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!

If you mention Suplecs in an average stoner rock crowd, you won’t see many heads snap around. Add New Orleans to the mix and you still won’t cause a stampede. But that’s exactly why their comeback hits so hard:
after more than a decade of silence, the legendary NOLA riff-smiths return with the ferocious new single “No Apologies”, heralding their upcoming album Hymns Under A Blood Moon Sky.

Suplecs have always been the band that musicians whisper about with a grin — if Clutch is “the musicians’ favorite band,” then Suplecs is the legendary musicians’ favorite band. A trio forged in the humid Southern heat, touring with hairy-chested titans like Clutch, Alabama Thunderpussy, High On Fire, C.O.C., Gwar and Halfway To Gone, and playing a style that’s impossible to pin down: sludge, swamp, stoner metal? All true — yet none truly capture what Suplecs actually is.

More Than a Decade of Silence – Until Now

Their last studio album came out in 2011, and whatever happened afterward, it definitely wasn’t quiet contemplation in church pews.
No Apologies is proof: raw, heavy, and dripping with the unmistakable Suplecs groove. It’s a warning shot for what’s coming — a teaser for the new album dropping February 20, 2026, but already carrying more attitude than most bands muster in a lifetime.

How the Album Was Born: Noise Complaints, Late-Night Sessions and the NOLA Mythos

The album’s origin story reads like a New Orleans rock’n’roll folktale:

• The band began writing new material in the legendary Mid-City warehouse where Crowbar, Graveyard Rodeo and even The Meters once rehearsed.
• Then came the local “crazy artist lady” with her noise complaints — ironic for a room that literally forged the city’s sound.
• Forced out, Suplecs continued to work in secret, late at night, under the radar, shaping the album in that tense, semi-forbidden creative atmosphere.

They eventually recorded the album at High Tower Studios with James Whitten (High On Fire, Thou), one of the modern architects of the NOLA sound.

What to Expect From the New Album?

According to the band, the record will be highly diverse — but the intensity, punch and emotional weight stay constant throughout. The tracklist promises shifts and contrasts that reflect everything Suplecs has ever embodied:

• Got Nothing – a Maiden-meets-Sabbath riff assault
• La Ti Da – a brass-backed New Orleans jazz-funeral march
• Blackwater Rising – tackling death, addiction, divorce and suicide
• I See You – Durel Yates’ heartfelt tribute to his mother
• No Apologies – the explosive first single turning heads already

If “diverse” means this level of energy across the whole album, then all we can say is: AMEN.

The Cover Art – A Piece of New Orleans History

The album cover features a 1960s painting by Danny Nick’s father, Richard “D.Nick” Nick, depicting Jean Lafitte’s Blacksmith Shop — a key location in the 1812 Battle of New Orleans.
The title, Hymns Under A Blood Moon Sky, mirrors the band’s own story: outsiders who are still inseparable from the city’s lifeblood.

Legacy and Return

Suplecs isn’t a name printed in massive letters on every festival poster — but those who know, know. They’re foundational to the stoner/sludge underground.
From their Man’s Ruin Records beginnings to producers like Jimmy Bower, Dave Fortman and Pepper Keenan, and tours with the American heavy-rock elite, their reputation has always exceeded their fame.

Now, after more than a decade, they’re returning with an album that isn’t meant to simply be heard —
it’s meant to be lived through. AMEN!

https://www.facebook.com/p/SUPLECS-100063769833972/

https://www.facebook.com/theripplemusic/

For quite some time now I’ve been circling around the music of Portland’s LáGoon. They’ve carved out a modest yet unmistakable cult status in the underground, but even after all these years I still struggle to place them neatly on my personal musical map. Punk, skate, doom, psych — all of these labels fit them, sometimes from song to song, sometimes within the same track. Their sound is chaotic in theory, yet strangely cohesive in practice; an instinct-driven blend that only a few bands can genuinely pull off.

The turning point in their evolution arrived with Father of Death. Originally a duo, LáGoon expanded into a full-fledged power trio during this era — and that shift is immediately audible. The addition of a new bassist didn’t just thicken the sonic texture; it grounded the entire project. The noisy, garage-forward edge of their early days snapped into focus. Suddenly the chaos had depth, the riffs had weight, and the band had a clearer sense of direction.

Their earlier record, Maa Kali Trip, was loud, raw, even feral at times — a fuzz-drenched punch to the ribs. But despite all its muscle, it lacked the deeper dimension that makes a record linger in the listener’s mind. Father of Death is where that missing depth finally arrived. It’s tighter, heavier, and more atmospheric without sacrificing the abrasive charm that defines LáGoon.

With a runtime just shy of 26 minutes, some might call it too short. I’d argue the opposite. In a world moving faster than most of us can keep up with, fewer and fewer listeners sit down for a full-length album experience. This EP is the perfect length to stay engaging without slipping into repetition — and if it hooks you, you’ll replay it anyway… then again… and again.

Father of Death is more than a strong power-trio debut. It’s the sound of a band crossing that invisible threshold between being “a good garage act” and becoming something with staying power. A record where identity snaps into place. A snapshot of a group discovering its true form. AMEN!

https://www.facebook.com/LaGoonPDX/

A szegedi Barbears zenekardecember 13-án jön elő az új lemezzel a Bearzerker Blues-zal! Ahol hallani lehet az új dalokat az elötte lévő napon lesz, ahol a szintén legendás Shapat Terrorrl bontják le az arcunkat! 

Q. nagy Stoner/Sludge buli!

Songs to Sun, the latest release from Stoned Jesus and the first installment of their planned album trilogy, arrived in September 2025. From the very first listen, it becomes obvious: this is far more than a collection of stoner riffs. It's a deliberate, emotionally heavy, almost theatrical record. The band has shifted not only sonically, but has opened itself to a deeper, more spiritual inner world and message.

Released under Season of Mist, the album’s label alone signaled that Stoned Jesus was aiming higher this time. This isn’t “just stoner rock” anymore it’s a concept-driven, atmospheric journey. Even the tracklist (New Dawn, Shadowland, Quicksand) hints at the record’s inner arc: unstable ground, shadowy places, a sense of being lost, and the slow movement toward renewal.

Frontman Igor Sydorenko explained the themes with striking honesty in an interview with New Noise Magazine, saying:

“There are a lot of themes … like losing the ground, of falling, of being sucked into this quicksand … all of this about the instability that all of us are feeling at the moment, obviously, because all three of us are Ukrainians, and we had to move from Ukraine.”

It’s not a political statement it’s an emotional portrait. Displacement, loss of identity, the constant sense of uncertainty, these aren’t just contextual details. They form the core of the album that drives the music.

You can hear that weight in the compositions. The songs aren’t simply built riff-to-riff anymore. Low, for example, erupts with harsher drumming, almost reaching blast-beat territory; the vocals feel thinner but sharper, as if the tension itself is singing through them and it is just erupts with power. Other tracks, like Shadowland, expand the space with airy keys and echoing passages, creating an atmosphere, vibe of a dark theatrical performance where every sound matters.

This interplay between theme, structure, and atmosphere is what makes many listeners including you feel that the album is “deeper,” with “more theatrical spaces.” It’s not a straightforward headbanger. It’s a record that demands attention: focused listening, multiple plays, letting the layers settle and reveal themselves.

Stoned Jesus take real risks here. There are fewer instantly catchy, crowd-pleasing moments than on earlier albums, and far more introspection. Fans who prefer the band’s early, cleaner doom-stoner grooves might find that it takes time for this record to truly sink in. Yet this slow-build approach is exactly what gives Songs to Sun its strength: it’s not just loud it has something deeper in it to say.

Perhaps most compelling is that the Ukrainian background isn’t just an empty metaphor. The band’s instability, the experience of being uprooted these are real, present, and their emotional weight seeps into every layer of the record. For the stoner community, this gives the album a unique resonance: it’s not “refined rock,” but an artistic experience that spills beyond genre boundaries.

Songs to Sun is more than just a new release for Stoned Jesus it’s the start of a new era. Deeper, braver, more inward-looking. All in all, it’s the kind of album you really have to dig into. Give the album a listen,trust me it's worth it. Keep spinning stoner music.