Houston, Texas powerhouse STONE NOMADS are coming out with a brand new one on Ripple Music today (get it here). To mark this wrecking ball of a release, the band is sharing a new music video, the title track to ‘Empires of Stone’ (2025). The video, featuring live footage, shows how monstrous their sound and presence is on the stage, ranking them up there with bands like Conan in terms of devastating heft and earth-shaking chug.

Been a fan of these guys for quite a number of years and their t-shirt is still in my regular rotation, along with that fantastic cover they did of Trouble’s “The Tempter,” which we featured on The Doomed & Stoned Show. They’ve really upped the ante this time, though (just wait’ll you hear “Mount Aras”).

Empires of Stone will shake up your space. There’s pure metal magic happening here. Vocals are beastly, but can be exaltant like Slomatics. Their sound is sludgy, with a bitter weet sadness like Gates of Slumber, but also gives us a southern touch like Down. Their rhythms are sometimes plodding like Candlemass, but are rampant and unstoppable too, ala Howling Giant.

For all these touchpoints of comparison, however, Stone Nomads have emerged from the scene as a voice to be reckoned with on its own terms. You could definitely point them out of a line-up and say, “These are my guys.”

Give ear…

SOME BUZZ

From the heavy heart of Houston, TX, Stone Nomads charts a monolithic path through the darker realms of doom and sludge. The power trio, formed in 2021 by Jon Cosky (Guitar/Vocals) and Jude Sisk (Bass/Vocals), explores the weighty concepts of life and death through a lens of pummeling riffs and a progressive sludge sensibility.

Their sound is a tectonic blend, drawing equally from the classic doom of Sabbath or Trouble and the savage, sludge-laden attack of High On Fire, Crowbar and Obituary. This evolving vision has been captured on two Doom Charts-approved monoliths Fields of Doom (2022) and …At the Gates of Solitude (2023), building towards the imminent release of their crushingly heavy third album, 'Empires of Stone’ (2025) on international heavy powerhouse Ripple Music.

Known for a live show that is both energetic and utterly immersive, Stone Nomads have carved their name across the Texas scene and southern US on stages shared with the likes of Crowbar, Soulfly, The Obsessed, Eyehategod, Elder, Khemmis, as well as on three multi-region headline and co-headline tours, establishing themselves as a formidable and essential live force within the heavy underground scene.

The product of a turbulent era marked by personal tragedy, their forthcoming third full-length “Empires of Stone” channels its raw emotion into both its music and lyrics, exploring themes of fear, societal struggle, and mortality. While showcasing the power trio’s devastatingly heavy evolution, the album also reveals a deeper, progressive side — brooding and expansive.

“It was crafted as a full album experience, with each song fitting in its respective placement to take the listener on a deep, progressive and metallic sonic journey,” says the trio. “Empires of Stone” will be released on classic and limited vinyl editions, CD digipack and digital formats on November 21st through Ripple Music.

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.

As of today, there are 30 days remaining until Autumn, and you can feel a certain wistfulness that mirrors the changing moods of the season in new album, ‘Echo Manor’ (2024) by FOSTERMOTHER. Though it was undoubtedly composed and recorded over a more extended period of time by the Houston trio, it fits the mood of right now. This is melancholy music for melancholy times. We find ourselves in this strange, mad world and it’s comforting to find a sound like this that literally echoes our despair.

That’s not to say this is angsty or angry music, just that it expresses a certain kind of longing for something better, a nagging emptiness, with elements of stoic acceptance in the singing. There’s a haunting surrealness to a song like “In The Garden of Lies,” for example. It’s as atmospheric as walking into an abandoned building that has been overtaken by nature once again. In fact, the album begins with a reference to ghosts in “Wraith.” Lyrics are fittingly vague, yet touch on something authentically felt: “Everyone is nothing, lonelier than we thought.”

Keyboards have always added something special to the Fostermother sound, doubling down on the emotive punch of their sound, as on “Empty One.” Both vocalist/guitarist Travis Weatherred and bassist/guitarist Stephen Griffin are credited with keyboards on this album, so I imagine a lot of thought was given to creating these misty, transient sonic environments.

The sweet spot of the album for me is right at “All We Know,” one of my favorite tracks of the album for its those poignant bittersweet guitar harmonies. It’s pure doom on the order of those moving riffs in Trouble’s “The Tempter,” but disguised in the vein of heavy rock. Deep and engaging, the vibe pierces right through you and tugs on those emotional heartstrings.

It keeps getting better too, with the infectious rhythmic groove of title track “Echo Manor” which feels like a dreamstate in which we’re are sedately growing apart from ourselves. “This ghostly intrusion, a haunted illusion.”

“Rituals Unknown” continues the lyrical emphasis on shadows and the immaterial realm. “I feel reversed,” Travis sings. “I am reversed.” The twin guitar harmonies are once again quite compelling. In the days following the pandemic, we have awakened to new realities about being human and in many ways perhaps we also feel like a ghost tossed about in the ether, with nothing really real to anchor ourselves to. Fostermother seem to suggest that everything is changing, constantly changing.

“King To A Dead Tree” is like a magic blend of dark rock, gothic rock, and doom metal, and features a guitar solo from fellow Houston musician Rusty Miller of High Desert Queen.

“Carry Me” is another standout, not for anything bombastic, but for its sense of melancholy. Fostermother has a knack for finding those moments to elevate to the forefront of our consciousness, with effective writing – sometimes just the way one word is sung (here the song builds up to a release in the chorus “nowhere to go, feeling blue.”).

“Watchers” brings us back to the grungy doom glory of vintage Fostermother with a brooding, stormy feel and some explosive guitar work. Some of the harmonies produced by the guitar and bass are so deeply moving that you can feel the psychic pain so keenly, as in “Lighthouse.”

Fostermother’s Echo Manor is an enigma in contemporary heavy music and for that reason alone it deserves hearing. Eerie, nostalgic, and deeply felt, with appealing vocal moments and warm, blanketing harmonies that really stay you. It comes out on Ripple Music on Friday, August 23rd on vinyl, compact disc, and digital formats (get it here). Stick it on a playlist with Pallbearer, Foot, Young Hunter, and Pinky Floyd.

Give ear…

SOME BUZZ

Fostermother are back! Long acclaimed by international critics for their catchy take on doom metal, the Texan trio takes a substantial turn in their career by revealing a more multi-faceted, atmosphere-driven facet of their music on “Echo Manor.”

The band made an impression within the stoner and doom scene with their massive-sounding 2020 self-titled debut, “hitting both soft and hard in all the right places, leaving oddly-comforting destruction in its wake” according to Everything Is Noise. Signed to Ripple Music in 2021, the pair released their sophomore album “The Ocean” which reached #20 on the Doom Charts Top 100 albums of 2022.

With drummer Jason Motamedi officially rounding out the lineup, Fostermother recorded their third album “Echo Manor”, pushing their sound into heavy psych territory with hints of post-rock and progressive rock. It was produced, mixed and mastered by Travis Weatherred, with artwork by Kimberly Weatherred.

Sometimes a band chooses their name in irony, but there’s no question that STONE NOMADS sound every bit as heavy as their moniker implies. The Houston, Texas band formed over the pandemic and have since released full-length ‘Fields of Doom’ (2022) and, earlier this year, an EP called 'Fiery Sabbath’ (2023). Now, the stoner-doom trio give us a first-listen to new material leading into their colossal second album.

Latest single “Blackened Paradise” offers up grizzled singing from Jude Sisk (bass/vox), crunchy riffage and transcendent harmonies care of Jon Cosky (guitar/vox), and a pulsating rhythms at the hands Esben Willems (drums). Says the band:

“Blackened Paradise” is an ominous lyrical journey of violence and betrayal set to a blackened doom soundtrack. It’s the first single from our upcoming release ’…At the Gates of Solitude’ (2023) which has been described as “pure kickass, flame roaring majesticness” by Esben Willems (Monolord) who guests on the album.

…At The Gates of Solitude by Stone Nomads drops next week on October 19th via Gravitoyd Heavy Music (get it here). Stick it on a playlist with Trouble, Las Cruces, Formation Ritual, Thunderhorse, Mezzoa, and Monolord.

Give ear…

SOME BUZZ

Stone Nomads is an American Metal power trio based in Houston TX. The band, formed by Jon Cosky (Guitar/Vocals) and Jude Sisk (Bass/Vocals) in 2021, incorporates the sounds of early Doom Metal, modern Sludge Metal and all things heavy. Conceptually, the band explores the journey of life and death through the heavier and darker side of things, delivered via sludged-out, powerful riff-based sonics.

Influences range from Sabbath, Trouble and Candlemass to Crowbar, Conan, Obituary and all things in between. The band has released one album ('Fields of Doom’) and one EP ('Fiery Sabbath’) via Austin based label Gravitoyd Heavy Music, and is currently releasing it’s 2nd album (’…At the Gates of Solitude’) on Oct 19th, 2023 in vinyl, CD and digital formats. The new album’s foundation was laid down by Swedish drum extraordinaire, Esben Willems (Monolord), and features a single with guest vocalist Kyle Thomas (Exhorder, Trouble).

Stone Nomads have shared the stage with scene leaders Khemmis, Spirit Adrift, Elder, Mothership, among others and played multiple festivals and regional tours in the southern US. The band is currently making plans to hit the road in support of the new album in January 2024.

Vultures are fascinating and freaky creatures. When my brother was a kid, he once fell asleep against a fresh bale of hay in the field next door. When he awoke, he was shocked to find himself surrounded by turkey vultures. I suppose they were waiting to see if he was dead or not. The memory still shakes him to this day.

Interestingly, vultures belong to the family cathartidae, which draws its name from an old Greek word meaning “purifier.” Considering these birds scavenge all manner of carrion (including human flesh), that’s something of a sobering thought.

The latest album by Texas heavy psych rockers WARLUNG features a rapacious brood of vultures presiding over the ceremonial sacrifice of a long-bearded man, presumably deceased. Today, we delve deeper into the themes of ‘Vultures Paradise’ (2022) with a music video of the title track that follows a group of bikers who are venturing into the sun-scorched, cactus-dotted wilderness.

Lyrically, the desert represents a haunting place of loneliness and isolation. George Baba and Philip Bennet match talents as guitarists and singers, generating some effective vocal harmonies that bring out the bittersweet flavor of the song. There is, in fact, something painfully beautiful about the whole experience that invites repeated listens. “Though the lyrical themes revolve around death and destruction,” the band relates, “the music is more alive and creative than ever.”

Here is the Doomed & Stoned world premiere of “Vulture’s Paradise,” from the band’s latest long-play which dropped earlier this month on Heavy Psych Sounds. Match it up with some ASG, Uncle Acid & the deadbeats, Green Lung, and Blue Oyster Cult on your next playlist.

Give ear…

Houston-based STOCKHAUSEN & THE AMPLIFIED RIOT tap into the spirit of vintage punk, the quirkiness of krautrock, and the pent-up aggression of garage rock on ‘Era of the Inauthentic’ (2022). Besides its thought-provoking title, the new five-tracker is powered by a mighty heartbeat and lyrics that question everything.

“What if it Never Ends” asks the scary pregunta on all of our minds, while “Tilde Mae” channels all of that pent-up anxiety into a twisted kind of joie de vivre. Paul Chavez’s vocals remind me more of David Cunningham than David Byrne here, and dig the far-out Forbidden Planet-esque effects two minutes into the song! They seem unexpectedly at home in this slam-dance of hypnotic strumming and tight percussion. What a way to work out your pandemic frustrations!

However, it’s not that eleven-and-a-half-minute wrecker we’re revealing today, but the EP’s first single “Hunky Punk” – which feels as fresh as punch to the nose. Look for Stockhausen & The Amplified Riot’s Era of the Inauthentic, to be released on August 19th on Artificial Head Records (pre-order here).

Give ear…

SOME BUZZ

Initially forming in early 2020 as a three-piece garage rock blues band, the pandemic put the brakes on Stockhausen & The Amplified Riot and it’s now continuing as a solo project by Paul Chavez. Drawing inspiration from styles including '70s krautrock, psych rock and post-punk, along with artists such as David Bowie, Kraftwerk, and Stereolab to name a few, Stockhausen & The Amplified Riot thrives in the realms of experimentation.

'Era of the Inauthentic’ (2022),0. the title taken from a quote by Alan Vega of Suicide, combines an alluring concoction of textures from clean-toned and fuzz laden guitars, to dynamic percussion, and audio FX. “Adolescent Lighting” kicks off the new EP with a dynamic sound. “Hunky Punk” brings heavier guitars for a hard rock and punk fueled track, while “What if it Never Ends?” fuses distortion with a drum machine that oozes danceability. “Tilde Mae,” the longest track on the release, delivers almost twelve minutes of Teutonic riffs, punchy beats and an injection of intriguing electronics. The minimalist effect of “Intubation Blues” vocals accompanied by drums and harmonica introduces a different mood, concluding the EP with a dramatic effect.

'Era of the Inauthentic’ is an eclectic venture through Stockhausen & The Amplified Riot’s distinctive sound. Powerful guitars deliver on the rock and punk elements of the project’s music, while electronics enhance the atmosphere of each track. Full of unexpected segments, 'Era of the Inauthentic’ will keep you hooked from start to finish.

FOSTERMOTHER is back! The band, hailing from Houston, Texas (originally a duo with founding members Travis Weatherred and Stephen Griffin), released their debut LP to solid word-of-mouth acclaim. It wound up ranking quite respectably on the January and February Doom Charts last year, and ended smack dab in the middle of the end-of-year Top 100 among underground bloggers, music reviewers, and podcasters.

We counted Fostermother’s self-titled album among Doomed & Stoned’s HeavyBest of 2020, with my subsequent attendance at Ripplefest Texas 2021 confirming all first impressions of the band – especially as they began teasing out new material. The groove is infectious.

Fostermother have now completed their sophomore record, this time as a trio with drummer Jason Motamedi. The new album ‘Ocean’ (2022) is, the band tells us, about “dealing with depression and isolation.”

It also speaks on individuals who would eagerly trade everything and everyone in the pursuit of their own self interest all while casting judgement on others. Depression is viewed in two ways lyrically: a lack of desire to take care of yourself and the drive to move past it by seeking redemption and new motivations. 'The Ocean’ represents Isolation in society.

“Hedonist” is a top track from Ocean (first leaked on the Ripplefest compilation in the days leading up to the Texas Ski Ranch rendezvous in August) and now we are treated to an accompanying music video for this powerful track. The grinding riffage digs beneath the surface of superficiality, its medium-range vocals perfectly pitched to reflect the jaded, no-fucks-given feeling experienced by many of us in lockdown isolation. The chorus takes the song to a perfect moment of heightened emotion and clarity, accented by dark tones of organ-like synth. I seriously want to listen to this one over and over again every time I spin it. As a matter of fact, it’s a prime candidate for Song of the Year. I cannot simply listen to it once and walk away, for it embeds its bittersweet vibe deep within the psyche.

Look for The Ocean to drop on February 18th, with pre-orders coming soon to the Ripple Music Bandcamp and website. Like the song, the music video reflects the surreal quality of the age in which we find ourselves.

Give ear…

Some Buzz

Texas-based doom metal and fuzz merchants Fostermother sign to Ripple Music for the release of their new album 'The Ocean’ (due out February 18th, 2022). Watch their killer “Hedonist” video now courtesy of Doomed and Stoned website!

Originally a solo project Travis Weatherred, quickly joined by bassist Stephen Griffin, Fostermother has made an impression within the stoner and doom scene with their self-titled debut album, “hitting both soft and hard in all the right places, leaving oddly-comforting destruction in its wake” (Everything Is Noise).

Now a three-head hydra with the addition of drummer Jason Motamedi, the band signs to Californian heavy rock powerhouse Ripple Music for the release of its follow-up 'The Ocean". This Dantean 7-tracker cranks it up on all levels: it’s darker, harsher, slower, fuzzier and more rumbling than ever, and definitely uncompromising in its ability to drag you into the darkest alleys of the human soul.

Frontman Travis Weatherred about the album: “The album is largely about dealing with depression and isolation. It also speaks on individuals who would eagerly trade everything and everyone in the pursuit of their own self-interest all while casting judgment on others. These behaviors have a negative impact on friends, family, and society as a whole. Depression is viewed in two ways lyrically; a lack of desire to take care of yourself and the drive to move past it by seeking redemption and new motivations. The Ocean represents Isolation in society. I often find my healing/coping process is found best when I clear my thoughts in a quiet room which is where the album ends.”

All music was written and performed by Travis Weatherred (vocals, guitar, synth, drums) and Stephen Griffin (bass, keys, and additional guitar). It was produced and mixed by Travis Weatherred. The artwork was designed by UK-based painter Ryan T. Hancock.

TRACKLIST:

1. Sunday
2. Seasons
3. Hedonist
4. Dark Desires
5. Unholiest of Days
6. The Ocean
7. Arrival
8. Redeemer
9. Solitude

CACTUS FLOWERS…what a perfect name for a Texas band. I remember spending much of my formative years in the East and West portions of the Lone Star State. It was there I first encountered rock ‘n roll in grade school and heavy metal in middle school. There’s something vibrant about the sound of the Houston band before us that takes me back to those sunny days of early discovery.

You’ll hear it right away in the track that opens their new EP, 'Solace’ (2021). “Razorblade” has a rumbling beat to go along with those muggy days in the shade and long nights on the open road. The riffs almost seem to tell a story on their own to complement the gnarly vocals of singer/songwriter and guitarist Jessica Murillo, who founded the band in 2014.

Jessica’s singing is distinctively gritty, recalling the greats from Joan Jett on. “Do You Want Me” has such a groovy headbanging vibe to it that had me moving my body straight away. You just can’t resist the rhythmic trance of Paul Chavez and Mark Carcamo’s bass and drums combo when it casts its spell upon you. I particularly love the syncopated character of the chorus, which I’m sure I’ll be singing around the house unconsciously at random intervals for a long time. In a vague way, it reminds me of classic country, which has always had a knack for a good dancing tempo.

“Swimming Through The Sea Of Mercury” would make a good, upbeat follow-up to Witch’s classic “Seer,” were I to DJ a set. Stoner rock with desert, blues, and doom undertones, it really works to keep the electricity of the EP flowing.

“Dirty Double Vision” closes the four-song record, and it grinds hard! And just like that it’s over – giving me the same feeling I have when an opening band plays one fantastic number after another, leaving the audience feeling hungry for more!

Jessica gives Doomed & Stoned readers some insight into the creative process behind Solace:

“I hope my music can inspire an emotion, invoke a feeling, or even create a space for reflection. Music is therapy, and as writing and creating has helped me get along in this world, I hope it can do the same for others too. I go between writing lyrics and creating sound structures, and vice versa. Song writing always comes from an emotion I’m feeling, an expression I wish I could communicate, or a complete fantasyland through storytelling. Sometimes it starts with humming, sometimes it starts with a poem, and other times it’s just a riff in my head. But always, the outcome is always a therapeutic release and a time capsule for that moment or period in my life.”

I can’t believe we missed including Cactus Flowers on our 'Doomed & Stoned in Texas’ (2017) compilation, but then again it is a big state! Definitely looking forward to delving into the band’s back catalog, but also catching them live at some future juncture.

Today, Doomed & Stoned is privileged to premiere Solace, follow-up to 2019’s Incantations. It formally debuts this weekend on the band’s own label, People.Parties.Places (pre-order here) and I can imagine would be well worth an addition to any stoner rock aficionado’s cassette or vinyl library.

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Some Buzz

Formed in 2014 by guitarist/songwriter Jessica Murillo, drummer Mark Carcamo, and bassist Chris Dunaway, there’s no question that Cactus Flowers’s star has been in the ascension for quite some time.

Since the release of their beguiling debut album Incantations in 2019, the Houstonians have continued to conjure, inspire and craft an irresistible identity around lush cadences, pedal soaked riffs, and Murillo’s impassioned vocals.

This March, the trio returns to the fold with their stunning new four-song EP, Solace. Recorded during a period of global impasse brought about by the COVID pandemic, and after shelving plans for a Spring 2020 tour, the band holed up with producer John Griffin (Wild Moccasins, The Ton Tons, Television Personalities) to capture a heavier, more compound style of psych, lyrical gallantry, and hard rock strut.

“Our new EP is an extension of Incantations in as much as those songs were written in hope of conjuring a feeling or emotion,” explains Murillo. “Solace was written to provide comfort or consolation through story-telling and melodies. Matchmaking lush fuzz tones with tales of angst and far out fantasies, we want it to be your next favourite soundtrack on good or bad days.”

Mastered by Heba Kadry (Battles, Blonde Redhead, Slowdive), featuring striking artwork by Jaime Zuverza (Sugar Candy Mountain, Golden Dawn Arkestra) and with Baby Birds/Funeral Horse’s Paul Chavez taking over from Dunaway on live duties, Solace is an incredibly impressive chapter in the band’s ongoing voyage.

I’ve been following Houston’s WARLUNG almost from the beginning and have to say they’ve never sounded quite as fresh and vital as they do in ‘Optical Delusions’ (2020), their upcoming release on Heavy Psych Sounds.

“On Optical Delusions,” Warlung reveal, “we found a middle ground between the classic horror theme of the first album and the rock n roll aspect of the second. We continued to experiment with song structures and changing tempos to keep the music dynamic and interesting. This album explores everything we have done before while guiding us into something new.”

Weaving together strains of traditional doom and stoner rock, with heavy metal sensibilities and regional influences, Warlung have some very catchy material on their hands this time 'round. Today, Doomed & Stoned is giving you a look and a listen to the second single from the upcoming October 9th release (pre-order here or here), entitled “The Scorpion In The Sand.”

“This song,” comments the band, “will take you on a journey to an ancient land, a place between the heavens and the underworld.”

Give ear…

I remember hearing DOOMSTRESS for the first time a couple years ago. I was absolutely stunned by the weighty riffs, ‘70s vibe, and the vocal work of Doomstress Alexis. I was immediately hooked on the band and have got the ink on my arm to prove it. Now, after all of our waiting, the Doomstress is preparing for the release of their full-length album, 'Sleep Among the Dead’ (2019) on May 10th, with the CD version released through Ripple Music and the vinyl issued by DHU Records.

Steeped in the type of rock heard in the movie Heavy Metal (1981), Sleep Among the Dead is full of driving riffs, powerful drumming, and an old school vocal flair that really grabs me. In my opinion, this is Album of the Year material. I don’t say that out of my love for the band, but from the way this music is put together – the songwriting, arranging, lyrics, studio performances, and overall feel of this album are proof of my boasting.

We shall begin with my favored track, “Dreaming Spider.” I own a beautiful rose hair tarantula, so the title attracted me – but only after I had heard this excellent number. The intro is a slow, arpeggiated piece on an acoustic guitar and it’s beautiful. Hovering above is an amazingly played lead, with just the right amount of effects (including some nice fuzz) that complete the picture being painted musically. Then there’s that main riff – and it is so infectious! I heard it in my head for hours after my first listen. It’s incredible in its power, as well.

“Burning Lotus” is full of NWOBHM vibes and, in terms of tone, it also reminds me of early Judas Priest (the Sad Wings of Destiny era). Alexis’ vocals are better than ever and her performance is without flaw, in my opinion. There is just something within her execution, inflection, and word choice that I simply cannot get enough of. Let’s not leave the lead guitar out, because the solos are ablaze like the Hindenburg, adding exactly the right touches to all of these tracks.

Before we go on, I’d like to address the sound across this record. The mix is great, with no instruments competing with each other for dominance, and it is as clear as any mainstream group out there. The cool thing about it is that it’s also got a very classic-era metal sound, mixing the modern with the golden age of the genre.

Up next is “Your God is Blind.” The title really says it all, but the lyrics are decidedly telling. With the current state of affairs in the Catholic Church, priests being jailed for sex crimes and other distasteful aspects, the words of this track spell out how a great deal of people feel, myself included. The music is heavy when needed, light and atmospheric at other times – just excellent work across the board.

Do you guys like fuzzed-out bass? Of course you do! Check out the title track for an introduction to just that: a beautiful, warm-sounding fuzz tone that creates a fantastic intro. “You’re fate has come at last, it’s written in my eyes” the lyrics declare. The chorus lines, “Lay your body down, let the stillness be one with you,” have alternating vocals. The first are layered, male voices, with Alexis singing the following part. I honestly believe that this track is the one to listen to for cool vocal work. The nuances are fantastic.

I urge, no, I insist that you all get on board the Doomstress train, because this album is their crowning achievement (besides the fact that I absolutely love them anyway). Sleep Among the Dead is headed your way in a matter of only weeks, and I suggest you get on it because vinyl pre-orders are flying fast. I ordered my CD version today. Enjoy!

Doomstress is a heavy groove, seventies-inspired Houston group that’s steadily filling the planet’s airwaves with their infectious sound. If you haven’t gotten into the band yet, check out their ‘Supernatural Kvlt Sounds – The Second Rite’ (2017) and the recent 7” single “Wicked Woman.” Doomstress will be joining us for the third annual Doomed & Stoned Festival, taking place in Indianapolis on the first weekend of October (get tickets here). Their reality-inspired songs had me excited to get to know this passionate gang of doom better.

Can you give a little history of your role in the band and how you came to be a part of the group?

Doomstress Alexis: Well, I had wanted to do my own project for a number of years and it was just a matter of timing, really. Once I saw that opportunity, I jumped. I shared some early riffs and ideas with Brandon and eventually he asked to be part of the band, which I had intended on asking him anyway. So far, I’ve written the majority of the music, with Brandon offering input and a riff here and there. I wanted a twin guitar style, so writing more on guitar was different for me as I’d written most previous stuff on bass. I write all the lyrics and also form the artistic concepts I want for records and merch, but I’m not a tyrant about it and I’m always open to suggestions and input from whoever I’m working with. I try to be fluid, accommodating, and respectful with everyone, artistically and professionally, but ultimately it has to fit with my vision.

Brandon Johnson: I play guitar, write some riffs, and sing some backup vocals. Alexis and I have been making music together for many, many years.

Matt Taylor: We ran in the same music circles and she knew my bands at the time and I knew hers. She originally hit me up as a hired gun for touring, but two years later and I haven’t missed a show, so they pulled me on into the full-time roster and the rest is history.

What is your all-time favorite album? Do you remember the first time you heard it?

Brandon Johnson: It changes depending on my mood, but it’s always been between these three albums: Through the Darkest Hour by Solitude Aeturnus, Awaken the Guardian by Fates Warning, and Epicus Doomicus Metallicus by Candlemass. So this week, I would have to say that my favorite album is Epicus Doomicus Metallicus. The first time I heard it, I was blown away. Dark atmosphere, heavy riffs, great vocals, and awesome lyrics make for one excellent album that I never tire of.

Matt Taylor: If I had to pick, I’d definitely say Judas Priest’s Defenders of the Faith.   I don’t necessarily remember the first time I heard it, but it’s crept its way into my heart, nonetheless. If I had to show somebody who doesn’t listen to heavy metal one album to show them what it’s all about, it would definitely be Defenders. Front-to-back banger for the ages.

What makes you most excited about playing Doomed & Stoned Fest this year?

Doomstress Alexis: The very first Doomstress show was in Indianapolis in August of 2016. Everyone there has always treated us exceptionally well, from Melissa at Doomed & Stoned to the bands, venues, and fans, especially. Being part of Doomed & Stoned Festival is just gonna be so kick ass!

Matt Taylor: Meeting all the new people, seeing old friends, drink, smoke, and playing loud music!

Brandon Johnson: I look forward being around like-minded people gathering to celebrate one of my favorite genres of music. I also look forward to checking out some bands I’ve never seen before, seeing old friends and making new ones. Oh, and beer!

What’s a typical band rehearsal like for you guys?

Doomstress Alexis: Well, because we tour so much with different touring drummers, we typically only rehearse a couple times right before a tour to get the drummer up to snuff and that’s about it. I have written most of the music so far, which I share with Brandon and we work out some changes or he brings in or smooths out a riff here and there. He has some songs he’s been developing. I let both Brandon and Matt work out the solos, but I will give my input if I have a certain feel I want.

How many instruments do you own – or maybe I should ask how many own you?

Doomstress Alexis: Currently, I own four basses, two electric guitars and two drum sets.

Brandon Johnson: About twelve guitars at the moment.

Matt Taylor: About three or four guitars.

Out of all the places you’ve visited, what’s been your favorite?

Doomstress Alexis: I’d never had much chance to travel previously, but since I formed Doomstress with the intent of touring, I’ve been all over so much of the US. We never get much time to spend outside the drives and venues, but traveling along the West Coast and throughout the southwest landscapes was just so beautiful.

Brandon Johnson: Seattle, Washington. It is such a beautiful area. The mountains, forests, ocean, the abundance of doomy weather, and the people seemed really nice. Outside of Texas, Seattle is one place I could see myself living.

Matt Taylor: I really don’t think I could pick one place, but if I had to pick a region, I’d say the Pacific Northwest. The scenery and drives are out of this world, from the mountains to the redwoods to the coastlines – there’s always something to look at!

What’s your favorite found sound? In other words, if you were just up to any old thing, what would be the noise that strikes you?

Brandon Johnson: The scream of a Merlin engine flying by at 2500 rpm. There’s nothing like it.

Matt Taylor: I’d have to say metallic industrial sounds or the sound of a crackling fire.

For my parting shot, I just have to ask: are you behooved to groove?

Doomstress Alexis: Always down to rock!

Brandon Johnson: Of course!

Matt Taylor: I am indeed behooved to the groove!

Ripple Music has done it once again, the “it” in question being the fact that they have released another gem of stoner rock. This summer, the label released the new album by MR. PLOW into the world and with it further ensured their legacy within the genre. The band, based in Houston, wrote eight very cool songs for the ‘Maintain Radio Silence’(2018) LP, but I can tell you that no radio will be silent with this fantastic record nearby! There are riffs aplenty, some of which are a bit trippy (“Samizdat”) and some that are just plain huge (“Matchstick”) – all of them are very powerful. Add to that the fact that both guitarists, Jeremy Stone and Justin Waggoner, contribute vocals, backed by an extremely talented bassist and drummer (Greg Green and Cory Cousins), and you have the makings of one incredible band!

“Sigil” opens this album with some heavy riffing, before trimming back for the verses. This section has a heavy psychedelic vibe, due to the way the vocals and music lay back, creating a wicked sound indeed! The chorus comes back in with some of the intro’s heaviness, and that dynamic change lends itself to sounding ever larger than before. The guitar solo is so sweet, as is the riff underneath it. The bass sounds massive right here, and has a great tone going as well.

My favorite track, “Samizdat,” is up next. I love the psychedelic sounds of the verses – those guitars just swirl into your ears so nicely. This track is arranged in a similar fashion as “Sigil” and it works so well for both of these songs. I really dig the power in both choruses, they are just immense and crushing in tone.

“Shaolin Cowboy” reminds me of Helmet’s famous song, “In the Meantime.“ The tone of the guitars, the way the riff moves, everything is very Helmet influenced from the sound of it, except the vocals – the vocals make Page Hamilton sound bad! The melody and execution is flawless, in my opinion. This is my second favorite track on Maintain Radio Silence.

"Hammer Smashed Face” is one of the last few tunes here and threw me off when I saw the title. Cannibal Corpse has a song by the same name and my first thought was that this was a cover, but that didn’t feel right either. Upon listening, I found a song that has a heavy, eighth-note chug, and more kick ass vocals.

Mr. Plow may remind you all of Homer Simpson, but this is nothing like Homer’s vision. This is a really killer offering from this band of Texans, one full if great songwriting and expert execution. I highly urge you to grab this album as soon as possible. It is well worth your money and listening time.

It’s time for another legendary first, this time coming from Houston’s own FUNERAL HORSE. We last encountered the doom-punks in our compilation raising funds for Hurricane Harvey victims, Doomed & Stoned in Texas (thanks again, boys!), and earlier still when they brought us the critically acclaimed 2015 album, Divinity For The Wicked.   Today, the Texas trio trot madly back with a furiously fit follow-up: ‘Psalms For The Mourning’ (2018 - Artificial Head Records).

Having given us a taste of the riff monster “Burial Under The Sun,” Doomed & Stoned is proud today to present another cut from the record, its opening number, “Better Half of Nothing.” This one takes us all the way back to the lo-fi glory of late-seventies punk, which I absolutely love. Chris Bassett’s drumming it full of conviction, Clint Rater’s bass play is just plain fun, and what could be sweeter than the breakdown midway through the piece, where Paul Bearer’s bluesy guitar solo strikes a sassy tone that turns sinister just as quickly. The finish is unexpected and delightful (Ty Sheaffer on the trumpet, ladies and gentlemen). More unconventional instrumentation like this in heavy music, por favor!

Funeral Horse frontman Paul Bearer tells us that “Better Half of Nothing” was, in fact, the last song they wrote and recorded for Psalms For The Mourning, but it wound up being chosen to lead everything off. “We decided to start the new record with this track because we wanted to let people know right from the needle drop that we are moving into new territory. Musically and lyrically, the song neatly summarizes the constant musical shift of the rest of the album.”

Originally designated “Slaves to Devices,” Funeral Horse decided on a title change as the album evolved thematically, leading to more a more appropriate lyrical tie-in for this song. “Of all the loss, doom and self-destruction that is highlighted in the album, ‘Better Half of Nothing’ is our way of saying that while there is light at the end of the tunnel, to understand it all, you have to go on this journey with us for the remainder of the album.”

Look for Psalms For The Mourning to drop in less than two weeks on June 16th, issued digitally and on a limited run of vinyl via Artificial Head Records (pre-orders open now). As one of their most raucous albums to date, the band says, "This endeavor should be experienced sequentially at maximum volume.”   In other words…

…give ear.

Some Buzz:

Made up of front man/guitarist Paul Bearer, drummer Chris Bassett and new addition, Clint Rater on bass, Funeral Horse return to the fold this June with a brand-new studio album; their third in the canon for the Houston-based record label, Artificial Head Records.

Catching up on almost three years in the wilderness since the release of their 2015’s stoned-opus, 'Divinity For The Wicked,’ 'Psalms For The Mourning’ finds the industrious Texan trio revamping the thunderous doom-pop and hard rock that secured their cult status amidst the current crop of underground US rock. As an aural monument for the maligned, 'Divinity For The Wicked’ made several inroads into the media with positive reviews from the likes of Terrorizer and Decibel, but here on ;Psalms For The Mourning,; Funeral Horse serve up a true rock ‘n’ roll sermon for the masses. It’s an album that’s positively waiting to be picked up and played by those that have chosen their whole lives to turn on, tune in and drop out in pursuit of volume.

Amid a mass brawl of fresh proto-metal riffs, warped vocals, neo-folk and red eyed '80s post-hardcore punk, under the influence of bands such as The Melvins, Led Zeppelin, Kyuss and Harvey Milk, the sonic experimentation Funeral Horse found on previous albums remains, but is now deeply woven into their songs and not separated into stand-alone pieces. This is music to gouge minds to. From the seemingly/misleadingly upbeat opener “Better Half of Nothing,” to the brooding and bold “No Greater Sorrow (Than My Love),” and outright brutality of “Sacrifice of A Thousand Ships,” the band opens its doors once more to an even wider world of distortions and digressions.

“We took more time writing and recording this material, taking in the turmoil from touring and personal conflicts and the loss of some good friends along the way,” explains front man Paul Bearer. “We’ve kept to the roots of who we are but the band’s tours in England, Wales, Scotland, Ireland and Mexico last year was another big factor in the amount of care and time we took with the album. Those tours exposed us to some amazing bands and people who have helped to share in what the band is today.” (Sheltered Life PR)

This week, Doomed & Stoned is giving you a taste of the highly anticipated return LP, ‘Maintain Radio Silence’ (2018), by MR. PLOW. You may have run into Mr. Plow on our recent compilation, 'Doomed & Stoned in Texas’ (2017), an ongoing fundraiser for the Houston Food Bank in aid of Hurricane Harvey victims. The new album is the band’s first in more than a decade, following the widely heralded 'Asteroid 25399’ (2006).

Maintain Radio Silence is a thrilling collection of riffs and choruses that reinforces all the things that makes the band so beloved among its fan base. Take “Johnny Gentle,” for instance, the song we debut today. Fair warning: like the other tracks you’ll encounter on the new record, it’s an addictive one – whether we’re talking about the opening rumble of the bass, the lure of the siren riff, or that catchy chorus I’ve been singing under my breath all day (“Come on, Gentle Johnny save us”). This is why we’ve missed you, Mr. Plow, and why we’re so excited that you’re back.

Mr. Plow is:

• Justin Waggoner (guitar, vocals)
• Jeremy Stone (guitar, vocals)
• Greg Green (bass)
• Cory Cousins (drums)

The Houston outfit got together more than 20 years ago in the sunny year of '97, their bio tells us, “when Kyuss and Fu Manchu were blowing out speakers in car systems across the land.” It was an era of evolution in heavy music, when more and more bands were returning to the worship of the riff and “the term stoner rock was joining the lexicon for music writers who needed a category” to describe a genre “that was tuned down and turned up.”

The band were “influenced heavily by the times,” their bio tells us, “but sought a different direction lyrically” opting for “pop-culture references and hooky riffs” over “skulls and satanic imagery.” It’s “way more about good times” they tell us. In this way, Mr. Plow aims “to be that would be the soundtrack for summer trips to the beach or skate park.” That I can definitely get behind!

If their last album Asteroid 25399 was inspired by American author Kurt Vonnegut (or, to be more precise, an asteroid named after him), it will come as no surprise that Maintain Radio Silence is full of literary and cultural callbacks. For instance, “Johnny Gentle” hints at David Foster Wallace’s '96 novel, Infinite Jest. Under the direction of fictional President Johnny Gentle, a movement is under foot to tidy up the mess of hazardous waste that was once the Northeastern United States. In the book, the U.S. joins with Canada and Mexico to form a superstate called the Organization of North American Nations. “Lock the door, shut the whole world out,” the band sings with more than a smidgen of irony. If you love stuff like that, you’ll find Maintain Radio Silence stimulating to mind and body alike.

There’s an excellent interview our friend Steve Howe did over at Outlaws of the Sun that I’d recommend to you if you’d like to catch up with what the band’s been up to between the two albums.

Maintain Radio Silence was mastered by Ty Tabor of Kings X, with album art by Kyler Sharp. It releases January 26th and can be pre-ordered here. We can’t wait for you to hear it all!

~Doomed & Stoned Debuts~

By Papa Paul, with Billy Goate

It’s been about a year since we last checked in with the Houston foursome BLUES FUNERAL.   Their new album ‘Awakening’ (2017) proves the fantastic first was no fluke.   We heaped high praise on their Doom Charting debut LP, 'The Search’ (2016), with its infectious guitar play, unconventional rhythmic choices, and proggy throwback touches.   Like its predecessor, Awakening evidences commitment to a pure '70s underground sound.   In fact, this album is even more entrenched in the spirit of the era than the last.  The few flourishes of modern stoner-doom that bled through The Search are non-existent this time around, and that suits this retroist just fine.

The new material is also more progressive than before.   I’ve actually had some debate on this point with a few of my fellow reviewers.   My take is that Awakening ventures further into a Wishbone Ash vibe, a band I considered more progressive than hard rock.   True, Awaking does not go for full-on symphonic prog – this is guitar-driven material, enhanced mostly with the organ, some piano, and even a touch of Mellotron on one track.   It’s the intricacies of the guitar work and accompanying keys that earn Awakening the progressive tag.   The overall feel I get is that of the aforementioned British rockers, a band I neglected in my youth because they weren’t quite heavy enough, but which I’ve learned to appreciate as I matured in my musical tastes (there’s no beating the quality and skill of musicians like Andy Powell and Ted Turner).   As with Wishbone Ash, heaviness is not the point with Blues Funeral, though there is plenty there to behold.   Ultimately, this is all about the journey of the riff, the joy of collaboration, and the fusion of the blues rock with the vibrant sound of proto-metal.   The net result is a fresh, exciting feeling that we’re venturing into uncharted territory.

Awakening will be just that for some of you: it will open up your ears to a new kind of stoner-psychedelic experience.   Maurice’s guitar playing is, once again, off the charts fantastic.   I hesitate to make any comparison to Uli Roth of early-Scorpions fame, but after spinning Awake a few times I confess a yearning to play Uli’s solo albums and have also been on an early Scorpions kick, too, thanks to Blues Funeral’s incredible release.   I am hard pressed to think of a more impressive guitar performance.   Jan’s vocals are impressive, too – very clean and very seventies.

With every listen, Awakening gets better and more impressive.   For ears more modern than mine, these six tracks will possibly sound like the dreams you get after gorging yourself on a dinner of Sienna Root and Beelzefuzz, with a dish of Horisont for desert.   Like all good art, it’s too much to take in at once and will thus continue to get a lot of play from me in the months ahead.

Awakening will be very high on my “Heavy Best” list this year and now I’m going to give you a chance to find out why.   Today, Doomed & Stoned is reveals this exclusive listen to “Casimir,” the fifth song from Blues Funeral’s second full-length record.   The album tears loose on August 25th on both CD and digital formats.   Look for it soon at this location.

An Interview with Blues Funeral

Guitarist Maurice Eggenschwiler

Give us some insight into the gnarly little number we’re premiering today.

It’s a tune that Jan penned. “Casimir” is a title derived from Kazimierz, which was the old Jewish Quarter in Krakow, Poland where Jan spent some time growing up. So a big influence for the sound of the song was actually Hebrew Klezmer music, fused with a Latin vibe, fused with a more psychedelic feel these days. It’s more of a bohemian neighborhood, with cafes and music, but a lot of post-war history, too. I think it was just a very impactful place in Jan’s life. He was born in Poland and typically goes back every year. I think it was the last one we learned before hitting the recording studio. It was originally conceived to be largely acoustic in nature but we ended up making it a bit heavier in the studio and anchoring it with an acoustic with a very Spanish feel. Cory, our drummer, actually also has some backing vocals during some of the harmonies.

Jan actually told me that the Gypsy Kings had a hand in influencing the kind of sound he was hoping to achieve, in terms of an exotic vibe. We also layered in some piano and over the solos you can hear Jan playing some finger cymbals to amp up the feel of the tune. It’s very different from every other song on the record, but still locks into the overall feel of the album.

Who did your cover art and what’s its relation to the songs?

David Paul Seymour. The art was based on the lyrics to title track. Just an abstraction, as Awakening as a spiritual discovery. He got that from lyrics about walks upon the land and dark waters, and wanted to give it a dreamy vibe. Also, the foreground is an abstraction of a skull.

How would you compare 'Awakening’ to your debut album, 'The Search’?

Compared to the first record, I think all of us felt that this one carried a bit more of a cohesive vibe across the songs, from a sonic perspective. The leap from “Awakening” to “The Gathering Dust” goes from almost a '60s pop song to a song that includes elements of traditional doom. But even though there is a range in mood, the tone and tenor of the album feels more unified.

On The Search I think the gap from a song like “Palmdale” to a song like “Autumn Dream” was really wide. It’s fair to say that we were figuring out which elements of our various influences were going to shape our vision for this band. While I don’t think any limitations on what genres we care to explore truly exist, even now we still managed to cover a lot of ground with it, feeling a bit more unified from start to finish.

It’s really interesting, because there was a lot more complexity in the arrangements from a layering perspective on this album. Though some of the songs like “Awakening,” “Illusions,” or “Casimir” have more of a straight-ahead, traditional vibe, they were in some cases more challenging to record. The ascending, harmonized twin guitar leads that happen twice in "Awakening,” for instance, were a real challenge. Though, technically speaking, “Casimir” is a fairly simple tune, the Spanish rhythm and feel on the song took us some time to really feel comfortable with. We wanted it to evoke a certain mood and to have a certain feel for us, which ultimately I think we nailed.

Are there guest vocals in “Firedrake” or is that you and Jan hitting those high notes? You two have quite a range, if so!

There were a lot of “new” things that happened on this record. As you noted, “Firedrake” features a guest vocalist. Cory’s sister Kelly actually stepped up for that one. Given that both Jan and I sing in the band, and have thoughts about phrasing, delivery, etcetera, it was a challenge to give over some creative freedom in certain moments. There were definitely compromises that had to be made on both sides to maintain the stylistic integrity of the song, but to also give Kelly the freedom she needed to feel like the performance was truly hers. The result on that, I think, was great. A lot of people who have gotten an early preview of the album have had kind things to say about that tune, in particular.

What are some of the other things you experimented with on Awakening?

On “The Gathering Dust,” there’s a bit of Mellotron layered in during some of the heavier moments of the song. I actually played those parts on the recording. They’re exceedingly simple – and it’s not a technical feat, by any means – but it was a new experience for me to not only play, but record keys. I never do that. The addition of Mellotron was also new. We’ve never done that before. During “Casimir,” Jan played some finger cymbals (I think they’re called zills, they’re typically used by belly dancers) during the solos to create a very mystical percussive sound that added to the overall feel of the tune. So that was a new instrument and a new idea for Jan to carry out in studio.

We used acoustics on the first record, but I think their roll on this one was more dominant in adding texture to several songs and more experimental. During “Awakening,” at times, you can hear a Nashville strung acoustic over some of the chorus parts. That added some unique, almost 12-string sounding textures to that tune and opened it up. Clean piano is another instrument that made an appearance in a few places on this record above just organ. Doing that in “Shadow of the Snake” with a guitar solo that’s only accompanied by piano was a big challenge from a performance perspective. You don’t have the big band to hide your mistakes, so both instruments have to be spot on. Then in “The Gathering Dust” in the choruses, we layered two distorted guitars, a clean piano, and an acoustic guitar, along with a three-part vocal harmony – another new thing for this record – to create a very lush vibe that just wasn’t present on the first record.

Overall, the sound and feel of this record is decidedly more vintage than the first, and I think much more progressive in its leaning. It covers jazz, prog, blues, hard rock, metal, and even world music, all while maintaining a consistent feeling throughout.