Gothenburg, Sweden’s Homegrown release their second, self-titled album this Friday, Dec. 5, through Majestic Mountain Records. Note that the knight on the album cover is riding his horse backwards. These little clues divulge the persona of the instrumentalist four-piece, whose prog aspects feel ’70s-rooted without retroism and who on “Huldran” here use that progressive ideology to bask in a dub jam, so Homegrown‘s Homegrown, substantial-feeling at 10 tracks/51 minutes. They get low-slung and blues-jammy on “Adams Äpple” and find a tonal brightness in “Häxjakt i Snetakt” that is about more than just the shreddy solo that takes hold. There’s a sense of charge there, in contrast to the later “Gånglåt till Käringberget,” which is more outwardly serene and folk-informed. Is that an accordion I hear? It might be, but I’ve got a cold, so don’t quote me on it.

Folk becomes no less essential to the listening experience, and if one hears some likeness to Needlepoint in the ultra-organic “Mylingen” before the surging but still melodic payoff — nickelharpa? — I don’t think that’s necessarily out of line, though I’ll admit my knowledge of actual Swedefolk is pretty limited. Fortunately for me, Homegrown have more going on than just that. “Huldran” has a heavy psychedelic swirl, and “Den Hornkrönte” sounds like a lost ’60s surf instrumental. Closer “Talisman” has a mellotron. Clearly this is a band willing and ready to go where their songs are leading them, but one can’t listen to an arrangement like “Ringöpolskan,” when it brings in the acoustic strum late and say Homegrown aren’t minding the details here. They credit themselves with guitar, bass and drums, and I suppose it’s possible to make all these noises with those instruments, but the plainness of that does little to convey the actual adventure you’re about to embark on in listening.

Beginning with “Frihetsvisa i A-Moll” at the album’s outset, but true of “Huldran,” “Den Hornkrönte” and “Ringöpolskan” as well, Homegrown attempt to knock the listener off balance with a kind of false start. It sounds like they were making noise before ‘record’ was pressed, and feels specifically geared to give this impression, but the effect is to make their audience all the more open to what a song is doing by making them believe it’s already started. There are some stark turns from these intros as well, and part of what the album teaches is that Homegrown can be relied on to change up their approach and include the occasional misdirect. Light tricksterism. It feels consistent with the charm of their arrangements on the whole.

If your takeaway from the above is progressive instrumentalist heavy psychedelia with Swedish folk elements, that’s a decent start for knowing where Homegrown are coming from, but no doubt there’s still a surprise or two in store for you listening to the album, which you can do on the player below, with more PR wire info following.

Please enjoy:

Formed in 2018, Homegrown quickly earned attention with their fuzz-drenched sound, equal parts psychedelic exploration and hypnotic groove. Their early work, including the debut EP Berget Gråter (2023) and full-length Himalayaz (2024), showcased a raw, vocal-driven approach with guitarist Cedric Bergendal handling the mic.  But for their new album, they’ve decided to ditch vocals entirely and quite honestly, they don’t need them.

After years of sweaty, high-energy shows across Sweden alongside acts like Endless Boogie and Öresund Space Collective, Homegrown have built a reputation for turning live stages into volcanic experiences. Now with their self-titled release, the band cements their status as one of Scandinavia’s most magnetic instrumental acts, no words, no filters, just waves of heavy sound rolling straight from amp to audience.

Tracklisting:
1. Frihetsvisa i A-Moll
2. Häxjakt i Snetakt
3. Huldran
4. Adams Äpple
5. Mylingen
6. Forséns öra
7. Den Hornkrönte
8. Gånglåt till Käringberget
9. Ringöpolskan
10. Talisman

Producer: Sebastian Darthsson & Homegrown
Engineer: Sebastian Darthsson
Mixing Engineer: Sebastian Darthsson
Mastering: Per-Robin Eriksson

Homegrown:
Cedric Bergendal: Guitar
Marcus Bertilsson: Guitar
Adam Jensen: Bass
Oskar Brindmark : Drums

Homegrown on Bandcamp

Homegrown on Instagram

Majestic Mountain Records webstore

Majestic Mountain Records on Bandcamp

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Who’s up for a potentially-life-changing weekend in the desert? Well, me, for one. Barring a magic invite, I don’t imagine I’ll be there to see the inaugural Mojave Experience Festival when it takes place over two days next March, but looking at the lineup I fail to see how you wouldn’t want to. Look at that Friday bill. They call it a pre-party. Look at that Saturday bill! How many nights in your life are you going to be treated to a succession of acts like that?

It was pretty clear out of the gate — Dead Meadow and Earthless were the first two bands announced — that Mojave Experience meant business this first time out. I don’t know if this is a one-time thing or if there are intentions toward an annual happening, but either way, the assembled lineup crosses generations and stylistic borders, fostering an immediate sense of identity that’s tied to the history of the Californian desert underground with the likes of Mario Lalli, John Garcia, Gary Arce, Nick Oliveri and The Freeks involved, but that is already looking to reach beyond those geographic and aesthetic confines as well, whether that’s the doom of L.A.’s Early Moods or the acidblasting psych of Philly’s Ecstatic Vision. SoftSun and Borracho. Acid King and Hippie Death Cult. I could just go on saying names until I’ve said them all. None of them suck.

Mario Lalli posted the full bill on socials:

🔥 MOJAVE EXPERIENCE 2026 — FULL LINEUP REVEAL 🔥

🎟️ mojaveexperience.net

March 20–21 • Joshua Tree, CA

The dust has settled… and the full lineup is here. Two days !

FRIDAY • Mojave Gold (Pre-Party)
Rubber Snake Charmers feat. Sean Wheeler
The Freeks
Arthur Seay & The RiffKillers
Borracho
Insomniac
SoftSun

SATURDAY • Joshua Tree Lake (Main Event)
Earthless
Dead Meadow
John Garcia
Acid King
Yawning Man
Hippie Death Cult
Nick Oliveri’s Death Acoustic
Ecstatic Vision
Howling Giant
Early Moods

Single-day Riff Rider Passes drop Dec 5 — Friday or Saturday, your choice.
Two-day bundles already gone.

https://www.mojaveexperience.net
https://instagram.com/mojave_experience_festival
https://www.facebook.com/mojave.experience.festival/

Borracho, Ouroboros (2025)

SoftSun, Eternal Sunrise (2025)

Granted I’m not cool enough to call it Mutants Fest, but if I was, I’d surely say something like, “Gosh, I sure am looking forward to seeing who’s playing Mutants Fest next year,” or something like that. Mutants of the Monster — us poor plebes stuck with all those extra syllables as compared to those in the know — will take place from June 4-6 next year in its ceremonial home of Little Rock, Arkansas. Put together at the behest of CT, best known as the frontman of Rwake, the fest not only regularly features that band — a draw in itself; did you hear the album they put out this year? — but a well-curated selection drawn from across the underground spectrum of genres.

The beginnings of the 2026 lineup bear that out as well. From the extremist sludge of Chained to the Bottom of the Ocean to the dirt-coated atmospheric heavy wrought by Deadbird to metalcore pioneers Coalesce, who’ll also be undertaking a European tour next Spring. It’s three bands confirmed — I think; there was a fourth but it’s not in the social post below so I’m leaving them out to play it safe — but each one of them bringing something different to the bill. Expect that theme to continue as Mutants of the Monster continues to flesh out the lineup from here. I’ve heard a few of the names CT is working to get, and you can take my word that it’s going to be a party.

They had tickets up for sale over this past weekend for Black Friday and such. I assume it’ll sell out but I’m paranoid like that about everything, so take it as you will. The website and social links will have more info, and when I see the next round of names out I’ll do my best to keep up too.

From social media:

We are completely over the moon to welcome Coalesce, CTTBOTO, and Deadbird to 2026 Mutants. Black Friday Early Access over at the Last Chance Records home site.

https://www.lastchancerecords.com/
https://www.instagram.com/mutantsofthemonsterfest/
https://www.facebook.com/profile.php?id=100057305925445

Deadbird, The Head and the Heart (2005)

The fourth annual Blue Moon Festival will take place next July into August, and granted neither is an unknown quantity, but having the likes of Fu Manchu and 1000mods on a bill together feels like a boon to just about anybody’s evening who might be in attendance. Ditto that for Dead Meadow, Acidsitter, Skyjoggers and everybody else in the first lineup announcement, which was made toward the end of last week.

I would expect this means Sons of Arrakis will be back on tour in Europe next Summer, and that Fu Manchu will look to get out as well. No idea on Fu or 1000mods, or Dead Meadow for that matter, but it seems likely they’ll be on the road too, which means (1:) look out for where else they’ll be and (2:) be grateful the festival exists to sustain the band plus a whole lot of others coming through. You know how these things work. I’m excited to see summer take shape.

From the PR wire:

BLUE MOON FESTIVAL – FIRST BAND ANNOUNCEMENT

A new cycle begins. As the moon shifts and the air thickens with distortion, Blue Moon Festival 2026 unveils its first transformation. This year’s edition — Metamorphosis — brings together a powerful constellation of heavy, psychedelic and genre-defying artists from across the globe. A lineup shaped by riffs, ritual, noise, vision and pure underground spirit.

FU MANCHU

Stoner-rock legends known for desert-driven riffs and the fuzz-soaked sound that shaped an entire genre.

1000MODS

Greece’s modern stoner heavyweights, delivering massive grooves and hypnotic riff walls.

DEAD MEADOW

A psychedelic rock institution blending dreamy atmospheres with warm, vintage fuzz.

MEPHISTOFELES

Occult doom drenched in lo-fi grit.

SKY JOGGERS

Fuzzy heavy-psych powered by relentless motorik energy.

SONS OF ARRAKIS

Sci-fi-driven heavy desert psych straight from Canada.

ZERRE

New Wave of Würzburger Thrash Metal.

GREEN MILK FROM THE PLANET ORANGE

Avant-prog/psych explorers pushing boundaries.

CURSED TO OCCULT

Ritualistic doom invoking the underground spirits.

NARBODACAL

Progressive Doom Warriors from Poland.

ACID SITTER

High-energy psych rock maniacs.

July 31 – August 2 2026

Strombad Cottbus

We’re beyond proud to bring these legends to Cottbus and invite you all to be part of the next chapter of the Blue Moon.

https://www.bluemoonfestival.de/
https://www.instagram.com/blue_moon_festival
https://www.facebook.com/bluemoonfest

Fu Manchu, “Eatin’ Dust” live in Pioneertown, CA, 05.31.25

Last year, Palm Desert took part in Electric Witch Mountain Recordings‘ compilation of Polish acts, Deep Seven Vol. 1 (review here), with the nine-minute “Elegy of the Past,” which had room in its expanse to harness a hard-driving desert-derived heavy rock and roll up front and still trip out a bit in the second half with a procession more laid back and psychedelic. Rays of the Gold and Grays, the follow-up LP from the long-running outfit, is either their sixth or third full-length, depending on how you want to count offerings like 2013’s Rotten Village Sessions or the jam-based 2016 LP, Songs From the Dead Seas, but what matters more than the numbers involved — which is something one might feel compelled to say when the numbers are murky — is the presence in the music.

Recorded by drummer Kamil Ziółkowski (also Spaceslug and Mountain of Misery) with a mix/master by Haldor Grunberg at Satanic Audio, the four-piece of Ziółkowski, bassist Jan Rutka (Spaceslug), vocalist Wojciech Gałuszka (who also recorded some vocals in Kettering, UK), and guitarist Piotr Łacny — plus Wojciech Kuczwalski on additional guitar — harness rich desert fuzz with a sense of largesse that should by this point be recognizable in Ziółkowski‘s recordings. The eight-song/43-minute outing has its foundation in rolling, warm distortion, as “In the Breeze” opens by drawing an immediate line to classic European underground heavy rock, whether that’s manifest in the inexplicable airy hugeness of Dozer or the riffy sway of modern practitioners like Kal-El.

In terms of ‘desert,’ you could extrapolate the charge of “Black Hurricane” from the likes of Kyuss, and of course the band are named after the town Kyuss came from, but it’s an effort to hear them with everything else Palm Desert have going on in their sound, and the dynamic that unfurls throughout Rays of the Gold and Grays draws more from the pointed focus on massive tonality than it does from the warm distortion that typifies desert rock. That is to say, Palm Desert bring more to the proceedings than one might anticipate at some 11 years’ remove from their last album-proper, and Rays of the Gold and Grays benefits greatly from that in aesthetic and realization.

As noted, “In the Breeze” launches the album, and it’s quickly dug into the roll that defines it. Gałuszka as a singer is prone to burl, but his voice is well in balance with the guitars, pushed down a bit in the mix so as not to compete with the riffs, and treated with a bit of reverb for good measure. This lets Gałuszka reside a bit more in the nascent swirl that caps “In the Breeze” and which the eight-and-a-half-minute “Lightriders” and the subsequent wah-burner “At the Edge of Time” build upon, and demonstrates a malleability of the mix to highlight various moments throughout. In “Black Hurricane,” which is the shortest track on Rays of the Gold and Grays at 3:33, it’s not all about the fuzzblast, but it’s pretty close, and as the guitar solo pushes over into the crescendo of song, the vocals are very much a part of that cacophony, but the voice doesn’t distract from what’s happening atmospherically there in terms of noise, and that’s a strength Palm Desert show throughout; not something that’s making or breaking your LP, necessarily, but an attention to detail satisfyingly reaffirmed by a mature band.

Paired perhaps for ‘black and blue’ purposes, “Black Hurricane” gives over fluidly to “Blue of the Sky,” with a layered vocal in the verse and a raw, forward trajectory that reminds a bit of Sasquatch in its smoothing out of stark turns before the solo finishes it out. Unsurprisingly, “Lightriders” as the not-quite-centerpiece intentionally has a broader scope — that is, “Blue of the Sky, “Black Hurricane,” etc. aren’t lacking, but different pieces here are written to different expressive ends — and starts quieter with a bit of swagger in the far off lead echoing behind the verse as it builds up before the explosion of tone that shoves it all on the listener, crushing and immersive, then stops, takes a breath, and does it again like 15 seconds later. Fans of London’s Steak will find themselves at home in the midst of all the ensuing big-tone nod, and Palm Desert give due ride to that very, very heavy riff that they’ve stuck in the middle-ish of their record, but diverge in the second half of the song to revisit the intro’s more subdued flow before thickening up the fuzz once more to roll to the end with residual lead echoing before the dreamier start of “At the Edge of Time” tells us the flip has been made to side B. An engine starts.

Hear a purring motor, and sure enough, Palm Desert are ‘burnin’ fuel,’ as the fellow says, in the groovy, wah-drenched crunch of “At the Edge of Time,” a steady, momentum-keeping lead-in for the title-track, which has another softer intro but hits plenty hard from there on, the riff like it’s trying to climb over itself to pull you in. Lower-register vocals in the chorus bring variety at a good moment for it, but there’s plenty of outreach in “Rays of the Gold and Grays,” backed by the immediacy with which “Son of a Wind and Dust” starts and deceptively establishes the riff before the verse actually begins, the band taking their time and staying in-pocket on the groove while it still sounds more straightforward than the title-track because it’s faster. I’d say it’s the little things, but for the fact that it comes across so enormous. The closer, “In My Eyes,” continues that thread while harkening back to some of the softer-landing moments with jammier tradeoff stretches, extra punch seeming to come through the bass even as the layers of guitar drive the album’s apex, finishing with leftover guitar keeping the energy with which it paid off the finale.

And ‘energy’ is a key component here, to be sure, but Rays of the Gold and Grays doesn’t rely simply on fervor to make its point in sound. Though it can feel monolithic at points, and I think it’s supposed to, the movement within and between songs is always there, and Palm Desert steer that momentum with craft and confidence in what they’re doing. In some ways, that’s emblematic of the band’s years, but no question it’s also what lets them bring a feeling of freshness to this material. I won’t predict when Palm Desert might be heard from again, but Rays of the Gold and Grays feels primed to greet new listeners.

Palm Desert on Bandcamp

Palm Desert on Instagram

Palm Desert on Facebook

Electric Witch Mountain Recordings on Bandcamp

Electric Witch Mountain Recordings on Facebook

Baltimore-based one-man melodic doom outfit Orchid Throne will make its full-length debut in the early hours of 2026 with the self-released Buried in Black, from which the opening song is streaming now. Nicholas Bonsanto, who is the principal involved, has been in a few bands, if you recognize some of the names dropped by the PR wire below, but Orchid Throne is a stepping out for him as a songwriter and performer, and so “Dreamworld” feels like melancholia years in the making. You know I’m a sucker for a 13-minute single anyway, right? Well here we are.

The aforementioned PR wire has details and such:

Melodic Doom Outfit, ORCHID THRONE, Releases “Dreamworld” Single!

Buried in Black Album Pre-Orders Open!

One-man Melodic Doom Metal outfit, Orchid Throne, has releeased “Dreamworld,” the first single and epic opening track from forthcoming debut full-length, Buried in Black.

Stream “Dreamworld” at:

orchidthrone.bandcamp.com/track/dreamworld

open.spotify.com/track/39WQc6Eu28Lvrv5L3htZnE

music.apple.com/us/song/dreamworld/1852523211

Orchid Throne is set to release Buried in Black on January 9, 2026! The project consists solely of Nicholas Bonsanto (Lör, Empress, Helianthus, Barren) who performs the music, as well as producing, mixing and mastering the album.

After nearly 17 years of playing supporting roles in various bands, Nicholas Bonsanto (Lör, Empress, Helianthus, Barren) is proud to make his debut as a solo artist as the man behind Orchid Throne. Bonsanto not only wrote and performed all of the music for Buried in Black, but also produced, mixed, and mastered the album.

While not a concept album, Buried in Black weaves themes of anxiety, depression, fear of death, and the search for life’s meaning throughout its lyrics. The title describes both the music itself and the feelings that Bonsanto has kept buried within for years. It may sound bleak, but what is buried in black will be set free and brought to light on January 9.

“This album is a long time coming for me,” said Bonsanto. “For more than a decade, I collected little recordings of ideas in the hope that one day they’d be useful. I could not be more proud of myself for how the album came out and for all of the things I have learned along the way.”

Bonsanto’s Musical Journey to Buried in Black:

“As a musician performing in bands since I was 16, people who know me have seen me play a supportive role, and hear my musical contributions to my bands. But not everyone knows that I have always dreamed of releasing a record of my own. I am passionate about all kinds of music, and while I love playing in my current bands, doom metal is a big love that I long felt like I had no outlet for.

“While I’ve honed my songwriting abilities over the years, I began this project with zero knowledge of how to produce a record on my own. I introduced Orchid Throne to the world one year ago on my birthday with only one song done. Over the past year, I have finished writing, recording, and producing my entire debut record. I have finally achieved this goal and it’s even better than I ever imagined it could be. It means so much to me to get this out there, to truly reflect who I am as an artist, and I’m already excited to create more.”

Pre-order Buried in Black: orchidthrone.bandcamp.com/album/buried-in-black

Track Listing:
1. Dreamworld
2. Ephemerality
3. What Defines us
4. Moonlight Revelry
5. Guilt
6. Breath of Autumn
7. With Promise

Credits:
Album artwork painted by Ryan Gassaway.
Music and Lyrics written by Nick Bonsanto.
Produced, Mixed and Mastered by Nick Bonsanto.
All instruments performed by Nick Bonsanto.
Flute on “Breath of Autumn” and “With Promise” performed by Mary Beck.

https://linktr.ee/orchidthrone
https://orchidthrone.bandcamp.com/
https://instagram.com/orchidthrone
https://www.facebook.com/profile.php?id=61568619598236

Orchid Throne, Buried in Black (2026)

Jam in the Psych Castle won’t be the first music festival hosted at the Öreg Tölgy Kastély-Fogadó, an estate-turned-event-space in Pusztazámor, Hungary. Earlier this year, the grounds hosted a punk and hardcore barbecue that went on for two days, so yes, don’t break a window because the place has weddings in — don’t break a window anyway; don’t be a dick — but there is experience on-site for running sound, lights, and all that other festival-type stuff. The partnership between Para Hobo and Psychedelic Source Records — which will also host a jam session the second day — has put together a lineup that runs a gamut through European heavy psych, with Speck and Obsidian Sea, MR.BISON, the proggy Daliborovo Granje and Poland’s Weedpecker in the headlining spot. By next September, they’ll likely have spent much of 2026 on the road for their impending album, V, due in February.

I’ll make no bones about my interest in Hungary. I’m of Hungarian origin and have been taking language lessons with an eye toward acquiring citizenship through my ancestry. My family and I spent four weeks in Budapest last year and I’ve been trying to figure out how to get back since. I’m proud to have The Obelisk’s logo (especially the metal one!) in good company on the poster above, and while I doubt I’ll be there to see it next year, I hope to be able to watch Jam in the Psych Castle grow in the years to come, as well as to be a part of it physically eventually.

From social media:

Welcome to the Psych Castle!

Event page: https://www.facebook.com/events/1390570246035995

Hungary’s first festival dedicated entirely to Heavy Psych, Stoner Rock, Kraut Rock and Doom Metal.

Hand picked bands from all around Europe in a stunning venue.

https://www.facebook.com/oregtolgykastelyfogado

Here no one plays it safe.

We highly encourage bands to jam!

Please keep in mind that this is a small gathering at a very special venue. Our capacity is limited to only 500 people per day. You should buy your ticket as soon as possible if you want to participate!

Shows:
Weedpecker / POL
Daliborovo Granje / HR
Karkara / FR
The Qualitons / HUN (special set)
Mr. Bison / IT
Roadkillsoda / RO
Giöbia / IT
Speck / AT
Supernaughty / IT
Obsidian Sea / BG
Da Captain Trips / IT
Psychedelic Source Records / HUN (with special guests)
Band in the Pit / HUN
Endre / HUN
Azutmaga / HUN
Alas! / HUN
Deley / HUN (Sound System special)

….

More to be announced!

Ticket sale will start on December 8.

https://jaminthepsychcastle.com/
https://www.instagram.com/jaminthepsychcastle/
https://www.facebook.com/profile.php?id=61584425303212

Weedpecker, V (2026)

Daliborovo Granje, Hainin (2020)

In the parlance of the internet circa 2015, The Swell Fellas did nothing wrong. During their run from 2020-2024, the Nashville trio released three albums, the last of which, Residuum Unknown (review here), came out in 2024 concurrent to their disbanding. And until this past weekend, that was pretty much the story of it. Working with producer Ben McLeod (All Them Witches), The Swell Fellas, who were the three-piece of guitarist/vocalist Conner Poole, drummer Chris Poole and bassist Mark Rohrer, were able to harness a sound that was likewise divergent in its atmosphere and direct in its crush. The short version is they went out on their best record yet, and were a band pushing the limits of genre, which is always a tough one to lose in the great continuum of who does and doesn’t decide to be a band anymore.

All of this is to say that The Swell Fellas left off giving the distinct impression they had more to say — that their creative progression was in motion — and Materializer is the new project where, hopefully, that progression will be realized. It’s more than just a name change, since the new band is Conner and Chris as a duo, and presumably the low end will be full regardless, but it’s not like The Swell Fellas‘ sound was broken or locked into being something specific by audience expectation — they kept it pretty broad to start with — so I wouldn’t expect Materializer to… materialize… at such great remove from where the Pooles left off.

They didn’t have much to say about it, other than that the band exists. That’s good news as far as I’m concerned, so here it is from socials:

MATERIALIZER

By the time it’s ingested, all has changed.

Know that’s nothing that you can change.

It’ll never be the same.

New chapter

Show announcements and music coming soon

Thanks for sticking around 🖤

Let’s ride

https://theswellfellas.bandcamp.com/
http://instagram.com/theswellfellas
http://facebook.com/theswellfellas

The Swell Fellas, Residuum Unknown (2024)