Jack Harlon & The Dead Crows – Inexorable Opposites

A Dark, Psychedelic Western Rock Odyssey from Australia’s Heavy Underground

Jack Harlon & The Dead Crows return with their fourth full‑length album, Inexorable Opposites, delivering their most dynamic and emotionally resonant release yet. Known for their atmospheric blend of psychedelic western rock, stoner fuzz, and doom‑tinged desert vibes, the Australian quartet pushes their sound into deeper, more human territory.

This is a record built for fans of heavy, cinematic storytelling — and for anyone who loves their riffs dust‑covered, sun‑scorched, and dripping with mood.

A Bold Evolution in Sound

One of the most significant shifts on Inexorable Opposites is the introduction of drummer Brayden Becher, whose explosive performance injects new life into the band’s sonic identity. For the first time, Jack Harlon & The Dead Crows brought in an outside engineer — Lewis Noke‑Edwards — to track drums, stepping beyond their traditional DIY workflow.

The payoff is immediate:

  • Bigger dynamics
  • Heavier peaks
  • Softer, more vulnerable lows
  • A wider emotional and sonic palette

Lyrics Rooted in Real‑World Duality

While the fictional sci‑fi western outlaw Jack Harlon still casts a long shadow, vocalist Tim Coutts‑Smith shifts toward more personal and contemporary themes. Influenced by lived experiences and his work in mental health, the lyrics explore the contradictions of modern life — the tension between light and dark, hope and despair, creation and destruction.

The album title, Inexorable Opposites, draws inspiration from Carl Jung’s Man and His Symbols, emphasizing the idea that human existence is defined by opposing forces. This philosophical backbone gives the record a depth that sets it apart from typical stoner‑rock fare.

A Sound That Connects Australia to the American Desert

Even though the band hails from Australia, their music feels spiritually connected to the American Southwest. Fans of desert rock, spaghetti‑western soundscapes, and lo‑fi fuzz will feel right at home.

Their signature blend includes:

  • Psychedelic Western rock
  • Stoner rock & fuzz
  • Blues‑infused grit
  • Doom metal undertones
  • Cinematic Western ambience

It’s a uniquely atmospheric style that bridges the Outback and the Mojave.

From Side Project to Heavy Underground Mainstay

Formed around 2015 as a side project for Coutts‑Smith, Jack Harlon & The Dead Crows have grown into one of Australia’s most compelling underground heavy acts. Their DIY ethos has shaped everything from recording to visual art, and their live presence has earned them stages alongside Greenleaf, Sasquatch, Wo Fat, and Whores.

A Mature, Expansive Fourth Album

Inexorable Opposites showcases a band fully in command of their craft. The record balances introspection with crushing heaviness, offering a refined yet adventurous take on their signature sound. It’s a meditation on the contradictions of life — delivered through titanic riffs, haunting melodies, and cinematic atmosphere.

For fans of psychedelic western rock, stoner metal, and heavy desert soundscapes, this album is essential listening.

Album Details

Tracklist

  1. Moss
  2. Venomous
  3. Mt. Macedon
  4. Dave Is Done
  5. Junior Fiction
  6. Seer
  7. On the Overwhelm
  8. To Die

Line‑up

  • Tim Coutts‑Smith – vocals, guitar
  • Jordan Richardson – guitar
  • Brayden Becher – drums
  • Liam Barry – bass

2025 Top 10 Stoner Rock & Heavy Psych Albums

10. Low Pan – Get Well Soon

Columbus, Ohio

If you’re a guitar player, this album immediately grabs you. The guitar tone is excellent, and the overall mix is dialed in perfectly. Bass, drums, and vocals all sit where they should, which makes a massive difference for heavy music.

Vocally, Jeff Barton delivers strong, on-key performances, and Tool fans will likely notice a faint Maynard-style familiarity without it feeling derivative.

Standout tracks:

  • The Good Fight

  • Wormwood (killer chugging riffs)

A strong, well-produced record that rewards careful listening.


9. Desert Smoke – Desert Smoke

Lisbon, Portugal

This self-titled release comes from a psychedelic stoner instrumental band that will resonate with fans of Yawning Man and reverb-soaked desert rock.

What makes this album special is the range. You move from slow-building, atmospheric passages straight into full-on guitar shredding. The players can absolutely rip, which adds a dynamic edge to the otherwise spacey sound.

Standout tracks:

  • Gravity Absence

  • 49th Steambox (the heaviest track on the record)


8. Borracho – Ouroboros

Washington, D.C.

Borracho proves once again how massive a trio can sound. Rooted in Sabbath-style riff worship, this band knows how to pound a groove and drive it home.

What elevates this album is the subtle use of synths, adding atmosphere without softening the heaviness. The result is thick, riff-forward stoner rock with extra dimension.

Standout tracks:

  • Vegas Baby

  • Lord of Suffering (a seven-minute burner)


7. Dax Riggs – Seven Songs for Spiders

This release stands apart from much of the list. Recorded in Riggs’ home studio in Louisiana, it’s more introspective and less polished, but that’s exactly its strength.

There’s a singer-songwriter quality here, with hints of Kurt Vile and occasional shades of Chris Cornell in the vocal delivery. It’s heavy in mood rather than pure riff assault, and it’s not what I expected in the best way.

Standout tracks:

  • Deceiver

  • Pagan Moon


6. Yawning Man – Pavement Ends

The godfathers of desert psychedelic rock return, and if you’re a fan, you already know the deal.

Yawning Man’s guitar work remains one of the most unique sounds in heavy music. Cavernous reverb, swirling textures, and a picking style that feels like heat waves rising off desert pavement. The guitars feel alive, constantly shifting and breathing.

Standout tracks:

  • Bomba Negra

  • A Bad Time to Be Alive

Close your eyes and picture Joshua trees under a fading sun. This is that soundtrack.


5. Margarita Witch Cult – Strung Out in Hell

Birmingham, UK

This one completely blindsided me. Rooted in stoner doom, the band brings unexpected twists that keep the album feeling fresh.

Mars Rover leans into a sci-fi doom vibe, while The Fool introduces baritone sax and trumpet. Yes, horns on a stoner doom record, and somehow it works. They even cover Billy Idol’s White Wedding.

Unpredictable, strange, and genuinely unique.


4. Year of the Cobra – Year of the Cobra

A duo that hits like a full band. Bass-driven heaviness leads the charge, with Amy Tung Barrysmith delivering soaring vocals over distorted low-end and solid drumming.

Despite using a Rickenbacker bass, the tone is massive thanks to effects and distortion. The stripped-down lineup allows the rhythm, melody, and vocals to shine without distraction.

Standout tracks:

  • Wardrop

  • Sleep

This album came out of nowhere and quickly became a favorite.


3. Stoned Jesus – Songs to Sun

Ukraine

This record nails dynamics. The band shifts effortlessly from atmospheric, synth-tinged passages to absolute riff bludgeoning.

Low delivers punishing drums and crushing heaviness, while New Dawn opens the album with a more expansive, melodic approach. Acoustic guitar, synths, and massive riffs all coexist beautifully.

Standout tracks:

  • Low

  • New Dawn

Heavy when it needs to be, expansive when it wants to breathe.


2. Howling Giant – Crucible and Ruin

This album blends stoner rock, progressive elements, and fantasy-leaning themes into something cohesive and powerful.

The twin guitar attack shines, but the vocals truly elevate the record. With both the lead guitarist and drummer contributing vocals, there’s depth and strength rarely found in the genre.

Standout tracks:

  • Hunter’s Mark

  • Scepter and Scythe

A creative genre fusion that feels fully realized. I also had the chance to interview drummer Zach Wheeler, and it’s worth checking out if you enjoyed this release.


1. Kal-El – Astral Voyager Vol. I

Norway

No surprises here. This is stoner rock excellence firing on all cylinders.

Heavy riffs, pounding drums, soaring leads, and long-form songwriting dominate the album. These are not three-minute tracks. These are eight-minute voyages meant to crush and transport at the same time.

Standout tracks:

  • B.T.D.S.C.

  • Cosmic Sailor

If space rock and stoner riffs are your fuel, this album is the engine. Volume II is expected in 2026, and expectations are already sky-high.


Final Thoughts

What did I miss? What would you add? And what releases are you most excited about heading into 2026?

Desert Spotlight: Yawning Man – Pavement Ends

When you talk about “Desert Rock,” you eventually end up talking about Yawning Man. For nearly four decades, the trio has been the sonic architects of the generator party scene, influencing everyone from Kyuss to various stoner rock bands throughout the world. Where their 2023 release, Long Walk of the Navajo, felt like a spiritual drifting across open sands, their latest offering, Pavement Ends, feels like the sun going down and the temperature dropping across the desert landscape.

Released earlier this month via Heavy Psych Sounds, Pavement Ends sees the legendary lineup of Gary Arce (guitar), Mario Lalli (bass), and Bill Stinson (drums) returning to the studio with a darker, heavier, and more cinematic intent. It is arguably their most “shoegaze” record to date—bleak, beautiful, and drenched in a tension that rarely resolves the way you expect.

The Sound of the End of the Road

The album opens with “Burrito Power,” a track that immediately signals a shift in tone. Stinson’s drums are muscular and punchy here, driving a doom-laden riff that feels surprisingly heavy for a band known for airy, reverb-soaked jams. It’s a grounded, gritty start that contrasts sharply with the ethereal floating of their past work.

However, the signature Yawning Man shimmer isn’t gone; it has just evolved. On “Gestapo Pop,” Arce’s guitar work takes center stage. It is less about the “surf” vibe this time and more about creating a melancholic, starry atmosphere. The interplay between Lalli’s deep, grooving bass and Arce’s shimmering delay creates a hypnotic loop that feels like watching a time-lapse of a desert night.

Emotional Undertow

The emotional core of the record sits in the middle with “Bomba Negra.” This track is a masterclass in tension and release. It digs deep into an emotional undertow, trading the “jam band” feel for something more composed and cinematic. It’s atmospheric, moody, and arguably one of the most beautiful pieces of music the band has released in years.

“Dust Suppression” lightens the mood slightly with a leisurely cosmic swagger, but it serves mostly as a bridge to the album’s massive finale.

The Final Stretch

The album closes with a one-two punch that might be the best sequence in their discography. The title track, “Pavement Ends,” stretches toward the ten-minute mark. It is pure desert hypnosis—a mid-tempo drive into nowhere that feels infinite. It captures that specific feeling of running out of road, where the physical world stops and the psychological landscape begins.

Finally, “Bad Time To Be Alive” wraps up the experience. Despite the cynical title, the track is strangely uplifting—a melancholic, introspective piece that feels like an acknowledgment of the world’s chaos, processed through the band’s meditative filter. It’s a poignant closer that leaves you staring at the horizon long after the needle lifts.

The Verdict

Pavement Ends is not just “another Yawning Man album.” It is a focused, disciplined, and emotionally resonant evolution of their sound. Arce, Lalli, and Stinson sound locked in, not just jamming, but conversing through their instruments.

If you are a fan of instrumental rock, this is essential listening. The pavement might end here, but Yawning Man proves they still have plenty of new territory to explore.

SUPERCHAINED – Symbolic

Superchained is a solo musical project by Hugo Lanvin, launched in 2017. As its sole member, Hugo composes and records all tracks independently. After a period of sonic exploration, he released the first EP, The 0,00$ EP, in 2019, followed by the debut album Strangekind in 2022. These releases laid the foundation for the new project and helped define his unique musical identity.

Following Strangekind, the future of Superchained was uncertain. A second album had never been part of the original plan—the intent was to release a single, ten-track album that fully captured the essence of the project. This led Hugo to a pivotal question: “Should I continue this project or move on to something else?”

In confronting this dilemma, he experienced a mix of doubt and introspection, but also a renewed drive to create another album—one that would further solidify Superchained’s identity. The goal was not to replicate Strangekind, but to evolve naturally: staying true to the project’s roots while venturing into musical styles he had long admired.

Genre-bending grit meets emotional depth in Hugo Lanvin’s latest solo release

If you haven’t heard of Superchained yet, now’s the time to tune in. The one-man project helmed by Hugo Lanvin returns with Symbolic, a bold follow-up that refuses to play it safe. This isn’t just another alt-rock record—it’s a layered, genre-hopping exploration of identity, emotion, and sonic evolution.

🎶 Sound & Style
Symbolic blends grunge-rooted riffs with alternative rock textures, but that’s just the foundation. Lanvin throws in ballads, funk grooves, fusion flourishes, indie punk energy, and even flashes of metal. It’s a melting pot of influences that somehow never feels scattered. Think Alice in Chains meets Smashing Pumpkins but filtered through a deeply personal lens.

The production is tight without being sterile. Lanvin aimed for a modern, balanced mix—each instrument has its space, and nothing feels over-polished. It’s raw where it needs to be, refined where it counts.

🧠 Themes & Emotion
This album is introspective to its core. Drawing from lived experiences, Lanvin explores themes of doubt, identity, and artistic purpose. It’s the kind of record that invites repeat listens—not just for the sound, but for the emotional layers tucked beneath.

🎸 DIY Spirit
What makes Symbolic even more impressive? Hugo Lanvin did it all. Electric and bass guitars, piano, drums, vocals—every note is his. That DIY ethos pulses through the album, giving it a sense of urgency and authenticity that’s hard to fake.

💭 Final Thoughts
For fans of emotionally charged rock with a fearless approach to genre, Symbolic is a must-listen. It’s not just an album—it’s a statement of artistic resilience and evolution.

Tracklist:

1. Born Again

2. Let’s Make Something

3. New Sensation

4. 9:17

5. Falling Down

6. The Trip

7. All About the Money

8. Runaway

9. The Narcissist

10. Prosthetic Head

For more information on Superchained
👉 https://linktr.ee/superchained

Symbolic is available now on CD digipack and streaming via Bitume Prods label.

Igarka – Dopamine Ocean

Igarka’s Dopamine Ocean isn’t just an EP—it’s a sonic detonation.

Released October 10, 2025, this Italian quintet has unleashed a genre-bending, emotionally charged debut that’s turning heads and melting minds. Formed in Emilia-Romagna, Italy, Igarka is part of a vibrant underground Italian music scene. While bands such as Karnivool, TesseracT, and My Bloody Valentine are not explicitly mentioned by the band as influences, there are sonic elements that call these bands to mind when listening to their EP. The band does mention an affinity for Deftones and Baroness and while Igarka does not explicitly sound similar, there are certain soundscapes and sonic dimensions they share with these influences.

Sound Explosion

Imagine shoegaze colliding with grunge, melodic hardcore, and power metal—all wrapped in a dreamy haze. That’s Igarka. Their sound is heavy, hypnotic, and wildly unpredictable. The dynamic shifts are wild: quiet introspection explodes into chaotic breakdowns. The layering of shoegaze textures with aggressive rhythms often creates a sound that’s both dreamy and devastating. Every track is a mood swing you’ll want to ride.

Vocals That Haunt & Heal

Aisja Baglioni’s voice floats, sings, and soars. From the surreal forest of “Hider” to the shimmering shoegaze of “Follow for More,” her delivery is pure magic. Aisja’s vocals shift from whispery vulnerability to full-throttle fury.

🔥 Tracklist

  • “Hider” – ethereal and eerie
  • “Follow for More” – shoegaze shimmer
  • “Sabotage” – raw and relentless
  • “Self-Similar” – mathy and mesmerizing
  • “Expiration Mark” – emotional gut-punch
  • “Sammarinese Brainrot Animals” – chaotic brilliance
  • “End Well” – a haunting farewell

Lineup:

  • Aisja Baglioni – lead vocals
  • Luca Pasini – guitar, backing vocals, keyboards, mixing
  • Simone Succi – guitar, mastering
  • Elisabetta Paglierani – bass, artwork
  • Giorgio Puzzarini – drums

Unwound at the Teragram Ballroom (Los Angeles, Sept 13, 2025)

On September 13, 2025, Unwound returned to Los Angeles for a sold-out show at the Teragram Ballroom, marking a powerful stop on their “30 Years of The Future of What” tour. For longtime fans and curious newcomers alike, the night was more than a nostalgia trip—it was a visceral reminder of why Unwound remains a cornerstone of post-hardcore, noise rock, and experimental sound.

The Venue & Vibe

Teragram Ballroom, with its intimate 600-person capacity and general admission setup, was the perfect crucible for Unwound’s sonic intensity. The crowd leaned in—literally and emotionally. From the front rows to the edges, people swayed, surged, and occasionally moshed, feeding off the band’s energy. While the acoustics weren’t flawless throughout the venue, the sound hit hard and clean where it mattered most.

Opening the night was lowercase, whose own version of noise rock with post-hardcore elements offered a precursor of noise that set the stage for what was to come. Imaad Wasif was in fine form with angsty almost screamed vocals at points with Brian Girgus’s hard hitting drums driving each song forward, along with Tiber Scheer’s propulsive bass lines holding down the low end. At certain points the dynamics of the songs would have benefitted by an additional boost to Wasif’s guitar level in the live mix.

Setlist Deep Dive

Unwound’s set leaned heavily into The Future of What, with over a dozen tracks from the album anchoring the performance. But they didn’t stop there—gems from Fake Train and Repetition surfaced, giving the show a layered emotional arc.

Highlights included:

  • “New Energy” as the opener: taut, confrontational, and instantly immersive.
  • “Demolished,” “Natural Disasters,” “Re-Enact the Crime”: balancing noise and nuance, these tracks showcased the band’s dynamic range.
  • “Kantina,” “Valentine Card,” “Were Are and Was or Is”: early fan favorites that landed with raw emotional force.
  • A mid-set taped interlude with “Pardon My French” added unexpected texture, breaking the live momentum in a way that felt intentional and atmospheric.

Musicianship & Dynamics

Unwound’s performance was tight, deliberate, and emotionally charged. The band navigated chaos and calm with precision, never letting one overwhelm the other.

  • Sara Lund’s drumming was a standout: aggressive yet controlled, anchoring the band while injecting bursts of disruption.
  • Guitar and noise elements were masterfully balanced—abrasive when needed, ambient when the moment called for it. The twin guitar attack of Justin Trosper and Scott Seckington provided a sonic blast of dissonance and distortion and gave many of the most familiar tracks an extra heaviness.
  • Bass work Jared Warren (Big Business, Melvins) held the low end with clarity and weight, supporting the mix without muddying it. Filling the massive shoes of Vern Rumsey is not easy to do and Warren was more than capable.

The transitions between songs felt seamless, with tension building and releasing in waves. It was a set that demanded attention and rewarded it.

What Worked / ⚠️ What Could’ve Been Better

What Worked:

  • A clear thematic focus on The Future of What gave the show cohesion.
  • Smart pacing and dynamic contrasts kept the hour-long set compelling.
  • The mix of old and new material satisfied both diehard fans and curious newcomers.

Could’ve Been Better:

  • Vocals occasionally got buried under guitar layers, especially in louder moments.
  • A couple of quieter songs in succession slightly dulled momentum.
  • Another track or two from the “Repetition” album might have provided a more balanced set.

Final Thoughts

Unwound’s performance at Teragram Ballroom was a masterclass in tension, texture, and emotional resonance. Thirty years on, The Future of What still feels urgent—and Unwound still knows how to make it hit. The show wasn’t just a look back; it was a statement of continued relevance.

Rating: 8.5/10 For fans, it was a cathartic celebration. For newcomers, a compelling initiation.

 

SOLACE – Further (2025 Reissue)

 

 

 

 

 

 

 

 

 

When Further first dropped in 2000, it marked the arrival of Solace as one of the East Coast’s most punishing and inventive stoner doom outfits. Twenty-five years later, Magnetic Eye Records has given the record a new lease on life, remastering the band’s debut and pairing it with a treasure trove of bonus material. Sadly, this reissue doubles as an unintended tribute to original frontman Jason L., who passed away earlier this year. His presence looms large across the record—raw, feral, and commanding—and this edition ensures his voice will continue to rattle speakers for years to come.

If Further were released as a brand-new album today, it would still feel like a major statement. The remaster sharpens its edges without sanding down the grit, giving the riffs more bite and the low end more weight.

The album’s opening run of songs sets the tone brilliantly:

“Man Dog” erupts with chugging riffs and Jason’s throat-tearing vocals, a track that feels halfway between Motörhead’s reckless charge and Sabbath’s oppressive stomp. It’s the kind of opener that makes a mission statement loud and clear.

“Black Unholy Ground” follows with a darker, more lumbering feel. The riffs here are suffocating, crushing down like concrete slabs, while Jason’s vocal delivery leans into apocalyptic sermon territory.

“Followed” drags things into the swamp. The tempo sinks, the distortion thickens, and the song oozes menace—perfect for fans who prefer their doom with an extra layer of grime.

“Whistle Pig” kicks the energy back up, riding a surging groove with a riff that borders on classic rock swagger, though twisted through Solace’s dirt-metal filter. It’s one of the album’s more driving tracks.

“Hungry Mother” pivots again, starting with a slow, foreboding build before exploding into one of the record’s heaviest climaxes. The song embodies Solace’s signature push-and-pull between sludge and fury.

This pendulum swing between ferocity and sludge, between heavy rock swagger and doom-laden crawl, is what keeps Further gripping even as it stretches past the hour mark.

Highlights from the remainder of the set include “Suspicious Towers,” which slips in a spoken-word lift from the cult sci-fi flick The Creation of Humanoids. Normally a gimmick, here it lands with eerie effectiveness, a perfect prelude to the song’s lurching menace.

The reissue doesn’t stop at polishing the core album. Six bonus tracks expand the picture, including covers of Iron Maiden (“Another Life”), Lynyrd Skynyrd (“On the Hunt”), Misfits (“We Bite”), and James Gang (“Funk #49,” captured live in Tokyo back in ’98). Far from throwaways, these renditions showcase Solace’s ability to bend other genres into their own brand of what they once called “dirt metal”—part doom, part hardcore muscle, part Jersey grit.

The remastered Further clocks in at over 90 minutes, but it never feels bloated. Instead, it plays like a reminder of just how vital this band was at the turn of the millennium—and how much Jason L.’s guttural roar defined their sound. This reissue doesn’t just honor an album; it honors a legacy.

Verdict: A powerhouse debut given new fire, Further (2025) is both a fitting tribute and a record that still competes with the best of the genre today. Pour one out for Jason, crank this loud, and let Solace’s dirt metal thunder roll.

Tracklist
1. Man Dog (2025 Remaster)
2. Black Unholy Ground (2025 Remaster)
3. Followed (2025 Remaster)
4. Whistle Pig (2025 Remaster)
5. Hungry Mother (2025 Remaster)
6. Angels Dreaming (2025 Remaster)
7. Suspicious Tower (2025 Remaster)
8. Heavy Birth/2-Fisted (2025 Remaster)
9. Another Life
10. We Bite
11. On the Hunt
12. Heavy Birth/2-Fisted (Distanced from Reality version)
13. Dirt
14. Funk #49 (Live in Tokyo ’98)

Recording line-up
Jason – voice, lyrics
Tommy Southard – guitars
Bill “Bixby” Belford – drums
Rob Hultz – bass

GAUPA’s FYR: Where Doom Rock Meets Swedish Psychedelia

 

 

 

 

 

 

 

 

 

Since releasing their self-titled EP in 2018, GAUPA has continuously broken new ground within the Swedish psych rock and stoner rock communities. Their unique blend of doom metal and groove rock has earned them significant recognition, with their track ‘Exoskeleton’ surpassing one million Spotify streams and their EP accumulating over 4 million streams to date. Following the release of their 2022 album “Myriad,” the band delivered unforgettable performances at major festivals including Sweden Rock, Hellfest, Wacken, Mystic, and Desert Fest. Set for release on July 4th via Nuclear Blast Records, FYR promises to take listeners on a genre-bending journey through enthralling psychedelia and heavy prog metal.

The Band’s Evolution Leading to FYR

From Underground Sensation to Genre-Bending Force

GAUPA’s musical journey has been anything but conventional. The Uppsala-based quintet first emerged on the Swedish underground scene with their self-titled debut EP in 2018, immediately capturing attention with their distinctive sound. This initial release showcased the band’s knack for blending heavy riffs with ethereal vocals, establishing a foundation for their evolving musical identity.

After their impressive debut, the band continued refining their unique approach to doom the rock genre. Their sophomore release, 2020’s “Feberdröm,” marked a significant step forward in their sonic exploration. During this period, GAUPA began incorporating more experimental elements into their music, further distinguishing themselves from contemporaries in the Swedish psych rock scene.

The release of “Myriad” in 2022 represented a watershed moment for the band. This full-length album demonstrated remarkable growth in both songwriting and production quality. Throughout this evolutionary phase, vocalist Emma Näslund’s haunting, versatile voice became increasingly central to GAUPA’s sonic signature – weaving between delicate whispers and powerful wails over the band’s groove rock foundation.

Recent months have brought significant changes to GAUPA’s lineup. The departure of guitarist Erik Sävström created both challenges and opportunities for the remaining members. Rather than viewing this shift as a setback, the band channeled the transition into creative energy for their upcoming EP. This period of adjustment allowed them to reassess their sound and push into even more adventurous territory.

“FYR” emerges as the culmination of this creative evolution. The four-track EP represents both a continuation of GAUPA’s established sound and a bold step into new realms of doom metal experimentation. Interestingly, the band opted for a shorter format following their full-length release, allowing them to create a more concentrated and focused artistic statement.

Over time, GAUPA has masterfully balanced accessibility with avant-garde sensibilities. While maintaining the core elements that first attracted their fanbase, they’ve consistently pushed against genre boundaries. This willingness to evolve while honoring their roots has positioned them as one of the most intriguing bands in modern stoner rock.

Inside FYR: Sound, Style, and Production

A Heavier Sonic Landscape Emerges

Taking a dramatic sonic shift, GAUPA’s “FYR” stands as their heaviest material to date. This transformation didn’t happen by accident — the band enlisted new mixing engineer Karl Daniel Lidén, who gave the tracks a significantly grittier, more aggressive sound compared to their previous releases. Gone is the slick, bright production of earlier works, replaced by a rawer, dirtier sonic palette that intensifies their doom the rock foundations.

Despite downsizing to a four-piece following guitarist Daniel Nygren’s 2024 departure to focus on family life, the band sounds anything but diminished on this mini-album. Recorded in autumn 2024 across two locations — Svenska Grammofonstudion in Göteborg and Estethuset studios in Falun — the EP retains GAUPA’s core elements while pushing into new territory.

The swedish psych rock outfit describes “FYR” as a “patchwork of parts” where each member contributes equally. This collaborative approach yields impressive results across the four tracks. Opening with “Lion’s Thorn” (7:37), the album immediately establishes its credentials with mesmerizing bagpipes that introduce spacious, tripped-out verses before waves of hard stoner rock riffs crash through. “Heavy Lord” (3:58) delivers one of 2025’s most hypnotic choruses, while “Ten Of Twelve” (4:21) dazzles with astounding guitar work and weighty percussion.

Perhaps most impressive is closer “Elastic Sleep” (8:10), a genre-flipping masterpiece where enthralling psychedelia swells into crests of ripping djent metal and cosmic doom. Throughout these tracks, the band maintains their signature elements: enchanting intricacy, trippy verses, and a steady stream of groove rock sensibility.

The title itself carries multiple meanings in Swedish — “four” (this being their fourth release), “lighthouse,” “beacon,” and “fire” — all fitting the musical and lyrical content in various ways. This multi-layered approach extends to the sound itself, where doom metal heaviness coexists alongside surreal lyricism and atmospheric passages, creating a seamless blend that feels both cohesive and exploratory.

Themes and Surrealism in the Lyrics

Dreamscapes and Reality Blur in GAUPA’s Poetic Universe

At the heart of GAUPA’s entrancing doom metal soundscape lies vocalist Emma Näslund’s playfully perplexing and surreal lyricism. Throughout “FYR,” the band loosely explores the concept of time alongside the fundamental question of “what is real, what is not, and what is a dream”. This philosophical approach perfectly complements the swedish psych rock instrumentals that define their sonic identity.

Inspired largely by Ursula K. Le Guin’s award-winning science fiction novel “The Word for World Is Forest,” the EP draws from themes of anti-colonialism and environmentalism. Näslund’s lyrics often contemplate mankind’s destructive relationship with the environment, yet she maintains an intentionally abstract approach to her writing.

“I want people to use their fantasy and imagination,” Näslund explains about her cryptic writing style. “You need to go through the lyrics, and you need to think, what does it mean to you?”. This deliberate ambiguity invites listeners to discover personal meaning behind her dreamlike poetry instead of being handed explicit interpretations.

The band’s fascination with animal imagery continues throughout “FYR,” most notably in “Ten Of Twelve,” which references the rooster’s position as the 10th animal in the Chinese zodiac. Näslund playfully subverts folklore by transforming the traditionally lucky rooster into “a bad luck rooster instead of a lucky charm”.

GAUPA’s enthralling psychedelia extends beyond musical elements into their lyrical approach. Näslund’s writing process varies considerably – sometimes lines spontaneously emerge, while others require careful crafting. She draws inspiration from diverse literary sources including sci-fi, dystopian fiction, magic realism, and poetry.

The surreal quality of groove rock is enhanced by lyrics that maintain a certain mystique. “I don’t enjoy lyrics when it’s obvious,” Näslund notes. “The lyrics that speak to me the most are lyrics that I can choose to think are for me”. This approach creates a stoner rock experience where listeners can find themselves within the music’s intentionally nebulous narrative landscape.

Conclusion

FYR: A Defining Chapter in GAUPA’s Sonic Evolution

GAUPA stands poised to deliver something truly special with “FYR” on July 4th via Nuclear Blast Records. Throughout their journey from underground sensation to recognized force within the doom rock scene, this Swedish outfit has consistently defied genre expectations. Certainly, the departure of their guitarist could have derailed lesser bands, yet GAUPA has transformed this challenge into creative fuel for their heaviest material to date.

What makes “FYR” particularly compelling lies in its perfect balance between accessibility and artistic exploration. The four tracks showcase a band comfortable with their identity while still pushing boundaries – heavier production alongside dreamlike verses, surreal lyrics paired with crushing riffs. Furthermore, Emma Näslund’s enigmatic vocal approach adds another layer of mystery, allowing us as listeners to find our own meaning within their musical universe.

The multi-layered meaning behind the EP’s title – representing both their fourth release and concepts of fire, light, and guidance – perfectly encapsulates GAUPA’s artistic approach. Similarly, their willingness to blend Swedish psych rock elements with heavier doom metal textures creates something genuinely fresh in today’s music landscape.

Despite functioning as a four-piece now, GAUPA sounds more potent than ever before. The collaborative spirit evident throughout “FYR” demonstrates a band hitting their creative stride rather than struggling with transition. Subsequently, tracks like “Elastic Sleep” and “Lion’s Thorn” reveal a group unafraid to experiment while maintaining the core elements that first attracted their growing fanbase.

For fans of enthralling psychedelia, groove rock, or innovative metal, “FYR” promises to be an essential listening experience of 2025. Though only four tracks long, this mini-album appears ready to cement GAUPA’s place as one of the most intriguing bands emerging from Sweden’s fertile rock scene today.

LO-PAN – Get Well Soon

 

 

 

 

 

 

 

 

 

Background of the Band 

The four-piece from Columbus, Ohio have long been known for their powerful blend of driving rhythms, melodic vocals, and immersive sonic landscapes, and with “Get Well Soon”, they add captivating songwriting to the list. On this album, LO-PAN further define their brand of American Hard Rock, a wicked stylistic mix of deep-fried heaviness sprinkled with metal and grunge. LO-PAN came together in the vibrant underground Columbus scene out of a shared love of vintage rock, stoner metal, and modern heaviness.

The four musicians were united by a passion for pushing boundaries. It was no accident that they took their name from the sorcerous villain in the cult film “Big Trouble in Little China” as the band set out to blend cinematic drama with larger-than-life energy. From their earliest days, LO-PAN distinguished themselves with an intense live presence and a sound that combined classic rock grit with the crushing weight of stoner and doom influences.

This 45-minute album takes listeners through rich, textured guitar rock soundscapes. The eight-minute epic “Six Bells” shows off the band’s versatility brilliantly. “The Good Fight” opens the album with a tone of resilience – which hits home especially given drummer Jesse Bartz’s recent battle with cancer. Jeff Martin’s melodic vocals create the perfect balance against the heavy riffs throughout the album. The standout track “Rogue Wave” shines with its dynamic guitar work.

This Magnetic Eye Records release shows both growth and continuity in Lo-Pan’s distinctive sound. Let’s dive into the musicianship, production choices, and individual tracks that make “Get Well Soon” such a powerful addition to their catalog.

Lo-Pan’s evolving sound: From stoner rock to groove rock

Lo-Pan’s musical experience spans two decades, showing a band that constantly refines their identity. The group emerged from Columbus, Ohio’s underground scene with a sound firmly rooted in stoner rock tradition – heavy, fuzzy, and shaped by the desert rock movement.

Their earlier albums established Lo-Pan through thunderous riffs and a foundation that drew comparisons to stoner rock giants. In spite of that, each release revealed subtle changes in their approach. The band started to incorporate more dynamic elements but kept their characteristic heaviness.

“Get Well Soon” represents their clearest musical transformation yet. Lo-Pan has developed a more nuanced approach centered around groove instead of simply doubling down on the stoner rock formula. The band’s rhythm section shows sophisticated interplay between bassist Skot Thompson and drummer Jesse Bartz. This creates space for guitarist Chris Thompson to explore more textured territory.

On top of that, this album stands apart because the band makes use of space in their compositions. Lo-Pan now understands that holding back can boost impact, unlike pure stoner rock’s wall-to-wall heaviness. These quieter moments make their full-throttle sections even more powerful.

Jeff Martin’s vocals have grown beyond typical stoner rock delivery into something more melodic and expressive. His performance on this album reveals a singer who has found his own voice in the digital world of guitar rock.

The band builds on their roots rather than abandoning them. Lo-Pan delivers the crushing heaviness their longtime fans expect, wrapped in sophisticated arrangements. Their move toward groove rock shows a band unafraid to grow while honoring their foundation. The result feels both familiar and refreshingly progressive.

Musicianship and production: A tight, textured experience

Lo-Pan’s “Get Well Soon” grabs attention right from the first note with the band’s incredible unity. Their sound shows the natural chemistry that comes from years of playing together. The result is both massive and carefully crafted.

The rhythm section builds an unshakable foundation. Jesse Bartz’s drums are “thick and punchy, hammering home with authority”. They deliver both power and precision. Skot Thompson’s bass works in perfect sync and remains “gnarly as ever”. His “gritty top-end” cuts through the mix while keeping that rich low-end presence.

The production might seem to contradict itself at first – raw yet crystal clear. This approach captures Lo-Pan’s authentic live sound and gives each instrument space to breathe. Many bands in this genre tend to go for “where murkiness prevails”, but “Get Well Soon” stays remarkably clear without losing any power.

Chris Thompson’s guitar work stands out brilliantly. His riffs are “propulsive”, and he uses “thick fuzz at all the right times” for maximum effect. He switches smoothly between effect-heavy layers and stripped-back segments. This creates dynamic tension that makes tracks like “The Good Fight” truly compelling.

Jeff Martin’s vocals soar above everything else, staying “smooth as glass”. His voice perfectly balances the heavy instrumental foundation below. Critics have noted his “remarkable” vocal ability that keeps evolving and adds emotional depth to the band’s groove rock sound.

Smart engineering choices highlight the band’s strengths throughout the album. One reviewer points out how the production wraps everything “in a super tight package”. This approach captures both raw energy and technical skill that define Lo-Pan’s signature sound. Listeners get a true taste of the band’s powerful live performances.

Standout tracks and their unique flavors

Lo-Pan’s latest release features tracks that show their sound evolution without losing their trademark intensity. “The Good Fight” opens the album with raw energy – a song that took the band “about 10 times over four years” to perfect. Guitarist Chris Thompson calls it a track with a “Lo-Panthem type quality”, showing how the band creates catchy groove rock that resonates with fans.

“Ozymandias” packs both musical weight and deep meaning. The song’s name cleverly draws from Percy Bysshe Shelley’s famous sonnet and the villain in “Watchmen”. Thompson reveals this was “the last song for the album”, yet its powerful riffs made it impossible to leave out.

The band’s guitar expertise shines through in “Rogue Wave.” Critics praise its “appropriately turbulent guitar solo, masquerading as the sea’s infinitely entropic waters”. This track shows how Lo-Pan builds momentum and tension through their instrumental arrangements.

“God’s Favorite Victim” emerges as the album’s boldest political statement. This second-to-last track tackles modern conflicts head-on with “lyrics about having no mercy for the innocent and children dying”. The band blends crushing heaviness with melodic vocals to deliver their message clearly.

The album ends with “Six Bells,” an eight-minute epic that drummer Jesse Bartz admits was “probably the hardest song to write”. This finale “plays with doom modalities at Lo-Pan’s heavy rock pace” and features an “instrumental interlude in the center” that’s “gooey and atmospheric”. The song proves the band isn’t afraid to challenge their sonic limits.

Conclusion

“Get Well Soon” proves Lo-Pan’s resilience and musical growth. The band returns with renewed purpose after a six-year break and personal challenges, including Bartz’s cancer battle. They have evolved their sound while keeping their signature heaviness. This album becomes especially impressive because they managed to grow musically without losing the core elements that drew their fans.

Lo-Pan masterfully balances innovation and tradition. Their move from straightforward stoner rock to a more nuanced groove rock approach shows their artistic maturity. Raw power remains their calling card. Songs like “The Good Fight” and “Six Bells” reveal a band that knows its identity yet wants to expand.

The album’s production delivers crystal-clear sound quality without compromising heaviness. Each band member’s contributions shine through the mix. Jeff Martin’s vocals deserve recognition as they provide melodic counterpoint to the instrumental heft beneath.

Twenty years together led Lo-Pan to create something remarkable – an album that feels both familiar and fresh. “Get Well Soon” celebrates their past and points toward exciting future possibilities. These nine powerful tracks show how stepping away helped them return stronger. Lo-Pan has without doubt achieved this goal.

Tracklist:

1. The Good Fight             04:08
2.Northern Eyes               03:39
3.Wormwood                    03:18
4.Ozymandias                   05:23
5.Rogue Wave                   04:43
6.Harpers Ferry                05:22
7.Stay With The Boat      05:22
8.God’s Favorite Victim 05:00
9.Six Bells                         07:57

 

Onioroshi – Shrine

 

 

 

 

 

 

 

 

 

Background of the Band 

Onioroshi is a progressive-psych power trio hailing from Cervia, Italy. The three members of Onioroshi met for the first time in early 2014 during the Kimono Lights project, a dreampop-shoegaze independent band which recorded 2 LPs and an EP in three years and played in venues around Italy. In early 2018 Kimono Lights called it quits and soon after Onioroshi was formed and their debut album Beyond These Mountains was created.

While the band was trying to find its place in the music industry the pandemic struck the world of music and forced them to change their plans. In early 2020 Onioroshi started working on a new LP, investing the next three years into creating music with passion and a new sonic direction. The new LP “Shrine” is the result of this meticulous work of sound and structured research, with the three musicians searching for ways beyond limits, trying to create a completely new experience for the listener. Similar to their debut album, their second LP was recorded, mixed and mastered at Dunastudio by Andrea Scardovi.

Introduction to Onioroshi’s “Shrine”

Lasting 54 minutes while featuring 3 tracks focusing various sound layers, shifting time signatures, auditory dynamics.

Musical Style and Influences

A blend of experimental, psychedelic, noise rock and progressive riffing that creates an immersive auditory trip through the vastness of space and time. According to the band, “We like mind trips, odd times, drowning in noise and partial darkness.” Fans of desert denizens Big Scenic Nowhere will most likely enjoy this release as there are long psychedelic passages, many guitar riffs/solos with various phase, reverb and delay effects.

Track Analysis

Opening Track: “Pyramid”

Opening up with a clean flanger/phase guitar line with heavy reverb played various times with crashing cymbals with a rumbling distorted bass line. At around 4 minutes in the vocals begin with an up-tempo noise rock vibe until the vocals become more aggressive with drummer Enrico Piraccini forcing the issue with crashing cymbals and drum fills working to create a wall of sound. At 5:50 the time signature shifts to a heavy arpeggio riff and then shifting again the music stops entirely with a distorted bass line coming in with the phase effected guitar line and various tom fills and aggressive vocals to bring up the intensity again. The band really enjoys dynamics with calm slow passages building to massive and aggressive crescendos.

Opening Track: “Laborintus”

At 15 minutes this is the shortest track of the album. The track gets started right away with a treble sounding bass line with and lead guitar line with high pitched vocals leading to a phaser effect washing over the track which morphs into dark aggressive vocals and the familiar crashing cymbal fills. The vocal in this section has some similarity to Tomahawk era Mike Patton. As the track moves along the vocals become more ethereal with an underlying synth taking center stage. With this section starting around 9 minutes in the band moves in a more melodic way that give way to the outgoing section of guitar solos and driving rhythms until the track closes out.

Closing Track: “Egg”

Album closer begins with the heaviest riff of the release with a crunching guitar riff with the vocals a little more out in front and more direct than other sections during the album.
Ay 2 minutes in a wave of phaser effects and tom drum fills take center stage. Next the music starts to fade out and starts up again with a repetitive reverb heavy guitar line and haunting vocals along with distorted bass notes play in the background. At approximately the 11 minutes in the band ups the intensity with a driving drum beat and propulsive bass layered with a driving reverb heavy guitar riff. At 15 minutes in a long passage with a guitar solo takes over with drummer Piraccini using his China cymbal as a crash and beating it into submission. As this is the longest track on the album with various movement of sonic bombast, at the end you may want to take a break to ground yourself and return to sanity!

Track List

1.Pyramid-18:19

2.Laborintus-15:36

3. Egg-20:32

Manuel Fabbri: Bass, Vocals
Enrico Piraccini: Drums, Vocals
Matteo Sama: Guitar

https://onioroshi.bandcamp.com/