“Kaleidoscope” is the second single from Norwegian three-piece Mörkekraft behind “Ghosts,” which was released at the end of February. I’m sure you’ve already heard that track because you’re just always on your game like that, but today the band have released a video for the newer cut, and you’ll find that not-quite-premiering below, and regardless of exclusivity, I’m glad to give it the space.

Since there are only two songs public from the band at this point — at least on Bandcamp — with the caveat of a third still to go, it seems fair to relate them to each other. The newer cut is a bit more expansive and a bit less direct in its execution, which is to say it’s more of a swing than a drive rhythmically. In his way, “Kaleidoscope” aligns more to a garage-doom kind of groove — you’ll note the Uncle Acid comparison in the PR wire info below; I’m telling you basically the same thing but noting that their sound obviously isn’t exclusive to following those patterns — and besides that, “Kaleidoscope” is six minutes compared to “Ghost”‘s 3:45. There’s more room to get to know the band if you’ve never heard them before.

That’s not to imply that “Ghost” has nothing to say about them. Quite the opposite. The band’s initial public offering showcased metallic underpinnings brought forth with attention to detail and craft, a sense of build along the song’s relatively brief course, and a harmonized vocal arrangement. Coupled with the steady, snappy nod of its uptempo rhythm, the vocals portray a place between rock and metal with more than an air of rock classicism beneath. It’s a cool mix, and when it unveils its next level of tonal heft, as both songs eventually do, it adds another layer of satisfaction to the proceedings as a whole.

I’ll do my best to keep up when the third single when it lands, maybe late May or early June on their current pace? I don’t know. If you want to know why I’m eager to keep up, the clip for “Kaleidoscope” is here (it’s out today) and the Bandcamp embed for “Ghost” is at the bottom. Looking forward to hearing them round out this beginning trilogy.

Enjoy:

Mörkekraft, “Kaleidoscope” official video

Mörkekraft on “Kaleidoscope”

“Kaleidoscope” started with a single riff and was built from there. After a few rounds of jamming, we landed on a hypnotic, repetitive structure that builds toward a soaring ending. We always try to write around a strong hook – a melody that sticks – and I’ve always been more of a melody guy than a lyricist, so that’s the approach that shaped this track as well.

The dual guitar harmonies in the middle section have led some to describe our sound as ‘a depressed Thin Lizzy’ – something that fits this track particularly well. It’s a song made for long drives, with a hazy, immersive atmosphere. Lyrically, it plays with themes of shifting perspectives and the fine line between fascination and obsession. We had a blast recording it at Bridge Burner Recording with Ørjan Kristoffersen Lund, and Steven Grant Bishop really brought it to life in mastering.

In January 2025, Mörkekraft entered the studio at Bridge Burner Recording in Stavanger, with Ørjan Kristoffersen Lund (NAG) at the helm. There, they recorded three tracks, mastered by Steven Grant Bishop (Satyricon, Karavan, Sløtface). The second track, Kaleidoscope, was released in March 2025, following the success of Ghosts.

With a nod to The Beatles’ Lucy in the Sky with Diamonds, Kaleidoscope blends heavy riffs with a hypnotic atmosphere, drawing inspiration from bands like Uncle Acid & the Deadbeats, Slomosa, Lowrider, and Ruby the Hatchet. The song takes the listener on a journey through shifting perspectives, illusions, and the fine line between control and chaos — where fascination can quickly turn into obsession.

The video was created by Roger Henriksen with the help of artificial intelligence.

Mörkekraft, “Ghosts” (2025)

Mörkekraft website

Mörkekraft on Spotify

Mörkekraft on Bandcamp

Mörkekraft on Facebook

Mörkekraft on Instagram

With Slomosa‘s global takeover of the heavy rock underground well underway, there’s probably nobody better to have sitting at the top of the poster for the inaugural edition of the Tundra and Lightning Festival, set for this Oct. 3-4 in the band’s hometown of Bergen, Norway. They’re hardly alone, as the lineup revealed today shows they’ll be joined by Orange Goblin for what will be their last Norwegian show as they wrap their 30-year career arc, as well as The Good the Bad and the Zugly, Spidergawd, Audrey Horne, Thulsa Doom (oldschool, good pick), and a slew of upstarts further down the bill.

It’s a first-year, feel-it-out kind of two-dayer, but they’ve got the aesthetic and concept on lock, as well as the lineup, and for something that’s just months away from happening for the first time, that’s not nothing. With Begen as an epicenter for a rising generation of heavy rockers throughout Norway and Scandinavia more broadly, and festivals happening everywhere all the time throughout Europe, in Fall or otherwise, this just makes a lot of sense to me. Will be cool to see how it builds over the next few years as well.

From social media:

Tundra and Lightning Festival October 3 – 4 2025!

Ticket link: https://www.ticketmaster.no/event/344497371

Bergen Live and USF Verftet are joining forces to present a brand new rock festival in Bergen on the first weekend of October 2025. Tundra and Lightning is the festival that Bergen needs. The festival will make full use of the entire USF venue and will grow each year in line with the development of the USF Cultural Quarter.

Lineup:
⚡Slomosa
⚡The Good The Bad And The Zugly
⚡Orange Goblin (UK)
⚡ Audrey Horne
⚡ Thulsa Doom
⚡ Spidergawd
⚡ Heavy Lungs (UK)
⚡ Phantom Fire
⚡ Sklitakling
⚡ Last Hounds (UK)
⚡ The Clumps
⚡ Morax
⚡ Hästspark (SE)
⚡ Of All Things

For more info and tickets visit tundraandlightning.no.

See you in Bergen!

Event page: https://www.facebook.com/events/636105766049216/

https://www.facebook.com/tundraandlightning/
https://www.instagram.com/tundraandlightningfestival
https://tundraandlightning.no/

Slomosa, live at Regency Theater, Los Angeles, CA, Feb. 28, 2025

Norwegian heavy gutter rockers Håndgemeng will release their second album, Satanic Panic Attack, on April 11 through Ripple Music. As one might glean from the corpsepaint-‘n’-skin-contact cover art, there’s no lack of shenanigans throughout, but also as one might glean from the cover, a fair amount of it is brilliant, bringing together classic metal and heavy rock, shouty punk and riff after riff, the odd melodic change just for good measure. They pull as much from black metal as from Scandinavian drinking songs, or so posits “The Cauldron Born” at the album’s outset, and while reveling in the idiocy of our times in referencing the notion of a ‘Satanic panic’ at all, cleverly setting it next to the idea of a panic attack, they take all the tropes of darkness and devil-worship and cult this-and-that and make them fun. They’re a reminder that ultimately music is supposed to bring people together.

They’re also brash as fuck. Enough to remind that their home country once produced a group called Kvelertak. Håndgemeng are coming from someplace else sound-wise and aesthetically — we’re talkin’ demons on choppers, beers sloshed in beards, farting dudes and bawdy ladies ripping it up until well into the ancient moonlit forest night of yore, or somesuch — as much raucous unpredictability and gang-shout throwdown with those seven best friends that you definitely at any point in your life had as it is a classic hard rocker, with “Medieval Knieval” long on charm and short on bullshit, the title-track tapping all of our inner Motörheads and “A Path Less Traveled” reminding in its echoing mellow divergence those few times when Death Alley might space out to end a vinyl side.

“The Sundrinker,” premiering below, has some of that same space and proggy nestle in its groove, so keep an ear for it, and it pairs that with a rougher-edged vocal than the earlier song, keeping things moving after side B leadoff “Earthwoman” stoner-reverbs its worshipful procession en route to a psych lead and punkish threat that ultimately turns back to the expansive chorus, and ahead of the closing duo, “Down Below” and “Supermoon,” which round out with a bit of death-bluesy nodder catchiness and an over-the-top succession of solos that really is kind of the only thing that “Supermoon” could do to appropriately cap the proceedings. Not that there was any doubt of the all-in nature of Håndgemeng generally, but there’s no way they’d let an opportunity to showcase it in such a manner slip. Somewhere out on the floor, a drink spills. No one even begins to notice.

After doing Ripplefest in Germany last year, Håndgemeng will go two-for-two at Desertfest Oslo in May, but if you’re thinking about making it to the release show, you’ve got to wait until October for that. I guess sometimes a venue’s calendar fills up. Or maybe they have another album coming. I don’t know. Regardless, I wouldn’t expect either the chicanery or the riffs to have staled by then, as so much of what Satanic Panic Attack captures conveys a live-on-stage feel, from the gang vocals in “The Cauldon Born” to those persistent twists in “Supermoon” and at points between as Håndgemeng reshape genre around themselves rather than curbing their sundry transgressions. This, in the end, is no less a strength than the most searing or righteous of riffs.

Enjoy “The Sundrinker” on the player below, followed by more from the PR wire:

Håndgemeng, “The Sundrinker” track premiere

Five damned dudes, banished from the pits of hell, smelling of brimstone and cheap beer. Brought up on heavy metal and rock n’ roll brewed together with a bad attitude and devil worship, and from that cauldron, Håndgemeng emerges guitars in hand. Get ready to experience the doom n’ roll extravaganza as they play to entertain the devil himself! Riff after riff after riff Håndgemeng will take you from the depths of hell to the farthest reaches of space. Together we will escape prison planet Earth, if just for a little while.

Under the eerie glow of the supermoon, the motorcycle death cult gathers in parts unknown, ready to perform the infamous Ultraritual. As the night deepens, the air crackles with anticipation, and the roar of engines fills the darkness. This is no ordinary gathering; they are here to summon the Cauldron Born, a demon also known as Medieval Knievel, a powerful entity that embodies chaos and fear.

At the center of the ritual, the cult invokes the name of the motorcycle-riding demon, Medieval Knievel. With each rev of their bikes, they channel energy into the night, calling forth Knievel to rise and unleash a wave of satanic panic attacks upon the unsuspecting world. The ground trembles as the demon emerges, a harbinger of dread and madness.

As the denim-clad cult members chant in unison, the atmosphere thickens with tension. Those who walk the path less traveled feel the fear they instill spreading like wildfire, and soon, it becomes clear: we are all going down below, drawn into the chaos that the ultraritual has unleashed. The line between reality and nightmare blurs, and in the shadows, the motorcycle death cult revels in the panic they create. Don’t worry, it’s only black magic.

New album “Satanic Panic Attack” was produced, mixed and mastered by Ruben Willem at Caliban Studios. Artwork by Thomas Moe Ellefsrud.

1. The Cauldron Born
2. Medieval Knievel
3. Satanic Panic Attack
4. A Path Less Traveled
5. Earthwoman
6. The Sundrinker
7. Down Below
8. Supermoon

Håndgemeng on Facebook

Håndgemeng on Instagram

Håndgemeng on Bandcamp

Ripple Music on Facebook

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

It’s not that warm tones, classic-style groove and progressive underpinnings haven’t been a part of Kryptograf‘s approach all along, but their third record, Kryptonomicon, brings new perspective and complexity to their songwriting. At the same time the ultra-manageable, accessible, send-to-your-normie-friends-to-show-them-what-heavy-rock-is-all-about seven-song/33-minute course of the LP is defined by the band continuing to take on more straightforward structures and stripping back some of the prog of their 2020 self-titled debut (discussed here) or 2022’s The Eldorado Spell (review here), and sounding in general way less concerned with genre than, say, anyone who reviews the album is likely to be. This is only to the record’s benefit.

Drummer Amund Nordstrøm makes his debut on Kryptonomicon alongside guitarist/vocalists Vegard Strand and Odd Erlend Mikkelsen and bassist Eivind Standal Moen, so inevitably there’s been some shift in dynamic in the three years since the last outing, but the songs are fluid and that’s crucial to understanding how the LP works. “Beyond the Horizon” is the opener and tells a lot of the story if you’re paying attention — it gets a little lush later on, but rocks plenty at the outset, is a fitting setup and engagingly catchy, etc., well composed and recorded with an organic if not strictly vintage mindset — but so much of what Kryptonomicon accomplishes as a collection comes through in the three-minute centerpiece “You and I.”

With a melody that would make Spidergawd blush, “You and I” stands between the title-track with its post-Graveyard sway and doomly creep, and the thicker motor-chug of “From Below,” with a nighttime cruise of a tempo and proto-metallic atmosphere answering back to “The Blade” earlier. At 3:04, it’s not the shortest cut — that’s the penultimate “Lost at Sea,” at 3:03 — but “You and I” stands out for how absolutely, emphatically taut it is. Understand, “Beyond the Horizon” and certainly “The Blade,” or even “Lost at Sea” which is so obviously conscious of what it’s trying and succeeding to evoke, and even the eight-minute finale “The Gales” don’t lack efficiency for what they’re doing.

The qualifier isn’t to be missed there. At no point are Kryptograf wasting time on Kryptonomicon, and I’m not trying to be cutesy and imply otherwise. But it’s worth keeping in mind even when smacked in the face by a song like “You and I,” which is just so ready to elbow its way into heavy rotation on your mental jukebox — if you’re younger: the playlist in your brain — with a chorus that shimmies, shuffles and soars in the span of about 10 seconds and lands a hook of a quality that not every band gets to write. I’m not talking smack about any of the other songs here — again, part of what makes the album work so well is that they’re not repeating themselves nearly as much as I am in talking about how they’re not repeating themselves — but “You and I” has that easy immersion of the kind of piece that came together in 20 minutes in a rehearsal space and nobody quite knows where it came from but there it is.

No idea if that’s the actual story of it, mind you, but that strut in the second half, the harmonica pushing in with righteous, classic arrogance, and the turn back to the chorus at the finish — it is at the very least a purposefully placed centerpiece. But like “Beyond the Horizon,” it doesn’t necessarily speak for the whole scope of Kryptonomicon, whether its breadth is shown in the acoustics included in “Lost at Sea” — a thrilling bit of anachronism in that it’s a band primarily 1970s-rooted and a move that sounds more derived from circa-’04 Mastodon; kudos all the more to Kryptograf for pushing genre limits in small but effective ways — or in the tumult of “The Gales,” which resolves in more acoustics, organ, and a lightly twisting riff that wouldn’t be out of place on an earlier Uncle Acid record.

But, while one might namedrop a band as a reference for a given part here and there, as they approach maturity, Kryptograf come through as more stridently themselves than they did even a few years ago, and where parts of Kryptonomicon might still draw from the Witchcraft / Graveyard school of retro-heavy, as the songwriting has grown sharper, the stylistic reach has expanded correspondingly. So Kryptonomicon is both the tightest record the band have yet produced — and considering it’s a one-quarter new lineup, that in itself is something worth recognizing — and the farthest ranging.

If that seems counterintuitive, the best advice I can give you from one listener to another is don’t get hung up on it, because the craft and performances throughout Kryptonomicon are strong enough that the band make their way smoothly from the start to the finish on their own terms, without question or anymore bumps along the way than give it character. As fascinating as the direction of Kryptograf‘s growth has been — and it has been; I’m not being sarcastic — the truth of the matter is that if this is your first Kryptograf record, the band make it easy to get on board.

Part of that is in the hooks of “Beyond the Horizon,” “You and I,” “From Below,” and so on, but from the outset it’s more about the controlled presence the band offer as they stand behind their songs. There is never a question that a piece will get where it’s going, and as the varied material is brought together by the vocals, or by a bassline, or a toe-tapper stretch of snare to push a driving riff, the lack of pretense reveals itself as an essential facet of the album’s persona. Kryptograf don’t present themselves in the name of genre expansion, or world takeover via t-shirt sales, or whatever it is that has bands releasing LPs these days. As a collective, they are most of all about the songs they’ve made, and their third album benefits from the clarity of vision behind it and the palpable attention to detail in the recording. If you believe in New Heavy Norway, I don’t see how you can fail to include Kryptograf among its brightest lights.

Kryptograf, Kryptonomicon (2025)

Kryptograf on Bandcamp

Kryptograf on Facebook

Kryptograf on Instagram

Apollon Records on Facebook

Apollon Records on Bandcamp

Apollon Records website

It’s not streaming yet, so maybe a little bit you have to take my word for it on this one. Bergen, Norway’s Strange Horizon are set to issue the eight-and-a-half-minute “Vacant” on March 28 through Apollon Records, and though it was put to tape in 2023, which I assume makes it concurrent to the band’s second album, Skur 14 (review here) — in other words that makes sense timing-wise but don’t quote me on it — the post-punk disaffection of the riff that seems reluctant even in launching the song because what’s the point of anything unfurls a course that’s as much garage cultism as ’90s slacker in its idolatries, but it’s weirdo doom that wins the day as the stride to the song’s middle, en route to a mellowing in the middle from which to launch a resurgence and so-stripped-down-it’s-aesthetically-complex build that’s like Joan Jett in its force of strum but willfully odd and given in to the temptations of noise as swirling layers overtop and synth noise give a brighter aspect to the going-all-the-way-out-and-not-coming-back jam that concludes, followed by just a bit of in-studio speech to bookend with the front of the song.

It’s one track, but it’s a journey of a track, in other words. And I’d love to have it at the bottom of the post for proof of same, but if it was out yet, this announcement of its impending release would be stupid late and probably pointless. Maybe a Bandcamp follow, if you’re looking for a next step to take? You can figure out how you want to proceed. Here’s this from the PR wire:

STRANGE HORIZON – Vacant

As the third album is still in production, Strange Horizon is proud to introduce the current incarnation of the band with a studio recording of the first song written by this lineup. Recorded in 2023 with Bjørn Ognøy producing, “Vacant” took us back to the roots and shows Strange Horizon at both its most melodic and its noisiest.

Bjørn Ognøy – Recording, mix and additional noise/ambience
Christian Indregard – mastering
Branca Studio – cover design

Discography:
Beyond The Strange Horizon ( 2022, Apollon Records )
Skur 14 ( 2023 Apollon Records )

Strange Horizon:
Stig V Kviljo – Guitar and vocals
Christer S Lindesteg – Bass and backing vocals
Andreas Daae Nilsen – Drums

https://www.facebook.com/strangehorizonbergen/
https://www.instagram.com/strange_horizon/
https://strangehorizon.bandcamp.com/

https://www.facebook.com/bergenapollonrecords/
https://www.instagram.com/apollonrecords/
https://apollonrecords.bandcamp.com/
https://apollonrecords.no

Strange Horizon, Skur 14 (2023)

Those of you playing along at home with your The Obelisk Brand™ Calendar of Such and Sundry will want to take out your secret-code invisible ink pen and keep an eye for more to come, because I’m trying to line up a stream ahead of the May 16 release date of Black Moon Circle‘s A Million Leagues Beyond – Moskus Sessions: Vol. 1 studio session. Whether or not that comes together — I’m always hopeful, but sometimes there’s a plan already unfolding — the captured-live outing is the first release from the Trondheim, Norway-based outfit since 2023’s Leave the Ghost Behind (review here), which was a righteously cut gem of cosmic origin. Three of the four tracks that feature on A Million Leagues Beyond, for example, come from that record. So yes, relevant.

I asked bassist/vocalist Øyvin Engan for some background on the release, and he was kind enough to offer a bit of insight, which you’ll find below, along with the release info that I assume will be on the Bandcamp page when preorders go up. All follows the cover art:

BLACK MOON CIRCLE – A Million Leagues Beyond

A Million Leagues Beyond will be out May 16th and as always it will be released on vinyl by Torgeir and Crispin Glover Records. In addition the record will also be out on digital platforms, and finally, it will be printed on CD which will be sold through Bandcamp.

Usually I wouldn’t say anything about the music, but this will be an exception. The record is not an effort to make a documentation of that night at Moskus. Sure, the songs were played that night, but not in this order and many were left out for this release. So this is not a classic ‘Live at…’ record, like Thin Lizzy in Live & Dangerous, Steve Ray Vaughan in Live at El Mocambo, etc. So what is it?

Moskus is a small bar located in Trondheim that hosts about 70 concerts every year, in genres as diverse as jazz, country, americana, rock, progressive jazz and occasionally psychedelic hard rock. You can cram 80 people into the venue, with their backs against the wall — which, by the way, is covered with vinyl records — the audience faces the stage which barely has room for drums and a couple of amplifiers. Obviously, when the band is done playing, the staff lower the needle into the groove, and music pours out from the speakers. It is ‘vinyl-only’ at Moskus.

This session was recorded in front of an enthusiastic crowd, on the 18th November 2023, by Åsmund Arnesson Rise. The album was mixed in Nautilus Studio by Øyvin Engan, and mastered by Helge Sten at Audio Virus Lab. The rattle-can stencil art, ‘Cosmic Divah’, was painted by Paul, and photographed by Thor Egil Leirtrø. The cover art was designed by Håvard Gjelseth. This release is supported by Trondheim Kommune. Tomas expresses his gratitude for the support from Frank Jacobs at Pearl Drums Europe, Jarle Johansen at CRS and Vidar Kolberg at 4Sound Trondheim. We say: Thank you Torgeir Lund (Crispin Glover Records) for releasing the music, and providing help in every possible way. Thank you Magnus Lykkelig and Tor Schølberg for your continuous support of live music. It is never taken for granted.

Tracklisting:
01. Drifting Across the Plains
02. Snake Oil
03. Serpent
04. Psychedelic Spacelord (Lighter Than Air)

Black Moon Circle:
Øyvin Engan: vocals bass
Vemund Engan: guitar, backing vocals
Tomas Järmyr: drums
Dr. Space: synth

http://facebook.com/blackmooncircle
https://instagram.com/blackmooncircle/
http://blackmooncircle.bandcamp.com

Black Moon Circle, Leave the Ghost Behind (2023)

Astral Voyager Vol. 1 will be released May 16 and begin a two-album cycle for Norwegian heavy rockers Kal-El. Also their first offering for Blues Funeral Recordings and a continued alliance with Majestic Mountain Records, the band’s sixth LP and the follow-up to 2021’s Dark Majesty (review here) is introduced to public ears and eyes via the new single “B.T.D.S.C.,” for which a new video is streaming at the bottom of this post. Both Astral Voyager Vol. 1 and its intended companion LP follow a narrative concept related to escaping oppression in space.

Those are the basic facts, and if you know Kal-El, the where and when and what is probably all you need. To that end, the single is an acronym standing for ‘Black Train Deep Space Caravan’ — obviously — and is a six-minute burner in what’s become the Kal-El tradition, blasting desert rock into the interstellar medium with energy to space and a solid sense of craft beneath. It’s very much a Kal-El song, in other words. Don’t be surprised when it’s stuck in your head. That’s part of the thing too.

I expect a press release about this any second now, but here’s the info from the Bandcamp page:

Set controls for the infinite expanse with staggering new epic Astral Voyager from KAL-EL.

Preorder: https://kal-el.bandcamp.com/

Formed in Stavanger, Norway in 2012, KAL-EL established themselves as a unique force in the international heavy underground, blending Scandinavian desert-style rock, classic metal, psychedelia and doom elements with ambitious sci-fi themes.

After a profuse series of mind-expanding journeys through spacetime (five albums and three EPs from 2013 to 2023), the band are back with the most significant milestone in their multi-dimensional journey yet.

Astral Voyager Vol. 1 tells the saga of intergalactic bounty hunter Mica, who trades in taking down the scum of the universe while dodging The Nine, a control-obsessed consortium that seeks to dominate her as they do the rest of the cosmos. Traveling and bringing in her marks, Mica’s journey is a story of hope, individuality and searching for meaning in the unknown.

Presented in two volumes during 2025, the Astral Voyager double album is the strongest realization of KAL-EL’s signature sonic approach to date. Full of downtuned grooves, soaring anthems and vintage sci-fi aesthetics, it’s an explosion of contagious fuzz-blues from Scandinavia’s prolific and impressive masters of starfaring heaviness!

releases May 16, 2025

Tracklisting:
1. Astral Voyager
2. B.T.D.S.C.
3. Void Cleaner
4. Cloud Walker
5. Dilithium
6. Cosmic Sailor

Written and performed by Kal-El
Recorded at Bridge Burner Recording
Engineered by Ørjan Kristoffersen Lund
Produced by Kal-El Co-produced by Ørjan Kristoffersen Lund
Mixed and mastered by Ruben Willem
Artwork by Steven Yoyada
Layout by ShaneHorror

http://kal-el.no
http://kal-el.bandcamp.com
http://facebook.com/kalelproject
http://instagram.com/kalelband

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
bluesfuneral.com

http://majesticmountainrecords.bigcartel.com
http://facebook.com/majesticmountainrecords
http://instagram.com/majesticmountainrecords

Kal-El, “B.T.D.S.C.” official video

Hitting Ireland and the UK in a couple weeks’ time before returning to the US for their second Stateside touring stint since their second album, Tundra Rock (review here), was released last September, Norwegian heavy rock spearheads Slomosa — seen above in full flannel regalia — have rolled out ‘The Making of Tundra Rock,’ a 37-minute documentary and performance video that goes behind the scenes as its title suggests. The band, maybe last week?, had put up a video for “Monomann” from the album that would seem to have been taken from this, and it’s one more way in which they’re engaging their audience and inviting people to take a look at what they do on a professional level.

This just came down the wire this morning, so I haven’t had time to sit in my own ’70s cushion chair and dig in, but you do get to see the band recount their favorites from the new record (and then play them) and the sound on the recordings is such that if the audio was posted to Bandcamp as an album-performance in-studio live record kind of thing it’d probably be worth picking up, so even at a skim it’s got something to offer anybody who dug the record. And if Slomosa‘s winning the year-end poll here is anything to go by, that’s plenty of people.

The video, PR wire info, and all the upcoming tour dates I currently have follow here. Enjoy:

Slomosa, ‘The Making of Tundra Rock‘

Slomosa Releases “The Making of ‘Tundra Rock'” Performance + Interview Video

Norwegian Rock Band set to Support Helmet on ‘Betty’ 30th Anniversary Tour; See New Music Video “Monomann”

Slomosa’s New LP, ‘Tundra Rock’, Out Now!

Norwegian “tundra rock” band, Slomosa, has released a live-in-studio performance and interview video centered on its new album, ‘Tundra Rock’, which was released this past September via Stickman Records in Europe and MNRK Heavy in the US, and was hailed as “a sweeping signature hybrid of revved-up stoner rock riffage, grungy hooks, and a concentrated punk wallop”. Recorded live in Bergen, Norway, the 37-minute “Making of ‘Tundra Rock'” video spotlights the undeniable energy and unquestionable catchiness that surrounds Slomosa, paired with behind-the-scenes stories about creating the album and forming the band.

Simultaneously, Slomosa drops a new play through music video for the powerful ‘Tundra Rock’ track “Monomann”. Crank it up now.

Slomosa will support Helmet on the North American leg of its ‘Betty 30th Anniversary Tour’. The 25-city winter tour kicks off on February 19 in Ft. Worth, TX and runs through March 23 in Baltimore, MD. The tour routing is as follows:

Slomosa + Helmet ‘Betty’ 30th Anniversary US Tour 2025:
February 19 – Fort Worth, TX – Tulips FTW
February 21 – San Antonio, TC – Paper Tiger (Slomosa headlining show)
February 22 – Houston, TX – Scout Bar
February 23 – Austin, TX – Mohawk
February 25 – Mesa, AZ – Nile Theater
February 27 – Pomona, CA – The Glass House
February 28 – Los Angeles, CA – The Regent Theater
March 1 – Oakland, CA – Crybaby
March 2 – Roseville, CA – Goldfield Trading Post
March 4 – Portland, OR – Hawthorne Theatre
March 5 – Seattle, WA – The Crocodile
March 6 – Boise, ID – Shrine Social Club
March 8 – Denver, CO – The Oriental Theater
March 9 – Lawrence, KS – The Bottleneck
March 10 – Minneapolis, MN – Varsity Theater
March 11 – Madison, WI – Majestic Theatre
March 12 – Chicago, IL – Cobra Lounge
March 14 – Columbus, OH – Skully’s
March 15 – Mechanicsburg, PA – Lovedraft’s Brewing Co
March 16 – Ferndale, MI – The Magic Bag
March 17 – Toronto, ON – Lee’s Palace
March 18 – Montreal, QC – Théâtre Fairmount
March 20 – Boston, MA – The Paradise Rock Club
March 21 – Brooklyn, NY – Music Hall of Williamsburg
March 22 – Philadelphia, PA – Underground Arts
March 23 – Baltimore, MD – Baltimore Soundstage

UK & Ireland 2025:
31.1 / Limerick / Dolan’s Kasbah
01.2 / Belfast / Voodoo
02.02 / Dublin / The Grand Social
03.02 / Manchester / Rebellion
04.02 / Glasgow / Garage Attic
05.02 / Nottingham / Rescue Rooms
06.02 / Brighton / Green Door Store
07.02 / London / Underworld
08.02 / Bristol / Thekla
09.02 / Norwich / Waterfront Studio

Tickets on: https://www.slomosamusic.com/

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Order/save ‘Tundra Rock’ at this location: https://slomosa.ffm.to/tundrarock

Slomosa are:
Benjamin Berdous – Vocals/guitar
Marie Moe – Vocals/bass
Tor Erik Bye – Guitar
Jard Hole – Drums

Slomosa, “Monomann” live at Bergen Kjøtt, Duper Studios

Slomosa, Tundra Rock (2024)

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Slomosa on Bandcamp

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Slomosa on Spotify

Stickman Records website

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MNRK Heavy website

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