Posted in Whathaveyou on January 27th, 2026 by JJ Koczan
How’s it sound? Well, they’re called Fuzzing Nation, so I’ll give you three guesses and just assume the first of them is “fuzzy.” Well played, hero.
The Athenian trio have signed to Argonauta offshoot Octopus Rising for the release of their upcoming album Mothertruck, and I don’t know about you, but that gives me visions of like a hive of 18-wheelers, eggs all around, some hatching like lizards except it’s smaller trucks. She is the mother truck from whom all other trucks are made. It’s a concept record. I don’t know if that’s the concept, but a boy can dream.
In addition to revealing the greatness of that album title, the new single “Burning Roads” heralds both the fuzz and the trucking to come. I don’t see a release date for the record, but lets say maybe April or May if songs are happening now? Here’s looking forward.
The PR wire has the story thusly:
Fuzzing Nation Sign to Octopus Rising / Argonauta Records; Premiere New Single & Video “Burning Roads”
Greek heavy rock trio Fuzzing Nation have officially joined Octopus Rising, the parallel imprint of Argonauta Records, and are unveiling their first single under the label, “Burning Roads”, accompanied by an explosive official music video.
Formed in late 2022 in Athens, Fuzzing Nation emerged from a spontaneous studio jam between three seasoned musicians, Angel Ioannidis (Vocals, Guitar), Steve Giannakos (Bass) and Terry Moros (Drums) quickly evolving into a full-fledged powerhouse of fuzz-heavy riffs, desert-driven grooves and raw heavy rock energy.
Drawing influence from the heat-baked sound of Kyuss, Fu Manchu’s groove-laden drive and the spirit of the early Palm Desert scene, the band has carved a niche with their warm, gritty, and riff-focused stoner rock, perfect for open roads and endless horizons. Their earlier releases, the self-titled EP (2023) and “Into the Desert” (2024), showcased both raw intensity and growing songwriting sophistication.
“Burning Roads” marks a new chapter for Fuzzing Nation, highlighting their signature desert-fuzz sound while paving the way for the upcoming worldwide release of their concept album “Mothertruck”. The track’s official video captures the relentless energy and hypnotic groove that have become synonymous with the band’s live performances.
With a growing fanbase of dedicated “Mothertruckers” and a packed live schedule across Greece and Europe, Fuzzing Nation are ready to ride further into the global stoner rock scene, armed with heavier riffs, louder amps, and a sound drenched in desert dust.
Posted in Whathaveyou on December 19th, 2025 by JJ Koczan
I mean, you’ve got hometown Athenian heroes Planet of Zeus at the top of the bill with no less than Colour Haze immediately beneath, so yes, Heavy Psych Sounds Fest Athens 2026 basically looks like a party from the word go, since as the first lineup announcement, this is the word go. Those two names will surely catch the eye, but Witchthroat Serpent from France and Greece’s own 1782 remain monsters, and I don’t know Dismiss, but I bet you’ll see the name around again before April gets here, and bluesy rockers Fuzzrider provide further hometown representation in this initial lineup.
Can’t help but wonder if Colour Haze touring in Spring means their new album is or will be done by the time they head out, though either way that they’ll be on a stage someplace, somewhere, at any time, is always good news for the planet in general. Interesting mix of some darker sounds here, and the Sab-worship riffing of 1782 is welcome anytime, but of course there’s still more to come so we don’t have the complete picture either. I have a hard time keeping up with HPS Fests around Europe and the US, since I believe the Italian label/booking agency is up to a baker’s dozen of them (not really, but maybe; let me know if you want to do one in the absolute heavy rock hotbed that is Parsippany, NJ) as they admirably spread the good word of heavy vibes and blowout times, and between fest and label news sometimes it feels like the press releases don’t stop, but when I can cover, as here, I want to, because this is an important era in the heavy underground, and gatherings like these are worth celebrating.
That’s my two cents. I know, no one asked. You’ll find the actual information you came for below, courtesy of the PR wire:
HEAVY PSYCH SOUNDS FEST – ATHENS 2026 – FIRST CONFIRMED BANDS ANNOUNCED
THE HEAVY PSYCH SOUNDS FEST is landing in Athens again on April 3rd and 4th 2026, bringing with it an unstoppable rock earthquake! For two electrifying nights, ARCH Club and Universe will transform into hotspots for the stoner, doom, and psych rock scene, hosting some of the genre’s most legendary names.
Today Heavy Psych Sounds Records in cooperation with TMR Entertainment Group is announcing the FIRST CONFIRMED BANDS !!
– HPS FEST ATHENS 2026 – 3rd April @ ARCH Club 4th April @ Universe
– FIRST CONFIRMED BANDS –
PLANET OF ZEUS COLOUR HAZE WITCHTHROAT SERPENT 1782 DISMISS FUZZRIDER + more TBA
Posted in Whathaveyou on December 16th, 2025 by JJ Koczan
Athenian bang-head-against-genre heavy rockers Godsleep have spent much of the last two years on the road supporting their latest release, 2023’s Lies to Survive (review here). I was lucky enough to see them at Freak Valley 2024 (review here), and after witnessing their onstage energy for myself — they blew me right out of the water; I had to sit down — it was little surprise this year when they showed up on the bills for Tabernas Desert Rock Fest, Down the Hill, Keep it Low and others.
That’s not to say I ‘discovered’ a thing, unless you count realizing for myself what the European heavy underground already knew well, just that the set was killer and, as in the best scenarios, gave a new dimension to my conception of who Godsleep are as a band. Fervency is part of it, and stage presence, but listening back to Lies to Survive, that sense of breaking-the-rules of style (which are imaginary, it needs to be said every time) and the righteousness of their delivery are also factors. There are a bunch of reasons to like this band, in other words.
Dates were posted on socials and — wouldn’t you know it? — here they are:
Europe, we’re coming for you! Headlining shows all spring and we can’t wait. Bring the energy, bring the noise, let’s make this tour massive!⚡️
22/04/26 BERLIN (DE) – NEUE ZUKUNFT 23/04/26 DRESDEN (DE) – OSTPOL 24/04/26 WIESBADEN (DE) – KREATIVFABRIK 25/04/26 MARSBERG (DE) – ZUR TENNE 28/04/26 SOLOTHURN (CH) – KULTURFABRIK KOFMEHL 29/04/26 STUTTGART (DE) – JUHA WEST 30/04/26 JENA KUBA (DE) – JENA 01/05/26 MÜNSTER (DE) – RARE GUITAR 02/05/26 BRAUNSCHWEIG (DE) – B58 04/05/26 LANGENBERG (DE) – KGB 05/05/26 HAMBURG (DE) – HAFENKLANG 06/05/26 HANNOVER (DE) – KULTURZENTRUM FAUST 07/05/26 KÖLN (DE) – GARAGEN 08/05/26 VIERSEN (DE) – ROCKSCHICHT 09/05/26 LIMBURG (DE) – LIMEWOOD FESTIVAL 26/05/26 LILLE (FR) – BRAT CAVE 27/05/26 PARIS (FR) – SUPERSONIC RECORDS 28/05/26 NANTES (FR) – COLD CRASH 29/05/26 LORIENT (FR) – PITDOG 30/05/26 HOSSEGOR (FR) – 416 CREW 31/05/26 MONTPELLIER (FR) – SECRET PLACE
-More Dates to be Announced-
Powered by @spider_promotion / @sanitmils Artwork by @bewild
Though if you’re up for streaming it in full, you can do so now on the player near the bottom of this post, this Friday marks the official/physical release date for The Weight of Forever, the first new LP from Athens heavy rockers Headquake in 11 years. Issuing through Sound Effect Records, the album launches with the declarative “Higher Than You” (video premiering below) and comes across like they’ve been holding onto secret bangers for the last decade-plus.
I’m sure there’s a story there, but if you’ve ever wondered what might give a band impetus to put out a release 11 years subsequent to the one before it, usually that’s a case of expressive urgency, and the songs on The Weight of Forever would seem to bear that out. “Higher Than You” breaks at the halfway point to set up the riff it’ll ride to its finish, like something from classic C.O.C., but miraculously not chestbeating, establishing the opening track as the first of three hooky ear-grabbers, with “Belong to the Past” and “Hey My Man” following, the first slower, the latter rocking and cynical.
This leads to the YOBby guitar intro of centerpiece/longest track “World as a Whole,” with the bass coming forward in the initial verses and an awaited breakout before the three-minute mark that even just that far into the 7:49 runtime makes it feel like you’ve been there a long time. “World as a Whole” makes a hook of its title line and has a doomier figure on guitar for complement, but changes the focus to atmosphere with its psychedelic intro and outro sections, which lets “Release Me” hit all the more as a blend of classic doom and heavy rock, part-Pentagram and part-Sasquatch, marked out by the solos punching through rhythm layers and a return to the more grounded structures made over a still-longer span.
If that feels like it would be a transition back to where they were circa “Belong to the Past,” I don’t think you’re wrong, but Headquake have collected some bruises between there and here and the mood of “My Soul” is somewhat darker. Still, a reorientation continuing off of “Release Me” and moving toward “Lives Collide,” which in the flow of The Weight of Forever as a whole has the role of paying off not only its own progression but that of the entire record around it. You can tell this because it sounds like a crescendo from the start. They push through another righteously catchy chorus and set their trajectory outward, then it’s all go, but there’s never a loss of control or purpose in how “Lives Collide” plays out.
Instead, like the entire LP before it, the finale demonstrates a control over and flexibility of songcraft that becomes a central appeal, letting the band span decades in intangible genre-on-genre influences and still come out sounding like themselves. If you haven’t heard it, it’s streaming on the player near the bottom of this post. If you’d like to get introduced, the video for “Higher Than You” premieres below.
Please enjoy:
Headquake, “Higher Than You” video premiere
After a decade-long silence, Athens’ own Headquake returns with a thunderous statement. On November 7th, 2025, the band will unleash their long-awaited record “The Weight of Forever” — available on vinyl and across all digital platforms. For fans of heavy rock, stoner, grunge, punk and doom, this release marks a bold re-entry. The new songs fuse crushing riffs, soulful grooves, and raw intensity, delivering a sonic experience that both honors Headquake’s roots and pushes them into a thrilling new terrain.
This comeback comes after the critical acclaim of 2014’s “Into the Spiral”, which solidified Headquake’s position in the Greek heavy rock underground. “The Weight of Forever” is not just a sequel, it is a rebirth. After years of writing, evolving and honing their sound, Headquake now steps back into the spotlight, ready to re-ignite the fires under longtime fans and win over a new generation of listeners.
Heavy as the weight of forever.
Tracklisting: 1. Higher Than You 03:36 2. Belong To The Past 05:15 3. Hey My Man 04:15 4. World As A Whole 07:49 5. Release Me 06:59 6. My Soul 05:29 7. Lives Collide 06:07
“The Weight of Forever” is due out on digital and gatefold vinyl, classic black and very limited bone/baby blue vinyl, with a stunning artwork! On Sound Effect Records! It is now on pre-sale here:https://www.soundeffect-records.gr/the-weight-of-forever
Athens heavy rockers Widow Pit make their self-titled debut this week through Sound Effect Records. And I don’t know what might lead a band who’ve been around for 14 years to not only suddenly decide to release a first album, but then to go and record the entire thing live (save for backing vocals, which were added later in the day as noted below) in a single session just eight hours long, but it certainly explains the sense of momentum the four-piece build throughout the seven-song/37-minute offering. The steady groove of “Backstreet” sets them forth, and some garage rock balances out with classic metal in “Eyes on Fire” and the speedier “Night is My Girl” — as opposed to the later “Madonna,” in which vocalist Nikolas Kalogirou repeats the line, “She’s my woman” — to set a tone of movement to which the centerpiece “Burn” (lyric video premiering below) answers with a density of groove and barrage of effects for an even-more-off-the-cuff feel.
Kalogirou is joined in the band by guitarist Petros Michopoulos, bassist Alessandro Catagneri (also backing vocals) and drummer Thanos Tampakopoulos, and by no means are they the first group in history to make an album the way they did. Time was, showing up to a studio and playing your songs was how records were made; The Beatles famously tracked Please Please Me in 12 hours. Widow Pit‘s Widow Pit benefits from the edge the performance gives it. The feedback surrounding “Burn” on either side of the song itself, as well as the urgency of its chorus and classic-style guitar solo, give hints of what flourishes throughout the LP in terms of the character of the material, and the overarching impression is loose thanks to the regardless-of-tempo fluidity in the rhythm section, but I don’t think an album made in this way comes out as coherent as this is without the songs having already been around.
That is, having been a band for 14 years prior to making their debut, Widow Pit have very clearly spent some portion of that time developing their onstage presentation. In addition to being an aesthetic choice, then, recording live might just be playing to their strengths as a group. In that light, it makes more sense than piecing stems together until a song is built. This is who they are. The honesty of it is admirable, in addition to all the rocking that happens front-to-back.
In that regard, side B brings the last three cuts, all of them longer than any of the first four, as “Dust and Decay” picks up with a rush from the swaying finish of “Burn” and digs in with due snare punctuation and punkish fervor until they depart the hook and trip out in the second half with a bit of strut for good measure, lightly psychedelic but never really unstructured. The aforementioned “Madonna” follows, wets down the fuzz and offers another memorable chorus ahead of an instrumental departure in its midsection — not quite a jam, not quite not — before turning back around to renew the procession. With its modernized classic swing, closer “Where Silence Reigns” calls to mind earlier Greenleaf (a compliment) and again tinges on psychedelia with a final wash that leaves little to wonder how it wound up as the closer.
The noise ultimately wins the day, but they’re rocking all the while until the drums stop and the looped vocal winds down and the feedback gives over to waves with marked smoothness — this was apparently done live too; they nailed it which is in keeping with the rest of the results here — allowing a moment to process the raw take on traditional metal and heavy rock riffing, the nuance of groove and tone, and the unabashed fun they so clearly had that day back in April. That all of this manages to come through on Widow Pit — that the energy comes through, vibrant and declarative — is indicative of the band’s experience, sure, but still makes for a pretty special debut full-length. In naming it after themselves, they make it absolutely believable that this is who they are and have been all the while on stage.
As noted, the lyric video for “Burn” premieres below, followed by more info from the PR wire.
Please enjoy:
Widow Pit, “Burn” lyric video
Widow Pit – Widow Pit (SER149LP)
Widow Pit is probably the best hidden (so far) secret of the Athenian Heavy/Psych/Doom rock scene. The band actually began its activity in the distant 2011. Various problems and personnel changes slowed down the band’s pace and, apart from some sporadic live performances, they, so far, did not manage to record the album that would put them on the map for good.
The band’s name is inspired by the historical toponym of Chirolakas in the maritime city of Galaxidi, Greece. The port of the same name was traditionally the place where widows mourned the lost fighters and sailors in the pre-revolutionary period and later in the years of the ship era. It literally means “the widow pit”!
The few who have listened to the band so far, have realized and loved their special Heavy/Psych/Doom rock, which is produced with a genuine rock ‘n’ roll attitude by the experienced members of the band (already active in bands like Devil Flower Mantis, Selefice, Lokruz, Wheelers and Weevil).
After the pandemic, the band reactivated with some live shows and finally on April 5, 2025 they hit Downstroke studio with producer Thanos Amorginos (The Last Drive, The Earthbound) and recorded their first album, exactly as they envisioned, live in just eight hours!
The self-titled debut album will be released on digital and limited edition vinyl (classic black and super-limited transparent clear) on October 31st, 2025 by Sound Effect Records.
This album was recording on April 5, 2025, in a single eight hour session!
The full performance, instruments and lead vocals, was tracked live. Only backing vocals were added at the end of the session.
Posted in Whathaveyou on October 17th, 2025 by JJ Koczan
As a follow-up to their late-2024 debut album, Easy Way (review here), Athens-based heavy rockers Weevil have unveiled the rolling “Acrophobia,” a seven-minute groover that finds them working intentionally with a more atmospheric procession. Fret not, fuzzers. That doesn’t at all mean the warmth of tone they brought to the LP is gone, just that the vocals have a little more cosmic edge and that’s suited to a riff that seems to hold off a second before deciding to cycle through again.
A quieter midsection adds to that sense of atmosphere around the root riffing, and the lyrics mirror the repetitive nature of the flow as lines from verse to verse are changed slightly to convey a sense of forward narrative. The speaker starts on ‘the precipice,’ then jumps, with all the implications of allegory you could want to put to that process. A metaphor for pretty much anything.
“Acrophobia” is reportedly one of several singles Weevil will release ahead of digging into their second full-length, and I’ll be curious to hear where the next one takes them.
From the PR wire:
Weevil – “Acrophobia” (Single Release) Out now on all digital platforms
Athens heavy rock band Weevil return with their new single “Acrophobia”, a song that captures the moment between fear and freedom, that breathless space where you decide whether to fall or fly.
Recorded at Wreck It Sound Studios, “Acrophobia” reveals a more cinematic and emotional side of the band, blending desert rock grit with atmospheric tension and hypnotic groove. Shimmering guitars, thick bass and raw melodic vocals build gradually into a swirl of fuzz and light, creating a sound that feels both intimate and vast.
“Acrophobia” is the first in a series of standalone singles that Weevil will be releasing while working on their next album. Each one explores a different facet of the band’s sound, driven by the same fuzz-soaked spirit that defined their debut Easy Way (2024).
The single will be performed live for the first time in November 2025, giving audiences a glimpse into Weevil’s evolving creative world: loud, emotional and real.
Listen to “Acrophobia” now on Bandcamp, Spotify and all streaming platforms.
Greek doomers Tèlma will release their debut album, Ανθρωποβόρος, this Friday, July 25, through Dying Victims Productions. The title is translated into English in the headline above because I couldn’t make WordPress show Greek characters up there. Hey, I’ve only been at this 16 years. Cut me some slack.
The Athens-based outfit — whose name is properly written as Τέλμα — are obviously purposeful in sticking with Greek in title and language, and it becomes part of the aesthetic of the 47-minute eight-song LP. This traditionalism collides headfirst with traditional doom metal. Trad. Doom. Metal. Of the ‘horns up’ variety, and no complaints. Informed by the NWOBHM, Black Sabbath and their own apparent melancholia, Tèlma craft a sound that’s pure classic doom. In light of their decision to sing and put titles in Greek, that the guitar, bass, keys and drums don’t take a more Mediterranean aspect is surprising, but metal is universal, and in the chug of “Αντίο / Goodbye,” the Candlemassian soar led by vocalist Vangelis is a dive into culture all on its own.
Opener “Καλότυχες / Lucky Ones” and “Αντίο / Goodbye” are more forward and on the beat, while “Ερπετό / Serpent” resides more in the pocket and the side-ending “Φωνή / Voice” builds on that with a lumbering chug initially before breaking into minimalist standalone guitar, soon joined in the void by the drums as they build back up to the final, double-kick underscored chorus. Starting off side B, “Θέρος / Summer” has Iommi-circa-Mob–Rules all over its flowing groove and briefly drops to acoustics in the second half, only to return full-bore a short time thereafter. In complement, “Τέλμα / Dead End” feels pointedly heavy. Its slow chug, emotive-even-in-a-different-language vocal and fullness of crash make it a highlight for headbangers ahead of the closing duo “Φανοστάτης / Lamp Post” and “Χώμα / Soil.”
Bass lumbers at the outset of the seven-minute “Φανοστάτης / Lamp Post,” tick-tocking along with the drums before the low-register vocals enter. It’s not until about 2:50 they unveil the full roll, and the vocals that accompany in layers are duly dramatic to suit the ending that feels like a culmination for the whole record. “Χώμα / Soil” is shorter by a minute and has a mournful march, but is less direct in its impact than the song preceding, so comes across a little like an epilogue or a final immersion before they let go. As they have all along since “Καλότυχες / Lucky Ones,” Τέλμα hit hard, but the closer is more about the ambience and the emotion being evoked by the stately oldschool crush of the music.
Of course, there’s a big ol’ language barrier there for probably most listeners who’ll take it on, but if you’re going to let not understanding the words stop you from enjoying a thing, that’ll be your loss. The album streams in its entirety below, followed by more info from the PR wire:
Hailing from Greece’s vital doom scene, Τέλμα (TÈLMA) was formed in 2017 by Marios, Kostis, and Vangelis. All three men were brought together by their love for traditional doom metal, which led them to blend their influences of Russia’s Scald, Chile’s Procession, Reverend Bizarre, and the UK’s Warning into songs of slow, ceremonial, and melancholic atmosphere, also incorporating elements of epic metal whilst staying true to the traditional doom metal spirit. In 2021, the band released the single “Ξίφη Στραμμένα Στο Φοίνικα,” which appeared on the compilation Art Against Censorship. The addition of Chris on drums in early 2024 made possible the completion of their first full-length, Ανθρωποβόρος (English: “Man-Eater”).
Originally released only digitally but now finding physical release courtesy of Dying Victims, TÈLMA’s debut album displays the blanching power of slo-mo emotion and forlorn majesty. Very much firmly within the wider doom pantheon but very much also fully conveying the band’s particular personality, Ανθρωποβόρος nevertheless emits a unique atmosphere due to TÈLMA’s usage of their native tongue: a conscious choice, and a challenge mastered. Fittingly for such literally weighty metal, the album’s lyrics deal with the subjects of inner struggle, emancipation, the man-made misery of this world, and coming to terms with the inevitable end. That TÈLMA are able to weave distinctive melody and transfer those emotions beyond the meaning of the lyrics – no need to say “It’s all Greek to me” here – adds a mysterious, multidimensional element to their epic doom, and suggests further mastery to come. Fans of the aforementioned as well as Solitude Aeternus, DoomSword, and Crypt Sermon are wholeheartedly encouraged to get devoured by Ανθρωποβόρος!
Tracklisting for TÈLMA’s Ανθρωποβόρος 1. Καλότυχες / Lucky ones 2. Αντίο / Goodbye 3. Ερπετό / Serpent 4. Φωνή / Voice 5. Θέρος / Summer 6. Τέλμα / Dead End 7. Φανοστάτης / Lamp Post 8. Χώμα / Soil
Posted in Whathaveyou on July 10th, 2025 by JJ Koczan
Athens heavy rockers Planet of Zeus are set to celebrate their quarter-centennial this September with a special hometown show Sept. 6 at Technopolis. Offering support for the cause will be psychedelic mavens Khirki, and for Planet of Zeus, who have stayed active throughout their time, with their most recent long-player being last year’s punchy and hard-landing Afterlife (review here), the occasion is a chance to look back at everything they’ve accomplished in their years even as they continue to move forward as players and a group.
The announcement below was run through a major social media organization’s translation matrix, so if there are phrases wrong, maybe check social media or the ticket page or somesuch before you book your flight for this one, but it should be enough to give you an idea of what’s up for the party to come, which is sure to be a blast given the riffage Planet of Zeus have wrought over the last two and a half decades.
Congrats to the band on standing the test of time — arguably the hardest test to stand — and here’s the info for the gig:
Planet of Zeus celebrates 25 years of music with a big concert in Athens!
25 years have passed since the music launch that would change data in the domestic – and not only – heavy music firm. 25 years full of tension, agony, unstoppable efforts, occasional tours, but also creativity, artistic searches, emotional rollercoasters and comradeship!
If Planet of Zeus can be proud of one thing, it’s how they have stayed together, from the very beginning until now. From sweaty live performances in the legendary underground Rodeo and An Club, to large venue sold out shows and prestigious nationwide tours, the unbroken quartet has forged in the midst of the most difficult, but also internal intersections, and bonded as few. Bonding taking the stage as their concerts continue to this day to be some of the most leveling live experiences that the sound audience can enjoy.
Their milestones are countless. The 10,000 attendees at the Stavros Niarchos Foundation Culture Center and the successful European tours alongside names such as Clutch, Grand Magus and Kvelertak, as well as the participation in Europe’s largest and largest metal festivals (Wacken, Hellfest, Graspop, Bloodstock, Mystic, etc. α. ) sums up an enviably consistent course.
Their increasing dynamics and popularity have rightfully established them as one of the most calculated forces of the wider European heavy rock / metal land. Their recent discographic comeback, with the “Afterlife” album, was a cut in their careers. The universal acceptance of the new material from their fanbase, as well as the explosive enthusiasm of the general public, came to attest that Planet of Zeus is in its best phase!
On Saturday, September 6th, we unite our voices and energies in one of the biggest and most important rock concerts of recent years! On that day, all roads will lead to the Technopolis of the Municipality of Athens, where Planet of Zeus will perform the anniversary live for their 25 years of march! Their heavy rock’n’roll anthem will get the first word and they themselves, boasting the greatest moments of their discography will deliver us a saturating show full of surprises, with the unique electricity that characterizes their every on-stage adventure!
The slogan is now known!
ADDITIONAL INFO Arrival time: 7:00 p.m. Start Time: 8:00 pm
