Posted in Whathaveyou on January 27th, 2026 by JJ Koczan
Congratulations to Floridian heavybringers Florist on signing to Ripple Music following their well-received 2025 outing, Adrift (review here). The label will oversee a vinyl pressing of the short-album-type offering this summer as the band continue to build momentum through Spring touring — you’ll see three thus-far announced dates below, the first of them at Legalize Lex‘s pre-show — and word of mouth.
You might recall Florist toured last year with Hollow Leg ahead of Adrift‘s release, the two bands making their way up the Eastern Seaboard around slots at the final Maryland Doom Fest. I don’t know what they’ve got in the works for 2026 beyond what’s been said below, but if the priority is knuckling down and putting togeter an album that knocks people on their ass, I don’t think their time would be misspent even if they weren’t going door-to-door at dive bars.
Credit where it’s due, this news broke on the ‘Rich and Turbo’s Heavy Half Hour’ podcast (I was on a conference thing with those guys and a few others this weekend; fascinating times; they’re nice though in my experience), and the following was posted on socials afterward by guitarist/vocalist Frankie Consoli:
Florist just signed a record deal with Ripple Music! So your boy and the homies are now legitimately signed artists! That being said, thank you all so much for supporting us, believing in us, and telling people about us (especially you Rich Piva). As I say on stage, we are Florist, now you are Florist. I truly mean that. There is no Florist without you. 🙏🏼
Ripple will be releasing and distributing Adrift on vinyl worldwide come this summer, and we are already working on music for our next album which will be fully released under the Ripple label.
Florist live: April 16th – Lexington, KY Al’s Bar of Lexington Legalize Lex Pre-Fest April 17th – Charlotte, NC The Milestone Club April 18th – Birmingham, AL True Story Brewing Company
Florist on Adrift: Frankie Consoli – Lead Vocals, Guitar, Sitar Kevin Roy – Bass, Backing Vocals Mike Amador – Drums, Backing Vocals Jer Dillow – Theremin, Synthesizers, Percussion
Posted in Reviews on October 3rd, 2025 by JJ Koczan
Sneaking it in on a Friday? What is this madness? Fair question. The wretched truth is that in slating this Quarterly Review — welcome, by the way — I ran into a scheduling conflict with a stream I booked for Oct. 14. I wasn’t sure how to resolve the logistics there, and 10 reviews plus a full-album stream is more than I have brainpower to write in a day, even if I do nothing else, so think of this as like the soft-launch grand opening of the Fall 2025 Quarterly Review. I’ll go all through next week and then wrap up on Monday the 15th. 70 total releases covered, 10 per day, during that time.
It’s gonna be a lot, and I’m sure as always happens there will be other things I’ll fall behind on, but to be perfectly honest with you, I could really, really stand to force myself to sit down and engage the hardcore escapism of getting lost in 70 records one after the next, so I think I might actually enjoy this this time through. Famous last words, but last time was one of my favorite QRs ever, so I’ve got momentum on my side. I’ll keep you posted as we go, and while I’m here, have a great weekend. We’ll pick up with more on Monday.
Quarterly Review #1-10:
Faetooth, Labyrinthine
While being terrible for most everything else, 2025 is a good year to go dark. Faetooth do so — darker, anyhow — with their sophomore album, Labyrinthine, and find a place where doomgaze and sludgier, scream-topped distortion can meet without seeming any more incongruous than the Los Angeles trio want it them to be. The record runs a substantial 10 songs/55 minutes, and songs like “Iron Gate,” “Hole,” “White Noise,” and “Eviscerate” derive as much of their atmosphere from the band scorching the ground beneath them as from the more subdued, murky and melodic stretches. With these elements put together in a cohesive whole sound, Labyrinthine is less an aesthetic revolution than a (welcome) generational refresh to doom and sludge, with the band set on a path of progression toward an increasingly individualized stylistic take. Idiot dudes will talk shit because they’re women. Don’t listen to idiot dudes. Listen to riffs. Faetooth have plenty to get you started.
The mighty Kiel, Germany, trio — oops, they just became a four-piece; heads up — recorded Bring Your Lungs this past April while on their first-ever tour of Australia. It’s a three-song, about-35-minute live-in-studio collection, and they’ll reportedly press it to vinyl in no small part so they have copies to take with them when they return down under in 2027. I guess it went well. Bring Your Lungs leaves little question as to why as the band put themselves in line among the heaviest sons of Sleep in the suitably-half-formed oeuvre of bong metal. Even the shortest of the three, the middle cut “Wax” (7:38) lays tonal waste(d), while “Fathead” (11:17) and “Goddamn High” (15:59) bark and crush and caveman plod, hitting into a slowdown and a speedup, respectively, that convey both the plan underlying the mire and the willfully, gleefully insurmountable nature of that mire itself. They’d like to teach the world to stone. Can’t help but think it’d be better for it.
We may not have circa-2005 Genghis Tron to manifest the in-brain chaos of modern overwhelm, but Jon Weisnewski (Sandrider, Akimbo) stands ready with the extremist shenanigans industrial grind of Nuclear Dudes to pick up the slack. Following the punishing radness of 2023’s Boss Blades (review here), Weisnewski, his keyboards, a buttload of samples and guitar here collaborate with vocalist Brandon Nakamura to manifest a cacophonous stew that almost gets away with tapping into “Welcome to the Jungle” on album opener “Napalm Life” (get it?) by making it almost completely unrecognizable. Further punishment is dealt with semiautomatic fervor on “Concussion Protocol” and “Juggalos for Congress,” but the 11-track/23-minute entirety of Nuclear Dudes‘ second full-length comes across like an intentional brainema, so approach with caution and know that, if it feels right, you’re not alone.
A quick glance at the social media for Italian stoner-droner heretofore solo-project Void Sinker, and one finds that sole denizen Guglielmo Allegro is currently searching for a bassist and a drummer to fill out the lineup. Unquestionably this would be a significant change to the proceedings on the five-song/69-minute Echoes From the Deep, which plunges frontal-lobe-first into undulating waveforms and its own distorted expanse. A clear progression of notes can be heard later in closer “Andromeda” (16:21) and “Hollow” is minimalist to the point of being barely there for most of its nine minutes, but obviously a certain kind of meditative monolith is constructed from lead cut “Cetus” onward. There are no shallow dives here, and one can’t help but wonder what Allegro might have in mind for filling out these arrangements with a rhythm section. Will Void Sinker adopt more straightforward stoner-doom riffing, or is the intention to try to make this kind of drone actually convey a sense of movement? Your guess is as good as mine, but for now, the trance induced is noteworthy.
Raw oldschool doom with a punker edge permeates Hebi Katana‘s first album for Ripple Music and fourth overall, Imperfection. And the title becomes somewhat ironic, because while the implication is they’re talking about a warts-‘n’-all sound perhaps in reference to the production rawness of the seven-track/35-minute outing highlighted by cuts like “Dead Horse Requiem” and “Blood Spirit Rising,” which shuffle-pushes into and out of a pastoral midsection, as well as the finale “Yume wa Kareno,” it just about perfectly suits the material itself, and the band bring vigor to the deceptively catchy “Praise the Shadows” that, while dark in atmosphere, speaks to a dynamic that’s developed in their sound over time. That is to say, they might be a ‘new band’ to listeners outside the band’s native Japan, but Imperfection conveys their experience in craft and in its chemistry. If it wasn’t recorded live, close enough. They’re not reshaping genre, but there is perspective at work, to be sure.
That Fair and Warlike Form/Return to Dust, a two-songer full-length with each consuming about 23 minutes of a vinyl side, sure feels like a landmark, but that seems to happen when Melbourne trio Khan are involved. Here they set a sprawl matched by few in heavy progressive psychedelia as the three-piece of Josh Bills (vocals, guitar, keyboard, recording, mixing, mastering), Will Homan (bass) and Beau Heffernan (drums) enact a linear build across the massive soundscape of “That Fair and Warlike Form,” as sure in their purpose as they are defiant of the expectation that these extended pieces might just be jams. Rather, that opener and “Return to Dust” are structured pieces, and resonate emotionally as well as immerse the listener in their clear-eyed breadth. “Return to Dust” is a level of triumph not every act achieves, and “That Fair and Warlike Form” is no less impactful throughout its procession. One of the best of 2025, but less about the fleeting moment than providing a place to dwell long-term. That is to say, it’s a record that has the potential for its own cult, never mind the wider following amassed by the band.
The first Sarkh LP, Helios (review here), arrived through Worst Bassist Records in 2023 and was a purposeful adventure across genre lines, taking elements of post-rock, heavy riffing, and even aspects of black metal and more extreme ideas into a context that became its own. The shimmer at the outset of “Helios” that starts their second full-length, Heretical Bastard, speaks immediately of communion, and as the German instrumentalists have set about refining and coalescing their sound, ambience remains central to what they do regardless of how outwardly heavy a given part gets, which, in tracks like “Kanagawa” and “Glazial,” is pretty gosh darn heavy, never mind the chug that pays off “Zyklon” or the wash that culminates 11-minute capper “Cape Wrath,” though admittedly, the latter is more about push that heft. It’s movement either way, and Heretical Bastard‘s greatest heresy might just be how convincingly invisible it makes the (yes, imaginary) lines that divide one style from another. A band on their own path, forging their own sound. If you can’t respect that, it’s your loss.
Eight years on from their well-received 2017 debut, Take Me to the Gallows, Chicagoan classic doom metallers Professor Emeritus reach pointedly into the epic with A Land Long Gone, their second record. The band’s traditionalism of form means there’s something inherently familiar about the proceedings, and certainly they’re not the only ones with an affinity for ’80s metal of various stripes these days, but in addition to being distinguished by the forward-mixed vocals of Esteban Julian Pena, the sheer weight of “Pragmatic Occlusion” and “Defeater” and the crescendo of “Kalopsia Caves” sets well alongside the graceful flow of “Zosimos” or the later, partly-acoustic “Hubris,” portraying the dynamic and sense of character brought into the material. Like Philly’s Crypt Sermon, they’re not pretending the intervening decades didn’t happen — you wouldn’t call A Land Long Gone retro, I mean — but their collective heart clearly bleeds for the classics just the same; Trouble, Candlemass, Iron Maiden. If that’s your speed, their blend of chug and soar should hit just right.
Florist know what they’re here for, and as they push through the let’s-start-with-the-universe’s-frequency “432Hz” into the modern, cavernous, riffage and nod of “Another Moon,” my brain sings a hearty fuck yes. They pack 29 minutes of rad into Adrift, their sophomore, six-songer LP, and while they’re not shy about lumber in “Grow” and the closer “Adrift (Part B),” that’s only one end of a style that’s able to move with marked fluidity across a range of tempos that, with a vibrant production, fullness of tone and hard-hit drums shoving it all, make for a refreshing take on what are unrepentantly familiar ideas. That is to say, there’s no pretense in Florist. Volume worship, riff worship, whatever you want to call it, it matters so little when the band are bashing away at “Out of Space” and hell’s bells it’s actually fun. Like, real life fun. The kind you might have with friends in a crowded room with the band on stage killing it through a set likewise heavy and intense but unashamed of the good time it’s having. Also giving, as one might a gift.
Ohio’s Paul Williams has released three ‘audio travelogues’ of the Blue Ridge Highway, with the Moog-only Under Blue Ridge Skies preceded directly by A Blue Ridge Spaceway and Our Grandfather the Mountain earlier this year. Maybe you have, and if so, that’s awesome, but to my knowledge I’ve never been on the Blue Ridge Highway, so I can’t necessarily speak to how the droney “Ghost Over a Pointed Top” or the kraut-style blips and bloops of “See Mount Mitchell” correlate to the experience of driving it. I’ll soak my ignorance in the keyboardy melancholia of “A Carolina Elegy,” which closes with evocations of past storms and forebodes of those still to come. Likewise, I’m not sure what the title “Abbott’s Fantasia” is a reference to, if anything at all, but you don’t get much more dug in than entire compositions played out on various layered, hyper-specific, probably-vintage-and-expensive-to-repair synthesizers, and it’s a kind of nerdery for which I’m very much on board.
Posted in Whathaveyou on March 10th, 2025 by JJ Koczan
Floridian heavybringers Hollow Leg and Florist have paired up for an East Coast run surrounding their respective appearances at Maryland Doom Fest 2025 in Frederick, MD, this June. Hollow Leg are familiar enough around these parts, but I’ll confess I apparently whiffed on Florist‘s 2023 debut album, Contact, and the price of my ignorance is being blindsided by it now, a bright shove a bit manic like a spacebound Torche, if we want to keep it to FL, rooted in punk and aughts-era stoner idolatries but with an immediate point of view in the songwriting. It’s in my notes but they’ll probably have another record out before I can close a week with it. I’ve maintained all along I suck at this.
The bottom line is I dig it, I suppose, and the band will make a solid complement to Hollow Leg on the road. Hollow Leg of course released two EPs last year, Dust (review here) and Echoes (review here), that last I heard were to be compiled onto a single LP sometime in 2025 as may yet still be the plan. Between those two and the band’s by-now-not-insignificant back catalog, they can change up their setlist as much as they want, to lean nastier or more melodic, more aggressive or laid back and rolling, and accordingly, I’d expect these shows to kick ass. Maybe I’ll get lucky and Curse the Son will get added to that Norwich, CT, show.
From Hollow Leg via the PR wire:
Say Hollow Leg: “Hollow Leg and Florist have spent a lot of 2023/2024 playing shows together around Florida so when both bands were booked for this year’s Maryland Doom Fest it was a no brainer that we were gonna do a run together! Thanks to Jean Saiz for the awesome poster!”
Hollow Leg / Florist 2025 summer tour
June 12 -Orlando, FL @ wills pub June 13- Atlanta, GA @ 529 June 14- Asheville, NC @ sly grog lounge (Hell Chere Fest) June 15-Nashville TN @ the Basement June 16- Louisville, KY @ MagBar June 17-Youngstown, OH @ Westside bowl June 18- Syracuse, NY @ the jugg June 19-Norwich CT @ Strange Brew June 20-Brooklyn NY @ Goldsounds June 21-Fredrick, MD-Doomfest (HL only) June 22-Fredrick, MD Doomfest (Florist only) June 23- Wilmington, NC @ Reggie’s
Posted in Whathaveyou on October 31st, 2024 by JJ Koczan
As per Halloween tradition, the venerable Maryland Doom Fest has posted its as-of-now-complete lineup for next year’s edition, and MDDF 2025 looks like a rager. Set to unfold its massive billing across June 19-22 in the riffy epicenter of Frederick, Maryland, the fest will highlight newcomers and established acts alike, as veteran outfits like The Skull and Apostle of Solitude, Hollow Leg, Curse the Son, and others make returning appearances and new incarnations like Legions of Doom, Ages and High Noon Kahuna feature familiar players in new contexts. Always cool to see bands like Thunderbird Divine and Spiral Grave doing the thing, and I’ll admit that my eyebrows went up when I saw Virginia’s Lord would be playing, as I’d yet to encounter word of a reunion from that most chaotic of sludge metal outfits. Sonolith and Demons My Friends and Sons of Arrakis and plenty of others will be traveling for it — Ogre! — so I would expect some tours to be forthcoming, and Sun Years, whose Nov. tour begins — wait for it — tomorrow, will feature.
It’s a family reunion you probably already have on your calendar, so don’t let me keep you from perusing the poster and getting stoked on what you find. From Crystal Spiders to B&O Railroad, there’s both a lot here and a lot here to like, and always more waiting to be discovered by those bold enough to show up to Cafe 611 early in the day. Check it out:
MARYLAND DOOM FEST 2025 – June 19-22, Frederick, MD
WE JOURNEY FROM THE HEAVY UNDERGROUND AND STAGES ACROSS THE WORLD TO ASSEMBLE IN FREDERICK, MARYLAND, FOR A JOYOUS CELEBRATION OF DOOM, GROOVE, AND THE ALMIGHTY RIFF.
JOIN US.
After such a magnificent 10th anniversary celebration of #4daysofdoom in 2024, which involved reorganizing and coordinating two stages in one venue (Cafe 611), we are beyond stoked to share The Maryland Doom Fest 2025 roster and marvelous promotional artwork.
The art design was created by one of our Maryland natives in the local music scene—Ben Proudman, the Frederick, MD-based master artist at Key City Tattoo (IG: @tattoosbyprdmn). Ben is also the drummer for the powerful bands Thonian Horde and Foehammer. Our very own Bill Kole (IG: @BillyDiablo) handled the color design and layouts again this year. He majestically brought this piece to life!
Explore the heavy musical talent of these bands and performers and be prepared for the nonstop riffage party in June! Talent beyond words!!! We can’t wait for our doom community to congregate next summer!!!
Time slots, ticket sales, stage rosters, sponsors, and vendors will be presented by year’s end. — 💀DooM💀
THE SKULL + PSYCHOTIC REACTION + APOSTLE OF SOLITUDE + LEGIONS OF DOOM + COMPRESSION + CRYSTAL SPIDERS + HIGH NOON KAHUNA + RED BEARD WALL + WITCHPIT + STRANGE HIGHWAYS + AGES + SUNYEARS + HOLLOW LEG
FUTURE PROJEKTOR + ALL YOUR SINS + SONOLITH + SPIRAL GRAVE + LORD + SABBATH WARLOCK + GALLOWGLAS + SONS OF ARRAKIS + CROP + HOVEL + OGRE + DREADSTAR + THUNDERBIRD DIVINE + WYNDRIDER + SUN MANTRA + KULVERA + STYGIAN CROWN + CURSE THE SON + BENTHIC REALM + HOLY ROLLER
BLOODSHOT + DUST PROPHET + VANISHING KIDS + BLOOD AND EARTH + FIGHT THE FOLD + DAYTRIPPER + B&O RAILROAD + BAILJACK + COKUS + NEW DAWNS FADE + COMA HOLE + FLORIST + ABEL BLOOD + SEASICK GLADIATOR + ENTIERRO + HEX ENGINE + DEMONS MY FRIENDS + ABOMINOG + VRSA + HIGH HORSE CALVARY
