Reports are sparse, but there appears to be growing underground backlash to the utopian technocracy that has been thrust upon all of us, making constant demands on our time, attention, security, and sanity. It feels like everything is accelerating, with a constant stream of cortisol-inducing stressors that authorities assure are just part and parcel of life in 2026 and beyond. It’s the new normal, so get used to it (they say). It’s just something our stupid evolution didn’t prepare us for, but we can always cope with more drugs (we’re told).

A growing number of people are getting fed up with the new normal and questioning everything, including the loss of essential humanity in this soulless zoo of concrete, asphalt, plastic, noise, and polluted air. The cork is about to pop and release some pressure, with the backlash manifesting in some noise of our own – using the very electricity powering the Metropolis.

Punk rock has long been an outlet for that instinctive, primal urge to rage against the machine. Far from a passing fad, the medium has had surprising longevity. Without the backing of the corporate machine that brought us so much watered-down and faux-punk at the turn of the century, lovers of raucous noise are banding together, plugging in and plugging away with defiance and resolve.

Enter SLOVENIANS, dotted with outrageous tats and spilling over with excitability, irony, and rage, the four-piece powerhouse from Brussels have been dissing since 2012. The band has several releases to their name already, but a new record coming which dons a loving mash-up of punk, stoner, and blues (dig the fulsome harmonica on “Le Flues” and the boisterous guitars on “Creep Inside”). Of course, rock ‘n’ roll in all its stripes has always been just a step away from punk (from the early days of Jerry Lee Lewis to metal bands like Metallica), and Slovenians blend their ingredients smoothly, yet with no less bite.

While tracks like “Don’t Wanna Wake,” “Somebody Help,” and “That Shit Off” may seem nihilistic on the face, Slovenians stay rooted in a deeper message: “No matter how damaged, defeated or lost someone becomes, there is always a path forward.” Sometimes we just need to hear someone shout it with guts to believe it.

Punk rock as a message of hope? You decide as Mottow Soundz issues Slovenians’ first new record since the pandemic: Birds of Disgrace. Coming to shake the world above ground on September 4th, today Doomed & Stoned is airing out the new single: “Zwarte Kat.”

The vibe feels unmistakably dangerous, full of black cat energy that knows how to really rattle those gilded cages of ours. Laurent’s furious drumbeats and Guillaume’s basswork are matched by Logan’s throaty vox and frantic riffing from guitarist Félix. It all gives me the urge to pick up a bar stool and fling it (disclaimer: do not do this at one of their shows).

Stick it on a playlist with Motorhead, some rowdier High on Fire and Melvins cuts, and of course classic punk from yesteryear. Available soon for pre-order here and here.

Give ear…

SOME BUZZ

A blistering mix of raw punk-rock energy, melodic tension, hardcore urgency and hardened life experience, Birds of Disgrace is Slovenians’ most ambitious and emotionally charged release to date.

Formed in Brussels in 2012, Slovenians have spent more than a decade carving out a distinct place in the European underground. Blending explosive punk rock with gritty stoner and blues influences, the band quickly built a reputation for high-intensity performances and uncompromising songwriting, earning a loyal following across Belgium and beyond.

Across fourteen tracks, Birds of Disgrace confronts addiction, grief, shame, social hypocrisy, loneliness and survival, delivering songs that are as brutally honest as they are cathartic. From the psychological turmoil of new single ‘Somebody Help’ to tracks such as ‘Creep Inside’, ‘Don’t Wanna Wake Up’ and ‘Doctor Doctor’, the album explores both private collapse and public failure, capturing the emotional fractures of modern life.

At its core, the record is also about endurance. Songs like ‘Start Again’ and ‘Le Flues’ reflect the album’s central message: no matter how damaged, defeated or lost someone becomes, there is always a path forward.

Lyrically and musically, Birds of Disgrace balances punk sarcasm, dark humour and emotional depth without losing the raw urgency that has defined Slovenians since their earliest days on the Brussels underground circuit.

The band’s journey has not been without tragedy. In 2017, Slovenians lost founding guitarist Sinkesh Krištofik in a sudden accident, an event that deeply affected the group and cast uncertainty over their future. Choosing to continue in his honour, the band returned with renewed purpose, later dedicating their 2020 EP Sinners to his memory and channeling that resilience into their evolving sound.

That spirit of persistence continues to define Slovenians today. Over the years, they have shared stages with punk legends such as The Exploited and performed at major events including Rat Rock Festival, solidifying their reputation as a powerful live force driven by intensity, honesty and connection with their audience.

With confirmed appearances throughout 2026, including a performance at Punk Rock Holiday in Slovenia, Birds of Disgrace by Slovenians is released on 4th September 2026 via Mottow Soundz.

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

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

Says Indigosaur:

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

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

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

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

Give ear…

SOME BUZZ

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

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

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

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

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

I’ll never forget seeing MOTHERSHIP at Old Nick’s Pub some years back. What a show! Kelley Juett wowed the crowd, playing his heart and soul, electrifying the people with a devilish display of dexterity on the guitar, joining brother Kyle Juett on bass and drummer Judge Smith on drums.

Mothership has been chugging along since 2010, with their last album in 2017. It was inevitable that Kelley Juett would beam down on a mission of his own. Before us is the first single from his premiere solo LP, ‘Wandering West’ (2024) – an appropriate title for someone steeped in the heart of Texas.

Says Kelly:

Welcome to the musical journey within my mind and be the first to witness the evolution of myself through music. This is the first solo piece of music I have released outside of my band Mothership and this means very much to me and who I am as a guitar player.

All of these songs came together on the spot and with 100 percent improvisation, there were no “retakes” on this record I just went for it without any editing or pre-thought of riffs or ideas.

This project has been a long time coming and this is only the beginning of many more chapters and evolutions to come with my solo career and journey with the guitar. Those who are into instrumental, peaceful, raw and real emotional music, or just looking for something interesting and new to put on to think, drive and relax to, give this musical therapy a shot.

First single “Mind Mirage” features spacey psychedelic riffing, adding layers and details with all the patience of a whittler slicing away at a block of wood, turning it into a work of art. The song intersects well with similar chill vibes from Kyuss, Elder, and King Buffalo, but really transports the listener into another plane of sonic reality. A foretaste of great things to come!

Kelley Juett’s Wandering West releases June 9th at high noon, and goes on pre-order Friday, May 3rd from Glory of Death Records (pre-order here), with international distribution via Majestic Mountain Records (Sweden), Electric Valley Records (Italy), Kozmik Artifactz (Germany).

Give ear…

Encino Man aside, I really have wondered (in my higher moments) what ancient proto-humans would think if they were to find themselves suddenly in this strange world full of bright, moving lights and noise – oh the noise! The constant clattering of trucks, trains, and planes. Generation-after-generation building up and tearing down, until the earth is plated over with concrete, plastic, glass, and steel. The radical removal of the human being from nature. It would be a frightening experience, I’m sure (look at how unnerved we are). The best way to see everything in this strange sprawling Babylon? Become a cab driver. Better yet, now’s your chance to escape planet earth altogether and plot a course for the stars.

‘Galactic Slope’ (2022) is the latest from the Poland-based, doom-touched stoner rock trio TAXI CAVEMAN. Nauman (bass, vox), Rutkoś (guitar), Vincent Grabb (drums, vox) arrived on the scene in 2021 with an engaging self-titled debut. Most of the songs on that record were under five minutes, save for the 12 ½ minute capstone. It was but a foretaste of the immersive experience that greets us today: two hefty tracks, fifteen minutes a hit.

“…And the druids turn to sand” begins like a slow sunrise, with hypnotic overlapping riffing, a sobering bassline, and gentle percussion. At two-minutes, a chill desert rock pace moves us across the arid sweep while we contemplate the fate of those astrologers of old, cloaked in robes of enigma. By now the guitar is starting to really sizzle with an acid-soaked improvisation that gets psychedelic and jazzy.

At 6:30 we transition into a second theme that carries an aura of well-being and halcyon wonder. Just a minute later, the guitar becomes searingly bluesy and develops in dramatic fashion, summoning a mysterious dark canopy to overtake the landscape by the ten-minute mark. It’s quite an evocative tone poem.

“Death Cards” is next, and menacing as hell with those damning Sabbathian chords and Iommian trills. Vocals remind me of early Salem’s Pot, drugged and jaded, but they soon morph into primal roars releasing beastly frustrations. Somewhere between there and the end of this quarter-hour juggernaut, we drift off (almost imperceptibly) into a wordless dirge. In this trancelike state, I’m not even sure what rock we’re on anymore. Deliberate drum beats, ghostly feedback, and spacey strumming usher us through the final span, with cymbals taking to fade – closing the album an ominously uncertain note.

Reached for comment, the band offered some insight into this sprawling diad:

The second album is a kind of bridge between our spontaneous debut and our music, which was already recorded but waiting to be released. The two half-improvised compositions on it are our take on longer, slightly more psychedelic doom forms.

“And the druids turn to sun” is a lazy journey through the desert that slowly transforms into the journey of a space caravan. “Death Cards,” on the other hand, is an old track recorded under a different name, yet stoner doom in filthy, fuzz-shrieked form.

Taxi Caveman’s Galactic Slope released just this week on Interstellar Smoke Records, who are issuing it on compact disc, cassette tape, and vinyl (get it here). Stick this on a playlist with Sleep, Sunnata, Jointhugger, and 10,000 Years.

Give ear…

This week on Doomed & Stoned Choice Cuts we go inside the first annual Doomed & Stoned Awards (aka the Doomies), with an emphasis on both the Best Song and Best Cover Song nominations.

See the complete list for all 8 award categories in The Official Guide to the Doomies and cast a vote for your favs at Doomies.net.

NOTE: voting closes at day’s end on Friday, April 9th!

Winners will be announced in a special stream on 4/20.

PLAYLIST

INTRO (00:00)
  1. Acid Mammoth - “Jack the Riffer” (00:07)

HOST SEGMENT I: Best Song Nominations (07:38)
  2. Dopelord - “World Beneath Us” (08:13)
  3. Elephant Tree - “Bird” (13:36)
  4. Lowrider - “Bird” (13:36)
  5. Psychlona - “Blast Off” (25:42)
  6. Witchskull - “Baphomet’s Child” (33:19)

HOST SEGMENT II: Best Cover Song Nominations (36:26)
  7. Clutch - “Fortunate Son” (CCR cover) (37:01)
  8. Mos Generator - “Son And Daughter” (Queen) (39:24)
  9. Hippie Death Cult - “Fairies Wear Boots” (Black Sabbath Cover) (44:31)
10. Howling Giant - “Rooster” (Alice in Chains) (51:11)
11. Khemmis - “Rainbow In The Dark” (Dio) (57:12)

OUTRO (1:01:14)

Originally aired Thursday, April 8, 2021 on Trendkill Radio.

              The rumors are true…

WHAT IT IS

Doomed & Stoned and Blasko are stoked as hell to announce the first annual DOOMED & STONED AWARDS (aka The Doomies) – the first underground heavy music awards show of its kind!

The idea of an awards show for the heavy underground has been simmering for quite a while here at Doomed & Stoned HQ, but this year all the pieces finally fell right into place to make it happen.

WHY IT MATTERS

The doom metal and stoner rock scene (two styles that have grown up together like yin & yang) has mushroomed in size, scope, and musical depth – showing no apparent signs of stopping. It’s high time we give formal recognition to the creativity, heart, and musical might of the bands, artists, and record labels that mean so much to our scene.

HOW IT WORKS

Voting members of Doomed & Stoned and the Doom Charts have narrowed the field from a list of bands, albums, artists, and record labels that left a lasting impression on us in 2020, with members given the opportunity of offering up their favorites in eight different award categories. The five most popular in each category have moved on to the next round of voting. This is where you come in. It’s now your turn to choose your favs at Doomies.net.

A streaming awards show, hosted by Blasko (legendary bassist and band manager), Billy Goate (Editor in Chief, Doomed & Stoned), and John Gist (CEO, Vegas Rock Revolution) will air on 4/20, when the the winners you select will be announced!

⇝ A guide to the categories and nominees follows below.

SPONSORS

The Doomies are kindly sponsored by Revolver, Orange Amps,Pirates Press, Dunable, Saint Vitus Bar, Does It Doom, The Hard Times, Liquid Death, and Doom Charts.

Poster by Branca Studio.

THE CATEGORIES

I. Best Album

II. Best Band

III. Best Song

IV. Best Cover Song

V. Best Album Art

VI. Best Debut Album

VII. Best New Band

VIII. Best Record Label

~Doomed & Stoned Debuts~

Words by Billy Goate | Photo by Stephanie Savenkoff

I’m eternally obsessed with covers. Maybe it’s just hearing songs I admire performed in endless variation that does it for me. I’m always interested in how bands treat the songs that inspired them to begin with. This is especially true with Black Sabbath covers. Some might quibble, “Why bother? Nothing beats the original.” To which I offer a two-point rebuttal: (1) Why not? (2) Imitation is the sincerest form of flattery.

A good cover isn’t simply done competently; it’s given a convincing reinterpretation by the cover band. This isn’t easy to do, especially when it’s oft-trodden territory. Think of the countless “Into The Void” covers offered by everyone from Orange Goblin to Soundgarden, and every so often something special emerges: Kyuss. There may be subtle changes, or something more grand like a big-band reimagining of “The Wizard” by one Brown Sabbath – but one thing’s for sure, you’ve got to own it.

When I heard that Portland powerhouse DIE LIKE GENTLEMEN had recorded a cover of Sabbath’s “A National Acrobat,” I was more than intrigued. Knowing their unique approach to songwriting – and how they like to ride the happy fence between hard rock and heavy metal – I knew this would be a must-hear.

Today, Doomed & Stoned gives you your first listen to the song, one of three featured on Die Like Gentlemen’s forthcoming cassette, ‘Distinguished Company’ (2017), out this Saturday, July 8th.

Die Like Gentlemen appeared at Doomed & Stoned’s Winter Showcase earlier this year and they did not disappoint. Well, in fairness, they never do. I’ve filmed them on several occasions and am always impressed with their discipline and energy, two things that a band can never have enough of but so many find difficult to toggle.

“The Nod” opens Distinguished Company and is the anchor of the record. “That song has been around for years put took a long time to get right,” frontman Adam Alexander tells me. “It’s an odd one: a glacial sludge ballad with keyless, non-repeating verses, and an acoustic song-within-a-song. It never felt right slipping it into our previous albums since it has a totally different mood (and its 10 minutes). So we recorded it, along with the two covers, at the same time we did 'The Quickening Light’ (2016), with the intent to release it later. Releasing it in a limited run cassette to make it a true A-side/B-side thing felt natural.”

At press time, the limited-run cassette was still available for preorder here. I can imagine these going in short order. If you’re in Portland, check out Die Like Gentlemen’s cassette release party at Turn, Turn, Turn this weekend!

Folow The Band.

Give Their Music.