Stoner HiVe has been one of the most consistent and respected platforms within the European stoner / doom / psych underground for well over a decade. Behind it stands Joop Konraad, who has never chased trends or numbers, but instead focused on passion, honesty and community.

In the first part of this interview, Joop talks about his personal background, his relationship with music, the birth of Stoner HiVe, and the philosophy behind supporting the underground. This part focuses on the person behind the blog.

1. Personal background and motivations

- Tell us a bit about yourself — where you come from and what your life was like before starting the blog?

Just a normal dude from a normal family in the South on the Netherlands. Who fell in love with music at an early age. I grew up getting music suggestions from my two older sisters and my older brother. They all listened to pop music, but also the more alternative side of pop. This is all in the early eighties. Spinning cassette tapes on my Walkman or boombox. Then getting a crappy record player and spinning a handful of vinyl’s on that. I then got introduced to metal and hardrock by my brother in law. And by my best friend and his older brother. Trading cassettes. Copying vinyl on cassette. Buying vinyl, cassettes and later on CD’s.

- When and how did stoner/desert/psychedelic music find you? Was there a defining album, band, or concert that started it all?

Even though I listened to metal, hardrock and albums that are related to our scene, it was Queens of The Stone Age. Seeing them at Werchter Festival 2001 and becoming entirely addicted to that band. And then seeing them again the following year with Dave Grohl behind the drums at the same festival. So yes, the QOTSA self-titled, Rated R and then Songs For The Deaf were the defining albums for me. Those started my trek back towards Kyuss, Yawning Man, Masters Of Reality, Across The River and the ever forward motion through the Heavy Underground.

- What inspired you to start Stoner HiVe? Was there a specific moment when you decided to create it?

I started Stoner HiVe after already doing the same thing in Dutch for a couple of years under the name Musical Mojo. I wrote about every genre on that site, and at first in Dutch and it was actually meant as practice, because my editor in chief for the music magazine I wrote for, said I was horrible in reviewing albums. I should get better at reviewing albums and start writing one every day. So, I copied the rules he made for reviews and used those rules to review whatever I wanted on Musical Mojo. But after a year or two I drifted more and more towards heavy rock and stonerrock in particular. That coincided nicely with starting Stoner HiVe.

- Your first post ('In Honour of All Freaks…', December 2009) pays tribute to the true music freaks. How does that motto still resonate with you in 2025?

Well, back in 2000, Doktor420 started a Group / Room on a file sharing service called Stoner HiVe. We talked about all sorts of heavy rock, stoner rock, and psych rock especially. We were there on a daily basis, talking about all those albums we discovered and loved. And there were quite a few cats there. And at the end of every year, we shared lists and discussed even further what the best albums for that year were. Then in 2009, I suggested they’d send those lists to me, I would tabulate all those entries and start a blog specifically to countdown the best albums according to the members of the room. Out of the 30 or so members, 17 sent their lists. So, in fact it started in honor of those crazies, who were all equally addicted to heavy rock. And I guess, it still resonates with me. Cause I still live for December and the Countdown, I really love doing that. And I keep that fire, that love of sharing great music, going as much as possible during the year. Yes, spreading the love for albums I love. It’s an addiction. I love music so much, I can’t stop talking about it…

- How do you balance your time between the blog, work or other projects, and personal life?

I’m lucky to also write for one of the biggest Music Magazines in the Netherlands. Which means, my music cravings are also catered to as work. But the balance is definitely not level. And recently things in my personal life have been taking more and more time and energy. Leaving less time to do Stoner HiVe things. That sometimes pains me, but I often remember that this is without any doubt still a hobby project. Something I love doing. But my wife, family, friends, adventure, concerts, making real life memories, are always more important. So, I do know and remind myself often that I will only spend my ‘free’ time doing this.

2. The evolution and operation of Stoner Hive

- How has the style and content of the blog evolved over the past 15–16 years?

It was always meant for the Countdown at the end of the year and the occasional review. Since starting in 2009, all the writings have become a tiny bit better and reviews a bit longer. I used to stick to the 150 to 200 word maximum. I now let myself ramble. I also started out writing a bit more ‘normal’ reviews. But found that I love talking about what an album does to me more then trying to be a bit more technical. Weaving in my experiences with the band or what imagery a certain album gives me. We still don’t do much news, except for the occasional Festival announcement. Cause we love festivals!

- What type of content do you enjoy writing the most (album reviews, interviews, essays, top lists, etc.)?

Sure, I love interviews. But they take way too much time. And I do them for my work as well. So, I am very careful with setting those up. I would love to do more. But the rent needs to be paid and time needs to be spent doing other stuff. Hence, we stick mostly to reviews, which we also love doing. The weekly Top 10 Most Listened, is an easy way to spread the word about a few releases and look back at what we wrote the past week.

- Which post or series was the most memorable or challenging for you?

Besides the yearly Top 20 Countdown, which we truly love doing every year… Well, early on, we did a Dutch Courage Month and Rancho De La Luna Month, solely talking about releases that had a link with the Netherlands and of course the fabled Rancho De La Luna studios. That was definitely fun to do. And perhaps I would love to do something like that again. Maybe. If time allows…

- What kind of technical or editorial challenges do you face in maintaining the blog these days?

I’ve tried to make a better template at one point, already a few years ago. Which made it all look a bit better. But I could not get everything to work properly. Get all the history transferred. After which I decided to just keep going the way I had always done things. Cause getting the thing to work in a different way would have meant spending even more time at the technical side of website design. And that would mean, less time to write…

And I am not that good at the social thing. Sure, I made a twitter/X account, but never really used it. Sure, I have Threads account. I’m not very good at using it. Yes, I have Instagram, but I struggle to keep it updated. The only one, even though the platform continually gets worse, I am somewhat decent at is Facebook. Think I started there in 2011. But even then, I’m sure I could have done more, and should do more and better to spread the word about the HiVe… But I kind of always think, well, I do this mostly for myself anyway. And continue to be humbled by someone spending their valuable time and energy reading and commenting on something I wrote…

- How important are feedback, comments, and social media interactions to you?

Sure, I am not going to lie, I love the feedback, comments, and actions of people spreading the reviews. It somehow does validate spending this much time and energy on the thing. On the other hand, as I mentioned before, it is an addiction I love feeding. Which mean, I reckon, that I would continue to do it anyway, even if the comments were zero. And we all know that everyone has a busy life and are constantly bombarded with input and things to do. So that one comment or one like you do occasionally get, truly makes a difference. It means someone has taken their precious time to read your silly words and hopefully listen to the album.

3. The Dutch / European stoner rock scene

- How would you describe the Dutch stoner/doom/desert scene today? Any interesting new bands or movements?

There is too much to mention here. Hence, we started Stoner HiVe. Ho ho ho! But in general, the scene is still growing in Europe. And it’s great to see and hear, that the American scene is still developing as well. And actually it seems to be starting to grow faster on the other side of the pond recently. In the Netherlands, its everywhere. The scene is still doing well. But some initiatives should be visited more. In my hometown Eindhoven, we had Club Void, a monthly night featuring great bands. Some nights were packed, others less, after which it stopped. Such a shame. In Amsterdam, Els Bruinewoud started Love For Loud, now called the Wormhole Cult and organizes great shows. Those should be packed, cause its often the only show in the Netherlands, but aren’t always that busy with attendees. Nijmegen has Peter Dragt from Bismut bearing the torch for underground rock in venues like De Onderbroek. I wish those nights were everywhere and that all of them were doing great. But where festivals are always selling out across Europe, those local nights in the local venues are sometimes struggling. Which is a shame, cause it’s those tours that truly build the scene and the bands…

- How do language, culture, and local conditions affect the visibility and success of a stoner blog or band in the Netherlands?

Well, I used to do a blog in Dutch called Musical Mojo, but only when I started writing more in English, did it start to gather some traction. And there aren’t that many heavy underground rock bands in the Netherlands that sing in Dutch. But I guess most Dutch bands are very Europe oriented, with lyrics in English and soon traversing across the border into Belgium or Germany to play a gig.

Out of the Void clearly shows where Astralplane stand at this point in their career. Rather than a sharp turn, the album represents a conscious narrowing of focus: the band steps away from the more riff-driven anchors of their earlier releases and moves toward a more homogeneous, atmosphere-led sound.

Where previous records relied more heavily on distinct themes and structural shifts, here the riffs function primarily as textures. The guitars are layered, sustained, and deliberately softened, favoring density over sharpness. The distortion doesn’t attack—it envelops. Drums operate with minimal articulation, providing pulse rather than direction, while the bass often merges into the lower end of the guitar spectrum. On a technical level this may seem restrained, but it actually demands discipline, as even the smallest shifts in emphasis carry weight.

This approach gives the album a strong sense of cohesion, though it also flirts with monotony. Differences between tracks are often subtle rather than clearly defined, and the band deliberately avoids conventional peaks or climactic moments. Emotionally, Out of the Void is cooler and more distant than Astralplane’s earlier work. There is no clear tension-and-release dynamic, no catharsis—only a continuously sustained state that runs through the entire record.

This is not an album built for immediate impact. It works best as a complete listen, unfolding slowly over time. Listeners drawn to the band’s earlier, denser, and more direct material may initially find Out of the Void somewhat reserved. However, those who appreciate unified soundscapes and the quiet movement beneath restrained dynamics will find a focused and carefully constructed release.

Out of the Void doesn’t aim to be more than it is: a state album that builds inward rather than reaching outward. It may not be Astralplane’s most accessible release, but it clearly marks a point where the band is no longer trying to prove anything—only to hold a mood, and to do so with consistency. AMEN!

https://www.facebook.com/Astralplaneband

Hallgatom sokat az új Barbears lemezt, és van, hogy pontosan tudom, mit kellene írnom róla, máskor meg nem találok megfelelő kifejezéseket – csak annyit, hogy: Wow. Ezt persze így nem lehet leírni, mert elég rövid lenne.

Az Enter The Bear óta eltelt 10 év. Közben ugyan megjelent egy dal 2017-ben a Swords Of Starlight Blanár Levivel, de nagylemez szinten… vártunk. Tíz évet. Voltak koncertek, történt változás az énekes poszton is, és persze Laciék sem unatkoztak ez idő alatt. A kérdés adott volt: megérte-e ezt a hosszú böjtöt kivárni?

A Bearzerker Blues szinte a semmiből bukkant fel, pedig érezhetően rengeteg munka van mögötte. Az első pofon rögtön a borító. Bőkő Ákos munkája nemcsak erős, hanem kifejezetten passzol a Bearzerker fogalmához. A berserker ugye az a harcos, aki őrjöngő, transzszerű állapotban küzd, félelem nélkül, extrém agresszióval – és hát ott áll a pentagram előtt a férfi mögött az üvöltő medve…  A megújulás jegyében a "Star Wars" szerű felirat helyét átvette egy keményebb, morcosabb logo, ami pedig fekete Ágnes keze munkáját dicséri. 

 Zeneileg az anyag rendkívül tömény. Még akkor is, ha időnként felbukkannak lazább részek, összességében egy nehezen emészthető, súlyos lemez született. Ebben komoly szerepe van Molnár Zoltánnak, aki új énekesként nem egyszerűen beilleszkedett, hanem karakteresen rá is nyomta a bélyegét az anyagra. Az énektémák hol ösztönösen vadak, hol súlyosan rátelepednek a riffekre, és nagyon jól illeszkednek ehhez a sűrű, iszapos hangzáshoz.

Én kimondottan szeretem az ilyesmit, mert idő kell hozzá – és pont ez az idő hozza ki, mitől is nagyszerű ez az album. Jól eltalált refrének és riffek hömpölyögnek elő az iszap alól. Ahogy mondani szokták: van íze, van bűze.

A korábbi dalok is remekül működtek, de a zenekar itt egyértelműen továbblépett. Megmaradt az eredeti vonal, viszont kapott egy sokkal maibb, izmosabb hangzást. Nem is nagyon lehet – vagy kell – külön dalokat kiemelni: mindig más ragad meg, hol az elementáris megszólalás, hol egy dallamosabb refrén.

Meg merem kockáztatni, hogy a Bearzerker Blues minden idők legjobban megszólaló magyar lemezei közül simán ott van a top 10-ben. Ennek a sludge/stoner remekműnek igenis van keresnivalója a nemzetközi színtéren. AMEN!

https://www.facebook.com/barbears

The Art of Anxiety

Before you even press play, look at the cover. That painting is by Zdzisław Beksiński, a Polish artist famous for his "dystopian surrealism." It looks like a nightmare you can’t wake up from decaying structures, skeletal figures, and a sky that feels suffocating.

I usually just glance at cover art on Spotify, but this one stopped me. It creates a perfect link to the music: the album is titled The Burden of Restlessness, and the art is the visual definition of being stuck in a bad mental loop. It’s not just a cool image; it’s a warning of the vibe you're about to step into.

Who Are These Guys?

King Buffalo is a trio from Rochester, New York (Sean McVay on guitar/vocals, Dan Reynolds on bass, Scott Donaldson on drums). They call themselves "heavy psych," but they aren't your typical loose, improvisational jam band.

This album, released in 2021, was the first part of their "Pandemic Trilogy." They locked themselves in a room during the lockdowns and just worked. While the world was pausing, they were grinding. I chose to write about this specific record because it captures that specific feeling of being trapped something I think we all still feel sometimes.

Finding the Pocket

This is where the album hooked me. It’s not about guitars; it’s about mechanics. If you strip away the distortion, this album is built on the same principle as a great beat tape. It’s all about pockets.

You know that feeling when a producer chops a sample perfectly and just lets it ride until you’re in a trance? King Buffalo does exactly that but with live instruments. The drummer and bassist are locked in so tight it creates this rolling, hypnotic momentum. It’s repetitive, yeah, but in the best way possible it forces you to nod your head.

Frontman Sean McVay isn't trying to be a rock god. His vocals are smooth, almost robotic, floating over the track like a melodic hook. He sings about "another year lost in the wasteland," and honestly? That disassociated, anxious feeling hits home for anyone our age trying to figure out the world right now.

The Key Songs

If you don't have time for the whole hour, just spin these two to get the picture:

"Burning": The opener. The beat is relentless. It feels like a clock ticking inside your head that won't stop.

"Locusts": This is the crossover. The guitar riff echoes like a synth. If you pitched this down and added trap drums, it could easily be a dark rap beat. The tension is suffocating.

The Verdict

The Burden of Restlessness isn't about chilling out; it's about the stress of being stuck in your own head. It’s sharp. It’s precise. It feels like it was cut with a laser, not a rusty knife.

I came for the assignment, but I stayed for the flow. This album proves that "heavy" isn't just about volume; it's about atmosphere. Whether you're a hip-hop head looking for a similar hypnotic rhythm, or a rocker looking for perfection, this is the bridge.

What’s Next? 

If you vibe with this, the good news is you don’t have to wait long for more. You can hop on your streaming platform right now and complete the "Pandemic Trilogy."

The Burden of Restlessness was just Part 1. They also dropped  Acheron  later in 2021 and  Regenerator  in 2022. Regenerator is still their latest full studio album.

I did some digging, and these guys aren’t slowing down. They just dropped a new single called "Balrog" late last year, which is basically the first taste of their new era. According to a recent report from New Noise Magazine, they’ve built their own studio and are currently cooking up a full-length album for a 2025 release.

Right now, they are on a massive tour supporting All Them Witches (another name I keep seeing everywhere in this scene). If they are hitting your city, that’s probably the best way to see what this "heavy psych" thing is about in person.

I’m curious to see if the new album keeps that precise, anxious energy or if they switch flows again. Until then, "Balrog" is out on streaming.

Keep spinning stoner music.

Meditative music — even for those who don’t touch any cannabis derivatives. It sits somewhere between Sleep’s hypnotic monotony and Electric Wizard’s downtuned, blues-soaked riff-orgies. But PHR dives even deeper: stripping today’s trendy doom/occult rock back to its bare, ancient bones.

 They take a killer riff, distort the hell out of it, slap a dick and some hair on it — then spin it in circles until it starts pulsing, throbbing, and comes alive. It turns into a two-legged, walking fuzz-beast. Primitive, filthy — yet strangely lovable.

There are plenty of nods to the Black Sabbath legacy, though more as a respectful salute than outright imitation. And you can hear a heavy dose of ’70s psychedelia too — maybe some Iron Butterfly vibes, or even a touch of Arthur Brown-level madness.

This is Pale Horse Ritual’s first full-length album: dark, dirty, raw — and if you crave the kind of truth that sends a shiver through your spine, Diabolic Formation is mandatory listening. AMEN!