I’m not going to play coy here or try to make you believe I’m groundfloor on this one. Octohawk‘s second album, Determinist, came out in June through Crime Records. Hailing from Drammen, Norway, the self-recording band posted the video below for “Arcane Dawn” in July. It’s not “new” in the current sense of coming out this or next week, and I’m sure that, being cooler than I am as you are, you’ve already heard it, digested it, appreciated the meld of modern progressive metal crunch — what’s often called “progressive sludge” but may or may not actually be that thing in terms of influence — with heavy spaces and keyboard flourish, roots in more aggressive fare but a willingness to look beyond who or whatever it’s pissed off about to more thinky-thoughty meditations.

To wit, the title refers to the philosophical framework in which human actions are inevitable — anything that happens was always going to happen regardless of our intention or will otherwise — and the sound is correspondingly encompassing, taking lessons from the the gruffer side of Mastodon and outfits like Gojira in the interplay between harsher and cleaner vocals and a crisp production that accounts for atmosphere as well as complexity of impact in pieces like “Decode” and the later catchy roller “Beyond Tomorrow.” Building and releasing tension is fair enough game for the genre, and Octohawk are by no means the first metal band to bring keyboard ambience to hard-hitting riffs, but as they demonstrate in the seething lumber of centerpiece “Momentum,” Determinist is heady but not at the cost of sheer force. It’s just that the band are willing to hit you on multiple levels at once.

One of the results of that is a busy sound, but at no point on Determinist — be it the mathy pummel of “Quantum Age” or the building interlude “Earthrise’ ahead of “Beyond Tomorrow” and the all-in payoff of finale “Gateways” that follows — do Octohawk seem confused about where a song is heading. Some bands can just juggle riffs, I guess. And if you find yourself feeling overwhelmed in the peak intensity of “Decode” — you’ll know you’re into the comedown when the sitar arrives — or crushed by “Arcane Dawn” as you watch the hooded figures carrying duly geometric orbs and disintegrating soldiers from this or that World War in the video (plus lasers!), I don’t think that’s happenstance either. If you haven’t taken the record or band on before, keep in mind that they know where it’s all heading, and that whatever unexpected turns are made along the way, the path they take is one of narrative as well as character. That is to say, there’s a reason it sounds like that, and very clearly Octohawk know what they’re doing.

Committed to a DIY ethic across multiple dimensions of what that means, these guys got in touch through the site’s contact form, and while I’m sorry to have not been able to talk up Determinist pre-release — time marches forward and I get no better at internetting — I feel fortunate to have been able to hear the record at all. Lesson learned. If you have eight minutes to dedicate to the video, be ready to give more time to the album (player near the links at bottom). Whether you sit and pick it apart angle by angle or allow it to wash over you as it seems at times so ready to do, there’s no wrong way to go so long as you enjoy.

Have at it:

Octohawk, “Arcane Dawn” official video

Available on Digipak CD, Gatefold LP (Limited Edition first press), and Digital Download and Streaming.

Join us on a transcendental voyage as Octohawk unveils their magnum opus, Determinist, accompanied by the mesmerizing third single and visual spectacle, Arcane Dawn!

Octohawk’s sophomore album, Determinist, is a synopsis of the deterministic era, from the humble experimental beginnings to the complete coalescence with ever-flowing information. Each of the seven tracks represents the significant stages in this endeavor, from man on the ground to being a part of the eternal stream.

The album is released with a music video for their third single, Arcane Dawn, that guides you through the dawn of a new era, where humanity grapples with the value of newfound insights, breaking free from archaic beliefs and embracing a continual progression.

Determinist will hit fans of The Ocean, Mastodon, and Igorr right in the face. Expanded diversity, heavier, and more of the good stuff – JUST THE RIGHT KIND OF HEAVY!

Edited by Stian Svorkmo at Stone:arock Studio, with camera work by Stian Svorkmo, Steffen Overaa, and Espen Geitsund. Script by Stian Svorkmo and Steffen Overaa. ​

Members:
Stian Svorkmo: Vocals & Guitar
Steffen Overaa: Synth & Vocals
Christian Schei: Guitar
Espen Geitsund: Bass
David Jøndahl Hjellum: Drums

Octohawk, Determinist (2024)

Octohawk on Facebook  ​  ​

Octohawk on Instagram  ​

Octohawk on Bandcamp

Octohawk Linktr.ee

Crime Records on Facebook

Crime Records on Bandcamp

Crime Records website​

Why call your band Sheepfucker and Kraut? I don’t really have a good answer for that question, since to my knowledge in the course of human history up to apparently seven years ago, no one had done it. It certainly gets the attention. I’m all for a bit of stonerly charm — one assumes the sheep finds it less humorous — but yeah, obviously the Sofia, Bulgaria-based outfit aren’t shooting for mass appeal. FM radio need not apply, which is just fine since FM radio also doesn’t exist anymore in this context.

However Mr. Sheepfucker and Mr. Kraut got together, the band built out to be an international four-piece with roots in Italy, Germany, Guatemala and Bulgaria, and their 2022 debut, Pipes — streaming below — rules. I hadn’t heard it until the announcement of the follow-up came through, because I suck at being cool like I suck at everything, but check out “Love is Dead” or the instrumental “Burning Churches” and the vibe should catch on quickly enough. Driving fuzz, catchy in a post-QOTSA careen, but more raucous and punk in “Fire” and self-aware in the stoner roll of “Cosmic Universal Studio.” Their alignment with Threechords Records brings word of a follow-up, Bring Your Sheep, which is to see release in October. I’ll go ahead and hope that the title isn’t indicative of a theme in the songs themselves.

All kidding aside — and I’m not kidding when I say The Obelisk doesn’t endorse fucking sheep, any other animals, furniture, or anything/anyone against their will — as much as the moniker makes Sheepfucker and Kraut seem like a toss-off, the songs are there. I haven’t heard Bring Your Sheep yet, but I consider myself lucky to have caught up to Pipes at this point and look forward to the follow-up to come.

The PR wire brought the signing and album announcement. Bring Your Sheep is due in October:

Since forming in 2017, the Sofia (Bulgaria) based duo quickly managed to get well known on the local stoner scene, but staying like that was no more acceptable for them. That’s why, in the beginning of 2019, the Sheepfucker (Sardegna, Italy) and Mr. Kraut (Germany) welcomed the bassist Riccardo Sunda (Italy).

Their rough heavy, a little bit chaotic stoner melodies with cracked powerful vocals turned groovier and the band became well known in the local rock clubs. The search for uniqueness led them to the doorstep of a thrash metal guitar player, Dr. Espresso (Guatemala), and their first full album, Pipes, was released on digital form in 2022.

Riccardo Sunda was replaced with a new bass player, Mr. Goodnews (Bulgaria) and that way, Sheepfucker and Kraut became an energetic, creative and aggressively unusual stoner band, originating from an Italian-German collaboration, enhanced with heavy Guatemalan fuzz, whose hypnotically heavy-thrash riffs were softened by the gentle note of the Bulgarian bass. The vocals were enriched by all the band members, and Dr. Espresso, who manipulatively and aggressively is using his Explorer guitar, is leading us to virulent rhythms and to the knotty basslines of Mr. Goodnews.

The band and the sound were finally completed, the band now shares the stage with WeedWolf, Godsleep, Villagers of Ioannina City, Mondo Generator etc, and gaining more and more experience, they started to work on their second album, “Bring Your Sheep”, which will be released in early October 2024 by Threechords Records on limited “black sheep” edition 180 gr vinyl, limited “sauerkraut” edition, CD and super limited cassettes.

https://www.facebook.com/sheepandkraut
https://www.instagram.com/sheepfuckerandkraut_official
https://sheepfuckerandkraut.bandcamp.com/
https://www.youtube.com/@sheepfuckerandkraut3730

https://www.instagram.com/thelabrecords/
https://www.facebook.com/threechords.net/
https://www.instagram.com/threechords_record_store/

Sheepfucker and Kraut, Pipes (2022)

With less than a month to go before the release of their second album — the declaratively-titled Tundra Rock, out Sept. 13 on MNRK Heavy and Stickman Records — and the beginning of their first stretch of live shows on US soil, it seems like a pretty exciting moment to be Slomosa. The Norwegian upstarts are among the most encouraging next-gen heavy rock outfits the 2020s have yet produced, and while their ascent has been swift and decisive, it’s also been well earned in terms of the work the band has put in touring, as well as the engaging quality of their songwriting across both their 2020 self-titled debut (review here) and the upcoming Tundra Rock. One of the best bands out there? Is that what I’m saying? I’ve only caught them live once — this past June at Freak Valley (review here) — but if you ever saw a band on stage and knew they had a shot at becoming something really special, that’s my experience watching Slomosa all the way.

In addition to the aforementioned US debut that has them counterintuitively paired with Alkaline Trio, the Bergen-based foursome will co-headline with Swedish veterans Greenleaf in Europe this Fall — you’ll note below they’re in Newport, Kentucky, one day and Leipzig, Germany, the next; fly out after the show, I guess? — and that will carry them into the Euro heavyfest season in October. A newly-announced stretch in Scandinavia — two shows in Sweden, nine in Norway — will follow, and as that takes them into December, I’m assuming that’s it for the year unless they end up doing a holiday tour or some such. Could happen.

The band posted the new dates and ticket links, and I filled in the rest from other posts to give some more idea of the complete plan. It looks like they’re going to be plenty busy. Check it:

Norway and Sweden! Hope to see you this fall?

We’re adding dates to our busy touring schedule to celebrate our coming album release (Tundra Rock 13.09), this time in Scandinavia🇳🇴🇸🇪

Tickets on our homepage: https://www.slomosamusic.com/

Pre-order/save ‘Tundra Rock’ at this location: https://slomosa.ffm.to/tundrarock

15.11 Kopervik // Ovenpaa
16.11 Stavanger // Tou
21.11 Jönköping // Scenen Sofiehof Underjord
23.11 Stockholm // Debaser
28.11 Oslo // Parkteatret
29.11 Halden // Aladdin Scene Halden
30.11 Fredrikstad // Månen
05.12 Tromsø // Blårock Cafe
06.12 Trondheim // Verkstedhallen
07.12 Ålesund // T2 Bar og Scene
13.12 Bergen // USF Verftet

Holiday-trip to Norway anyone?

SLOMOSA – US shows w/ Alkaline Trio
11.09 – San Antonio, TX
12.09 – New Orleans, LA
15.09 – Charleston, SC
17.09 – Wilmington, DE
19.09 – Wallingford, CT
20.09 – Wantagh, NY
21.09 – Sayreville, NJ
22.09 – Hampton Beach, NH
24.09 – Buffalo, NY
26.09 – Grand Rapids, MI
27.09 – Milwaukee, WI
28.09 – Columbus, OH
29.09 – Newport, KY

SLOMOSA – Co-headlining w/ Greenleaf (Psychlona supports)
30 SEP 2024 Leipzig (DE) Werk2
01 OCT 2024 Berlin (DE) Lido
02 OCT 2024 (DE) Hamburg (DE) Gruenspan
03 OCT 2024 Köln (DE) Club Volta
04 OCT 2024 Bielefeld (DE) Forum
05 OCT 2024 Leeuwarden (NL) Into the Void
06 OCT 2024 Pratteln (CH) Up in Smoke
07 OCT 2024 Innsbruck (AT) PMK
09 OCT 2024 Wien (AT) Arena
10 OCT 2024 Zagreb (HR) Vintage Industrial Bar
11 OCT 2024 Graz (AT) PPC
12 OCT 2024 München (DE) Keep It Low

Slomosa are:
Benjamin Berdous – Vocals/guitar
Marie Moe – Vocals/bass
Tor Erik Bye – Guitar
Jard Hole – Drums

https://www.facebook.com/slomosaband
https://www.instagram.com/slomosa
https://slomosa1.bandcamp.com/
https://soundcloud.com/slomosa
https://sptfy.com/4Qaf

https://www.stickman-records.com/
https://www.facebook.com/Stickman-Records-1522369868033940

http://www.mnrkheavy.com
http://www.facebook.com/MNRKHeavy
http://www.instagram.com/MNRK_heavy

Slomosa, “Battling Guns” official video

Slomosa, Tundra Rock (2024)

This Friday, Aug. 30, marks the release of Vast Pyre‘s seven-song debut full-length, Vast Pyre. The album is being issued through Argonauta imprint Octopus Rising, and its five-song/50-minute course is a willfully gruesome slog through murky, threatening and obscure doom, with influences from (and not limited to) Electric Wizard, Slomatics, Conan and Venom coming together in a hybrid extremity that’s stinkface-heavy and captured raw in a way that feels as much about aesthetic as budget. Nasty stuff, and there are plenty of times where the duo of drummer/vocalist Ch. Wallstein and guitarist A. Först toe the line between doom and filthier sludge, especially tonally — I’m not saying it’s the guitar tone being depicted as giant statues of dead hooded figures in the cover art, but I’m not not saying it either — but Wallstein‘s vocals reside largely in a post-Jus Oborn drawl when not veering into more cave-metal barks in “Cataleptic,” and that gives even the meganodding chug of “Revelation” as it approaches its midpoint its own context.

With each track between nine and 11 minutes long, Vast Pyre come across as purposeful in how they’ve constructed the songs, whether that’s lead cut “Focus Deceased” welcoming listeners with harsher vocal gnash and a tsunami of distortion early on or the dark minimalism in the intro of closer “The Argent Tomb” leading to a wah parade likewise dark, dank and doomed, with no shortage of rumble for something that doesn’t actually feature bass.

“Revelation” spaces out in the midsection that follows that chug, and “Cataleptic” emerges as the most active piece of Vast Pyre in terms of tempo and Wallstein‘s drums — at least for most of it — but between the vocal changes and the malleable lead guitar donated to the cause by J.-P. Peter, mellow and psychedelia-adjacent in topping the second-half build of “Eternal Funeral,” cutting through the crescendo of “Focus Deceased” or twisting shred before the next grumbling verse of “Cataleptic” starts around eight minutes in, there’s scope as well as bludgeon to what Vast Pyre are doing, even if what they’re conveying is monotony. I haven’t seen a lyric sheet, but it’s probably safe to assume “Eternal Funeral” isn’t about puppy snuggles, and the corresponding impression throughout the record is rot-stoner metal with a pointedly doomed outlook.

They’re clearly aware of genre, but not without an individual take on it either, which particularly as this is their first album helps enrich the experience overall. Also not to be discounted is what the lead guitar brings to the mix, whether that’s emphasizing the mellow creeper malevolence of “Revelation” or riding the coursing groove that takes hold as “The Argent Tomb” pushes to the record’s finish, but it’s not the only element working with a nascent sense of variety in terms of approach, however much the entirety of the release can feel monolithic on first listen in terms of mood and extremity.

Some of that impression is born out of the atmosphere that pervades, yes, in the quieter stretches like that of “Revelation” — and much to Vast Pyre‘s credit, they avoid the trap of post-metallic loud/quiet tradeoffs while keeping their transitions fluid — but also from the heaviest and most consuming moments. Repetition-born hypnosis is a factor, but while the songs are on the longer end of consideration, there is no lack of movement within and between them, loping as it may be.

Coupled with a balance between the claustrophobic and spacious, tonal largesse and rawer presentation, Vast Pyre holds up to as much volume as one might to give it, and if you’ve got headphones ready, be prepared for a downgrade in your general sense of wellbeing. But if you can hang with it, the crypt-lurch offers grim reward in its density, churn and willingness to depart in brooding contemplation. I’m not taking anything away from Germany’s long history in doom, but the record is so miserable you’d almost swear it was British. That’s intended as a compliment, mind you.

Don’t expect a lot of hype here. As much as Vast Pyre might play toward the-most-of-the-thing in their voluminous ethic, their self-titled is a work of extremity and ready to alienate as much as engross. This is part of the appeal, ultimately — if it was for everyone, it would be pop — and something in which Först, Wallstein and even Peter seem to revel. If you think you’re up for joining them in that, the album streams in its entirety on the player below, followed by more background from the PR wire.

I’m not sure if “enjoy” is the right word. Whatever equivalent might apply, do that:

Vast Pyre, Vast Pyre album premiere

German stoner/doom band VAST PYRE will release their highly anticipated self-titled debut full-length album on August 30th via Octopus Rising!

The album tracklisting:
1. Focus Deceased (9:24)
2. Cataleptic (10:26)
3. Revelation (10:00)
4. Eternal Funeral (9:18)
5. The Argent Tomb (11:26)

In the end of 2021 Försti (guitar) and Wally (drums, vocals) were in the mood and got together to jam some Stoner/Doom tunes from Electric Wizard, Black Sabbath, Sleep etc. and hanging out from time to time. Genre-specific, they knew what they wanted. After some sessions and finding the right sound, they concentrated on writing their own songs – a few ideas got discarded. Bit by bit, they extended their backline/equipment in the rehearsal room, because they needed to add more low-end to the guitar. In the end, there was a huge backline that drove their sound and they decided to not put in any bass-guitar as an instrument separately: they just wanted to make “guitar-only” music. Later, their friend Jonny (lead guitar) joined the band at the end of 2022. Henceforth, the songs were rearranged and fine tuned. In August 2023 Vast Pyre opened for the Festival “Burgbrand Open Air” and shared the stage with bands like EREMIT and INDIAN NIGHTMARE, to name just a few. That should be the only concert they played that year, because first they wanted to record/mix their stuff, what they eventually did from November 2023 to February this year.

VAST PYRE is:
Ch. Wallstein – Vocals/Drums
A. Först – Guitar

All Lead Guitar Arrangements by J.-P. Peter

Vast Pyre on Facebook

Vast Pyre on Instagram

Vast Pyre on Bandcamp

Argonauta Records on Facebook

Argonauta Records on Instagram

Argonauta Records store

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Serge Skrypniczenka of Stonerhenge

—

How do you define what you do and how did you come to do it?

I started putting together my first “basement” rock bands when I was 14-15 years old. And even earlier I composed all kinds of “rock operas” and other works of “large scale”. At the age of 17, I formed my own real, full-fledged rock band, we had completely our own musical material. It was the group žygimont VAZA and we were among the first Belarusian rock groups who performed their songs in the Belarusian language. Now it’s hard to imagine, but at that time (late 1980s) in the Soviet Union it was very, very unusual and bold.

Describe your first musical memory.

OL, this is hard for me to do. Because I’ve been surrounded by music since I was born. My mother played the piano, and I sang and held a pencil in my hand like a microphone.

Describe your best musical memory to date.

In the life of every person, sometimes situations happen that from the outside do not look like anything unusual. But for that person, at that very moment, they can be indescribably special. I could experience catharsis at an ordinary classical music concert at the Philharmonic. Or when listening to Pink Floyd’s Comfortable Numb for the first time.

When was a time when a firmly held belief was tested?

I don’t think there can be one clear answer to such a question. Each person can change his beliefs during his life – change to a greater or lesser extent. I also had such stages.

Where do you feel artistic progression leads?

I think that the question is not entirely correct. If creative progress occurs, then the important thing is to realize it first. And secondly, try not to lose this state, this feeling. Any success can disappear. People who have achieved success can sometimes simply “flush this success down the toilet,” destroying themselves using a whole arsenal of different methods.

How do you define success?

The question seems trivial. However, I will try to answer. Probably, this is the general fulfillment of a person – personal and professional fulfillment.

What is something you have seen that you wish you hadn’t?

My country is now embroiled in a most shameful war. And I see what terrible things the Russians are doing in Ukraine. In Ukraine, where my relatives and friends live.

Describe something you haven’t created yet that you’d like to create.

Oh, I’m really interested in a variety of topics in my life. But still, as a possible example, I would like to see our band’s performance one day published as a full-fledged live video concert.

What do you believe is the most essential function of art?

I think art has only one function. Art makes us HUMANS.

Say something positive about yourself.

Well, I’m not an evil person in general :) But seriously, I’m not envious at all and always rejoice at other people’s successes. I rejoice consciously and sincerely.

Something non-musical that you’re looking forward to?

I will not be original if I say that I expect an end to the war in Ukraine and the repressions in Belarus.

https://www.facebook.com/profile.php?id=100089405221503
https://www.instagram.com/stonerhengeband
https://stonerhenge.bandcamp.com/

Stonerhenge, Gemini Twins (2023)

Based in Lawrence, Kansas, and fronted by Mark Hennessy, also known for his work in Paw, heavy punker four-piece Godzillionaire have signed on to release their next album through Ripple Music. They join the ranks of recent Ripple signees 10,000 Years, SoftSun and Gin Lady, and the record has a slated January release date.

That should be just about right to coincide with their previously announced appearance at Planet Desert Rock Weekend V in Las Vegas the weekend of Jan. 30. Their addition to that bill was my first exposure to the band, whose 2020 Negative Balance full-length is at the bottom of the post if you’d care to take it on, and I wouldn’t be surprised if their joining the Ripple roster comes from that as well. Planet Desert Rock Weekend curator John Gist has put together splits and such for the label in the past, a little light A&R work, so it’s readily believable he could have a hand in Godzillionaire getting picked up. The band’s statement, which I actually just thought to look for because it’s late and I’m very, very tired, would seem to confirm that. They namedrop Leanne Ridgeway too. Nice to know good people.

From social media:

We would like to thank our family, friends, and most of all our fans for supporting this band over the last 12 years. Without your support, we would not be where we are today.

Special thanks to Todd Severin and Ripple Music for welcoming us into the family. We also want to thank John Gist and Leanne Ridgeway for going out of their way to support this small band from Kansas. We owe you for your support and helping us get here as well.

And to Steve Nuremburg for his legal counsel and support. We cannot put into words how grateful we are for you and what you’ve done for this band. Thank you for being an amazing human being.

Our next album will be released via Ripple Music January 2025. More details will be inbound very soon!

The next chapter for Godzillionaire begins and it all is because of each and every one of you.
Thank you!

https://www.facebook.com/godzillionaire
https://instagram.com/godzillionaireband
https://godzillionaire.bandcamp.com/
https://linktr.ee/godzillionaireband/

https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Godzillionaire, Negative Balance (2020)

Desert rock trio Stöner will release their new live album, Hittin’ the Bitchin’ Switch, on Oct. 11 through Heavy Psych Sounds. The power-grooving scientific team who once proposed the Theory of Radness Stability — for the math on that, see “Rad Stays Rad,” from their first release, Live in the Mojave Desert (review here) and its studio follow-up, Stoners Rule (review here); it’s also here — were on tour in Italy, having just played Freak Out Festival in Bologna and on their way to Switzerland for the fast-becoming-legendary Palp Festival in the Alps and SonicBlast in Portugal, when this Aug. 8, 2022, recording was made at the Go Down Records-managed Altroquando, in Treviso. Just another gig, just another night of Brant Bjork, Nick Oliveri and Ryan Güt laying it down. A club show. I doubt they knew before they got to the venue it was being taped, if they knew at all.

Listening to set-leadoff “A Million Beers,” which is premiering below, there’s something extra righteous about the rawness, the thickness of Oliveri‘s bass bringing density to Bjork‘s riffing with the unflinchingly solid swing from Güt behind them, the energy of the material wrought in such a working-band context, the notion of dudes rolling up, hitting it — in this case the ‘bitchin’ switch,’ but it has a lot of names — and rolling on. I wasn’t at the gig in question, but I did see Stöner just about a month afterward (review here) as they supported their second album, Totally… (review here). They were out with Mario Lalli and the Rubber Snake Charmers (who also have had a live release this year; recorded in Australia) and between Lalli, Oliveri, Bjork, Güt and desert poet Sean Wheeler, it was like a family jam that morphed into the Stöner set-proper — vibe right on from the outset, holding for the duration. Expect no less when Hittin’ the Bitchin’ Switch — which by the way is also my new name for complaining — lands in October.

And obviously it’s worth pointing out that, yes, Stöner got started with a live record, and that Live in the Mojave Desert did a damn good job of representing the band, captured as it was from the pandemic-era livestream of the same name. Fine. Two key differences there. First, the second record. They had more than like six songs to tour on by 2022, and the setlists show that. Second, more touring — or more accurately, touring at all, since when Stöner did that first offering, hitting the road at all, let alone in bitchin’-switch-on fashion, was an impossibility owing to covid restrictions. Particularly as Oliveri has gone back to his rager three-piece Mondo Generator and Bjork has the Brant Bjork Trio going with Güt and Lalli (studio LP out next month), putting Stöner on the proverbial back burner with a future that’s always uncertain until something happens, there may or may not be another Stöner release after this. I’m not about to begrudge a band putting something out when what I want from them is more, not less. That’s the simple math of it.

Oh yeah, and they cover Kyuss, because if you were in Kyuss and you wrote or were a part of writing those songs you’d play them too. You get “Gardenia” and “Green Machine.” They did “Green Machine” when I saw them. I sang along. Good fun.

Enjoy “A Million Beers” below, followed by more from the PR wire:

Stöner, “A Million Beers” track premiere

A MILLION BEERS is the new single taken from STÖNER upcoming new live album Hittin’ The Bitchin’ Switch.

The release will see the light October 11th via Heavy Psych Sounds.

SAYS THE BAND:
“Gabe from HPS hit me up and said his friend got a good live recording of STÖNER in Italy and that he wanted to put it out. I checked out the recording and Gabe was right. Killer recording of a really hot and sweaty night in Italy. Super stoked Gabe’s friend captured STÖNER with our bitchin’ switch on. This is as real as it gets. No over dubs, no editing. What you hear is exactly what it was. Dig it.” Brant Bjork

ALBUM PRESALE: https://www.heavypsychsounds.com/shop.htm#HPS318

USA PRESALE: https://www.heavypsychsounds.com/shop-usa.htm

TRACKLIST:
1. A Million Beers
2. Party March
3. The Older Kids
4. Rad Stays Rad
5. Evel Never Dies
6. Night Tripper vs No Brainer
7. Stand Down
8. Own Yer Blues
9. It Ain’t Free
10. R.A.M.O.N.E.S.
11. Tribe – Fly Girl
12. Strawberry Creek
13. Nothin’
14. Gardenia (Kyuss cover)
15. Green Machine (Kyuss cover)

Recorded live at Altroquando Treviso Italy by Matteo Pillon
Engineered and Mastered by Tommaso Mantelli
Mixed by Tommaso Mantelli and Max Ear At Lesder Studio, August 8th 2022
Cover by Mirkow Gastow

STÖNER is:
Brant Bjork — Guitar & Vocals
Nick Oliveri — Bass & Vocals
Ryan Güt — Drums

Stöner, Hittin’ the Bitchin’ Switch (2024)

Stöner on Facebook

Stöner on Instagram

Stöner website

Heavy Psych Sounds on Facebook

Heavy Psych Sounds on Instagram

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

New Acid Rooster coming up. The Leipzig, Germany, psych rockers released their Flowers and Dead Souls LP, and I whiffed on reviewing that, but I’m hoping that Hall of Mirrors will be my chance to really engage with their work, because while I did manage to dig into their 2022 LP, Ad Astra (review here), my big takeaway therefrom was “hey this is pretty good I’d like to hear more if it.” Sometimes life happens and you don’t hear every record, or even every cool record. That’s why I do year-end polls — so I can spend the next half-decade trying to catch up with whatever I missed in a given year. Acid Rooster featured on a number of lists from last year’s poll, so they fit the bill nicely there.

This is the part where I tell you there’s no audio from Hall of Mirrors posted yet, and while that’s true at least so far as I can find, my suggestion is you check again around the time preorders start — that’s Sept. 15 ahead of an Oct. 25 release — and whether you’re in the applied region of one or the other labels behind the album or purchasing from the band itself, the odds should be better. In the meantime, in case you’re like me, the 2023 album streams in full at the bottom of this post. And I know I don’t need to say that, that you can find it, but I remember a time before all music was immediately accessible all the time once it was released, and that’s a novelty that may never actually fade for me.

So, enjoy. Album announce and live dates follow from social media:

We are thrilled to announce our new studio album „Hall of Mirrors“ !!

It was recorded on two off days during our UK-tour in 2022 at Dystopia Glasgow and mixed at Fuzzface Studio by Jason Shaw. Mastered by Joe Carra at Crystal Mastering. Artwork by Marco Heinzmann aka Super Quiet.

Presale starts on september 15th via Tonzonen, Cardinal Fuzz, Little Cloud Records and our bandcamp page.

Official release is on october 25th!

Acid Rooster live:
14.09. Berlin, Future Fest
01.10. Weimar, C.Keller
03.10. Leipzig, Ilses Erika + Datashock
04.10. Nürnberg, heizhaus + Datashock
05.10. Würzburg, Immerhin + Datashock

Tickets: http://www.elborrachobookings.com/artist/acid-rooster/

https://www.facebook.com/acidrooster/
https://www.instagram.com/acidrooster_band/
https://acidrooster.bandcamp.com/
https://linktr.ee/acidrooster

https://www.facebook.com/CardinalFuzz/
cardinalfuzz.bigcartel.com/

https://www.instagram.com/littlecloudrecords/
https://www.facebook.com/littlecloudrecords/
http://littlecloudrec.com/

https://www.facebook.com/Tonzonen/
https://www.instagram.com/tonzonenrecords/
https://www.tonzonen.de

Acid Rooster, Flowers and Dead Souls (2023)