Written by: The Administrator
While I was listening to fair amount of stoner and psychedelic rock back in 1999, it was largely incidental--I was a child, and the adults in my life with excellent taste in music weren't exactly passing the aux to 5 year old me. Said adults did evidently miss out on the original release of Datura's Visions For The Celestial, and so I am hearing it now for the first time, despite a slew of reissues. In any case, this latest rebirth serves as the 8th chapter of Ripple Music's "Beneath The Desert Floor" series, which "unearths treasures from the golden days of stoner and desert rock." The continual presence of this album suggests to a Datura newcomer such as myself that the songs are probably somewhat timeless. And yeah, that assumption feels correct. Visions For The Celestial represents the epitome of classic psychedelia-infused stoner rock. The reality of listening in 2025 may temper Datura's impact due to the innumerable psychedelia-infused stoner rock bands that have sprung forth in the past quarter century, but as an exemplar of the heavy psych style, it makes for a supreme listen. The leads are prone to meandering, the vocals are thin yet just gruff enough to impart a little grit without going full sleaze. The drums are rock-solid and while not flashy, they act as a tangible foil to the guitar when things get more overtly psychedelic. And all the while, the bass is surprisingly punchy and often imparts a swagger that, while unexpected in a cosmically minded stoner scenario, is exceedingly welcome. A tasty groove-laden momentum--take highlight track "Voyage" as a prime example--keeps the album moving along quite nicely, which is a frankly bit of a rarity in the world of psychedelic music.
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In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short(er) reviews at a greater frequency, thereby shining our very small spotlight on more cool music. Without further ado, here's a new track with some thick riffage.
Written by: The Administrator
Based solely on their moniker, what genre would you ascribe to Austria's own TarLung? Let me give you three guesses. No, wait--that's far too generous. One guess is almost certainly enough. This is very clearly a band that revels in the simple pleasures: massive doom riffs, beast-like sludge roars, and the crushing embrace of fuzz. TarLung recently signed to the venerable Argonauta Records, and to A. celebrate said signing, and B. incite a little excitement for the forthcoming Axis Mundi, they've dropped a stellar single. "Static Noise" leans heavily into heft, with an emphasis on engaging riffage and a generally oppressive presence. The track bursts out of the gate with a rousing start-stop riff that establishes itself firmly and remains an anchor throughout the track's runtime. Philipp Seiler's vocals, when they eventually kick in, are as sludgy and swampy as you might imagine--he sounds like a amphibious beast recently risen from the mire, coated in algae and hacking mud from his gills. I'm a sucker for this kind of delivery: nasty and utterly Brobdingnagian. If you are familiar with TarLung's work on 2021's excellent "Architect," I'm pleased to report that they have upped the ante in terms of intensity. And while many a promo promises that an album is the band's "heaviest to date," I'm pretty sure that's a truthful assessment in this particular case. "Static Noise" is verifiably heavy as hell. It feels massive and looming and borderline gargantuan, and that's all I've got to say about that. "Static Noise" serves as a harbinger of TarLung's Axis Mundi, which sees release via Argonauta Records on Jan. 30th, 2026. Give heed, etc. etc.
Welcome to another edition of DEMO(LITION) DERBY, a regrettably infrequent column dedicated solely to demos. Existing for the sole purpose of bolstering our underground cred since uhhh 2024! If you like reading about demos, check out a previous review here.
Written by: The Administrator
It's been a long while since we've hosted a good ol' demo(lition) derby 'round these parts, and not for lack of material. However, rather than covering any of the delectable morsels currently circling the scummy surface of the promo pit, I felt moved to revisit something sludgy from the primordial days. Back in 2018, when ye olde Sleeping Village existed as a mere Instagram page, I briefly reviewed Slother's first and only project to date. Originally entitled Demo 2018, this 19-minute 4-track release was renamed to MMXVIII a few months later when From The Urn picked it up for a cassette release. The album cover aesthetic is a pretty serviceable hook, but should you require a succinctly accurate descriptor in written form, Quebec City's Slother delineates their sound thusly: “damp riffs.” For a batch of songs evidently discovered in the depths of the St. Lawrence and thrust into mildew’d service, this seems pretty damn accurate. Sopping aesthetic notwithstanding, Slother deals in an obtusely visceral blend of slasher sludge and hefty doom. The riffs are colossal and plodding and violent, often serving as an impenetrable sonic shroud. In terms of tone, the project is defined by an excess of thick fuzz, but while some bands utilize fuzz to create a warm and enveloping environment, Slother revels in grimy suffocation. An occasional lead worms its way through the fray, but the heft of the rhythm is the primary draw here. And, if all this ain’t enough to wet your whistle, the leisurely harsh vocals should seal the deal. These roars and bellows on display, courtesy of one "Pick," are languorously massive. I'm also a fan of the rare inclusion of a vocal sample--"Skrimshaw," for example, fires off with Bush's confident assertion that "the human being and fish can coexist peacefully." While they do appear to be active, judging from some minor activity on social media, I'm sad that Slother haven't released anything since this very promising demo. Or perhaps they are merely taking their sweet time? A slothful approach to songcraft feels apropos, but in the meantime, I yearn for more. Slother - Demo 2018/MMXVIII was self-released May 17th, 2025, and Sept. 2nd, 2018 on CS via From the Urn. Find it here  Written by: The Administrator It's a holiday (probably on account of Dope Skum dropping a new single) and I'm up bright and early, getting a little writing done before the day gets too busy. The excellent "Hollow Point" has been running on repeat in the ol' headphones, sinking deeper and deeper into the grooves of my still-foggy brain with every rotation. Great way to spend the morning. 5 stars. Highly recommend. For those unfamiliar with Dope Skum: they are a skuzzy, fuzzy, and otherwise grungy heavy/stoner rock/metal band out of Chattanooga with a notable folky gruffness and a punky DIY flair. I've been a fan since their debut EP Tanasi, and was impressed with the followup Gutter South, with the hefty and swampy single "Folk Magic" getting it's own review here. In short, Dope Skum are pretty damn cool, and over the years they have been refining their craft and aesthetic while simultaneously exploring various sounds and styles. Which brings us to "Hollow Point," the lead single and harbinger of their forthcoming third EP Hollerwood, which drops September 5th. This is a very strong track, and manages to roll Dope Skum's many demonstrated strengths into a single package. After a plucky intro that adds just enough Americana context to establish a sense of place, the grit and fuzz rolls in. This track does embrace a little more urgency, comparatively speaking--it finds a more overtly rockin' pace, and doesn't lose energy until the outro, which mirrors the aforementioned intro nicely. The vocals also feel more comfortable, somewhat shedding the punkier edge for a more relaxed vibe. While operating in the influence of genres that trend towards repetition, Dope Skum are very efficient and keep things from stagnating--indeed, "Hollow Point" ends far more quickly than I want it to. Always a good sign in my book. In sum? The hook is set, and I'm excited to hear more of this ilk. Great stuff! Dope Skum - "Hollow Point" was released July 4th, 2025 
Written by: The Administrator
Here's an established fact: I like WARPSTORMER. Back in 2022, their debut EP Here Comes Hell made quite a mark--as I said back then, said EP "unleashes riffs with the confidence of a seasoned act and the haste of a band excited to parade their entire arsenal in a single 20 minutes span." Needless to say, the promise of a full length was exciting. Their self-titled debut LP came out last November, and, in classic fashion, it's taken me a very long time to actually write about it. Apologies for tardiness, etc. etc. WARPSTORMER plays a potent blend of stoner doom and thrash, a combination that feels simultaneously vigorous and sludgy. While the doomier stoner elements do frequently take center stage--the thrash is often more apparent in the roaring bombast than shredding speed per se--this album is notably forceful. WARPSTORMER feel like the bastard lovechild of High on Fire, The Sword, five gallons of diesel, and some high-octane guzzoline. And, while big punishing riffs often lead the charge, there are enough progressive and (dare I say?) cosmically inclined psych moments to lend the songwriting an expansive quality. With the exception of some very nice cleans that shine in the back half, the vocal delivery, which is raspy and striking in equal measure, fondly reminds me of the punchiness of Black Royal. While never unhinged, very little here feels overly restrained. WARPSTORMER is a powerful band, and isn't afraid to show it. 
Written by: The Administrator
A glorious thing happened about two minutes and 15 seconds into "Fuzzy Txitxu," the first track off the self-titled new album from Lisbon's Desert'Smoke. After lazily scanning the promo email, I had fully intended to let some instrumental stoner psychedelia run in the background as I worked through a hefty pile of admin tasks. And things did start off predictably, with a mellow intro establishing mellow ambience. But plans were thwarted as the track...erupted. There was absolutely nothing about those spaced-out leads squirming over that rip-roaring riff that qualified as background music. Desert'Smoke were proving unexpectedly engaging. Enthralling, even. As much as I tried to focus on the task at hand, the music made it impossible. And so I focused on the music instead. Rest in peace, productivity. Good riddance. 
Written by: The Administrator
Sometimes, the album cover tells you all you really need to know. And if we're being honest, "sometimes" becomes "frequently" when we're dealing with the comfortably miasmic realm of stoner doom aesthetics. So. Prior to hitting play, there was no doubt in my mind what War On Drugs by Mexican duo High Grind was going to sound like. Smog-thick riffs. Phlegmy vocals. A little swirling psychedelia. It was frankly quite inevitable that I would enjoy the soundtrack accompanying this weed demon bacta tank imagery. I'm pleased to report that I do very much enjoy War On Drugs. It does absolutely nothing new, but when it comes to stoner doom, I'm generally quite happy with a band that sticks to the bulletproof established formula. Give me mammothian riffs that lurch about like--to quote Rolling Stone's 1972 review of Black Sabbath's Vol. 4--a "giant prehistoric plant learning how to walk." Give me indistinguishable lyrics via throaty howls wrenched from the sludge. Give me stupored groove and the warm embrace of fuzz. Honestly, every track here is a good example of what High Grind offer, but check out the embedded "La Guerra Contra las Drogas" below for some particularly downtrodden riffage. 
Written by: The Administrator
I'm no expert, but I'm fairly certain it is impossible to look at this album cover and imagine it attached to anything other than some comically distorted and trippy psychedelia. Y'know, the good stuff. Terra is the debut album from Acid Arno, a self-described "loud trio" out of Berlin, and the three track contained within do not disappoint when it comes to rich fuzz and expansive acidic leads. I'm in love with this poetic and extremely apt description lifted from their promo material: Terra combines "layers of bowing deep fuzzes, lysergic delays supported by stone primal percussiveness set down in a dilated dark-trip composition." If that isn't enough, their bandcamp description states that they are "grounded to space." And yeah. I couldn't agree more. All of this is exceedingly accurate. Well said. 
Written by: The Administrator
One of my most-listened EPs of 2020 was Deserts of Mars' stellar Return From The Void, an eclectic and addictive 5-track project that effectively consumed my listening habits for the better part of a year. I'm fairly certain that these tracks are permanently and physically etched upon my brain, and I ended my (very extensive) review by predicating that I would inevitably be listening Return From The Void until the band released something new. Little did I know that new music from the Mars camp would be a loooong time coming. But! I am happy to report that Deserts of Mars have successfully maintained a prominent position in rotation whenever the urge for some familiar stoner metal hits. Which is, y'know, quite often. I am also happy to report that the mighty Dead Planet Exodus, released independently on Oct. 18th, was well worth the wait. Self-describing their hefty and irresistible style as "Mars Metal," Deserts of Mars exists in a fuzzy and occasionally tempestuous zone between stoner rock, grunge, doom, and a little trad metal attitude strewn about as well. This thing is loaded up with hard rockin' riffs and sci-fi flourishes galore, and immediately establishes a well-defined interplanetary aesthetic--not cosmic per se, but rugged and dusty. This is a concept album through and through, with the interwoven crash-landed-on-an-hostile-alien-planet storyline proving an engaging and consistent framework. And not to be overshadowed by the narrative, the music itself is likewise engaging and consistent. If you're looking for a brief review: Dead Planet Exodus is a wonderful album that successfully builds a world and capitalizes on pent-up potential, and I have very much enjoyed spending time with it over the past few months. If you're looking for a significantly longer review: I've got you covered. Read on below! 
Written by: The Administrator
When I crave some fuzzy riffage that embodies the laborious act of clambering through a swamp in pea-soup fog, I turn to Green Hog Band. These fellas have been putting in the work for a few years now, routinely dropping fresh batches of fuzzy 'n' scuzzy motorcycle-revving stoner doom. This latest, Fuzz Realm, was released back in June of this year and subsequently sat in the ol' promo pile for far too long. But better late than never, says I. Let's dive straight into this tarpit. Even before hitting play, I already felt exceptionally familiar with the contents of Fuzz Realm. That's a strong indication that Green Hog Band have built themselves a cohesive identity. This is dirty stuff. Every thick riff is coated in a greasy patina of motor oil and cigar ash. Meanwhile, the clean-yet-demonic vocals--delivered in both Russian and English--have been chained to a Harley and dragged across gravel for, I dunno, a lifetime and a half? In terms of elements that feel a little fresh in the Green Hog Band playbook, a distinct occult influence peers through the cracks in terms of samples and general spooky ambience. Put it all together, and the formula speaks for itself. The Fuzz Realm aesthetic is dark, menacing, and, in case I have not been clear, heavy as ever-living hell. While everything here feels like it would fit comfortably on any stoner metal playlist of your choosing, closer "Phantom" is perhaps my favorite track, as it balances softer passages with throat-crushing guitar dropping in to remind the audience who is boss. I also love "Nightmare Creatures" for that simple and endlessly earwormy riff. The aforementioned vocals add a little unique flair and flavor, but at the end of the day, these eight tracks--along with the Green Hog Band catalog in general--are built upon and sustained by that sweet, sweet heft and fuzz. The riffs and songs don't necessarily stick in my head after the album is done, but they really don't need to. They make their impact in the moment, and that, I would argue, is significantly more important. Green Hog Band - Fuzz Realm was released June 20th, 2024 via The Swamp Records. Find it here! |
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