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!

The Greek band Dendrites hails from Volos, founded around 2014, and they’ve been steadily making a name for themselves in the stoner/southern rock scene.

After releasing their debut album Dendrites in 2016, their real breakthrough came with 2019’s Grow, which earned widespread acclaim. Critics across Europe and the U.S. praised its tight riffs, groove-laden tracks, and the Southern-rock energy infused with a touch of Greek spirit.

Dendrites' sound is a dynamic blend of southern metal, stoner rock, and grunge — a groove-driven storm of riffs, smoky atmospheres, and raw emotion. Their music channels the southern weight of Crowbar, the stoner pulse of Dozer, the darker intensity of Mad Season, all wrapped with the fiery energy of Orange Goblin.

The 2019 album Grow exemplifies this fusion: heavy yet melodic, grounded in southern flair and brought to life with modern energy. Critics agree that this album marks the moment the band truly found their signature voice.

The band remains active, and we’re looking forward to hearing new material from them soon! Dentrites

AMEN!