Swedish doomcrunchers Skogskult release their self-titled debut full-length tomorrow, Dec. 5, through Bonebag Records. Based in Umeå, the four-piece of vocalist Simon Rosengrim, guitarist Samuel Nordström, bassist Albin Kroon and drummer Alexander Söderlund emerge with tectonic purpose and a bite to their approach that feels culled from sludge, but at a certain point, these lines begin to blur, and nine-minute opener/longest track (immediate points) “Lyktans Låga” is well on the other side of that imaginary mark, beginning with a low brooding quiet intro that cymbal washes into the first full-tone slam. It’s like their music is a sledgehammer and they’re rearing back over their shoulder to swing it again with each new measure.

It’s not post-metal because it’s not hyper-cerebral feeling. That is, when the grueling nod that develops in “Lyktans Låga” shifts into a softer stretch — a volume trade well familiar to post-metallic types — before its massive, slow-rolling payoff, it doesn’t feel contrived. Certainly Skogskult have put thought into the structure, but the impression is still raw in tone and vocals, and the brutal groove is the first of many. “Turs” picks up the pace with a doomly swing and a piped-in-from-the-dark-ether harsher verse, and also has a break later, a comedown with melody that reminds of Monolord without actually sounding like them, and that holds over for a while until the long last scream. The transition to “Jag Ger Mig Av” is direct and lets the standalone bass rumble come into focus for 30 seconds before the inward sweep arrives, another shout included for good measure. Less of a shove than the song before, “Jag Ger Mig Av” makes its impression in the spaciousness of its roll, and on a record without a centerpiece, it feels like one anyway as the band dutifully chugs toward another stirring culmination, this one capping side A and every bit worthy of its placement.

“Pakten” introduces a shuffle where one is needed. It’s the shortest inclusion on Skogskult by mere seconds at six minutes flat, but it feels like a turn from the first three songs just the same, and adds to the palette the band are working with generally. There is no quiet break and loud return, and while consistent in tone, the band bring forth a boogie that proves refreshing. This sets up the melodic triumph of “Sol,” which works its way forward at a slow crawl through a moodier ambience early on, beginning a single linear build that spreads out over the 7:53, less crushing than anything among side A’s heaviest moments, but branching out and showcasing a diversity of intent in their songwriting — something that obviously bodes well for a band getting their feet under them and exploring who they want to be as Skogskult are here — and redirecting structure only make for a richer listening experience on the whole. They close with “Snöblind,” the intro to which is probably the source of the Sleep comparison the PR wire makes below, and accordingly is nothing to complain about.

It’s somewhat expected that Skogskult would finish huge, returning to the largesse of side A and tying the entire release together, but there’s still more melody in “Snöblind” (and no, it’s not a cover). Rosengrim takes advantage of the space in the riff to evoke a bit of soul, and the lumber that ensues is engrossing in classic stonerly fashion. They break and return, underscoring the point. Already by then, however, the context of the album as a whole has expanded because of the purposeful work on the band’s part to make it do so, and instead of feeling repetitive, “Snöblind” ties together both sides of Skogskult‘s Skogskult, fostering melodic outreach as well as barebones distorted roll. What I like best about it is it sets its own patterns and shows the band have something to say in terms of songwriting, which comes through despite the notable (so here’s me noting it) language deficit on my part.

But it’s a deficit and not a barrier and that’s a distinction worth making. I’m sure this is a far wimpier analogy than the band would find appropriate, but there’s kind of a seed-planting sense throughout Skogskult, and one hopes the years to come will indeed bring a garden’s flourishing therefrom, but the nascence aspects of this first full-length — inarguably among the most crucial statements a band can make — make it more exciting as a prospect for what might follow. In the meantime, all killer.

The album streams in its entirety on the player below. Please enjoy.

Taking cues from classic doom bands like Sleep, Acid King, and Electric Wizard, as well as contemporary acts like Monolord and Telekinetic Yeti, Bonebag Records is thrilled to announce the debut album from rising stars, Skogskult.

Formed in 2022 in Umeå and featuring members of underground bands Från Mars, Scitalis, and Never Recover, the Swedish doom quartet marked their path toward the album with new single “Turs.” Produced by Cavern Deep and Bonebag Record’s own Max Malmer, ‘Turs’ is the second of three singles – following ‘Pakten’ earlier this year – that delve deep into Nordic mythology and arcane mystery. The track tells the story of beings rising from their slumber, bringing destruction as forests fall and mountains bleed. With Swedish lyrics and heavy, fuzz-driven guitars, ‘Turs’ continues to build the atmosphere that defines Skogskult’s sound.

Drawing on imagery of Skinwalkers, Norse burial rituals, and occult gatherings, Skogskult channels the dark traditions of doom and stoner rock into a fuzz-filled vision of darker days to come.

“I had the fortune of catching one of their first shows and signing them on the spot,” explains Malmer. “It was so great to see that there were young, local musicians getting into the stoner doom genre. Since discovering them we’ve produced an entire album together. Hopefully this new single will give everyone a sense of what they’re all about.”

Skogskult’s self-titled debut will be released on 5th December 2025 via Bonebag Records.

Tracklisting:
1. Lyktans Låga
2. Turs
3. Jag Ger Mig Av
4. Pakten
5. Sol
6. Snöblind

Skogskult:
Samuel Nordström – Guitar
Albin Kroon – Bass
Simon Rosengrim – Vocals
Alexander Söderlund – Drums

Skogskult on Bandcamp

Skogskult on Instagram

Skogskult on Facebook

Bonebag Records website

Bonebag Records on Instagram

Bonebag Records on Facebook

Swedish heavy psychedelic/progressive rockers Maha Sohona will release their third album, A Dark Place, next week (Nov. 21) as their first offering through Bonebag Records and the awaited follow-up to 2021’s Endless Searcher (review here). That album was the band’s first since a 2014 self-titled debut and was well-received across the international heavy underground for its depth of tone and melodic, heavy psych-style warmth. A Dark Place, then, represents the quickest turnaround to-date from the three-piece of guitarist/vocalist Johan Bernhardtson, bassist Thomas Hedlund and drummer Erik Andersson, in addition to being a moment of arrival stylistically and in terms of the songs themselves. It is both the clearest and least reliant on effects they’ve yet sounded, and the most confident they’ve yet been in their stylistic purpose. The opening track, “Liquid Motion Medicine,” premieres below.

In representing A Dark Place, it offers sprawl, and Maha Sohona aren’t shy about filling the reaches they create. This happens in the shifting tempos and lumber of the opener, and most starkly perhaps in the closing pair of “Ostera” and the 10-and-a-half-minute finale “The Long Way Home,” which emphasize direct, effective loud/quiet tradeoffs rather than gradual and linear builds. What you get is that “Ostera” broods and explores a subdued, repetitive march with flourish here and there until at 4:35 someone throws Erik Andersson‘s drums down the stairs and Johan Bernhardtson‘s guitar and Thomas Hedlund‘s bass abandon their intimate exploration for full tonal and spacious nod. The progression there is most post-metallic, more martial somehow, and more doomed than in “The Long Way Home,” but pull itself back down to finish quietly ahead of the closer’s own procession.

Bernhardtson‘s vocals are more of a focal point (yes, to answer your question, I did originally type “vocal point” there; thanks for reading) for the recording certainly than they were in Endless Searcher, such that as they make their way into “The Long Way Home” — home is where the Heavy is, as my grandmother always said — the verses engage with emotion and melody, are able to turn with the mood and Alice in Chains lean in the guitar circa four minutes in, but still well away from the actual takeoff. Like much of A Dark Place, “The Long Way Home” feels born of a jam, and I’m not going to say it’s not without its element of meander, but that makes it all the more sweeping when at 7:44 the guitar clicks into the heavier nod that pays the song off, slower than “Ostera” before, still committed to melody, and cognizant of structure in the bookending quiet stretch that caps the album.

But in many situations, it’s languidity that holds sway, and that’s true of second cut “Visions,” as well as the stays-quiet, almost pop-ish “Uddh” that closes side A, the shortest inclusion by far at four minutes. Different songs working toward different goals, united in tone and intermittently cosmic bent. But there’s a plan at work throughout A Dark Place, and “Uddh” remains immersive in its alt-rock wander, and in starting side B, “Voyagers” is no less rich melodically on its way to one of the record’s heaviest stretches. In this way, Maha Sohona bring ambience into the core of their purpose, since no matter what a given song is doing at the time, they don’t depart from the sense of digging in. “Liquid Motion Medicine,” almost industrial-sounding in its midsection crunch (but for the soaring vocals), is vibrant in its heft, given presence through the dry vocal treatment, and they’ve never sounded heavier or more progressive than they do on the album that follows.

A crucial third album that very clearly has learned lessons from its predecessors, A Dark Place feels like the work of a band who’ve formed an idea of who they are musically, and it brings that to life with the promise of continued growth to come. We as listeners should be so lucky.

“Liquid Motion Medicine” premieres below. Thanks for reading and thanks to the band for letting me host the song.

Maha Sohona, “Liquid Motion Medicine” track premiere

Preorder link: https://bonebagrecords.com/collections/maha-sohona

Across six immersive tracks, A Dark Place channels northern melancholy, desert heaviness, and celestial calm into a sonic journey that will resonate with fans of Elder, Tool, and Alice In Chains. The record finds Maha Sohona expanding their signature blend of stoner, space rock, and heavy psych into bold new territories, merging crushing riffs with hypnotic grooves and vast melodic horizons.

From the northern lights of Umeå, Sweden, Maha Sohona crafts heavy, organic rock laced with psychedelic undertones and cinematic depth and ‘Liquid Motion Medicine’ encapsulates this evolution. A track both weighty and refined, drenched in cosmic atmosphere and guided by haunting clarity. It marks a new chapter for the Umeå-based trio, whose sound continues to bridge the earthly and the otherworldly.

Known for their dynamic live performances and atmospheric soundscapes, the trio blurs the line between fuzz-driven power and meditative calm. Originally formed in 2012, their self-titled debut was released in 2014 (Nasoni Records) and quietly helped them build a global cult following – particularly following the release of the song ‘Asteroids’, which to date has amassed over half a million Spotify streams.

After a seven-year hiatus, they resurfaced in 2021 with Endless Searcher (Made Of Stone Recordings), which was celebrated for its melodic depth and expansive scope. Since then, the band has completed two European tours, a Greek tour, and made appearances at major festivals including Krökbacken (Sweden) and DesertFest (London).

Pre-order here: https://bonebagrecords.com/collections/maha-sohona

A Dark Place
1. Liquid Motion Medicine 8:26
2. Visions 9:32
3. Uddh 4:09
4. Voyagers 7:49
5. Ostera 8:38
6. The Long Way Home 10:33

Maha Sohona:
Guitar, Vocals: Johan Bernhardtson
Bass: Thomas Hedlund
Drums: Erik Andersson

Maha Sohona, A Dark Place (2025)

Maha Sohona on Bandcamp

Maha Sohona on Instagram

Maha Sohona on Facebook

Bonebag Records website

Bonebag Records on Instagram

Bonebag Records on Facebook

I’ve been looking forward to the announcement of the next Maha Sohona LP for a bit, as the band have been dropping hints toward its release throughout much of this year, and last week, they put out word of signing with fellow Swedes Bonebag Records to put it out. Nov. 21 is the release date for A Dark Place, which will be the heavy psych trio’s righteous 2021 LP, Endless Searcher (review here), and the first single from it is called “Visions.” You’ll find its nine-and-a-half-minute sprawl at the bottom of this post, and it just might be enough to make your day better. If you’re waiting for the heavy part, stick around, it’s coming.

The good news here is that you only have to wait like a month for A Dark Place to come out. The bad news is that’s still a month away. I’ll hope to have more to come on the record before we get there, but there’s the announcement and the song, from socials and Bandcamp:

Umeå, Sweden’s Maha Sohona returns with A Dark Place, a hypnotic journey where heavy, organic riffs collide with airy, cinematic melodies. Released via Bonebag Records, the album captures a live-in-the-room energy—warm, dynamic, and deeply human. Lyrically and thematically, A Dark Place explores solitude, cycles of darkness and light, and the pull between earthly weight and cosmic escape. Standout tracks “Visions”, “Ostera”, and “The Long Way Home” showcase the band’s range, from cathedral-sized fuzz walls to slow-burning, instrumental passages.

We are very proud to present ”Visions”, the first single of the upcoming album A Dark Place due for release the 21st of November.

Pre-orders are also open for A Dark Place, there’s 2 vinyl variants to choose from. The Bubble Vision Edition and the Marble Voyager Edition. Hurry up, they are going very fast.

A Dark Place
1. Liquid Motion Medicine
2. Visions
3. Uddh
4. Voyagers
5. Ostera
6. The Long Way Home

Maha Sohona:
Guitar, Vocals: Johan Bernhardtson
Bass: Thomas Hedlund
Drums: Erik Andersson

https://mahasohona.bandcamp.com/
https://instagram.com/mahasohonaband
https://facebook.com/mahasohonaband

https://bonebagrecords.com/
https://www.instagram.com/bonebagrecords/
https://www.facebook.com/bonebagrecords/

Maha Sohona, A Dark Place (2025)

Especially at the outset, the new single “Turs” from Swedish four-piece Skogskult gives a markedly sludgier impression than the rocking “Pakten,” a video for which premiered here back in February. Not a thing to hold against the band — having range, that is — but the slower tempo, air of disaffection and shift between screams and cleaner vocals are something of a departure from the uptempo shove of the earlier track. Oh no, a band doing more than one thing with riffs! Who will save us now?

If you said nobody, you got it. At the bottom of this post, you’ll find both videos for your perusal, with the newer one (that’s “Turs”; keep up) an out-in-the-woods chugger that ends like Blair Witch Project, highlighting some of the cultism discussed below and probably fair enough since it’s in the band’s name as well.

As to what the rest of their due-Dec.-5 self-titled Bonebag Records debut might hold, I have less of an idea now than I might’ve yesterday, and yeah, I like that. Here’s to continued complexity of idea and execution:

Nordic Doom Ascends: SKOGSKULT Unveil Occult-Drenched Video and Album on BONEBAG RECORDS

Skinwalkers, rituals, and mysterious gatherings… the Umeå-based quartet’s riff-filled debut arrives this December on Bonebag Records

Skogskult’s self-titled debut will be released on 5th December 2025 | Watch the video for ‘Turs’

Taking cues from classic doom bands like Sleep, Acid King, and Electric Wizard, as well as contemporary acts like Monolord and Telekinetic Yeti, Bonebag Records is thrilled to announce the debut album from rising stars, Skogskult.

Formed in 2022 in Umeå and featuring members of underground bands Från Mars, Scitalis, and Never Recover, the Swedish doom quartet mark their path toward the album with new single ‘Turs’. Produced by Cavern Deep and Bonebag Record’s own Max Malmer, ‘Turs’ is the second of three singles – following ‘Pakten’ earlier this year – that delves deep into Nordic mythology and arcane mystery. The track tells the story of beings rising from their slumber, bringing destruction as forests fall and mountains bleed. With Swedish lyrics and heavy, fuzz-driven guitars, ‘Turs’ continues to build the atmosphere that defines Skogskult’s sound.

Drawing on imagery of Skinwalkers, Norse burial rituals, and occult gatherings, Skogskult channel the dark traditions of doom and stoner rock into a fuzz-filled vision of darker days to come.

“I had the fortune of catching one of their first shows and signed them on the spot,” explains Malmer. “It was so great to see that there were young, local musicians getting into the stoner doom genre. Since discovering them we’ve produced an entire album together. Hopefully this new single will give everyone a sense of what they’re all about.”

Skogskult’s self-titled debut will be released on 5th December 2025 via Bonebag Records. Watch the video for ‘Turs’ here.

Tracklisting:
1. Lyktans Låga
2. Turs
3. Jag Ger Mig Av
4. Pakten
5. Sol
6. Snöblind

Skogskult:
Samuel Nordström – Guitar
Albin Kroon – Bass
Simon Rosengrim – Vocals
Alexander Söderlund – Drums

https://skogskult.bandcamp.com/
https://www.instagram.com/skogskult/
https://www.facebook.com/p/Skogskult-100090515294538/

https://bonebagrecords.com/
https://www.instagram.com/bonebagrecords/
https://www.facebook.com/bonebagrecords/

Skogskult, “Turs” official video

Skogskult, “Pakten” official video

Swedish conceptualist atmospheric doomers Cavern Deep push deeper with their third full-length, Part III – The Bodiless, out this week through Majestic Mountain Records and their own Bonebag Records. The plot thread is somewhat obscure, which will happen when you get into cave-goth ambience and start weaving storylines and themes across successive releases. To wit, 2023’s Part II – Breach (review here) took the listener to depths only hinted at by the band’s 2021 self-titled debut (review here), so of course they begin by soaring with “The Bodiless” to draw the audience into the procession of these six tracks of slow-churning, consuming, claustrophobic darkness.

Marty Harvey, drummer/vocalist of Northern Irish crushers Slomatics, cuts through the low tonality of Cavern Deep‘s slog to guest on lead voice early in “The Bodiless,” thereby introducing the central character of the album, who seems to undergo a sort of transformative obliteration that, well, sounds pretty lovely if fraught in the making. Monsters of Lovecraftian proportion and purpose are met and overcome — “Queen Womb,” “Putrid Sentry” — but rebirth means death first. Intended as the final installment of what at some point in the last four years became a trilogy, Part III – The Bodiless feels every bit like the culmination it’s supposed to be, while at the same time demonstrating just how much Cavern Deep have carved an identity for themselves in its 38-minute span, whether that’s guitarist Kenny-Oswald Duvfenberg and bassist Max Malmer (I think he’s a bass vocally as well) — I think maybe drummer Dennis Sjödin gets in on the action too — creating character and drama through the vocal arrangement of “Queen Womb,” or the solo topping the plodding culmination of the penultimate “Galaxies Collide.”

The keyboard of Johannes Behndig (Sarcophagus Now), who was a guest player on Part II and is now a member of the band, plays an accordingly larger role in setting the scope, as the backdrop for the Martin Ludl saxophone solo in “Mosktraumen” showcases, but if all the plunge and bleakness and slow-big-metal-gears-grinding of Part III – The Bodiless is leading to something — and, good news, it is — it’s to closer “Full Circle.” This not only represents the moment of rebirth for the record’s sans-body protagonist, but is a densely-weighted outbound march that underscores the grim psychedelic cast of Cavern Deep‘s brand of doom; ethereal like swirling smoke but poisonous to breathe. Granted they’ve been writing songs about monsters hiding in dark underground spaces for circa half a decade at this point, but Part III – The Bodiless does not overplay its hand in horror. It doesn’t need to.

Being able to tell a story in impressions is something else Cavern Deep have been working toward all along, but it’s been a strength from the first album on, and the then-trio-now-four-piece have always had a willful-seeming push toward individualism. They’re not just heavy, they’re their kind of heavy, and the difference is one of playing to genre or using elements thereof to shape something more your own. Cavern Deep continue to refine their songwriting processes in the latter methodology, and they’ve grown accordingly more spacious and broader in their reach for that. And no, I don’t just mean in terms of adding keys. The vocal arrangements are bolder and more confident here than they’ve ever been, and with two prior LP’s (plus other short releases, videos, etc.), Cavern Deep sound more sure of the plan they’re following than they ever have, and aspects of their sound that felt exploratory before feel internalized in this material. They’ve learned from what they’ve done up to now, in other words.

All of this ideal in terms of Cavern Deep realizing their project — the stated trilogy — even if it leaves one curious as to what whims they might follow next. Suitably enough, “Full Circle” ends the tale back where it started, with one archeologist and 49 miners headed below the surface to begin the whole cycle, as at the start of the self-titled. Literally and figuratively, Cavern Deep are a different band than they were when they made that first album, and if they are in fact leaving this storyline behind — plans can and do change — they do so with purpose and a sense of continued growth and artistic progression. This is why, whatever horrors might unfold from here, their trilogy as manifest is such a triumph.

Part III – The Bodiless streams in full below. Please enjoy:

Swedish doom/psych explorers Cavern Deep return with the final chapter of their epic concept album trilogy. Titled “Part III – The Bodiless”, the album is set for release on May 9, 2025 via Bonebag Records and Majestic Mountain Records, marking the conclusion of a story that has taken listeners on a dark and otherworldly journey since the band’s self-titled debut in 2021.

Formed in 2019 by members of Zonaria and Gudars Skymning, Cavern Deep has built a reputation for crafting captivating, atmospheric doom soundscapes, blending crushing heaviness with eerie psychedelia. Their debut album, released via Interstellar Smoke Records, introduced a unique storytelling approach that continued with “Part II – Breach”, a critically acclaimed release on their own Bonebag Records.

Now, with “Part III – The Bodiless”, Cavern Deep brings the saga to a dramatic and haunting close, pushing their sonic boundaries further into the abyss. The album is expected to deliver the band’s signature slow, hypnotic riffs and cavernous atmospheres, while weaving a final chapter that explores themes of transcendence, transformation, and the unknown. It features Marty Harvey from Slomatics as the vocalist of the title-track “The Bodiless”, and Martin Ludl on saxophone playing on the track “Moskstraumen.”

—

The concept synopsis is as follows:

1. The Bodiless

The transformation is complete. It enters the ungodly realm through the pulse, now without physical form. A shimmering image of nerves, energy, and vibrant rage moves through starless space. The bodiless is greeted by the never-ending hordes of shapeless beings, awoken for the sole purpose of ending its journey. They will all perish.

2. Queen Womb

Traveling between nodes of passage, covering the vast distances of void, the queen rises. Its children disintegrated, now itself decaying. Facing the bodiless with the desperation of a grieving mother, it unleashes a spewing tidal wave of pure hatred. It is futile. The struggle is short. All that remains is an empty husk. A floating dead mass.

3. Putrid Sentry

Enter the looming watcher of the outer rims, the putrid one. Bestower of unfathomable grief. The commander of a million shapeless minions now gone. It spreads its dark, suffocating energy across the vastness, like a mighty bellow. It wants to consume all. The bodiless seeps into its veins like a lethal promise, soon rendering its deadly cloak pierced and useless, shattered throughout dead space.

4. Moskstraumen

The bodiless slowly drifts into the maw of the maelstrom. Almost depleted. Nearly spent. Soon its purpose is fulfilled. This is the cradle of prime evil. As the ancient swirling mass begins to gnaw away at every ethereal nerve ending of the bodiless, its final offering is released in its full glory: the last light. Burning. Consuming. The grip on the entire realm withers away as the great whirlpool bellows in dying agony.

5. Galaxies Collide

As oozing wounds of ungodly matter bleed out and fade, space itself starts to crumble. Violently colliding with itself, tearing rifts in the very fabric of existence. The bodiless is pulled towards the dead black center of it all. The eye of the storm. Drifting to sleep. In peace. Flickering like a dying lantern.

6. Full Circle

The fail-safe. The curse. The testament. The bodiless is sucked into the deep at the center of the chaotic collapsing reality surrounding it. It is trying to draw breath. It is becoming. Images are rushing back like an unstoppable flood. There is flesh… One archaeologist and 49 brave men stand at the gates, staring down into the bowels of the mountain. It is time to begin the descent.

Line-up:
Kenny-Oswald Duvfenberg – Guitars & Vocals
Max Malmer – Bass & Vocals
Dennis Sjödin – Drums & Backup Vocals
Johannes Behndig – Keys

Cavern Deep on Facebook

Cavern Deep on Instagram

Cavern Deep on Bandcamp

Cavern Deep website

Majestic Mountain Records store

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Bonebag Records on Facebook

Bonebag Records on Instagram

Bonebag Records website

Atmospheric narrative conceptualist doomers Cavern Deep have set a May 9n release for their third album, Part III – The Bodiless, which will be issued through their associated imprint Bonebag Records as well as Majestic Mountain Records. Initially a trio and now a four-piece, the band are following the thread from their last offering, 2023’s Part II – Breach (review here), and they give a first glimpse of the depths to which they’ll plunge in the new single “Queen Womb.” Spoiler alert: it’s dark.

There’s a video for the just-about-six-minute track now, and I’ve got the audio below in case you want a different sensory experience. One thing I’ve found interesting about Cavern Deep to this point is that they’ve grown, progressed in a sound and even now changed configuration, and they’re consistent in the story they’re telling, even as the number of ways they have to tell it is growing. The development of the band, then, becomes a secondary plot to everything they do, expanding their reach musically, lyrically, and in the case of “Queen Womb,” building in the dual-vocal approach and making that part of the ambience throughout.

Did I mention it’s dark? Good. The rest of the info came in a Bandcamp email, which I’d rather get 1,000 of per day than spend five minutes finding this shit on Facebook. Have at it:

linktr.ee/caverndeep

We are very happy to announce that our Bonebag Records is joining forces with Majestic Mountain to release our next concept album “Part III – The Bodiless” the 9th of May. The Bodiless will be the final album to complete the trilogy of the archeologist, which we first meet in our debut album.

This is the first single “Queen Womb”. It is one of our favourites of the album, and it comes with a very murky music video which we hope you all will enjoy. The synopsis of the song is as follows:

Traveling between nodes of passage, covering the vast distances of void, the queen rises. Its children disintegrated, now itself decaying. Facing the bodiless with the desperation of a grieving mother, it unleashes a spewing tidal wave of pure hatred. It is futile. The struggle is short. All that remains is an empty husk. A floating dead mass.

Cavern Deep is:
Kenny-Oswald Duvfenberg – Guitars and Vocals
Max Malmer – Bass and Vocals
Dennis Sjödin – Drums, Backup Vocals and Keys
Johannes Behndig – Synth

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

https://www.facebook.com/bonebagrecords/
https://www.instagram.com/bonebagrecords/
https://bonebagrecords.com/

http://majesticmountainrecords.bigcartel.com
http://facebook.com/majesticmountainrecords
http://instagram.com/majesticmountainrecords

Cavern Deep, “Queen Womb” official video

Cavern Deep, “Queen Womb”

Though informed by doom, grunge, garage rock, heavy post-rock, progressive rock and an outlier weirdoism that spans generations, Möuth‘s debut album, Global Warning, wants nothing for cohesion. Delivered through Bonebag Records, the album sees the Stockholm-based three-piece of guitarist Martin Sandström, drummer Fredrik Aspelin and bassist/vocalist Erik Nordström — the latter two formerly of psychblasters S:t Erik, whose From Under the Tarn LP came out on Solitude Productions in 2009 — running through nine smoothly-transitioning tracks across 40 minutes that are in conversation with each other even as they shift between different styles and bring arrangement flourish to their strong foundation in songwriting. As a title, Global Warning feels most of all like it’s talking about the band itself, and the warning that comes through is duly urgent. There’s something here. Don’t miss it. The music is its own best advocate.

Opener “Holy Ground” strikes a relevant metallic first impression in its guitar, and sure enough, that kind of float becomes a theme that will carry throughout the rest of what follows. The song is nonetheless direct in its verse delivery, despite a somewhat spinning impact. It feels early for cosmic triumphs, but if you’re going to do it the start of the record is as good a place as any, and with the later proggy synth adding to the atmosphere as no less a prelude than the underlying metal or overhead lead work, “Holy Ground” serves as an efficient, effective partial summary of the band’s scope, hinting at things to come without revealing too much of the actual shape of the thing. It is also the first of three instrumental takeoffs, as Möuth depart halfway to ride a groove and bask in repetition as they don’t quite jam it out, but dig into a part and see how doing so changes its shape. Like when electrons don’t exist until you observe them. Quantum mechanical shit happening.

“Sheep,” which is the presumed finale of side A and “In My City,” which caps the record as a whole follow suit with similar drop-everything-and-go excursions, and by the end of the latter, the thread woven throughout makes the album that much stronger and purposeful-feeling. A stop after “Holy Ground” brings on “Dirt,” which feels like an Alice in Chains reference but isn’t musically or thematically, with a ’70s rock shimmer and proto-punk drive, a declarative stomp and a darker chorus. Notably, in Sandström‘s layered guitar, one channel has the rhythm while the lead pokes itself out in front of the mix. He’s pulling notes, and it seems like it might be fuckery, but it works and “Dirt” benefits by having a secondary instrumental hook behind that chorus, Nordström letting out a Dave Wyndorf/Lorenzo Woodrose-style “yeah!” as they get into the solo section, pushing all the while.

The focus on movement in “Dirt” eases the turn into “Speed of Life,” which reinvents the riff to Pentagram‘s classic “Forever My Queen” toward its own ends, with a soulful shredder of a solo and a backbeat dutifully held to accommodate it. Not short on dynamic, Möuth work their way into and around a party vibe — the songs are celebratory on mathematical balance, but not trying to align to one particular heavy niche or another — but are as much doom, and “Sheep,” which is the longest track at 6:39, an obvious focal point and a memorable standout besides, isn’t the first and won’t be the last time a tambourine sneaks in to give extra sense of motion to the material. “Sheep,” is metal-adjacent in its melancholy at the start, but for the toms, and it accounts for some of what “Holy Ground” laid out. It’s bottom-end heavy and melodic to remind one of Torche without trying to be them, and while the final line, “We’re all sheep,” is a funny message ahead of “Alike” later on, at least they’re counting themselves among the number as that lyric affirms. Three minutes in, they drop to a bassy break and dive into the instrumental shove echoing the opener, never quite losing the progression of the song as they go.

That’s an exciting moment, but as “Sheep” gets an epilogue in the quiet “Dream On”-meet-post-rock interlude “World Pain,” Möuth set about expanding the context for Global Warning as a whole with the procession of the album’s second half. “Appetite” is a high point for heft, picking up from the quiet of “World Pain” with a classic Sabbath-circa-Dehumanizer riff with due swing behind from Aspelin on drums, whose work throughout serves as yet another example of the difference the right drummer can make in the right band. Darker and simpler in its stylistic ideology, “Appetite” has immediate appeal and balances the burl of its tone and chorus stating, “I’ve got an appetite,” across a variety of applications thereof, with a sleekly black-hued psych guitar, like Messa or Iron Jinn might, so that it feels neither like a put-on nor like somebody confessing they’re a sexual predator, which is an oddly fine line across which heavy rock and roll sometimes stumbles. Möuth know what they’re about, and hold the momentum built in “Appetite” over to “Alike,” where the guitars go island-style about a minute in to set up the verse and a Phil Collins-y vocal delivers a message of universalism before the song explodes.

Like the unpredictable turn to the solo in “Holy Ground,” “Alike” offers thrills through the depths of its execution. Tonally, melodically, in the arrangement that comes to a head and bursts before it eases back into the shuffling verse with post-punk moodiness, “Alike” leads into “Mantra,” which hides its punkish breakout in reserve alongside its urbane central groove. There’s some synth in there too unless I’m imagining things — possible. — and the sound generally feels like it’s looking to expand from here even as “Mantra” branches out from what its companion pieces have accomplished, moving into an ’80s rock vibe and sounding like a different band than the one that gutted out “Appetite” just two songs ago. This, it turns out, is another strength on the part of the band. They are malleable. “Mantra” ‘gets heavy’ as it goes, and that’s just fine, thanks, and when the three-piece arrive at “In My City,” the sense of landing is palpable. You have reached your destination, as your satnav might tell you.

Second in runtime only to “Sheep” at a still-crisp 5:45, “In My City” feels like it’s taking its time to establish the groove, but in real life it’s about 40 seconds before they’re in it. Big lean on the hook and a strong enough hook to support it; by now it’s a familiar situation. Respectably, “In My City” could have been a disco song, but it isn’t. They keep some ’80s flair in it, but it’s darker than dance. The riff builds right about at the midpoint, and breaks down to set up one last instrumental ride, the movement around a theme once again giving Möuth a platform to hypnotize the listener. One more time, the lead guitar pulling notes over top. One more time, the tambourine. One more time, Möuth use what they have with thought, care and wisdom to convey an individual impression of who they are and their intentions, present and future. The potential they showcase is striking, and the palette they’re working with is very much their own. Global Warning pulls the audience into its movement, not sweeping and pretentious, but with the band confident that what they’re doing is right. And it works, so they must be.

Möuth, Global Warning (2025)

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An exact date and the title remain elusive, but at some relevant point in the coming however long, Umeå, Sweden’s Skogskult will make their full-length debut through Bonebag Records. “Pakten,” as you can read under the video premiering below, is one of a trilogy of singles advancing the record, which was produced by Max Malmer, who also plays in narrative doomers Cavern Deep and runs the label. If you decide to take on the video, and I hope you do, you’ll find a first impression in spacious but raw tonality, Samuel Nordström’s standalone guitar echoing out with plenty of room for the bass to sneak in before the actual crash. They’re riffing soon enough, mid-paced, sludgy swing, Alexander Söderlund‘s drums ready when the breakout comes to Priest riffage and bassy chug from Albin Kroon.

The story grows more complex with the arrival of Simon Rosengrim‘s vocals. The standalone frontman has plenty of echo/reverb on his voice, but is nonetheless dry-throated in style, a singer pushing through above the tongue to get a kind of harsher, Lemmy-ish edge of roughness. It’s not quite a shout — he’s singing, but singing out. Backed with cleaner and at least in this case water-treated vocals by Kroon in the chorus, Rosengrim lends a punkish root to the biker chug of “Pakten” riff, hinting toward proto-metal, but residing in a niche that lets the band explore ideas around atmosphere and texture. The hook gives way to a solo, they bring it back around smoothly, and even as someone completely ignorant of the Swedish language (the title translates to ‘the pact’), the straightforward structure lands well.

Heads up on something cool that doesn’t sound like everybody else. Further heads up that this isn’t the first time Bonebag Records has me saying that. As the bands continue to progress and the label continues to develop on its own side, a reliable outlet is taking shape. That’s not a thing to ignore.

Enjoy the clip. PR wire info follows below. More on the record when I hear it.

Thanks:

Skogskult, “Pakten” video premiere

Taking cues from classic doom bands like Sleep, Acid King, and Electric Wizard, as well as contemporary acts like Monolord and Telekinetic Yeti, Bonebag Records is thrilled to announce the signing of rising stars Skogskult, and the release of their debut later this year.

Formed in 2022 in the city of Umeå and featuring members of underground bands Från Mars, Scitalis, and Never Recover, the Swedish doom quartet herald the release of their debut with new single ‘Pakten’, with the official video premiering now.

Produced by Cavern Deep and Bonebag Record’s own Max Malmer, ‘Pakten’ is the first of three singles that delves deep into Nordic mythology and arcane mystery. Skinwalkers, Norse burial rituals, mysterious gatherings, like so many great, occult-obsessed rock bands it offers a fuzz-filled glimpse of darker days to come for Sweden’s rising subterranean stoners.

“I had the fortune of catching one of their first shows and signed them on the spot,” explains Malmer. “It was so great to see that there were young, local musicians getting into the stoner doom genre. Since discovering them we’ve produced an entire album together. Hopefully this new single will give everyone a sense of what they’re all about.”

Skogskult:
Samuel Nordström – Guitar
Albin Kroon – Bass
Simon Rosengrim – Vocals
Alexander Söderlund – Drums

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