Posted in Whathaveyou on April 2nd, 2026 by JJ Koczan
A core tenet of Godzilla Was Too Drunk to Destroy Tokyo‘s approach is underscored in their new video for “King Bong,” in that the track taken from the Italian trio’s Sept. 2025 LP, Sideral Voivod (review here), comes right at you. In-your-face, as the old marketing department used to say. They don’t need any tricks or novelty in their take. They hit it hard and direct and that works just fine for them.
To my ears that’s the message of the clip, which is taken from performance footage here and there with some road-shots spliced in. Nothing too outlandish, nothing too fancy, punk for its rawness but not even so concerned with genre conformity as to be punk, but chemistry and persona and impact. Maybe you’ll dig it. The band’s live plans for the next couple months include a Greek mini-tour (something something minotaur dad joke) and a stop at Croatia’s Bear Stone Festival, which I think it might be my destiny to sweat from afar rather than sweating while I’m there. Can’t win ’em all. Anyhoozle, the PR wire highlighted the Greek shows, so that press release is below with the other dates in the other poster (that’s ‘No Rest for the Doomed’), the album stream, and the video. Bases covered.
For your perusal:
Godzilla Was Too Drunk To Destroy Tokyo Release New Video “King Bong” And Announce Greek Mini Tour
Godzilla Was Too Drunk To Destroy Tokyo are back with a brand new video for King Bong, taken from their latest album Sideral Voivod.
With King Bong, the band unleashes one of their wildest and most unhinged tracks to date, a crushing and kaleidoscopic journey through cosmic sludge, fuzzy psychedelia and stoner driven grooves. Channeling the primal grit of L7, the sludge soaked weight of Melvins and the irreverent energy of Die Spitz, the band continues to push their sound into heavier and more unpredictable territories.
The release of the new video marks a further step in the band’s ongoing promotion of their critically acclaimed album Sideral Voivod, released a few months ago via Octopus Rising / Argonauta Records, which has already garnered strong attention within the heavy underground scene.
The video perfectly captures the chaotic and hypnotic essence of the track, delivering a visual trip that matches the band’s raw and explosive sonic identity.
As part of their intense and steadily ongoing live activity, Godzilla Was Too Drunk To Destroy Tokyo will hit the road for a mini tour in Greece this May: May 15 Kalamata (Bandapart) with Okwaho May 16 Athens (N.A.O.S.) with Okwaho and Ayur May 17 Larisa (Skyland) with Okwaho and Birthday Kicks
Expect high volume, fuzz drenched riffs and a relentless live energy that fully embodies the spirit of Sideral Voivod.
Posted in Reviews on March 23rd, 2026 by JJ Koczan
Hope you had a banner weekend. Last week was pretty slammed. As ever, I’m like three days’ worth of news behind, and this is still just the penultimate day of the Spring 2026 Quarterly Review, so there may yet be more creative ways for me to find to shoot myself in the ass and make myself feel overwhelmed because… well anyway, stick around, folks!
In all seriousness, considering The Patient Mrs. was away last week — who schedules these things? — and my daughter spent two and a half of five possible days at school, I came through it pretty well. I’m just tired and I missed my wife while she was gone. Ain’t no sunshine, and so on.
We wrap up tomorrow. Thanks for reading.
Quarterly Review #51-60:
Godzilla Was Too Drunk to Destroy Tokyo, Sideral Voivod
Fuzz rockers Godzilla Was Too Drunk to Destroy Tokyo — or Godzilla WTDTDT, if you want to go by how they abbreviate their Instagram — give automatic impressions of quirk, and their most realized work to-date, their second full-length, Sideral Voivod, thankfully has more going for it than the in-genre radness of the band’s moniker. Based on the coast of Northern Italy, the trio of bassist/vocalist Sara de Luca, guitarist Alessandro “Camu” Camurati and drummer Nicola Viola find a place between art-punk and weighted fuzz, each piece contained in itself and its intention, but feeding into a tense flow with periodic blowouts like “Telekinetic Thunder Yeti” or “Space Leech,” somewhere between Black Flag and Black Sabbath, while “Worship the Middle” makes the latter allegiance plainer. It might sound like it’s coming at you flailing, but the really dangerous thing is I think Godzilla Was Too Drunk to Destroy Tokyo might know what they’re doing. Imagine that.
Ritual Arcana‘s Heavy Psych Sounds-issued debut offers cultish bikerisms and doomed roll, never quite veering into caricature as classic-styled modern cult-heavy does, but kept aligned to a central tonal weight as heard in the atmospheric “Berkana” or in the nodding “Occluded.” The band is comprised of SharLee LuckyFree on bass/vocals, Scott “Wino” Weinrich (The Obsessed, et al) on guitar, and Oakley Munson (The Black Lips) on drums, and some of the roll throughout is recognizably Weinrich‘s style, but in a song like the declarative “Free Like a Pirate” or “Road Burnt,” there are elements that speak to the songwriting collaboration taking shape in their darkly-presented but still accessible style, and with that in mind, those finding their way to Ritual Arcana through their guitarist’s sundry projects will find Ritual Arcana harnessing something distinct from all of them. I’ll be curious to hear how the balance between push and dwell Ritual Arcana lay out here comes to fruition over the longer term, and by that I mean it’s an exploration worth following.
New Brass Hearse? Well hello. The Boston-based outfit fronted and I think steered by the classic-psych-meets-weirdo-doom-melancholia whims of frontman Ron Rochondo present their first single in six years with the four-minute “Salem Rain,” which sets its drunken-singalong of a hook “Let’s go to Salem in the rain” at the foundation of its intent. Musically, the song is wistful in the guitar and starts as backing ambience as the lyrics immediately begin a conversation leading to the suggestion in the chorus — at one point there’s even mention of the Willows, wihch is a park in town — which is forward in the mix and presented in layers as an escape from monotony. In the final minute, they depart the verse/chorus format and over complementary guitar, finish out with a Beach Boys-y vocal arrangement, toying with that notion of sentimental sounds but coming across as sincere in the delivery. As in maybe the song really does want to get out of here for a while and go hang out in the park and smoke cigarettes and whatnot. Fair.
If you might read ‘three songs/79 minutes’ and that’s a lot, well, the three songs are actually part of the same overarching movement — it’s all one song — so yes, the good doctors Paradiso and Space (also Øresund Space Collective) aren’t kidding when they allude to operating at a planetary scale. “Swampworld” is the name of all three tracks (broken down as Part 1, Part 2, Part 3), and the longform drone marked by croaking sounds and vague mists of synthesizer indeed evokes things alien, humid and teeming with unseen animal life. Surely the power of suggestion plays a role there, but I don’t think that’s invalidating. If you looked at a museum painting of a swamp world and it was called ‘Swampworld’ and it brought to mind a swampy kind of world, would you say it was using the power of suggestion? That’s art. Liquid Planetscapes‘ immersion requires a willing participant, but if you’re able to get yourself in a state of mind open to its happening-on-a-different-scale-of-time procession, the sense of journey is duly otherworldly, and warm besides.
Boston despondent sludge metallers Mollusk made their debut a decade ago with Children of the Chron (review here), and they’ve reportedly had Cursebreaker in the works since not long after, but if the seven songs (six and a demo) have been seasoned for the years between, don’t worry, you’d never know it from the sheer pummel they elicit. “Trapped in a Cave” opens with telltale density and plod, and though the subsequent “Azathoth” and “Two Things” might up the tempo or delve into willful repetition, the downer cast remains right into and through “Human Suffering” and the closing linear build of “Apostle,” which is immediately backed by its own demo, which is even rawer and dirtier feeling than the proper album track just before. However long it’s been in the making, rest assured it sounds like they just dug it up. Fresh, in that way.
Maybe the proggiest thing about Berlin instrumental three-piece Zahn is the sense of adventure they bring to their songcraft, the feeling of intention behind what they do, even when it’s an idea that probably came about spontaneously. Their heavy, electronics-infused sound is always textured and atmospheric, and Purpur‘s eight songs fit that mold more than they fit any other, as Felix Gebhard, Chris Breuer and Nic Stockmann range through the futurism of “Diaabend,” or go big-riff in the later build-into-crush of “Katamaran” or “Atoll,” start dancey and post-punk with “Stroboskop” or finish hypnotic with a build around the central strum of “Butter.” If there’s middle-ground to be had, it might be in “Alhambra,” but middle-ground isn’t necessarily what I’m looking for when they’ve got the rad electro-density mashup of “Gensher” instead. Zahn don’t always want to be very, very heavy, but they keep their ability to get there in use as one of the many tools of their craft.
Prophets of Thwaites, Vulnerant Omnes Ultima Necat
Preceded only by demos and rehearsal recordings, Vulnerant Omnes Ultima Necat is the first EP from the Netherlands’ Prophets of Thwaites — comprised of guitarist/vocalist Esma Larabi, bassist Ferry Vermeeren and drummer Nico Beemster — who with it offer two dug-in slabs of atmospheric doom/post-metal in “Deadlock” (7:32) and “Vulnerant Omnes Ultima Necat” (6:38); probably too long to press to a 7″, and well enough to give an impression of the spaciousness of their sound, whether that’s in the vocals and corresponding plod of the former or the squibbly solo as the title-cut works into its final minute. The vocals come through too clearly to really feel shoegazey in my mind (like, I would expect more effects on Larabi‘s voice in a ‘gazier context), but I don’t think that hurts them so much as it sets the band up for a more individualized exploration as they continue to grow. They make it easy to look forward to where they might be headed.
Tokyo bass-and-drum duo Shizumunamari offer the two-song Nov. 2025 sophomore full-length Nagasugita Genjitsu as a herald of what the band calls the ‘New Wave of Japanese Doom Metal’ (sadly not called the ‘New Wave of Japanese Weirdo Doom’), and shit, here’s hoping. With Namari Toyama on vocals, bass and keys and Ebianime on drums, “Nagayama” (14:34) celebrates raw tones and drawling vocals, reminding of some of Queen Elephantine‘s open-air Cisnerosism, but less directly meditative in style and sneaking in a dub break later on before they bring back the nod to close and let “Nagai Kyoku” (22:17) begin its longform procession with a grungier intro and a persistent roll punctuated with crash cymbal and building on the original vocal reachout. They use minimalism more in “Nagai Kyoku,” and the late-arriving organ sounds don’t detract from that, but “Nagai Kyoku” sounds like it could easily kepe going when it ends. Shizumunamari took six years before following up their first record. Hopefully their third comes on a shorter turnaround and we can really get this ‘wave’ going. I’m ready for it.
Desert Collider, Generation Ship: Endless Drift Through Infinity
Generation Ship: Endless Drift Through Infinity is the ambitious, sci-fi-conceptual (at least semi-conceptual) debut full-length from Italian desert-style heavy rockers Desert Collider, delivered through Small Stone and Kozmik Artifactz. I don’t know if they’re setting up a continuity, if all their releases forever will be telling metaphorical tales under the banner of ‘Generation Ship,’ or when the thematic emerged from the material. But it rocks. For a highlight, one might suggest either “Sonic Carver,” where they hit hard and space out in the back half, or the 13-minute “Far Centaurus: Drifting without Guidance through Interstellar Space,” which takes stoner ambience and uses it as the basis for a dynamic, melodic and Mellotron-inclusive build. They’re able to play back and forth between immediacy and atmospherics (though “Nomads of the Red Sun” starts and stays acoustic), and while they’re on familiar ground stylistically, the push for an individual point of view is there, musically as well as in the presentation. Guess we’ll see where their journeys take them.
Get up. Such is the clear message of Üga Büga at the outset of Valley of the World as the Virginian trio of Calloway Jones (guitar, keys, vocals), Niko Cvetanovich (bass, backing vocals, more keys), and Jimmy Czywczynski (drums, backing vocals, consonants) approach sludge from a distinctively metallic place. Double-kick drumming, sharp-cornered structures, and vocals that veer before declarative melody and screams all feed into an overarching sense of aggression, even if the grooves themselves aren’t bludgeoning. Is it party metal? I wouldn’t tell you no, but don’t take that as “it’s stupid,” because the complexity even in the breakdown of “Nail That Binds” speaks to the consideration given to these parts and songs. That said, “The Sand Witch” (the sandwich?) thumps in a way that feels like it wants you to clap along at the show, and the chug and lurch of “Earthsuckers” early on stays on the beat, so put that with the thrashing in “Divination” and the big rolling finish in eight-minute closer “Revolting Power” and you get some picture of where they’re at on the idea of your good time.
Octopus Rising / Argonauta Records, which has already garnered strong attention within the heavy underground scene.
