Posted in Whathaveyou on October 27th, 2025 by JJ Koczan
Venceremos is the name of the forthcoming and awaited long-player from Villagers of Ioannina City, their first album in six years (third overall), first new studio release since signing to Napalm Records after self-issuing 2019’s Age of Aquarius, and indeed the awaited follow-up to that offering, which became a landmark bringing a progressive creative voice to the Greek heavy underground. Texturally and in the complexity of their intent, Villagers of Ioannina City found their own direction and have basically been leaving their mark with it on stages ever since (or since conditions permitted, anyway; plague years apply). I’ve heard no audio from the album and have no real details to share here except for the cover art, which came down the PR wire with the title, which is Greek for ‘we will win.’ Uh, you guys won more than half a decade ago, but cool to express some confidence.
Let’s assume the release, not yet done being recorded, will be out before the band undertakes their Spring ’26 headlining European tour in March and April, or during that tour, and while we’re assuming, it’s probably safe to figure the March/April stint won’t be their last supporting the album. As for the album, right onto the list of 2026’s most anticipated records it goes. I feel like the world (in the very limited underground heavy manifestation thereof) has been waiting to see how Age of Aquarius would be answered by Villagers of Ioannina City as they move forward. Knowing we’re a bit closer to that is exciting.
To the aforementioned PR wire:
VILLAGERS OF IOANNINA CITY Reveal Cover Art for New Studio Album “Venceremos”, And Announce Major 2026 European Tour!
Greek heavy rock powerhouse VILLAGERS OF IOANNINA CITY have revealed the cover art and title of their upcoming studio album, Venceremos, set for release in Spring 2026 via Napalm Records!
While details of the album remain under wraps, this announcement marks the beginning of an exciting new era for one of Europe’s most visionary and genre-defying acts.
“We’ve been silent, off the stage and out of sight for over a year. But there was a reason for the silence, every bit of focus, energy, and fire went into the creation of our new album, ” the band reveals.
“We’re delighted to share that the recordings are nearly finished. The new album is set to rise in Spring 2026 via Napalm Records, but we couldn’t wait to reveal the cover, featuring stunning artwork once again crafted by Fotis Varthis and a layout designed by Ilias ‘SpyOne’ Tsafaras.
And its title…“VENCEREMOS”
Stay tuned. The storm is coming… release date, pre-orders, and more exciting news soon. The quest is one, the name is Freedom!”
Alongside the reveal, the band has announced a headline European tour for March and April 2026, their most extensive run to date. Find all dates listed below!
Rooted deep in the mysticism of Epirus and driven by a relentless creative spirit, VILLAGERS OF IOANNINA CITY have carved out a sound that bridges ancient tradition and modern heaviness — fusing the raw pulse of psychedelic and stoner rock with the soul of Balkan folklore. The result is a sound that’s as massive and hypnotic as it is deeply human.
Since their breakout with Riza and their critically acclaimed follow-up Age of Aquarius (2019), the band has risen from Greece’s underground to become one of the continent’s most electrifying live forces. Their performances are immersive, transcendent experiences; a collision of primal rhythm, cosmic energy, and cultural heritage that has captivated audiences across Europe.
From Hellfest and Motocultor to Rockwave and Graspop, VILLAGERS OF IOANNINA CITY have earned a reputation for commanding festival stages and delivering unforgettable, high-voltage shows that blur the lines between ritual and rock concert.
With Venceremos on the horizon and a brand-new European tour incoming, the band stands ready to take their explosive sound even further!
Venceremos Tour 2026 – Part I: 05.03.26 / Skopje – MKC 06.03.26 / Novi Sad – SKCNS Fabrika 07.03.26 / Zagreb – Boogaloo 08.03.26 / Wien – Szene 10.03.26 / Prague – Rock Café 11.03.26 / Krakow – Hype Park 12.03.26 / Warsaw – Proxima 13.03.26 / Berlin – Hole⁴⁴ 14.03.26 / Hamburg – Bahnhof Pauli 15.03.26 / Copenhagen – Lille Vega 17.03.26 / Köln – Bürgerhaus Stollwerck 18.03.26 / Haarlem – Patronaat 19.03.26 / Tilburg – O13 Poppodium 20.03.26 / Paris – Le Trabendo 21.03.26 / Lille – The Black Lab 22.03.26 / Nantes – Le Ferrailleur 25.03.26 / Bordeaux – Le Rocher de Palmer 26.03.26 / Toulouse – Le Metronum 27.03.26 / Vitoria-Gasteiz – Helldorado 28.03.26 / Barcelona – Sala Bóveda 29.03.26 / Madrid – Nazca 31.03.26 / Montpellier – Antirouille 01.04.26 / Milano – Legend Club 02.04.26 / Aarau – KIFF 03.04.26 / Guebwiller – La Nef Des Dominicains 04.04.26 / Stuttgart – Im Wizemann 05.04.26 / Ljubljana – Orto Bar 07.04.26 / Bratislava – Randal Club 08.04.26 / Budapest – A38 Hajó
Posted in Reviews on October 9th, 2025 by JJ Koczan
Today is Thursday, but it’s day five of the Fall 2025 Quarterly Review because I snuck in that first day last Friday. I cannot convey to you how much that has screwed me up. Turns out when you do one thing precisely one way for like 13 years and then all of a sudden flip it around another way it can be confusing. Stay tuned for more deep-impact life hacks and insights like this.
Or maybe riffs instead. It’s okay. That’s most of what keeps me coming back too.
Quarterly Review #41-50:
Paradise Lost, Ascension
More than 35 years on from their outset, Paradise Lost are an institution. I know they’ve had their stylistic divergences, but since recommitting themselves to their morose take on doom metal more than 15 years ago, they’ve hit a rare echelon of reliability one can only call Kreator-esque. That’s not a sonic comparison, but like the German thrash stalwarts, Paradise Lost have their sound — dark and more malleable in tempo than the thickened tones make it feel across these 10 songs — and within that sphere are able to do basically what they want musically and make it work. Side A’s “Salvation,” the longest inclusion at seven minutes, is a tour de force of the appeal of modern Paradise Lost, and a fitting summary of how encompassing they’ve become while still remaining recognizable as themselves. They even get hooky on “Deceivers,” so yes, still growing, still pushing, still Paradise Lost. A once-a-generation band, even as part of a cohort as they were, and not to be taken for granted.
The sixth full-length from still-younger-than-some-bands-who-haven’t-been-around-as-long Icelandic heavy rockers The Vintage Caravan plays out across 17 tracks and 59 minutes, with groups of songs presumably corresponding to double-vinyl side splits separated by interludes each of which is named “Portal.” So, Portals. The first of them follows “Philosopher,” the lead single which features Mikael Åkerfeldt, who turns out to be one of several guests across the record, but the real headliner is the songwriting. In the big choruses of “Here You Come Again,” “Give and Take,” and others, the band recall a heyday when rock could be heavy and accessible outside its own sphere, while “Electrified” later on builds into a tense boogie hook before “Portal V” transitions to the acoustic-based “My Aurora” and the closer “This Road,” one more uptempo, shred-inclusive, exceptionally well-crafted piece of The Vintage Caravan‘s classic-heavy-informed style, efficient in getting its point across despite allowing itself time to dwell as it does throughout.
It’s not really a huge surprise that Los Angeles dark heavy psych rockers Spirit Mother would ‘go acoustic’ at some point, given the dynamic they’ve showcased to-date on their definitely-plugged studio albums. The most recent of those, 2024’s righteous, Heavy Psych Sounds-issued Trails (review here), is the source for “Wolves” and “Below,” which feature on this short, stripped-down offering. “Wolves,” which capped the record in memorable fashion, leads off here with its foreboding feeling all the more realized given the state of the world, while “Below” finds violinist SJ pushing into a soft crescendo taking off from Armand Lance‘s guitar and vocals. Recorded live, Songs From the Basin sounds duly organic, and whenever Spirit Mother in any form — that is, the full band or just the duo as they are here — wants to drop a full acoustic set, I’m here for it. Once again, the lesson is once you have well-written songs, you can make them do and be just about whatever you want.
I’m pretty sure the now-Berlin-based experimentalist duo of Aidan Baker and Leah Buckareff are north of 30 full-lengths released since their first one in 2002, and that doesn’t count blurring the lines between one project and another with collaborations or Baker‘s solo work. Prolific as they are, they remain expressive in the hard-drum-machined “It’s Cold When You Cut Me” (15:09), one of the four extended inclusions of Cut, where the sinister undercurrent comes to fruition in the song’s second half of manipulated, noisy drone. “Dark, No Knowledge” (13:26) lays out a distorted landscape and rolls through it, Godflesh in a hand-cranked meat grinder, becoming a swell of apocalyptic noise, while “She Ate His Dreams From the Inside and Spat Out the Frozen Fucking Bones” (15:14) dares to be pretty as it leaves spaces open and fills out later with psychedelic processionmaking, leaving the immediate ritual of “Omenformation” to resonate high before piling on low end frequencies while also freakjazzing and riffing out. The noise swallows all but it turns out there’s salvation in that monster’s stomach, so I’ll take it. One Nadja album may be an inevitable precursor to the next one, but that doesn’t mean they don’t make it a world of its own.
Düsseldorf-bred psych rockers Vibravoid belong in a class of undervalued all their own. As they mark their 35th anniversary, they begin their new studio album Remove the Ties with a mischievous redirect of krautrock-style electronics before the garage-wavey “Neustart” and pop-shimmerier “Power of Dreams” dig further into the heart of the record, letting side A round out with the longer, deeper-reverbed “Follow Me Follow You” and its effects barrage play out atop the steady kick drum tasked with holding it together. But nobody who’s been in a band for 35 years is about to actually be sloppy, and there’s no actual danger of off-the-rails on Remove the TiesBaby Woodrose roamed the earth. Vibravoid were there then too. It’s easy to get around when you’re from a different dimension.
Do you have six minutes for a good pummeling? Of course you do. Brooklynite four-piece For Fuck’s Sake offer two tracks like a digital punker 7″ with 7-Minute Abs/Lobotomy, and they make no attempt to hide the fact of their sights being set on destruction. Their sound, rooted in hardcore and sludge in like measure, counting in with the snare on “7-Minute Abs” and daring to cross the three-minutes-long threshold with the fervent chug and bone-on-bone impact of “Lobotomy,” reminds of nothing so much as earlier 16, but with an unmistakable edge of Northeastern confrontationalism. That is, they’ll fuck you up and they know it, so that’s what they’re setting out to do. Barking, gnashing intensity set a harsh backdrop for what’s an engaging groove so long as you’re pissed off enough to process it (which you should be; look around), and the rawness of their delivery, the unabashed assault of it, comes through as genuine. Also punishing.
Classic heavy rock and roll forms the core of Paralyzed‘s approach, with guitarist Michael Binder‘s low, gravelly vocals reminiscent of Jim Morrison at his least hinged, suited to the blues behind second cut “Railroad” and the subsequent march of “Rosie’s Town” on the band’s third LP, Rumble & Roar. To say they — that is, Binder, organist/rhythm guitarist Caterina Böhner, bassist Philipp Engelbrecht and drummer Florian Thiele — make it a party across the nine-song/41-minute outing is perhaps understating the case, but if you’d accuse “Heavy Blues” of being too on the nose, you’re missing the fact that on the nose is the point. There’s no irony here, no sneer to the boogie of “White Paper” or the slow organ-laced fluidity of “The Witch,” just heavy vibes and reaffirmation of the band’s growth as songwriters. I’m not even sure where one would start complaining about such a thing.
Delivered as their label-debut for Magnetic Eye Records, the 10-song/40-minute Bear is the fourth full-length from Nashville two-piece Friendship Commanders, with guitarist/vocalist Buick Audra and drummer/bassist/synthesist Jerry Roe having recorded with Kurt Ballou in addition to doing some at home for an affect accordingly tight in craft and heavy in impact. “Melt” pushes toward a ’90s-style reimagining of heavy rock as both commercially viable and empowering, while “X” pairs its tonal crunch with the keyboardy reach of its midsection, poppish but still heavy even unto the snare hits. Pop becomes another tool in their arsenal, whether it’s the layered ascent and push of “New” or the weighted culmination presented with closer “Dead and Discarded Girls,” and the band don’t seem to shy away from being able to compose at the level they are. At the same time, “Dripping Silver” feels fully cognizant of the radness in the riff it’s riding, so there’s a balance to it as well. They sound like professionals.
Former Iron Man and, as of recently, former Spiral Grave vocalist “Screaming Mad” Dee Calhoun is pissed. The Maryland-based acoustic metal troubadour sounds resolute on Angry Old Man, and while his past solo work could hardly be said to pull punches, he hits a different level of laying it all out there on “Kill a Motherfucker” late in the procession here. As ever, hollow-bodied-resonance is the foundation throughout, but other elements like the harmonica in “Voodoo Queen” and the tolling bell at the outset of “VVitch (A Chant)” (not really a chant) fill out the reaches when Calhoun‘s powerhouse voice — still his primary instrument, though the guitar work has gotten more complex with time as well — recedes to a softer delivery. But when he belts it out — looking at you, “Rise Up to March” — he can shake the ground, and if you have any prior familiarity with his work, you already know he’s unmistakable in that regard. That remains the case here, even as he positions himself the titular Angry Old Man. Ain’t none of us getting any younger, dude.
The narrative of the band getting together after a few years, enjoying each other’s company as they wrote and recorded Sörmland — named for where in Sweden they were — becomes real with the mellowprog delve of “Honey Trap” more than the shorter leadoff “Video,” as pastoralia takes centerstage with organic melodies and a casual groove. Unsurprisingly if you know Twin Peaks, “Laura Palmer’s Theme” is darker, but the real reference it’s making seems to be to “Moonlight Sonata” as regards the keys, but “Neon Lights” answers back by being in no hurry whatsoever with sweet intertwining guitar lines and a subtle build to later movement. At 11 minutes, the title-track that caps is the longest inclusion, but fair enough since they have to make room for that tenor sax and all. I wouldn’t know from experience, but Sörmland is what I imagine it would sound like to be emotionally regulated, ever, and anytime Automatism want to get together out in the woods or by some fields or a lake or whathaveyou, I hope someone has the presence of mind to hit record.
Posted in Whathaveyou on July 22nd, 2025 by JJ Koczan
Due out Sept. 26, The Vintage Caravan‘s new album Portals is led off by “Philosopher,” which among the 17 total inclusions just happens to be the one on which Mikael Åkerfeldt of Opeth puts in guest lead vocals. He rides the Icelandic trio’s groove with characteristic smoothness and soul, but if you’re thinking he’d drop a death growl in there somewhere, it’s not really that kind of party. From what I was told, you can get a bit of that on the latest Opeth, so fair enough.
Portals is the fifth or sixth The Vintage Caravan full-length, depending on what you count, and the lead single from it (sans Akerfeldt) was the track “Riot,” and it’s even catchier than the opener, while retaining some of the proggy nuance that’s taken hold in the band’s sound over their years; they’ve been going nearly two decades and are a veteran outfit, but are still reasonably young since they started as teenagers. Nothing like a head start, as their songwriting to this point bears out.
Massive Euro tour to coincide with the release. Dates and all info from the PR wire:
Iceland’s Retro-Prog Rockers THE VINTAGE CARAVAN Present New Single “Philosopher” Featuring Opeth’s Mikael Åkerfeldt
Following the previously-released first single “Riot” taken from their forthcoming studio album, Portals, due out on September 26, 2025 via Napalm Records, today, Icelandic retro-fueled prog rock trio THE VINTAGE CARAVAN have shared a visualizer video for their new single “Philosopher” — a haunting, soulful track elevated by the unmistakable voice of Opeth’s Mikael Åkerfeldt.
This rare collaboration bridges generations of progressive rock, uniting Åkerfeldt’s iconic melancholy with the band’s vibrant, vintage spirit. This is an exciting meeting of the minds – many years in the making!
Bassist Alexander Örn Númason reveals: “The Vintage Caravan proudly present our new single Philosopher, which features none other than the amazing Mikael Åkerfeldt from Opeth on lead vocals!
Having toured extensively with Opeth the last years we made quite good friends with them and we were so honored when Mikael offered to lend us a helping hand with our new album. Originally Óskar meant to sing the whole song but after discussing the possibility of having Mikael guest on one of the songs I couldn’t hear the song anymore without him singing the verses. He did a stellar job and we couldn’t be more happy with it.”
Örn adds: “Philosopher is the opening track of our album and we wanted to start this album with a more quiet dreamy intro leading into this quite heavy song. Full of laid back rock riffs with bubbling arpeggiating synth textures, the song leads into the first Portal of five signaling the beginning of this journey of an album.
We hope you enjoy listening and hope to see you on tour in Europe and UK this fall! “
Their new album, Portals, is another testament to THE VINTAGE CARAVAN’s endlessly creative, modern take on the psychedelic retro rock sound, cementing the band’s leading position in the scene. The band’s previous studio album, Monuments, hit #21 on the German charts, marking a milestone in their evolution, and the new offering continues to solidify THE VINTAGE CARAVAN’s reputation as torchbearers of contemporary classic rock. Aside from their critically acclaimed releases, the band’s electrifying live performances have mesmerized audiences at major festivals such as Wacken Open Air and Hellfest, as well as on international tours both as headliners and as support for the likes of progressive metal giants Opeth. THE VINTAGE CARAVAN will be celebrating the release of Portals with extensive headline tours in mainland Europe and the UK, announced for autumn 2025. Find all upcoming dates listed below!
Portals tracklisting: 1. Philosopher (ft. Mikael Åkerfeldt) 2. Portal I 3. Days Go By 4. Portal II 5. Here You Come Again 6. Current 7. Give and Take 8. Portal III 9. Crossroads 10. Alone 11. Portal IV 12. Freedom 13. Riot 14. Electrified 15. Portal V 16. My Aurora 17. This Road
Portals will be available in the following formats: – 1 CD Digipak – 2LP Black Vinyl – 2LP Solid Silver – 2LP Splattered Milk / Black Orange – 2LP Marbled Green Yellow Black – Digital
THE VINTAGE CARAVAN live: 25/09/2025 BE Brussels – Botanique 26/09/2025 FR Paris – Le Petit Bain 27/09/2025 NL Leeuwarden – Into The Void 28/09/2025 DE Hannover – Faust 29/09/2025 DE Berlin – Frannz 30/09/2025 DE Hamburg – St. Pauli Bahnhof 01/10/2025 DE Dortmund – Piano 02/10/2025 NL Tilburg – Hall Of Fame 03/10/2025 DE Cologne – Volta 04/10/2025 DE Karlsruhe – P8 05/10/2025 DE Pratteln – Up in Smoke Festival 07/10/2025 DE Tübingen – Sudhaus 08/10/2025 DE Bielefeld – Forum 09/10/2025 DE Jena – KuBa 10/10/2025 DE Aschaffenburg – Colos Saal 11/10/2025 DE Munich – Keep It Low Festival 12/10/2025 AT Vienna – Arena 25/10/2025 UK Margate – Margate Rock Festival, Margate 26/10/2025 UK London – Camden Assembly 27/10/2025 UK Brighton – Dust 28.10/2025 UK Southampton – The 1865 29/10/2025 UK Bristol – Exchange 30/10/2025 UK Birmingham – Mama Roux 31/10/2025 UK Newcastle – Think Tank 01/11/2025 UK Glasgow – Classic Grand
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Posted in Whathaveyou on June 6th, 2025 by JJ Koczan
The forthcoming Mars Red Sky/Monkey3 collaboration, aptly named Monkeys on Mars, will release their self-titled EP — billed as a ‘debut,’ which implies the possibility of more coming; that would be a first for Mars Red Sky collabs — on Oct. 17 just at the moment the collective project embarks on a round of four exclusive live shows. One of those is Desertfest Belgium, and on Oct. 31, they’ll also do Westill Festival in France, supporting the release and, thereby, outside the box creativity more generally.
I could probably sit here and tell you how much I’m looking forward to hearing this release. Mars Red Sky‘s EPs are always where they try out ideas and push boundaries, and their subsequent albums are always richer for it. Monkey3 have a long history of explorational and transgressive heavy psychedelia and cosmic rock. To bring the two entities together isn’t something I would’ve guessed was going to happen — that is, it’s not an obvious pairing; the two bands haven’t toured together 17 times and they don’t share members, etc. — but it highlights how open-minded both these groups are and that’s part of what makes them special in the first place. One may or may not have seen it coming, but the opportunity for both bands to expand each other’s parameters is enough reason to look forward to what’s coming, whatever shape it might ultimately take.
I don’t have audio to post because they’re still making the thing, but there’s artwork and info courtesy of the PR wire, so by all means, dig into that:
Mars Red Sky and Monkey3 are MONKEYS ON MARS: the cosmic supergroup unveil tour and EP artwork.
Made up of Swiss quatuor MONKEY3 and French trio MARS RED SKY, exciting heavy psychedelic project MONKEYS ON MARS announce the first dates of their Fall tour including a Desertfest Belgium appearance. They also share the artwork of their upcoming EP, dropping this October 17th 2025 on Mrs Red Sound.
MONKEYS ON MARS fuses two outer-space heavy psychedelic projects. French trio MARS RED SKY’s kraut-infused sophisticated atmospheres carried by melodic vocals and complex heavier-than-heavy rhythms meet Swiss mind-blowing outfit MONKEY3’s progressive breaks, mesmerising grooves and colossal riffs. Don’t forget this shared sci-fi passion of theirs and you will get a full interstellar trip! The dream lineup will perform a series of special shows thanks to Doomstar Bookings and 3C Tour to present their upcoming collaborative EP in full. More shows across Europe will be announced soon.
17.10.2025 SELESTAT (FR) Rock Your Brain 18.10.2025 ANTWERP (BE) DesertFest Belgium 19.10.2025 DUISBURG (DE) Bora 31.10.2025 VALLET (FR) Westill Festival
Debut EP ‘Monkeys On Mars’ is currently being recorded between France and Switzerland. The bands are working on it fully together. Each song is composed by the whole team – which makes the process complex but so much interesting. The gem is dropping this October 17th 2025 via Mrs Red Sound on vinyl, digisleeve CD, streaming and download.
MONKEYS ON MARS debut EP ‘Monkeys On Mars’ Out October 17th on Mrs Red Sound Vinyl, CD, digital.
MONKEYS ON MARS ARE: Julien Pras: vocals, guitar (Mars Red Sky) Boris De Piante: guitar (Monkey3) Jimmy Kinast: bass, vocals (Mars Red Sky) Jalil Perrenoud: bass (Monkey3) Mathieu Gazeau: drums, vocals (Mars Red Sky) Walter Albrecht: drums (Monkey3) Guillaume Desboeufs “dB”: keys & sounds (Monkey3)
Posted in Whathaveyou on March 25th, 2025 by JJ Koczan
Mars Red Sky aren’t strangers to collaborating with other artists and even full bands. Their 2023 album, Dawn of the Dusk (review here), followed through on a collab with Queen of the Meadow that began on the aptly-named Mars Red Sky & Queen of the Meadow EP (review here), and of course they paired for an EP with Year of No Light (discussed here) way back in 2012, so joining forces isn’t unprecedented. Doing so with an outfit like long-running progressive heavy instrumentalists Monkey3, however, is.
Thus Monkeys on Mars. Think of the textures! Think of the keyboards communing with vocal melodies. Think of two bands who both know so well what they’re about bringing together ideas and seeing what sticks. Think of them doing it live.
I’ve heard none of this at this point, but yeah, sign me up for that EP out Oct. 17. Will hope to have more to come on this one before then. For now, this came from socials:
Hey there,
Stoked and proud to introduce you to special project MONKEYS ON MARS, a sonic journey with our long time friends monkey3 ! It fuses our two universes. This project will perform gigs and festivals thanks to Doomstar Bookings and 3C. We will also release a fully collaborative EP on October 17th 2025 via Mrs Red Sound with support from Napalm Records. We are working on the songs together, not each one their side. It’s an exciting stuff that we are dying to reveal!!
The best The Doom Dad wrote this to describe MONKEYS ON MARS:
“Imagine a uchony in which January 31st 1961 space mission didn’t quite go according to the plan. Ham, the chimpanzee, drifted through Space and found shelter on Mars – soon joined by other monkeys. The homonids colony thus created, developed its own civilisation, freeing itself from the very rules of gravity. The music created by Monkeys on Mars sounds like the soundtrack to this strange story.”
Photo credit Cedric Mathias.
MONKEY3 is: Walter – Drums Jalil – Bass Boris – Guitars dB – Keys and Sounds
MARS RED SKY are: Julien Pras : guitar, vocals Jimmy Kinast : bass, vocals Mathieu “Matgaz” Gazeau : drums, vocals
Posted in Whathaveyou on March 18th, 2025 by JJ Koczan
It doesn’t seem to be mentioned in the press release below, but included among Candlemass‘ 40th anniversary celebrations is a set later this year at Rock Hard Festival in Greece where they’ll reunite with former frontman Messiah Marcolin for a one-off. Since 2018, and before that as well in a less-on-a-record-type-official-blah-blah capacity, the Swedish doom legends have had vocalist JohanLänquist, who famously sang on their first record but was never actually in the band — inadvertantly becoming part of one of underground heavy metal’s most crucial narratives –out front, but like Länquist, Marcolin is also a big part of Candlemass‘ history, and that’s worth honoring, even if it’s something I’m mentioning in large part because of how unlikely it ever seemed like it would be.
Universe of infinite possibilities, folks.
Black Star is the name of the new Candlemass EP — recorded with Länquist on vocals, as one would expect — and it’s out May 9 on Napalm Records. The band have a teaser trailer for their anniversary rollout streaming at the bottom of this post, and the PR wire brought details of the release including that it’s got covers of Black Sabbath and Pentagram, which in terms of genre-impact, is keeping company one could only call fitting.
Have at it:
CANDLEMASS CELEBRATES 40TH ANNIVERSARY WITH NEW EP, BLACK STAR, OUT MAY 9 VIA NAPALM RECORDS — PRE-ORDER STARTS NOW
Swedish godfathers of epic doom CANDLEMASS celebrate their 40th anniversary of pioneering the genre with a four-track EP, Black Star. Packed with craterous riffs, this celebration of doom metal mastery is set for release on May 9 via Napalm Records.
With Black Star, the genre-defying band unveils two brand-new songs alongside two cover versions of timeless classics. The EP will be available in various formats, including a strictly limited vinyl edition featuring a 12-page vinyl booklet, an A3 poster, and a tote bag.
CANDLEMASS mastermind Leif Edling comments:
“Not all bands get to see their 40th birthday and it certainly hasn’t been an easy ride. But many ups and downs later, we stand here as survivors, veterans even… a bit scarred perhaps? Still ready though to unleash another piece of doom-laden metal upon an unsuspecting world. You have to do something when you turn 40, right? Anyway, as always, it’s been fun recording some new stuff as well as covering a couple of old favorites.”
Title track, “Black Star,” blends haunting melodies with deeply introspective lyrics, brought to life by the dark, romantic voice of vocalist Johan Länquist. Songwriter Leif Edling’s lyrics delve into themes of existential struggle, temptation, and the allure of darkness — creating an intense atmosphere imbued with CANDLEMASS’ signature sound. The second new track, “Corridors Of Chaos,” marks a true old school instrumental containing both classic metal riffing and stunning guitar playing by Lars Johansson, showcasing the band’s mastery of dynamics. Adding to this tribute, CANDLEMASS delivers a cover of Black Sabbath’s iconic “Sabbath Bloody Sabbath,” taking listeners back to 1973. This is followed by their rendition of Pentagram’s classic “Forever My Queen,” further cementing CANDLEMASS’ remarkable contribution to shaping the genre into what it is today.
BLACK STAR TRACK LISTING: “Black Star” “Corridors of Chaos” “Sabbath Bloody Sabbath””Forever My Queen”
Black Star will be available in the following formats:
1LP Gatefold BLACK ORANGE SPLATTER (incl. vinyl booklet (12pp), A3 poster, tote bag) – Napalm Records Mailorder exclusive, strictly limited to 400 copies 1LP Gatefold BLACK 1CD Digisleeve Digital Album
Posted in Whathaveyou on November 13th, 2024 by JJ Koczan
This news is following up on word that My Sleeping Karma put out at the end of September regarding the band continuing. There hadn’t been much word from them since the June 2023 passing of drummer Steffen Wiegand, and though there were rumors of their moving forward in a spirit of serving and honoring Wiegand‘s memory, nothing had been confirmed until about a month and a half ago when the band welcomed André to the fold.
The last thing they said in that announcement was that they’d be playing a show in December, and below are confirmed the gig details. It’s Dec. 30 — getting it in right before the end of the year — in the band’s hometown of Aschaffenburg, Germany, and they’ll be joined by SOL Records denizens Lucid Void for the occasion. My Sleeping Karma‘s music has never really wanted for resonance anyway, but I expect it will be a very emotional return to the stage for the group, who remain among the brightest and most distinctive of lights in European heavy psychedelia.
I should note that in the time since this show was posted, the first My Sleeping Karma live date of 2025 has been announced as taking place at Sound of Liberation‘s 20th anniversary party, dubbed the SOL Sonic Ride, in Cologne on March 29. No word on how much touring, if any, My Sleeping Karma will have coming up in the New Year as yet.
Here’s the info for the Dec. 30 show:
Dear friends,
Thank you so much from the bottom of our hearts for your amazing feedback on our return and your warm welcome to André.
We are overwhelmed and can’t wait to see you all again soon.
On December 30th we’re back on stage in our hometown Aschaffenburg. We’re happy to announce that our friends @lucidvoidband will join us on this very special day.
Make sure to get your tickets soon enough, there are only very few ones left.
More concert updates are coming soon.
Much Love, MSK
MY SLEEPING KARMA is: Matte – Bass Seppi – Guitar André – Drums Norman – Soundboard
