Utah’s Hibernaut and Arizona’s Face Pulp will release a split LP through What’s Left Records in Colorado, and I guess if you want to draw a triangle on a map it’s easy enough to figure how the three parties involved — bands and label — all got together to make the release happen. The logos in the photo above certainly hint at their having shared physical space and probably a stage at some point, but still, it’s not the most directly intuitive pairing until you consider a thread of extremity uniting the bands in spite of their respective genres.

You can stream Face Pulp‘s latest single “Ups and Downs and Crap” below and don’t be surprised when its groove ignites and the pummeling begins. Likewise down at the bottom of the post — where the action is, almost always — is Hibernaut‘s 2025 outing, Obsidian Eye (review here), which brought new depth of character to their shove-prone heavy thrashing style. Each band has its own intention in sound, but I don’t think it’s a stretch to hear how they might complement each other on a shared offering, and as somebody who appreciates a periodic brain-bludgeon at the hands of barking madmen, I’ll take it.

The PR wire has details and background:

Hibernaut / Face Pulp: A hellish alliance of stoner doom from Utah and hardcore, grind, and OSDM from Arizona

Hibernaut / Face Pulp Split LP out March 6th, 2026

Genres: Stoner, doom, sludge, hardcore punk, grindcore, old school death metal

In Spring 2026, out of the American West rises a two-headed beast of riffs and rage. Joining forces for a split LP, Utah’s stoner juggernauts Hibernaut and Arizona’s grinding death-dealers Face Pulp join forces to release an album made of noise and nasty intentions.

Following up Hibernaut’s lauded “Obsidian Eye” and Face Pulp’s split with AZ native grind thrashers DogsThrowSpears, the two outfits deliver a collection of 9 tracks from their respective dark corners of the heavy underground, captured on vinyl through Colorado Springs’ What’s Left Records.

Hibernaut is a doom/sludge/stoner metal band from Salt Lake City, Utah, known for their crushing riffs, psychedelic edges, and progressive heaviness. Formed in 2021 by guitarist/vocalist Dave Jones (Subrosa, Dwellers) and drummer Zach Hatsis (Subrosa, Dwellers), the lineup solidified with bassist Josh Dupree and lead guitarist Matt Miller (Thunderfist, Oldtimer). Their debut album “Ingress” (2023) earned strong acclaim. Their follow-up, “Obsidian Eye”, was released on July 11, 2025—marking a major leap forward for the band. With towering riffs, immersive dynamics, and deep underground roots, Hibernaut continue to carve their own path in modern doom.

Hibernaut will also be playing the first annual HUFR Fest in Denver, Colorado on April 24th at bar 404 and are working on their 3rd full length studio album.

Face Pulp started (officially) in October of 2021. Prior to that, guitarist MT and drummer Randy had tried to start the band back in 2019. When the epidemic hit, they took a year and a half away from it, and by October 2021 they had their first full band practice as Face Pulp. In 2023 they released their full length “Eye Grabbing Detail,” played a series of regional shows in the southwest including a 10 day SW tour, and were pivotal in booking the “Burning Pines” festival in Flagstaff, AZ in an attempt to bring some of their favorite near by bands together all under one roof from every corner, reservation, and major city in Arizona.

In 2024, reaching for higher ambitions they released a split 7″ with their friends in DogsThrowSpears from Fort Defiance, AZ, and in Sept/Oct Landyn (from DogsThrowSpears) joined the band. Throughout 2025 they have been playing consistently all over the region, ran another southwest tour, and had the opportunity to open up for acts like Gatecreeper, Soulfly, and Go Ahead and Die. With big tour plans for 2026 in the midwest and Europe, the release of this split LP, and recording for a full length, who knows what will come next. Face Pulp mixes genres of hardcore punk, grindcore, thrash, and hints of OSDM.

Hibernaut – Salt Lake City, Utah
Dave Jones – Guitar, Vocals
Zach Hatsis – Drums
Josh Dupree – Bass
Matt Miller – Lead Guitar

Face Pulp – Flagstaff, Arizona
Steve – Vocals
MT – Guitar
Landyn – Bass
Randy – Drums

https://www.hibernautband.com/
https://hibernaut.bandcamp.com/
http://instagram.com/hibernautband
https://www.facebook.com/hibernaut

https://facepulp.bandcamp.com/
https://www.instagram.com/facepulp/
https://www.facebook.com/profile.php?id=100085687103429

https://whatsleftrecords.bigcartel.com/
https://www.instagram.com/whatsleftrecords/
https://www.facebook.com/whatsleftrec/

Hibernaut, Obsidian Eye (2025)

Face Pulp, “Ups and Downs and Crap”

Arizona’s Fuzz Evil will join up with Ohio denizens Valley of the Sun as the Sierra Vista four-piece continue to support their March 2025 outing, Smear Merchants (review here). They were out in May — that’s Fuzz Evil; Valley of the Sun are generally also ‘out’ somewhere, I just want to be clear about whom I’m speaking — on a West Coast run to herald the record’s arrival, but where that tour went as far north as Oregon, Washington and Idaho, these five shows keep it pretty regional in terms of geography.

But good shows is good shows and these will be those. As noted, you’ll see Valley of the Sun are part of the stellar lineup for this year’s Ripplefest Texas. Oh, to dream I was putting that sentence in first instead of second person. A sincere wrist-over-my-forehead “alas” later, life rolls on with characteristically cruel indifference.

My own daydreams aside, here are some things that are actually happening for the people undertaking them. Courtesy of the PR wire:

Fuzz Evil to Support Valley of the Sun Through Southwest Following Ripplefest Texas

Southwest heavy psych rockers Fuzz Evil are hitting the road this fall in support of Valley of the Sun, joining the Ohio-based stoner rock veterans for a short but heavy-hitting run across the American Southwest.

The tour launches the week after Valley of the Sun’s highly anticipated appearance at Ripplefest Texas this September, bringing together these two underground acts for a string of dates filled with fuzz-drenched riffs, thunderous grooves, and pure desert energy.

With both bands known for delivering loud, immersive, and riff-forward performances, fans can expect no-frills, full-throttle rock shows in intimate venues throughout the region.

Tour Dates
9.24- Rockhouse Bar and Grill – El Paso Texas
9.25- Pc’s Lounge- Sierra Vista, Arizona
9.26- CV Collective- Coachella California
9.27- The Dive- Las Vegas, Nevada
9.28- Permanant Records, Los Angeles California

Fuzz Evil is:
Vocals & Guitar: Wayne Rudell
Bass & Backing Vocals: Joseph Rudell
Baritone Guitars: Preston Jennings
Drums: Cajun Adams

https://www.fuzzevil.com/
https://linktr.ee/fuzzevil
https://fuzzevil.bandcamp.com/
https://www.instagram.com/fuzzevilaz/
https://www.facebook.com/FuzzEvil/

https://desertrecords.bigcartel.com/
https://linktr.ee/desertrecords
https://desertrecords.bandcamp.com/
https://www.instagram.com/desertrecords/
https://www.facebook.com/desertrecordslabel/

Fuzz Evil, Smear Merchants (2025)

Arizona heavy rock and rollers Fuzz Evil are releasing a live version of “The Black Dread” July 18, which is tomorrow. The reliable, melodic three-piece from Sierra Vista recorded the track this past Feb. 11 as Fuzz Evil supported Pentagram, who were rolling through on tour. As ever, Wayne and Joey Rudell know what they’re about. The song originally comes from their 2016 self-titled debut (review here) — they made a video for it in 2017, posted here — and from the mellower-vibing studio version, they’ve extrapolated a different song. “The Black Dread” hits harder, which isn’t the most surprising thing in the universe for a live track, but has seen its trajectory shift as well.

The present incarnation of Fuzz Evil, with Joey on bass and backing vocals and Wayne on vocals and guitar, as ever, with baritone guitarist Preston Jennings and drummer Cajun Adams released the band’s latest studio offering, Smear Merchants (review here), earlier this year. Since the original “Black Dread” — minus the ‘the’ — was recorded as trio, there are inherent differences, but the studio version also has a line of organ running through it and stretches up toward seven minutes. The live one trims that to a little over five, and while preserving the psychedelic aspect early, builds it to a ready-to-close-the-set blowout with the keys, solo and underlying rhythm all pushing to the same crescendo. Fuzz Evil have always had their sound under control. They’ve always been songwriters. That comes through in the live version of “The Black Dread” too, but clearly for them it’s more about the joy of the performance, and that comes through here too.

I don’t know if there’s a live record coming, or if the full set from the Pentagram show was even captured, but even if “The Black Dread (Live)” is a standalone, gonna-wind-up-as-a-bonus-track-some-day one-off, it says something about the growth of the band over their time thus far, and like their own progression, the song has become something new while staying true to its foundation in heavy desert vibes and ultra-solid craft. Sounds like it was a killer gig.

“The Black Dread (Live)” premieres below, followed by more info from the PR wire:

Fuzz Evil, “The Black Dread (Live)” track premiere

FUZZ EVIL UNLEASHES “THE BLACK DREAD (LIVE)” – RECORDED OPENING FOR DOOM LEGENDS PENTAGRAM AT 191 TOOLE

SIERRA VISTA, AZ – Arizona’s borderland heavy rockers Fuzz Evil are proud to announce the release of their explosive new live single “The Black Dread (Live)” on July 18th. Captured during their powerful support slot for the legendary Pentagram at 191 Toole in Tucson, this live version of the fan-favorite track from their debut record brings a new level of raw energy, layered soundscapes, and vintage doom ambiance.

Frontman Wayne Rudell shares the excitement behind the release:

“I have always wanted to capture the live version of ‘The Black Dread.’ It has such a different energy live as a four-piece. Preston adds so much with his effects. You can really hear all the layers he adds. I used to love listening to old live bootlegs of Jimi Hendrix concerts. You got to hear different interpretations of timeless songs you thought you knew. I wanted to capture something similar here with the Black Dread”

Originally released on their self-titled debut, “The Black Dread” has become a cornerstone of Fuzz Evil’s live shows, known for its heavy riffs, psychedelic undertones, and thunderous grooves. This new live recording offers fans a visceral and immersive experience of the band’s expanded live lineup, showcasing the synergy that makes them a standout in the modern stoner and doom scene.

Fuzz Evil has steadily built a reputation for their gritty desert rock sound and raw, powerful live performances, and this release is a bold reminder of the bands relentless pursuit to be undeniable.

“The Black Dread (Live)” will be available on all major streaming platforms July 18th.

Follow Fuzz Evil for more upcoming releases and tour dates.

Fuzz Evil is:
Vocals & Guitar: Wayne Rudell
Bass & Backing Vocals: Joseph Rudell
Baritone Guitars: Preston Jennings
Drums: Cajun Adams

Fuzz Evil, Smear Merchants (2025)

Fuzz Evil website

Fuzz Evil Linktr.ee

Fuzz Evil on Bandcamp

Fuzz Evil on Instagram

Fuzz Evil on Facebook

Eight wretched years after their last missive, Harvester of Bongloads (review here), depressive Arizona riffers Goya return with In the Dawn of November, which is unmistakably their most miserable work to-date. Of course that’s a compliment, since misery is what they’re shooting for. All your faux, on-the-internet spiritual enlightenment, toxic positivity and birthday wishes can fall down a well; it’s time for “Sick of Your Shit.” It feels like a hallmark of our age that something dark and downer is automatically considered more realistic, but if you can look at the world around you in 2025, planet and people, and feel good about it, you’re either clueless or an asshole.

It’s not with pseudo-Buddhist posturing that guitarist Jeffrey Owens opines that “Existence is pain” so much as casual observation. As Goya close in on the band’s 15th anniversary next year, Owens is the remaining founding member and as In the Dawn of November rolls out with its eight-minute title-track, his delivery and cynicism become a major part of the impression and persona of the album. Not surprising, right? That’s kind of always been the case with Goya, but — and this might be maturity creeping into their approach; this is their fourth LP after all — the weed-worship and horror-cinema themes have been largely put to the side in favor of honing in on the despondent.

Production by Jack Endino — as if to say ‘we’re not screwing around this time’ — who of course is known for his work in the heavy underground with High on Fire, Windhand, Nebula, etc., never mind CV lines like Nirvana, gives life to the lumbering roll of “In the Dawn of November,” and from CJ Sholtis‘ bass intro onward, a current of Type O Negative creeps into Goya‘s sound instrumentally, offering sympathy in the culminating leads, but coming across as resigned more than hopeful with the repeated line, “Please let me go.” This ending is backed by the declarative, righteous, highlight swing of “Cemetery Blues,” punctuated by Marcus Bryant‘s thudding toms and marching to the hi-hat and smooth kick.

The underlying influence of Electric Wizard is still there — the Dorset doom mainstays have always been a factor in Goya‘s approach — but “Cemetery Blues” is less stoned, swings more and hits lands harder. Preston Bryant‘s synth later on gives a sense of flourish that “In the Dawn of November” seemed to purposefully withhold, and there’s more lead guitar antics, but “Cemetery Blues” is still about the riff at its foundation. It holds its direction for the duration, and is right to do so, sounding inspired in addition to making a show of its wretchedness and wanting to die. In succession, “Depressive Episode” and “Sick of Your Shit” follow. The former is faster, speeding up the swing, and “Sick of Your Shit” brings lines like, “You think you’re fucking cool/You’re just another piece of shit I despise,” that, if you’re the ‘you’ in question, is probably enough to ruin your day.

So much the better, then, to be in the proper headspace for the remainder of In the Dawn of November. It’s noteworthy that “Depressive Episode” manages to speed up the proceedings without losing the clarity in Sholtis‘ bass or Owens‘ guitar. The rumble is there, it just moves, and the Endino mix gives it the space to do so, even amid the wah-insanity atop the gallop in the back half. “Sick of Your Shit” is slower and marks the presumed start of side B. It makes itself welcome with a quick intro groove before a “blech” marks the transition to the riff-proper, and goes on to position itself in the running for your feel-awful hit of the summer. Just in time for wildfires, continued daily numbing to corruption and political violence, and ongoing genocide. The song isn’t about any of that stuff, at least not outwardly, but again, it for sure feels like it’s speaking to the moment we’re in.

To that end comes the 12-minute “I Wanna Be Dead.” With just the instrumental epilogue “Comes With the Fall” after it — which I think makes the penultimate track ‘the fall’ in this case — “I Wanna Be Dead” is as much a blanket musical statement as it is a straightforward lyrical declaration. In Sabbathian tradition, it starts with a storm and a bell tolling, and it gradually unfolds around that backdrop with crashes and a pointedly doomly cast. It is Goya at their most Goya, with Owens layering vocal lines for emphasis on his way to shouting into the void, “There’s nothing after this/To be a corpse/But of course,” in unmitigated and winking glorification of death.

The next lines lay it out: “It’s just the fantasy within my head/I’m hoping/I’m praying/I’m waiting/I wanna be dead,” and then the title lyric repeats to really nail down the hook. That chorus is definitive for the song itself, but at 12 minutes, obviously there’s more going on than Owens saying he wants to die. The spacious, organ-laced break in the middle allows for atmospheric flourish in a way that a lot of the album has eschewed — preface for “Comes With the Fall,” which is more obscure with its vague speech sample, noise and meandering layers of guitar — and gives over to the solo in an effective reveal of the build the band has just begun to pay off.

It finishes by casting ‘a pox upon the human race’ and pushing into deeper heft after a last run through the chorus, complemented by the returning keys. A lot of how a given listener approaches In the Dawn of November will probably come down to their own disposition in the world around them. How much misanthropy can you take? How much negativity is too much? How low can you go? Goya make a show of their depression, and dare to make it a very specific kind of fun — again Type O Negative feel like a factor — but if you can’t hang with a dude talking straight up about how he wants his life to be over, well, this probably isn’t the first time you’ve run into the problem in doom.

There’s a challenge in there as well, though. Doom, as a genre, as a worldwide community, has a problem with mental health and the ongoing spate of suicides and early deaths to prove it. I don’t know if it’s something to be reconciled with or just sad about, but In the Dawn of November is unflinching in accounting for its own joylessness. If Owens or anyone else in the band needs help, I hope they get it, but I’ve been in that place where it feels like there’s no point in moving forward and found myself repeatedly turning to music to prove myself wrong. Perhaps there can be catharsis here, in such a vivid expression.

Either way, please don’t kill yourself.

Goya, “In the Dawn of November” official video

Goya, In the Dawn of November (2025)

Goya’s Linktr.ee

Goya on Bandcamp

Goya on Instagram

Goya on Facebook

Blues Funeral Recordings website

Blues Funeral Recordings on Bandcamp

Blues Funeral Recordings on Instagram

Blues Funeral Recordings on Facebook

If you missed it — and I know you didn’t, but stay with me — Arizona worshippers Goya posted their video for the second single from their impending album, In the Dawn of November, toward the end of last week. It’s called “Depressive Episode” and you’ll find it below. The band will release the album on June 13 through Blues Funeral, and before it’s even out, they’ll be on the road headed east for a round of shows in the Midwest and along the Atlantic Seaboard, keeping sludgy company with their labelmates in Toke-offshoot Bronco, whose self-titled debut (review here) came out at the end of February.

The two bands will be out together for about two weeks, and Goya have a couple shows after as they make their way home. The list of dates is below and the video for “Depressive Episode,” the prior clip for the title-track, and the audio stream of both all follow here, because one likes to be thorough while also probably missing out on a bunch of whathaveyou.

The poster and dates came from socials:

Tour with Bronco starts in one month.

JUN 12-Chicago, IL-Reggie’s/Music Joint
JUN 13-Indianapolis, IN-State Street
JUN 14-Cleveland, OH-The Winchester
JUN 15-Melvindale, MI-Parts and Labor
JUN 17-Toronto, ON-Bovine Sex Club
JUN 18-Montreal, QC-Bar Blue Dog
JUN 19-Portland, ME-Geno’s Rock Club
JUN 20-Jamaica Plain, MA-The Midway Cafe
JUN 21-Brooklyn, NY-The Wood Shop
JUN 22-Philadelphia, PA-Nikki Lopez
JUN 23-Richmond, VA Banditos
JUN 25-Winston-Salem, NC Hoots
JUN 27-Atlanta, GA Boggs Social and Supply*
JUN 28-New Orleans, LA Gasa Gasa*
JUN 29-Houston, TX White Oak Upstairs*
*no Bronco

Goya is
Marcus Bryant – Drums
Jeffrey Owens – Guitar/Vocals
CJ Sholtis – Bass

facebook.com/goyastoner
https://www.instagram.com/goyaband/
marijuana.bandcamp.com
https://linktr.ee/goyadoom

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
bluesfuneral.com

Goya, “Depressive Episode” official video

Goya, “In the Dawn of November” official video

Goya, In the Dawn of November (2025)

Hard-distortion-wielding Phoenix, Arizona, stoner crushers Daytripper will make their way to the Eastern Seaboard next month to play June 19 at Maryland Doom Fest. They come in herald and support of their 2024 debut album, Book I: The Trip, which is likewise molten, addled, and punishing, bringing together classic stoner metallurgy with sludgier and more guttural impulses, riffly worship and a heroic dose of nod. As I invariably would, I whiffed on the record last year, but take a listen to “Staff of the Bog,” “Jarl’s Eyes” and the death-lurch-into-keyboardy-sprawl “Marijuanakon” are deceptively engrossing. The Adam Burke cover art is not at all misplaced.

You will recall that last week, Maryland Doom Fest announced this would be their final edition. Take Daytripper‘s inclusion in it as a sign of the festival commitment to embracing newer acts right up to the end. That’s only part of what makes Doom Fest special, but it’s a big part.

From the PR wire:

DAYTRIPPER ANNOUNCES “DESERT DWELLERS” TOUR

Listen to Book I: The Trip on all major streaming platforms.

Phoenix, AZ’s rising force in desert stoner doom, Daytripper, is hitting the road this June for a five-date run across the South and East Coast, in support of their debut album, Book I: The Trip. The Desert Dwellers Mini Tour will bring the band’s crushing riffs, immersive live show, and psychedelic desert energy to select cities.

With a sound rooted in the heavy traditions of doom, wrapped in storytelling and ritualistic atmosphere, Daytripper has crafted a debut that’s already turning heads in the underground scene. Book I: The Trip is the band’s official debut album, originally released in March of last year and later issued on vinyl by California-based Wet Records. It’s a raw and passionate record built on deep grooves, hypnotic atmosphere, and a genuine love for the craft — a bold testament to the spirit of Arizona Desert Doom and the band’s dedication to pushing the genre forward.

“This album is what AZ Desert Doom is all about. This community has inspired us, and we put everything we had into making this record. We hope everyone can sit back, spark up, and join us on this trip.” said the band.

“We have paused our recording and composition process to make these dates. But we hope to bring more news soon.”

Don’t miss your chance to experience Daytripper live on this limited run:

DESERT DWELLERS TOUR DATES
June 15 – Austin, TX – Valhalla
June 16 – New Orleans, LA – The Goat
June 19 – Frederick, MD – Maryland Doom Fest
June 21 – Raleigh, NC – Kings
June 22 – Lexington, KY – Al’s Bar

https://daytripperdoom.com/
https://daytripperdoom.bandcamp.com/
https://www.instagram.com/daytripperdoom/
https://www.facebook.com/Daytripperdoom/

Daytripper, Book I: The Trip (2024)

Arizona-based heavy rock and rollers Fuzz Evil are funky-fresh off the release last month of their new album, Smear Merchants (review here), on Desert Records. The four-piece led by the brotherly team of Wayne and Joey Rudell will support their latest outing on a West Coast tour starting May 17 after a couple local shows earlier in the month.

They’ll hit the Pacific Northwest for stops in Portland and Tacoma and swing through Boise en route to share the stage with The Otolith in Salt Lake City, which is a banger show and not a combination of bands you would intuitively put on a bill but a bit of upfront rock and some crush will probably go well toether. It’d be two bands I want to see, at least. So, efficient in that way.

Dates follow as per the PR wire:

Fuzz Evil Embarks on West Coast Tour to Support Smear Merchants!

Arizona heavy psych rockers Fuzz Evil are hitting the road for a West Coast tour from May 18-24 in support of their new album, Smear Merchants, which dropped on March 21. Known for their fuzz-drenched riffs and raw desert energy, Fuzz Evil is bringing their explosive live show to venues across the coast.

A highlight of the run includes a special night in Salt Lake City on May 23 at Urban Lounge, where they’ll join their labelmates The Otolith for a crushing, can’t-miss performance.

Stay tuned for full tour dates and get ready for a sonic onslaught as Fuzz Evil spreads the fuzz!

Fuzz Evil – Smear Merchants West Coast Tour
05.02 Tucson AZ 191 Toole
05.10 Sierra Vista AZ PC’s Lounge
05.17 Oceanside CA Pourhouse Brewery
05.18 Los Angeles CA The Redwood
05.19 Yuba City CA Hooligans
05.20 Portland OR Dante’s
05.21 Tacoma WA The Valley
05.22 Boise ID Realms
05.23 Salt Lake City UT Urban Lounge w/ The Otolith
05.24 Phoenix AZ Yucca Tap Room

Fuzz Evil is:
Vocals & Guitar: Wayne Rudell
Bass & Backing Vocals: Joseph Rudell
Baritone Guitars: Preston Jennings
Drums: Cajun Adams

https://www.facebook.com/FuzzEvil/
https://www.instagram.com/fuzzevilaz/
https://fuzzevil.bandcamp.com/
https://linktr.ee/fuzzevil
https://www.fuzzevil.com/

https://www.facebook.com/desertrecordslabel/
https://www.instagram.com/desertrecords/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/
https://linktr.ee/desertrecords

Fuzz Evil, Smear Merchants (2025)

Goya will release their first album in eight years, In the Dawn of November, on June 13 as their label-debut for Blues Funeral. Led off by its weighty-grooving title-track, the follow-up to 2017’s Harvester of Bongloads (review here) reaffirms the Phoenix trio among the dankest of riff worshippers the heavy ’10s wrought, whether it’s the title-track’s crawling catchiness, “Cemetary Blues” rolling out like Electric Wizard jamming with Type O Negative, organ and all, or “Depressive Episode” kicking the tempo for a dark stoner shuffle, “Sick of Your Shit” bring lumber and a standout vocal from guitarist Jeffrey Owens, “I Wanna Be Dead” bringing back some of that gothy vibe but doing it in a what-it’s-all-about 12 very, very stoned minutes of heavy pummel and suitably lethal hookmaking, or the vague outro “Comes With the Fall” thereafter — oops that’s the whole record; I guess it goes down smooth.

But while it does all that reaffirming, In the Dawn of November also offers clear growth in songwriting, performance, production and stylistic scope, and while celebrating their influences is still a part of Goya‘s purpose as a band, they’ve never come across as identifiably their own as they seem to in this material. I’m looking forward to getting to know the album better, but it’s a striking first impression, and I know nodders will be nodding. Will hope to have more to come. Video and audio for the title-track are at the bottom of the post.

From the PR wire:

Phoenix doom metal trio GOYA to release new album “In the Dawn of November” on Blues Funeral Recordings; stream title track now!

Phoenix, Arizona doom metal torchbearers GOYA have signed to Blues Funeral Recordings for the release of their fourth studio album “In the Dawn of November” this June 13th, and present the spine-shivering video for its title track today.

Goya is a Phoenix, Arizona doom metal band known and revered for delivering mountain-heavy riffs drenched in copious amounts of fuzz on top of haunting psychedelic atmospherics. Formed in 2011 by guitarist and vocalist Jeffrey Owens, the band takes its cue from genre pioneers like Electric Wizard, Acid King and Sleep, crafting a sound that is as hypnotic as it is defiantly punishing.

In the fall of 2024, Goya entered Soundhouse Studios in Seattle with legendary producer Jack Endino (High On Fire, Year of the Cobra, Soundgarden) to lay down a monolithic work of graveyard grooves and bleak reflections to herald their towering return with their most accomplished and unwaveringly bone-crushing record to date — leading the trio to ink a deal with revered Albuquerque-based label Blues Funeral Recordings. “We are proud to welcome these Arizona desert doom stalwarts to the label with a new LP of crushing cosmic sludge! Goya has historically done almost everything themselves, and we’re grateful for the trust they’ve shown by allowing us into their fortress to do what we do and help spread their monolithic riff-heaviness farther than ever before,” said label founder Jadd Shickler.

Let Goya crush your souls with new video “In the Dawn of November”
+ listen to the single on all streaming services: https://lnkfi.re/goyanovember

About the song, frontman Jeffrey Owens comments: “The eight years since the last Goya record have brought me face to face with some hard truths about life. I’m getting older, and mortality has struck me in new ways, so this album is largely a meditation on death. In the Dawn of November is the natural evolution of the band, and the culmination of everything that came before it, simultaneously signifying a new era for Goya.”

TRACKLIST:
1. In the Dawn of November
2. Cemetary Blues
3. Depressive Episode
4. Sick of Your Shit
5. I Wanna Be Dead
6. Comes with the Fall

Goya’s 2012 demo showcased their early potential, but it was their debut full-length “777” (2013) that announced their fearsome arrival in the doom underground. With sprawling, riff-heavy compositions and occult-tinged lyrics, “777” resonated deeply with fans of titanic sludge-metal. Continuing to evolve, Goya released “Obelisk” in 2015, a concept album that refined their blend of psychedelic doom. They followed this with their magnum opus, 2017’s “Harvester of Bongloads”, another concept album that leaned as heavily as ever into their fuzz-laden, riff-driven aesthetic and further cemented their legacy of unrelenting doom and immersive sonic landscapes.

In the summer of 2024, Goya returned to the road for a month-long US tour after taking a few years to write their fourth album “In the Dawn of November”, to be released in the spring of 2025 via New Mexico-based label Blues Funeral Recordings (Acid King, Lowrider, Dozer).

Goya is
Marcus Bryant – Drums
Jeffrey Owens – Guitar/Vocals
CJ Sholtis – Bass

facebook.com/goyastoner
https://www.instagram.com/goyaband/
marijuana.bandcamp.com
https://linktr.ee/goyadoom

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
bluesfuneral.com

Goya, “In the Dawn of November” official video

Goya, In the Dawn of November (2025)