Happy Monday, and welcome to the Quarterly Review. Or welcome back, anyhow. I said last month that I might try to sneak another one of these weeks in before the end of November, and I’m honestly not prepared to say this’ll be it for the year. There’s a lot out there to keep up with, and this is the most efficient means I have for ‘keeping up,’ as best as I can do that anyhow. I don’t know, man. I’m just trying to get through the day.

This QR is 50 releases — I was slating them right up to yesterday, so some of it’s pretty fresh — and will go from today through Friday. It will be most, if not all, of what is posted this week. I hope you find something you enjoy. Let’s go.

Quarterly Review #1-10:

Beastwars, The Ship // The Sea

At nearly 15 years’ remove from their self-titled debut (review here), New Zealand’s Beastwars have been through ringers in life and music alike, but their sound on their sixth full-length, they’ve never sounded quite so refined. Understand, it’s Beastwars, so I still mean immersive and crushing riff-heavy rock, which the band have honed to a point of bordering on noise rock in pieces like “The Storm” or the later “You Know They’re Burning the Land.” “Rust” and “The Howling” maintain a sense of the epic with Matt Hyde‘s shouts alternately into and out from the abyss, but the band have grown in the six years since their last album of originals, 2019’s IV (review here), and for the blowout in “The Devil” and the weight of chug in “Guardian of Fire,” their impact feels all the more craterous for it.

Beastwars store

Beastwars on Bandcamp

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Lacertilia, Transcend

I won’t take away from the shorter bangers here, whether it’s the wah-on immediacy of “Listen Close” or “Weird Scenes” with its stick-click immediacy, but each half(-ish) of Lacertilia‘s third LP (first for Majestic Mountain), Transcend, ends with a more extended cut, with “Nothing Sacred” (10:34) and “The Sun is the Key” (7:13) rounding out their respective sides, and the band are right to take the time when they take it. Of course, it’s symptomatic of the broader variety brought to the Cardiff five-piece’s craft, and they make Transcend a showcase of their reach, be it into acoustic strum and emergent bluesier scorch on “Over and Out,” the twisting lead guitar progressivism of “Deviate From the Plan,” which meets the grandeur halfway, or the percussion-laced instrumentalist build of the semi-title-track “Transcending.” They end up offering something different with each of the 10 songs, and balance raucousness and expressive purpose as they go in malleable and distinctive style.

Lacertilia on Bandcamp

Majestic Mountain Records store

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Dune Aurora, Ice Age Desert

With their debut album, Turin three-piece Dune Aurora draw together disparate ideas from across the modern riffy pastiche such that garage-style sway and more traditonalist stoner chug combine with at-times-ethereal melody, desert push, psychedelia and, in the case of “Trapdoor,” a poppier take entirely. There’s cohesion in the songwriting to match the aesthetic ambition, though, and Dune Aurora don’t come off as haphazard so much as multifaceted. The reworked prior single “Fire” demonstrates a fuzzy drive waiting in the wings as part of their approach, but the nod in “Burning Waters” is more dug in, and “Sunless Queen” reveals a patience underlying their builds that might come out more on subsequent outings, but the shove of “Crocodile” and that Nirvana riff in “Dune Chameleon” are vital to Ice Age Desert too, and it’s still just a sampling of the elements Dune Aurora use to ensnare the listener. As much as they have going on, that they don’t come across as confused seems to give them all the more potential.

Dune Aurora on Bandcamp

Argonauta Records website

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Khayrava, Ghost Pain

Ghost Pain is the debut two-songer from Almeria, Spain, post-metallic four-piece Khayrava, who present “Red Hot Sun” (7:04) and “Ghost Pain” (10:32) with a marked sense of texture as part of their intention. Both tracks crush, but both also offer a moment of departure from that, and the latter plays off the impact of the former with a keyboardier air and its later divergence into floating melody and crash before, just past the eight-minute mark, they torch the whole thing with a worthy and minutes-long crescendo. “Red Hot Sun” is huge, but its midsection gives over to a break of Tool-y groove met with heavy post-rock flourish from the guitar. That also, of course, comes back around to the pummel, but it’s in the getting there that Khayrava begin to reveal the character of the band, and with the depth of mix they bring to Ghost Pain and the clear intent toward nuance of style, I’ll be on the lookout for where they go from here.

Khayrava on Bandcamp

Khayrava on Instagram

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River Cult, High Anxiety

“Who invented 9-5,” River Cult ask on “Fast Crash.” “They should be shot dead,” is the answer the lyrics give. Fair. The third long-player from the heretofore undervalued New York-based disgruntled fuzzbringers manages to make a mental health crisis swing like desert rock on “Smoke Break,” the sixth of the seven inclusions on the 38-minute offering, seeming to answer the crash-in, warm tone and lyrical fuckall of the opening title-track in the process. They’re not wrong, and if you’re gonna say the world sucks, at least “Feels Good to Scream” has a density of distortion to hold up to the message, vocals biting through like early-metal’s cultist inheritor, cavernous and obscure ahead of centerpiece “Mind the Teeth” start-stop chugging as the lore of ‘The Wolf’ is cast. The trio of guitarist/vocalist Sean Forlenza, bassist Anthony Mendolia and drummer Eli Pizzuto (ex-Naam) find a niche for themselves in downtrodden fuzz, ending with “New Song,” which even having been tracked at Brooklyn’s Studio G sounds fresh off the stage.

River Cult on Bandcamp

River Cult on Instagram

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Beast Eagle, Sorceress

In the soaring vocals of Kate Prokop and the riffs behind them chugging away at the verses of “The Dead Follow” and the moodier surge into the layered hook of “Witch Hunt,” Omaha, Nebraska’s Beast Eagle answer their 2024 self-titled debut EP with five more songs of metal-rooted heavy groove, clear and fluid in “Sharp Tongue” but not without aggression underlying. The bass in “The Dead Follow” is mixed the way I feel bass should always be — forward — and that gives even the mellower stretch as they move into the ending a different sense of presence than it might otherwise have, but in the galloping verse and sprawling chorus of “The Demonstration” and the rush of “Send Me Down,” the latter of which, admittedly, is more of a rocker, speaking to a burgeoning dynamic in their sound, they retain a feeling of charge, and that defines Sorceress‘ 19-minute run as much as the taut chug in “Sharp Tongue.”

Beast Eagle on Bandcamp

Beast Eagle on Instagram

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The Munsens, Degradation in the Hyperreal

Having relocated from Denver to Asbury Park, New Jersey, The Munsens are no less vicious or crushing on their second album, Degradation in the Hyperreal. “Eternal Grasp” starts the procession as much death metal as it is sludge, which is an ethic that “Supreme Death” will bring to gorgeously extreme fruition a short time later, while pieces like the melancholic, minimalist instrumental “Vesper” and the blistering megasludger “Sacred Ivory” and the outro “I Avow” offset the onslaught of “The Knife,” “Scaling Ceausescu’s Balcony” and the lumber-into-double-kick of “Drauga,” vocals offering precious little comfort for the downward journey of the record’s 46 minutes. That “The Knife” finishes, specifically, ahead of “I Avow,” stands as testament to just how far The Munsens have pushed into extremity over the course of their decade-plus, but they are not entirely unforgiving either, despite having grown only more gnashing over the course of their decade-plus tenure.

The Munsens on Bandcamp

The Munsens on Instagram

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Rattlesnake Venom Trip, Eclipse the Sun

They’re not thrash, but thrash is part of what Dayton, Ohio’s Rattlesnake Venom Trip get up to on their new four-song EP, Eclipse the Sun, with a sharp edge to the riffing on lead cut “Hollowed Eyes” that tells the tale. The second half of that track subsides some in terms of forward thrust, setting up the still-chugging-but-slower “Ablaze Set I,” with a more resonant hook, and “Brushstrokes/Eclipse the Sun,” which in its first half is as far as Rattlesnake Venom Trip go in divergence from the burl and push, but in its second answers for the metal and the nod both that it seems to have inherited from the opener. Punchy bass’ed reinforcement takes place over the five minutes of “Cold Winds Blow,” and the four-piece maintain a clear-eyed sense of identity through whatever turns the material makes, somewhere between heavy rock, Southern metal, thrash and stoner idolatry. You could sit and parse it, but the band make it pretty easy to trust where they’re headed as they go.

Rattlesnake Venom Trip website

Rattlesnake Venom Trip on Bandcamp

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Pesta, The Craft of Pain

For their third long-player, The Craft of Pain (on Glory or Death), Brazil’s Pesta offer a take on doom born of traditional metal. They’re not aggro, or outwardly depressive, but “Masters of the Craft of Pain” and the swinging “Marked by Hate” find a route from Sabbath and the NWOBHM to doom just the same. A guest appearance from Scott “Wino” Weinrich (The Obsessed, etc.) on vocals for “Mirror Maze” is a departure, but not so radical as to be out of place, especially backed by the depth of groove in the subsequent rocker “In the Drive’s End.” On side B, the pair of “The Inquisitor Pt. I” and the initially-acoustic-based “The Inquisitor Pt. II” provide a more theatrical reach, but the acoustic-and-key-strings “Canto XXI” brings in Rodrigo Garcia (Diffuse Reality) for another curve before “Shadows of a Desire” returns to ground to finish out not so far from where “Marked by Hate” left off. At no point do Pesta feel like they’ve diverged from where they want to be.

Pesta on Bandcamp

Glory or Death Records website

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Atom Lux, Voidgaze Dopamine Salad

The lyrics posted with the cumbersomely-titled “J.I.B.B.E.R.I.S.H. (John Inflates Balloons Because Every Remote Island Starts Hallucinating)” are wrong, and the level of psychedelic tricksterism and playfulness across Atom Lux‘s debut, Voidgaze Dopamine Salad is such that I’m not sure if that’s on purpose or not. Rest assured, different references to “I Am the Walrus” are being made. The self-recording solo-project of Roman multi-instrumentalist/vocalist Lucio Filizola is a garden of weirdo delights, with the keyboardy bounce of “Death by Small Talk” giving away none of the subversively easy garage swing of “Spaghettification Apocalypse” and “Stoned Monkey Heritage” bashing away like it’s an alternate-reality 1964, which by the way I’m no longer convinced it isn’t. It’s from gleeful oddities like “Dance Plague Delirium” that progressive rock first emerged in the comedown era. The same trajectory may or may not be in store for Atom Lux long term, but right now any kind of ‘comedown’ still feels a good ways off.

Atom Lux on Bandcamp

Atom Lux on Instagram

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This isn’t the end of the Quarterly Review — it wraps up on Monday — but it is the end of the week, and I’m ready for it. The music’s been good though and that’s something of a salvation for times where it seems like the strange and terrifying are in competition with each other to make life more awful. That doesn’t end on the weekend, of course, but at least I’ll have two days to put together the last post of this QR, and when you’ve been writing 10 reviews a day all week, half that counts as respite. Something like it, anyhow.

So before we wrap up the week with whatever on earth I’ll actually pick to close it out (any requests?), here’s one more batch, with my thanks for your valuable time and attention. Hope you find something cool.

Quarterly Review #51-60:

P+A+G+E+S, No More Can Be Done

No More Can Be Done is the debut album from South Africa’s P+A+G+E+S, but the Cape Town trio spent five years in the 2010s together as Morning Pages, so that their first record would hold so much intention behind it shouldn’t necessarily be a shocker. The reason behind the name change? An apparent change in their project, which is to say the band got way, way darker, way, way heavier and nasty in that sharp-toothed-thing-you-can’t-see-but-you-know-is-there-also-there-are-no-lights kind of way. The 15-minute opener/longest track (immediate points) “The Passage” leads the way down into the bleak, extreme sludge that follows, but as the careful linear build of “Shine On” later demonstrates, P+A+G+E+S are more methodical than the noise and outwardly chaotic feel would seem to indicate. Atmosphere plays a central role in what they do, and that’s consistent from their run as Morning Pages, but No More Can Be Done is about what’s lurking and lurching in the bleakness.

P+A+G+E+S Linktr.ee

P+A+G+E+S on Bandcamp

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Bask, The Turning

Following the intro “Chasm,” Bask launch their fourth album, The Turning, with minor-key mystique and subsequent crush via “In the Heat of the Dying Sun” and “The Traveler,” piling triumph upon triumph in a way that is indicative of the progressive songwriting at work. “The Cloth” is slower, but neither less weighted nor less gorgeous for that, and as “Dig My Heels” works in some of the Southern/Americana pastoralism the Asheville, North Carolina, outfit have always been known for, the melody proves a standout, setting up another life-affirming payoff in the seven-minute “Unwound,” the mellower turn for the build of “Long Lost Light” and the somewhat wistfully twanging undertones of the title-track, which closes with grace and poise rare enough in heavy anything. Clearly a band who have worked to and been successful in transcending their root influences, and an identity that’s been hard-forged over their decade-plus. The Turning sees them actively bring their approach to another level.

Bask on Bandcamp

Season of Mist website

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Matus, El Aullido b/w Planetario

A 15-minute two-songer from Lima, Peru’s Matus, as the psychedelic weirdo sometimes-cultists of long standing offer “El Aullido” (8:45) and “Planetario” (6:55) as their first outing since 2021’s Espejismos II (review here). Both processions — and they are that — feel built out from jams, but the recordings have guitarist Manolo Garfias and keyboardist Richard Nossar (both also alternate bass duties) at their core, along with Roberto Soto‘s drumming, Veronik‘s theremin in the deep-freakout section of “Planetario,” Úrsula Inga‘s vocals on “El Aullido,” and so on with other guests (including Camilo Uriarte, who co-produced and mixed, along solo artist Chino Burga on guitar, and Cristóbal Pérez on sax for “Planetario”) adding to the movement. “El Aullido” pairs shoegaze with a roll informed by South American folk, perfect for Inga‘s vocals, while “Planetario” carries more of its melody in the keyboards and surrounding ambience. It’s a welcome check-in from Matus as they celebrate the 20th anniversary of the band.

Matus on Bandcamp

Matus on Facebook

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November Fire, 2025

Where New England bizarropsych rockers November’s Fire‘s 2024 album, Through a Mournful Song, took an approach to its material like some of earliest Monster Magnet‘s underproduced kitchen-sink quirk, the two-song EP 2025 presents two different faces, and that turns out to be because the songs included are over 30 years old. “2025” and “Somnia” — the latter which brings in original guitarist Greg Brosseau for a guest spot that includes clean lead vocals — were allegedly written in the early 1990s, and if you told me the root of the title-track was a teenaged thrash riff, they make that easy enough to believe in the modernized, thickened chug of the song as it stands now. That is to say, they’ve brought it into the sludgy experimentalist context of the work now, but it remains dark. As it inevitably would. “Somnia” is shorter, has some backing chants, and feels meditative even as the guitar holds to its restlessness. Weird band staying weird, screwing around with their old stuff and getting something out of it. Sometimes an experiment works.

November Fire Linktr.ee

November Fire on Bandcamp

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Goatmilker, Goatmilker

Bergen, Norway, four-piece Goatmilker don’t really leave you with much choice other than to call them progressive, though that hardly says boo about the reach of their self-titled debut, which is as much psychedelic punk as it is black metal in its rhythms, but remains a work of heavy rock and roll nonetheless, grooving, catchy on “Devils on My Tail,” aggro-weird on “Time… Tearing Apart,” all-in on tonal overwhelm for “Mountains” and cheekily grandiose in the finale “Storm” only after they’ve seen fit to take on Journey‘s “Separate Ways (Worlds Apart),” which given the goes-where-it-wants succession leading up to it hardly feels out of place at all. While at no risk of overstaying its welcome at eight songs and 34 minutes, Goatmilker does make for a challenging listen at times, but the rewards for actually paying attention to what they’re doing are worth whatever effort is required. That is to say, engage actively for best results.

Goatmilker Linktr.ee

Goatmilker on Instagram

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Grin, Incantation

If Grin sound a little different on Incantation, a two-track 7″ with a digital bonus cut in the flatteningly heavy “Echoes in the Static,” that might be because the duo of drummer/vocalist Jan Oberg and bassist Sabine Oberg didn’t record themselves as usual, but instead tracked live at Wave Akademie in their native Berlin with Anton Urban (Jan Oberg co-produced, mixed and mastered, so still had a hand for sure). So, rather than the studio leftovers one might expect mere months after the band’s last full-length, Acid Gods (review here), the songs may have their origins as such but arise from different circumstances. There’s some more of a wash to “Incantation” and “The Color of Ghosts,” and “Echoes in the Static” is consumed by its titular noise toward its finish, but “The Color of Ghosts” dares some melodic vocals amid all that bombast, and as usual, Grin forge their own take on metal, sludge and intense atmospheric heavy.

Grin on Bandcamp

The Lasting Dose Records on Bandcamp

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Mezzoa, TON 618

A collection of bangers on the second LP through Glory or Death Records from San Diego rockers Mezzoa, TON 618 plays out over the course of a taut 13 songs and 39 minutes, careening desert style in “Hard to Hear,” punking up the groove in “Chump” before basking in Sabbath worship for “Wasted Universe” (think “Symptom” thereof), building crunching tension in “Uncle Cho” only to release it in the second half of the song with a grunge melody, carrying that melody into “Smiles for Everyone,” and then slamming all that momentum into the fuzzed radness of the lead tone and Alice in Chainsy vocal of “How You Been.” That’s not the end, I’m just less efficient than the band and so I’m running out of space. “Blessing” attains inner Nirvana while “Desert Snakes” sounds like it’s ready for a John Garcia guest spot, “Chachi Liberachi” echoes the sharper corners of “Wasted Universe,” “Goin’ Down” has that riff that every New York hardcore song ever (yes, all of them. don’t @ me.) has but goes somewhere completely different with it, and closer “How Are We” highlights the craft that’s let them do it all in the first place. Hey kid, you like rock music? Well get a load of this.

Mezzoa on Bandcamp

Glory or Death Records website

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Orsak:Oslo, Silt and Static

Beginning with its longest track in the nine-minute “Biting In,” Orsak:Oslo‘s Silt and Static finds the Norwegian/Swedish outfit somewhat outgrown from their dronier foundations, harnessing a psychedelia that moves with krautrocking purposes, while retaining the band’s previously-established ambient instrumentalist approach. “Days Adrift” is an even thicker roll, with ebbs and flows that give precedent to the shove that results in “Salt Stains,” which follows, while “Petals” dips momentarily into minimalism. But the story here is the fullness of sound, with pieces like the subdued-but-building “Resonance in Ash” or “Petals” in conversation with Pelican/Russian Circles-style heavy, while “The Onward Stride” and “Time Leak” bring prog more to the forefront and “Bread and Sink” lets the rumble bring it all together. In these ways, Silt and Static rewrites the story of Orsak:Oslo as a band, and their reach has never seemed so broad.

Orsak:Oslo website

Vinter Records website

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Modder, Destroying Ourselves for a Place in the Sun

The hypnotic drone finish of “Type 27” that ends side A of Modder‘s second album, Destroying Ourselves for a Place in the Sun, is just one way the band incorporate ambience as a key element in their trades between loud and quiet, tense and open, and crushing and spacious. These different sides come together in various combinations across the six cuts on the Belgian instrumentalist five-piece’s 41-minute run, which sets out in oppressive and blasting fashion with “Stone Eternal,” as heavy as whatever doom you want to put it next to and still able to hit with the precision of Gojira. The shorter “Mather” is more angular, glitchy and mirrored by “Chaoism” on the album’s second half, and though they lead off with their longest track (immediate points) in “Stone Eternal,” the heavy djenty chug that comes to fruition on “In the Sun” is unmistakable as anything but the closer, building, receding, tossing in what sure sounds like a human voice chanting and surging in intensity to round out with a keyboard-overlaid bludgeoning. By then you’re pretty much pulp anyway.

Modder Linktr.ee

Lay Bare Recordings website

Consouling Sounds store

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Futuredrugs, Past Warnings of Present Futures

Past Warnings of Present Futures tells you a lot about its point of view in the title, but electronic experimentalists Futuredrugs push the meaning deeper still, opening with a barely recognizable take on “What a Wonderful World” with “Skies of Blue” and revamping Tom Waits‘ “Dirt in the Ground” on “…And the Gallows Groaned.” The cinematic, dark synth/programmed backdrop of these and the sampled “No Home” blur the line between originality and reinterpretation/manipulation, and I won’t claim to know whether pieces like “Ice Age Coming” or “When the Last Tree Falls” are similarly sourced, but maybe. In any case, in a time when remembering things like “nothing matters anyway” is a comfort, there is space for the open-minded listener to dwell among these seven tracks, which when taken as a whole succeed in embodying the apocalyptic hellscape of recent years. I don’t know if they’re offering sanctuary so much as a snapshot, but as that, it sure feels like an accurate depiction.

Futuredrugs on Bandcamp

Futuredrugs on Instagram

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Heavy psych rockers Madmess release their new LP, The Third Coming, on May 9, through an international consortium of independent labels including gig.Rocks! in their native Portugal, Kozmik Artifactz throughout Germany and the rest of Europe, and Glory or Death Records, based in the US. Their bases thusly covered, the Porto three-piece of guitarist/vocalist Ricardo Sampaio, bassist Vasco Vasconcelos and drummer Pedro Cruz are free to explore and refine their partially-instrumental crux, taking and adapting what came together on 2021’s Rebirth (review here) and their prior 2019 self-titled debut to retain its spaciousness and partially-improvised spirit while at the same time taking on a more direct delivery.

What on earth does that mean? For one thing, the longest song on The Third Coming, “Widowmaker” (7:17), is roughly equal in runtime to the two shortest cuts on Rebirth, which was filled out otherwise by three nine-minute jaunts. But fear not. The Third Coming retains its jammy sensibility, and if it’s expanse you seek, “Widowmaker” picks up from the wah-fuzz burner opening given through “Death by Astonishment,” and begins a stretch through “Velvet Nebula” — second best song title I’ve seen in the last 12 months — and the album’s most hypnotic, immersive unfolding, “Endless Cycles,” that should tick any quota you’ve got for ‘getweird.’ And if not, the motorik pulse behind closer “Sauerkraut” still manages to speak to classic space rock trance-induction while not actually taking up any more than three and a half minutes of Earth time. This kind of efficiency is usually a showcase in itself. For Madmess, the focus is so much more on the impression the music makes than the intent behind it. That is, they’re not showing off or simply indulging in craft. They made the record for you, the listener.

Actually, “Death by Astonishment” reinforces that idea well, while “Endless Cycles” contrasts those grounded aspects at the start of the vinyl’s side B. This comes ahead of the exclamatory “Burnt!,” the second half which precedes the proto-metallic shove of “Hazy Morning” with a particularly resonant shimmer in Sampaio‘s guitar and the roll and pull and tonal wobble that hits a serene moment in the heavy psych tradition. Earthless are a factor in that, and in some of the grit of “Hazy Morning,” one can hear aspects of the ’70s-minded riffage that took hold in San Diego circa 2015-2020, in no small part inspired by the aforementioned. In such a way, The Third Coming is fluid in its movement without being static in terms of style, and it doesn’t ultimately end up anywhere one would come close to calling lost. Indeed, “Hazy Morning” and “Sauerkraut,” paired at the end as they are, only seem to herald further stylistic adventures to follow. Or at least that’s the hope in hearing it.

Whatever instigated this readjustment of balances in Madmess‘ sound to bring about songs that can be shorter and more direct, it feels like a realization on the part of the band as The Third Coming plays less to genre while remaining organically aligned to it. To say the very minimum, it is a record that understands, appreciates and makes solid use of its creative freedom, and if you heard either of their first two and thought the band had potential, these songs both answer that and leave the same impression afterward. Madmess continue to sound like they’re just getting started, and that vibrancy is becoming a key part of what they have to offer.

Album streams in full below, followed by more from the PR wire, including live dates announced the other day.

Please enjoy.

Always dynamic, always electrifying, and as powerful as ever, Portuguese powerhouse trio Madmess is gearing up to release their latest LP, “The Third Coming,” on May 9th via Glory or Death (USA), Kozmik Artifactz (EU), and gig.ROCKS! (PT).

Once a well-kept secret in Europe’s psychedelic music scene, their anonymity may soon fade. The single “Velvet Nebula,” the first preview of Madmess’ forthcoming third album, offered a taste of what’s ahead, following a year filled with touring highlights, including performances at Krach am Bach (Germany), ArcTanGent (UK), Freak Valley Xmas (DE), and Sonic Blast (PT).

Previously under the radar but with a devoted fanbase eagerly awaiting new songs, the album leans into a more classic sound, merging Bonham-inspired drumming with contemporary psychedelic melodies across seven mesmerizing tracks. These riffs are destined for live stages across Europe and beyond, where they truly come alive.

A strictly limited vinyl edition of only 300 copies on heavy clear/black dust coloured vinyl is available for (pre)ordering here: https://kozmik-shop.com/MADMESS-The-Third-Coming-crystal-clear-black-dust-LP

Tracklist:
1. Death by Astonishment 5:55
2. Windowmaker 7:15
3. Velvet Nebula 5:22
4. Endless Cycles 4:54
5. Burnt! 6:11
6. Hazy Morning 3:00
7. Sauerkraut 3:37

Announcing our next run of shows presenting “The Third Coming” in Europe, with dates in Portugal, Spain & France 💫

10.05 – Socorro, Porto 🇵🇹
20.05 – Wurlitzer, Madrid 🇪🇸
21.05 – El Bunker, Alicante 🇪🇸
23.05 – Sideral Fest, Capbreton 🇫🇷
24.05 – La grange Baffignac, Castres 🇫🇷
27.05 – La Ley Seca, Zaragoza 🇪🇸
28.05 – Dio Bar, Barcelona 🇪🇸
29.05 – La Rayuela, Miranda de Ebro 🇪🇸
30.05 – Rock dos Romanos, Coimbra 🇵🇹

Recorded at Hertzcontrol Studio by Marco Lima in Caminha, Portugal
Produced/Mixed by Marco Lima
Mastered by Alvaro Galego
Artwork by Lory Cervi

MADMESS are:
Guitar/Vocals: Ricardo Sampaio
Bass Guitar: Vasco Vasconcelos
Drums: Pedro Cruz

Madmess on Bandcamp

Madmess on Facebook

Madmess on Instagram

Gig.rocks! on Facebook

Gig.rocks! on Instagram

Gig.rocks! on Bandcamp

Gig.rocks! website

Kozmik Artifactz on Facebook

Kozmik Artifactz website

Glory or Death Records on Facebook

Glory or Death Records on Instagram

Glory or Death Records on Bandcamp

Glory or Death Records webstore

I got a note from the contact form a bit ago in my email, which happens enough that it’s not really news, except that it wasn’t addressed to me. That happens sometimes too. A band has a form letter they send out with info — it’s not the most personal touch, but has a purpose and doesn’t preclude following-up individually — or just wants to say the same thing to however many outlets. Fair game. This was specifically addressed to somebody else. And it kind of ends with the band saying to send a donation link, like, “Wink wink we donate and you post our stuff.”

Well shit. You mean I coulda been making fat stacks off these stoner bands all the while? Living in my dream house with C.O.C. on the outdoor speakers just by exploiting a couple acts trying to get their riffs heard? Well I’ll be damned. Yeah man, here’s my donation link. Daddy needs a new pair of orthopedic flip-flops. I’ma never pay taxes again.

Life, sometimes.

Quarterly Review #41-50:

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Alunah, Fever Dream

The seventh full-length from UK outfit Alunah, Fever Dream, will be immediately noteworthy for being the band’s last (though one never knows) with vocalist Siân Greenaway fronting the band, presiding over an era of transition when they had to find a new identity for themselves. Fever Dream is the third Alunah LP with Greenaway, and its nine songs show plainly how far the band has come in the six-plus years of her tenure. “Never Too Late” kicks off with both feet at the intersection of heavy rock and classic metal, with a hook besides, and “Trickster of Time” follows up with boogie and flute, because you’re special and deserve nice things. The four-piece as they are here — Greenaway on vocals (and flute), guitarist Matt Noble, bassist Dan Burchmore and founding drummer Jake Mason — are able to bring some drama in “Fever Dream,” to imagine lone-guitar metal Thin Lizzy in the solo of the swaggering “Hazy Jane,” go from pastoral to crushing in “Celestial” and touch on prog in “The Odyssey.” The finale “I’ve Paid the Price” tips into piano grandiosity, but by the time they get there, it feels earned. A worthy culmination for this version of this band.

Alunah on Facebook

Heavy Psych Sounds website

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Coilguns, Odd Love

Swiss heavy post-hardcore unit Coilguns‘ fourth LP and the first in five years, though they’ve had EPs and splits in that time, Odd Love offers 11 songs across an adventurous 48 minutes, alternately raw or lush, hitting hard with a slamming impact or careening or twisting around, mathy and angular. In “Generic Skincare,” it’s both and a jet-engine riff to boot. Atmosphere comes to the fore on “Caravel,” the early going of “Featherweight” and the later “The Wind to Wash the Pain,” but even the most straight-ahead moments of charge have some richer context around them, whether that’s the monstrous tension and release of capper “Bunker Vaults” or, well, the monstrous tension and release of “Black Chyme” earlier on. It’s not the kind of thing I always reach for, but Coilguns make post-hardcore disaffection sound like a good time, with intensity and spaciousness interwoven in their style and a vicious streak that comes out on the regular. Four records deep, the band know what they’re about but are still exploring.

Coilguns on Facebook

Hummus Records website

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Robot God, Subconscious Awakening

Subconscious Awakening is Robot God‘s second album of 2024 and works in a similar two-sides/four-songs structure as the preceding Portal Within, released this past Spring, where each half of the record is subdivided into one longer and shorter song. It feels even more purposeful on Subconscious Awakening since both “Mandatory Remedy” and “Sonic Crucifixion” both hover around eight and a half minutes while side A opens with the 13-minute “Blind Serpent” and side B with the 11-minute title-track. Rife with textured effects, some samples, and thoughtful melodic vocals, Subconscious Awakening of course shares some similarity of purpose with Portal Within, which was also recorded at the same time, but a song like “Sonic Crucifixion” creates its own sprawl, and the outward movement between that closer and the title-track before it underscores the progressivism at work in the band’s sound amid tonal heft and complex, sometimes linear structures. Takes some concentration to wield that kind of groove.

Robot God on Facebook

Kozmik Artifactz website

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Fuzznaut, Wind Doula

Especially for an experimentalist, drone-based act who relies on audience theater-of-the-mind as a necessary component of appreciating its output, Pittsburgh solo outfit Fuzznaut — aka guitarist Emilio Rizzo — makes narrative a part of what the band does. Earlier this year, Fuzznaut‘s “Space Rock” single reaped wide praise for its cosmic aspects. “Wind Doula” specifically cites Neil Young‘s soundtrack for the film Dead Man as an influence, and thus brings four minutes more closely tied to empty spread of prairie, perhaps with some filtering being done through Earth‘s own take on the style as heard in 2005’s seminal Hex: Or Printing in the Infernal Method. One has to wonder if, had Rizzo issued “Wind Doula” with a picture of an astronaut floating free on its cover, it would be the cosmic microwave background present in the track instead of stark wind across the Great Plains, but there’s much more to Fuzznaut than self-awareness and the power of suggestion. Chalk up another aesthetic tryout that works.

Fuzznaut on Facebook

Fuzznaut on Bandcamp

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Void Moon, Dreams Inside the Sun

Trad metal enthusiasts will delight at the specificity of the moment in the history of the style Void Moon interpret on their fourth album, Dreams Inside the Sun. It’s not that they’re pretending outright that it’s 1986, like the Swedish two-piece of guitarist/bassist Peter Svensson and drummer/vocalist Marcus Rosenqvist are wearing hightops and trying to convince you they’re Candlemass, but that era is present in the songwriting and production throughout Dreams Inside the Sun, even if the sound of the record is less directly anachronistic and their metallurgical underpinnings aren’t limited to doom between slowed down thrash riffs, power-metal-style vocalizing and the consuming Iommic nod of “East of the Sun” meeting with a Solitude Aeturnus-style chug, all the more righteous for being brought in to serve the song rather than to simply demonstrate craft. That is to say, the relative barn-burner “Broken Skies” and the all-in eight-minute closer “The Wolf (At the End of the World,” which has some folk in its verse as well, use a purposefully familiar foundation as a starting point for the band to carve their own niche, and it very much works.

Void Moon on Facebook

Personal Records website

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Kelley Juett, Wandering West

Best known for slinging his six-string alongside brother Kyle Juett in Texas rockers Mothership, Kelley Juett‘s debut solo offering, Wandering West pulls far away from that classic power trio in intention while still keeping Juett‘s primary instrument as the focus. Some loops and layering don’t quite bring Wandering West the same kind of experimental feel as, say, Blackwolfgoat or a similar guitarist-gonna-guitar exploratory project, but they sit well nonetheless alongside the fluid noodling of Juett‘s drumless self-jams. He backs his own solo in centerpiece “Breezin’,” and the subsequent “Electric Dreamland” seems to use the empty space as much as the notes being cast out into it to create its sense of ambience, so if part of what Juett is doing on Wandering West is beginning the process of figuring out who he is as a solo artist, he’s someone who can turn a seven-minute meander like “Lonely One” (playing off Mos Generator?) into a bluesy contemplation of evolving reach, the guitar perfectly content to talk to itself if there’s nobody else around. Time may show it to be formative, but let the future worry about the future. There’s a lot to dig into, here and now.

Mothership on Facebook

Glory or Death Records website

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Whispering Void, At the Sound of the Heart

With vocalists Kristian Eivind Espedal (Gaahls Wyrd, Trelldom, ex-Gorgoroth, etc.) and Lindy-Fay Hella (Wardruna, solo, etc.), guitarist Ronny “Valgard” Stavestrand (Trelldom) and drummer/bassist/keyboardist/producer Iver Sandøy (Enslaved, Relentless Agression, etc.), who also helmed (most of) the recording and mixed and mastered, Whispering Void easily could have fallen into the trap of being no more than the sum of its pedigree. Instead, the seven songs on debut album At the Sound of the Heart harness aspects of Norwegian folk for a rock sound that’s dark enough for the lower semi-growls in the eponymous “Whispering Void” to feel like they’re playing toward a gothic sentiment that’s not out of character when there’s so much melancholy around generally. Mid-period Anathema feel like a reference point for “Lauvvind” and the surging “We Are Here” later on, and by that I mean the album is intricately textured and absolutely gorgeous and you’ll be lucky if you take this as your cue to hear it.

Whispering Void on Facebook

Prophecy Productions on Bandcamp

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Orme, No Serpents, No Saviours

You know how sometimes in a workplace where there’s a Boss With Personality™, there might be a novelty sign or a desk tchotchke that says, “The beatings will continue until morale improves?” Like, haha, in addition to wage theft you might get smacked if you get uppity about, say, wage theft? Fine. Orme sound like what happens when morale doesn’t improve. The 24-minute single-song No Serpents, No Saviours EP comes a little more than a year after the band’s two-song/double-vinyl self-titled debut (review here) and finds them likewise at home in longform songwriting. There are elements of death-doom, but Orme are sludgier in their presentation, and so wind up able to be morose and filthy in kind, moving from the opening crush through a quiet stretch after six minutes in that builds into persistent thuds before dropping out again, a sample helping mark the transitions between movements, and a succession of massive lumbering parts trading off leading into a final march that feels as tall as it is wide. I like that, in a time where the trend is so geared toward lush melody, Orme are unrepentantly nasty.

Orme on Facebook

Orme on Bandcamp

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Azutmaga, Offering

Budapest instrumentalist duo Azutmaga make their full-length debut with the aptly-titled Offering, compiling nine single-word-title pieces that reside stylistically somewhere between sludge metal and doom. Self-recorded by guitarist Patrik Veréb (who also mixed and mastered at Terem Studio) and self-released by Veréb and drummer Martin Várszegi, it’s a relatively stripped-down procession, but not lacking breadth as the longer “Aura” builds up to its full roll or the minute-long “Orca” provides an acoustic break ahead of the languid big-swing semi-psychedelia of “Mirror,” informed by Eastern European folk melodies but ready to depart into less terrestrial spheres. It should come as no surprise that “Portal” follows. Offering might at first give something of a monolithic impression as “Purge” calls to mind Earth‘s steady drone rock, but Azutmaga have a whole other level of volume to unfurl. Just so happens their dynamic goes from loud to louder.

Azutmaga on Facebook

Azutmaga on Bandcamp

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Poste 942, #chaleurhumaine

After trickling out singles for over a year, including the title-track of the album and, in 2022, an early version of the instrumental “The Freaks Come Out at Night” that may or may not have been from before vocalist Virginie D. joined the band, the hashtag-named #chaleurhumaine delights in shirking heavy rock conventions, whether it’s the French-language lyrics or divergences into punk and harder fare, but nothing here — regardless of one’s linguistic background — is so challenging as to be inaccessible. Catchy songs are catchy, whether that’s “Fada Fighters” or “La Diable au Corps,” which dares a bit of harmonica along with its full-toned blues rock riffing. Likewise, nowhere the album goes feels beyond the band’s reach, and while “La Ligne” doesn’t sound especially daring as it plays up the brighter pop in its verse and shove of a chorus, well made songs never have any trouble finding welcome. I’m not sure why it’s a hashtag, but #chaleurhumaine feels complete and engaging, at once familiar and nothing so much as itself.

Poste 942 on Facebook

Poste 942 on Bandcamp

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Brazilian proto-heavy specialists Caixão are set to digitally release their second album, Entre o Velho Tempo Futuro, on Monday, Sept. 30 (vinyl in November), through Glory or Death Records. Their debut, Da Porta ao Sumi​ç​o, arrived on Halloween 2020 — spooky indeed — and as obscure-horror buffs can probably tell you, their moniker translates to English as “coffin.” A straightforward, evocative object, a memento mori and something that feels ancient and steeped in tradition could hardly be more fitting to the band’s sound, which draws in vintage style from the heavy ’70s and rawer modern garage doom even unto the application of the fadeout at the end of “Bloodstains.”

The unpolished 1960s-born sound of the organ in opener “Fungos,” “Luz Estranha em Quixadá” and the later “Talvez” can tell you a lot about where they’re coming from, but across the span, Entre o Velho Tempo Futuro plays less for volume than to nestle into its own groove, mellow but weighted in the manner of your grandfather’s heavy rock. Caixão don’t sound entirely like they’re from the 1970s, and I don’t think they want to, but that influence and production style is at the core of the nine-song/24-minute album — 28 minutes if you add the LP bonus track “Candelabro,” which becomes the longest inclusion at 4:08, beating “Aniversário dos Mágicos” by eight seconds — which benefits from its lo-fi character in letting each song add to the intricacy of the whole.

Arrangement shifts like the aforementioned organ/keys in “Fungos,” “Luz Estranha em Quixadá” and “Talvez” or the acoustic guitar that comes on to lead the way through the sweetly pastoral instrumental “Mar Ciano” are part of that, but Caixão are fluid through changes in methodology as well. To wit, “Fungos,” “Luz Estranha em Quixadá” the prog-swaying “Introspecção,” “Mar Ciano,” the minute-long “Enquanto o Mundo Jorra Sangue,” which plays out like subdued Earth circa ’05 if they’d peppered the nod with doom-bluesy flourishes, and “Candelabro” are instrumental. “Aniversário dos Mágicos” and “Talvez” have lyrics in Portuguese, while “Bloodstains” and “In the Shadow of the Red Sun” are in English, so between these changes in approach and the corresponding malleability of Caixão‘s songwriting, they end up never quite doing the same thing twice.

Even as “In the Shadow of the Red Sun” and “Aniversário dos Mágicos” play out in succession — both chug-happy rockers tense in their build around classic swing, the latter dipping just a bit toward Uncle Acid in its effects-laced vocal presentation — the language swap provides an opportunity to likewise adjust the patterning of the lines and the rhythms being accented. One doesn’t generally think of a barebones-produced, stripped-down take on ’70s craft as something particularly full or rich — often a low recording volume in comparison to “modern” productions and empty space in the mix is part of the cultish appeal, and I think that’s the case here too — but Entre o Velho Tempo Futuro delivers a satisfying progression amid this variety. The production becomes a unifying factor as much as a choice suited to aesthetic or genre trope.

So not only does Entre o Velho Tempo Futuro not dwell in any single place for too long — or any range of places; again, the record’s under a half-hour — but it keeps an individualized sensibility as it purposefully basks in familiar ideas and draws itself together around disparate intentions. It feels led by the songs, as though founding principal Italo Rodrigo has given the material time to flesh itself out and become what it wants/needs to be, but in part because of the brevity and lack of self-indulgence all around, it avoids the trap of getting lost in any part or song, creating a definitive full-album flow, just in condensed form.

Take the Monday-instead-of-Friday release as a delightful bucking of convention in keeping with the cleverness of the songwriting and execution throughout Entre o Velho Tempo Futuro, and please enjoy the full album stream below, followed by more info from the PR wire:

Caixão, Entre o Velho Tempo Futuro album premiere

Caixão is a Brazilian band formed in 2018 by Italo Rodrigo, who is well-known for playing drums in Echoes of Death and Damn Youth, both Death and Thrash Metal bands based in Ceará.

Describing Caixão’s music in terms of genre is challenging, but their roots are in Proto Metal, combined with influences from Psychedelic and Progressive music of the 1970s.

After various line-up changes and reincarnations, including releases of Splits, EPs, and Singles, they released their first full-length album, “Da Porta ao Sumiço,” in 2020. This album was available in both digital and tape formats and was the first to feature songs with vocals.

The band’s music includes a mix of Portuguese and English lyrics, as well as instrumental tracks.

Entre o Velho Tempo Futuro, the band’s second album, is an invitation to dive into the universe they’ve created. The experience fluctuates between intoxicating shades of green and blue, sometimes intense, sometimes calm, crafting vast soundscapes that pull the listener into another world.

Ítalo says, “This work is rawer, more direct, and less cryptic sonically than its predecessor. We love progressive rock, psychedelic music, and, above all, timeless music from past decades. We try to express our influences, capturing the rawness of the 60s and the heaviness of the 70s, but in a way that remains uniquely ours and carries our own identity.”

The new album features nine tracks, plus a bonus track, Candelabro, previously released as part of a split with the band Abismo.

1. Fungos 02:51
2. Bloodstains 03:24
3. Luz Estranha em Quixadá 02:25
4. Introspecção 01:30
5. In The Shadow of the Red Sun 03:29
6. Aniversário dos Mágicos 04:00
7. Mar ciano 02:25
8. Talvez 03:44
9. Enquanto o Mundo Jorra Sangue 01:01
10. Candelabro (Bonus/Only on Vinyl) 04:08

Band photo by Joakim Fotografia.

Caixão on Instagram

Caixão on Bandcamp

Caixão on YouTube

Caixão Linktr.ee

Glory or Death Records on Facebook

Glory or Death Records on Instagram

Glory or Death Records on Bandcamp

Glory or Death Records webstore

Glory or Death Records has announced a pair of label showcases for next month. Set to take place over two nights — June 7 in Tempe, Arizona, and June 8 in El Cajon, California (in San Diego County) — and true to the ‘Friends and Family’ tag applied to the duly wizardly posters below, the lineups feature Glory or Death denizens like Great Electric Quest, Formula 400, Hudu Akil, Phantom Hound, Tzimani and a solo performance from guitarist Kelley Juett of Mothership, who recently signed to the Cali-based imprint to release his first solo album, Wandering West.

Juett is billed as doing “loops,” which is fair enough if you take a listen to the initial single “Mind Mirage” from his upcoming LP (at the bottom of the post, as it happens), and seems to be in the opening spot for both nights, though that kind of thing can also be cool during changeovers between more-than-one-person-involved bands sometimes, so you never know. In addition, Phoenix psychedelic instrumental outfit Secrets of Lost Empires — whose Joshua Mathus has done comic-style graphic work for Zac Crye of Hudu Akil, Desert Records, Stone Machine Electric and scores of others — will appear at the Temple show only.

The posters (by MontDoom), info, ticket links and such came down the PR wire:

Glory or Death Records Friends and Family Showcase Back-to-Back shows in Tempe and San Diego

Glory or Death Records Friends & Family Showcase

Tempe Date: June 7 at Yucca Tap Room

Featuring live solo loop performance by Kelley Juett; Secrets of Lost Empires, Tzimani, Phantom Hound, Hudu Akil, Formula 400, and Great Electric Quest

7:30 pm // 21 + // $12 adv $15 door

Event Link: https://facebook.com/events/s/glory-or-death-records-showcas/3750053211915097/

Ticket Link: https://www.ticketweb.com/event/the-great-electric-quest-formula-yucca-tap-room-tickets/13478144

San Diego Date: June 8 at Burning Beard Brewery

We will even be giving out free DIY Lightsabers! First come first serve. Kids first. We’ll start handing them out when the sun sets! Come hang!

June 8th 4-9pm All Ages!

Great Electric Quest (Oside)
Formula 400 (Vista)
Phantom Hound (Oakland)
Hudu Akil (PHX)
Tzimani (SD)
Kelley Juett (PHX)

Ticket Link: https://www.burningbeardbrewing.com/product/glory-or-death-records-friends-family-music-showcase/489

Flyer art by @montdoom

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https://gloryordeathrecords.bandcamp.com/
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Kelley Juett, “Mind Mirage”

Blink and it’s been seven years since Texan classic heavy rockers Mothership released their third album, High Strangeness (review here). Led by brothers Kelley Juett and Kyle Juett on guitar and bass/vocals, respectively, that band toured as much as they could in the years that followed, including post-pandemic, and were not known to give anything less than everything they had on whatever stage they happened to occupy that night. If they were playing tomorrow, I’d tell you to go.

Kelley Juett‘s first solo outing promises an intentional sonic turn. There’s no audio from Wandering West posted as of this writing, but going by his own description that follows, it seems like purposefully exploratory, maybe even meditative instrumentalism is the order of the day, and as Juett has aligned with Glory or Death Records and an international consortium of other notable imprints (including Majestic Mountain, from whose preorder page his quote below comes), it may be the beginning point of a longer-term trajectory as stated. In any case, however divergent it might ultimately prove from Juett‘s work in Mothership, it’ll be worth it just to hear him playing on a record of his own.

Glory or Death has preorders up today. On special, no less. The details:

KELLEY JUETT – Wandering West

Here is one that is very special to us! Everyone’s favorite human, Kelley Juett, from the mighty Mothership has officially embarked on a solo mission! We are honored to announce that we will be releasing Kelley’s first solo album entitled “Wandering West” at Glory or Death Records. “Early Bird” pre orders will be available at only $17.99 for the vinyl and are dropping this Friday, May 3rd! After the full release the price will be $22.99.

Says Juett: “Welcome to the musical journey within my mind and be the first to witness the evolution of myself through music. This is the first solo piece of music I have released outside of my band Mothership and this means very much to me and who I am as a guitar player. All of these songs came together on the spot and with 100 percent improvisation, there were no “retakes” on this record I just went for it without any editing or pre-thought of riffs or ideas. This project has been a long time coming and this is only the beginning of many more chapters and evolutions to come with my solo career and journey with the guitar. Those who are into instrumental, peaceful, raw and real emotional music, or just looking for something interesting and new to put on to think, drive and relax to, give this musical therapy a shot.”

We will also be dropping some incredible DIY Test Presses with West-Themed Collage jackets and notes all from Kelley himself. Doesn’t get cooler than that! We have tons of special stuff planned for this record. More than we have ever done here at Glory or Death Records for a single release! Stay tuned as we unveil all that comes along with this journey of a record! The first single will be available for your ears this Friday as well!

For those GoD supporters and fans of Kels that are outside of USA – We have dialed in some international distribution for you to save some postage costs!

Special thanks to Majestic Mountain Records (Sweden), Electric Valley Records (Italy) & Kozmik Artifactz (Germany) for the extra support in saving our friends a few bucks!

“Wandering West” was Engineered by Jeff Henson of DUEL and Chris “OM” galt. Recorded and produced by Kelley Juett.

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Something you might not get to see every day here in heavy psych rockers Blasting Rod making the voyage from their home in Nagoya, Japan, to play their first show on North American soil this coming Jan. 6. The gig is set for the Redwood Bar & Grill, and the band will be joined by Vie Jester and Power Falcon on what’s sure to be a lifetime memory for Blasting Rod.

Understand, this isn’t a tour. They’re crossing the Pacific Ocean to play a show in the US and proffer their weirdo lysergic experimentalism in a context entirely new. Will they ever come back? Who knows. But if you’re in Los Angeles or someplace adjacent, this is one to consider if you like being part of once-in-a-lifetime experiences. The ostensible occasion is the anniversary of their 2022 album, Of Wild Hazel (review here), but come on. This one is its own excuse for being.

Get there if you can get there. And it’s $10 at the door!

To wit:

Break those New Year’s resolutions Saturday, Jan. 6 at Redwood Bar & Grill in downtown Los Angeles when Blasting Rod makes its one and (so far) only North American live appearance.

In Fuzz We Trust presents Blasting Rod, Vie Jester, and Power Falcon.

Escape to L.A. with Blasting Rod at Redwood Bar & Grill on January 6 for the 1st anniversary of the North American LP release, Of Wild Hazel.

8pm Showtime
$10 Cover at the door
https://theredwoodbar.com
316 W. 2nd St. Los Angeles CA
(213) 680-2600
Open 11am – 2am

Ain’t nuthin’ but a party, y’all!

Come hang with Blasting Rod at a chill bar with food and seating.

Blasting Rod is a get weird—stay weird tight but loose 3-piece based in Nagoya, Japan playing fuzzy grooves and slippery psychedelia.

Las ranuras borrosas y la psicodelia resbaladiza te transportarán a unas vacaciones para desconectarte de todo por un tiempo.

https://www.instagram.com/blastingrod
https://www.facebook.com/blastingrod
https://blastingrod.bandcamp.com/
https://blastingrod.thebase.in/
https://linktr.ee/blastingrod

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Blasting Rod, “Inuyama Mama” DIY video

Blasting Rod, Of Wild Hazel (2022)