One of the cornerstones of the stoner rock scene is the German Daredevil Records, which since 1999 has provided a home and a platform for countless underground bands. The label’s founder, Jochen Boellath, witnessed the very first wave of the genre up close and played an active role in helping bands like Dozer, Mustasch, and The Awesome Machine reach a wider audience.

In the first part of this interview, Jochen talks about the beginnings of the label, the role of the underground in the music industry, the spirit of the “golden age,” and how the world of labels has changed over the past 25 years.

 - How did DAREDEVIL RECORDS start back in 1999? What inspired you to create your own label?

- My friend Ralf owned the Daredevil magazine back in 1997/1998 and received so many great Stoner Rock demos. Bands like Dozer, Awesome Machine, Mammoth Volume, Mustasch, Freedom Bleeder, Demon Cleaner and all that new sounding and exciting stuff  - all without a label. Something has been brewing in the underground this time and we noticed it immediately. Ralf said we have to do something to bring these great bands to the public and help them to get more fans. So, we founded Daredevil Records and released the first two compilation singles called BURN THE STREET Volume 1 and Volume 2. Sold out in a few days! With unrelesed demo material from bands like AWESOME MACHINE, MUSTASCH, WE, and a project from our bands CALAMUS and DUSTER69 - Blacktop! In the soon-following second BURN THE STREET series, DOZER/FREEDOM BLEEDER were already involved with a project, along with ROLLERBALL, THUMLOCK, and RIDGE. All bands that later released significant albums in the stoner scene and did the first step with our help! 

 - Was there a particular band or moment that made you think "this label needs to exist"? 

- There was practically no Stoner Rock scene yet. Kyuss and Monster Magnet had made their mark and there were a few small labels like Mans Ruin Records or People like you Records. But something was missing. And of course, we wanted a platform for our two bands Calamus and Duster 69. Furthermore, it was the demos from Mustasch and the Awesome Machine 10" and the Dozer songs that gave us a boost. 

- How do you view the role of the underground labels in the music scene?

- There are still many important underground labels around. A lot of labels since a long time and new labels and new labels are constantly being added. They are the ones who discover and promote new bands and bring them closer to a bigger audience. Without underground labels, the music world would look different. For us, the underground scene is still the most important, which is why we have also started a new series with our label, called DEMO SERIES. We have released many demos from the period around the millennium on our Bandcamp page so that they won't be lost. The beginning of the Stoner Rock scene is now forgotten for newer fans. A lot of great bands, which released albums and songs 25 years ago, are forgotten. Around 1998-2002 rarely has the scene been more active, creative, and heavier in my eyes. That's why we founded the 'Demo Series' and released some demo from that period. So great bands - lost in time! Check them out!

 - How has the label scene changed over the past 25 years? Do you think it was easier or more exciting in the "golden age"?

- I am glad that I no longer have to start a label nowadays. Back then, many things were simpler. The bands were still more manageable and the costs were lower. And the fans bought records endlessly. That's all gone now. Of course, things like Spotify or YouTube have their advantages; I can listen to anything I want anytime, which I wouldn't want to miss. But the market is saturated, and I do think it was nicer 25 years ago, even though a stoner scene like today with big festivals didn't even exist. The magazines did not take stoner rock seriously and partially mocked the bands. It was harder to reach a broader audience. Today, the sound is recognized and established. That was not the case around the turn of the millennium.

- Does being an underground label limit what you can release?

- Yes, it does. The example of Ozium Records clearly shows it. Labels can no longer advance unlimited amounts of money, especially for newcomers. To make a good name in the scene is very difficult today in my eyes. Much has to be contributed by the bands nowadays. There are ways for bands to release high-quality work in collaboration with labels, but I believe it is not feasible for small underground labels to bear the entire costs for the general public, but one must define where underground labels begin and end. There are some labels that specialize in stoner rock and have managed to maintain or even expand their position over the years.

- What makes a band or a label "mainstream" in your view?

- In the past, bands had to bend over backwards in my eyes to become mainstream. Nowadays, bulky bands like Mastodon or Kylesa fill the big halls. When bands do not compromise and stay true to their sound, they are also welcome to play in front of a larger audience. Soap-washed productions are more commonly heard in the rock and metal genre. 

- If a band moves from unterground to a wider audience, does that always involve compromises, like becoming more listener-friendly? 

- I don't think so. There are now many bulky bands that are naturally growing and increasing their fan numbers bit by bit. As I said, there are many bands today that play non-commercial music and are very trendy.

- How is Daredevil coping with the current era, where some labels like Ozium Records are closing? 

- It has become increasingly difficult to sell your release. Costs are exploding and there are now an overwhelming number of bands. If you don't have a band that is regularly touring, it will be hard to sell good music. There are a few big labels that divide the cake among themselves, and the small labels will fade away in the long run if costs continue to rise like this. Some recent Daredevil releases are available on vinyl (e.g. River Lucifer) and some upcoming ones will only be available on CD (Warped Cross). You have to find a good middle ground. Unfortunately, some of my best releases this year have only been released digitally. I'm talking about three RIDGE albums - this is the stoner rock I like! Ridge : One of the bands that released a great album around the turn of the millennium and then totally disappeared. Now, decades later, Ridge is releasing 2 unreleased albums. Incredible.

- What is your relationship with other labels - is it more competitioen or collaboration?     

- It is not a competition. We know our limits and are open about them with the bands. We are proud of what the leading labels have achieved and what they contribute to the stoner scene. We are not envious. We are always open to collaboration. We have different relationships with Stoner Labels like Heavy Psych Sounds and Ozium Records or Metal labels like Violent Creek or MDD Records and Doc Gator Records. We are open for everything as far as it fits!   

 - Can you share a key collaboration or release that you are espcieally proud of?   

- We had already had some collaborations. In 2000, we released a compilation together with Monster Zero Records. Highlights included the two jointly released albums by SUNNSHINE and DISENGAGE with Swell Creek Records - Disengage and Mother Misery was even awarded 10 x dynamite in the German Rock Hard. And for the re-release of the STONEWALL NOISE ORCHESTRA debut, there was a collaboration with Heavy Psych Sounds from Italy. And the Grand Massive / Mustasch Split 7" on the Mustasch own label was a honor!  

- Which releases or projects are your most proud of to date? 

- We are proud of all the albums, otherwise we wouldn't have published them. We are especially proud of the collaboration with Mother Misery and Stonewall Noise Orchestra. Both sold a lot back the time and grow after their releases on Daredevil Records. Additionally, the releases from Disengange and Sunnshine, two of the best US bands back the time. And the fact that we were able to get bands like Mastodon, Entombed, Hermano, Dozer, and many others for our BURN THE STREET series is a great honor for us. I am most proud that we were able to get MUSTASCH for a split with my band Grand Massive. I am probably one of the biggest Mustasch fans on this planet. 

 - What can we expect from Daredevil Records in the near future?

- The new Grand Massive Vinyl is out now and ready for order. River Lucifer will come around with a new vinyl single in the next weeks and we are looking forward to the upcoming german Doom Sludge rocker from WARPED CROSS, they has returned to Daredevil after the debut album. We got the master tapes right now and will release it 2025. 

The second part of the interview will be published soon, offering a more personal glimpse into Jochen’s stories.

Norwegian stoner rockers The Big Rip are not slowing down: on August 22nd they dropped their new EP Olympus Mons, packed with fuzz, heavy riffs, and cosmic vibes. Their debut Order of the Goatlord already proved these guys weren’t here to play average stoner rock, but this time they’ve taken it even further. “Behold, This Mountain” channels Witchcraft-style psychedelia while adding a desert rock groove, and tracks like “Kaktus” and “Kraken Mare” feel like a wild mix of a proggy trip and a sweaty club gig.

The whole EP plays like the soundtrack to a space voyage: four songs that transport you straight to another planet and leave you standing next to a massive speaker stack. No wonder the critics are all in – Doomed Nation called it “the new beat of the cosmos,” while Head-Banger Reviews described it as a full-on psychedelic journey. If you haven’t heard it yet, this EP is the perfect entry point into The Big Rip’s universe – and it’s clear this won’t be the last stop. AMEN!

The Big Rip

The first time I heard Electric Wizard’s legendary Dopethrone album at my friend Ricsi’s place, I was immediately drawn in by its depth, and strange as it may sound, I knew I had come home. It felt personal, and I still feel that way today. I remember those mornings at Ricsi’s when a thousand hammers seemed to pound a non-existent anvil in my head – that’s when I’d put on Funeralopolis, crank up the volume, and feel like I’d cleared all the grime out of myself. Ricsi probably wasn’t thrilled, trying to sip his coffee at the same time.

Argentinian Mephistofeles arrived in my life at the perfect moment. When Electric Wizard started turning inward and losing their creative spark, Mephistofeles transformed that spark into flames. They were rawer than anything I’d heard before. Deeper than the devil’s asshole. Musty and dank – yet they resurrected and reshaped the style. God, the riffs and that filthy sound! I love it.

 Whore (2016)
The debut album delivers raw, lo-fi stoner doom with catchy riffs. The tracks dive into themes of self-destruction and drug addiction – raw and unfiltered. A cult classic that every collector should own.

I’m Heroin (2017)
This 47-minute psychedelic journey is pure delirium. Hypnotic yet free, devilishly slow yet jammy – like being trapped in a drugged-out coma you never want to leave. No wonder Jus Oborn (Electric Wizard) picked it as one of his favorites.

Satan Sex Ceremonies (2019)
One of the band’s darkest, most authentically doom releases. Listening to it is like staring into a slowly bubbling cauldron filled with smoke, sulfur, and demons. Forty-seven minutes of pure addiction where the sense of time simply disappears.

 Mephistofeles then closed the original lineup era with Violent Theatre in 2022, but a new chapter is already beginning. The big news: all three first classic albums will be reissued on colored vinyl by Heavy Psych Sounds in autumn 2025. Finally, these cult records are accessible – no more hunting in the underground.

I already know: when the needle drops on the vinyl, I’ll feel the same catharsis as the first time I encountered Mephistofeles. AMEN!

Heavy Psych Sounds, Mephistofeles

In the previous part, we left Fu Manchu at the peak of their stoner rock powers with California Crossing. Now let’s see what happened next – because the story didn’t stop there; in fact, new and exciting chapters were about to unfold. (Part 1.)

In 2004, Start the Machine arrived, marking a kind of fresh restart. After Brant Bjork left, Scott Reeder (not the Kyuss bassist!) took over on drums, and his energy was immediately felt in the recordings. The album had a raw, garage-y vibe, as if the band just plugged in at the rehearsal space and let the fuzz rip. In the studio, Reeder’s simple yet brilliant drumming perfectly complemented the fuzzed-out riffs, capturing the rehearsal-room energy almost instantly on tape.

In 2007, We Must Obey came out, a heavier record, but it also included a cover of The Cars’ classic “Moving in Stereo,” which fit surprisingly well among their own songs. The band spent most of 2007–2008 on the road, touring across Europe and North America, while an unforgettable moment happened: the track “Mongoose” from California Crossing appeared in a Toyota Super Bowl commercial. Imagine it: stoner rock fuzz blasting during the world’s biggest sporting event while people are watching car ads. The band found it hilarious and agreed it was one of the strangest yet most memorable moments of their career.

In 2009 came Signs of Infinite Power. The record was all about heavy riffs and grooves, just as Fu Manchu always did. No tricks, no glitz – just pure fuzzed-out rock and roll. It was like the band was saying, “We know what we’re doing, and we’re doing it right.” This album fit perfectly into the ever-evolving story of stoner rock and reinforced the band’s reputation among fans from the late ’90s and 2000s.

2014 saw the release of Gigantoid, one of their rawest and most authentic records. In the studio, it felt as if the band said, “Here we go – this is how we sound!” No polish, no frills, just fuzz, garage vibes, and the signature Fu Manchu grooves. The album looked back to their roots while also showing the confidence and experience they had gained over the years. It was like the stoner rock engine fired up again – but this time in a steady, well-oiled rhythm.

Finally, in 2018, Clone of the Universe arrived. Short, punchy tracks lead into the epic, 18-minute finale, “Il Mostro Atomico.” Fans could hardly believe their ears when Alex Lifeson, the legendary Rush guitarist, appeared as a guest. In the studio, everyone reportedly just sat and listened as Lifeson’s iconic style met Fu Manchu’s fuzz world. The track quickly became a fan favorite and served as a perfect conclusion to this second chapter.

With this album, the band proved that even after more than thirty years, they’re still full of energy, creativity, and surprises – and that the fuzz never stops; it just keeps coming back stronger.

As Clone of the Universe closes this chapter, it’s clear that Fu Manchu, even after more than thirty years, is still full of energy, creativity, and surprises. From short, punchy tracks to the epic 18-minute “Il Mostro Atomico,” it’s all about fuzz, groove, and stoner rock adventures. This chapter shows the band at their confident, steady best – the stoner rock machine keeps rolling, now in a seasoned rhythm.

In the next, third part, we’ll explore the most recent years, special tours, anniversaries, and where the band stands today, showing how the fuzz continues to thrive in the 2020s. AMEN!

For this new retrospective series, we chose Fu Manchu because their evolution perfectly captures the essence of stoner rock. From their early hardcore roots to their iconic desert grooves, the band’s journey is a story worth revisiting.

The story of Fu Manchu began in 1985 on the sunny streets of Orange County, when a young hardcore punk band, Virulence, started their musical journey. The original lineup featured Ken Pucci on vocals, Scott Hill on guitar, Mark Abshire on bass, and Ruben Romano on drums. The early years were filled with rehearsals, small gigs, and the challenges of a band just starting out. In 1990, after Pucci’s departure, the band continued with a new vocalist, Glenn Chivens, and at that point they adopted the name Fu Manchu.

In the early ’90s, Fu Manchu’s style began to take shape, with Eddie Glass, future founder of Nebula, playing a key role as guitarist on the first three albums.

No One Rides for Free (1994): Raw, groove-oriented riffs with psychedelic undertones marked the band’s shift toward stoner rock. Produced with the help of Brant Bjork, the album immediately captivated fans.

Daredevil (1995): The band’s musical maturity is evident here, with stoner rock elements becoming even more pronounced. Eddie Glass and Ruben Romano’s contributions continued to define Fu Manchu’s signature sound.

In Search of... (1996): Clearly moving into stoner rock territory, the album showcases psychedelic grooves, with Eddie Glass playing a crucial part in shaping the band’s early sound before departing to form Nebula.

The Action Is Go (1997) marked the start of a new lineup, with Brant Bjork on drums and Bob Balch on guitar. This combination brought a fresh dimension to the music: tight grooves, psychedelic waves, and the desert vibe that remains a hallmark of Fu Manchu. The album demonstrated the band’s ability to inject new energy into their sound while staying true to the stoner rock essence.

By the late ’90s, Fu Manchu had settled into a lineup featuring Brant Bjork and Bob Balch, replacing Eddie Glass and Ruben Romano from the early albums.

Godzilla’s/Eatin’ Dust (1999): Slow, heavy riffs, deep grooves, and psychedelic waves define this EP. Listening to it, one can almost feel the desert air and dusty roads, as if standing alongside the band under the California sun.

King of the Road (2000): This album perfectly balances heavy riffs with melodic grooves, conveying not just music but a lifestyle: desert freedom, the tension of long drives, and the authentic energy of stoner rock.

California Crossing (2001): The pinnacle of this era, with tight grooves, distinct riffs, and the instantly recognizable desert vibe. Fu Manchu had now crafted their own universe, proving they could reinterpret stoner rock while creating a signature sound.

This was the first retrospective glimpse at Fu Manchu’s journey, from their beginnings to the California Crossing era. The band’s desert grooves and stoner rock vibe still have plenty more to explore. Don’t miss the continuation—in Part Two, we’ll dive into their albums from the 2000s and follow the band’s ongoing evolution! AMEN!