Posted in Whathaveyou on March 27th, 2025 by JJ Koczan
Who doesn’t dig a comeback? Actually, I’m not sure this counts as one — though they do say “we are back” — but it’s a revamp just the same for Swedish heavy blues/classic rockers Snowy Dunes. As the five-piece detail below, they have been through some lineup changes in the four years since their second album, Sastrugi (review here), and they emerge as you see configured them below. Doesn’t everybody look thrilled.
If you managed to finish reading the headline or follow the band on socials (not a bad idea), you already know they’re working on the follow-up to Sastrugi now. Curious what that will bring in light of the fact that Stefan Jakobsson was on the first LP and EP and they’ll have two guitars, I think for the first time. Spacier? More effects? More solos? I don’t know.
There’s room for a lot in Snowy Dunes‘ sound, though, as their heavy blues foundation can coincide with anything from psychedelic shimmer to proto-doom crunch. Sastrugi certainly offered both, and had the 11-minute roll of “Helios” tucked away at the end for good measure. It’s at the bottom of this post, if you’d like a revisit.
And if you don’t come out of that also curious what’s in store for Snowy Dunes as 2025 rolls on and 2026 gradually comes to loom, well, I don’t know what to tell you. Maybe go eat a sandwich and try again later.
From social media:
Snowy Dunes 2025 We are back.
Furthermore, our original drummer (S/T and Atlantis), band co-founder and force of nature Stefan Jakobsson is also back behind the kit which we think is fantastic!
Jonathan Wårdsäter is switching to guitar duties alongside Christoffer Kingstedt which already has expanded our vision – we look forward to sharing more with you guys.
Hell yeah. This 1998 four-song split 7″ was the first of three that Demon Cleaner and Dozer would release together through Dozer guitarist Tommi Holappa‘s Molten Universe imprint — it bears the catalog number MOLTEN 001 — and was pressed in two editions of 500 copies total. It exists largely in the digital sphere, despite not being ‘officially’ streaming anywhere I could find, through file-trading and YouTube streams like the above (it’s called ‘Bootleg Theater’ for a reason), and although I’ve campaigned actively for over a decade for Dozer to release an early-works compilation with this material and, say, their demos and the cuts from the 1999 split with Unida (discussed here), maybe some other odds and ends if you want to make it a 2LP or 2CD, my pleas have thus far gone unheard as they mark their 30th anniversary in 2025. Release the tapes! Release the tapes!, and so on.
And certainly the archival impulse is part of what such a compilation would satisfy, but it captures something pivotal for both Demon Cleaner — which featured Karl Daniel Lidén on drums, who’d also go on to play in both Dozer and their sister band Greenleaf, as well as to produce and/or mix those bands and countless others, among them Katatonia and Crippled Black Phoenix, at his Tri-Lamb Studios — and Dozer, who were still a crucial two years from making their full-length debut with 2000’s In the Tail of a Comet (featured here, discussed here).
Maybe it was reviewing that Caboose record the other day that put me in a sentimental mode, but thinking about these bands at this time — I’d put Lowrider in this mix too with Dozer and Demon Cleaner; all part of the family tree of folks who probably/definitely showed up on a Greenleaf record at some point — and listening to Demon Cleaner revel in the fuzz and shove of “Barracuda,” the pure Kyussian blast of its early going and the way they cram both so much fuzz and so much space into a song that still leaves room for a companion piece on its side, the energy of their playing is infectious. The subsequent “Redlight,” which unlike “Barracuda” would not resurface on Demon Cleaner‘s own 2000 debut, The Freeflight (discussed here), is shorter and has a more straight-ahead drive, but there too, I’ve got the same nostalgic feeling.
Understand, it’s not like I was there in 1998. I didn’t review Demon Cleaner vs. Dozer or its two 1999 follow-ups, Hawaiian Cottage (MOLTEN 002) and Domestic Dudes (MOLTEN 003) for my high school newspaper. I was never that cool. But it wasn’t too many years later that I did get on board, and the same energy and that passion one specifically feels for something new — whether it’s a new sound that’s hitting you hard, like this, or a romance — that I felt when I was first discovering heavy, desert and stoner rock, you can also hear in how both Demon Cleaner and Dozer‘s arguments (or sides, if you prefer) play out.
If Demon Cleaner vs. Dozer takes you back to when you first heard fuzz riffs set to heavy groove, a rock that could be weighted in sound or emotion without having to rely either on the attitude-performance of punk or the caricature chestbeating of metal — though Sweden’s produced a lot of quality in both genres, of course — I think that’s okay, because it’s doing the same thing for the bands. Dozer enter into “Tanglefoot” like they Kramer-crashed into the studio and dropped all their fuzz on the floor (it was the ’90s, so a Seinfeld reference is timely). Following up on the boogie of Demon Cleaner‘s “Redlight,” “Tanglefoot” has a shuffle, but Dozer‘s earliest work is characterized by its unadulterated worship of Californian desert rock — something to which guitarist Fredrik Nordin‘s vocals brought a distinctive twist at the relative beginnings of a generational turnover that would change and help shape the European underground as it stands today.
But to the point, they sound like kids, and they sound like kids having fun, and I hear that a lot differently now than I might’ve two decades ago, when it and I were both a lot newer. These early songs, both Demon Cleaner and Dozer, still evoke a sense of freedom in my mind, a feeling of saying screw it and diving in, because that’s kind of what both bands are doing. Yeah, the internet existed in 1998 and I’m pretty sure these bands were on it in some fashion, but it wasn’t like today, where there’s an established heavy underground infrastructure in touring and releasing. Topped off with cover art that looks like it was specifically made to get Frank Kozik‘s attention — apparently it worked, since Man’s Ruin Records released Dozer‘s aforementioned first LP — there is no question it’s of its era.
That’s what’s so much worth preserving too, however. Yeah, Dozer hit into “Centerline” like their lives absolutely depend on it while still drawing a direct line to the mellower Kyuss tune from which Demon Cleaner took their name, and yeah, “Redlight” is sub-three minutes of ultra-rad turn-of-the-century era heavy, all-in, all-burn, all-killer as their two still-undervalued LPs would go on to be. Of course that vitality — what youth can inimitably bring to a recording and performance — is a factor. A big one. But so too is how raw this material is, and how much it reminds us that at some point, somebody had to just do the thing for it to be done. I’m sure neither Demon Cleaner nor Dozer went into teaming up for splits saying, “We’re doing this for desert rock!” in no small part because the genre didn’t exist yet, but no doubt they both had a hand in bringing it to life.
I will continue to argue for a Dozer early-works compilation until probably well after one actually gets released (because sometimes these things happen and I forget to stop being annoyed they haven’t happened yet), but I’m not holding my breath. Demon Cleaner could continuously stand more ears on their work, and meanwhile Dozer are still here and there supporting 2023’s landmark return, Drifting in the Endless Void (review here). If the two bands wanted to make a fourth split together today, I’m pretty sure it could happen.
As always, I hope you enjoy. It’s another short one, but plenty to say about it. Thanks for reading, in any case.
—
To answer the first question you didn’t ask, yeah, I do think I’m going to do the two 1999 Demon Cleaner/Dozer split 7″s over the next two weeks. Why not make a series of it? Should be an interesting challenge by the third one for sure. “Well, like six months after the release of the second split, turns out the third one is also really fuzzy.” That’ll be fun. Eventually you run out of synonyms for ‘rad.’
I don’t remember what was going on last week and I don’t have the capacity to go look. Last weekend The Pecan had a bunch of stuff on. Playdate Saturday was fine, birthday party Sunday was fine. This weekend I don’t know what’s up other than The Patient Mrs.’ mother is coming down from CT to stay over tonight. Between that, a sore ankle I twisted last week and general aversion to city driving, thus am I missing Slomosa in Brooklyn tonight. So it goes. But by tomorrow afternoon, I have no idea. Whatever. A day will happen. Another will follow.
That’s good news, theoretically.
This week was The Patient Mrs.’ spring break — woo. — and we’ve still managed not to hang out all that much. She went to work on Tuesday, yesterday got her hair done, today is out again, and I’m here writing. We’ve sat next to each other on our laptops, which was nice, and managed to get to Costco — our spot, these days — and buy some seltzer. It’s not like if we hung out all week I’d be like, “Oh, well that was certainly enough.” It’s never really gonna be enough and I know that. But I guess that’s kind of what life is right now.
She’s back to work next week. Things are full around here too. Monday is a Serial Hawk review. Yup, they’re back at it. Record’s a bruiser. Tuesday a premiere for Håndgemeng, Wednesday one for Komatsu, Thursday an album stream for Smoke Mountain, and I think next Friday is a video premiere for Space Queen, which I just kinda confirmed this morning. I’m gonna give myself some slack on news posts, which are interminable, in favor of quality over quantity. I only have so many hours and so much brainpower. I feel a bit like I’ve written the same fest announcement post 60 times. Because I have.
I know, complaining that a lot of cool shit is happening is stupid and lame. I wish I went to Brant Bjork last night. I wish I was going to Slomosa tonight. Logistics. Roadburn is in a month. I’ll look forward to that.
Thanks again for reading. Have a great and safe weekend. Watch your head out there among these fucking psychopaths. Hydrate with real water. Don’t believe what they tell you about the Brawndo.
Oh, and did you see the new merch? It exists! I updated the sidebar of this site to prove it! Thanks if you check that out too.
Posted in Whathaveyou on March 20th, 2025 by JJ Koczan
Anders ‘Blakkheim’ Nyström is for sure right in his assertion that Katatonia fans are somewhat broken into cliques or collectives or at very least online professions of faith for different eras of the band. Inevitable maybe, for an act whose early albums had a distinct impact on a genre while at the same time the band themselves grew in different directions. Nyström played on 13 records with Katatonia. They’re not all gold, but the horrible truth is that regardless of what year a record came out, Katatonia have remained consistent in the level of their craft as their sound has continued to progress. Nyström and frontman Jonas Renkse, up to this point, were the remaining founders of the band.
I don’t know what this means for Bloodbath, if Nyström and Renkse will continue to collaborate in Katatonia‘s brutal death metal cousin outfit. A quick look at social media shows a fest date at Party San in August, if that’s an answer.
And of course the future of Katatonia itself is something of a question in terms of personnel and sound alike. Nyström mentions Renkse proceeding with “new members,” while Renkse, in his somewhat shorter post, doesn’t say much more than he’s moving forward. Fair enough, as the progression of time do be linear like that. If it’s not the end of the band, it’s at least bound to see a significant shift in the dynamic, on stage and in the studio. I’ll be curious to see how it shakes out… moving forward.
From social media:
Says Anders Nyström:
“Sad but true.
The time has come for me to confirm that the roads ahead Jonas and I have chosen for both Katatonia and ourselves have grown too wide and far apart, and as a result, our long-term collaboration has drawn to a close.
With him and I being the duo that founded Katatonia almost 35 years ago, and owing to the fact that we managed to take our mission this far, it’s inevitable that our band’s legacy will continue to play a huge role for both of us and always live on, albeit in a different light either captured by our past, future or the many chapters in between.
To each our own, we may all have our own preferences and different levels of appreciation for either the early, mid or later Katatonia eras, but it seems like any willingness to embrace them all, in order to honor our history through live activities, has unfortunately failed to sustain. Needless to say, I still love ALL our albums, but with the early stuff being neglected for so many years, a feeling of having “unfinished business” with a style that goes far back to our roots has just grown stronger and stronger. I can’t help feeling adamant that songs from our early-mid discography deserve to be equally acknowledged and likewise targeted for our live show repertoire, the essential medium where the past should always be alive! Unfortunately, that door has been kept shut and left everything we did pre-millennium in a void.
Avowed, with one of us gone, Katatonia could and should have been mutually laid to rest while exploiting the freedom to continue in any desirable direction under a new name. But with Jonas now regrouping with new members and navigating further in his own direction, I no longer need to wait and see which way the wind is blowing to enter that void and grab hold of what’s been abandoned. After all, Katatonia’s legacy is resting on both ends of the timeline.
Come what may, I’d like to thank Jonas and the rest of my ex-colleagues for the incredible ride we shared through four compelling decades.
Blessed be!”
Says Jonas Renkse:
“Anders Nyström and I are going our separate ways. A decision not taken lightly, but for everyone to thrive and move forward with their own creative preferences as well as personal schedules this has become the realistic option. Anders and I started the band in 1991 and his impact on the band’s trademark sound is undeniable. As bleak as this sounds, and is, it’s further evidence of life getting in the way of our preferred plans. I wish Anders all the best for the future.”
Tomorrow, March 21, marks the release of the debut album, Left for Dust, by Swedish heavy rockers Caboose. Issued through Majestic Mountain, it is a fervent argument in favor of the generational turnover happening in Scandinavia right now — bands like Slomosa and Gjenferd, arguably MaidaVale and others, offering a fresh take on classic heavy rock ideologies, not just of the 1970s, where the sound has much of its foundations, but of the turn of the century era as well. Obviously, this applies differently to different bands, and as Caboose — the four-piece of vocalist/guitarist Dante Lindström, guitarist/backing vocalist Olle Leppäniemi, bassist Herman Serning and drummer Oskar Bergman — emerge with a sharp batch of nine hooky, riffy, fuzzy, groovy, fun-as-hell rockers pulled off with youthful verve in 29 minutes, their songwriting comes through with a corresponding sincerity of purpose in the manner they’re speaking to their influences.
One help can’t be reminded of Lowrider‘s Ode to Io as the hooky shuffle of “High on You” at the outset gives over to “Shiner,” with its more distinctly Fu Manchu-ian desert stomp. The fact that they’re young is part of the appeal, and something of a standout in an underground of ’90s holdovers, but becomes a boon to the directness of the songwriting. They’re not necessarily punk, but even closer “Spacerod,” which dares to edge near the five-minute mark (everything else is between about two and a half and three and a half minutes long), is pointed in its inclusion of a hook, taking some unconscious cue perhaps from what Slomosa brought to a style derived from early Queens of the Stone Age and applying it to the fuzzier shove of the aforementioned Fu Manchu. Certainly “Cement Surfer” supports this, and the twisting structure of the riff and vocal cadence of “Crimson Haze” too. Not at all a thing to complain about. Caboose establish their own dynamic between Leppäniemiand Lindström‘s guitars and the grunge tinge of “Fuzzed Out Mind” gives some hint of stylistic elements that might work their way into the sound over the longer term, and Left for Dust at no point comes across like it’s trying to reinvent stoner rock so much as celebrate it, which in turn makes it feel more heartfelt.
By the time they’ve casually cruised through centerpiece “Sophie’s Sushi Wok” — two verses each with a semi-chorus, a quick boogie jam, done in 2:34 — and through the shove ‘n’ shred of “Cement Surfer,” the die is long since cast. Somebody send apology cards to Caboose‘s parents; your children have been claimed by heavy rock and roll and are thusly condemned to a lifetime of riffing out in square-shaped buildings of various size and locale. In all seriousness, given the level of craft throughout Left for Dust and the fullness of the production through which the album is presented — that is, that they sound way more like a young, hungry band ready to tour and make records than they do like a novelty act — it’s difficult to divorce the high quality of Caboose‘s first LP from the potential it heralds for their future growth in the genre.
There are a lot of young bands out there right now and it can take a lot to break through and grab listeners’ attention, whether it’s on social media or standing on stage. Caboose have the songs behind them here and especially for being their debut, that’s plenty. What their future might hold is anyone’s best guess and will ultimately be a part of the story of how they grow up as people. Lowrider could probably tell you about that, or Elder at this point. Caboose set themselves on a path here that likely will resonate with older heads, sure, and has the potential to bring new listeners on board in a way most new bands can’t, and no, that’s not just about their likely ability to effectively use TikTok to spread awareness of their existence. Though that might help too.
The point is that most of all, Caboose‘s potential is in the songs themselves and the effectiveness with which they convey their realization; the sense of purpose behind the aura of cool that pervades the desert-style spread of “For So Long” early on and the engaging nod of “Feedback City” later. Though straight-ahead, they are not lazy as songwriters — even as stripped down as “Sophie’s Sushi Wok” is, the verse progression makes a brief return at the end — and the malleability of the fuzz throughout speaks to a willingness to try new things in search of what best serves the material and an attention to detail that gives a different framing to the short, snappy vibes of “High on You,” “Shiner,” and so on. Part of the reason one can imagine Caboose doing this for the next 25 years so vividly is no doubt because they already sound so much like they know what they’re doing.
Left forDust streams in its entirety below. PR wire info follows. Have at it and if the joy doesn’t come through, come back when you’re in a better mood, because trust me, it’s there.
Enjoy:
Formed during the frigid winter of 2022 by four high school friends, Caboose started as a school project aimed at crafting high-tempo stoner rock. What began in a makeshift garage studio quickly evolved into something much bigger, as the band honed their fuzz-driven sound, blending classic rock grit with the modern stoner rock spirit.
Now, nearly two years into their journey, Caboose has become a staple of Stockholm’s rock scene, delivering high-volume, riff-heavy performances from underground venues to festival stages. With fuzz-drenched riffs, thick grooves, and raw energy, Left For Dust cements Caboose as a band to watch in the Swedish rock underground.
Tracklisting: 1. High On You 2. Shiner 3. For So Long 4. Crimson Haze 5. Sophie’s Sushi Wok 6. Fuzzed Out Mind 7. Cement Surfer 8. Feedback City 9. Spacerod
Composer and lyrics: Dante Lindström. Mixers and engineers: Alexander Kelam, Martin Sweet and Oskar Bergman.
CABOOSE are: Dante Lindström: Guitar & lead vocals Olle Leppäniemi: Guitar & backup vocals Herman Serning: Bass Oskar Bergman: Drums
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
Stockholm-based classic heavy rockers The Riven will release their third full-length, Visions of Tomorrow, on April 25 through Dying Victims Productions, and the video for “Set My Heart on Fire” premiering below celebrates the impending LP in duly uptempo fashion, highlighting the more pop-informed side of the five-piece’s style. Traces of Thin Lizzy in the dual guitar at the outset speak to the nascent NWOBHMery fleshed out in the hooky “Killing Machine” early on while a rock and roll — unqualified in genre terms: rock and roll — chorus in “Follow You” answers the accessible intentions of “Set My Heart on Fire.” Like the record from whence it comes, the clip is all about performance — live, in the studio, alone, together — and the communication of thoughts, feelings, moods and atmospheres that emerges from the band’s straight-ahead-in-terms-of-structure songwriting that draws on influences from ’60s garage and ’70s boogie to the harder metallurgical realizations of the early 1980s. Through it all, the band shine through with clarity, persona and purpose.
The album begins with “Far Away From Home,” the first of the 11 inclusions and the first and by no means last soaring vocal from Charlotta “Totta” Ekebergh, who in presence and range takes almost immediate ownership of the material. With the guitars of Joakim Sandegård and Arnau Díaz, Max Ternebring‘s bass and Elias Jonsson‘s drumming behind her, the here’s-that-word-again classic dynamic of the band is both showcase and sandbox, and the whole band plays accordingly.
Like “Travelling Great Distance” and the title-track, “Set My Heart on Fire” is less than three and a half minutes long, but that’s plenty of time for The Riven to plant a chorus in your brain to keep you coming back, and whether it’s the Swedish-language “En Dag Som Aldrig Forr” or the subsequent pledges of affection and loyalty that follow to cap the record with “We Love You” — think Grand Funk writing a song in the studio to play live speaking directly to the audience in the lyrics — and “Follow You.” Engaging the listener, delivering with energy as a part of that, and general efficiency of craft seem to be the priorities across the taut 39-minute span.
It’s to The Riven‘s credit that they’re able to shift between different feels like the atmospheric break in “Crystals” — longest track at 4:55 — and “On My Mind (Tonight),” which rallies around a bouncy rhythm and choppy riff that maybe reminds of Scorpions or maybe just calls back to “Killing Machine” earlier on; I won’t profess to know. Though it all, Ekebergh ties the songs together on vocals and remains a powerhouse ready to belt out another memorable line as the band weave between max-push and mellower looks. It is pro-shop in sound and execution in a way that few records even based adjacent to heavy rock would dare to be.
And as one might anticipate for a record comprised of 11 hammered-out individual tracks assembled together for maximum flow and listener-carry, momentum stays on The Riven‘s side for the duration. The charge of “Seen it All” provides a boot to side B that continues in the title-cut, and “En Dag Som Aldrig Forr” is a groover whether you speak Swedish or not. More than anything else, Visions of Tomorrow feels like a point of arrival for the The Riven in terms of the songs themselves. The band sound like they knew going into writing what they wanted to write, and that they succeed as they do front-to-back continues to highlight them among the most stage-ready-sounding outfits in the ever-packed Scandinavian underground.
For the person in your life — we all have that person — who says rock music is dead, here’s a band whose very existence is fervent counterargument.
Info follows from the PR wire. Please enjoy:
The Riven, “Set My Heart on Fire” official video
DYING VICTIMS is proud to present THE RIVEN’s highly anticipated third album, Visions of Tomorrow, on CD and vinyl LP formats.
Formed in 2016, Stockholm-by-way-of-London power rockers THE RIVEN have carved a uniquely compelling place for themselves, drawing musical influence from a wide array of genres. Hard rock, old prog, early heavy metal, and even simply rock ‘n’ roll itself: no mossy stone is left unturned by THE RIVEN. And when combined with their lyrical themes – from everyday life all the way to the fantasy-inspired, with sometimes both intertwining – the quintet have forged their own path, displaying a sound fitting firmly within the late ‘70’s and early ‘80s but with an effervescence that feels palpably modern.
Where their second album, 2022’s Peace and Conflict, felt like a watershed moment – moving from the “powerful rocker” of their eponymous debut album in 2019 to an emotive, electric, but no-less-earthy sort of NWOBHM – THE RIVEN sound positively poised for another breakthrough with their forthcoming third full-length, Visions of Tomorrow. Presciently titled, Visions of Tomorrow struts and sways with that sort of star quality that can only come from total, utter self-belief…and absolutely stunning songs! The sound is more present and raw than before, ear-effortlessly exuding dynamics lost to most “hard rock” bands. THE RIVEN here offer a sumptuous feast of familiar-yet-fresh heavy rock built on massive HOOKS and HEART. Not for nothing have they become a finely honed ensemble; touring nonstop has been the band’s lifeblood for years now, and that tangible sense of magick swirls about each of these 11 anthems. New drummer Elias Jonsson pumps that blood with an almost “laidback urgency,” and the rest of THE RIVEN let rip with what they liken more “complete” songwriting: the songs may be shorter than previous ones, but they’re undeniably more action-packed and nuanced.
Interestingly, while writing for Visions of Tomorrow was done in Stockholm in late 2023, THE RIVEN was selected for an international studio residency as part of the Swedish national arts association, and the band lived for a few days at the highly prestigious studio Fascination Street in Örebro. The album was mixed and co-produced by Robert Pehrsson (The Hellacopters, Tribulation, Dead Lord among others). Lyrically, Visions of Tomorrow showcases a band that is frustrated about how the world is run, who’s in charge, and what is about to happen to the rest of us. Musically, it showcases a band that can handle their instruments and is willing to explore and go on musical journeys. THE RIVEN themselves claim that this third album is “a fine example of rock ‘n’ roll being played at its best – it’s honest, it’s urgent, it’s calling you, and it will make you shake your fist and bang your head – all while thinking about where we are and where we are going.”
Wherever you want to go with Visions of Tomorrow, there’s no disputing the fact that THE RIVEN are poised to take over the biggest stages all over the world!
1. Far Away From Home 2. Killing Machine 3. Set My Heart On Fire 4. Travelling Great Distance 5. Crystals 6. On My Mind (Tonight) 7. Seen It All 8. Visions Of Tomorrow 9. En Dag Som Aldrig Forr 10. We Love You 11. Follow You
Posted in Whathaveyou on March 13th, 2025 by JJ Koczan
Truth be told, I was very much hoping to see Vokonis at some point this year after their 2024 album, Transitions (review here), proffered such aural and existential triumph, not sugarcoating the experience of founding guitarist/vocalist Simona Ohlsson‘s coming out as trans, but giving progressive heavy metal and rock a voice it very much needs and offering yet another collection of killer tunes besides. They were scheduled to support Rezn later this summer in their native Sweden, but the band’s breakup — announced just yesterday — obviously precludes such a thing.
Some of the sting is taken out of the band’s what-feels-like-suddenly calling it a day by the admission, “We might come back in the future, we might not. We’re gonna keep creative music in a different shape and under a different name.” This is good news, whatever it might actually portend in terms of sound. I followed Vokonis from their tone-worshiping demo days as a stoner band a decade ago to the realizations of their last LP, and given the journey in sound that that was, I’m curious what Ohlsson and company might have in store for the future. I may never get to say I saw Vokonis, but at least the door is open to other possibilities.
In my stoner rock head-canon Ohlsson has been tapped to permamently replace Brent Hinds in Mastodon. She can sing and you’d have a hard time finding a better fit. She’d make them a better band. Just saying.
The band and their label, Majestic Mountain Records, offered the following on social media:
Says Vokonis:
Vokonis, 2015-2025.
Vokonis have come to an end. We’d like to thank everyone who’s listened to our music, come to our shows and supported us in any way possible. We might come back in the future, we might not.
We’re gonna keep creating music in a different shape and under a different name. Again, thank you all who’s taken part in our journey.
Says Majestic Mountain Records:
It is with heavy hearts that we at Majestic Mountain mark this somber day. We’ve been ardent supporters of Vokonis’ music since their inception in 2015, closely following their profound influence on the heavy music scene and their remarkable evolution from stoner doom roots to the expansive realms of progressive metal that is the album ‘Transitions’.
So it goes without saying that releasing VOKONIS latest album, Transitions, has been a true privilege for us at Majestic Mountain. A true milestone for us as a label.
We’ll all miss Vokonis, but we’re also already looking forward to hear where their new musical journey takes us.
Posted in Whathaveyou on March 12th, 2025 by JJ Koczan
Swedish heavy rockers Deville have never lacked for charm, and that they’d continue to celebrate the 20th anniversary of the band with a tour called ‘Usually It’s Packed’ is for sure emblematic of that. This Spring will also see Deville taking part in Desertfest London, and last summer they compiled album and off-album tracks onto the collection 20 Years, titled simply in honor of the occasion being marked.
And indeed that’s an occasion worth marking. No doubt it’s a blip in the band’s own history, but I recall fondly the time they stayed with us in Massachusetts when we lived up there, having come over to play a few shows, including one I was lucky enough to catch with Ichabod in Worcester (review here). We didn’t do a lot of that kind of thing and they were super nice and that was the nicer of the two condos we lived in while we were there too, so I’m glad that happened. Their last couple records have been more metal, but songwriting is songwriting.
From the PR wire:
EUROPE! DEVILLE are celebrating 20 Years of “Usually It´s Packed” and of course we will do it with a Tour! See you this spring and get your tickets! https://deville.nu/tour/
THU 17-04-2025 Flowerpower Magdeburg,Magdenburg (DE) FRI 18-04-2025 RESET – Live Club Berlin Kreuzberg,Berlin (DE) SAT 19-04-2025 Hexenhaus Ulm,Ulm (DE) SUN 20-04-2025 Fundament Studio Roosendaal (NL) Live session MON 21-04-2025 Backyard Club e.V. ,Recklinghausen (DE) THU 24-04-2025 La Maison Bleue – Strasbourg, Strasbourg (FR) FRI 25-04-2025 Brin de Zinc, Barberaz (FR) SAT 26-04-2025 Deux Ours, Modave (BE) SUN 27-04-2025 Kid’s Rhythm ‘n’ Blues Kaffee, Antwerp (BE) MON 28-04-2025 Pitcher – Rock’n’Roll Headquarter Düsseldorf, Dusseldorf (DE) TUE 29-04-2025 TANKSTATION,Enschede (NL) WED 30-04-2025 De VerbroederIJ, Amsterdam (NL) THU 01-05-2025 Azijnfabriek Roermond, Roermond (NL) FRI 02-05-2025 Poppoadium Iduna, Drachten (NL) SAT 03-05-2025 Mejeriet Sønderborg,Sønderborg (DK) FRI 16-05-2025 Deserfest London,London (UK)
ALBUM “20 YEARS” OUT NOW!
With two decades of heavy guitar riffs and thunderous drum beats, these rockers are ready to unleash a sonic storm like never before. Celebrating their 20 year anniversary, Deville put together 10 electrifying tracks that will take you on a journey through the bands work over time. With 8 handpicked gems from their albums and starting with the new single DUST, this record is a testament to their relentless passion for pure, unadulterated heavy rock and metal.
On this album, Deville is unleashing their first-ever cover song, a spine-tingling rendition of Nine Inch Nails „The Hand That Feeds”. Prepare to be blown away by their unique take on this legendary anthem. Join the celebration and crank up the volume as Deville invites you to experience 20 years of Rock n Roll in one epic record. The jubilee album is simply called 20 YEARS and will be out as a limited tape release. 20 Years is out on 9th of August via Sixteentimes Music”
Deville: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
