I’ll admit that in perusing the press release below for Space Queen‘s new video for the previously-premiered single “Incantation”, I was hoping to run into a release date for their upcoming debut album, following on from 2023’s listed-as-an-EP-but-it’s-got-nine-songs-so-how-much-more-do-you-really-need release, Nebula (review here). No dice. I did find out they played the California Avocado Festival though, which, hell yeah I’d check that out.

So not necessarily a loss, but I still have no idea when Space Queen‘s LP will be released, and as they dive further into “Incantation” with visual accompaniment, I’m even more curious as to when it might be in store for when it arrives. I feel like there’s some searching going on here as regards identity, the candles in the visuals and cult aspects. The performances stand up strong enough that I feel like some of that might phase out over time, allowing for more of a pastoral heavy to take hold. At least that’s what I get from “Incantation.” Again, I don’t even know when the record’s coming out, let alone how it sounds, so I guess I don’t have much to add here except that if you missed this song when it premiered, now it has a video. Alright.

From the PR wire:

Space Queen share “Incantation” video from forthcoming full length debut

Vancouver, BC trio Space Queen share the official video for their new single “Incantation” today.

Space Queen is the stoner rock evolution of power trio Jenna Earle (guitar/vocals), Seah Maister (bass/keys/vocals) and Karli MacIntosh (drums/vocals).

Space Queen takes the trio’s signature haunting vocal harmonies and sends them soaring over a cosmic canvas of neo-psychedelic rock. Driving beats from MacIntosh provide an anchor for Earle’s heavy distortion and 70s-style riffs, while Maister keeps everything grounded on fuzzed-out, gnarly bass.

The band released their debut EP in 2020 which garnered a ton of favorable press and college radio play, including landing on the Earshot charts. Space Queen was featured on Nardwuar The Human Serviette’s radio show for a month leading up to their EP release.

Space Queen has steadily increased their following by opening for Meatbodies, King Buffalo, Blackwater Holylight, Dopethrone, Cancer Bats, Hippie Death Cult, Mondo Drag, The Well, Acid Mother’s Temple, RIP, Spirit Mother, Spoon Benders, Hastronaut, Mos Generator and Black Mastiff. The band also hit multiple festival stages including Massif Music fest, Electric Highway, Tune It Down Turn It Up Festival, The Dream Roll, The California Avocado Festival, Noise Cult Festival, Rock ‘n’ Roll Pride, and Fallen Fest.

2023-2024 have been landmark years for the band: They released their sophomore record, Nebula, supported by extensive touring in western Canada, across-Canada (to Toronto to play NXNE), the U.S. west coast, and Southern California multiple times.

wearespacequeen.com
instagram.com/wearespacequeen
facebook.com/wearespacequeen
wearespacequeen.bandcamp.com

Space Queen, “Incantation” official video

Space Queen, Nebula (2023)

Finland’s Kaiser are the latest European import act to be announced for Planet Desert Rock Weekend VI, set to take place early in 2026 in Las Vegas. The three-piece recently issued their sophomore LP, 2nd Sound (review here), through Majestic Mountain Records, and their relationship with PDRW curator John Gist goes back further to an installment of Ripple Music‘s Turned to Stone split series that Gist put together with Kaiser and Captain Caravan. This will be their second time making the trip. Obviously dude is a fan, and reasonably so.

I’m not sure how much more there is to add to Planet Desert Rock Weekend VI, but I am sure I want to go. How many times in your life are you going to get to see a band like this on US soil?

Off to the PR wire with you:

Planet Desert Rock Weekend VI is proud to announce Kaiser returning to Planet Desert Rock! This Finnish power trio played PDRW v2 back in 2019 and brings a high energy set every time. Kaiser’s newest album via Majestic Mountain landed #2 on The Doom Charts for the Month of March. The band is led by frontman Otu Suurmunne who is also known for his cool mash up creations on Moonic Productions as seen on Instagram, YouTube and other platforms. Their super strong catalog consists of 2 very good album, an ep and was part of an amazing split with Captain Caravan on Ripple Music’s Turned to Stone series that Vegas Rock Revolution’s John Gist curated.

Planet Desert Rock Weekend VI has 4 more bands to announce with at least 1 to be announced within the month. We have also created a 4 day pass that includes Night 4 (Last Call Show) along with poster combo packages as well. We are happy to announce that artist Joey Rudell will be providing artwork for a set of posters and Alex Sonolith will be helping with posters/artwork as well. Ripple Music will be a sponsor again for PDRW and expect to be adding a few more again for PDRW VI.

Thank you to everyone who has helped sell out the early bird tickets and supported our humble weekender! The amount of positive feedback is the fuel that keeps it going. We know it will be one helluva rock and roll party!

Ticket Link: https://www.eventbrite.com/e/planet-desert-rock-weekend-vi-in-las-vegas-jan-29-31-2026-tickets-1254021715709

Event page: https://www.facebook.com/events/1890287758376482/

https://www.facebook.com/VRRProductions/
https://www.facebook.com/vegasrockrevolution/

Planet Desert Rock Weekend VI Preview Playlist

[Click play below to stream Dead Shrine’s Cydonia Mensa in full. Album is out tomorrow through Kozmik Artifactz and can be ordered here: https://kozmik-shop.com/search/?qs=dead+shrine.]

Prolific songwriter Craig Williamson offers Cydonia Mensa as the second full-length from the heavy-swinging, psych-rocking Dead Shrine, his third solo-project. It follows behind the project’s 2023 debut, The Eightfold Path (review here), and the 2024 collaboration Lamp of the Universe Meets Dr. Space (review here), for which the Hamilton, New Zealand-based composer, multi-instrumentalist and vocalist donned his long-running acid-folk band persona shortly after reissuing the debut album from his turn-of-the-century-era heavy rock outfit, Datura, on Ripple Music. One could go further back — Lamp of the Universe‘s second LP has a reissue out on Sound Effect Records, and that project’s last album, Kaleidoscope Mind (review here), came out later in 2023 after The Eightfold Path — but to place Cydonia Mensa in Williamson‘s oeuvre, it’s not difficult to hear the love of heavy psychedelic forms driving the material.

That is to say, Williamson sounds like he’s having a blast across the eight songs and 42 minutes that comprise the album. Despite the full-band sound, the committed DIYer is able to hone a sense of intimacy in the penultimate “Evolution Garden” that harkens back to earlier Lamp-style acoustic-based fare while also reinterpreting at its root the strum from Alice in Chains‘ “Rooster.” That’s a dig-in unto itself on the album, but by no means does it take that long for the fun to make itself known.

The opening cut, “Serpents of the Sun” is a hooky blowout that introduces itself with a crash-in and almost immediate movement into the verse. Big swing, big tones, and plenty of space in the mix for all of it. It’s a rocker and he knows it and there’s more to come. Some bawdiness in the vocals, a little burl tossed in, perhaps, adds to the song’s encouraging push, and soon, “Cydonia Mensa” picks up with its lower-ended, slower roll, with choice backing vocals and time kept on the bell of the ride.

It’s a sleek, grooving classic stoner boogie, and it speaks to genre in a way that Williamson‘s last outwardly heavy-rocking project, the trio Arc of Ascent, wasn’t necessarily willing to do. And where Lamp of the Universe explores spiritual ideas through music drawing from folk traditions, space experimentalism, melted-cortex psych, and so on, Dead Shrine expresses itself in the motion of its riff worship.

I’ll say as well I can’t remember the last time I heard a drummer have as much fun as Williamson sounds like he’s having wailing on his snare coming out of the first verse of “Sacred Light.” It’s a short stretch on the cowbell-infused third cut, from a couple seconds before it hits the one-minute mark until about 1:10 when the next verse starts, but that pop-pop-pop surrounded by the crashing of cymbals and the kick beneath, to me, is exactly what Dead Shrine is all about in terms of Williamson‘s raw enjoyment.

The end-product is different enough to be a different band, but the joy of exploration is the same. It’s there in “Sacred Light,” as well as in the “Yeah, baby!” of the title-cut, the way “Monuments” subtly brings in sitar drone and a synthier psychedelia — it might be mellotron behind the more forward instrumentation of the mix, but if not, it’s some other kind of vintage whathaveyou leading into the appropriately wah-drenched solo — expanding the relatively straight-ahead scope up to that point ahead of pushing further out on side B, swaggering in “Temple of Saturn” with a shove in the chorus rawer vocal.

The vocals feel like a standout. Not so much because they’re radically changed from what Williamson has done before in Dead Shrine or Arc of Ascent or even latter-day Lamp of the Universe, but as someone constantly redrawing the lines and adjusting the balances between the various intentions of his craft, the vocal performance here is striking in its confidence, and while he’s long since been able in the studio to do the work of a complete band one layer at a time and mix it together to get a players-in-room feel, I don’t know if Williamson has ever sounded as much like a frontman as he does on Cydonia Mensa.

Returning in “Redeemer,” the backing vocals of the title-track highlight just how forward the leads are and how much of Cydonia Mensa‘s personality derives from the attitude on display and the strut that coincides with the rampant swing in these songs. For that alone, the impression is that Williamson has figured out something about what he wants Dead Shrine to be in terms of method, and while it’s ultimately well within the reach of his songwriting as demonstrated up to this point — that is, he’s not taking on an entirely new stylistic approach to writing heavy music — it’s emblematic of what drives him that after more than a quarter-century of banging away at various ideas and projects and directions, he’s able to create a piece like the near-eight-minute capper “Illumination Through Knowledge,” which makes a point of uniting all the sides for one final outbound march into the noise and hand-percussion that ends the album.

In the interest of honesty, you should know that I approach this second Dead Shrine album as a fan, but given the reception of the debut, I don’t think I’m alone in that. The fact that Williamson is still exploring and still finding new ways to write and arrange songs that are both fresh and so distinctively his own underscores in my mind his singular contributions to the heavy underground, and the resonant joy of some of Cydonia Mensa‘s heaviest moments — I’m not taking away from “Evolution Garden” there; the penultimate track is essential to the flow for side B and putting the listener in the proper headspace for the closer — adds a feeling of serenity that not even the most blissed-out effects could hope to hone. Whether you’ve followed Dead Shrine since its inception or you’ve never heard of Williamson, this or any of his other projects, it doesn’t matter. The album will still grab you if you let it. I advise you do.

Dead Shrine on Facebook

Dead Shrine on Instagram

Dead Shrine on Bandcamp

Kozmik Artifactz on Facebook

Kozmik Artifactz website

Let’s assume that by the time Californian desert rock institution Yawning Man head abroad in November for their upcoming tour alongside the adjacent project SoftSun — it’ll be double-duty for guitarist Gary Arce, who is shared between both bands — the split release that had been previously announced will be out. Yawning Man have been on Heavy Psych Sounds for a while now. SoftSun released their debut through Ripple. I don’t know which of those two, if any, is handling that split, but it’s a thing that’s happening and this tour makes a lot of sense tying it together.

Note that 12 of the 23 shows will be in Germany, which seems to continue to be where heavy rock and roll finds the greatest quantity of welcome in Europe, and while Austria, Poland, Denmark, the Netherlands, Croatia, Italy, Switzerland and France will also be hit. They’ll cover plenty of ground, is what I’m saying. Yawning Man have, of course, done the Fall festival circuit in Europe before, but that’s not what this is. This tour starts Nov. 18 and finishes Dec. 14, which is well after most fests have had their annual editions. There’s something to be said for going out when the market isn’t saturated.

This was put out on social media while I was traveling. Pardon me if it’s not new-news for you:

⚡️YAWNING MAN – „PAVEMENT ENDS EUROPE 2025“ TOUR⚡️

We’re beyond stoked to announce that the legendary YAWNING MAN is returning to Europe this winter with their PAVEMENT ENDS EUROPE 2025 tour! 🚐💨

Hailing from the mystical desert plains of Palm Desert, CA, Yawning Man delivers an instrumental trip like no other – hypnotic, cinematic, and deeply rooted in the origins of desert rock. 🌵

Their unique sound has influenced generations, echoing through the Coachella Valley since the late ‘80s, and now it’s heading your way. Get ready for a truly immersive live experience – no vocals, no distractions, just pure, melodic psychedelia straight from the source. ✨

Here are the official dates – mark your calendars! 🗓️

18.11.25 (NL) Utrecht, dB’s
19.11.25 (NL) Eindhoven, Effenaar
20.11.25 (DE) Hannover, Faust (Mephisto)
21.11.25 (DK) Kopenhagen, Stengade
22.11.25 (DE) Oldenburg, MTS Records
23.11.25 (DE) Hamburg, Molotov
24.11.25 (DE) Berlin, Neue Zukunft
25.11.25 (PL) Warsaw, Hydrozagadka
27.11.25 (PL) Kraków, Gwarek
29.11.25 (DE) Dresden, Ostpol
30.11.25 (DE) München, Backstage (Halle)
01.12.25 (DE) Nürnberg, KV im Z-Bau
02.12.25 (AT) Salzburg, Rockhouse Bar
03.12.25 (AT) Wien, Viper Room
04.12.25 (HR) Zagreb, Vintage Industrial
05.12.25 (IT) Milano, Magnolia
06.12.25 (CH) Oberentfelden, Böröm pöm pöm
07.12.25 (FR) Barberaz, Brin de Zinc
10.12.25 (DE) Stuttgart, Goldmark’s
11.12.25 (DE) Karlsruhe, Alte Hackerei
12.12.25 (DE) Rüsselsheim, Das Rind
13.12.25 (DE) Aachen, Musikbunker
14.12.25 (DE) Köln, Kantine (Yard Club)

🎫 Tickets & info coming soon – stay tuned!

Cheers,
Your Sound of Liberation Crew

YAWNING MAN touring lineup:
Gary Arce – guitars
Mario Lalli – bass
Bill Stinson – drums

https://www.facebook.com/yawningmanofficial/
https://yawningman.bandcamp.com
http://www.yawningman.com/

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Yawning Man, Long Walk of the Navajo (2023)

This is the second premiere from Buzzard‘s new album, Mean Bone (review here), to be posted on this site, and it comes with some context. I know. The c-word. Sigh. Just bear with me.

If you click that link, you’ll see that in the review, I said the record ends with a song called “Sorrow, Terror and Evil,” a heavy and lumbering culmination of the statement in doom that Buzzard‘s lone denizen, Christopher Thomas Elliott (also of the folk duo Austin and Elliott and various other solo works), was making throughout the songs prior. Cool way to end a declarative second full-length from Elliott‘s project, the only trouble is that’s not how the record actually ends.

Oops.

To be fair, that song is real and was on the version of Mean Bone that I got to review, it just got crossed up between the album being done and the other premiere being slated, hearing the thing, etc. As clerical errors go, it could be far worse. But once I heard it, I did want to write about “Ancient Ruins of the 21st Century,” because it changes on the level of persona the way Mean Bone finishes. It’s not at all an apex of the heavy riffage that rolls out in other songs. It’s a decidedly quieter, more contemplative finish.

Like a lot of Elliott‘s work to-date as Buzzard and elsewhere, it tells a story. Folk balladry, as a form, is crucial to how the material is framed — think of songs like “Murder in the White Barn,” which tells a troubling tale of its own through dialogue, and “Flies, Mosquitos, Rats and Sparrows,” which recounts a Chinese famine resulting from Great Leap Forward-era ecosystem tampering — and “Ancient Ruins of the 21st Century” isn’t his first foray into incorporating science-fiction as part of that.

To story, put succinctly below, is that far-future archeologists discover a mall and attempt to figure out what it’s for. Good luck. Hearing the song for the first time, I couldn’t help think of the sentient insects who evolve on Elliott‘s earlier-2025 Satiricus Doomicus Americus (review here), which I’ve been largely unable to put down, in the closing track “Cockroaches and Weed.” But it doesn’t seem like we know ultimately who these future entities are, only that they’re looking back and seeing how we lived through our savage age.

Elliott was kind enough to put together the lyric video premiering below for “Ancient Ruins of the 21st Century,” and especially as Mean Bone has been out for a couple weeks now and attention spans go the way of attention spans, I appreciate the chance to give the album review an addendum and let the song stand on its own as well, since that’s how I’ve experienced it.

If you’ve never heard Buzzard, Elliott or any of it, this might not actually be a terrible place to start. Just a thought.

Congrats. You made it through the context. I hope you enjoy:

Buzzard, “Ancient Ruins of the 21st Century” lyric video premiere

“Writing this song I imagined alien or human archeologists in the distant future excavating the remains of a shopping mall.” – Christopher Thomas Elliott

from Mean Bone by Buzzard: https://buzzarddoomfolk.bandcamp.com/album/mean-bone

Written, performed, and produced by Christopher Thomas Elliott

Buzzard, Mean Bone (2025)

Buzzard on Facebook

Buzzard on Instagram

Buzzard on Bandcamp

Not that I would expect news about record labels collaborating to ‘break the internet,’ as they used to say in the 2010s, but I’m a little surprised not to have seen more hullabaloo about this one as Nuclear Blast and Magnetic Eye Records are partnering up to release a new ‘mini-album’ — I assume like an EP-plus? — from Swedish ethereal heavy psych rockers Gaupa.

Of course, it’s to the band’s credit that imprints are lining up to work with them, but the real kicker here is that Gaupa are already a Nuclear Blast band. So it’s not that the bigger metal label is reaching down to the smaller underground heavy label and plucking a band to add to its roster. That happens sometimes, but not here. The alignment with Nuclear Blast and Magnetic Eye puts the two entities on a similar level. I don’t know if Magnetic Eye (which is part of the Spkr Media family of labels) is handling US distribution while Nuclear Blast does Europe or what the details are, but if this is going to be a thing, it will be interesting to see how it plays out over the next few years.

Or it could be a one-off and that’s it. Hell if I know. In any case, new Gaupa is nothing to sneeze at even amid springtime pollen, so by whatever angle, the news is good. Here it is from socials, sans hashtags:

Tremendous news: MER will be collaborating with Nuclear Blast Records to release a new mini-album from the singular GAUPA this summer 😳🎸🧚

We’re massively stoked to be involved in bringing forth a new record from this heavy and ethereal Swedish band whose music has been described as “Björk meets Soundgarden,” and we’re confident that many of our longtime listeners and supporters are already huge fans of what they do 🤘💚

More to share on this momentous event very soon!

📸 by @matstxswe

https://www.facebook.com/gaupaband
https://gaupaband.bandcamp.com/
https://www.instagram.com/gaupaband/
https://gaupaband.com/

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

https://www.facebook.com/nuclearblastusa
https://www.instagram.com/nuclearblastrecords/
http://shop.nuclearblast.com/en/shop/index.html

Gaupa, Myriad (2023)

I’m not going to lie to you, there have been many times in the months since I left Croatia that my mind has wandered back to the misty banks of the Mrežnica River, where Bear Stone Festival has come to be held. I was there for the first time in 2024 and am very much hoping to be back this summer (I need space on the credit card to book a flight; it’s a whole thing but if I can make it happen I want to), not the least because they seem to be growing and that’s cool to witness.

If it seems like a surprise that Bear Stone‘s interest in heavy of more traditional and rocking styles would extend to outfits like ABOP, who cross over into more electronic and techo-based ideas, I’ll note that Bear Stone shares a team and locale with the acid techno festival MO:DEM, and so seems like fair enough ground for crossover and some uniting of worlds. Those shows will be late — they’re calling it ‘The Ripple’; no relation to Ripple Music — but it’s perfect for those camping out, and I don’t know if that was most attendees last year or not, but it was definitely a lot of people. A significant portion of the crowd.

There are also pre-made tent options linked below to facilitate camping if, like me, you’re way more into hanging out indoors and talking to yourself while you type out words on your laptop than you are ‘rugged’ in any sense of the word, but perhaps want to be adventurous. Or, if you’re traveling and don’t want to take a tent on a plane/train/etc., it’s one to think about.

From the PR wire:

New Festival Segment: The Ripple + Festival Timetable

Just as objects of all shapes and sizes create the same ripples when thrown into water, The Ripple at Bear Stone Festival embodies the diverse styles of music that share the same powerful energy, no matter how different.

From psychedelic tones to high-energy beats, each performance sends waves of intensity that resonate with the crowd, creating an electrifying experience that flows through the night.

Following the final echoes from the Stone Stage, The Ripple takes over the Jam Stage as an after-dark surge of sound curated with handpicked acts. Different waves, but the same current flowing deep into the night.

ABOP (CRO)

ABOP (After is Better than the Party) is a Croatian electronic band known for transforming the dancefloor into a full-blown rave without a DJ. Blending acid house, techno, electro, and live instrumentation, the band delivers high-energy performances driven by dual drummers on a single kit, analog synths, and immersive visuals.

Critically acclaimed and award-winning, ABOP has built a reputation as one of the most electrifying live acts in the region and beyond.

OIL X GAS (LV)

OIL X GAS is a synth-rock duo known for their explosive blend of roaring synths and thunderous drums, fusing the intensity of a rock show with the pulse of a techno club. Their commanding live energy turns every stage into a high-voltage experience, captivating audiences with raw power and precision.

In their breakout year, they released a trio of live videos, including sessions at Joe Barresi’s legendary LA studio and Third Man Records’ iconic Blue Basement in London.

BAMWISE (CRO)

Bamwise is a six-piece electronic dub band from Zagreb blending live instruments, heavy bass, and rich synth textures with immersive visual projections. Rooted in Jamaican dub and reggae, their sound fuses analog warmth with modern electronic influences, inspired by UK and French dub scenes.

Known for their powerful live shows, they released their debut album “Soundproof” via PDV records and are currently working on their next release.

ISKRA (MK)

ISKRA is a Skopje-based audiovisual collective blending music and animation to deliver a futuristic narrative set in the year 2088/89. With a sound and vision forged from a “decoded chip from the future”, the four members creatively explore themes of dystopia, resistance, and digital rebellion.

Their genre-bending project has earned acclaim through striking live performances and two concept albums, most recently “Mother Earth Mother Board” released via Diehard Records.

BEAR STONE FESTIVAL TIMETABLE

Presenting the festival timetable for our 2025 edition.

Over 40 bands will take the stages of Bear Stone Festival from July 03 to 06. The festival kicks off on Thursday with performances on the Mill and Jam Stages, giving early arrivals plenty of time to settle in.

On Friday and Saturday, all three stages will run without any overlapping sets, so you won’t miss a single act.

Sunday offers a more relaxed finale, with four bands alternating between the Mill and Jam Stages, peaking with the thunderous Lazarvs set in the afternoon.

Those that need to head home early can still make it back in time, while those that want to enjoy one last riverside evening can wind down with the soothing sounds of the Mrežnica river.

PRE-PITCHED TENTS AND AIRPORT SHUTTLE

Don’t forget that our limited-time offer for the shuttle between Zagreb Airport and Bear Stone Festival, as well as pre-pitched tents and camping accessories, is available only until May 01!

Click the link to explore the options and lock in your comfort: https://bearstonefestival.com/

https://www.instagram.com/bearstonefestival
https://www.facebook.com/bearstonefestival
http://www.bearstonefestival.com

Bear Stone Festival 2024 aftermovie

Some say the world will end in fire, I say Orange Goblin‘s final holiday-special show might just do the trick. Somewhat inevitably, London’s doom rock overlords will conclude their 30-year run with a UK stint in December, culminating Dec. 17 at 02 Kentish Town Forum, accompanied by Grand Magus and Urne. I have to wonder if Solace will fly over for that last show.

Either way, Orange Goblin‘s career is indeed a thing to celebrate, and if they end up doing festivals in five years or other projects or nothing at all forever, they’ve never done anything but make their fans proud to be fans, and they’ve kicked more ass than entire scenes. Going out on their own terms, whether it’s forever or not, is one more example.

Got this from social media:

**ORANGE GOBLIN ANNOUNCE ‘END OF TRANSMISSION – THE FINAL TOUR’ FOR UK & IRELAND IN DECEMBER 2025!**

Here it is folks, these will be the LAST EVER shows for Orange Goblin and we will be bringing our good friends Grand Magus and URNE along for one final trip around the country!

‘We are delighted to finally announce that Orange Goblin will do one last tour of the UK and Ireland in December 2025 before we call it a day! It’s going to be bittersweet performing at these last 7 shows, seven of the biggest shows we will have ever played! Although there will be sadness at this being the end, we are very happy to be able to bring along two amazing bands that we took out on their first ever tours, old and new. From Sweden, we have the almighty power of GRAND MAGUS, a band that we toured Europe with way back in 2002, and then again in 2004. We have always remained friends and know what an amazing live act they are, everytime they take to the stage.

Opening up each night will be one of the best UK bands of the past 10 years, URNE, who we took on their first UK tour back in 2021. We were blown away with their modern take on metal and the soundscapes they create, mixing subtlety and aggression! These promise to be very special shows and will be your very last chance to come and drink, headbang and rasie some hell with Orange ‘Fuckin’ Goblin Baby!’ We will be playing songs from throughout our 30 year career, so whether you’re an old die-hard or a new fan, there should be something for everyone.

“We’ve been announcing final shows all over the world this year, and have been reading the fans’ comments about doing one last trek around the UK and Ireland, so we didn’t want to disappoint them and feel that it will be fitting to end our journey in our hometown of London! One last Orange Goblin Christmas knees-up anyone? You know it makes sense!” – Ben Ward, Orange Goblin 2025

Tickets for all shows go on sale on FRIDAY 25th APRIL @ 10am. DO NOT MISS OUT! https://routeonebooking.fanlink.tv/endoftransmission

10.12: The Garage, Glasgow, UK
11.12: Button Factory, Dublin, IRE
12.12: KK’s Steelmill, Wolverhampton, UK
13.12: Academy 2, Manchester, UK
14.12: SWX, Bristol, UK
16.12: The 1865, Southampton, UK
17.12: o2 Forum Kentish Town, London, UK

Orange Goblin is:
Ben Ward – Vocals
Joe Hoare – Guitar
Harry Armstrong – Bass / Backing vocals
Christopher Turner – Drums

https://www.facebook.com/orangegoblinofficial/
https://www.instagram.com/orangegoblin1/
http://www.orange-goblin.com/

https://facebook.com/burningshed
https://instagram.com/burningshed
http://www.peaceville.com/store

Orange Goblin, Science, Not Fiction (2024)