Commanding an intoxicating blend of high energy riff rock, with punky grit, downtuned power, and sinister doom metal touches, PEGZILLA is rebellious and unabashed as ever in their wild new single, “Bootlicker.”

You may have encountered the self-described thrusting stoner-doom trio during the pandemic with their EP, ‘Giver’ (2022) or the stand-alone track “Eyes of Phthonos” that followed. Now, as the band gears up for their debut full-length record Disobedience, their sound has ripened and ready to burst.

PEGZILLA’s “Bootlicker” is an anti-fascist anthem, a call to resist; a reminder to stay awake, stay angry and stay sensitized to this crucial moment in time. It’s lead singer and guitarist Olivia Saperstein’s direct response to events currently taking place in the United States.

As you might expect, bands in our scene have a lot to say about the state of the world and these days politics touches all of life, so it’s hard to avoid an opinion altogether. This is nothing new for rock and metal, as it has been notoriously outspoken and anti-authoritarian for many generations (that’s especially true here on the West Coast), and remains one of the most powerful forms of free expression today. “Bootlicker” has got some real kick to it and I look forward to savoring the rest of the album in months to come.

Survivors of this year’s devastating fires in Southern California, Pegzilla are emboldened and ready to stir the cauldron. See them live as they premiere the new single on December 4th in Los Angeles at The Goldfish performing with Ben Katzman and Lord Friday the 13th (get tix here). You can grab “Bootlocker” right here, out December 4th, which Doomed & Stoned is premiering today as an honest-to-goodness, real life music video.

Give ear…

SOME BUZZ

If Sabbath got hexed by a riot grrrl and dragged through the desert at midnight, you’d get PEGZILLA. The three piece heavy rock band out of Los Angeles California features Olivia Saperstein on vocals and guitars, Juan Barsse on bass, and Ryan Swain on drums. With hints of doom metal, psych and even punk rock it’s hard to fit this rowdy trio into a tidy box. Instead label them one thing: LOUD.

For their first release since reforming and losing their Altadena home in the Eaton Canyon Fires, PEGZILLA is back with “Bootlicker”, the first single from their forthcoming debut album “Disobedience”. The song is a direct response to the current U.S. administration and its inhumane practices. “It’s a call to wake up, speak up for what’s right and resist,” says lead vocalist and guitarist Olivia Saperstein.

The powerful, riff heavy track is accompanied by a blood splattered music video, directed by Monica Moore Suriyage. The video was shot in Altadena at the Pasadena Waldorf School. Connected by Altadena Musicians, the band was proud to shoot in a town they formerly called home. “It was mutually beneficial for both the school, and local Altadena musicians,” says Saperstein, “So shooting there was so perfect.”

The video features campers who kill off their visiting co-eds and dance in their blood. With cameos from members of local LA bands Moonfuzz, Broken Baby, Lord Friday the 13th, and The Holy Cuts, the piece feels like a true community affair.

“Bootlicker” will be released on all music platforms on December 4th of this year, along with the video premiere. The band is set to celebrate their release at the Goldfish LA on 12/04, alongside Ben Katzman and Lord Friday the 13th. Limited 7” vinyl will also be available at the release party!

From Sardinia, Italy comes four-piece heavy rocker INDIGOSAUR. The band’s name seems to aptly sum up the kind of electricity, energy, and heft you’ll encounter on their debut nine-song record, ‘Cosmic Censor’ (2025). With that chill desert fuzz and frenetic perpetual motion rhythm you’re definitely in for a good time. Rainy late-night atmosphere pervades the listening experience, and I enjoyed taking this one for a drive on my pre-dawn coffee runs this fall.

Today, Doomed & Stoned brings you the second single “Titania,” which delivers the addictive momentum and feel-good rocking we’ve come to expect from late-'80s metal along with the heart-pounding groove of bands like Kyuss and Truckfighters. Loving the guitar play on this one, especially, with its subtle sendbacks to bands like Guns 'N Roses and Stone Temple Pilots.

Says Indigosaur:

‘Titania,’ second single, is an homage to the Bard, William Shakespeare. Titania is the queen of the fairies but it’s also an icy moon, like the one mentioned somewhere else in the album. The song goes straight to the point, an unstoppable race downhill lead by a syncopated riff and rousing groove, catchy but dark.

Look for Indigosaur’s Cosmic Censor, issued by the esteemed Electric Valley Records on December 5th (pre-order here).

Much of the album follows fascinating lyrical rabbit trails that include “pessimistic reflections on the human condition, metaphorical descriptions of astronomical phenomena, and their link with mythology.”

And in case you’re wondering about the meaning of “Cosmic Censor,” just take a look at the album cover. The black hole says it all, which the band characterizes as a “gravitational abomination from which nothing can escape.” Some scientists have speculated that our universe is itself nested in a super massive black hole, which is indeed food for contemplation as the vinyl spins.

Give ear…

SOME BUZZ

Electric Valley Records present the Sardinian heavy rock quartet Indigosaur’s debut LP, Cosmic Censor, scheduled for 5 December 2025 on three vinyl variants and across digital platforms.

Formed in Cagliari in 2018, Indigosaur—Lorenzo Alrifai (drums), Ivano Caria (bass), Nicholas Crozier (vocals), and Gianni Pintus (guitar)—started out by putting together the experience its members had gathered through the years and shaping the songs that would end up on their first record. Their first shows were key in building the band’s cohesion, with Indigosaur seeing live performance as the purest expression of their music. The Italian group plays a vintage and strictly valve-driven sound, drawing on thee hues of the darkest hard rock from the '70s, the steely taste of the new wave of British heavy metal and the narcotic atmospheres of stoner from the end of the millennium.

After a break caused by force majeure, the band returned to playing, both in local rock venues and in more unusual settings such as the cliffs of Ogliastra and the coast of San Pietro island, putting on a handful of “secret shows.” They shared stages with fellow Sardinian bands like Elepharmers, Ilienses Tree, Black Capricorn, and Fuzzriders.

In 2023, they recorded the tracks for their debut, while continuing to hone their live craft. In the summer of 2025, Indigosaur opened for American heavy rockers Duel on their European tour and later for London-based Italo-English outfit Gramma Vedetta. Currently working on new material, the band are eager to bring their sound to a wider audience.

Cosmic Censor is the band’s first record: nine tracks of lysergic heavy rock, at times direct and relentless, at others winding down a more complex path. Vocal lines snake through massive riffs, the rhythm section drives the songs between crushing grooves and passages of reflection. The lyrics dwell on bleak reflections on the human condition, with metaphorical visions of astronomical phenomena and their links to mythology. At the center stands the “Cosmic Censor,” a gravitational abomination from which nothing can escape.

On September 5th, after a four-year hiatus, Brazilian band BLACK NOIA will release the single “O Baque”, an intense journey through slow-driven stoner rock, heavy psych, and samba de terreiro. The track dives into dense sonic textures, where distorted, fuzz-soaked bass lines collide with heavy and precise percussion. The result is a pulsating contrast that exposes, through sound, the historical and social contradictions of Brazil.

In “O Baque”, melodies of European origin quickly give way to the relentless hammering of riffs and drums, reflecting how Brazil’s history has been marked by violence, blood, and the exploitation of people forcibly brought from Africa. After abolition, these people were marginalized, yet their music became a tool of resistance, while European immigration was encouraged as part of a state-led project of “whitening” the country. The weight and violence of the sound dismantle the myth of a “peaceful racial mixture” and reveal the harshness of Brazilian reality. At one point, the track transforms into an immersion in a traditional samba de terreiro circle, highlighting the musicality and resistance of African peoples.

Conceptually inspired by authors such as Florestan Fernandes, Gilberto Freyre, Sérgio Buarque de Holanda, and Milton Santos, the song translates into music the contradictions, oppression, and resilience that shaped Brazil. To achieve this, Black Noia blends heavy psych and stoner doom with influences from João da Baiana, Clementina de Jesus, and samba de terreiro — sounds rooted in a historical context when, in Brazil, Black men could be arrested simply for carrying a tambourine, as musicians were deemed vagabonds and “vagrancy” was considered a crime.

The lyrics reveal the rawness of life both in major cities and in the countryside, where historical contradictions have been heightened under the weight of the capitalist system — a direct heir of European imperialism. The lyricism overflows with dilemmas amid the chaos we live in today.

Composed in Boituva (São Paulo, Brazil) by Matheus Roma, Bruno Gregório, Bruno El Joe, and Caetano Vidal, “O Baque” was recorded, mixed, and mastered at Estúdio Electric Hill, in Petrópolis, under the production of Marvin.

The single will be available on Bandcamp and YouTube on September 5th, anticipating the release of the upcoming album scheduled for October. Both the single and the album are part of a broader project that also includes a short documentary, supported by the Paulo Gustavo Law (LC No. 195/2022) through the municipality of Boituva. The law aims to support artists and cultural workers, promoting democratization, plurality, and diversity in cultural production across the country.

LYRICS

Ali, chumbado, eu vi
O que queria esconder.
Só agora…
O baque eu senti.
Os dilemas em mim,
Tudo que questionei,
Repetindo assim.

There, nailed down, I saw
What I wanted to hide.
Only now…
The blow I felt.
The dilemmas within me,
Everything I questioned,
Repeating this way.

You can just tell when a band has chemistry. DUSTED ANGEL has the raw energy of Helmet and all the brash, in your face attitude of Mudhoney. Not a new band, by any means, jamming since 2008, but now landing on so esteemed a label as Heavy Psych Sounds, the band is finding their way to many new ears in the heavy underground.

The Santa Cruz, California band (made up of Clifford Dinsmore on vox, guitar slingers Eric Fieber and Eddie Gregor, bassist Elliot Young, and drummer Steve Ilse), are riding the crest of a comeback wave following their last album in 2010. All the more remarkable and heartening, considering the many trials they have fought through to get to this moment. Now on the other side of COVID’s nightmares, Dusted Angel brings us their second full-length ‘This Side of the Dirt’ (2025), 8 tracks in all.

It’s stoner doom as it’s meant to be, with lead-heavy chords you can feel right inside your chest and a defiant punk ethos. Rage Against The Machine comes to mind, but Dusted Angel has more of a rubber meets the road chug – the kind of rhythm that makes you wanna break 55 every time you drive.

They’ve held their own on stages throughout the years with the best of them, paired with bands like Fu Manchu, High on Fire, and Melvins. Good rough 'n’ tumble company, for sure. With this fiery vibe, you can’t help but get caught up in the punchy surge and defiant electricity of songs like “Kiss of Shame,” their first single “Death Crushes Hope,” and the music video we’re premiering today: “Plastic People.”

Look for Dusted Angel’s This Side of the Dirt, out September 19th on vinyl and digipak via Heavy Psych Sounds (pre-order here).

Give ear…

Dusted Angel’s journey is one of passion, perseverance, and reinvention. Fifteen years after their debut LP “Earth-Sick Mind”, the sleeping giant awakens to delight the masses with their bulldozer-like blend of heavy rock, punk rock, metal and desert riff worship, topped with Dunsmore’s commanding vocals. Whether slow-burning or full-throttle, their music is built for volume, leaving audiences battered, blissed-out, and begging for more. The fiery quintet is back and ready to sweep everything away in its path, and you’re more than welcome to hop aboard this crazy party train!

Lead singer Clifford Dinsmore shares the origins of the band:

“At the end of 2008, when I first heard that Bill Torgerson (who I’d played with for years in Bl'ast!), Eric Dog Feiber, Elliot Young and Scott Stevens were jamming I was instantly curious. When mutual friend Kieth Meek told me they wanted me to join I had to see what this is all about. Hearing The Thorn and Seeking The Dawn for the first time blew my mind and I was all about being a part of this project. After I wrote a song called Dusted Angel, we mutually agreed that would be the name of the band.

"We were very active in the first couple years, playing live constantly. We released a 7” and our full length, Earthsick Mind. When we lost Bill Torgerson, it was a severe blow to the band because he is such an irreplaceable drummer. In my mind there was only one strand of hope and one man for the job: Steve Ilse! When I approached Steve, he was busy and extremely hesitant. When I told him he was the only person that could ever replace Bill, he reluctantly joined on a part time basis. When Scotty began to have severe problems with nerves in his arm and hands we began our descent into obscurity.

“We were still playing a few great shows a year with the likes of Fu Manchu, High on fire, Melvins, Red Fang, Radio Moscow, Chrom, and other friends bands that would momentarily resuscitate the motivation. I never lost interest in Dusted Angel, and always dreamed of the day we could be more than a side project. After I had survived two different kinds of cancer and Scotty left the band, our friend Donny Champion sat in for a brief period on second guitar. Then the whole COVID-19 nightmare happened and I did a year of chemotherapy and a bone marrow transplant.

"When I came out of the fog and was able to function again we began doing limited shows with one guitar. We decided we wanted to dedicate more time to Dusted Angel and our search for a second guitar player began. Eddie Gregor was an old friend and was always around, blowing our minds with his guitar playing. When I asked, "What about Eddie?” Everyone just assumed he was too busy. When I finally asked him what he thought about being in the band, he said he had recently pictured playing with us while watching us perform. When he decided to give it a shot, things instantly gelled.

“The rest is history and for the first time in years we were able to feel like a real band again. Since his induction, it’s been non stop momentum. Incredible live shows, recording the new record, signing with HPS, and the opportunity to finally take Dusted Angel around the world. We look forward to whatever happens next!”

I’ve had the opportunity of meeting MARK ACEVES at this festival and that over the years, stretching back to Beers in Hell in his native San Jose some time back. I think I ran into him at Psycho Las Vegas a couple of times, too. Man is a roaring fireball on that guitar. We’ve witnessed it for years in the most excellent band Zed and now we get his solo effort, humorously titled ‘Magnum Dopus’ (2025).

Drawing upon a wealth of influences and his own trademarked approach to shredding and vocal heft, we have here a raucous rock 'n’ roll record that in all justice should be enough to raise the dead, or at least give 'em a little of that shake, rattle 'n’ roll in the grave.

Today, we are pleased to bring you the new single en route to the album’s full release on June 27th (pre-order here). “Hail Mary” storms right out of the gate with spunk and spit fire, the undeniable power of riff and rhythm combined. Adrenaline hits the streets, plugging right into the amps of the metal gods of the late '80s and early '90s, while sporting a modern downtuned feel. Defiant in the face of tragedy, stubborn to the last, this is the spirit of Magnum Dopus.

Stick it on a playlist with G'n'R, STP, Dozer, Truckfighters, and of course Zed.

Give ear…

SOME BUZZ

This June marks the official release of Magnum Dopus, the explosive debut solo album from ZED bassist and underground mainstay Mark Aceves.

Written in the aftermath of his father’s death and the tragic loss of close friend and bandmate Sean Boyles, Aceves poured every ounce of grief, resilience and hope into nine blistering tracks to help people move, scream, and heal.

“This isn’t a vanity side project, it’s a battle cry,” he explains. “I’m not trying to reinvent the wheel; I’m trying to light it on fire and ride it into the apocalypse with a crooked smile. The songs on this album come from my heart, and it’s written with love, man. It’s for the fighters, the dreamers, and the beautifully broken. It’s loud. It’s real. And it’s just the beginning.”

Fans of Zed will be especially pleased to hear that Aceves hasn’t strayed too far from the raw and raucous grooves of his Bay Area brethren. A fireball of punk defiance, stoner swagger, and rock-and-roll soul — like a backstreet clash between QOTSA, AC/DC and The Bronx – Magnum Dopus is a raw cathartic blast of rebellion. From the gut-punch opener and Boyles tribute ‘The True and Indisputable Meaning of Rock and Roll’, to the defiant dance floor anthem ‘Still Ain’t Dead’, the bittersweet ‘Love in the Time of Apocalypse’, and the poignant closer ‘For My Children’, the album is a riot of pure emotion.

Messy, honest, and unflinchingly human, Magnum Dopus by Aceves combines infectious hooks, heavy riffs and lyrics that bleed with meaning, and is released 27th June on I:AND:I. Pre-order here.

Mastered by Pat Servedio at Elemenno Music

This album is dedicated to the memory of Sean Wayne Boyles and Jose J Aceves. Thank you everyone who inspired or helped me in any way

Interview with MARK ACEVES

By Richard Jones

How does it feel to be putting out music as yourself, and not as part of a band? Is there a stark difference and does it require more confidence or bravado? What are the key differences for you?

Putting music out as myself is a different animal. I’ve been in bands for 20 years, and that’s all I knew. When I started recording my own stuff by myself I didn’t know how liberating and joyful it would feel. Or how fast it would come together when I was the only one who had to decide if they liked something or not. I wrote and recorded this album between January and April of this year and that would normally take the band 3 years. When I wrote the first song I didn’t know it would end up as a “record”. I just wanted to write something that felt good, was fun and that sounded different from what was happening in the larger rock scene. And that ideal kept driving me to do the rest of the songs. The biggest challenge for me was how I would handle vocals. I’ve been a bass player forever and never had to worry about lyrics or vocals, and I honestly didn’t think I could pull it off. I was starting to think about who I could get to sing the songs, but it came down to me not wanting to trust anyone else with my vision or my ideas, so it told myself to fucking get over yourself and your self-consciousness and just fucking do it. So, I did. And it didn’t sound nearly as awful as I was expecting. And I got to do things musically and vocally that I’ve always wanted to do.

'Magnum Dopus’ is your first full-length as Aceves. It’s been described as “honest and unflinchingly human.” In terms of both music and emotion, does this collection of songs find you at your most personal?

Absolutely. This album is deeply personal in that it represents me as an artist and as a human being. From the jump, the very first thing you hear on this record is the voice of Sean Boyles, who was ZED’s longtime drummer who passed away unexpectedly on my birthday in 2023. I was listening to his podcast one day after his death and that quote hit me like a ton of bricks. It was telling me how to live life and that quote embodies the spirit of the album. In fact, when I was writing these songs, I’d ask myself “Would Sean dig this?” and anything I didn’t think he’d like or at least appreciate, I didn’t do. My father also passed away not long after Sean and if there is anything he taught me about life, it’s that when life kicks me in the stomach and I’m face down in the dirt, I need to get back up and swing back. This album, and particularly the first song on this album, are dedicated to Sean and my pops, and anyone out there fighting a battle that they aren’t sure they will be able to win. It’s for the underdogs, like me. The marginalized and those who’ve been counted out or left to the side. It’s that primal, visceral middle finger to everything and everyone who tries to push us down. In all that I also found a way to express my feelings for my wife and end the album with a stripped-down song for my kiddos.

How much of an impact does your record collection or love of ‘genre music’ have on you as a performer and songwriter.

I have a decent record collection and have been a fan of lots of different kinds of music since I was a kid. I remember being the only punk/metal kid I knew of who also loved stuff like The Cure or The Smiths. I think all the varied influences show up on this album, because at the end of the day, I’m a fan of a great song, and a great song will transcend genres. I’m way more interested in writing a good catchy song than I am about being a genre purist or a “shredder”. Not that I am one, but when I was writing these songs, I found myself consciously dialing some things back, especially on the bass end, since I’m a bass player first, because it didn’t serve the song. I asked myself each time, am I serving the song or my ego, and I felt I needed to simplify what I was doing to get out of the way of the spirit of the song. My playing on this album is simple and not nearly as complex as what I would traditionally do on the band records, and it felt right.

What can you tell us about your new song, ‘Hail Mary’?

‘Hail Mary’ is kind of a quirky little song I wrote about being left out, disregarded and beat down, and finding it in yourself to get back up one more time and throw a Hail Mary, cuz it might just change everything. I’ve never been super into sports, but I’ve always been obsessed with the stories in sports and in life about the people who were down for the count and somehow they got back up, went for it one more time and incredibly they upset everyone’s expectations. The lyrics are straightforward and simple. “Shit’ll get hairy, so run your Hail Mary, and give it all that you got. It ain’t their choosing, they count on you losing, so don’t give them what they want!” It’s a reminder for me to never give up.

Where does playing live rate in your list of things that you enjoy most as a musician? Do you prefer playing live to recording? I get the impression that Magnum Dopus was made more as a labour of love than an excuse to get up on stage and rock.

Playing live is a lot of fun, and when the shows are right and the band is tight, the sound is just right and the crowd is into it, it’s pure magic. Taking the band around the country and then to Europe was amazing. I was solely focused on the band for so long that when I started recording on my own last year just for fun, I had no thoughts that it would end up where it is right now. So yes, Magnum Dopus has been more of a labour of love because I never planned on it being more than that. That said, it would be fun to get up on stage with a band and play these songs. I think they would translate well live.

As an artist, what do you need to happen in and around your life to help focus your attention on music?

That’s a great question. It can be a challenge because I have a family and a day job that demands my time. I don’t have the luxury of endless days in the studio. What I do have though, is an office in my backyard that also serves as my recording studio. While recording Magnum Dopus I would be working and in meetings for my day job, then when a meeting would end I’d pick up the guitar and record a track, or on the weekend I’d spend a good chunk of my day here. It’s about putting in the time and listening to your inner voice to follow the path of creativity. There were times I’d have to put things on hold or come back to later due to life happening, but that’s what happens when you live. I think not having all the time in the world also helps me to focus and cut the bullshit out of my spare time.

What does the rest of 2025 hold for Aceves?

I’m starting to work on the next set of songs already! In addition to that, my band ZED is about to go into the studio with a new drummer and a new set of songs to record, and that will hopefully round out the year for me musically. And if things go well with Magnum Dopus I may even be tempted to do something live, we’ll have to wait and see! Thanks for the interest and chat! I hope you dig the record!

I don’t know if you’ve noticed, but the music is really heating up lately. It’s not just my imagination. There’s a mood in the air so thick you can cut it with a knife and doom provides the perfect soundtrack. The album that’s got me feeling the dankness of summer right now is ‘Strung Out In Hell’ (2025) by Birmingham, UK three-piece MARGARITA WITCH CULT. I swear the band gets better and better with each release.

Scott Abbott’s vocals are as on point as his deadly guitar licks, starting with opener “Crawl Home To Your Coffin,” with that death chant of a chorus. Throughout the album the rhythm remains infectious, with Jim Thing and George Casual festering up a firestorm on bass and drums.

The record even boasts of a Billy Idol cover (“White Wedding” as you’ve never heard it before). Those stomping doom chords are absolutely dominating, and the guitar attack here and throughout the album does not disappoint.

“Witches’ Candle” is the second single and music video, which Doomed & Stoned is revealing today. It’s got a robust NWOBHM beat with elements of stoner rock and dark psychedelia woven deftly throughout, for one of the tightest tracks on the new 9-songer. The guitar screeches like a siren as the two-and-a-half minute pulse-pounder comes to a close, leaving us wanting even more.

You won’t have to wait long. Margarita Witch Cult’s Strung Out In Hell comes out July 18th on Heavy Psych Sounds (pre-order here). It’s pure rocking doom all the way from this power trio. Stick it on a playlist with The Watchers, Hippie Death Cult, Warlung, Uncle Acid and the deadbeats, and Reagers-era Saint Vitus.

Give ear…

SOME BUZZ

Hailing from the home of metal, Birmingham UK, Margarita Witch Cult are the Sabbath City’s newest heirs to the throne of darkness- serving a merciless concoction of stoned sludge, demented thrash, and proto-metal weirdness.

Having released their lo-fi cassette demo ‘Witchfinder’ in early 2022 to international acclaim- being booked for Desertfest London and signing with HPS- the self-proclaimed “disciples of the riff” having been tearing up venues across the UK and leaving audiences aghast in their wake-sinking their claws into all who dare offer up their ears and eyes to their unholy din.

Formed of Scott Abbott (vocals & guitar), George Casual (drums), and Jim Thing (bass), the power-trio are especially stoked to be working with HPS internationally, telling “It’s a stone cold honour to sign with Heavy Psych Sounds, they’re a vital part of the scene and have great fuckin’ taste!”

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you’ll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP ‘Strung Out In Hell’ takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory.

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

In our lifetime we have witnessed dramatic shifts in music, culture, technology, and attitude. So much has changed over the past year, let alone since the mellifluous flourish of The Me Decade. Yet there’s something enduring about the spirit of the sound of the ‘70s, that stands true to this day. And this is why there remains a stubborn and celebrated undercurrent of new bands plugging into old amps and stacks, stirring a vibrant energy and tone that reminds us of our essential humanity.

This is the zeitgeist that Ohio’s ELECTRIC CITIZEN have tapped into for their latest album, 'EC4’ (2025). It follows their pre-pandemic album Helltown and is easily a renaissance for the band, proving that the Electric Citizen’s chemistry is still tight and their peal enduring.

The album begins in boisterous fashion with trademark stoner metal rev on “Mire,” and gradually moves toward softer, still of the morning songs like the beautifully strange and melancholic “Traveller’s Moon,” “Tuning Tree,” “Moss,” and “Flower of Salt.” It’s a mesmeric downshift I’m frankly ready for, as we’re now right into the withering heat of summer.

Where are we going? When does it end? singer Laura Dolen ponders, which proxies our own thoughts. Her wistful vocals conjure that recognizable, ghostly flair we’ve come to love. There is simply no vocalist like her in the heavy rock scene, past or present. Easy on the ears, which makes songs like “Moss” a pleasant escape from the hellscape of hot asphalt tops, congested highways, and endless controversy.

Previous singles “Static Vision” and “Smokey” have not disappointed for the vibrant blast of drummer Nate Wagner and bassist Nick Vogelpohl, with atmospheric rapture from Owen Lee’s keyboard, and the unrelenting riff-filled charge of guitarist Ross Dolan. “Lizard Brain,” however, is one of the very best tracks on the record, certainly my favorite.

It feels like Electric Citizen is onto something vaguely but palpably more primeval than the hippness of The Me Decade. Indeed, the tonality seems to dig straight into the well of the ancients, hinting at Near Eastern strains (as on the mystical “Other Planets”).

Something about the tone of the guitar and the circular flow of the rhythm on “Lizard Brain,” coupled with the ethereal, spectral strains of the songstress, makes me feel like it could be at home thousands and thousands of years ago in ancient Sumer or Babylon. Imagine were the band to be magically transported to such a time, their stuff would now live in legend.

Electric Citizen’s unique blend of melody, ambience, and rocking rhythm strikes an ideal balance that makes their newest effort imminently replayable. I think it grows stronger each time I listen. EC4 has a way of really imprinting upon that part of our psyche so irresistibly drawn toward music. Perhaps the “Lizard Brain” itself.

Look for EC4 to drop on June 27th via Heavy Psych Sounds, with the usual stunning array of 12" options pre-order here.

Give ear…

SOME BUZZ

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

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, 'EC4’ — a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY.

The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, 'Sateen.’ Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet—a fusion of hypnotic grooves, searing guitars, and Laura Dolan’s mesmerizing vocals. 'EC4’ is both a homecoming and a rebirth. Electric Citizen is back!

The human psyche is complex. In this rapid paced world of ours full of constant stimulation to our senses, the human brain is scrambling to keep up with constant unpredictability, randomness, and change. We replay constant regrets of the past, project worried what-if scenarios of the future, and find it nearly impossible to sit still or remain in the present, available to the people who matter most.

This inner turmoil and conflict of mind, while not new to the human experience, is certainly amplified in this time of endless doom scrolling. Music helps us process through it all and find our way to come to terms with our reality, making albums like Woodhawk’s latest, ‘Love Find A Way’ (2025), so immediate and relatable. “It really is a journey of getting out of the darkness and into the light,” says the band. This, certainly, is something we all long for, a way through for the dark night of the soul.

We are grabbed right away by the Calgary trio’s stoner grove riffing on “Grave Shaker” (a factor that remains strong throughout the record). The next thing that hits is the clear headedness of the words sung. They are delivered by frontman Turner Midzain, whose vocal style and range is comparable with contemporaries Zach Thomas of High Reeper and Daniel Pascual Salvador of Wet Cactus.

“Stranger Ever After,” one of the album’s two singles, continues the catharsis, juxtaposing high energy riff 'n’ rhythm with atmospheric keys that underscore the rawness of the message. “Now this could bring me to tears, leave me shaken and scared, because I’ve been here before…I’m searching for love, I’m looking for cause, I’m looking for hope for all that I’ve lost.” Midzain illuminates the lyrics, explaining:

Through changes and growth, sometimes you lose people along the way that were once very close to you… Someone who was once your closest person can become the opposite if you grow in different directions.

Love Finds A Way is a moving, introspective, and incredibly honest trek. Doubts and regrets are aired like candid confessions. “Mama I’m scared I’ve gone too far. I’ve lost what to say, I don’t know where to start,” the singer laments in the aptly named “Truth Be Told.” Then he borrows a line from Alice in Chains: “I think it’s gonna rain when I die.”

The music moves the sentiment of these nine songs with a crisp, stalwart beat from drummer Kevin Nelson and robust bass rhythms from Mike Badmington (who also shares vocals throughout the album).

The flow is undeniable in the closing number “Killing Time,” which is to me the gem of the collection. It’s about being gaslit in a relationship, waking up, and rediscovering a sense of self and is just so thoughtfully written from the catchy beat to the vocal phrasing and the guitar solo and addition of the piano.

I don’t think I’m listening
To anything at all
Time is slowly killing me
And my memories they fade
So why are we still here
With fading eyes
Why am I still here
Killing time

While I’ve made much to-do about the lyrical force of the album, it takes every member of the band to really pull it off and make us believers. Woodhawk is working like a well-oiled machine one EP and three albums into their career, making this a wholly convincing spin track after track.

Look for Woodhawk’s Love Finds a Way this Friday, June 6th, on Grand Hand Records (get it here). Stick it on a playlist with The Sword, Thin Lizzy, Horizont, and Priestess. You can catch the album release shows on June 13 in Edmonton at The Buckingham and on June 14 in Calgary at The Palomino.

Give ear…

SOME BUZZ

Formed in Calgary, Alberta, in 2014, Woodhawk swiftly emerged as a formidable presence in the Canadian rock scene. With their debut album Beyond the Sun dropping in 2017, the trio—comprising Turner Midzain on guitar and vocals, Mike Badmington on bass, and Kevin Nelson on drums—immediately garnered attention with their distinctive fusion of classic hard rock and modern stoner metal.

Their music, characterized by infectious grooves and memorable hooks, captivates audiences and has earned them a devoted fanbase. Following the success of their sophomore release, 'Violent Nature,’ in 2019, Woodhawk continues to push boundaries and captivate listeners with their upcoming 2025 album, 'Love Finds a Way,’ set to further solidify their status as one of Canada’s most exciting rock acts. With electrifying performances and a sound that marries nostalgia with innovation, Woodhawk remains a force to be reckoned with, poised to leave a lasting mark on the music landscape.

'Love Finds A Way’ is Woodhawk’s third studio album and their first full-length release in six years, following 2019’s 'Violent Nature.’ Woodhawk’s distinctive fusion of classic hard rock and modern stoner metal continues to captivate audiences and earn them a devoted fan base who enjoy Black Sabbath, The Sword, Priestess, and Red Fang.

Says the band: “Love Finds A Way” is a journey through the last couple of years. All of us went through some hard times, and to no surprise, the pandemic wasn’t much better! We weren’t sure if we would continue being a band or not. But we prevailed and are stronger than ever. It’s about love and friendship. And getting through things together. Checking in on your loved ones and friends.“

Woodhawk has shared two singles, “Relapser” and “Strangers Ever After,” to build momentum for the June 6th release of “Love Finds A Way”, via Grand Hand Records. “Strangers Ever After” showcases the band’s signature blend of classic hard rock sensibilities and modern stoner metal influences, delivering the infectious grooves and memorable hooks that have earned them a devoted following since their formation in 2014.

“Relapser” is an explosive track that showcases the band’s evolution while staying true to their foundations in heavy, riff-driven rock. It’s got the heaviness their fans expect, but with the emotional honesty that’s become increasingly important in their songwriting. This song especially captures that journey of struggling, falling back into old patterns, but ultimately fighting to move forward.

Woodhawk has shared stages with Airbourne, In Flames, Elder, Truckfighters, Metz, The Shrine, and Sandrider. See them on August 3rd, day three of this year’s LOUD AS HELL OPEN AIR FESTIVAL in Drumheller, AB alongside Revocation, Cyborg Octopus, Beguiler, Thirteen Goats, Famous Strangers, and more! Full details on LAH can be found at www.loudashell.ca.

Love me some fuzz. In fact, it may be the best way to start your day, forget the coffee. Cue up a little FUZZRIDERS and sail right into your day, rain or shine, good or ill. The fuzz has got your back.

Another Electric Valley Records release, a label which can practically do no wrong with one irradiated downtuned issue after another, Fuzzriders bring us a long awaited full-length, having played in the Mediterranean island of Sardinia for some 8 years, home also of Loose Sutures, 1782, and other notables in the Italian heavy music scene as of late.

Fuzzriders channel a vintage sound from an era that just got rock right, amped up with modern innovations to the fuzz rock genre and vocals that for me recall vintage Bobby Liebling of Pentagram (“I am a demon” the singer chants at one point in the album). At the same time, the single before us roils with fearsome undertow that makes it more menacing than your standard ‘70s fare with an injection of jaded grudge. The fierceness of that album cover says it all: this ain’t your grandad’s stoner rock.

Here is the title track for Fuzzrider’s I Like It, coming out on EVR and available soon for pre-order here starting April 16 (release date June 6). US distribution via Glory or Death Records (get it here).

Give ear…

Electric Valley Records is stoked to announce the release of I Like It, the debut LP of the Italian stoner/fuzz rockers Fuzzriders. Scheduled for June 06, the album will be available on three vinyl variants and across digital platforms.

Fuzzriders took shape in 2017 in craggy, sun-drenched Sardinia, born from an idea by Bonettu and Carrasco. After a few trial runs, they were joined by Willy and Cisko, and together they began writing fast, raw, and punchy tracks, full of fuzzy, heavy sounds. On 01 January 2020, the Cagliari-based group released their self-titled EP, Fuzzriders, marking the beginning of a journey that shows no signs of stopping, with a full-length already in the works, set to take the band to new horizons.

In 2020, after the release of their self-titled EP, Fuzzriders reached out to Electric Valley Records with the intention of starting a collaboration. But, unfortunately, with the world shutting down due to the pandemic, the project was shelved before it could take shape. Now, with their debut album finally ready, Fuzzriders and Electric Valley have reignited the conversation, and this time, it’s become a reality.

Fuzzriders’ debut full-length, I Like It, is a sonic explosion: loud, unruly, and packed with the rhythm of chaos. Each track lands like an unexpected slap, leaving you breathless and on edge for unexpected. This is an album that doesn’t ask for permission, it rather kicks the door in and crashes through your consciousness without warning, leaving you rattled but craving more. Expect beefy, riff-heavy songs riding alongside stoned-out, intoxicated vocals, a groove-ready low end, and unfiltered garage convulsions.

Bouncy, insatiable groove meets biting lyrics in the new single/music video from CRYSTAL SPIDERS. In today’s tense and turbulent times, here’s some music you can really cut loose to. A romping, heart-pounding beat sets off opening track “Torche,” one of seven livewires on the new album ‘Metanoia’ (2025).

Metanoia alludes to the changes that come about in a person’s life with some kind of spiritual 180. “The tracks explore personal and collective change, often through tumultuous experiences that lead to growth and new transformation,” says the band.

Today Doomed & Stoned premieres the opening number, “Torche,” which the sets the tone for the album “with its visceral depiction of primal struggle, using fire and light as symbols of both conflict and illumination.” The primal lyrical force is underscored by the fantastic visceral energy of longtime music video maker Chariot Of Black Moth.

Build a tower out of bone and gristle
Rip the nerves right outta the neck
Light em up, raze this town
Bear down 'til you crack their backs

Brenna Leath’s vocals are captured with wildcat ferocity on this recording, produced at Volume 11 Studios by scene legend Mike Dean. The exuberance of this bluesy southern stoner trio, rounded out by Reid Rogers on guitar and Aaron Willis on drums, is simply irresistible. There’s some humid, syrupy doom to be had on the album as well, so when you get the album be sure to check out closing track “O.S.”

Get ready to raise horns, band your head, and feel good! Metanoia by Crystal Spiders is slated for a Ripple Music release on May 23rd (pre-orders available soon here). Stick it on a playlist with Down, Corrosion of Conformity, Motörhead, and Witch Mountain.

Give ear…

SOME BUZZ

Known for their alchemical blend of heavy metal and psychedelic soundscapes, Crystal Spiders delves deeper into the abyss, exploring themes of transcendentalism and expansion in a collection of tracks that is both gritty and beautiful. The band originally emerged in 2019 in Raleigh, NC as the brainchild of bassist and vocalist Brenna Leath, who wanted to explore a new creative path after years performing with Lightning Born. Quickly establishing themselves as pioneers of a new breed of heavy rock and stoner doom, their first self-recorded demo secured them a spot on The Obelisk’s yearly ranking of short releases, followed up shortly by a debut album release with Ripple Music.

Good things come in threes - and the third album from heavy stoner rock trio Crystal Spiders is no exception. For METANOIA, bassist Brenna Leath (Lightning Born) is joined by Aaron Willis on drums (The Hell No, Few Good Things) and Reid Rogers on guitar (Cerebus, Knightmare).

NWOBHM fans will be delighted by Rogers’ blistering solos and hooks paired alongside Leaths’ powerhouse bluesy vocals and Willis’ driving drumlines, and southern, stoner, doom, and sludge fans will appreciate the classic production at the skilled hands of producer Mike Dean, of Corrosion of Conformity.

With a basis in stoner doom’s trademark tones, textures, and tempos, Stone Disciple’s assorted influences amalgamate into bittersweet compositions with memorable melodies that might linger in your ears long after the music has ended.

The self-styled “doom rock” act from Denver embodies the best parts of the underground ethos. Originally assembled in a basement practice room, duo Jared Martinez (guitars, lead vocals) and AJ Rothermel (drums, vocals) are propelled by a strong DIY ethic and healthy ambition to elevate their act to progressively higher levels of sonic expression.

Today, Doomed and Stoned shares our interview with Stone Disciple and the debut of their new acoustic track, “Alone.” The reprised single offers the listener a smooth and nuanced trip with resonant vocal harmonies and a touch of Americana nostalgia. (Track debut begins at 32:08)

Follow Stone Disciple on Bandcamp for music and merch, and stay up to date with gigs and more via Instagram.

There’s no denying the deep, groovy, doomy heavy rock vibe of WARLUNG on their new music video, airing the first single from their upcoming 5th studio album, ‘The Poison Touch’ (2025). Lyrics draw upon moments from the original Planet of the Apes movie (I’m talking the one from way back in '68), scripted by classic Twilight Zone writer Rod Serling:

Beware the beast man, for he is the devil’s pawn. Alone among God’s primates, he kills for sport or lust or greed. Ye, he will murder his brother to possess his brother’s land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him. Drive him back into his jungle lair. For he is the harbinger of death.

This screed was preserved in the Apes’ sacred scripture, “29th Scroll 6th Verse,” which is the title of this album-closer. Its truth is self-evident, generation after generation, bringing chills when you hear the words: “No way out…”

“This is an ode to classic sci-fi,” the band explains. “The song warns against the destructiveness of human nature. It’s an interpretation of the Law Giver’s sacred scriptures from The Planet of the Apes lore.”

Warlung’s forthcoming 8-tracker is bursting with energy, made immediately recognizable by the distinctive two-vocalist approach of axemen George Baba and Philip Bennet that deliver some truly effective choruses, with delicious guitar harmonies, hell-yeah solos, and poignant riffs, backed by the stalwart and inventive rhythm section of Chris Tamez (bass) and Ethan Tamaz (drums). These two brothers bring dramatic punch to “29th Scroll, 6th Verse,” making its message all the more gripping.

You can pre-order The Poison Touch starting today on Heavy Psych Sounds, with the release date slated for February 14th on multiple variants of vinyl as well as compact disc and digital (get it here). Mixed and mastered by Travis Weatherred of fellow Houston band Fostermother, whose recent album Echo Manor was lauded in these pages.

Warlung’s tight, highly-charged sound and earnest vocals possess the stage, making them a must-see live, and I know Europe will be pumped to see them in the new year.

Give ear…

SOME BUZZ

Warlung is a Texas band formed by longtime friends and brothers in 2016. Their sound is an ode to classic rock and modern metal, mixing heavy riffs and catchy melodies with a psychedelic twist.

After self-releasing their debut album “Sleepwalker” in 2017, they quickly gained a cult following around Texas, opening for bands like Wo Fat and Dead Meadow. The band seemed to accept that they don’t have to stick to traditional themes and goes for more epic storytelling, helping to further expand their sound.

They wasted no time and returned to the studio to release “Immortal Portal” in 2019, becoming a local favorite to support bands such as High Reeper and King Buffalo. The band promoted their unique sound. playing notable festivals End Hip End It Fest, SXSW, Stoner Jam, Lone Star Unleashed and Ripplefest. They are renowned for their pneumonic rage, utilizing elements of true doom, stoner rock and occult-driven blues.

After signing with Heavy Psych Sounds to release “Optical Delusions” in 2020 and “Vulture’s Paradise” in 2022, they embarked on their first European tour in early 2023. Their wicked riffs, dream-like vocals and sinful solos subdue the listener into a deep state of fantasia. Touring sporadically, they continued to be included on lineups of Desert Rock Fest, Seismic Summer, and Heavy Psych Sounds Fest, sharing the stage with High on Fire, Truckfighters, Bongzilla, Weedeater, Windhand, and Brant Bjork.

Warlung is set to release their fifth studio album entitled, “The Poison Touch” and preparing for another European tour in early 2025.

'The Poison Touch’ (2025) delves deeper into atmosphere while maintaining the gritty undertone that defines us. From start to finish, the listener is blasted with in-your-face raw energy while simultaneously feeling like a hauntingly beautiful experience. This record captures the essence of our live sound while exploring new realms, serving as both a continuation and evolution of our style.

Dark, mysterious, foreboding, yet strangely inviting. This is the latest single from HELLFIRE ‘76, a band that brings together the things you love about heavy music: bold, swinging riffs, gruff manic vocals, crunchy chugging rhythms. “The Omen” has got it all going on, which lyrically “is about how religion uses fear to prey on weak minds to do the dirty work.”

Today, Doomed & Stoned is bringing you the music video, which brings you a real band performing real music. Refreshing, I know, in an age of AI fakes. The two-piece, featuring Von Bury who spent time in Bloody Hammers and Mike McGuiness notes: “When you are a two-piece act, there’s NO time for drama and trivial bullshit. You are like “bookends”. One without the other is a no-go.”

Look for 'Rags To Rage’ (2024), their first full-length following a 2022 self-titled EP, later in the month (get it here). For fans of Melvins, Clutch, Killing Joke, and Fu Manchu.

Give ear…

SOME BUZZ

Taboo lyrics served over Blues-infected grooves! This is the unique blend of sounds that HELLFIRE 76 brings to the table. With influences ranging from ZZ Top, Killing Joke, Kyuss, and The Melvins, HELLFIRE 76 delivers a sound sure to satisfy Doom, Stoner, and Psych Rock fans alike! Formed by founding members Von Bury (formerly of the Southern Gothic act LOVESUCKER and the Occult Rock act and Napalm Recording artist BLOODY HAMMERS) and Mike McGuiness (formerly of the Industrial Metal act FACE THE WORLD), HELLFIRE 76 set out to create a brand of Southern Metal that has been missing for quite some time. Their 1st self-titled EP was produced and recorded by Rob Tavaglione at Catalyst Recording, Charlotte, NC.

All killer-no filler, this two-piece brings 110% to their first full-length 'Rags To Rage’ due out at the end of November 2024. The overall theme of this album is dark, taboo, spooky, tongue-in-cheek, fuzzed-out southern metal. Von Bury explains further:

“The album RAGS TO RAGE is a continuation of our first release, in that the subject matter is all thought-provoking. As for a lot of music, we want the lyrics to be literal but also open to the listener’s interpretation. Sticking with the theme and ideas of Voodoo, Witchcraft, The Occult, and other oddities. We want to take the listeners on a dark and ominous journey into a place they don’t normally think about.“

To give the first glimpse into the album, HELLFIRE 76 is sharing their new music video for the first single "The Omen.”

“We wanted to have a song on the album (last track specifically) that we wouldn’t really play live. As there are Organ sounds and whatnot that we can’t replicate live. Wanted a closer on the record in the vein of No Quarter,something that has a completely different vibe from the rest of the album.” adds Von Bury.

Ladies and germs, please put your filthy hands together for the kings of the high desert heavy blues… This is LUNA SOL a band drawn from the high mountain country of Colorado and Kentucky, existing with no doubt for the pure love of rock ‘n’ roll. And a very specific breed of it, with a bluesy, bittersweet, and darkly-hued dive bar vibe and a warm, driving rhythmic underbelly that brings comfort to misery and has a way of lifting the spirits.

“The personal struggles and joys we’ve shared through making this album highlighted that at the end of the day life is good,” says Hermano guitarist David Angstrom, who has fronted the band since 2012, “and each day is a reward that we need to cherish and take in.”

'Vita Mors’ (2024) is their third LP, releasing tomorrow on Ripple Music – a big album with a big, thumping heartbeat. When I say big, I mean 13 tracks worth of stirring, soulful, foot-stomping rock, with real lyrics about real shit.

Joining the core of the band (which also includes Zeth Pedulla/drums and Doug Tackett/bass) are members of Black Stone Cherry, Kingfish, Hermano, Disengage, and Supafuzz, along with Luna Sol friends and family. There’s a vibrancy about these various collaborations on tracks throughout the album that comes through from the get-go with “Black Cat Callin’” – a stage-storming evolution of blues, soul, and rock influences spanning decades.

The genre of rock 'n’ roll is proving enduring, even if it seems to go “underground” in the popular culture from time to time. Tracks like “Head in a Hole” cannot help but raise hell in any generation (you’ll hear many of those friends and family in the chorus, I suspect). Luna Sol’s music does the trick, thanks to a good infusion of '70s guitar-driven axe-wielding with a swampy, southern-desert twist (check out 1:52 on “Never In My Life” and the deadly riffage of “Freelance Friend”).

There is some balance with the moody “Low 'n Easy,” which reminds me fondly of Jerry Cantrell’s Degradation Trip in its dour, grungy mix. “I’ve been wrong, I’ve been right. Some will say…I bite.” The vocals are jaded and mellow throughout which is a nice contrast to the slithering rhythm, piercing tap tap of the drums, and a downtuned guitar and bass.

Speaking of downtuned, “Surrounded by Thieves” begins as an amp-worshipping gem, and you can tell the band is having fun with it, too. This may be my favorite of the record, just for how effectively pedal effects are used to shape the atmosphere of the song. The riff on this one is gnarly a.f. “Let’s go drink in the sun, let’s go drown in the moonlight, and live life on the run.” The vocals really bring out the lyrics’ rebellious intent.

“No Substitutions” is as heavy as Rage Against The Machine, but turns the guitars in a bluesier direction. The sway of the rhythm is driven and rollicking. Luna Sol play with conviction, in a way that can’t help but pull you away with the tide, if you’ve got on a good pair of headphones especially.

There’s a near 22-minute bonus track which was a refreshing capstone to what has been a hard-driving album.

Look for Luna Sol’s Vita Mors releases Friday, September 20th on Ripple Music on vinyl, compact disc, and digital formats (get it here).

Stick it on a playlist with Creedence Clearwater Revival, Clutch, Corrosion of Conformity, Brant Bjork, and Old Blood.

Give ear…

SOME BUZZ

LUNA SOL is a highly regarded high mountain stoner blues rock band led by veteran singer and lead guitarist David Angstrom, known for his work in bands such as Hermano, Asylum On The Hill, Black Cat Bone and Supafuzz. Now in its 14th year, the band is poised to deliver its finest album yet through Californian imprint Ripple Music.

To bring this vision to life, Angstrom enlisted the help of drummer Zeth Pedulla and bassist Doug Tackett. The trio’s chemistry was immediate and undeniable. As the riffs began to flow, songs came to life and they decided to hit record to capture the beautiful heaviness they were creating together. From the onset, they all wanted “Vita Mors” to feel and sound live, pulling the listener into a small dive bar nestled in the mountains and filled with Marshall stacks, Les Pauls, a massive amount of drums and a wall of bass amps to shake the foundation.

“Vita Mors” highlights Angstrom’s desire to evolve and explore new musical territory while staying true to his Southern Kentucky roots. Doug and Zeth create beautiful layers of fury in one breath while offering a divine delicacy in the next, a perfect foundation for Angstrom’s madness, stories, riffs and noise. It was recorded in Dave Angstrom’s home studio in the foothills of the Rocky Mountain, mixed and mastered by Jason Groves (Supafuzz/Asylum On The Hill alumni) and assisted by Ty Tabor (King’s X).