True, Elder had the expansive-despite-only-being-two-tracks EP, Liminality / Dream State Return EP (review here), out last year, and it’s coming on four years since 2022’s Innate Passage (review here), which is neither the longest nor the shortest stretch of time ever, but every time they announce a new album, you almost have to inhale and brace yourself for what’s coming. Where will this collection take them? I have no idea. Deeper into mastery, one assumes, but as to the actual shape that will take, there’s only one real way to find out.

They previously announced the tour dates I’ve inserted below, and Through Zero is noteworthy for being their first outing to not be released through Armageddon Shop in the US since Dead Roots Stirring (review here), which came out through MeteorCity, then helmed by Jadd Shickler, who now runs Blues Funeral. Elder have always kept things close to home. Europe, as ever, will be through Stickman Records, and Australia through Bird’s Robe.

The following came from the PR wire:

ELDER Announce New Studio Album “Through Zero”!

Elder have announced their new studio album, Through Zero, set for release on May 29, 2026 via Stickman Records in Europe and Blues Funeral Recordings in the United States. A first single and the album pre-order will go live at the end of March.

Two decades into their existence, Elder remain an anomaly in the heavy underground – a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity. Through Zero stands as a strong reaffirmation of their commitment to pushing boundaries in the world of heavy rock and cements the group’s status as leaders of the pack in heavy psychedelic rock.

Over the past twenty years, Elder have mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere. On Through Zero, the band channel these years of experience into what may be their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder’s iconic take on heavy rock. As always, every spin reveals new details.

Recorded at Big Snuff Studios in Berlin across several months between tours in 2025, Through Zero marks the first album the band not only produced themselves, but also co-mixed together with longtime collaborator Richard Behrens. Mastered by Carl Saff, the result is a record that feels more like a full extension of the band’s creative intentions than ever before.

Through Zero Track listing:
1. Sigil To Ruin
2. Capture/Release
3. Through Zero
4. Strata
5. Sight Unseen
6. Blighted Age

Guitarist and singer Nick DiSalvo reveals: “Through Zero” is a term borrowed from engineering and the world of music. It describes the property of a frequency being able to pass through the zero point and continue into the negative. While it isn’t a concept rooted in philosophy, it resonates with me on a conceptual level: the zero point is not an end, but a midpoint along a partially unseen path. Interpretation is open: the journey is the destination, beginnings and endings may be arbitrary, or perhaps reality is simply less linear than we tend to assume.

The songs on the album explore related themes that reflect my own observations and personal philosophy. Life and death, frustration and fear, helplessness and hope – all of these exist along the same “signal path.”

Summer 2026 European Shows
13.06. – GB – Derby, Download Festival
14.06. – GB – Colchester, Colchester Arts Centre w/ Blood Incantation
15.06. – GB – Southampton, The 1865 w/ Blood Incantation
16.06. – GB – Brighton, Concorde 2 w/ Blood Incantation
18.06. – FR – Clisson, Hellfest
19.06. – BE – Dessel, Graspop Metal Meeting
20.06. – DE – Dortmund, Junkyard Open Air w/ Kadavar
23.06. – CH – Winterthur, Gaswerk
26.06. – NO – Oslo, Tons of Rock
27.06. – DE – Thyrnau, Blackdoor Festival
01.07. – GR – Thessaloniki, Eightball Club
02.07. – GR – Athens, Arch Club
07.07. – HR – Slunj, Bearstone Festival
10.07. – PL – Pleszew, Red Smoke Festival
23.07. – DE – Reutlingen, Hafensounds Festival w/ Kadavar
25.07. – SI – Tolmin, Tolminator Festival
26.07. – IT – Milan, Circolo Magnolia Summer
28.07. – RO – Brașov, Rockstadt Extreme Fest
30.07. – DE – Breitenbach am Herzberg, Burg Herzberg Festival
31.07. – DE – Michelau, Rock Im Wald
04.08. – DE – Rostock, MAU Club
05.08. – CZ – Josefov-Jaroměř, Brutal Assault Festival
09.08. – PT – Âncora, Sonic Blast Festival
14.08. – CH – Valais, PALP Festival

Elder is:
Nick DiSalvo – Guitars, Vocals
Mike Risberg – Guitars, Keys
Jack Donovan – Bass
Georg Edert – Drums

https://beholdtheelder.com/
https://linktr.ee/elderband
https://beholdtheelder.bandcamp.com/
https://www.instagram.com/elderband/
http://facebook.com/elderofficial

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

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

Elder, Liminality / Dream State Return (2025)

Progressive heavy rock stalwarts Elder posted the below image on social media the other day, like a save-the-date for June 20. Mostly based in Berlin, they’ll be in Dortmund that day, playing the all-dayer Junkyard Open Air alongside Kadavar, Daily Thompson and others. As the four-piece were in Big Snuff Studio this past November, recording with the esteemed Richard Behrens — who hasn’t produced everything rad that’s come out of Germany over the last decade, but has produced enough of it that you’d be forgiven for thinking he did — my assumption is that June 20 is the release date of their next album.

That’s an assumption, so take it as you will. I’ve certainly been wrong before, but it’s something new either way, even if not a studio LP follow-up to 2022’s Innate Passage (review here) and the 2025 surprise-drop Liminality / Dream State Return EP (review here). I suppose it could be a live release or something like that, but as you can see in the dates below, they’ve lined up a heck of a lot of shows and festivals for this summer, and if they’re supporting a record, that makes sense — though admittedly, it’s kind of a weak case when you consider Elder have been doing the rounds all the while and they’re not a band that needs an excuse to tour. People want to see them regardless.

Either way, the dates are concrete information that hasn’t been posted here yet (I’m pretty sure and could check but meh), and I wanted that 20.06 image here for my own weird little version of posterity that has never really trusted corporate-platform archiving. So here it is and they are:

Summer 2026 European Shows
13.06. – GB – Derby, Download Festival
14.06. – GB – Colchester, Colchester Arts Centre w/ Blood Incantation
15.06. – GB – Southampton, The 1865 w/ Blood Incantation
16.06. – GB – Brighton, Concorde 2 w/ Blood Incantation
18.06. – FR – Clisson, Hellfest
19.06. – BE – Dessel, Graspop Metal Meeting
20.06. – DE – Dortmund, Junkyard Open Air w/ Kadavar
23.06. – CH – Winterthur, Gaswerk
26.06. – NO – Oslo, Tons of Rock
27.06. – DE – Thyrnau, Blackdoor Festival
01.07. – GR – Thessaloniki, Eightball Club
02.07. – GR – Athens, Arch Club
07.07. – HR – Slunj, Bearstone Festival
10.07. – PL – Pleszew, Red Smoke Festival
23.07. – DE – Reutlingen, Hafensounds Festival w/ Kadavar
25.07. – SI – Tolmin, Tolminator Festival
26.07. – IT – Milan, Circolo Magnolia Summer
28.07. – RO – Brașov, Rockstadt Extreme Fest
30.07. – DE – Breitenbach am Herzberg, Burg Herzberg Festival
31.07. – DE – Michelau, Rock Im Wald
04.08. – DE – Rostock, MAU Club
05.08. – CZ – Josefov-Jaroměř, Brutal Assault Festival
09.08. – PT – Âncora, Sonic Blast Festival
14.08. – CH – Valais, PALP Festival

Elder is:
Nick DiSalvo – Guitars, Vocals
Mike Risberg – Guitars, Keys
Jack Donovan – Bass
Georg Edert – Drums

https://beholdtheelder.com/
https://linktr.ee/elderband
https://beholdtheelder.bandcamp.com/
https://www.instagram.com/elderband/
http://facebook.com/elderofficial

http://armageddonshop.com
https://armageddonshop.bigcartel.com/
https://www.instagram.com/armageddonshop/

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

Elder, Liminality / Dream State Return (2025)

Branca, killing it again with the SonicBlast Fest poster art. Year after year, that partnership continues to flourish.

I was lucky enough to be invited to Portugal for SonicBlast Fest in 2023, and it was a great time from the pre-show through the end of the last night. I’m sick as a dog at the moment, so thinking of breathing the fresh air on the Atlantic Coast is perhaps a little more vivid in my mind, as much as I can smell anything right now or keep my head up while I’m typing or stay awake, etc. I took some DayQuil and I’ll go lie down in a bit.

The assemblage here is rad. You don’t need me to tell you having Turbonegro, High on Fire, Elder, Kylesa, Conan and Dead Meadow on the same bill is going to result in a good time. It’s something of a given. Cool to see Necrot included though. I like a bit of riffy death metal, and SonicBlast hasn’t been shy in years past about reaching outside the heavy rock umbrella for punk and hardcore — note The Casualties here — so an extension of that makes sense. Note also industrial punker N8noface and Early Moods. Both of those I believe are managed by Daniel from RidingEasy Records, so I can’t help but wonder if they might be touring together next summer. Guess we’ll find out eventually.

Also Jon Davis from Conan pulling double-duty with an Ungraven set, and more still to come. The following comes from social media:

Get ready for the 14th edition of SonicBlast Fest ⚡️

We’re thrilled to announce the first confirmed bands:

Turbonegro
High On Fire
Chat Pile
Deafheaven
Kylesa
The Casualties
Midnight
Frankie And The Witch Fingers
Snapped Ankles

Elder
Levitation Room
Dead Meadow
Conan
N8noface
Adult.
Necrot

Margarita Witch Cult
Early Moods
Primitive Ring
Goya
Hög
Ungraven

Tickets are already on sale at Bol and Masqueticket

https://garboyl.bol.pt/

https://www.masqueticket.com/en/entradas/sonicblast-festival-portugal-bilhetes-tickets-2026

Artwork by @branca_studio

https://sonicblastfestival.com/
https://www.instagram.com/sonicblast_fest
https://www.facebook.com/sonicblastmoledo/

Elder, Liminality/Dream State Return (2025)

Last day o’ the QR, and that’s always fun, but looking at the calendar and looking at my desktop, I might try to knuckle down for a follow-up edition next month. I know I traditionally do one in December, which is so, so, so stupid, even with the relative dearth of press releases around the holidays, because there’s so much else going on. But maybe in November, before the Thanksgiving holiday. I only have one thing maybe-slated for November now, so now would be the time to slate it. Check back Nov. 10? Roll it out on my sister’s birthday? Maybe.

For now though, one more batch of 10 to round out the 70 total releases covered here, and as ever, I’ve basically packed the final day with stuff I already know I like. That’s nothing against anything on any of the other days, but if you’re a regular around here, you probably already know that I load up the finish to make it easier on myself. Not that any day here was really hard to get through, but for everything else in life that isn’t sitting in front of the laptop and writing about music.

Thanks as always for reading. I hope you found something you dig in this QR. Back to normal tomorrow.

Quarterly Review #61-70:

Elder, Liminality/Dream State Return

Progressive heavy rock spearheads Elder surprise-dropped Liminality/Dream State Return, their first two-songer EP since 2012’s Spires Burn/Release (review here), a couple weeks ago. It’s their first studio outing since 2022’s Innate Passage (review here), and while one might be tempted to read into the melodic wash of “Liminality” (13:10) and the way its vocals become part of the song’s atmosphere, balanced for nuance and texture in the mix, and the keyboardier take on “Dream State Return,” the material was reportedly sourced from pieces of material left over from their last couple albums, rather than written new. Nonetheless, the way these parts are fleshed out underscores just how special a band Elder is, since basically they can take a progression they’ve had laying around for however long and turn into something so majestic. This, in combination with their work ethic, has made them the best band of their generation. They remain such.

Elder on Bandcamp

Stickman Records website

—

Hibernaut, Obsidian Eye

Following 2023’s Ingress (review here), brash Salt Lake City four-piece Hibernaut — guitarist/vocalist Dave Jones (Oxcross, Dwellers, ex-SubRosa), lead guitarist Matt Miller, bassist Josh Dupree and drummer Zach Hatsis (Dwellers, ex-SubRosa) — begin to step further out from their influences with their second album, the six-track/47-minute Obsidian Eye. High on Fire remain a central point of inspiration, but you know how that band really kind of announced who they were with Blessed Black Wings and set themselves on their own path? There’s some of that happening in the grooves of “Pestiferous,” “Revenants” and others here, and while the galloping double-kick and dirt-coated declarations might ring familiar, Hibernaut are beginning to put their own stamp on their craft, and one remains curious how that will continue to manifest their persona in their sound. High on Fire never had a song like “Beset,” and that wah on “Engorge Behemoth” has just an edge of Sabbath-via-Electric Wizard, so there’s more here than marauding if you want to hear it.

Hibernaut website

Olde Magick Records on Bandcamp

—

The Oil Barons, Grandiose

Titled as though they intended to preempt criticism of their own self-indulgence — a kinder-self-talk version might have been called ‘Expansive’ — the second album from L.A.’s The Oil Barons, Grandiose, is working with an expanded definition of heavy either way. Part desert rock, it’s also Western Americana enough to open with a take on Morricone and while they’re for sure laying it on thick with the gang-chanted version of “John Brown’s Body” worked in between the organ sway of “Gloria” and the nine-minute lap-steel-inclusive expanse of “Shinola.” The later heavy instrumental reacher “Quetzalacatenango” (16:39) and their beefing up of the Grateful Dead regular “Morning Dew” as “Morning Doom” (13:49) are longer, but there’s more going on here than track length, as the melodic twang-pop of “Vivienne” and the light-barroom-swing-into-harmonies-into-riffs of the subsequent “Death Hangs” demonstrate. Top it all off with a purported narrative and Grandiose lives up to its name, but also to its intention.

The Oil Barons on Bandcamp

The Oil Barons on Instagram

—

Temple of Love, Songs of Love and Despair

The first Temple of Love full-length, Songs of Love and Despair, feels very much like a willful callout to classic goth rock. The core, partnered founding duo of vocalist Suzy Bravo (Witchcryer) and guitarist/vocalist Steve Colca (ex-Destroyer of Light), as well as the rhythm section of bassist Joseph Maniscalco and drummer Patrick Pascucci (Duel) begin with a string of catchy, uptempo numbers dark in atmosphere with an unmistakable sheen on the guitar tone and by the time the centerpiece instrumental “Paradise Lost” takes hold with a heavier shift leading into the second half of the album, with “Devil” as an obvious focal point, you’re hooked. The vocal trades on “Save Yourself” and the rocker “Joke’s on You,” with Colca growling a bit, distinguish them as modern, but they’re firm in their purpose unto the string sounds that cap “If We Could Fly,” and clearly aesthetic is part of the mission. They didn’t name themselves after a Sisters of Mercy LP by mistake.

Temple of Love website

Temple of Love on Bandcamp

—

The Gray Goo, Cabin Fever Dreams

From garage-style heavy and psychedelic jamming, modern space boogie to denser, doomier roll and a stylistically-offbeat quirk that feels ever more intentional, Montana-based trio The Gray Goo are dug into this mini-gamut of style on their third album, Cabin Fever Dreams, with guitarist/vocalist Max Gargasz (who also recorded/produced) giving space in the mix (by Robert Parker) for the melody in Matt Carper‘s bass to come through on 10-minute opener/longest track (immediate points) “Intrepid Traveler,” beginning a thread of nuance that emphasizes just how flexible the band’s sound is. Even amid the fuzz and chugging resolution of “Isolation” and the jammed-but-with-a-plan “Floodgates,” there’s a sense of looking beyond genre to internalized individualism, the latter carrying into the marching semi-nerd-rapped title-track, which breaks to let the weirdness persist before coming back around with a shuffle to close, while “Manic” (with Colton Sea on guest vocals) roughs up proto-punk until it hits a midsection of Sabbath blues and gets a little more shove from there. “Manic” brings this to a culmination and some chanting gives over the minimal psych experiment “Someone’s at the Door,” which closes. They’ve let go of some — not all, but some — of their earlier funk, but The Gray Goo remain delightfully on their own wavelength. Someone in this band likes Ween, and they’re better for it.

The Gray Goo Linktr.ee

The Gray Goo on Bandcamp

—

Sergio Ch., Shiva Shakti Drama

A decade after his first solo release, the declarative 1974 (review here), former Los Natas guitarist/vocalist Sergio Ch. (né Chotsourian, also of Ararat, Soldati, numerous other projects and collaborations) has only broadened his palette around a central approach to avant folk and intimate experimentalism. “Las Riendas” has been around for a while, unless I’m wrong (always possible) and “Tufi Meme 94” is an unearthed four-track demo of the Los Natas song of the same name, but it’s in the repetitions and slow, fuzz-infused evolution of “Tear Drop,” the vocally-focused “Stairway” and the somehow-ceremonial “Centinelas Bajo el Sol” that Shiva Shakti Drama lays out its most ethereal reaches. The album was reportedly put together following an injury to Chotsourian‘s ear, during a recovery period after his “left ear blew up during a Soldati rehearsal.” So there’s healing to be had in “Little Hands” and the buzzing lead of “Violet,” as well as exploration.

Sergio Chotsourian on Instagram

South American Sludge Records on Bandcamp

—

Spectral Fields, Spectral Fields IV

Spectral Fields is the duo of Jason Simon (Dead Meadow) and and Caleb Dravier (Jungle Gym Records), and with IV they present a two-part title-piece “IV A” (20:04) and “IV B” (23:12), with each extended track taking on its own atmosphere. The hand percussion behind “IV A” is evocative of quiet desert Americana, like clopping horseshoes, while “IV B” runs more sci-fi in its keyboard and synthy beat behind the central, malleable-and-less-still-than-it-seems overarching drone. The guitar on “IV A” works with a similar river’s-surface-style deceptive stillness. Immersion isn’t inevitable, and the challenge here is to dwell alongside the band in the material if you can, with the reward for doing so being carried across the gradually-shifting expanse that Simon and Dravier lay out. It’s not a project for everybody, but Spectral Fields shine with meditative purpose and ethereal presence alike.

Jason Simon on Bandcamp

Not Not Fun Records website

—

Pink Fuzz, Resolution

The second full-length, Resolution, from Denver-based harmony-prone heavy rockers Pink Fuzz owes much of its impact to tempo and melody — which I think makes it music. The brother/sister duo of John Demitro (guitar) and bassist LuLu Demitro bass share vocal duties and trade lead spots to add variety across the taut, no-time-for-bullshit 10 songs as drummer Forrest Raup lends shove to the buzzing desert riffage of “Coming for Me,” while the title-track shreds into a ’90s-style ticky-ticky-tock of a groove and “Am I Happy?” moves from its standalone-voice beginning to a gorgeously executed build and roll, bolstered by the Alain Johannes mix bringing up the lead guitar alongside LuLu’s voice, but rooted in the performance captured rather than the after-the-fact balancing of elements. “No Sympathy” and “Worst Enemy” stick closer to a Queens of the Stone Age influence, but the desert is a starting point, not the end of their reach. It’d be fair to call them songwriting-based if they didn’t also kick so much ass as players.

Pink Fuzz Linktr.ee

Permanent Teeth Records on Bandcamp

—

The Dukes of Hades, Oracle of the Dead

Having the tone is one thing and making it move is another, but Dorset, UK, two-piece The Dukes of Hades bring forth their debut EP, Oracle of the Dead with a pointed sense of push, more so once they’re on the other side of rolling-into-the-slowdown opener “Seeds of Oblivion,” in “Last Rites,” “Pigs” and “Constant Grief,” where the tempo is higher and the bruises are delivered by the measure. Even Gareth Brunsdon‘s snare on “Constant Grief” comes across thick, never mind the buzzing riffs of Steve Lynch, whose guttural vocals top the procession. They save their most fervent shove for the two-minute finale “Death Defying Heights,” but the eight-minute penultimate “Tomahawk” sees them work in more of a middle-paced range while executing trades in volume and even letting go to silence as they hit minute six soon to burst back to life, so they’re already messing with the formula a bit even as they write out what that formula might be. That’s just one of the hopeful portents on this gritty and impressive first outing.

The Dukes of Hades on Bandcamp

The Dukes of Hades on Instagram

—

Worse, Misandrist

A noise-infused trio from Vancouver — or maybe it’s just that their logo reminds me of Whores. — the three-piece Worse issued their latest single “Misandrist” in memory of Ozzy, following on from the also-one-songer “Mackinaw” from earlier in the year. The newer cut is more lumbering and establishes a larger tonal presence by virtue of its instrumentalist take, while drummer Matt Wood brought party-time shouts to “Mackinaw,” which of course emphasized and complemented the central riff in a different way. Out front of the stage, guitarist Shane Clark and bassist Frank Dingle offer rumble and spacious distortion, the effect seeming to build up with each new, lurching round as they dirge to the fading ringout. Sludgy in form, the affect presents itself like a half-speed High on Fire, which if you’ve got to end up somewhere, is a more than decent place for “Misandrist” to be. If you’re still reading this, yes, I’m talking about myself as well as the band. They’ve got one LP out. I’d take another anytime they’ve got it ready.

Worse on Bandcamp

http://www.instagram.com/worseband/

—

If you’ve already been, you don’t need me to tell you to go. If not yet, then go ahead and consider this encouragement. Nestled into its wooded riverside corner, a gorgeous setting with stages large and small, able to be correspondingly relaxing and intense, Bear Stone Festival 2026 has unveiled the first names for its lineup for next July. At the risk of getting personal, I was more than a bit heartbroken to miss the fest this year after attending in 2024, and with a lineup that includes Uncle Acid and the Deadbeats, Elder, My Sleeping Karma, Planet of Zeus, Travo, Ungraven, Saint Karloff, Ungraven, and more, including the continuing commitment to showcase homegrown Croatian acts, the four-dayer’s bill already highlights the growth underway for the festival itself. Progression, both in terms of stylistic outreach and getting bigger names. The art, the people, the sound, the lights, the place. I sincerely hope I get to go back.

Check out the 2025 aftermovie at the bottom of the post. It’s very much like that, only not slow motion. Here’s the announcement from the PR wire:

Bear Stone Festival 2026 – First Lineup Announcement

Bear Stone Festival proudly unveils the first wave of its 2026 lineup, showcasing a bold spectrum of heavy music and beyond.

From the occult-tinged psychedelia of Uncle Acid & The Deadbeats and the progressive power of Elder, to the meditative soundscapes of My Sleeping Karma, the high-voltage rock of Planet of Zeus, and the raw underground energy of acts like TRAVO, ŽEN, Otrovna Kristina, Wyatt E., and many more, the bill perfectly reflects Bear Stone Festival’s commitment to musical diversity.

This year’s lineup brings a rich palette of genres such as Doom, Psych, Stoner, Punk, Garage, Experimental Noise, and many more, all set to erupt across the three stages nestled in Bear Stone’s unique natural landscape.

Festival ticket link: https://eventix.shop/4zqx5eg8

UNCLE ACID & THE DEADBEATS (UK)
[Psychedelic Rock/Doom Metal]

The brainchild of Kevin Starrs, Uncle Acid & The Deadbeats have been crafting extraordinary music since 2009. Emerging from the British underground, they reshaped hard rock and downer blues with a deeply psychedelic and idiosyncratic edge. Fusing the playful melodies and harmonies of psychedelic pop with the dark thunder of proto-metal, Starrs conjures a sound that feels both eerily familiar and entirely new.

Resolutely individualist, Uncle Acid & The Deadbeats channel the spirit of heavy music’s past while remaining one of the most unique and electrifying live acts today.

ELDER (USA)
[Progressive Rock/Space Rock]

Elder are a genre-defying rock band blending heavy psychedelia, progressive intricacy, and expansive soundscapes into long-form compositions that push the boundaries of modern rock. Over the course of six albums and numerous EPs, they’ve evolved from the stoner/doom underground into one of the most distinctive voices in heavy, exploratory music.

In 2024, Elder brought their powerful live show to arenas across the U.S. as the main support for Tool, marking a milestone moment in their journey ahead of their next album in 2025.

MY SLEEPING KARMA (DE)
[Psychedelic Rock/Post-Rock]

My Sleeping Karma are a German instrumental quartet weaving psychedelic rock, stoner grooves, and post-rock atmospheres into cinematic sound journeys. After the tragic passing of longtime drummer Steffen Weigand in 2022, the band faced an uncertain future but ultimately found strength in continuing their path.

Their revival has reaffirmed them as one of Europe’s most powerful live acts, guiding audiences through immersive and emotional sonic explorations.

PLANET OF ZEUS (GR)
[Stoner Rock/Stoner Metal]

Planet of Zeus, hailing from Athens, Greece, deliver heavy rock thunder that fuses raw riff-driven power with melodic exploration and bluesy dynamics. Since their formation in 2000, they’ve built a reputation for intense, sincere, and ever-evolving live performances, earning a loyal following at home and abroad.

With their latest album Afterlife (2024), the band continue to push their sound forward while cementing their place as one of Europe’s most vital underground rock acts.

TRAVO (POR)
[Heavy Psych/Neo-Psych Rock]

TRAVO, from Braga, Portugal, are a four-piece force of heavy psych and garage rock, delivering a raw, high-octane sound that thrives on intensity and experimentation.

Renowned for volcanic live performances that blur the line between chaos and ecstasy, TRAVO stand as one of the most visceral and authentic voices in today’s psych rock scene.

WYATT E. (BE)
[Drone-Ambient/Antique Doom]

Wyatt E. are a boundary-pushing force in the modern doom scene, blending massive riffs with layered instrumentation and a fearless approach to sonic experimentation. Their music weaves heavy psychedelia, progressive structures, and eclectic influences into immersive compositions that balance crushing weight with cinematic detail.

With acclaimed albums, extensive touring, and a reputation for powerful live performances, they continue to redefine what doom can sound like on a global scale.

UNGRAVEN (UK)
[Doom Metal/Sludge Metal]

Ungraven is the brainchild of guitarist Jon Davis, now joined by David Perry on synths, organ, and piano, reshaping the project into a force of haunting, ambient heaviness. Abandoning the traditional rock-band setup, the duo crafts bleak and expansive soundscapes where slabs of crushing guitar collide with swirling synths in a sickening sonic duet.

Their music is both pummeling and introspective, channeling influences from Tangerine Dream to doom metal, forging a new chapter in their evolving tome of tone.

SAINT KARLOFF (NOR)
[Stoner Rock/Heavy Psych]

Saint Karloff are a Norwegian power trio channeling the spirit of 70’s heavy rock through fuzz-soaked riffs, doom-laden grooves, and psychedelic fire.

With albums like All Heed the Black God (2024) and the monolithic Interstellar Voodoo (2019), they’ve carved out a place in the stoner/doom underground as one of its most electrifying and uncompromising voices.

ŽEN (CRO)
[Indie-Psych/Shoegaze]

ŽEN are a Croatian trio weaving dreamy shoegaze, math-rock complexity, and psychedelic textures into an immersive and urgent sound.

Since forming in Zagreb in 2010, they’ve become a vital voice in Europe’s underground, carrying a strong feminist and DIY ethos that fuels both their music and their boundary-pushing live performances.

OTROVNA KRISTINA (CRO)
[Sonic-Psych Rock/Hard Rock]

Otrovna Kristina are a Croatian hard rock trio fusing Anglo-Saxon riff traditions with the raw energy of the Balkans, laced with psychedelic excursions and soaring harmonies.

In their decade-long journey, they positioned themselves as guardians of volume, groove, and wild underground rock ’n’ roll.

DRONE HUNTER (CRO)
[Stoner Rock/Groove Rock]

Drone Hunter are a Croatian instrumental trio delivering high-octane stoner rock driven by crushing riffs, heavy grooves, and relentless energy.

Since forming in 2012, they’ve built a reputation for powerful live performances and a raw, riff-worshipping sound that speaks louder than words.

GODZILLA WAS TOO DRUNK TO DESTROY TOKYO (ITA)
[Acid Rock/Doom Rock]

Godzilla Was Too Drunk to Destroy Tokyo are a chaotic, genre-smashing outfit blending sludge, noise, punk, and doom into an unpredictable wall of sound.

With unhinged energy and a tongue-in-cheek attitude, they deliver crushing riffs and anarchic live shows that feel as wild as their name suggests.

HRMULJA (CRO)
[Heavy Psych/Stoner Rock]

Hrmülja are a Croatian heavy psych/stoner rock band weaving fuzzed-out riffs, swirling grooves, and hypnotic atmospheres into their sonic brew.

They channel the spirit of the underground into thunderous and immersive live performances with raw energy and a taste for psychedelic exploration.

SUNTAN CLUB (AT)
[Neo-Psychedelic Surf/Garage Rock]

Suntan Club are a four-piece from Vienna blending neo-psychedelic surf and garage rock into sun-drenched, fuzz-heavy soundscapes that radiate warmth and hazy euphoria.

With their latest EP Too Much Fuzz, they’ve expanded their sound into something louder, richer, and hypnotic, pairing it with ecstatic and immersive live performances that pull audiences under like a tidal wave.

LINIJA 109 (CRO)
[Post-Rock/Shoegaze]

Linija 109 are a young all-girl band from Zagreb, formed in 2022, crafting original songs rooted in alt rock with influences of post-rock, shoegaze, and indie.

Through explosive live shows and an unapologetic youthful rebellion they managed to build a loyal underground following in a very short time.

In case you were wondering how our previous edition felt like, check out our official 2025 aftermovie.

Bear Stone Festival 2025 aftermovie

Heavy progressive rock forerunners Elder have surprise-dropped a new, 18-minute-long single-song EP. Titled Liminality / Dream State Return, the outing finds the mostly-Berlin four-piece between tours, as earlier this year they were out celebrating the 10th anniversary of their landmark third long-player, Lore (review here) and they’ll spend the bulk of October on the road supporting All Them Witches (weren’t they also supposed to release an album?) on stages across Europe.

That run culminates on a swing through Iberia and loops back up to France for Elder to hit Westill Festival on Nov. 1 before likely rounding out a busy year for them. That they’ve even managed to mix an 18-minute track given everything else they’ve had going on is impressive, but of course they’re long since pros at the thing. There’s video accompaniment for the track at the bottom of this post.

I won’t delay further. Probably review to come. Meantime, from the PR wire:

ELDER release new 18-minute EP, “Liminality / Dream State Return”, now available via Stickman Records!

European & UK Tour Dates with ALL THEM WITCHES, Kicking off in early October!

In the winter of 2024, Boston-born, Berlin-based progressive heavy rock band ELDER reconvened in their adopted home city after a much-needed creative break. Following years of relentless touring in the wake of the pandemic, the band found themselves revisiting a long-shelved project: fragments of music written between Omens (2020) and Innate Passage (2022), material that never quite fit either album.

What began as a simple studio session quickly grew into something more expansive. The result is Liminality / Dream State Return, a sprawling 18-minute composition that bridges ELDER’s past and future. Built around stream-of-consciousness lyrics and extended instrumental passages, the piece captures the band in a transitional state, exploring the “in-between” with both intimacy and grandeur.

For the first time, ELDER collaborated with longtime friend and filmmaker Malachi Cull, who created an epic visual accompaniment — a short film as much as a music video — to mirror the track’s hypnotic journey.

“Liminality / Dream State Return” is out now and available on ELDER’s Bandcamp at: https://beholdtheelder.bandcamp.com

ELDER guitarist & vocalist Nick Di Salvo comments:

“After many years of making music together, it’s nice to know that we can still surprise ourselves. When we met in winter of 2024 to start preproduction for the next record, we didn’t expect that we’d actually end up making a new piece of music in the meantime, or rather finishing some business from the past. This track is yet another bridge between worlds for us, a song which wasn’t ripe for the albums during which it was composed, but not fitting in our upcoming album 7 either.”

Although the project was initially conceived as a digital-only release, ELDER soon decided it deserved a physical format. Liminality / Dream State Return will also be released as a 12” vinyl EP via Stickman Records, pressed on 180g translucent coke-bottle green vinyl with an etching on the B-side and packaged with a download card and artwork by Adam Hill. Visit the label’s webstore at: https://www.stickman-records.com/shop/elder-liminality-dream-state-return/

This October, ELDER will be joining neo-psychedelic blues rock masters ALL THEM WITCHES on their House of Mirrors Tour, followed by headline shows in Portugal, Spain and France. Find all upcoming shows listed below:

With ALL THEM WITCHES:
06.10.25 Glasgow (UK), The Garage
07.10.25 Manchester (UK), Manchester Academy 2
08.10.25 Leeds (UK), Leeds Beckett Students’ Union
09.10.25 London (UK), O2 Forum Kentish Town
11.10.25 Paris (FR), Le Bataclan
12.10.25 Brussels (BE), Ancienne Belgique
14.10.25 Utrecht (NL), Tivoli/Vredenburg
15.10.25 Tilburg (NL), 013 Poppodium
17.10.25 Copenhagen (DK), Amager Bio
19.10.25 Berlin (DE), Tempodrom
20.10.25 Warsaw (PL), Progresja
21.10.25 Prague (CZ), Roxy
22.10.25 Vienna (AT), Gasometer
23.10.25 Milan (IT), Alcatraz
24.10.25 Berne (CH), Bierhübeli
26.10.25 Barcelona (ES), Razzmatazz
27.10.25 Madrid (ES), La Riviera

Headlining Dates:
28.10.25 Lisbon (PT), RCA Club
 (Elder only)
29.10.25 Porto (PT), Mouco
 (Elder only)
30.10.25 Bilbao (ES), D8 Sorkuntza
 (Elder only)
31.10.25 Toulouse (FR), La Cabane
 (Elder only)
01.11.25 Vallet (FR), Westhill Festival (Elder only)

Elder is:
Nick DiSalvo – Guitars, Vocals
Mike Risberg – Guitars, Keys
Jack Donovan – Bass
Georg Edert – Drums

https://beholdtheelder.bandcamp.com/
https://www.instagram.com/elderband/
http://facebook.com/elderofficial

http://armageddonshop.com
https://armageddonshop.bigcartel.com/
https://www.instagram.com/armageddonshop/

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

Elder, “Liminality / Dream State Return” official video

I don’t know what it was that Agriculture were soundchecking when I walked into John Dee from upstairs at Rockefeller, but it sure sounded a lot like CKY’s “96 Quite Bitter Beings,” which was cool because I just got that song out of my head last week for the first time since like 2003. So I was due.

Sleep did happen — the state, not the band — and I woke up two hours after my alarm to discover I hadn’t actually finished setting it. Didn’t matter; plenty of time to sit around and be anxious for the start of the day. I video called home — the house is a mess, which very much is how it goes when I’m gone — and all is well. Ate a couple bites and tried to sleep a bit more, but the three double espressos tearing ass through my bloodstream weren’t having it. Sometimes living in the moment means calling yourself dumb later.

Agriculture’s lights were going to be too much for my brain. I knew that going into the set, because soundcheck, but when it happened, it was still punishing. The overwhelm is part of it, purposeful. Part of what you sign up for. But the sandblasting and the immersion, coinciding, is why you stay. Watching them, I couldn’t get the parallel out of my head between the traditions of Norwegian black metal and their subversion in terms of weather. That is, if the ‘trvest’ of black metals was born in this place — and they have it scrawled on that basement wall for people to take pictures with, so it’s arguable — in the dark and cold of winter here, then the aural brightness of Agriculture, the natural-light-reflecting-on-water of their post-rock-style guitar floating above all the pummel and screech, feels correspondingly climate-born to Los Angeles, where the band are from. To paraphrase George Carlin, the sun probably sets 10 minutes from their rehearsal space. Of course they’d make black metal beautiful.

That’s a generalization, obviously. Broad strokes to cover lack of insight. The truth of their presentation is more emotionally complex and less niche-declarative, but transgressing just the same, though maybe black metal is used to it by now; a punching bag catchall genre to push against the borders of. The tie with Agriculture is in tonal heft and the honesty of their scathe and the atmospheres they build around it, and they’d be a sore thumb in the lineup if Desertfest was stoner-only, but neither day was. It’s all one big heavy melting pot, and genres evolve. Always cool to see it happen on the stage right in front of you, though.

But the lights got me, so I headed upstairs to the Rockefeller balcony ahead of Slift. I know. Not like Slift were going to take it easy on visuals. Still. The French heavyspace trio are riding the course of 2024’s Ilion (review here), and the fact that they’ve spent the better part of the last three years touring was not lost on their stage presence.

The story of their set was kind of that I blew it there as well. Got my photos and moved on. I was dragging, had basic human needs to attend to in food, water, bathroom, so broke out of Rockefeller a bit into the set in an effort to get my head right. I was saving the second half of Friday’s weedy muffin for later in the day, but there’s nothing like when the check-into-your-flight notification comes in while you’re trying to enjoy a busy afternoon of writing, taking photos, and general sonic obliteration.

Hippie Death Cult ruled last year at Desertfest New York (review here) and with their new live album, Live at Star Theater (review here), it felt like half the point of the damn thing was to argue in favor of showing up when the band inevitably comes through where you live — Parsippany, New Jersey, if you’re tour planning — when the opportunity presents itself. So there I was. I’d already bumped into guitarist Eddie Brnabic and drummer Harry Silvers at the hotel, and they and bassist/vocalist Lauren Phillips would soon take the stage to unroll a blanket of riffs onto the crowd, roll that same blanket back up again with the crowd in it, and then send it careening down the side of a mountain. I’m really, really looking forward to their next album.

Nothing against 2023’s Helichrysum (review here), mind you, but — and I think this is something the live LP posited as well — they sound like they’re just getting started. The lineup change that resulted in Phillips taking the lead vocal role, plus bringing Silvers in on drums, made them a different band. On the record and live, they’ve explored harsher, more direct and classic feeling ideas, but at the same time, begun to develop a character for themselves separate from what it was just a few years ago. This is a strength. Some bands would just fall apart. Hippie Death Cult have figured, are figuring out, how to make it work and progress from their new starting position.

And since much of this work has happened on tours, yes, I am very much convinced their best work is ahead of them. They can be warm and bluesy — Brnabic’s shred suits all sides — or sludge-nasty and it doesn’t matter. Songs like “Arise,” “Red Giant,” “Toxic Annihilator,” as they’re playing them now, are paving the way for a band who can crush or boogie or gallop at a measure’s whim.

Phillips let out a couple Tom Araya-esque screams while Silvers was on the double-kick, and they’re getting more comfortable bringing that kind of metal into their foundation in capital ‘h’ Heavier groove. They’re a monster band. They should get monstrous, and I think they just might continue to do that. This was their first time in Norway. Someone in the crowd shouted, “What took you so long?” Near-total reset takes some time, I guess, but it’s done Hippie Death Cult well in terms of the intensity level. They finished big and noisy — at some near-final point, I looked up and Phillips’ mic stand had disappeared — and I watched the whole set and wouldn’t have wanted it another way.

Back upstairs to Rockefeller for Finland’s Oranssi Pazuzu. True, I saw them a couple weeks ago, playing their latest album, Muuntautuja, in full, no less, but whatever. I dug it then and wanted to investigate the band further. Seeing them again felt like a half-decent way to do that. The balcony was full before the floor, which the lightshow would soon justify, but the room was full by the start of the set.

The thing was, they’re a name I’ve seen around for well over a decade, and a band I’ve listened to before and appreciated for what it was but soon enough moved on. But after that Muuntautuja set at Roadburn, they kind of took up residence in the back of my head. I was glad to recognize a few songs from one show to the next, including the opener, and while they’re not usually the kind of band I’d go all-in on, and I’m positive I don’t know enough of their music to call myself a fan, after seeing them these two times, I do feel compelled to dig further.

There’s enough going on at any given moment in their songs to trace threads of influence and constantly end up in a different place. That’s black metal, straight up, but then there comes a synthier part, or a drone stretch, or some Ministry-style keyboard thrash. Krautrock guitars might meet up with some soul-grinding ferocity, and the band seem to delight in precisely that manner of fucking with norms; picking apart ideas about style and what the rules are, cherrypicking which ones they want to uphold and which they want to break and then breaking most of them anyway. Like Agriculture, they’re in-genre outsider art, but whatever the stylistic cast, Oranssi Pazuzu refuse and refute pigeonholing.

My scheduled break was next. I went back to the room, had that half a weedy muffin — I could not tell you the last time I ate an actual muffin; nine years at least; I don’t normally do breadstuffs — drank a bunch of water and took some ibuprofen, tried and failed to check in for my flight because my town has both a different mailing address and a hyphen in it (not joking) and confirmed an earlier decision about the course of my night.

Chat Pile were sub-headlining the Rockefeller, and Whores. would be on at 22.00 in John Dee. I skipped both in favor of Villjuvet at St. Edmund’s Church right around the corner from Revolver. I had gotten to see the inside of the church earlier in the day — it was active-catholic enough to give yer boy eucharistic flashbacks — and been told a bit about the project, the visual component and the work of Ruben Willem, who in addition to operating as Villjuvet is a producer and has either mixed or mastered releases for an entire slew of bands from Lonely Kamel to Håndgemang who were in Friday’s lineup, to Gluecifer, Suncraft and Kal-El. I could go on.

I’ve seen Chat Pile, again recently. It was cool. I’ve never seen Whores., and frankly part of the reason why is the danger of liking them and then having to admit to myself I like a band with that name, but I know people who swear by them, and I actually did end up watching them for a few minutes and they were killing to a packed room. But I was told ahead of time, “Villjuvet might be just your speed,” and was happy to take the recommendation to a path less traveled before finishing the night off back at Rockefeller for Elder. Slow and weird, you say? That sure does sound like my speed.

At 9PM, it was still pretty broad daylight, but the church was dark, the door ominously left open. I took a seat in the second pew — was not at all the first one there — and waited as more people came in. There was some white noise drone, but I’ll be honest and say a big part of me wanted to hear “Holy Diver,” though that went away when the actual show started.

You could follow the projections — branches and the like, nighttime ambience, loosely creepy but mostly for the soundtrack — up the white wall with the stained glass windows onto the wood ceiling as Villjuvet turned out to be very much indeed my speed. Willem played facing the projections before a sprawling pedal board, often kneeling as if to a true god being revealed. His drones came through in looped layers and hit high and low through guitar and bass amps. It was not a tune to take out earplugs, despite the lack of percussion. A couple popes later, church has really changed since I was last forced to go, probably around three decades ago. I recall a good time this January sharing religious traumas over a breakfast in Las Vegas. Life takes you weird places when… you expressly make it do that because you enjoy it.

Rockefeller was filling up quickly for Elder and I knew the second Whores. finished downstairs that crowd would flood out, which was exactly what happened. I was at the bar at John Dee at the time, chatting amiably as one does, and then it was time to head upstairs to cap the evening. A 6AM wakeup loomed large over the 11PM start-time — hazards of the trade at the end of a fest; it’s part of the thing — but with the band celebrating the anniversary of 2015’s Lore (review here), and having missed them when they came through Brooklyn with Sacri Monti, there was imperative.

I could go — and have gone! — on about Lore as both a creative statement and a breath of daring fresh air operating in an underground genre that can at times pride itself on traditionalism. I’ll gladly argue its influence is still felt and spreading, even as the band have continued to move forward. But there’s no denying it was a special moment for them, a progressive breakout in craft to which their work before had been leading. So, 10th anniversary it is. Not unreasonable.

Guitarist/vocalist Nick DiSalvo got on mic before they started and thanked the crowd, thanked the fest, said it was an honor to close it out, and explained what they were going to do, and soon enough they were off into “Compendium” and on from there. I always loved “Deadweight” but I knew I wouldn’t make it that far into the set and I didn’t. I was glad to see them though, even briefly as I felt the pull of getting back to finish work and crash out ahead of the early start. The responsible thing. The me that knows I can’t sleep on planes would thank me in the morning, but it was a hard sell to the me looking down the ramp to walk out of Rockefeller and be done with the night and Desertfest Oslo more broadly.

But I did. If I’m fortunate enough to come back next year, I’ll try not to make it so tight, but that’s kind of how it has to be for me to be here in the first place, and a couple Elder songs is better than no Elder songs, so I guess my old-ass punk-rock guilt can fuck off. Time to crawl out of my own head a little bit.

Thank you to Desertfest Oslo for having me. Thank you Ole and Preben for the invitation and thank you to everyone who has worked here to make this happen. The sound, the lights, everything has been spot on, and for this being the second year this festival has taken place, they’d be entitled to a few screwups. I saw none. I did, however, see a bunch killer bands, a bunch of old friends, and some things I wouldn’t have been able to see anywhere else. I am incredibly grateful to have had the opportunity.

It is not lost on me that in the US this weekend, today, is Mother’s Day. Thank you to The Patient Mrs. for the work she does as a mother always, and for the sheer indulgence that allows me to exist as I do both at and away from home. She is so much more than the love of my life that is humbling she would deign to be it. I know I’ve said this before, but I am the luckiest boy you know.

Thank you to my mother, Pamela Koczan. Thank you to my sister, Susan Wright. Thank you to Cate Wright and Samantha Wright.

Thank you for reading. Thank you for saying hi, for giving a shit after so many years and so many typos and run-on sentences. Dumbassed blocks of text, just endless. Thank you for being here for it in some way at some point, maybe now. The support this site gets is what sustains me doing it. One more time, thank you.

More pics after the jump. No posts tomorrow (Monday) while I get caught up writing/living. Thanks again.

Read more »

Having just wrapped the US portion of their tour celebrating the 10th anniversary of their third album, Lore (review here), Elder are about to pick up with the tour in Europe. They’ll be at Desertfest Oslo this week — see you there — and play Desertfest London, Desertfest Berlin, Sonic Whip, Mystic Festival on the run. They’re no strangers to hitting the road hard, and that seems to have been the plan for much of this year.

They’d previously announced the Fall dates below supporting (co-headlining with?) All Them Witches, who I’m thinking will have a new record out by the time they make the trip from their home in Nashville. In addition to that, Elder have a handful of newly-announced shows in Iberia leading them to the Westill Fest in France. You’ll find all of the above, below, as per socials:

We’re extremely stoked to be supporting one of our favorite current bands All Them Witches in Europe this October.

Following that, we’ll be playing a few headline shows in Portugal, Spain and France. Tickets for these gigs will go on sale this Friday at 11AM local time.

All dates below! Ticket links for all shows can be found at www.beholdtheelder.com/tour.

Supporting All Them Witches
06.10.25 Glasgow (UK), The Garage
07.10.25 Manchester (UK), Manchester Academy 2
08.10.25 Leeds (UK), Leeds Beckett Students’ Union
09.10.25 London (UK), O2 Forum Kentish Town
11.10.25 Paris (FR), Le Bataclan
12.10.25 Brussels (BE), Ancienne Belgique
14.10.25 Utrecht (NL), Tivoli/Vredenburg
15.10.25 Tilburg (NL), 013 Poppodium
17.10.25 Copenhagen (DK), Amager Bio
19.10.25 Berlin (DE), Tempodrom
20.10.25 Warsaw (PL), Progresja
21.10.25 Prague (CZ), Roxy
22.10.25 Vienna (AT), Gasometer
23.10.25 Milan (IT), Alcatraz
24.10.25 Berne (CH), Bierhübeli
26.10.25 Barcelona (ES), Razzmatazz
27.10.25 Madrid (ES), La Riviera

Elder Headlining Shows
28.10.25 Lisbon (PT), RCA Club
29.10.25 Porto (PT), Mouco
30.10.25 Bilbao (ES), D8 Sorkuntza
31.10.25 Toulouse (FR), La Cabane
01.11.25 Vallet (FR), Westhill Festival
Artwork by Adam Hill

ELDER
“Lore” 10th Anniversary Tour Spring 2025:
08.05.2025 Hamburg (DE), Bahnhof Pauli
09.05.2025 Copenhagen (DK), A Colossal Weekend
10.05.2025 Oslo (NO), Desertfest Oslo
11.05.2025 Stockholm (SE), Hus 7
13.05.2025 Esch-Alzette (LU), Kulturfabrik
14.05.2025 Tourcoing (FR), Le Grand Mix
15.05.2025 Brussels (BE), Le Botanique
16.05.2025 London (UK), Desertfest London
17.05.2025 Nijmegen (NL), Sonic Whip Festival
18.05.2025 Savigny-Le-Temple (FR), Grand Sludge Fest
20.05.2025 Wiesbaden (DE), Schlachthof – Kesselhaus
21.05.2025 Lyon (FR), L’Epicerie Moderne
22.05.2025 Lucerne (CH), Sedel
23.05.2025 Munich (DE), Feierwerk
24.05.2025 Jena (DE), Kuba
25.05.2025 Berlin (DE), Desertfest Berlin
05.06.2025 Gdańsk (PL), Mystic Festival

Elder is:
Nick DiSalvo – Guitars, Vocals
Mike Risberg – Guitars, Keys
Jack Donovan – Bass
Georg Edert – Drums

http://facebook.com/elderofficial
https://www.instagram.com/elderband/
https://beholdtheelder.bandcamp.com/

https://www.instagram.com/armageddonshop/
https://armageddonshop.bigcartel.com/
http://armageddonshop.com

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

Elder, Lore (2015)