doomedandstoned

[doomedandstoned]

Niagara Falls heavy rock trio IVY GARDENS return with new vid “Eye Witness”

~Doomed & Stoned Debuts~

By Billy Goate

First of all, can we just give a lot of overdue appreciation to the fact that there are still hard-gigging bands out there that play with the kind of urgency as IVY GARDENS. You can damn AI music straight to fiery pits of hell; this is where the real sound and fury is at.

Another thing I appreciate about Ivy Gardens is all the dark humor. You see it in their new music video, with its Red Fangish tongue-in-cheek adventure. This one features a vintage style videotaped car chase, which would play well off a viewing of V/H/S/94. ...Fake blood ahead...

We're arrested right away by the powerful strumming of the guitar as "Eye Witness" opens. Drumming is crazy, a frenetic attack of Animal from The Muppets, chasing that beat all over the place. "This is a piece we kept cramming with ideas until it was one of the most dense pieces of music on the record," the band says, noting its intricate rhythms.

Of course, the classic organ-sound of the keyboards adds a certain kind of spookiness to it all, which can be at once cheeky, mysterious, and cool. I myself love this send-back to '60s rock, while respecting that Ivy Gardens brings us a sound that clearly feels "now."

Detach from your cybernetic tethers and experience these sounds in real life, real time, and full body as Ivy Gardens presents its Live or Die tour. Kicking off late August through October, the band stretches their travels from shore to shore across Canada (dates/locations below) -- including a beautiful city I recently visited, Halifax. Ivy Gardens is one of many great touring bands up there we've covered in these pages over the years.

Look for the band's second LP, 'Death of Don Valley' (2025), out in full August 29th on Paper Cut Recordings (get it here).

Give ear...

Ivy Gardens - Live or Die Tour

Aug 29 - St. Catharines, ON - Warehouse Concert Hall Aug 30 - Toronto, ON - Monarch Tavern Sept 5 - Kitchener, ON - The Golden Apple Sept 11 - London, ON - TBA Sept 12 - Windsor, ON - Phog Lounge Sept 13 - Sarnia, ON - AJs Bar Sept 18 - Halifax, NS - Radstorm Sept 19 - Sydney, NS - Daniels Ale House Sept 20 - Charlottetown, PEI - Babas Lounge Sept 21 - Moncton, NB - TBA Sept 25 - Woodstock, NB - Montieth Manor Sept 26 - Montreal, QC - Turbo Haus Sept 27 - Quebec City, QC - Sonum Oct 9 - Barrie, ON - CW Coops Oct 10 - Sudbury, ON - Townhouse Tavern Oct 11 - Thunder Bay, ON - Black Pirate Oct 12 - Winnipeg, MB - Bulldog Event Center Oct 16 - Regina, SK - The Cure Kitchen and Bar Oct 17 - Saskatoon, SK - The Black Cat Oct 18 - Calgary, AB - Palomino Oct 19 - Edmonton, AB - Blak Bar Oct 23 - Kelowna, BC - Dunnenzies Oct 24 - Vancouver, BC - Black Alley Oct 25 - Victoria, BC - Fernwood Community Center

SOME BUZZ

Ivy Gardens, the experimental sludge metal band from Niagara Falls, Canada, has announced the release of their sophomore album, "Death of Don Valley", set to drop on August 29th, 2025, via Paper Cut Recordings. The record marks a bold new chapter in the band’s sound, with more complex compositions, darker themes, and a shift into a more experimental and atmospheric direction.

Formed in the parking lot of Princess Auto, Ivy Gardens’ journey began with a mutual love for covering Rush instrumentals and an obsession with heavy, sludge-infused sound. From those humble beginnings, the band’s unique chemistry and vision have led to the creation of their most ambitious and thematically focused album yet.

"Death of Don Valley" is a concept album, exploring the themes of death, decay, and the unstoppable erosion of life and the environment. The concept is rooted in the history of the Don Valley River, a once-thriving waterway now plagued by pollution and degradation. The album's artwork reflects this with the haunting image of a corpse between the banks of the flooded river, anthropomorphizing the water itself as it becomes a symbol of death and decay.

The material on "Death of Don Valley" was designed to be heard live, with massive stacks of amplifiers and a commitment to delivering the music in all its raw, unfiltered glory. It marks a bold new direction for Ivy Gardens; the band has no plans of slowing down. Their dedication to the project is evident in every note they play and every lyric they write as they continue to push musical boundaries and explore new sonic territories. Lyrically, the record draws from a mix of historical events, such as the tragic story of Canadian bush pilot Martin Hartwell, and fictional narratives, creating a dark and gripping atmosphere. The songs explore everything from violence, death, and survival to environmental destruction and existential dread.

As the band explains:

"Death of Don Valley is the natural progression of their sound, with more complexity and a deliberate thematic structure. Musically, it marks a shift in Ivy Gardens’ approach. This album is darker, more experimental, and more intricate than our previous work on 2024's Goon. While Goon carried a more positive, energetic vibe, this LP is more about confronting the darker aspects of life, and it reflects a deeper exploration into musical and thematic complexity."

Ivy Gardens' influences are vast, ranging from progressive icons like Rush, Yes, and King Crimson to sludge pioneers like EYEHATEGOD and Iron Monkey. Their sound blends elements of stoner metal, sludge, math rock, and progressive rock, creating an unpredictable listening experience that takes the listener through a series of emotional and sonic landscapes. Fans of Ivy Gardens can expect an intense live performance soon, as the band does plan to tour in support of the new album this coming September. Stay tuned for dates to be announced, and Ivy Gardens are bringing their thunderous sound to stages nationwide. Expect a live show that will test the limits of your ears and your emotions.

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LITANIA Give Hindustan Twist to Doom, Unfurling New Track “Ghunghru”

~Doomed & Stoned Debuts~

By Billy Goate

Given the human itch toward creativity and innovation, it was only a matter of time before the classic forms introduced by Black Sabbath and other pillars of the doom metal scene would not only evolve, but intertwine with other styles of music.

We've been documenting the phenomenon of genre blending for over a decade now and witnessed how well doom mingles in the realms of Eastern and Middle Eastern music -- in particular, bands like OM, Ethereal Riffian, Lowen, and even High on Fire. Today, we introduce to you another, new and notable: LITANIA.

A collaboration that brings together members from Italy and Serbia, Litania travels in psychedelic terrain, grounded by drone, aggressive doom riffs, and crooning inspired by ancient Hindustan song tradition. You will find exotic instruments throughout this immersive album, which just keeps getting better from song to song.

Says the band:

Litania is also the title of our first album, eight tracks of evocative, hypnotic doom, where the raw power of guitars merges with the spiritual depth of Indian classical music. The songs, intense and dark, are interspersed with instrumental passages featuring sitar, dilruba, harmonium, and tanpura. The vocals, deep and ritualistic, draw inspiration from ancient Indian Ragas, evoking a sonic journey suspended between abyss and transcendence

And now we bring you "Ghunghru," the second single from 'Litania' (2025). While ghungroo may itself refer to the acoustic anklet warn during dances to enhance rhythms, this song may be more likely inspired by it, with a pulsating beat between bass and drums that grabs you straight away, interjected by surreal vocals, and featuring some of the gnarliest downtuned, moshing doom you're likely to hear this summer. Dare you to turn it up to 11 and shake some walls.

Litania invades your world on October 10th, releasing on Heavy Psych Sounds (get it here). A fresh sound for strange times.

Give ear...

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Philly’s RED BRICK Lob Ominous New Single “The Price”

Heavy sludge from Philly, featuring a two-piece band with a provocative name: RED BRICK. Mag Stephens tackles the strings and Chris Penrod the drums, trading barbs on vocals. It's an all-out assault on the senses, carrying all the contempt of a brick thrown into a glass window.

The band sheds some light on the motives driving the new album, their first full-length following a 2021 EP:

Anchored in real-world despair, class violence, and moments of seething clarity, the album navigates themes ranging from substance abuse and queer trauma to dead-end jobs, burnout, performative activism, blind consumerism, and the failures of authority.

Combative and in your face, 'Thrown' (2025), is a wrecking ball of power and emotion blending elements of sludge, death, and grind into a caustic boiling cauldron. "The Price" is their second single and hits you with the force of a seismic wave. Out July 25th on Horror Pain Gore Death Productions.

Give ear...

Thrown by RED BRICK

SOME BUZZ

Horror Pain Gore Death Productions is set to release Thrown, the new album from Philly’s destructive hardcore/sludge/grindcore/death metal act Red Brick. Scheduled for July 25, the album will be available on CD and digital formats, along with merch.

Red Brick is made up of two violent homunculi grown in Petri dishes in the bowels of Philadelphia for the dual purpose of suffering and playing false sludge. They arrived upon the world in 2021 AD with the EP Gastric. Operating as a trio until about a year before the debut album, Thrown, was slated for release, Red Brick eventually condensed into a two-piece. That shift birthed a new dimension for the band, as vocalist/guitarist Mag Stephens states: “Through all our various trials and tribulations, we feel like we’ve truly found our sound on this one.”

Recorded in the dead of winter as they mourned the living, Thrown is a testament to their nature, blending sludge, hardcore, grindcore, and death metal sensibilities seamlessly for a soundtrack befitting only the most destructive crash-outs imaginable. Anchored in real-world despair, class violence, and moments of seething clarity, Thrown doesn’t simmer, it erupts. Substance abuse, queer trauma, dead-end jobs, burnout, incompetent authority, performative activism, blind consumerism — it’s all here.

If you see Red Brick, do not make any sudden movements and back away slowly.

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Zed’s ACEVES Hails New Single/Music Video En Route to Summer Solo Album

~Doomed & Stoned Debuts~

By Billy Goate

I've had the opportunity of meeting MARK ACEVES at this festival and that over the years, stretching back to Beers in Hell in his native San Jose some time back. I think I ran into him at Psycho Las Vegas a couple of times, too. Man is a roaring fireball on that guitar. We've witnessed it for years in the most excellent band Zed and now we get his solo effort, humorously titled 'Magnum Dopus' (2025).

Drawing upon a wealth of influences and his own trademarked approach to shredding and vocal heft, we have here a raucous rock 'n' roll record that in all justice should be enough to raise the dead, or at least give 'em a little of that shake, rattle 'n' roll in the grave.

Today, we are pleased to bring you the new single en route to the album's full release on June 27th (pre-order here). "Hail Mary" storms right out of the gate with spunk and spit fire, the undeniable power of riff and rhythm combined. Adrenaline hits the streets, plugging right into the amps of the metal gods of the late '80s and early '90s, while sporting a modern downtuned feel. Defiant in the face of tragedy, stubborn to the last, this is the spirit of Magnum Dopus.

Stick it on a playlist with G'n'R, STP, Dozer, Truckfighters, and of course Zed.

Give ear...

SOME BUZZ

This June marks the official release of Magnum Dopus, the explosive debut solo album from ZED bassist and underground mainstay Mark Aceves.

Written in the aftermath of his father's death and the tragic loss of close friend and bandmate Sean Boyles, Aceves poured every ounce of grief, resilience and hope into nine blistering tracks to help people move, scream, and heal.

“This isn’t a vanity side project, it’s a battle cry,” he explains. “I’m not trying to reinvent the wheel; I’m trying to light it on fire and ride it into the apocalypse with a crooked smile. The songs on this album come from my heart, and it's written with love, man. It's for the fighters, the dreamers, and the beautifully broken. It's loud. It’s real. And it’s just the beginning.”

Fans of Zed will be especially pleased to hear that Aceves hasn’t strayed too far from the raw and raucous grooves of his Bay Area brethren. A fireball of punk defiance, stoner swagger, and rock-and-roll soul — like a backstreet clash between QOTSA, AC/DC and The Bronx – Magnum Dopus is a raw cathartic blast of rebellion. From the gut-punch opener and Boyles tribute ‘The True and Indisputable Meaning of Rock and Roll’, to the defiant dance floor anthem ‘Still Ain’t Dead’, the bittersweet ‘Love in the Time of Apocalypse’, and the poignant closer ‘For My Children’, the album is a riot of pure emotion.

Messy, honest, and unflinchingly human, Magnum Dopus by Aceves combines infectious hooks, heavy riffs and lyrics that bleed with meaning, and is released 27th June on I:AND:I. Pre-order here.

Mastered by Pat Servedio at Elemenno Music

This album is dedicated to the memory of Sean Wayne Boyles and Jose J Aceves. Thank you everyone who inspired or helped me in any way

Interview with MARK ACEVES

By Richard Jones

How does it feel to be putting out music as yourself, and not as part of a band? Is there a stark difference and does it require more confidence or bravado? What are the key differences for you?

Putting music out as myself is a different animal. I’ve been in bands for 20 years, and that’s all I knew. When I started recording my own stuff by myself I didn’t know how liberating and joyful it would feel. Or how fast it would come together when I was the only one who had to decide if they liked something or not. I wrote and recorded this album between January and April of this year and that would normally take the band 3 years. When I wrote the first song I didn’t know it would end up as a “record”. I just wanted to write something that felt good, was fun and that sounded different from what was happening in the larger rock scene. And that ideal kept driving me to do the rest of the songs. The biggest challenge for me was how I would handle vocals. I’ve been a bass player forever and never had to worry about lyrics or vocals, and I honestly didn’t think I could pull it off. I was starting to think about who I could get to sing the songs, but it came down to me not wanting to trust anyone else with my vision or my ideas, so it told myself to fucking get over yourself and your self-consciousness and just fucking do it. So, I did. And it didn’t sound nearly as awful as I was expecting. And I got to do things musically and vocally that I’ve always wanted to do.

'Magnum Dopus' is your first full-length as Aceves. It’s been described as “honest and unflinchingly human.” In terms of both music and emotion, does this collection of songs find you at your most personal?

Absolutely. This album is deeply personal in that it represents me as an artist and as a human being. From the jump, the very first thing you hear on this record is the voice of Sean Boyles, who was ZED’s longtime drummer who passed away unexpectedly on my birthday in 2023. I was listening to his podcast one day after his death and that quote hit me like a ton of bricks. It was telling me how to live life and that quote embodies the spirit of the album. In fact, when I was writing these songs, I’d ask myself “Would Sean dig this?” and anything I didn’t think he’d like or at least appreciate, I didn’t do. My father also passed away not long after Sean and if there is anything he taught me about life, it’s that when life kicks me in the stomach and I’m face down in the dirt, I need to get back up and swing back. This album, and particularly the first song on this album, are dedicated to Sean and my pops, and anyone out there fighting a battle that they aren’t sure they will be able to win. It’s for the underdogs, like me. The marginalized and those who’ve been counted out or left to the side. It’s that primal, visceral middle finger to everything and everyone who tries to push us down. In all that I also found a way to express my feelings for my wife and end the album with a stripped-down song for my kiddos.

Magnum Dopus by ACEVES

How much of an impact does your record collection or love of ‘genre music’ have on you as a performer and songwriter.

I have a decent record collection and have been a fan of lots of different kinds of music since I was a kid. I remember being the only punk/metal kid I knew of who also loved stuff like The Cure or The Smiths. I think all the varied influences show up on this album, because at the end of the day, I’m a fan of a great song, and a great song will transcend genres. I’m way more interested in writing a good catchy song than I am about being a genre purist or a “shredder”. Not that I am one, but when I was writing these songs, I found myself consciously dialing some things back, especially on the bass end, since I’m a bass player first, because it didn’t serve the song. I asked myself each time, am I serving the song or my ego, and I felt I needed to simplify what I was doing to get out of the way of the spirit of the song. My playing on this album is simple and not nearly as complex as what I would traditionally do on the band records, and it felt right.

What can you tell us about your new song, ‘Hail Mary’?

‘Hail Mary’ is kind of a quirky little song I wrote about being left out, disregarded and beat down, and finding it in yourself to get back up one more time and throw a Hail Mary, cuz it might just change everything. I’ve never been super into sports, but I’ve always been obsessed with the stories in sports and in life about the people who were down for the count and somehow they got back up, went for it one more time and incredibly they upset everyone’s expectations. The lyrics are straightforward and simple. "Shit’ll get hairy, so run your Hail Mary, and give it all that you got. It ain’t their choosing, they count on you losing, so don’t give them what they want!” It’s a reminder for me to never give up.

Where does playing live rate in your list of things that you enjoy most as a musician? Do you prefer playing live to recording? I get the impression that Magnum Dopus was made more as a labour of love than an excuse to get up on stage and rock.

Playing live is a lot of fun, and when the shows are right and the band is tight, the sound is just right and the crowd is into it, it’s pure magic. Taking the band around the country and then to Europe was amazing. I was solely focused on the band for so long that when I started recording on my own last year just for fun, I had no thoughts that it would end up where it is right now. So yes, Magnum Dopus has been more of a labour of love because I never planned on it being more than that. That said, it would be fun to get up on stage with a band and play these songs. I think they would translate well live.

As an artist, what do you need to happen in and around your life to help focus your attention on music?

That’s a great question. It can be a challenge because I have a family and a day job that demands my time. I don’t have the luxury of endless days in the studio. What I do have though, is an office in my backyard that also serves as my recording studio. While recording Magnum Dopus I would be working and in meetings for my day job, then when a meeting would end I’d pick up the guitar and record a track, or on the weekend I’d spend a good chunk of my day here. It’s about putting in the time and listening to your inner voice to follow the path of creativity. There were times I’d have to put things on hold or come back to later due to life happening, but that’s what happens when you live. I think not having all the time in the world also helps me to focus and cut the bullshit out of my spare time.

What does the rest of 2025 hold for Aceves?

I’m starting to work on the next set of songs already! In addition to that, my band ZED is about to go into the studio with a new drummer and a new set of songs to record, and that will hopefully round out the year for me musically. And if things go well with Magnum Dopus I may even be tempted to do something live, we’ll have to wait and see! Thanks for the interest and chat! I hope you dig the record!

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MARGARITA WITCH CULT Return with New Music Video “Witches’ Candle”

~Doomed & Stoned Debuts~

By Billy Goate

I don't know if you've noticed, but the music is really heating up lately. It's not just my imagination. There's a mood in the air so thick you can cut it with a knife and doom provides the perfect soundtrack. The album that's got me feeling the dankness of summer right now is 'Strung Out In Hell' (2025) by Birmingham, UK three-piece MARGARITA WITCH CULT. I swear the band gets better and better with each release.

Scott Abbott's vocals are as on point as his deadly guitar licks, starting with opener "Crawl Home To Your Coffin," with that death chant of a chorus. Throughout the album the rhythm remains infectious, with Jim Thing and George Casual festering up a firestorm on bass and drums.

The record even boasts of a Billy Idol cover ("White Wedding" as you've never heard it before). Those stomping doom chords are absolutely dominating, and the guitar attack here and throughout the album does not disappoint.

"Witches' Candle" is the second single and music video, which Doomed & Stoned is revealing today. It's got a robust NWOBHM beat with elements of stoner rock and dark psychedelia woven deftly throughout, for one of the tightest tracks on the new 9-songer. The guitar screeches like a siren as the two-and-a-half minute pulse-pounder comes to a close, leaving us wanting even more.

You won't have to wait long. Margarita Witch Cult's Strung Out In Hell comes out July 18th on Heavy Psych Sounds (pre-order here). It's pure rocking doom all the way from this power trio. Stick it on a playlist with The Watchers, Hippie Death Cult, Warlung, Uncle Acid and the deadbeats, and Reagers-era Saint Vitus.

Give ear...

SOME BUZZ

Hailing from the home of metal, Birmingham UK, Margarita Witch Cult are the Sabbath City’s newest heirs to the throne of darkness- serving a merciless concoction of stoned sludge, demented thrash, and proto-metal weirdness.

Having released their lo-fi cassette demo ‘Witchfinder’ in early 2022 to international acclaim- being booked for Desertfest London and signing with HPS- the self-proclaimed “disciples of the riff” having been tearing up venues across the UK and leaving audiences aghast in their wake-sinking their claws into all who dare offer up their ears and eyes to their unholy din.

Formed of Scott Abbott (vocals & guitar), George Casual (drums), and Jim Thing (bass), the power-trio are especially stoked to be working with HPS internationally, telling “It’s a stone cold honour to sign with Heavy Psych Sounds, they’re a vital part of the scene and have great fuckin' taste!”

MARGARITA WITCH CULT - Strung Out In Hell by HEAVY PSYCH SOUNDS Records

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you’ll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP ‘Strung Out In Hell’ takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory.

From top-to-tail, ‘Strung Out In Hell’ is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there’s no better time to jump on the Margarita Witch Cult train- and it’s going straight down, fast.

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UNBELIEVABLE LAKE Share Evocative “I Have No Mouth And I Must Scream”

~Doomed & Stoned Debuts~

By Billy Goate

Cursed Monk Records from Waterford, Ireland has brought us such notables over the years as Coroza, Torpor, Nomadic Rituals, Sloth Hammer, The Red Widows, OLDD WVRMS, and Burn Ritual -- many of which have been featured in these pages or on The Doomed & Stoned Show over the past 11 years.

Now we welcome UNBELIEVABLE LAKE from Mid-Ulster, a three-piece heavy psych trio made up of Doc, Pat, and Trev. All of their releases since 2017 have been on a grander scale, trending between 30 and 45 minutes in length. And their latest, 'I Have No Mouth And I Must Scream' (2025), is no exception.

The tendency toward expression in longer forms, beyond 3-5 minute song structures, is something that heavy bands have experimented with over the decades, Sleep's Dopesmoker making the most ubiquitous mention in our scene. But several UK bands in recent years have taken a stab at expansive, high-concept compositions, Orme and Ungraven coming most readily to my memory. The atmospherics on this record also call to mind the strange evocations of Trent Reznor's now 26-year old NIN album The Fragile. Of course the history of psychedelia and progressive rock has long been a launching pad for such longer compositions.

There is no program to the Unbelievable Lake piece, per se, apart from its title. And it may or may not have some deliberate tie-ins with the Harlan Ellison short story of the same name from 1967 (or the subsequent game circa 1995). With that said, there are elements to the music (dronings, hums, electric sounds, screeches, rhythmic niches) that certainly hint at the vast, God-like supercomputer that is the antagonist of Ellison's work (which, if you haven't read it, deserves to be heard for the first time in the author's own crazed audiobook narration).

Unbelievable Lake plot a steady hand on these sonic waters to begin, playing with distorted and emotive guitar chords that have a vaguely new wave flair. The beat is steady, plodding, but with the feeling of ever building intensity, like a great threatening swell of dark clouds mounting in the skies. There are vocals throughout that cry out, sometimes competing with the crescendo of the band itself, but this somehow compliments the sensation of grandiosity.

There is ebb and flow to the piece, as well, so it is not all one wall of sound. When things reach unbearable heights, there is a sudden shift to quiet (as after the first 11 minutes). A calm in the midst of a storm. Might this represent the slow insanity of the characters represented in Ellison's novel? Or perhaps it is a meditation on the inevitable rise of The Machine itself, which is overtaking all of human existence.

13-minutes in, the bass gently signals a second theme, with a period of psychedelic blissfulness. The riffs spurt and tussle in ways that border between sweet and disturbing. Surely I Have No Mouth And I Must Scream is as much a trip for the mind as its literary inspiration.

Elements of it reminded me of the Blade Runner soundtrack, too, namely those plucking, glistening string-like sounds 18-minutes in. This is contrasted with a persistent, emphatic four-note heart beat that becomes more pronounced as the piece rolls closer and closer toward its pre-destined end.

Things get crunchy around the 25-minute mark, taking a decidedly heavier direction, as the machinations of AM grind away, ultimately leaving us in hair-pulling psychological terror. It's certainly an experiment you will not soon forget.

Look for Unbelievable Lake's newest contemplation on Cursed Monk Records this Friday, June 13th (pre-order here).

Give ear...

SOME BUZZ

Belfast/South Derry heavy experimental psych trio Unbelievable Lake’s second LP, ‘I Have No Mouth And I Must Scream’. The follow up to 2020’s Forgive, is a single 41-minute piece, its repetition drives focus on the liminality, identity and the suffocating paralysis of Northern Ireland society.

I Have No Mouth And I Must Scream by Unbelievable Lake

The band writes: “Our music is psychedelic doom, characterised by heavy repetition, layers of tension, and heavy passages broken up with drones. We are inspired musically by early Pink Floyd, Hawkwind, Om, Sleep, Neurosis, Swans, Camera and Can. Thematically, we draw inspiration from our history of conflict and beautiful surroundings, rural isolation, urban decay, anxiety and paranoia.”

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ELECTRIC CITIZEN Reveal 3rd Single “Lizard Brain” in Advance of  ‘EC4′

~Doomed & Stoned Debuts~

By Billy Goate

In our lifetime we have witnessed dramatic shifts in music, culture, technology, and attitude. So much has changed over the past year, let alone since the mellifluous flourish of The Me Decade. Yet there's something enduring about the spirit of the sound of the '70s, that stands true to this day. And this is why there remains a stubborn and celebrated undercurrent of new bands plugging into old amps and stacks, stirring a vibrant energy and tone that reminds us of our essential humanity.

This is the zeitgeist that Ohio's ELECTRIC CITIZEN have tapped into for their latest album, 'EC4' (2025). It follows their pre-pandemic album Helltown and is easily a renaissance for the band, proving that the Electric Citizen's chemistry is still tight and their peal enduring.

The album begins in boisterous fashion with trademark stoner metal rev on "Mire," and gradually moves toward softer, still of the morning songs like the beautifully strange and melancholic "Traveller's Moon," "Tuning Tree," "Moss," and "Flower of Salt." It's a mesmeric downshift I'm frankly ready for, as we're now right into the withering heat of summer.

Where are we going? When does it end? singer Laura Dolen ponders, which proxies our own thoughts. Her wistful vocals conjure that recognizable, ghostly flair we've come to love. There is simply no vocalist like her in the heavy rock scene, past or present. Easy on the ears, which makes songs like "Moss" a pleasant escape from the hellscape of hot asphalt tops, congested highways, and endless controversy.

Previous singles "Static Vision" and "Smokey" have not disappointed for the vibrant blast of drummer Nate Wagner and bassist Nick Vogelpohl, with atmospheric rapture from Owen Lee's keyboard, and the unrelenting riff-filled charge of guitarist Ross Dolan. "Lizard Brain," however, is one of the very best tracks on the record, certainly my favorite.

It feels like Electric Citizen is onto something vaguely but palpably more primeval than the hippness of The Me Decade. Indeed, the tonality seems to dig straight into the well of the ancients, hinting at Near Eastern strains (as on the mystical "Other Planets").

Something about the tone of the guitar and the circular flow of the rhythm on "Lizard Brain," coupled with the ethereal, spectral strains of the songstress, makes me feel like it could be at home thousands and thousands of years ago in ancient Sumer or Babylon. Imagine were the band to be magically transported to such a time, their stuff would now live in legend.

Electric Citizen's unique blend of melody, ambience, and rocking rhythm strikes an ideal balance that makes their newest effort imminently replayable. I think it grows stronger each time I listen. EC4 has a way of really imprinting upon that part of our psyche so irresistibly drawn toward music. Perhaps the "Lizard Brain" itself.

Look for EC4 to drop on June 27th via Heavy Psych Sounds, with the usual stunning array of 12" options pre-order here.

Give ear...

SOME BUZZ

Electric Citizen is a Cincinnati-based rock band known for their fuzzed-out riffs, haunting melodies, and electrifying live shows. Since forming in 2012, they've carved out a distinct sound, blending vintage psychedelia with heavy rock 'n' roll. With three acclaimed albums under their belt, they've toured extensively, sharing stages with acts like The Crazy World of Arthur Brown, Pentagram, and Fu Manchu.

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, 'EC4' — a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY.

ELECTRIC CITIZEN - EC4 by HEAVY PSYCH SOUNDS Records

The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, 'Sateen.' Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet—a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. 'EC4' is both a homecoming and a rebirth. Electric Citizen is back!

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[doomedandstoned]

Calgary’s WOODHAWK Bares Their Soul in 3rd LP ‘Love Finds a Way’

~Doomed & Stoned Debuts~

By Billy Goate

The human psyche is complex. In this rapid paced world of ours full of constant stimulation to our senses, the human brain is scrambling to keep up with constant unpredictability, randomness, and change. We replay constant regrets of the past, project worried what-if scenarios of the future, and find it nearly impossible to sit still or remain in the present, available to the people who matter most.

This inner turmoil and conflict of mind, while not new to the human experience, is certainly amplified in this time of endless doom scrolling. Music helps us process through it all and find our way to come to terms with our reality, making albums like Woodhawk's latest, 'Love Find A Way' (2025), so immediate and relatable. "It really is a journey of getting out of the darkness and into the light," says the band. This, certainly, is something we all long for, a way through for the dark night of the soul.

We are grabbed right away by the Calgary trio's stoner grove riffing on "Grave Shaker" (a factor that remains strong throughout the record). The next thing that hits is the clear headedness of the words sung. They are delivered by frontman Turner Midzain, whose vocal style and range is comparable with contemporaries Zach Thomas of High Reeper and Daniel Pascual Salvador of Wet Cactus.

"Stranger Ever After," one of the album's two singles, continues the catharsis, juxtaposing high energy riff 'n' rhythm with atmospheric keys that underscore the rawness of the message. "Now this could bring me to tears, leave me shaken and scared, because I've been here before...I’m searching for love, I’m looking for cause, I'm looking for hope for all that I've lost." Midzain illuminates the lyrics, explaining:

Through changes and growth, sometimes you lose people along the way that were once very close to you... Someone who was once your closest person can become the opposite if you grow in different directions.

Love Finds A Way is a moving, introspective, and incredibly honest trek. Doubts and regrets are aired like candid confessions. "Mama I'm scared I've gone too far. I've lost what to say, I don't know where to start," the singer laments in the aptly named "Truth Be Told." Then he borrows a line from Alice in Chains: "I think it's gonna rain when I die."

The music moves the sentiment of these nine songs with a crisp, stalwart beat from drummer Kevin Nelson and robust bass rhythms from Mike Badmington (who also shares vocals throughout the album).

The flow is undeniable in the closing number "Killing Time," which is to me the gem of the collection. It's about being gaslit in a relationship, waking up, and rediscovering a sense of self and is just so thoughtfully written from the catchy beat to the vocal phrasing and the guitar solo and addition of the piano.

I don’t think I’m listening To anything at all Time is slowly killing me And my memories they fade So why are we still here With fading eyes Why am I still here Killing time

While I've made much to-do about the lyrical force of the album, it takes every member of the band to really pull it off and make us believers. Woodhawk is working like a well-oiled machine one EP and three albums into their career, making this a wholly convincing spin track after track.

Look for Woodhawk's Love Finds a Way this Friday, June 6th, on Grand Hand Records (get it here). Stick it on a playlist with The Sword, Thin Lizzy, Horizont, and Priestess. You can catch the album release shows on June 13 in Edmonton at The Buckingham and on June 14 in Calgary at The Palomino.

Give ear...

Love Finds a Way by Woodhawk

SOME BUZZ

Formed in Calgary, Alberta, in 2014, Woodhawk swiftly emerged as a formidable presence in the Canadian rock scene. With their debut album Beyond the Sun dropping in 2017, the trio—comprising Turner Midzain on guitar and vocals, Mike Badmington on bass, and Kevin Nelson on drums—immediately garnered attention with their distinctive fusion of classic hard rock and modern stoner metal.

Their music, characterized by infectious grooves and memorable hooks, captivates audiences and has earned them a devoted fanbase. Following the success of their sophomore release, 'Violent Nature,' in 2019, Woodhawk continues to push boundaries and captivate listeners with their upcoming 2025 album, 'Love Finds a Way,' set to further solidify their status as one of Canada's most exciting rock acts. With electrifying performances and a sound that marries nostalgia with innovation, Woodhawk remains a force to be reckoned with, poised to leave a lasting mark on the music landscape.

'Love Finds A Way' is Woodhawk's third studio album and their first full-length release in six years, following 2019's 'Violent Nature.' Woodhawk's distinctive fusion of classic hard rock and modern stoner metal continues to captivate audiences and earn them a devoted fan base who enjoy Black Sabbath, The Sword, Priestess, and Red Fang.

Says the band: "Love Finds A Way" is a journey through the last couple of years. All of us went through some hard times, and to no surprise, the pandemic wasn’t much better! We weren’t sure if we would continue being a band or not. But we prevailed and are stronger than ever. It’s about love and friendship. And getting through things together. Checking in on your loved ones and friends."

Woodhawk has shared two singles, “Relapser” and “Strangers Ever After,” to build momentum for the June 6th release of “Love Finds A Way”, via Grand Hand Records. “Strangers Ever After” showcases the band’s signature blend of classic hard rock sensibilities and modern stoner metal influences, delivering the infectious grooves and memorable hooks that have earned them a devoted following since their formation in 2014.

“Relapser” is an explosive track that showcases the band's evolution while staying true to their foundations in heavy, riff-driven rock. It's got the heaviness their fans expect, but with the emotional honesty that's become increasingly important in their songwriting. This song especially captures that journey of struggling, falling back into old patterns, but ultimately fighting to move forward.

Woodhawk has shared stages with Airbourne, In Flames, Elder, Truckfighters, Metz, The Shrine, and Sandrider. See them on August 3rd, day three of this year's LOUD AS HELL OPEN AIR FESTIVAL in Drumheller, AB alongside Revocation, Cyborg Octopus, Beguiler, Thirteen Goats, Famous Strangers, and more! Full details on LAH can be found at www.loudashell.ca.

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[doomedandstoned]

Dead Fields Of Woolwich Drop Music Video “Cult of Cemetery Light”

~Doomed & Stoned Debuts~

By Billy Goate

There's something fatalistic about doom metal. Black Sabbath addressed it in a somewhat cheeky way, laughing at fate, while being damned respectful of it with those heavy chords that shook the world in the '70s and have reverberated throughout the generations.

When you combine doom and Gothic strains, though, the game changes and it becomes much more wistful and forlorn. I picked up on it with Ancient Vvisdom, Young Hunter, and Fostermother years back, and now another band has entered into this misty terrain: DEAD FIELDS OF WOOLWICH.

Not technically new to the scene, with their debut LP released already in 2023 (and several North American festivals under their belt, including Electric Highway Festival), the five-piece Ontario crew is now gearing up for a second full-length record, 'Monarch of The Grave' (2025). This may be, for readers of Doomed & Stoned at least, your first exposure to the band.

I loved the bittersweet nature of this single from the moment I heard it. It's heavy, but hits a soft spot in my heart as well. Atmospheric and sincere to the core, this is the world premiere of "Cult of Cemetery Light."

Give ear...

SOME BUZZ

Unleashing their self-titled debut album in 2023, Dead Fields Of Woolwich unveils their first single "Cult of The Cemetery" off their forthcoming sophomore album 'Monarch of The Grave' due out late this year.

Dead Fields Of Woolwich has its beginnings going back to the autumn of 2020 in North Bay, Ontario, Canada, when multi-instrumentalist Kye Bell (Withing Nostalgia, Falamh) created a gloomy, doom metal project focused on dreary lyrics and a gothic-laden sound. Recruiting Alyssa Broere on vocals, the dark twosome began their musical journey. Now, for their next follow-up and second album, the duo has grown to a full-fledged band with the addition of guitarist Dave Strba, bassist Greg Meir, and drummer Kyle Taylor.

Band founder and guitarist Kye Bell explains further on the band's evolution:

"The sound has evolved since the first release. When writing the first album, the focus was more on powerful chords and drudging riffs. Those things are still there in small doses, but this album is full of harder-hitting songs and much more memorable parts that stick with you after the listen is done. This album breaks away from the typical Doom formula and kind of takes on its shape. The songwriting has become more refined over time as well, lyrics are more concrete with well-defined concepts. I feel like this particular single, Cult of the Cemetery, will be very well received due to the more rock-rounded nature of the song while still maintaining its heaviness and its foot firmly planted in the metal realm. It opens the doors to a different audience, yet still stays true to the dark nature of the band."

With its very memorable riffs, this new single is catchy hell and dark as the grave it speaks of. Melodic and melancholic, it is recommended for fans of Paradise Lost, Type O Negative, and Katatonia.

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[doomedandstoned]

HIPPIE DEATH CULT Air Stunning 4k Concert on Eve of ‘Live At Star Theater’ LP

~Doomed & Stoned Debuts~

By Billy Goate

Get ready for an ear-tickling, heart-pounding, three-piece attack with big, rumbling, full-bodied bass, monstrous thundering drums, sweet stinging, rambling guitar riffage, and siren vocals that turn banshee in a hurry.

If you haven't seen Portland, Oregon's HIPPIE DEATH CULT do their thing live, you're missing out. But you don't have to miss out today, because they are 'Live At Star Theater' (2025) and Doomed & Stoned is giving you an exclusive first listen (and front row seat) to the recent full concert spread, out Friday on Heavy Psych Sounds.

The show largely is largely comprised of songs from Hippie Death Cult's last album Helichrysum (which we premiered and reviewed in these pages), and it will no doubt generate excitement about getting out to see the band live when they travel through your city. This one takes place in the band's hometown at Star Theater (where I've been privileged to film quite a number of bands, including Witch Mountain and Bongzilla).

Kicking things off is the stellar door-kicker "Arise", with those gnarly downtuned doom trills and the ominous prophetic vocals of Laura Phillips that question everything. "The search for deeper meaning...dark hallucinations." Eddie Brnabic's guitar is on fire, and practically singing, with a big, bouncy, badass rhythm shared between Laura's bass and Harry Silver's drums.

"Toxic Annihilator" follows on its heels with a hailstorm of spitfire and fury, BPMs flying at you like a nest of pissed-off hornets. It just never lets up. Lyrically, the song couldn't be more relevant to our own time, with mad power grabs running rampant.

Gotta say it's great to hear these songs live and see an audience that's packed and fully engaged in all of it. This comes out with the whistles and cheers as the oh-so psychedelic landscape of "Shadows" unfolds, in a dreamy, kaleidoscopic panorama of guitar that casts a spell on the 6th Avenue crowd. There are so many little touches throughout the song -- a riff here, a vocal there -- that make this one memorable and compel repeated listens. And there's a Kyussesque warmth that pervades the atmosphere, a thick cloud of intoxicating smoke made of chill bass groove and guitar fuzz.

The mysterious beginning to "Red Giant" reminds a tad of those first 11 seconds in Guns n' Roses "My Michelle," which you kinda wish could linger a little longer. Like "Toxic Annihilator," this is a hard hitting barnstormer that rustles up a storm. The sweet spot is that grinding guitar breakdown that accompanies the words "She will make you stronger..." The screams on this one are unbelievable.

The album closes with a gargantuan number, "Circle of Days" from the band's 2021 album of the same name. It's a fluid 16-minute odyssey of breath-taking scope. The bluesy, soulful moments six-minutes in are to die for and the bass twelve-minutes in sounds so fat and juicy, you can sink your ear-teeth into its notes. In fact, every instrument is honed to great effect. You can see the people mesmerized under the spell of HDC sound, the stage presence of the band and light show buttressing the effect.

Hippie Death Cult's 'Live At Star Theater' (2025) is an inimitable display of energy, inspiration, and hard-headed might. Out May 9th on Heavy Psych Sounds, with some particularly tasty looking vinyl varieties as the label is now famous for among collectors (pre-order here or here).

Give ear...

SOME BUZZ

Raw and uncompromised, "Live at the Star Theater" perfectly showcases the thunderous trio's sonic firepower and wild chemistry through five of their most iconic tracks. From the intoxicating proto-heavy groove of "Circle of Days" to the razor-sharp riffing of "Toxic Annihilator", all songs are delivered with enough intensity to make the Star Theater's foundations crumble. Hippie Death Cult confirms their position as one of the heavy underground's most undefectible live outfits, premium performers that will raise hell in every single town they play. Let the HDC hurricane hit you now.

Says the band:

“We’ve been toying around with the idea of doing a live album for a while now, considering our music has a whole different energy and vibrance to it in any given live situation. There are also moments of spontaneity, improvisation and imperfection, which make each performance different from night to night, so it’s cool to have a well recorded document of a little snapshot in time from this era of the band’s history.

"It’s also something we plan on doing more regularly in the future as we progress along our path and evolve. We toured a whole hell of a lot in 2024, both across the United States and Europe as well as Canada and this was our final show of the year and took place in our hometown of Portland, Oregon.

"We figured it would be a special place to try and capture an audio and video document of a full concert, one, because Portland has always been our rock, a very supportive hometown with whom we’ve always shared a genuine connection with and two, it’s a place where we have the resources to have friends help to make it happen on little to no budget. Some things went 'right' that night, some things went 'wrong.' Its raw. It’s live. It’s us.”

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[doomedandstoned]

Italian Doomers WASTE CULT Share Big Opener to Forthcoming LP ‘Blame’

~Doomed & Stoned Debuts~

By Billy Goate

From Bologna, Italy comes the mighty WASTE CULT. The ancient city is the home of doom-stoner bands like Three Eyes Left, Hyperwülff, Holy Giant, Slow Order, and State of Non Return -- a number of which have been highlighted in these pages and on The Doomed & Stoned Show in past years.

Waste Cult, a four-member doom crew, are poised to release their first full-length record, 'Blame' (2025) this summer via UK label Aesthetic Death Records. This follows an excellent self-titled EP debut in 2022.

There's something stately about the architecture of the songs, no doubt inspired by the legacy of Italian architecture (or at least the psychological impact of those elegant arches, columns, and spires). At the same time, there's an early morning misty melancholy that pervades, not quite as sad as Pallbearer, yet capturing a kind of wistful wishfulness.

The band's latest single is "Ad Astra," (which Doomed & Stoned brings you today), and it opens the record with a fiery spirit, charging forward with melodic guitar, rumbling bass, sturdy chords, and stalwart rhythm. The vocals are earnest, reaching for lofty places, looking to soar, capturing a longing to live beyond regret, aspiring for a life of greater meaning.

The drumming is a big highlight of the album for me, as well -- peppy with an off-beat feel, keeping their feet dancing without ever tripping up (something you'll pick up on immediately with the track that follows, the whimsically titled "Delirium Of Manners").

The band gives us a bit of background on the new record:

It was written in the very first creative period after the release of the previous work (the self-titled EP) and marked the beginning of the shift towards a style that is both powerful and introspective. 'Blame' is meant to be a sum of all different influences from hardcore punk classics, to classic doom, to post metal, with a more defined identity, after a few years experimenting in the practice room.

You can get Blame by Waste Cult on June 6th here or here. Stick it on a playlist with Candlemass, Marche Funèbre, Endonomos, and that first album by Age of Taurus.

Give ear...

SOME BUZZ

Waste Cult’s debut full-length album, 'Blame' (2025), will be released on June 6th, 2025, via Aesthetic Death.

Emerging from Bologna’s underground scene, Waste Cult was formed in late 2021 by musicians with roots in punk and thrash metal, yet a desire to explore a darker, doom-laden sound.

'Blame' is the culmination of this journey—a raw, introspective work that merges classic doom influences with modern post-metal atmospheres. Following their self-released 2022 EP, this album solidifies their identity, delivering immersive and emotionally charged soundscapes.

Waste Cult started in Bologna, Italy in late 2021, with all members having experience with other punk/thrash metal projects, including Rake-Off, Hyle, Siege Stompers, Call The Cops…

The aim for Waste Cult has been to create different sounds and atmospheres to those other projects - exploring a slower doomier approach to their sound. In mid 2022 they self-released an eponymous 4-track EP on tape, and on the back of that started playing shows across Italy.

The first full length - 'Blame' - is the characterisation of all their different influences, with a more defined identity - taking inspiration from the doom classics to the more modern post-metal sounds. This reality took shape after years experimenting in the practice room, with 'Blame' bearing witness to a more introspective and personal approach within both the music and lyrics.

Aesthetic Death has always been a fan of stoner doom sounds and, like many, was schooled on the likes of Kyuss, Monster Magnet and Black Sabbath. Yet, Aesthetic Death has rarely had opportunity to work on any release with bands from these lands of sound.

When first listening to Waste Cult it instantly resonated. Albums can become a soundtrack to a period of our lives, as an immersive escape alongside all the positive or negative things happening.

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[doomedandstoned]

André Drage’s ‘Wolves’ Takes Us to Feverish, Blissful, Unexpected Realms

~Doomed & Stoned~

By Billy Goate

Cover art by Stein Are Kjærås Dahl

André Drage seems to take joy in blurring the lines of reality on 'Wolves' (2025), but in the best possible way. A funky blend of jazz, prog, and psychedelia, this belongs in the realms of '70's legends King Crimson and Frank Zappa, but soars into a destination all its own. This slick Norwegian collaboration brings together drummer André Drage, trippy guitarist Viktor Bomstad, violinist Jørgen Krøger Mathisen, a boss bassist in Petter Asbjørnsen, and the keyboard wizardry of Vegard Lian Bjerkan.

From the climbing riff that hooks you on opener "Potent Elixirs" (and the Clutch-funky vibe that follows), you know you're in for something completely out of this world, with instruments spontaneously going solo for as long as they damn want to.

Every track on Wolves is an anomaly, a creature of its own oddity and mesmerising stripe. Compelling your ear to listen is a buzzing rhythm transporting you through each song's evolution.

Along the way we capture moments frantic ("Fire"), chill ("Nesodden"), caffeinated (dig that bass on "Tigerboy"), pleasantly strange (the disorienting keys at 2:30 on "Wind in their Sails"), and ecstatic ("Brainsoup"). I could see this as a bewildering alternative soundtrack to David Cronenberg's Naked Lunch, or simply a companion to the William S. Burroughs' novel itself.

There are albums that help us process our emotions by lyricizing about something we can relate to or generating a particular mood. This album simply transports you to a new plane of existence, far above worries and sanity.

Get André Drage’s Wolves on Drage Records. Out the 25th of April, this Friday (pre-order here).

Give ear...

André Drage · Wolves

SOME BUZZ

With the fires still burning around the release of Journeyman this month, acclaimed drummer and composer, André Drage, is thrilled to announce his second record in as many months.

Compared to the lush electronic and instrumental waves of Journeyman, his next album Wolves showcases an entirely new and ferocious approach to his trademark sound. Packed with complex, experimental, and intensely rhythmic rock like that found in the highly influential music of King Crimson and Frank Zappa, it also travels through the dustier crates of prog rock history. Fans of late ’60s and ’70s outliers will find plenty to love from the heavy acid grooves of Amon Düül II to the intricate, jazz infused guitar work and shifting time signatures of The Mahavishnu Orchestra.

Featuring André Drage on drums, violinist Jørgen Krøger Mathisen, guitarist Viktor Bomstad, bass player Petter Asbjørnsen and Vegard Lian Bjerkan on keys, Wolves is like a long-lost album from the vaults of Vertigo or Deram. A true progressive gem hewn from the minds of unmistakably raw and rising talents.

“It’s essentially a fusion record inspired by both newer heavy metal music, jazz-rock and bands from around the world,” explains Drage. “There’s some inspiration from Mahavishnu Orchestra, Gong, and Soft Machine in there and even bands like Meshuggah too. My hope is that the music released can appeal to music lovers in different camps who want something fresh but strangely familiar at the same time.”

Perhaps best known in the European metal underground for his work with Norwegian trio, Draken, Drage’s new imprint hopes to redefine genre boundaries and inspire new listeners. With a commitment to showcasing a diverse range of musical styles, Drage Records was announced in late 2024 and detailed in this interview with It’s Psychedelic Baby Magazine.

Wolves by André Drage will get an official worldwide release on Friday 25th April and be preceded by the release of Journeyman on 14th March.

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[doomedandstoned]

EARL OF HELL Kick up Dust in Breakthrough Debut LP

~Doomed & Stoned Debuts~

By Billy Goate

EARL OF HELL is good medicine. The Scottish band combines the vivacity of rock 'n' roll rhythm with chuggy guitar ferocity for one the most enthralling acts we've heard in quite some time.

We brought you Earl of Hell back during the pandemic, with the music video premiere of "Hang 'em High" from their first outing 'Get Smoked' (2022), which I lauded for its "fat riffs, dramatic flourishes, and some damned impressed pyrotechnics."

Now comes the band's first proper full-length, with 9 tracks 36 minutes of pure heavy bliss. For this jaunt, they worked with producer Alain Johannes who scene hounds will recognize from Queens of The Stone Age, Them Crooked Vultures, The Desert Sessions, and his own band Eleven (Earl of Hell did a stormy cover of "Nature Wants To Kill Me" on stage with Alain last summer). He no doubt suggested a few compelling touches here and there that take many a song over the top.

'Earl of Hell' (2025) begins, intriguingly, with a short homage to The Louvin Brothers ballad, "Satan is Real." Its backwoods and folksiness, the swirl of evening insects, and gnarled fuzz makes it a bit unnerving, like we're stumbling into a world where things can get strange and dangerous.

Perhaps a fitting intro, once we hear those damning smashes that tear off the lid off tour de force "The Infernal Dream." The guitar riff is a stoner metal lover's dream: dire and badass. The blended vocal harmonies on the verses that follow are soothing to the ears. They transport me to a blissful state, like being strapped in safely to a rumbling jet that's about to touch off. You feel the growling intensity of the drum, bass, and guitar attack, but feel somehow carried atop it all by the singing.

"Impaler" is a rip roaring bar stormer. One can imagine a devilish hoe down in some God forsaken barn lit about by Jack o' Lanterns. "Brave New Age" feels like it's in a guitar driven mania, but the vocals somehow make us less afraid to take a ride on the huffing, puffing rodeo bull. There are some really chill vocal harmonies here that really stick around in my mind and have me revisiting this song just to get my fix of that "Yeah, yeah, yeah" harmonic progression about a minute in.

Impressive on each song is the power of those downtuned instruments, as in those first fistful of notes on "Calling, Is The Crow" -- especially when they crash emphatically together. It really hits something deep inside the chest, and I can imagine the low-end would rearrange your internal organs live. A flighty guitar riff shows up 50 seconds in and returns before the final chorus, hovering overhead in the upper register like a crow, singing its short little sad song into the atmosphere.

"My Twisted Mind" opens like a Kaiju pulling spitting high tension wires down, wading through the buildings toward the center of town. It's one of those songs that seems larger than life (especially listening with a good headset on).

"Macabre Cadabra" would make a great companion following Helmet's "Exactly What You Wanted," as both have that real nice headbanging groove. The twin guitar action throughout the album has been outstanding and having Dan Mitchell and Lewis Inglis playing either in sync and each doing their own thing (e.g. driving rhythm vs. obsessive spacey shredding) is one of the great spectacles for the ear. The song ends strong and defiant like a heartbeat.

There are simply no fillers on this record. The tracks seem to just keep besting themselves as the B-side spins along. Just when I think Earl of Hell is going to opt for something ordinary and well-trod, they come back to surprise me. "Waiting to Die" brings in more great harmonic vocal touches from lead vocalist Eric Brock and guitarist Lewis Inglis. The drumming of Ryan Wilson and bass work of Dean Gordon shows not an ounce of fear, but absolute resolution without even a hint of stiffness. The chorus, as with so many others on the record, is a big part of my affection for this bittersweet number.

"Bloodlines" is the longest song so far, with most averaging around 4 minutes. This one goes for an epic storytelling riff that builds with more and more conviction as it is repeated, with the first verse arriving toward minute two and then a bittersweet chorus about how we gotta go, gotta know, and accept things that just gotta be. The band brings all its energy to bear around the four minute mark with chugging momentum and sawing riffage, then a shift to reassuring chords and a solo that swims as freely as a salmon upstream. The vocals get more punky before a return to the opening motif and the foot stomping dirge that closes this romping adventure of an album.

Earl of Hell's self-titled full-length debut emerges from the depths on April 25th (get it here). I assure you, this one's gonna get stuck in your craw. Mix it on a playlist with King Gizzard and the Lizard Wizard, Håndgemeng, The Watchers, Helmet, and a dash of Nirvana's faster songs.

Give ear...

SOME BUZZ

Earl Of Hell was born in 2020, just prior to the COVID pandemic which forced the UK into lockdown. They spent the first few months sharing ideas remotely and began rehearsing once restrictions finally eased. With music venues closed, the band spent a year honing their set and wouldn't play their first gig until August 2021 to an allseated audience. This was shortly followed by a sold-out first hometown show in Edinburgh’s legendary Sneaky Pete's.

The band released a succession of singles, ‘Blood Disco’ and ‘Arrhythmia,' while continuing to play around Scotland and Northern England. They finally hit the studio again in 2022 to record and release their debut EP ‘Get Smoked’ on USA label Slightly Fuzzed Records, receiving many positive reviews within the Stoner/Doom community. This was followed by a more extensive run of shows which included their first visit to London and opening for Bongzilla and Phil Campbell And The Bastard Sons.

Over the Summer of 2022, Earl Of Hell looked to expand their sound by recruiting a second guitarist and quickly found one in Dan Mitchell. The band dynamic was enhanced as they immediately began writing and performing live as a five piece, opening for touring acts such as Lightning Bolt, Gnome and The Vintage Caravan.

2023 would prove to be the most successful year yet for Earl Of Hell, playing in excess of 30 shows, including a slot at the coveted Desertfest London, a summer tour with Iceland’s Volcanova and opening for bands such as Sasquatch and Nick Oliveri’s Mondo Generator. On Halloween, they released their fourth single, ‘Impaler,' rounding the year off with headline weekenders in London, the Midlands, and the North of Scotland.

2024 saw Earl Of Hell complete a successful tour with Chilean born multi instrumentalist and producer Alain Johannes, performing as tour support and Alain's own backing band.

Continuing to tour the UK through 2024, the band are currently in the studio working on a follow up to 2022's "Get Smoked" EP. This will be Earl Of Hell's first full length record, which will be co-produced with Alain Johannes and the first recorded music since Dan Mitchell joined the band as second guitarist.

With the album scheduled for release in the spring of 2025, the band also have tours with Brant Bjork, Masters Of Reality and another tour with Alain Johannes.

Earl of Hell by Earl Of Hell

Earl of Hell's self-titled debut bestows a juggernaut of raucous rock'n'roll delivered with relentless punk energy and brimming with enough fuzz to make your walls tremble. Mixed and mastered by Alain Johannes (Queens of the Stone Age, Desert Sessions, Mark Lanegan), it displays thoughtful yet unapologetically gritty songwriting.

Embodying the spirit of bands like Alice In Chains, Killing Joke and Black Sabbath, this album pays homage to its stoner rock roots while exploring historical and futuristic concepts from Edinburgh’s infamous grave robbers to Planet Earth’s impending doom.

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[doomedandstoned]

BRANT BJORK: A Portrait

Photographs by Johnny Hubbard

Get a load of this man...

Well I'm gettin' up when the sun goes down And I shine 'em up and I hit the town Well I trim it clean and I roll it up And then I take it nice and slow...

Jalamanta by Brant Bjork

"Brant Bjork has spent over a quarter-century at the epicenter of Californian desert rock. From cutting his teeth drumming and composing on the legendary Kyuss’ landmark early albums, to propelling the seminal fuzz of Fu Manchu from 1994-2001 while producing other bands, putting together offshoot projects, and over the last 20 years embarking on his solo career as a singer, guitarist and bandleader, founding his own record label and more, his history is a winding narrative of relentless, unflinching creativity. Brant Bjork is a founding pioneer of the Stoner Rock/Desert Rock music scenes."

Once Upon A Time in the Desert by Brant Bjork

Shot at the Portal in Louisville, Kentucky on March 21st, 2025 by Johnny Hubbard (FB | IG)

[doomedandstoned]

The Doomed and Stoned Show Season 11, Episode 2

We didn't wanna let our annual Best Of The Year show slide for 2024, so Billy Goate (Editor, Doomed & Stoned) and John Gist (Vegas Rock Revolution) got together to compare notes on their favorite albums of last year. Late as it is, the music is timeless for lovers of heavy groove and downtuned riffage!

Also streaming on Spotify.

BIG BAD BELATED BEST OF '24:

INTRO (theme by Dylan Tucker) (00:00) 1. Huanastone - "If I Had A Head" (00:31)

HOST SEGMENT I: John's Top 10 (1/2) (06:27) 2. Duel (no. 10) - "Pyro" (30:37) 3. Slomosa (no. 9) - "Battling Guns" (34:26) 4. Sergeant Thunderhoof (no. 8) - "Salvation for the Soul" (39:18) 5. Sons of Arrakis (no. 7) - "Blood for Blood" (45:03) 6. 1000mods (no. 6) - "Astral Odor" (50:13)

HOST SEGMENT II: Billy's Top 10 (1/2) (57:07) 7. Blue Heron (no. 10) - "Dinosaur" (1:25:26) 8. Legions of Doom (no. 9) - "Beyond the Shadow of Doubt" (1:30:59) 9. Fostermother (no. 8) - "Echo Manor" (1:36:25) 10. Ruff Majik (no. 7) - "Moth Eater" (1:40:15) 11. Empty Full Space (no. 6) - "Amnesia" (1:45:38)

HOST SEGMENT III: John's Top 10 (2/2) (1:52:42) 12. The Watchers (no. 5) - "Eastward Through the Zodiac" (2:09:57) 13. Sundrifter (no. 4) - "Nuclear Sacrifice" (2:15:24) 14. Lowrider (no. 3) - "And The Horse You Rode in On" (2:20:54) 15. Mr. Bison (no. 2) - "The Child of the Night Sky" (2:23:50) 16. Greenleaf (no. 1) - "Breath. Breathe Out" (2:29:05)

HOST SEGMENT IV - Billy's Top 10 (2/2) (2:34:39) 17. High Reeper (no. 5) - "Broken Upon The Wheel" (2:58:01) 18. Erronaut (no. 4) - "Way Down Below" (3:01:44) 19. Stonekind (no. 3) - "Masters of Man" (3:06:40) 20. DÖ (no. 2) - "Sulfur Incense" (3:14:59) 21. Fu Manchu (no. 1) - "Roads Of The Lowly" (3:20:34)

OUTRO (3:24:17)

Bonus Tracks: 22. Mooch - "Morning Prayer" (3:25:25) 23. Gjenferd - "Restless Nights" (3:30:21) 24. Solar Blooms - "Indifference" (3:35:29) 25. Magick Potion - "Ultraviolet" (3:39:23) 26. Kurokuma - "Death No More" (3:42:44) 27. Acid Mammoth - "Atomic Shaman" (3:49:36)

[doomedandstoned]

GRAVE SPEAKER Gets Low ‘n’ Slow for Second LP ‘Rays of the Emerald Sun’

~Doomed & Stoned Debuts~

By Billy Goate

From the Bay State of Massachusetts comes a sound muddy and unfettered, and as doomy as those stern ol' Pilgrims who settled in Plymouth back in 1620. This is GRAVE SPEAKER.

The band calls their latest single, "A riff filled march through the fuzzy atmospheres of a world filled with awaiting dangers." And indeed there are dangers lurking all about, some as primitive as those our encroaching ancestors faced, others completely alien to them (and to us) -- from enslaving technology and the brutal grind of shifting economic realities to unnatural chemicals and dehumanizing systems of concrete and plastic.

There is something quite base and earthy about the sound of Grave Speaker in response to this Brave New World, as you'll witness on the title track to their upcoming Electric Valley Records sophomore album, 'Rays of the Emerald Sun' (2025).

The low-end is fat and stout, its rumbling rhythm staggering about like Weedeater on a fresh batch of Uncle Jed's moonshine. The track really throws its weight around, with thick groove, stinging and often surreal guitar licks, and deliriously entrancing vocals that sing the blues into late night, then stumble out into the darkness of the wetlands. It's a strange, warm, and haunting vibe that permeates all six numbers on this record.

Grave Speaker's Rays of the Emerald Sun got some real meat on its bones. Another outstanding release on EVR, emerging May 16th on (appropriately) green splatter black vinyl (pre-order here). Stick it on a playlist with Curse The Sun, Wyndrider, and Lo Pan.

SOME BUZZ

Electric Valley Records is proud to once again work with Grave Speaker, this time for the act’s sophomore LP, Rays of the Emerald Sun, slated for May 16 on two vinyl variants and across digital platforms.

Lurching from the swamps of Massachusetts, Grave Speaker is a one-piece psych-stoner-doom project led by John Steele. Rising from the ashes of High n’ Heavy, the doom unit made its presence known with the self-titled debut in 2023, conjuring a ‘70s aesthetic laced with the raw grit of garage rock and the haze of psychedelia.

Grave Speaker - Rays of the Emerald Sun by Electric Valley Records

Now approaching its second album, Rays of the Emerald Sun, Grave Speaker looks toward the future with a mix of optimism and wonder. Across six tracks, the record delves deeper into psychedelia and the stoner realm, delivering heavier, witch-invoking riffage and vocals oozing with a slow-burning, leaden haze, all while clutching tightly to its ‘70s roots.

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[doomedandstoned]

NOMADIC REIGN Drops Explosive New Music Video “Silent Revolt”

~Doomed & Stoned Debuts~

By Billy Goate

Let's get ready to rumble! From Hertfordshire, England comes a total wrecking ball of a band: NOMADIC REIGN. The five member crew have been at it since 2017, with two full-lengths, two EPs to their name.

Today, the band brings the motherlode with a brand new song, "Silent Revolt." As yet, this is a stand-alone single while the band continues to plot away at material towards another album. The explosive nuclear detonation of the opening frames of the new music video says it all.

The time of reckoning has arrived We are the silent revolt And tonight we are ready to ignite

"It's about the anger of everyday life and wanting to make a difference and finding strength in the unison of friends," says vocalist Damien Rodgers.

Guitarist Sam Farrington adds: "Musically it came together quite quickly with our other guitarist Andy Edwards coming up with a lot of the riffs and myself piecing it together and the lyrics were written quite a bit of time after, so the inspiration musically I guess was nothing the more than everyday anger we all feel on our lives and writing the kind of riffs we all love as a release from that."

Rounding out the roaring horde is bassist Harry Bellano and drummer Andrew Bisgrove, who buttress this doomy, apocalyptic sound. This combined with the growling, no-nonsense vocals with the pounding riffage delivers something that's truly Medieval.

Give ear...

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