2020, SLIFT released a space odyssey about Titans: ‘Ummon’. Delivered through Vicious Circle Records (France) and Stolen Body Records (UK), the double LP is a powerful blend of acid krautrock and cosmic jazz, that highlights heavy and saturated guitars, huge bass vibrations escaping from the Minas Morgül’s dungeons and Nostromo’s drums travelling at the speed of light. ‘Ummon’ is coming out this June for the very first time in the USA.
Since 2013, TarLung stand for a thick and colossal sound, despite the lack of a bass player: Two low-tuned guitars, hard-hitting drums and brutal vocals are more than enough to create an earth-shattering live sound and mesmerizing records.TarLung was formed in late 2013. After just 6 months the band recorded their self-titled album at Deep Deep Pressure Studios and released it before playing a single live show. A bunch of gigs in Austria and Germany followed, with bands like Saturnalia Temple, EyeHateGod, Arabrot, Suma and Conan.
2016 TarLung hit the Deep Deep Pressure studio again to record the “Void” EP and the follow up full length album “Beyond The Black Pyramid” in a three day session. “Void” was released on tape in October 2016.In 2017 TarLung had their first festival appearence at “United We Stand”, along with other gigs in Germany and Austria. The second full length “Beyond The Black Pyramid” was released in May, with the support of Black Bow Records (Jon Paul Davis/ Conan). The cover art was created by Alex Eckman-Lawn.2018 brought touring through the Czech Republic, Hungary and Poland with Throne (Italy), including the “Stoner Doom Festival” in Katowice.
2019/20 were focused on writing new material for the third album, which was recorded in September 2020.Two releases followed in 2021: A split EP with heavy noise rock heroes KRPL from Graz, and the new full length album, “Architect”. The response to “Architect” was overwhelmingly positive, and the TarLung look forward to performing it live as much as possible!
Since birth, ORANSSI PAZUZU, ‘The Demon Of The Wind With The Colour Of Cosmic Energy,’ has never been satisfied to stick with a formula. Each album has seen the band expand upon its previous incarnation and then, like a supernova, blow it up and transform again into something recognizable but completely new.
The band was formed in 2007 by Jun-His (vocals, guitar) and Ontto (bass guitar), who started jamming with Korjak (drums), and Evill (synthesizers, organ, effects) in order to travel into uncharted musical territories. During its initial months, the band wrote songs collectively, fusing together various influences from space rock to black metal, to capture different states of mental cosmos. These early songs were recorded in Korjakʼs family cabin in the late summer of 2008 and released as »Muukalainen Puhuu« in 2009.
»Kosmonument,« their second full-length album, a concept album about a drifter lost in the void, was released in October 2011, followed by various European festivals in 2012, including Roadburn Festival and Hellfest. A year later, the band decided to work with Jaime Gomez Arellano (GHOST, PARADISE LOST, etc.) and traveled to his Orgone Studios in London to record their third album »Valonielu« in 2013 which was presented live on their first full European tour shortly after.
ORANSSI PAZUZU returned in 2016 with the mindbending »Värähtelijä;« an album that continues in the vein of their previous album, giving the band much more room to diverge and explore the vast regions of hypnotic progressive psychedelia and the nebulous outer limits of Scandinavian black metal.
In 2018, ORANSSI PAZUZU and their Tampere cohorts DARK BUDDHA RISING, known for their grandiose slug-paced ritualist doom metal, recorded a new album, which was released on Svart Records on April 5th, 2019. The amalgam of these two entities was melted as one on »Syntheosis« and released under the moniker WASTE OF SPACE.
„Mestarin Kynsi“ was released in 2020 on Nuclear Blast Records.
In Deafkids’ narrative, where songs melt and dissolve into one another, electronic pulses blend into the power of rhythmic and percussive fabrics frantically woven to imprint this ‘future-primitive psychic scenario’ into the songs.
Difficult to describe or pigeonhole – yet, all the elements which characterize the band’s punk and aggressive aesthetic are present (even if in unpredictable and surprising ways) – barrages of delay and noise, wailing guitars, dancing frenzied rhythms – all culminating in a wild psychedelic journey that’s bound to reach one’s mind through the body while inebriating both.
“Deceived by perceiving our so-called individuality as a form of freedom, we are programmed to live and continue living as a fragmented and binary model of nature. Experimental numbers in a worldwide political power-game where human lives and it’s complexities, connections, necessities and environments are lowered in terms manipulated by algorithms, mind control and brutal force upon our conditions, our rights and our true will. Shaping, overwhelming and fragmenting our tunnels of perception to the point where the excess of information becomes diffuse and the whole contained within each being is more and more dispersed, confused and disconnected, reflecting an insane image of one’s identification with an artificial reality – where in some bizarre way, all these schizophrenic, corrupted and truculent theaters of domination and submission that appears all over human relations seems to make some sense – and of non-identification with what would be our inner reality, the telepathic level behind the veils where boundaries and divisions between us and the plane of consciousness, between you and the other don’t really exist. A level of reality where we might have the power to start learning how to reprogram ourselves by our own tools, being able to visit our internal hall of mirrors beyond space and time and deal with the negative roots of our condensed emotions and traumas trough a new perspective of relation and control with our thoughts, paths and everything we’re connected with. We must unite as one and resist against the violent symbols of oppression, including what’s imprinted on our own self, that must be daily sacrificed. Do not allow yourself to be programmed.”
Sturle Dagsland is a highly acclaimed genre-bending artist from Norway. His long awaited debut album was released on February 5, 2021.
With a wild and unique performance he captivates the audience and takes the listeners on an adventurous, surreal and beautiful journey. Together with his brother Sjur they tour frequently at festivals all across the world, from Shanghai to New York.
This May, Italian alchemists and power trio Ufomammut return with their ninth studio album, Fenice via Neurot Recordings. But not as we’ve heard them before, now “more intimate, more free.”
For over 20 years, the band has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion.
Fenice (meaning Phoenix in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history.
“I think we lost our spontaneity, album after album,” says Urlo. “We tried to make more complicated songs and albums, but I think at some point we just ended up repeating ourselves. With Fenice, we were ready to start from zero, we had no past anymore – so we just wanted to be reborn and rise from the ashes..”
While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. Fenice was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme; synths and experimental vocal effects are featured more prominently than ever before as the band push themselves ever further into the uncharted territory of their very identity.
Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best; by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature – and by writing gargantuan riffs that herald their very rebirth.