At this point some thirty years into their illustrious career, Enslaved have truly transcended into their own musical entity. Creating a genre in their own image with a highly unique sound that still stays true to their extreme metal roots, but also blends the darkness with the light of progressive rock, and providing two distinct and opposing vocal styles in a way that no other band does.
St. Louis area Psychedelic Doom band Gravehuffer has announced a new album Depart From So Much Evil, releasing February 17th via Black Doomba Records. This will be the first new music from the band since their acclaimed album NecroEclosion in 2021. They just dropped a new single and video for the track “Blueprint For An Early Grave” – with the video now playing at the Black Doomba Records YouTube page. Watch it now!
1-5-23, St Vitus, Brooklyn, NY
This was a hell of a show from start to finish and the best way I could have started the 2023 year if you want to quantize it that way. Boozewa (ˈbooze-ˌwä), features members of Backwoods Payback, hailing from West Chester, PA started the night off. Good lord, riffmas stayed late this year and treated Brooklyn with a healthy heaping of head-banging, fun time signatures, thick bass, and caveman drums.
Here’s to genuinely hoping that 2023 would be a decent year for stoner rock releases – with the existence of records like The Lord Knows (Ripple Music) by the Swedish newcomers Tidal Wave. The Swedish stoner scene has always been all-around fascinating to me, with big names I admire such as Besvärjelsen and Skraeckoedlan, or even the all-time legendary Truckfighters. It’s always refreshing to see up-and-coming names coming right in, too.
I’ve always pictured the Stockholm-bound The Riven as the Swedish version of Thulsa Doom – similar vibes, similar undertones, and similar upbeat resonances. The RIven, as far as I observe, has always been influenced by the sounds from the golden age of classic rock; the 1970s and 1980s. Their sounds are genuinely hard-hitting, sharp-shooting, and they appear to be the kind of sounds that would make you want to headbang as the exciting memories in your head replay themselves in retrospect whilst you listen to them. In terms of genre classification, they might pass as heavy blues rock with progressive, psychedelic, and classical influences and a strong emphasis on menacing riffs as well as vigorous vocals.
Grinding away in the sludge metal fringes for over thirty years, Los Angeles, California’s -16– are one of those “how have I missed them?” bands that seem to fly below the radar for many, but once detected are unlikely to be forgotten. On Into Dust (Relapse Records) the band drop their ninth album, the follow up to 2020’s Dream Squasher, sounding as amped-up, powerful and determined as ever to charge head-first through the nearest wall.
Gaupa burst onto their native Sweden scene with their self-titled EP in 2018, and quickly built up a fine reputation and steady following in their home country. They released their full-length debut album Feberdrom in 2020 which caught the attention of Nuclear Blast Records, who added them to their roster of Swedish bands. But Gaupa certainly doesn’t fall into the typical “Metal” category that you might expect when looking at their label mates. In fact their roots sit firmly in the stoner rock genre, but on Myriad, their second LP and debut for their new label, they far exceed being pigeonholed into just one sound and have created a record befitting of its title, with a plethora of intriguing styles to be found within.
Stoner Rock band Royal Thunder have returned with their first new track since 2017’s Wick album. The band has shared “The Knife”, streaming on all DSPs, along with a music video. The band is comprised of Mlny Parsonz (vocals, guitar), Josh Weaver (bass), and Evan Diprima (drums), and marks a comeback for this beloved band. Watch the video here.
Graveyard have announced a run of co-headline dates for the UK and Europe with Kadavar for 2023. The tour will see the two bands take in seven different countries across the continent and includes appearances at the UK’s Desertfest London! Tickets go on sale on Halloween!
My first encounter with SubRosa’s music was back in 2016 as an eighteen year-old who had just gotten a headstart into music journalism, just right after they released For This We Fought the Battle of Ages. That 2016 release was especially remarkable for my eighteen year-old self, because, apart from its droning resonance in a form of menacing atmospheric doom that would drive the listeners into a solemn state of enchantment, the album was also inspired by Yevgeny Zamyatin’s We, a Russia-bound dystopian novel that portrays a state ravaged by modern-day authoritative surveillance; an uncanny prediction towards the terror of the Stalinist regime in real life. The theme and inspiration of the said SubRosa album just instantly ignited the politically conscious side in me at the time.