Ohio classic heavy rockers Electric Citizen release their new album, EC4, June 27 through Heavy Psych Sounds. It’s very subtly been seven years since the Cincinnati now-five-piece put out 2018’s Sateen (review here), their third and final offering for RidingEasy Records, and although I’m not sure why, EC4 feels like something of a comeback.

It’s in the energy as “Mire” crashes into its chorus, maybe, or the insistent jab of the riff to “Static Vision” and the organ-laced proto-metal charge of “Smokey” topped with Laura Dolan‘s signature croon, and the way “Traveler’s Moon” taps into a psychedelia of mood before the layer-topped payoff of its build. It’s in the confident, not overly showy way the band go about their business. Being a good band and not sounding like jerks about it — whether through overplaying or competing with each other, neither of which Electric Citizen have ever really done — are not new for them, but there’s a corresponding stylistic realignment on EC4 that puts the band back in touch with its garage-heavy roots, and that does feel different.

Granted it was a while ago now, but Sateen pulled away from the push of a song like “Static Vision” or the later “Lizard Brain,” and it’s not so much that EC4 ignores that in favor of sounding like the band’s earlier work, but that they’ve found ways to incorporate that growth in craft into their thankfully-unpretentious songwriting. But EC4 isn’t just shoving ’70s-via-’10s boogie either. The longest song at 6:22, “Traveler’s Moon” sets up the shift into the acoustic-led centerpiece “Tuning Tree,” departing the rockers-up-front initial impression of the record for the more psychedelic-flavored “Moss,” and reorient with the hooky-riffy ground-touch of “Lizard Brain” before “Other Planets” drifts into solo-topped doom rock majesty and “Flower of Salt” finishes with a blend of acoustic and organ that reminds of Lamp of the Universe. So yes, there’s more than one thing going on.

A varied sound isn’t new for Electric Citizen either, but it’s a question of refinement here. EC4 collects different moods and offers a sense of range, but whether it’s “Smokey” or “Traveler’s Moon” or “Other Planets,” the band aren’t just evoking divergence for its own sake, but adding with each piece to the scope of the whole album. Accordingly, in nine songs and 39 minutes, Electric Citizen hone a deceptively sharp approach, keyed in on what they want their sound to be and unwilling not to explore around those ideas in order to find new places to go. It is perhaps the most Electric Citizen that Electric Citizen have ever sounded.

“Smokey” premieres on the player below, followed by more from the PR wire including just-announced East Coast tour dates (including at Autodidact in my hometown!). Please enjoy:

Electric Citizen, “Smokey”

SAYS THE BAND: “As we slip through time’s grip and chase the meaning in chaos we give this offering from the haze. Light it up, Smokey.”

SMOKEY is the second single taken from ELECTRIC CITIZEN upcoming new album.

The release will see the light June 27th via Heavy Psych Sounds.

ALBUM PRESALE:
https://www.heavypsychsounds.com/shop.htm#HPS358

USA PRESALE:
https://www.heavypsychsounds.com/shop-usa.htm

Seven years after their last release “Helltown”, Electric Citizen returns with their fourth album “EC4” — a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. It was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden (Ty Segall, Calexico) at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album “Sateen”.

Tracklisting:
1. Mire
2. Static Vision
3. Smokey
4. Traveler’s Moon
5. Tuning Tree
6. Moss
7. Lizard Brain
8. Other Planets
9. Flower Of Salt

ELECTRIC CITIZEN live:
July 10 Detroit, MI @ Sanctuary
July 11 Columbus, OH @ Ace of Cups
July 12 Cincinnati, OH @ Northside Tavern
July 13 Cleveland, OH @ Grog Shop
July 15 Philadelphia, PA @ Milkboy
July 16 Hamden, CT @ Space Ballroom
July 17 Morris Plains, NJ @ Autodidact
July 18 Brooklyn, NY @ TV Eye
July 19 Easthampton, MA @ Marigold Theater
July 20 Baltimore, MD @ Metro
July 21 Raleigh, NC @ Pour House
July 22 Charleston, SC @ Lo-Fi Brewing
July 23 Atlanta, GA @ 529
July 24 Knoxville, TN @ Open Chord
July 25 Nashville, TN @ The ’58
July 26 Louisville, KY @ Portal

ELECTRIC CITIZEN is
Ross Dolan – Guitar
Laura Dolan – Vocals
Nick Vogelpohl – Bass
Nate Wagner – Drums
Owen Lee – Keyboards

Electric Citizen, “Static Vision”

Electric Citizen, EC4 (2025)

www.electriccitizenband.com

Electric Citizen on Bandcamp

www.facebook.com/electriccitizen

www.instagram.com/electriccitizenband

Heavy Psych Sounds on Facebook

Heavy Psych Sounds on Instagram

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Note the cover art with its various iconography culled from the song titles. Whatever you do, don’t miss the Mars rover. Classic ’80s metal vibes there that have me somewhat curious as to how Birmingham heavy rock trio Margarita Witch Cult will have progressed from their well-received 2023 self-titled debut (review here), but there’s no audio yet to begin to get a sense. They’ll get there, I’m just impatient with this stuff.

Whatever the three-piece are up to in pieces like “Conqueror Worm” and “Crawl Home to Your Coffin,” the safer bet is it’ll be over the top, as that’s where the self-titled spent a good portion of its time. There’s still the better part of two weeks before the first single gets posted though, so really what they’re doing is laying the groundwork and getting those who dug the first record to snag the second one on spec, which honestly probably isn’t a bad call to make. I’m sure when one pressing sells out they’ll do another, because why not, but if you don’t look at this cover and want a first pressing, I feel like maybe you need to re-up your appreciation for the absurd.

From Heavy Psych Sounds via the PR wire

MARGARITA WITCH CULT – Strung Out In Hell

– sophomore album for the UK proto metal – doom riffers –

Today we are stoked to start the presale of the MARGARITA WITCH CULT upcoming sophomore album STRUNG OUT IN HELL !!

RELEASE DATE: JULY 18th

ALBUM PRESALE: https://www.heavypsychsounds.com/shop.htm#HPS360

USA PRESALE: https://www.heavypsychsounds.com/shop-usa.htm

FIRST SINGLE COMING OUT ON ALL DIGITAL PLATFORMS MAY 28th

RELEASED IN
15 ULTRA LTD TEST PRESS VINYL
100 ULTRA LTD SIDE A – SIDE B YELLOW/ORANGE/RED VINYL
100 ULTRA LTD HALF-HALF TRANSP./RED TRANSP. + SPLATTER BLACK VINYL
400 LTD GOLD NUGGET VINYL
BLACK VINYL
DIGIPAK
DIGITAL

TRACKLIST
SIDE A
Crawl Home To Your Coffin – 4:07
Scream Bloody Murder – 3:41
Conqueror Worm – 4:21
Witches Candle – 2:38
White Wedding – 4:45
SIDE B
Mars Rover – 4:53
Dig Your Way Out – 2:27
The Fool – 3:24
Who Put Bella In The Wych Elm – 6:46

ALBUM DESCRIPTION
Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you’ll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula.

Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP ‘Strung Out In Hell’ takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory.

From top-to-tail, ‘Strung Out In Hell’ is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there’s no better time to jump on the Margarita Witch Cult train- and it’s going straight down, fast.

CREDITS
Recorded & Mixed by Mark Gittins at Megatone Studio, Birmingham, UK
Mastered by Scott Middleton at High Wattage Cottage, Ontario, Canada
Producer – @mark_gittins_sound / @megatonerecordingstudio
Artwork by Dirt Wizard.
All songs Copyright Margarita Witch Cult 2025 except Track 5.

Guest Performers
Alicia Gardener-Trejo – Baritone Sax on ‘The Fool’
Sam Wooster – Trumpet on ‘The Fool’

Writing Credits
All songs written by Scott Abbott except:
Track 3 – Conqueror Worm – James Brown / Scott Abbott
Track 5 – White Wedding – Billy Idol
Track 7 – Dig Your Way Out – James Brown / Scott Abbott

MARGARITA WITCH CULT is:
Scott Abbott – Vocals & Guitars
James Brown – Bass, Vocals, Synth, Mellotron, Guitars
George Caswell – Drums & Vocals

https://www.facebook.com/margaritawitchcult
https://www.instagram.com/margaritawitchcult/
https://margaritawitchcult.bandcamp.com/
https://soundcloud.com/margaritawitchcult

https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://twitter.com/HEAVYPSYCHSOUND
https://instagram.com/heavypsychsounds_records/
https://heavypsychsoundsrecords.bandcamp.com/
http://www.heavypsychsounds.com/

Margarita Witch Cult, Margarita Witch Cult (2023)

In the interest of honesty, I’ll tell you outright that until this news came in, I’d never heard of Poland’s Atom Juice, and that their seven-minute single “Sexy Frogs” that you’ll find below is the first I’ve heard them. Pretty cool, right? I like hearing new bands, and it turns out “Sexy Frogs” is a jammy-jam, so mark it a double-win. Bit of Wight-style funk, and you can hear the Weedpecker association in some of the proggier reaches of the later jam — pretty cool stuff. They’ve got another single on Bandcamp and a live session on YouTube, should you want fodder for further digging in. I don’t speak Polish, but there’s some interview footage in there as well.

As usual for Heavy Psych Sounds, there’s an album — it’ll be Atom Juice‘s first — but you don’t get those details in the signing announcement, and this is the signing announcement. Stick around next week (which is May already) for more on the band’s debut LP, including, presumably, a song stream of one sort or another.

From the PR wire:

Heavy Psych Sounds Records to announce Polish psychedelic-prog rock band ATOM JUICE signing for the DEBUT RECORD !!!

We’re really stoked to announce that the Polish psychedelic-prog rock band ATOM JUICE has signed to HPS for their upcoming debut album !!!

Presale will start MAY 7th .

SAYS THE BAND:

“We couldn’t be more excited to release our debut album with Heavy Psych Sounds. We feel honoured to be a part of their family and we can’t wait to show you all what we’ve been working on.”

BIOGRAPHY

Atom Juice is a Polish five piece band from Warsaw playing psychedelic/progressive rock, consisting of former musicians of such bands as Weedpecker, Makiwara and Clockmaid.

The band was formed in 2022 by Bartek Dobry (guitar,vocal) Piotr Kuks (drums,vocal) and Karol Melak (guitar,vocal).

While they were working on their debut they were joined by Pat Rajko (guitar), Jan Rabiega (bass).

ATOM JUICE is:
Bartek Dobry – vocals, guitar
Piotr Kuks – vocals, drums
Karol Melak – vocals, guitar
Pat Rajko – guitar
Jan Rabiega – bass

https://atomjuice.bandcamp.com/
https://www.facebook.com/atomjuicePL/
https://www.instagram.com/atomjuice_/

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Atom Juice, Soulstone Gathering Live Session 2024

Atom Juice, “Sexy Frogs”

This stretch of touring Hippie Death Cult undertook throughout 2023-2024 supporting their late-’23 full-length, Helichrysum (review here), may end up as formative for the band, and if that seems counterintuitive to you as they’ve been around for six-plus years, it is. It makes sense, however, if you think of Helichrysum as a born-late debut album for the trio configuration of the band, comprised of vocalist/bassist Laura Phillips, guitarist Eddie Brnabic and drummer Harry Silvers. Hippie Death Cult‘s third album overall, it was the first with Phillips handling the role of vocalist, the first with Styles, and the first without the organ sound that had been a staple of their work to that point.

It was a significant moment in the life of the band thus far, and Phillips, Brnabic and Silvers greeted it with an adapted vision of what Hippie Death Cult do. They were sludgier and rawer, with Phillips‘ propensity for shifting into a scream and shoutier delivery generally, songs like “Arise” and “Toxic Annihilator” account for that because, unlike the material from their first two records, it was written to do so. Live at Star Theater makes a whole lot of sense to release in the way live albums make sense broadly — good for fans, look good on the merch table, etc. — but for Hippie Death Cult, they’re still letting people know (or they’re letting them know again) what they’re about as a group. Whether it’s new songs or old, Live at Star Theater is a chance for listeners who haven’t seen three-piece Hippie Death Cult to find out some of what they’ve been missing. So it makes specific sense as well.

The show was recorded Nov. 9, of course at Star Theater in the band’s hometown of Portland, Oregon, It was reportedly the last gig of the year and wrapped the already-noted busy stint that may ultimately have an impact on the development of Hippie Death Cult‘s sound — playing live a whole bunch will do that, I’m told — and they captured the full audio/video experience for posterity; one show, as it happened. It’s not this song pulled from this night and that one from that one. It’s the show, or at least part of it.

Their full set was longer, with “Squid,” “Nice to Know You,” “Better Days,” “Tomorrow’s Sky” and the Nirvana cover “Aneurysm” (posted here) closing out, but on the live album, “Arise,” “Toxic Annihilator,” “Shadows” and “Red Giant” feature from Helichrysum and they cap with a reinterpretation of the title-track to 2021’s Circle of Days (review here) that takes up 16 minutes of Live at Star Theater‘s 42-minute runtime. That ethic of fleshing the material out is there in the other songs as well, with each one longer than its studio counterpart by some measure or other. This is the way of songs with some bands — they become living things that change over time rather than setting the studio take as definitive and playing directly to that — and Hippie Death Cult‘s remaining allegiance to psychedelia resides in no small part in that flexibility.

Fret not, though, they also shred. Brnabic — who also mixed and mastered; Richard “Will” Fenton and Jeremy Romagna engineered — is no stranger to tearing up a solo or 10, and across Live at Star Theater, part of what Hippie Death Cult are showing off is the chemistry of its lineup in this form. This comes through even in the abbreviated, mostly-new set as appears on the LP, as the gallop of “Toxic Annihilator” comes in on precise stops picking up from the noisy nod that has people cheering before “Arise” is actually even done, Phillips between songs advising those who don’t want to be part of the mosh to stand aside. Fair enough.

But “Toxic Annihilator,” as taut as it is in comparison to a song like “Circle of Days,” opens up as well, during its later solo section, and alongside everything else Hippie Death Cult are doing with Live at Star Theater, they’re changing the character of their material — or at least showing how that change took shape over the course of 2024 leading to these songs, on this night, during this set — as part of their ongoing evolution. “Shadows” wasn’t as much of a standout from Helichrysum as either “Arise” or “Toxic Annihilator,” but it makes a rousing centerpiece for the live record, with a bassier push bringing Phillips‘ role at the forefront of the trio into focus as Brnabic offsets with bluesy shred and Silvers sets it to the swing with which he would seem to have been born.

“Shadows” brings a different mood than the opening duo, and the cymbal wash build into “Red Giant,” with its stops and twists, feels no less purposeful for the obvious edit before it starts. Live at Star Theater isn’t a complete live picture of Hippie Death Cult circa late last year, but in addition to the archival appeal of capturing this band at this moment in their collective history, it’s a thrilling showcase for the nastier side that has emerged in their sound, “Red Giant” playing host to a particularly vicious scream from Phillips, who then leads the band through the smoother nod that makes up most of “Circle of Days,” though I’ll note that when they get to the gallop there as well, everybody sounds relieved.

Sometimes a band ends up in a different place than they started, and with Hippie Death Cult reveling in the sludged and abrasive aspects of their sound as they do across Live at Star Theater, they have a charge to them that one wouldn’t have predicted would come to focus from their earliest work. At the same time, the subversion of expectations continues to suit the trio, and the end result of all the touring they put in for Helichrysum, as one might hear it on this live offering, is in the dynamic manner in which they bring their songs to life. I don’t know where Hippie Death Cult are going to end up sound-wise three records from now, but the path they’re on is exciting and Live at Star Theater showcases part of the reason why.

Hippie Death Cult, “Red Giant” live at Star Theater

Hippie Death Cult on Bandcamp

Hippie Death Cult on Instagram

Hippie Death Cult on Facebook

Hippie Death Cult on Soundcloud

Hippie Death Cult website

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds on Instagram

Heavy Psych Sounds on Facebook

Conan coming back to the States isn’t much of a surprise, and it’s likewise in-character for them to unfurl a whole new-album’s-worth of shows supporting — wait for it — a new album. The record in question, Violence Dimension (review here), was released just last week, and the superlatively heavy UK trio will likely spend the next two years celebrating its arrival with the special kind of crush that seems to be held in reserve for their riffing.

The poster is rad in the way of Art®, and they’ll be joined by Mares of Thrace for the run, which is also good news. The tour goes coast-to-coast and I see no real reason to try to sell you on it, because it’s Conan, and you already know they destroy.

So here’s where they’ll be doing that:

CONAN – US TOUR – AUGUST 2025!!!!!

Prepare for battle doom! Conan is coming to blaze a path with their new album Violence Dimension, and they’re bringing Mares of Thrace.

All dates on sale today at link in artist bios: @hailconan @mares_of_thrace

You can see all the cities/venues on the second slide, or below here.

8/22 – Chicago, IL @ Reggies
8/23 – Grand Rapids, MI @ Pyramid Scheme
8/24 – Indianapolis, IN @ Black Circle
8/25 – Detroit, MI @ Sanctuary
8/26 – Columbus, OH @ Ace Of Cups
8/27 – Youngstown, OH @ West Side Bowl
8/28 – Brooklyn, NY @ TV Eye
8/30 – Philadelphia, PA @ Johnny Brenda’s
8/31 – Baltimore, MD @ Metro
9/02 – TBA
9/03 – Asheville, NC @ Eulogy
9/04 – Atlanta, GA @ The Earl
9/05 – New Orleans, LA @ Gasa Gasa
9/06 – Houston, TX @ White Oak
9/07 – Austin, TX @ Come And Take It Live
9/09 – Albuquerque, NM @ Sister
9/10 – Mesa, AZ @ Rosetta Room
9/11 – Las Vegas, NV @ TBA
9/12 – Los Angeles, CA @ The Echo
9/13 – Palmdale, CA @ Transplants
9/14 – Oakland, CA @ Stork Club
9/15 – Sacramento, CA @ Cafe Colonial
9/17 – Eugene, OR @ John Henry’s
9/18 – Portland, OR @ Mississippi Studios
9/19 – Seattle, WA @ Clockout Lounge
9/20 – Missoula, MT @ VFW 209
9/21 – Salt Lake City, UT @ Urban Lounge
9/23 – Omaha, NE @ Reverb Lounge
9/24 – Minneapolis, MN @ Zhora Darling
9/25 – Milwaukee, WI @ X-Ray Arcade

CONAN is
Jon Davis – Vocals/Guitars
Johnny King – Drums
David Ryley – Bass

http://www.hailconan.com/
https://www.facebook.com/hailconan/
https://www.instagram.com/hailconan/
https://conan-conan.bandcamp.com/
https://www.linktr.ee/hailconan

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Conan, Violence Dimension (2025)

Conan, “Desolation Hexx” official video

Nearly 20 years on from their inception in 2006, Conan are an established brand when it comes to destruction, and so, that they would pointedly take violence as the theme of an album, Violence Dimension, makes sense in a way. The first lines on the record, after “Foeman’s Flesh” has laid out its tonal brunt in a signature riff from founding guitarist/vocalist Jon Davis, soon joined by drummer Johnny King and bassist David Ryley (Fudge Tunnel) — the latter of whom is making his first appearance — are, “Time will kill/This is life.” So we see that from the very outside, Conan are not only working to portray violence of the mass-scale or punch-you-in-the-solar-plexus types, but also the backdrop natural violence of the world and the fact that life ends.

This thematic plays out over a course of seven songs and 47 minutes (that jumps to eight songs/59 minutes if you get the 12-minute bonus track “Vortexxion”), and the aforementioned opener is one of three cuts over nine minutes long, alongside “Total Bicep” (9:27), “Violence Dimension” (9:14) and the finale, “Ocean of Boiling Skin” (10:04). That’s not such a radical change structurally from what Conan wrought on 2022’s attempt to crush the ridiculousness of our age, Evidence of Immortality (review here), but it does tell you that even as Conan bring in a new bassist, they remain dug into the trajectory — that’s not to say ‘path of devastation’ — they’ve been on. That’s audible in some of the speedier riffing in “Desolation Hexx” (5:18), and the later shove-mosher “Frozen Edges of the Wound,” which makes a hook of, “This is our victory/This is our time,” as well as the 46-second grindcore blowout “Warpsword,” which feels like a direct answer to the sub-minute “Paincantation” from 2018’s Existential Void Guardian (review here).

It’s a tool in Conan‘s arsenal they’ve chosen to put to use, and behind a lot of what is happening across Violence Dimension, whether it’s the mercurial tempo shifts in “Total Bicep,” which seems to be in a feedback loop of its own speed and aggression, or the title-track, which uses minimalism in its early going in a way I’m not sure Conan ever have before to create an Earth-style drone nod across much of its first half. Of course, it gets heavier to offset the quieter parts, and there are low-growled vocals later, but that the quiet part exists at all is the point.

I’m assuming that’s Ryley on vocals, stepping into the secondary-singer role formerly held by Chris Fielding, who as regards Conan has shifted back to producer-only, though if you told me Davis convinced Fielding to throw down growls on the studio versions, I’d believe it was him on the recording. Ether way , the dual-vocal dynamic that developed between Davis and Fielding was/is the most blatant example of Conan growing as a band over time while remaining committed to their core underlying approach, and even as they move forward with someone else, that isn’t being sacrificed.

And it wouldn’t be. As chaotic and as claustrophobic and intense as Conan can get — and at their heaviest, there are few heavier — they have always been methodical and conscious of what they want to do with their songs. They want them to kill, yes, but the how and why of that violence is part of what Violence Dimension is exploring. The title-track pairs well with “Total Bicep” just before it, as the prior slab is more of an assault, pushing into a midsection gallop that, while I have no idea what the song is actually about, is affecting as it slams into the subsequent slowdown, rides that nod for most of its second half, and fades out to give space to what follows.

Likewise, one could argue for “Frozen Edges of the Wound” as a reorientation or regrounding after “Violence Dimension,” since its shorter course feels more outwardly straightforward and the title-track makes a point of its atmospherics — which, rest assured, are plenty heavy all on their own, whatever take-a-breath letup they might otherwise represent. But all of this is to remind that there’s human presence behind Conan‘s inhumane sound, and that the transition to bringing Ryley into the band as a full-time member (because he and other bassists had filled in before) hasn’t derailed their progression, or even seemingly rerouted it from what their intentions might otherwise be.

That said, Violence Dimension is just the first record of the Davis/Ryley/King era — last year’s DIY 10″ Series Issue 1 EP (review here) notwithstanding — and it may turn out to be the starting point of an entirely new branching off of their sound, and you just can’t know because it hasn’t happened yet and evolution takes time. Or the world could end tomorrow. Whatever. Regardless, the remarkable nature of Conan‘s take — immediately identifiable, marked by distinctive characteristics in tone and songwriting purpose — lets it be so much its own while never quite the same twice. Aurally speaking, it is a great, hulking beast, and Violence Dimension continues this tradition organically and intentionally.

Conan have always known who they are and what they’re capable of, and though there have been changes in the band — Davis has in the past and here incorporated some ambience and drone also explored in his Ungraven side-project, which also has a new LP, Ryley coming on board, etc. — that self-awareness has never done anything but serve the band, allowing them to hit that much harder for knowing why they’re doing it and what they’re trying to convey.

“Ocean of Boiling Skin” rises at its midpoint to a huge, malevolent tsunami of a nod that comprises its final march into oblivion, and that’s how it ends save for the deluxe editions, which include “Vortexxion.” The bonus cut becomes the longest on the LP at 12 minutes, and in the spirit of “Grief Sequence” from Evidence of Immortality is centered around noise; in this case a few obscure samples bookending a large stretch of feedback and other frequency manipulations. It’s not an easy listen, but this too is the point.

The band list Violence Dimension as their seventh full-length, which is something of retcon of 2010’s Hoseback Battle Hammer EP (discussed here; review here) as their debut album — fair enough for how important a release it was for them — but wherever you number it in their discography, the fact remains they are uniquely suited to portraying this album’s theme. Cleaving skulls may not be anything new for Conan, but they’ve gotten awfully efficient at it, and Violence Dimension works well to tie in elements they’ve introduced over the last few outings while lowering a tonal palette of concrete riffs onto the collective chest of their audience. Very much what one would hope for a sixth or seventh Conan album, in other words.

Conan, Violence Dimension (2025)

Conan, “Desolation Hexx” official video

Conan website

Conan on Facebook

Conan on Instagram

Conan on Bandcamp

Heavy Psych Sounds on Facebook

Heavy Psych Sounds on Instagram

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Let’s assume that by the time Californian desert rock institution Yawning Man head abroad in November for their upcoming tour alongside the adjacent project SoftSun — it’ll be double-duty for guitarist Gary Arce, who is shared between both bands — the split release that had been previously announced will be out. Yawning Man have been on Heavy Psych Sounds for a while now. SoftSun released their debut through Ripple. I don’t know which of those two, if any, is handling that split, but it’s a thing that’s happening and this tour makes a lot of sense tying it together.

Note that 12 of the 23 shows will be in Germany, which seems to continue to be where heavy rock and roll finds the greatest quantity of welcome in Europe, and while Austria, Poland, Denmark, the Netherlands, Croatia, Italy, Switzerland and France will also be hit. They’ll cover plenty of ground, is what I’m saying. Yawning Man have, of course, done the Fall festival circuit in Europe before, but that’s not what this is. This tour starts Nov. 18 and finishes Dec. 14, which is well after most fests have had their annual editions. There’s something to be said for going out when the market isn’t saturated.

This was put out on social media while I was traveling. Pardon me if it’s not new-news for you:

⚡️YAWNING MAN – „PAVEMENT ENDS EUROPE 2025“ TOUR⚡️

We’re beyond stoked to announce that the legendary YAWNING MAN is returning to Europe this winter with their PAVEMENT ENDS EUROPE 2025 tour! 🚐💨

Hailing from the mystical desert plains of Palm Desert, CA, Yawning Man delivers an instrumental trip like no other – hypnotic, cinematic, and deeply rooted in the origins of desert rock. 🌵

Their unique sound has influenced generations, echoing through the Coachella Valley since the late ‘80s, and now it’s heading your way. Get ready for a truly immersive live experience – no vocals, no distractions, just pure, melodic psychedelia straight from the source. ✨

Here are the official dates – mark your calendars! 🗓️

18.11.25 (NL) Utrecht, dB’s
19.11.25 (NL) Eindhoven, Effenaar
20.11.25 (DE) Hannover, Faust (Mephisto)
21.11.25 (DK) Kopenhagen, Stengade
22.11.25 (DE) Oldenburg, MTS Records
23.11.25 (DE) Hamburg, Molotov
24.11.25 (DE) Berlin, Neue Zukunft
25.11.25 (PL) Warsaw, Hydrozagadka
27.11.25 (PL) Kraków, Gwarek
29.11.25 (DE) Dresden, Ostpol
30.11.25 (DE) München, Backstage (Halle)
01.12.25 (DE) Nürnberg, KV im Z-Bau
02.12.25 (AT) Salzburg, Rockhouse Bar
03.12.25 (AT) Wien, Viper Room
04.12.25 (HR) Zagreb, Vintage Industrial
05.12.25 (IT) Milano, Magnolia
06.12.25 (CH) Oberentfelden, Böröm pöm pöm
07.12.25 (FR) Barberaz, Brin de Zinc
10.12.25 (DE) Stuttgart, Goldmark’s
11.12.25 (DE) Karlsruhe, Alte Hackerei
12.12.25 (DE) Rüsselsheim, Das Rind
13.12.25 (DE) Aachen, Musikbunker
14.12.25 (DE) Köln, Kantine (Yard Club)

🎫 Tickets & info coming soon – stay tuned!

Cheers,
Your Sound of Liberation Crew

YAWNING MAN touring lineup:
Gary Arce – guitars
Mario Lalli – bass
Bill Stinson – drums

https://www.facebook.com/yawningmanofficial/
https://yawningman.bandcamp.com
http://www.yawningman.com/

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Yawning Man, Long Walk of the Navajo (2023)

Uptempo kick, killer shred, the vocals cutting through like early Uncle Acid in a rush, due bluesy shred breaking into slower ethereal groove with organ and the vocals in layers, yeah, you could say Electric Citizen‘s “Static Vision” — not to be confused with now-Heavy–Psych–Sounds-labelmates Ecstatic Vision, who are from Philly — bodes well for what’s in store on their fourth album and first for the aforementioned new label, EC4.

It’s also their first new work in seven years — isn’t it odd how so many artists and bands are, oh, I don’t know, two or three years behind what you might expect a ‘normal’ schedule to be? it’s like there was some shared planetary trauma for two-plus of those years that nobody wants to talk about anymore let alone attempt to process; as a species we are so perpetually dumb — and I think if you dug what I guess we can now call their ‘RidingEasy era,’ the first three records the last of which was 2018’s Helltown (review here), then “Static Vision” should be a ready reminder of their specific brand of kickassery.

The PR wire has details and here they are:

ELECTRIC CITIZEN to release new album “EC4” on June 27th via Heavy Psych Sounds; first single “Static Vision” streaming!

Cincinnati, Ohio proto-heavy and psychedelic rockers ELECTRIC CITIZEN have signed to Heavy Psych Sounds for the release of their fourth studio album “EC4”, this June 27th and unveil the first single.

Seven years after their last release “Helltown”, Electric Citizen returns with their fourth album “EC4” — a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. It was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden (Ty Segall, Calexico) at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album “Sateen”.

Now signed to Heavy Psych Sounds, Electric Citizen is ready to unleash their most potent work yet: a fusion of hypnotic grooves, searing guitars, and Laura Dolan’s mesmerizing vocals. “EC4” is both a homecoming and a rebirth. Electric Citizen is back!

ELECTRIC CITIZEN “EC4”
Out June 27th on Heavy Psych Sounds – Preorder: https://www.heavypsychsounds.com/shop.htm#HPS357

Electric Citizen is a Cincinnati-based rock band known for its fuzzed-out riffs, haunting melodies, and electrifying live shows. Since forming in 2012, it has carved out a distinct sound, blending vintage psychedelia with heavy rock ‘n’ roll. With three acclaimed albums under their belt, Electric Citizen has toured extensively, sharing stages with acts like The Crazy World of Arthur Brown, Pentagram and Fu Manchu.

ELECTRIC CITIZEN is
Ross Dolan – Guitar
Laura Dolan – Vocals
Nick Vogelpohl – Bass
Nate Wagner – Drums
Owen Lee – Keyboards

www.electriccitizenband.com
www.facebook.com/electriccitizen
www.twitter.com/electriccitizen
www.instagram.com/electriccitizenband

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Electric Citizen, “Static Vision”

Electric Citizen, EC4 (2025)