Feel like we’re really getting into it now, and that’s a good thing. I’m not saying I was shaking off rust for the first two days, but I look at the spread of styles across the names above and ‘it’s gonna be a good day’ pops inexorably into my head. I like that feeling, which I guess is how we get here in the first place.

It’s Wednesday of this seven-day QR, so we’re not quite halfway through yet. If you’ve been keeping up, thank you. If not, it’s okay. You’re still welcome to peruse the below and hopefully find something that speaks to you.

Quarterly Review #21-30:

Clayton Burgess, If You Lived Here, You’d Be Home by Now

Self-recorded and just as raw as the day is long, the first solo album from Clayton Burgess (Satan’s Satyrs founder, also ex-Electric Wizard), If You Lived Here, You’d Be Home by Now, is so classic in its substance it can’t help be modern. And I’m not talking about the pop garage indie of the 2000s, like it sounds cheap but also everybody has perfect hair. Songs like “Kerosene” and the Mellotron-laced “Meadowlands” are more in the Rise Above Records mindset of retroism, which is to say doing the thing for real and letting the genres sort themselves out later. Thus the proto-punk of “Little Bat Dreams” and the strut of “Scenic Byway” coexist with the jazzy “Faustine,” and so on. “Signal Fire” and the closer “Golden Age of Volcanism” are a bit darker, maybe a little closer to Burgess‘ work with Satan’s Satyrs, while “Greasy Bangs” lives up to its name for all of its 90 seconds, a heavy garage instrumental of the ’60s tradition. What’s amazing about it is the whole style is based around familiarity and yet the indentity built up throughout is so individual. I haven’t seen a lot of hype about it, but here’s hoping Burgess continues this pursuit.

Clayton Burgess on Bandcamp

Satan’s Satyrs on Bandcamp

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New Mexican Doom Cult, Ziggurat

There have been some personnel shifts in Swedish stoner-doomnodders New Mexican Doom Cult, and their second full-length, Ziggurat, operates mostly in the same volume-worshipping vein of riffing as 2023’s Necropolis (review here), but with a deeper perspective in “Metatron” and the pointedly doomed “Return to Babylon,” among others. The band now is Nils Ahnland on guitar and vocals (also bass), drummer Jonathan Ekvall and Jonas Strömberg on keys/production, and though they’ve given up some tonal impact as a result of dropping to a single guitar (layering notwithstanding; looking at you, “Criosphinx”), the tradeoff is they’re more flexible in sound while remaining plenty heavy from “The Church of Starry Wisdom” onward. Sabbathian roll is a specialty of the house, but the satisfaction when “Sungod” finally kicks in at full volume speaks to a different kind of mastery before the doom-hook in “I Stand Alone” rounds out. Curious where they’ll go from here.

New Mexican Doom Cult on Bandcamp

New Mexican Doom Cult on Instagram

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Lammping/Drew Smith/Marker Starling, Risky

Following on from 2025’s Never Never (review here), Toronto mellow-hangs specialists Lammping continue their four-album cycle of collaborations with this second one, bringing them together with Drew Smith (The Bicycles) and Chris Cummings (Marker Starling), as core Lammping duo Mikhail Galkin (vocals, production, guitar, etc.) and Jay Anderson (drums) slide so smoothly into and out of dub instrumentals and low-key heavy vibes, always fluid, here hinting toward jazz, there shimmering into the techno experiment “Prelude to Never” ahead of the finale “Never Done,” which closes like psychedelic singer-songwriter fare from some lost decade that was never actually real. I guess the update is Lammping remain on their on wavelength of sound and on their own echelon of cool. Spending some time there with them could only be to your greater benefit. Two more LPs coming.

Lammping on Bandcamp

We Are Busy Bodies on Bandcamp

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Mos Eisley Spaceport, Live on Crow Hill

Most of the material on Mos Eisley Spaceport‘s apparently-self-released live album, Live on Crow Hill, comes from their 2023 debut, Further, but with newer two songs at the end in the 12-minute “Interstellar Mantis” and “In Your Mind,” the jam-based classic heavy blues boogie rockers give a glimpse at where they’re headed just the same. And that’s not to take away from “Space Shift” — which starts with the Star Wars sample from whence their moniker hails — or the scope in “Ashes to Ashes” made organic by the fluidity of the band’s performance, I’m just noting the progression underway in their sound. Whether brand new or not, they deliver, and the fact that they’ve added organ to the arrangements in the time since the record came out means these interpretations stand on their own regardless. Most of all, the set is a blast and sounds like they’re having as much fun playing as I am listening, which is plenty. It would feel silly to ask more of it than that, whatever it might portend for them moving forward.

Mos Eisley Spaceport on Bandcamp

Mos Eisley Spaceport on Instagram

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Dome Runner, World Panopticon

How lucky you are that after 40-plus years of industrial sounds depicting dystopian apocalyptic scenarios you finally get to live in one. Dome Runner are the machine punishment humanity deserves in an era where a tech CEO can casually say something about flying drones into people’s heads to kill them and/or licensing common knowledge on a subscription model and not be immediately imprisoned or extrajudicially hanged to the benefit of all. World Panopticon is suitably brutal across a 76-minute span, the Tampere, Finland, troupe keeping one foot in ’90s industrial metal as they did on their 2021 debut, Conflict State Design (review here), but filtering this through modern tonality and horrors. There are breaks, quiet parts in longer songs, interludes, etc., but I don’t know that I’d call any of it a real letup in the looming sense of oppression, and well, get used to that, because the boot on your neck that they’re portraying isn’t going anywhere anytime soon. Welcome to the age of it-gets-worse-and-nobody-stops-it. At least you still have the music, for now.

Dome Runner on Bandcamp

Svart Records website

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Basaltic Plateau, Dead Dinosaurs Echoes

While clearly written as individual pieces, the six songs comprising the 36-minute run of Italian heavy psych instrumentalists Basaltic Plateau‘s late-’25 debut LP, Dead Dinosaurs Echoes flow exceedingly well into each other, extrapolating the ebbs and flows within a given track into how it interacts with those around it. In this way, the three-piece build a landscape of sound — some kind of sound… scape! — across the span, warm-toned and so easy enough to liken to a desert rock influence, but heavier in its payoff stretches and up for trippier weirdness in “Summer Dream” and the more technical severity of the closing title-cut, also the longest at nearly nine minutes, and less predictable in its entirety than one might expect going in. As a debut, their self-awareness bodes well, and the psych of “Cuttlefish Galaxy” and progressivism of “Sleep Paralysis” might be careening toward each other like the Milky Way and Andromeda, but if there’s to be a conflict between the two, it’s a ways off. In the meantime, their creative reach serves them in immersing the listener.

Basaltic Plateau on Bandcamp

Electric Valley Records website

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Gjenferd, Black Smoke Rising

Should you find yourself needing a reason to feel hopeful about the future of heavy rock, that Gjenferd might be part of it should more than suffice. The Bergen, Norway, four-piece of guitarist/vocalist Vegard Bachmann Strand, bassist Samuel Robson Gardner, keyboardist/vocalist Jakob Særvoll and drummer/vocalist Sivert Kleiven Larsen present their second album in Black Smoke Rising, and draw a thread back through decades of heavy rock stylization to conjure a sound that is their own and welcoming, unpretentious and progressive in kind. Whether it’s the shuffle of “Bound to Fall” and the hook of “Ride On” or the moodier nod of “Calling Your Name” and the mellow-till-it-ain’t “The Silence,” the band are dynamic, thoughtful in their craft and vital very much in the ‘alive’ sense of the word across the 10 inclusions, further distinguishing themselves among the emergent next generation of heavy rock and rollers. The listenability here can’t and shouldn’t be discounted, which is to say, don’t be surprised when you come back for another round with it.

Gjenferd’s Linktr.ee

Apollon Records website

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Codex Serafini, Mother, Give Your Children Sanity

I feel like it may forever be my fate to feel like I’m trying to catch up to Codex Serafini. Yes, temporally — their second LP, Mother, Give Your Children Sanity, came out last November — but also stylistically, and in this I feel a oneness with the universe, for which the UK outfit are an intentionally odd fit. Spacerocking in their own dimensional phase, the band follow 2023’s The Imprecation of Anima (review here) with a status-quo threatening cohesion that lands heavy with Wayne Adams‘ production but is more about the plunge into the farther far-out, sax and skronk and ritualistic melodies and madness. The title-track brings healing, but not like you’re thinking, whatever you’re thinking, and the subsequent blowout in capper “Marching Like a Toad” (before the drone finish) could hardly be better earned. Bands rarely sound so willing to follow where their whims take them, and the quirk in Mother, Give Your Children Sanity is more appreciable for that.

Codex Serafini on Bandcamp

Riot Season Records website

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Sunbreather, Sunbreather

Airy grunge pervades the self-titled 2025 full-length debut from UK trio Sunbreather, resulting in a tonal richness one can hear in the eponymous “Sunbreather” or the prior “Apricity” as the record gets going, creating a kind of terrestrial psychedelia that vocal effects and an upped fuzz quotient in all-caps centerpiece/side B leadoff “WINE” seems to revel in pushing to one side or another. I like this album a lot; the way it feels like it’s establishing one aspect of the band’s sound or another and then moves on to the next idea without losing itself in indulgence. The organic flow. The closing pair of “Sleep” and “Aubade” emphasize this, with a fuller lumber in “Sleep” that opens atmospherically in “Aubade” while staying dreamy in tempo at least for most of its time. I say all the time that the challenge for UK bands is distinguishing themselves from the constant glut of their home country’s underground. That might be true here as well, on its face, but in actually hearing the songs, Sunbreather come out ahead in terms of identity. I’m pretty sure this was self-released, but I can’t imagine they wouldn’t be able to find a label if they wanted to for it.

Sunbreather’s Linktr.ee

Sunbreather on Instagram

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Konung, Dope Druid

True, the Moscovian plodders don’t have ‘bong’ or ‘weed,’ etc., in their name, but they’re pretty close to bong metal regardless on this initial three-songer, Dope Druid, lumbering through dank megasludge on the opening title-track before rolling noisier into “Wolf Shepherd” and chug-and-feedbacking to a point of near-abrasion (of the willful sort, mind you) on “Tsar of Blood,” making for a solid 19 minutes of damage to eardrums and braincells alike. So much the better a tone on which to break onesself. Imagine drowning in bong water. They aren’t shooting for anything overly complicated, but there is sort of a scope to the onslaught, and the rawness overarching becomes a benefit to the impact of the material — its heft is engrossing and the way the harshness comes through the recording lends aggression to the groove — but I’m not sure that’s aspiration so much as fortunate circumstance. It’s moot, ultimately, because any way you go, Konung have come to crush you into flattened little bits, and the best advice I can give is go with it and deal with the cleanup after.

Konung on Bandcamp

Konung on Instagram

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Alright, y’all. This is where it ends. The Quarterly Review has been an absolute blast, an easy, fun, good time to have, but inevitably it must come to close and that’s where we’re at. Last day. Last 10 releases. Thanks if you’ve kept up. I’ll be back I think in September with another one of these, probably longer.

Hope you’ve found something killer this week. I did.

Quarterly Review #41-50:

Katatonia, Nightmares as Extensions of the Waking State

Nightmares as Extensions of the Waking State is the first long-player in the 34-year history of Katatonia — upwards of their 13th album, depending on what you count — to not feature guitarist Anders Nyström. That leaves frontman Jonas Renkse as the remaining founder of the band, with two new guitarists in Nico Elgstrand and Sebastian Svalland, bassist Niklas Sandin and drummer Daniel Moilanen, steering one of heavy music’s most identifiable sounds in new ways. “Wind of No Change” is duly subversive, and “Departure Trails” basks in texture in a way Katatonia have periodically throughout the last 20 years, but the Opethian severity of they keys in “The Light Which I Bleed” and the declarative chug at the end of opener “Thrice” speak to the band’s awareness of the need to occasionally be very, very heavy, even as “Efter Solen” shifts into dark, emotive electronics ahead of the sweeping finale “In the Event Of…” Renkse has never wanted for expression as a singer. If he’s to be the driving force behind Katatonia, fair enough for how that manifests here.

Katatonia website

Napalm Records website

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Black Moon Circle, A Million Leagues Beyond: Moskus Sessions Vol. I

Trondheim, Norway’s Black Moon Circle recorded the four-song set of A Million Leagues Beyond: Moskus Sessions Vol. 1 at the hometown venue of Moskus, a small bar that, to hear them tell it, mostly hosts jazz. Fair enough for cosmic heavy psychedelic grunge rock to join the fray, I should think. It was late in 2023, so earlier that year’s Leave the Ghost Behind (review here) full-length features readily, with “Snake Oil” following the opener “Drifting Across the Plains” — which is jazzy enough, certainly — ahead of the chunkier-riffed “Serpent” and a 20-minute take on “Psychedelic Spacelord (Lighter Than Air),” which has become a signature piece for the three-piece, suitably expansive. If you know Black Moon Circle‘s studio albums, you know they do as much as they can live. Honestly, A Million Leagues Beyond: Moskus Sessions Vol. I isn’t all that different, but it’s definitely a performance worth enjoying.

Black Moon Circle on Bandcamp

Crispin Glover Records website

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Bloodhorse, A Malign Star

Kudos if you had ‘new Bloodhorse‘ on your 2025 Stoner Rock Bingo card or caught it when they launched an Instagram page last year. I certainly didn’t. The Massachusetts aughts-type prog-leaning riffmakers were last heard from with their 2009 debut album, Horizoner (review here), and the six-song/28-minute A Malign Star serves as a vital return, if not one brimming with good vibes as “The Somnambulist” dream-crushes its four-minute course, the band not so much dwelling in atmospheres like the relatively careening “Shallowness,” but getting into a song, making their point, and getting out. This works to their advantage in opener “Saboteur” and the chuggier title-track that follows, but even six-minute closer “Illumination” retains a sense of immediacy amid the dirty fuzz and comparatively laid back roll. This band was once the shape of sludge to come. 16 years later, the future has taken a different course and everybody’s a little more middle-aged, but Bloodhorse still kind of feel like they’re waiting for the world to catch up.

Bloodhorse on Instagram

Iodine Recordings website

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Aawks, On Through the Sky Maze

Should you find yourself thinking you didn’t remember Canadian riffers Aawks — also stylized all-caps: AAWKS — having quite such a nasty streak, you’re not alone. Their 2022 debut, Heavy on the Cosmic (review here), had a take that seems like fuzzy dream-pop in comparison to “Celestial Magick” and the screamy sludge that populates On Through the Sky Maze, their second LP. The nine-song 48-minute full-length is the first to feature bassist/vocalist Ryan “Grime Pup” Mailman alongside guitarist/vocalist Kris Dzierzbicki, guitarist Roberto Paraíso, and drummer Randylin Babic, and songs like “Lost Dwellers” or the mellow-spacier “Drifting Upward,” with no harsh vocals, seem to hit more directly, in addition to arriving in a different context with the “blegh”s of “Wandering Supergiants” and “Caerdoia,” and so on. In the end, Mailman‘s rasp becomes one more tool in Aawks‘ songwriting shed, and the band have more breadth and are less predictable for it. Call that a win, even before you get to the record being good.

Aawks website

Black Throne Productions website

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Moon Destroys, She Walks by Moonlight

The shimmering, floating guitar in “Echoes (The Empress)” tells part of the story in the deep-running The Cure influence, and the somewhat moody vocals of Charlie Suárez echo that emotional foundation, which is coupled in that song and throughout Moon Destroys‘ debut album, She Walks by Moonlight, with a willful progressivism in the songwriting, attention to detail in the arrangements, melodies, even the mix. Comprised of Suárez, guitarist Juan Montoya (ex-Torche), bassist Arnold Nese and drummer/producer Evan Diprima (Royal Thunder), the band are able to set a wash in place that’s not deceptively heavy in “The Nearness of June” (an earlier demo track) because it’s beating you over the head with tone, but still has more to offer than just its own heft. “Only” sounds like heavied-up proto-emo, while the roll of “Set Them Free” is massive in terms of both its riff and its big feelings. If you’re willing to let it grow on you, She Walks by Moonlight can be a space to occupy.

Moon Destroys website

Limited Fanfare website

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Astral Magic, In Space We Trust

In Space We Trust is one of four-so-far full-lengths that Santtu Laakso — multi-instrumentalist, vocalist, composer and producer — has out between Astral Magic and related collaborations and projects. It’s not a pace of releasing one can keep up with, but if you need a check-in from the generation ship that is Astral Magic, chances are Laakso is out there on some voyage or other between classic space rock and clearheaded prog, spanning galaxies. The eight-song/42-minute In Space We Trust pairs him with lead guitarist Jonathan Segel (Øresund Space Collective, etc.), and one should not be surprised at the cosmic nature of the resulting music. The pair get into some sci-fi atmospherics in “Ancient Pilots” and “Alien Emperor,” but the synth and guitar are leading the way across the galaxy and the vibe across the board is more Voyager and less Nostromo, so yes, smooth solar-sailing the whole way through.

Astral Magic on Bandcamp

Astral Magic on Facebook

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Lammping x Bloodshot Bill, Never Never

IMG

The dreamy guitar, semi-rapped vocal, and dub backbeat give the opening title-track of Never Never a decidedly ’90s cast, but it’s not the summary of what Toronto’s Lammping have to offer in their collaboration with weirdo-rockabilly solo artist Bloodshot Bill, bringing together their urbane, grounded psych and studiocraft, samples, etc., with the singer/guitarist’s low, sometimes bluesy delivery across seven songs totaling 15 minutes, peppering the vibe-on-vibes of “Never Never,” “One and Own” and “Won’t Back Down” — the longest inclusion at 3:23 — with ramble and flow alike, with experimental jawns like “Coconut,” “0 and 1” or “Anything is Possible” and the closer “Nitey Nite,” all under two minutes long and each going their own way with the casual cool one has come to expect from Lammping, quietly staking out their own wavelength while still sounding like something from a half-remembered soundtrack to a radder version of your life. This is one of four releases Lammping will reportedly have over the next year or so. Way on board for whatever’s coming next.

Lammping on Instagram

We Are Busy Bodies on Bandcamp

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Fuzz Sagrado, Strange Daze

After the disbanding of Samsara Blues Experiment in 2021, guitarist/vocalist Christian Peters — who had already by then moved from Germany to Brazil — unveiled Fuzz Sagrado with EPs in July and October of that year. Fuzz Sagrado‘s 2021 self-titled (review here) and Vida Pura EPs are included on Strange Daze, a new compilation of tracks unified through a remaster by John McBain, showcasing the early outreach of keyboard and guitar that served as the foundation for the project. As Peters readies a live band for an eventual return to the stage, Strange Daze demonstrates how multifaceted the growth has been in terms of songwriting and still feels exploratory in hindsight as it did when the material was first released. Also included is the jammy “Arapongas,” which wasn’t on either EP but was recorded around the same time. Something of a curio or a fan-piece, but I ain’t arguing.

Fuzz Sagrado website

Electric Magic Records website

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When the Deadbolt Breaks, In the Glow of the Vatican Fire

A couple different modes on When the Deadbolt Breaks‘ In the Glow of the Vatican Fire, which is the long-running Connecticut malevolent doomers’ umpteenth album, running 63 minutes and eight songs. Some of those are longer pieces, like opener “The Scythe Will Come” (12:24), “The Chaos of Water” (14:02), “The Deep Well” (10:42) and “Red Sparrow” (10:57), but interspersed with these are a succession of shorter tracks, and the breakdown between them isn’t just that the short songs are fast and the long songs are slow. Certainly the ripping early portions (and the later, more minimalist spaciousness) of “The Chaos of Water” argue against this, and the dynamic turns out to be correspondingly complex to suit the abiding murk of mood, as founding guitarist/vocalist Aaron Lewis and co-singer Cherilynne provide foreboding croon to suit the lo-fi, creeping, distorted terrors of the music surrounding. This is When the Deadbolt Breaks absolutely in their element; bleak, churn-chaotic, expressive, immersive. They’re able to put you where they want you whether you want to go or not.

When the Deadbolt Breaks on Bandcamp

When the Deadbolt Breaks on Instagram

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A/lpaca, Laughter

It may have sat on the shelf for two years since recording finished in 2023, but don’t worry, it’s still from the future. Laughter is the second-on-Sulatron full-length from Italian experimentalists A/lpaca, and it sees them push deeper into electronic elements and ambiences, keeping some of the krautrock elements of their 2021’s Make it Better, but with songs that are shorter on average and that stand ready to convey a sense of quirk in the keyboard elements or the Devo verses of the title-track, which isn’t without its aspect of shove. Does it get weird? You bet your ass it does. “Bianca’s Videotape,” “Who’s in Love Daddy?,” the post-punk synthery meeting doomed fuzz on “Empty Chairs,” the list goes on. Actually, it’s just the tracklisting and it’s all pretty freaked out, so as long as you know going in that the band are working from their own standard of weirdoism, making the jump into the keyboardy gorge of “Kyrie” or the new wave-y “Don’t Talk” should be no problem. If you heard the last record, yeah, this is different. Seems like the next one will probably be different again too. Not everyone wants to do the same thing all the time.

A/lpaca on Bandcamp

Sulatron Records store

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Toronto’s Lammping are setting forth on a four-album cycle of releases to come in the next, I don’t know, year and a half?, with Never Never, a collaboration with Montreal rockabilly solo artist Bloodshot Bill. It’s not Lammping‘s first outside-genre collaboration and it’s not the last of the cycle. They’ve got a hip-hop record coming too, plus a regular ol’ Lammping record presumably to assuage the listener contingent less down with all that dub, though really, if that’s the case, you probably didn’t get on board with Lammping in the first place.

Dub comes in here too, duh, as well as classic hip-hop, psych guitar and nuanced hypercool, an urbane sound but not placeable to anything other than sound collage or Lammping‘s own expanding vibe. They know (and I know) this isn’t going to be for everyone, but it’s 15 solid minutes of potentially stepping partway out of your comfort zone as a listener, and it’s cool besides. I feel like maybe you can handle it. If you need me to be your dad and tell you it’ll be okay, it’ll be okay.

From the PR wire:

LAMMPING Announces Never Never – First of a Four-Album Sonic Voyage

New Album Never Never Releases June 27, 2025

Pre-Order Link: https://lammping.bandcamp.com/album/never-never

Toronto’s shape-shifting psych project LAMMPING will release Never Never – the first in a four-part album series – on June 27 via We Are Busy Bodies. Lammping started as a heavy psych band, but things shifted when producer Mikhail Galkin returned to the kind of hip-hop production he was doing in his teens. Remixing records for Badge Époque Ensemble and Uh Huh under the Lammping name cracked the project wide open-what began as a one-off stylistic swerve became a long-term permission to make anything, in any genre. Now, whether it’s boom-bap, fuzzed-out folk, beat tape interludes, or full psych freakouts, it all fits. This upcoming cycle is their most ambitious yet: four LPs released over 12-18 months, each one exploring a different corner of their increasingly unpredictable universe.

The series kicks off with Never Never, a collaborative LP with rockabilly wildman Bloodshot Bill. The record blends psych-rock textures with ‘90s-style boom-bap, turning lo-fi samples and breakbeat drumming into cinematic, genre-dissolving cuts. “Never Never” (the lead single) and the follow-up “Won’t Back Down” showcase Lammping’s ability to reshape a voice like Bill’s into something strange and mesmerizing. Think LL Cool J meets Spacemen 3 – if they were trapped in a twilight zone rerun.

“I always loved Bill’s voice—it’s harsh, elastic, and super expressive,” says Lammping’s Mikhail Galkin. “We just hit the studio one day and one song turned into three. From there, the album built itself around those sessions.”

The second album, currently in production, brings together longtime Toronto collaborators Drew Smith (Dr. Ew, The Bicycles) and Chris Cummings (Marker Starling). The result is something Galkin describes as “CSNY harmonies over early-’90s hip-hop drums, fuzzed-out guitars, and synth textures.” What began as a pretty, melodic record soon took a heavier turn: “It’s like a heavy-psyched out yacht rock album – if the yacht was slowly sinking.”

The third LP will be a return to the full Lammping band-a stylistic microcosm that threads together acoustic folk, beat interludes, blown-out psych riffs, and off-kilter bops. Tracks range from soul-sampled boom-bap in the style of Madlib to poppier moments reminiscent of Real Estate or QOTSA. “I’ve always loved albums like Paul’s Boutique or Prince Paul’s De La stuff-where you throw everything at the wall but it still somehow works.”

The fourth and final album will land as a full hip-hop collaboration with rapper Theo 3, a Toronto underground legend and longtime collaborator of Galkin’s from his DJ Alibi days. It features Lammping flipping their own recordings, alongside obscure Soviet records from Galkin’s production roots. The goal? A surrealist homage to golden era Toronto hip-hop—filtered through Lammping’s psychedelic lens.

Together, the series represents a full-circle moment for Lammping, who began as a heavy psych band before veering boldly into sample-based production and remix culture. Their 2022 and 2023 remix projects (for Badge Époque Ensemble and Uh Huh) confused early fans but in hindsight, those left turns became permission to go anywhere.

“Once people got hip, they stopped being surprised—we could do anything and it still felt like us,” Galkin says. “Now people expect the left turns.”

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.

Pre-Order Link: https://lammping.bandcamp.com/album/never-never

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Lammping is a Toronto-based psych project led by composer/producer Mikhail Galkin and drummer Jay Anderson. Galkin has a diverse background, having produced for hip-hop legends like J-Live, Boldy James, and People Under The Stairs, as well as releasing a critically acclaimed solo album as DJ Alibi and working as a film/tv composer. Anderson is a seasoned figure in the Toronto indie scene, playing in bands such as Badge Epoque Ensemble, Biblical, ROY and many others.

The two first connected after seeing each other perform in different projects and bonding over their shared love for ’90s New York hip-hop, skate videos, DIY culture, Beach Boy harmonies and everything in between. The project was born from their desire to create music without limitations – driven by a spirit of exploration, embracing all kinds of genres, sounds, and influences under the Lammping umbrella. The result is a uniquely eclectic project where anything goes, as long as it feels true to their creative instincts. The live version of the band is a 5-piece, with Toronto musicians Colm Hinds, Scott Hannigan and Matt Aldred lending their talents on vocals, guitar and bass.

https://www.instagram.com/lammping
https://lammping.bandcamp.com/
https://open.spotify.com/artist/1ZrzRmbuxvCeFSpEbFpbXZ

Lammping, Never Never (2025)

So I kinda wanted to hear some old shit alongside all the new shit, which I guess I feel okay about. I don’t know. Sometimes I feel like every second of every show has to be super-recent as much as possible to get word out about new bands again as much as possible — and again again as much as possible to the extent of whatever the audience for this show is; I honestly have no idea — but that’s not even close to being true in reality. I could play Death, no one would give a shit.

I should play Death. Next show if I remember, which I’m saying up front is like 70/30 no.

Anyway, so old High on Fire into new Dozer and Altered States’ recent “The Crossing” crossing with The Hidden Hand’s “The Crossing” from their brilliant 2004 opus, and JAAW feeding into Celtic Frost feeding into Vape Warlök. Fucking a. This show’s pretty good. I hope I don’t ruin it by, you know, talking.

A few albums here I’m looking forward to knowing better. Swanmay for sure, JAAW absolutely, and I might even say that of Dozer, perhaps into perpetuity or at very least until long after I’ve reviewed it and hailed it as one of the best albums of the year — which I don’t even feel shy in saying because it’s a fucking given — and Bongzilla, because they’re Bongzilla and I’m glad they’re putting out records. They’re a needed reminder of how even the heaviest things can be made to float.

Thanks if you listen to this show. If not, it happens, but thanks for reading anyhow. If you stumbled here and have no idea what I’m talking about, you might still consider checking out a band or two from the playlist and find something to make your day better.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 03.31.23 (VT = voice track)

High on Fire	10,000 Years	The Art of Self-Defense (2001)
Dozer	Dust for Blood	Drifting in the Endless Void
Devoidov	Stab	Stab
MiR	Altar of Liar	Season Unknown
VT
Mars Red Sky & Queen of the Meadow	Maps of Inferno	Mars Red Sky & Queen of the Meadow
Black Rainbows	Superhero Dopeproof	Superskull
Lammping	Better Know Better	Better Know Better
Oceanlord	2340	Kingdom Cold
Arriver	Azimuth	Azimuth
Altered States	The Crossing	Survival
The Hidden Hand	The Crossing	Mother Teacher Destroyer (2004)
Iress	Ricochet	Solace
Grin	Nothingness	Black Nothingness
Bongzilla	Hippie Stick	Dab City
MWWB	Logic Bomb	The Harvest (2022)
Swanmay	Stone Cold	Frantic Feel
VT
JAAW	Rot	Supercluster
Celtic Frost	A Dying God Coming into Human Flesh	Monotheist (2005)
Vape Warlök	Inhale Death	Inhale Death (2022)

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 14 (subject to change). Thanks for listening if you do.

Gimme Metal website

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Sometimes it just feels like a band has your number. And you know, every time Toronto’s Lammping put out a track, an EP, LP, whatever it is at this point, going into it I think to myself there’s no way the band can maintain the standard of craft they’ve set — not for any real reason on their part, I just feel like my expectations are unrealistic — but they absolutely do, and “Better Know Better” is the latest manifestation of that.

The single itself is a who-would-ever-need-more sub-four-minute nostalgia trip in the spirit of their prior work, with a playfully Southern-tinged lick of guitar met by dub-ish drumming that’s given further emphasis on the instrumental companion-piece “Better Know Better (End of Dummy Lane),” and a chorus melody that’s like Abbey Road emerging from the casual swing of the early verse and a satisfying build as it moves toward the oh-hello-there of the organ in its second half. No pretense anywhere, and it’s straightforward enough to make the wah on the guitar count, but it’s warm and inviting as Lammping seem so consistently to be, and yeah, they nailed it again. Seems to just be how it goes.

It’s been about nine months since Lammping issued their last single, “Desert on the Keel” (review here), and that’s actually kind of a long stretch for them, though in all fairness, if they wanted to just out a new song every month and a half or so from now until the electric grid crashes, I don’t really see how I’d complain about it. But as I write this I’m not sure if “Better Know Better” is leading toward an EP or album or if it’s just a standalone, but I’ll take it as it comes from these cats and in the spirit of the music itself, leave tomorrow’s worries for their own time.

V-I-B-E. Behold:

New release from Lammping – Better Know Better

We’ve been recording a bunch of music for our new album. This joint started with a riff and ended up wherever this is. Probably not gonna be on the album, but its a cool ditty, so why not put it out. We started making beats out of our own songs as well, so the b-side is a remix of the single. Dig!

https://www.instagram.com/lammping
https://lammping.bandcamp.com/

Lammping, “Better Know Better” (2023)

Here begins day two of 10. I don’t know at what point it occurred to me to load up the Quarterly Review with killer stuff to make it, you know, more pleasant than having it only be records I feel like I should be writing about, but I’m intensely glad I did.

Seems like a no brainer, right? But the internet is dumb, and it’s so easy to get caught up in what you see on social media, who’s hyping what, and the whole thing is driven by this sad, cloying FOMO that I despise even as I participate. If you’re ever in a situation to let go of something so toxic, even just a little bit and even just in your own head — which is where it all exists anyhow — do it. And if you take nothing else from this 100-album Quarterly Review besides that advice, it won’t be a loss.

Quarterly Review #11-20:

Magnatar, Crushed

Can’t say they don’t deliver. The eight-song/38-minute Crushed is the debut long-player from Manchester, New Hampshire’s Magnatar, and it plays to the more directly aggressive side of post-metallic riffing. There are telltale quiet stretches, to be sure, but the extremity of shouts and screams in opener “Dead Swan” and in the second half of “Crown of Thorns” — the way that intensity becomes part of the build of the song as a whole — is well beyond the usual throaty fare. There’s atmosphere to balance, but even the 1:26 “Old” bends into harsh static, and the subsequent “Personal Contamination Through Mutual Unconsciousness” bounces djent and post-hardcore impulses off each other before ending up in a mega-doom slog, the lyric “Eat shit and die” a particular standout. So it goes into “Dragged Across the Surface of the Sun,” which is more even, but on the side of being pissed off, and “Loving You Was Killing Me” with its vastly more open spaces, clean vocals and stretch of near-silence before a more intense solo-topped finish. That leaves “Crushed” and “Event Horizon” to round out, and the latter is so heavy it’s barely music and that’s obviously the idea.

Magnatar on Facebook

Seeing Red Records on Bandcamp

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Wild Rocket, Formless Abyss

Three longform cosmic rock excursions comprise Wild Rocket‘s Formless Abyss — “Formless Abyss” (10:40), “Interplanetary Vibrations” (11:36) and “Future Echoes” (19:41) — so lock in your harness and be ready for when the g-forces hit. If the Dubliners have tarried in following-up 2017’s Disassociation Mechanics (review here), one can only cite the temporal screwing around taking place in “Interplanetary Vibrations” as a cause — it would be easy to lose a year or two in its depths — never mind “Future Echoes,” which meets the background-radiation drone of the two inclusions prior with a ritualized heft and slow-unfurling wash of distortion that is like a clarion to Sagan-headed weirdos. A dark-matter nebula. You think you’re freaked out now? Wild Rocket speak their own language of sound, in their own time, and Formless Abyss — while not entirely without structure — has breadth enough to make even the sunshine a distant memory.

Wild Rocket on Facebook

Riot Season Records website

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Trace Amount, Anti Body Language

An awaited debut full-length from Brooklyn multimedia artist/producer Brandon Gallagher, Trace Amount‘s Anti Body Language sees release through Greg Puciato‘s Federal Prisoner imprint and collects a solid 35 minutes of noise-laced harsh industrial worldbreaking. Decay anthems. A methodical assault begins with “Anxious Awakenings” and moving through “Anti Body Language” and “Eventually it Will Kill Us All,” the feeling of Gallagher acknowledging the era in which the record arrives is palpable, but more palpable are the weighted beats, the guttural shouts and layers of disaffected moans. “Digitized Exile” plays out like the ugliest outtake from Pretty Hate Machine — a compliment — and after the suitably tense “No Reality,” the six-minute “Tone and Tenor” — with a guest appearance from Kanga — offers a fuller take on drone and industrial metal, filling some of the spaces purposefully left open elsewhere. That leaves the penultimate “Pixelated Premonitions” as the ultimate blowout and “Suspect” (with a guest spot from Statiqbloom; a longtime fixture of NY industrialism) to noise-wash it all away, like city acid rain melting the pavement. New York always smells like piss in summer.

Trace Amount on Instagram

Federal Prisoner store

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Lammping, Desert on the Keel

This band just keeps getting better, and yes, I mean that. Toronto’s Lammping begin an informal, casual-style series of singles with “Desert on the Keel,” the sub-four-minutes of which are dedicated to a surprisingly peaceful kind of heavy psychedelia. Multiple songwriters at work? Yes. Rhythm guitarist Matt Aldred comes to the fore here with vocals mellow to suit the languid style of the guitar, which with Jay Anderson‘s drums still giving a push beneath reminds of Quest for Fire‘s more active moments, but would still fit alongside the tidy hooks with which Lammping populate their records. Mikhail Galkin, principal songwriter for the band, donates a delightfully gonna-make-some-noise-here organ solo in the post-midsection jam before “Desert on the Keel” turns righteously back to the verse, Colm Hinds‘ bass McCartneying the bop for good measure, and in a package so welcome it can only be called a gift, Lammping demonstrate multiple new avenues of growth for their craft and project. I told you. They keep getting better. For more, dig into 2022’s Stars We Lost EP (review here). You won’t regret it.

Lammping on Instagram

Lammping on Bandcamp

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Limousine Beach, Limousine Beach

Immediate three-part harmonies in the chorus of opener “Stealin’ Wine” set the tone for Limousine Beach‘s self-titled debut, as the new band fronted by guitarist/vocalist David Wheeler (OutsideInside, Carousel) and bringing together a five-piece with members of Fist Fight in the Parking Lot, Cruces and others melds ’70s-derived sounds with a modern production sheen, so that the Thin Lizzy-style twin leads of “Airboat” hit with suitable brightness and the arena-ready vibe in “Willodene” sets up the proto-metal of “Black Market Buss Pass” and the should-be-a-single-if-it-wasn’t “Hear You Calling.” Swagger is a staple of Wheeler‘s work, and though the longest song on Limousine Beach is still under four minutes, there’s plenty of room in tracks like “What if I’m Lying,” the AC/DC-esque “Evan Got a Job” and the sprint “Movin’ On” (premiered here) for such things, and the self-awareness in “We’re All Gonna Get Signed” adds to the charm. Closing out the 13 songs and 31 minutes, “Night is Falling” is dizzying, and leads to “Doo Doo,” the tight-twisting “Tiny Hunter” and the feedback and quick finish of “Outro,” which is nonetheless longer than the song before it. Go figure. Go rock. One of 2022’s best debut albums. Good luck keeping up.

Limousine Beach on Facebook

Tee Pee Records website

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40 Watt Sun, Perfect Light

Perfect Light is the closest Patrick Walker (also Warning) has yet come to a solo album with 40 Watt Sun, and any way one approaches it, is a marked departure from 2016’s Wider Than the Sky (review here, sharing a continued penchant for extended tracks but transposing the emotional weight that typifies Walker‘s songwriting and vocals onto pieces led by acoustic guitar and piano. Emma Ruth Rundle sits in on opener “Reveal,” which is one of the few drumless inclusions on the 67-minute outing, but primarily the record is a showcase for Walker‘s voice and fluid, ultra-subdued and mostly-unplugged guitar notes, which float across “Behind My Eyes” and the dare-some-distortion “Raise Me Up” later on, shades of the doom that was residing in the resolution that is, the latter unflinching in its longing purpose. Not a minor undertaking either on paper or in the listening experience, it is the boldest declaration of intent and progression in Walker’s storied career to-date, leaving heavy genre tropes behind in favor of something that seems even more individual.

40 Watt Sun on Facebook

Cappio Records website

Svart Records website

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Decasia, An Endless Feast for Hyenas

Snagged by Heavy Psych Sounds in the early going of 2022, French rockers Decasia debut on the label with An Endless Feast for Hyenas, a 10-track follow-up to 2017’s The Lord is Gone EP (review here), making the most of the occasion of their first full-length to portray inventive vocal arrangements coinciding with classic-sounding fuzz in “Hrosshvelli’s Ode” and the spacier “Cloud Sultan” — think vocalized Earthless — the easy-rolling viber “Skeleton Void” and “Laniakea Falls.” “Ilion” holds up some scorch at the beginning, “Hyenas at the Gates” goes ambient at the end, and interludes “Altostratus” and “Soft Was the Night” assure a moment to breathe without loss of momentum, holding up proof of a thoughtful construction even as Decasia demonstrate a growth underway and a sonic persona long in development that holds no shortage of potential for continued progress. By no means is An Endless Feast for Hyenas the highest-profile release from this label this year, but think of it as an investment in things to come as well as delivery for right now.

Decasia on Facebook

Heavy Psych Sounds on Bandcamp

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Giant Mammoth, Holy Sounds

The abiding shove of “Circle” and the more swinging “Abracadabra” begin Giant Mammoth‘s second full-length, Holy Sounds, with a style that wonders what if Lowrider and Valley of the Sun got together in a spirit of mutual celebration and densely-packed fuzz. Longer pieces “The Colour is Blue” and “Burning Man” and the lightly-proggier finale “Teisko” space out more, and the two-minute “Dust” is abidingly mellow, but wherever the Tampere, Finland, three-piece go, they remain in part defined by the heft of “Abracadabra” and the opener before it, with “Unholy” serving as an anchor for side A after “Burning Man” and “Wasteland” bringing a careening return to earth between “The Colour is Blue” and the close-out in “Teisko.” Like the prior-noted influences, Giant Mammoth are a stronger act for the dynamics of their material and the manner in which the songs interact with each other as the eight-track/38-minute LP plays out across its two sides, the second able to be more expansive for the groundwork laid in the first. They’re young-ish and they sound it (that’s not a slag), and the transition from duo to three-piece made between their first record and this one suits them and bodes well in its fuller tonality.

Giant Mammoth on Facebook

Giant Mammoth on Bandcamp

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Pyre Fyre, Rinky Dink City / Slow Cookin’

New Jersey trio Pyre Fyre may or may not be paying homage to their hometown of Bayonne with “Rinky Dink City,” but their punk-born fuzzy sludge rock reminds of none so much as New Orleans’ Suplecs circa 2000’s Wrestlin’ With My Ladyfriend, both the title-tracks dug into raw lower- and high-end buzztone shenanigans, big on groove and completely void of pretense. Able to have fun and still offer some substance behind the chicanery. I don’t know if you’d call it party rock — does anyone party on the East Coast or are we too sad because the weather sucks? probably, I’m just not invited — but if you were having a hangout and Pyre Fyre showed up with “Slow Cookin’,” for sure you’d let them have the two and a half minutes it takes them (less actually) to get their point across. In terms of style and songwriting, production and performance, this is a band that ask next to nothing of the listener in terms of investment are able to effect a mood in the positive without being either cloyingly poppish or leaving a saccharine aftertaste. I guess this is how the Garden State gets high. Fucking a.

Pyre Fyre on Instagram

Pyre Fyre on Bandcamp

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Kamru, Kosmic Attunement to the Malevolent Rites of the Universe

Issued on April 20, the cumbersomely-titled Kosmic Attunement to the Malevolent Rites of the Universe is the debut outing from Denver-based two-piece Kamru, comprised of Jason Kleim and Ashwin Prasad. With six songs each hovering on either side of seven minutes long, the duo tap into a classic stoner-doom feel, and one could point to this or that riff and say The Sword or liken their tone worship and makeup to Telekinetic Yeti, but that’s missing the point. The point is in the atmosphere that is conjured by “Penumbral Litany” and the familiar proto-metallurgy of the subsequent “Hexxer,” prominent vocals echoing with a sense of command rare for a first offering of any kind, let alone a full-length. In the more willfully grueling “Cenotaph” there’s doomly reach, and as “Winter Rites” marches the album to its inevitable end — one imagines blood splattered on a fresh Rocky Mountain snowfall — the band’s take on established parameters of aesthetic sounds like it’s trying to do precisely what it wants. I’m saying watch out for it to get picked up for a vinyl release by some label or other if that hasn’t happened yet.

Kamru on Facebook

Kamru on Bandcamp

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Toronto freewheeling fuzz purveyors Lammping release their new EP, Stars We Lost, on March 4 through We Are Busy Bodies. And look, I know full well that my say-so holds about as much sway as two or three cotton balls against the barrage of noise in universes both digital and actual, but I’ll tell you again these guys are onto something special. With the songwriting of Mikhail Galkin as their foundational element, backed by the solid push of Jay Anderson‘s drums, they’ve nestled their way into an aesthetic that’s nostalgic in purpose and takes a forward thinking route to get there. Consider Stars We Lost, the title. It’s of the moment — loss is everywhere, all the time, in plague and war and famine and life — but it calls out to the ridiculous notion of popular culture pedestal-making too. “Stars.” They got it from the tabloids. It’s grocery-store pulp. Laughing at the notion of its own triviality on the cosmic scale it implies. Fucking genius.

I’ve been out here for a couple years now talking up their shit — I’ll spare you other links, but last year’s Flashjacks (review here) was rad rad rad and also pretty rad — and Stars We Lost is another sub-20-minute reminder why. “Everlasting Moor,” “Never Phoenix,” “Home of Shadows,” “’21 Interlude” and “Beyond the Veil” bring hooks and remember-good-times vibes from the outset, but there’s so much more happening underneath. In the quote below, Galkin talks about sound-collage as an aspiration, and you can absolutely hear that taking shape in “Never Phoenix,” with the ’90s hip-hop bounce to its rhythm and starbursts of melody, and “’21 Interlude,” which is executed with maybe-purposeful irony in a manner retro enough to have been a lost backing track for Beastie Boys. Meanwhile, in the hall of justice, “Everlasting Moor” runs a thread of fuzz out in its first verse that never seems to disappear, and that’s only to the EP’s great strength, as even the acoustic-led “Home of Shadows” finds space for space through its electric-wah flourish and smooth vocal melody.

The sunny fuzz indie of “Beyond the Veil” wraps some version or other, but the master I got has another track too, in “Golem of Garbage Hill” that’s no less wonderfully catchy than “Everlasting Moor” or “Never Phoenix” or whichever track you want to set it against, even if the mood is a little more severe in the chorus. If it’s not actually on the physical version of Stars We Lost, I’m hoping it gets released as a standalone 7″ with a B-side that sounds completely different but is no less awesome. Lammping make such things sound easily crafted, organic, and righteously humble. I don’t know what the sample is at the end of “Beyond the Veil,” but it clearly means something to someone, probably Galkin, as it’s too purposefully placed to just be random. At this point, I’m willing to trust these guys don’t do anything without good reason, even if occasionally that good reason is just screwing around.

Let me bottom-line Lammping for you: I’ve never been cool. Not one day in my life. When I listen to Lammping, I feel cool. Like I’m in on all the jokes. Like sometimes things are rough but you can just roll over all that and it doesn’t matter anyway because if you’ve got a good song in your head, that’s enough. Bonus points to “Everlasting Moor” for being both an immigrant story and for the Beatles reference in the second half.

If you want the critical appraisal, you can absolutely hear Lammping pushing their sound forward on Stars We Lost, and more important, they know they’re doing it and it still doesn’t sound forced. I would expect and hope that whatever full-length might follow — and it’s worth noting that these songs might indeed show up on a next LP; that’s what happened last time — to continue along this path, because what’s ultimately happening is that, with Galkin‘s craft as the base they’re working from and the experimentalism laid overtop, they’re finding their style in an honest swath of influences. This is life, or some vision of it, and if you can’t get down, it’s your loss. Me, I’m on board with wherever they go next. I’ll probably be begging to stream it just like I was with this. Like I said, never been cool.

But we can pretend:

Mikhail Galkin on Stars We Lost:

Everlasting Moor begins with “See a man, he’s popping and locking in a parkette gazebo”. I saw a dude in an afternoon doing just that, at a small parkette close to my house, where I bring my daughter to play. He brought a boombox and was just breakdancing by himself in this little gazebo, with no one around. For whatever reason, that sparked a stream of consciousness song that was about finding our place in the world, and if unable to, creating a world in your mind you feel at home in. I’ve always wanted to write a song about my own immigrant experience, and after the first line, the words just spilled out.

Our first records were more traditional Psych/Stoner Rock albums, propelled by guitar riffs and solos, but we ultimately always wanted to reach beyond that. We love Sleep and Sabbath and King Gizzard but we also love De La Soul and Madlib, for example. The approach for this record was much closer to 3 feet High and Rising (De La), where we look at all the ideas and sounds we have in our minds almost as samples. Once you approach the recording process in that way, where you’re almost building a sound collage around a song you wrote with just a guitar, the world opens up musically. The end result is still under the psych umbrella, but we hope it translates to something that transcends cliché and categorization.

Jay came up with the idea for the record cover. When people ask us to describe our sound, its kind of difficult to nail down, so an artistic representation speaks louder sometimes. Jay was like “imagine a surfer dude wearing a black hoodie under his outfit – that’s our sound!” It made sense to me right away. The melodic and heavy and pretty and rugged all in one pot. So we played off the early Beach Boys imagery and came up with that. Jay’s pal Kagan McLeod, who does illustration for like GQ and Wall Street Journal and Newsweek was nice enough to help us out and bring our vision to life.

The name “Stars We Lost” comes from the classic tabloid headlines of when celebrities pass. I thought it sounded like a good album title and thematically reflected some of the record and Jay was down.

The foundation of Lammping’s sound is rooted in Jay Anderson’s heavy drumming and Mikhail Galkin’s melodic riffs, but with the addition of samples, drum machines, and a variety of instrumentation, the band’s sonic palate is just as indebted to Stereolab, De La Soul and Kraftwerk as it is to Black Sabbath, Blue Cheer and Sleep.

Stars We Lost, is a new EP from the band is due to come out on vinyl and digitally on March 4 2022 via We Are Busy Bodies.

Lammping on Instagram

Lammping on Bandcamp

We are Busy Bodies on Facebook

We are Busy Bodies on Instagram

We are Busy Bodies on Bandcamp

We are Busy Bodies website

Funky-fresh off releasing one of 2021’s best full-lengths in Flashjacks (review here), Toronto purveyors of mellow fuzzy groove Lammping will issue the new five-track EP Stars We Lost on March 4.

Like their 2021 EP, New Jaws (review here), it’s entirely possible that the songs of the 18-ish-minute Stars We Lost will be repurposed for the band’s next album, and if that’s the case, fine. I’ll take new Lammping as it comes. Their songs are memorable, unpretentious, engaging, and capture a nostalgic feel that transcends genre fluidly without losing their structural purpose. In short, I dig this band. More from them is only good news as far as I’m concerned.

We Are Busy Bodies has the release this time around — Flashjacks was on Echodelick Records, and 2020’s Bad Boys of Comedy (review here) was on Nasoni — and the opening track “Everlasting Moor” is streaming now, the band bringing vibes from surf and garage to coincide with their ’90s-bent do-anything-they-wantness. I’m on board, let’s go.

From their Bandcamp:

Lammping – Stars We Lost – March 4

Lammping is a psychedelic rock band based out of Toronto, founded by singer/songwriter Mikhail Galkin and drummer Jay Anderson. Meeting at a concert where Jay’s and Mikhail’s previous bands were sharing the bill, they quickly connected over their musical tastes, drawing on their love of everything from mid-90’s boom-bap to Tropicalia and library music.

The band was started as an attempt to bring the various musical influences and ideas together under a psych-rock umbrella, expanding the possibilities of heavy music. The band’s demo led to a vinyl release of the debut LP on Nasoni Records in 2020 and their sophomore album “Flashjacks” in 2021 on Echodelic Records, both albums drawing critical praise.

The foundation of Lammping’s sound is rooted in Jay Anderson’s heavy drumming and Mikhail Galkin’s melodic riffs, but with the addition of samples, drum machines, and a variety of instrumentation, the band’s sonic palate is just as indebted to Stereolab, De La Soul and Kraftwerk as it is to Black Sabbath, Blue Cheer and Sleep.

Stars We Lost, is a new EP from the band is due to come out on vinyl and digitally on March 4 2022 via We Are Busy Bodies.

Tracklisting:
1. Everlasting Moor
2. Never Phoenix
3. Home of Shadows
4. ’21 Interlude
5. Beyond The Veil

https://www.instagram.com/lammping
https://lammping.bandcamp.com/
http://www.facebook.com/wearebusybodies
http://www.instagram.com/wearebusybodies
https://wearebusybodies.bandcamp.com/
http://www.wearebusybodies.com/

Lammping, Stars We Lost (2022)