Hämnd - Bortom (Album Review)

Release Date: July 17th 2026. Record Label: Superlord Recordings. Formats: DD/Vinyl

Bortom - Tracklist

1.Mörk Vind 09:13

2.Faller och Förvittrar 09:33

3.Orkan 12:14

4.Bortom 05:34

Lineup

Magnus Strigner - Vocals, Guitars

Linus Marron de Martin - Guitars

David Reby - Bass

Oliver Winther - Synthesizer

Daniel Eklöw - Drums 

Review

Bortom is the second full length album Post-Metallers Hämnd which sometimes operates with an instrumental sound as its main creative drive. There are great vocals that appear when only they’re really needed as Hämnd demonstrate their own hard-hitting style of emotionally cruising Post-Metal sounds that mixes the technical merits of Progressive Metal with elements of Ambient based Post-Rock. The record does have an “Ice-cold” vibe that all great Post-Metal records continuously strive for where you can hear influences from the likes of NEUROSIS, PELICAN, ISIS and CULT OF LUNA.

There is an element of surprise with Hämnd as they ultimately turn off the heavy Post-Metal grooves when you least expect it and transform into a meditative style of Post-Doom and Post-Rock which you fully experience within the epic opening track of Mörk Vind. The vocals continuously hold your attention even whilst they’re sung in the band’s native tongue. Though, it’s the music that’s the main attraction here with Hämnd developing an aggressive journey of different Post-Rock and Post-Metal themes throughout the album.

Hämnd plays perfectly constructed and very lengthy instrumental passages which becomes more emotionally charged with each passing track as that thrilling Sludge Metal mentality allows Hämnd to become even more brutal with their music especially on tracks such as Faller och Förvittrar and Orkan. These tracks alone allows the band to add levels of cinematic “DOOM & GLOOM” into their music whilst once again transforming their music into that classic style of instrumental Post-Metal which does remind me of Russian Circles and Pelican at the peak of their creative powers. 

Sometimes there’s an undeniable “APOCALYPTIC” or “END OF THE WORLD” presence that’s holding everything together where Hämnd do offer brief moments of hope before returning to their highly destructive and brutal style of Post-Metal. The “HARDCORE” vocals become more demanding and quite unforgiving which makes the later stages of the album truly stand out.

The added use of clever sonic experimentation which delves into further areas of Ambient Sounds and Psychedelic textures gives Borton a vivid and destructive atmosphere which allows the listener to be emotionally involved with the whole musical journey that Hämnd has created here. To make the album even more part of the Post-Metal world, the whole thing was mastered by the legendary Magnus Lindberg (CULT OF LUNA) which is only a small winning part of why this record sounds incredible from start to finish.

Hämnd have delivered a truly exceptional record which no self-respecting Post-Metal fan should be without. This album pays homage to the legendary sounds first played by the great bands of the era whilst allowing Hämnd the perfect opportunity to create highly original Sludge/Post-Metal sounds of their own making.

Excellent and Highly Recommended.

Words by Steve Howe

Links

Bandcamp: https://hamndband.bandcamp.com/album/bortom
Youtube full album: https://www.youtube.com/watch?v=FXFAzuekAJg
Spotify: https://open.spotify.com/album/5UAYC8EJi7OZ84qIz7sxNZ?si=sqbctwX2R3mltHlCpVMe2Q
Facebook: https://www.facebook.com/hamndband
Instagram.com https://www.instagram.com/hamndofficial

Prepare for a cosmic journey with Sight of Theia's The Great Dreamer

Atlanta progressive metal outfit Sight of Theia is set to unleash their highly anticipated debut full-length album, The Great Dreamer, on September 4, 2026. This self-released masterpiece is packed with crushing riffs, intricate musicianship, and an immersive science fiction narrative that takes listeners on a cinematic journey through the depths of space, where humanity encounters an ancient nightmare beyond comprehension.

Originally founded by guitarist and primary songwriter Alex Buhlig, Sight of Theia has evolved through several lineup changes before solidifying its current roster with drummer Ricky Shenkman, guitarist Charles Von Kanel, and bassist Bill Pritchard. The band built a strong reputation across the Atlanta metal scene with their energetic live performances and their previous release, the Lighthouse EP. With The Great Dreamer, they embark on an ambitious new project, creating a concept album that intertwines the technical precision of progressive metal with emotional intensity. The addition of vocalist Haden Rider proved to be the missing piece, as he brought the record's story to life with his commanding vocal performance.

The result is a progressive metal experience that intricately balances technical musicianship with gripping storytelling, drawing inspiration from cosmic horror. As described by the band, “The Great Dreamer is Sight of Theia's cosmic horror themed debut album telling the story of astronauts that find Cthulhu in space.” Fans of Mastodon, Leprous, and Meshuggah will find plenty to sink their teeth into, as the band blends thunderous grooves, progressive arrangements, atmospheric textures, and haunting melodies into an unforgettable listening experience.

The tracklist showcases the exceptional talents of:

- Alex Buhlig – Guitars, Synths, Backing Vocals
- Charles Von Kanel – Guitars
- Haden Rider – Lead Vocals
- Bill Pritchard – Bass
- Ricky Shenkman – Drums, Backing Vocals

The album also features an impressive production team including:

- Mixed and Mastered by: Christoffer Borg
- Drum Engineering: John Douglass
- Guitar & Bass Editing / Bass Engineering: Alex Parra
- Vocal Editing: Corey Bautista
- Artwork: Sara Slick

With its compelling concept, towering musicianship, and expansive sonic landscapes, The Great Dreamer marks a bold first full-length statement from a band poised to make waves in the progressive metal underground. The album will be available worldwide on September 4, 2026.

Pre-Save the album here: Pre-Save
Bandcamp Pre-Order: Bandcamp

For fans of:

- Mastodon
- Leprous
- Meshuggah

About Sight of Theia:

Sight of Theia is an Atlanta-based progressive metal band that has been making waves in the underground scene with their energetic performances and intricate music. With a vision to explore cosmic horror through their sound, they have created a unique niche that resonates with fans of the genre.

Follow Sight of Theia:

Apple Music: Apple Music
Facebook: Facebook
Instagram: Instagram
Spotify: Spotify
YouTube: YouTube
Bandcamp: Bandcamp

Thanks to Metal Devastation Radio PR for the details.

Uragh - Tempest / Wisp (EP Review)

Release Date: July 31st 2026. Record Label: Self Released. Formats: DD

Tempest / Wisp - Tracklist

Tempest

Wisp

Lineup

Craig Murphy - Vocals

Marcelo Varge - Guitars

Sebastian Sparr - Bass

Jason Hodgkins - Drums

Review

Uragh are a Progressive Metal band who blend Groove, Metalcore, Alt Metal and Sludge Metal into a highly destructive style of music with their thrilling two track EP - Tempest / Wisp - being my first exposure to the band. The sound is melodic with its highly intricate style of Post-Metal and Thrash beats which allows the listener to be pulled into multiple different directions. The music does have some funkier moments with some great slow paced beatdowns before Uragh focuses on a more aggressive and metallic attitude especially on the thumping opening track Tempest.

The vocals from Craig Murphy have an intense quality and delivery to them with some fantastic hardcore and extreme passages shining through. The rest of the band lay down some fast-paced Heavy Metal sounds that are quintessentially modern throughout. Though, there’s a touch of classical music that appears through the sublime appearance of Anaïs Chareyre-Méjan of Belfast band Domhain who provides a chilling and emotionally charged CELLO performance.

The second track Wisp is a gloomy Post-Rock offering with shades of Gothic and Occult themes with the song mostly being a semi-acoustic track with Anaïs Chareyre-Méjan’s intense cello changing the course of the whole EP and the sultry vocals are just the icing on the cake. This is perhaps suited to fans of Chelsea Wolfe compared to the bombastic and violent opening track but it’s good to see Uragh offering different styles of music with the song ending on a Doom & Gloom note with ambient sounds leading the way.

Tempest / Wisp is a great record for Uragh to broaden their musical and creative horizons with. This may take their fanbase a few moments to fully get accustomed to but it shows that the band are aiming for a different sound for future releases whilst keeping to their core original sound at the same time.

Excellent and Highly Recommended.

Words by Steve Howe

Links 

Official | Facebook | BandCamp | Instagram

NEUROSIS x FIREKEEPER ALLIANCE Short Film Created By Young Voices Of The Blackfoot Nation Featuring “We Are Torn Wide Open” And “Mirror Deep” Premiered As Fire In The Mountains Gathering Begins

Watch the FIREKEEPER ALLIANCE x NEUROSIS short film now playing HERE.

FIREKEEPER ALLIANCE is proud to present an original short film created in collaboration with the legendary NEUROSIS, bringing together their music, storytelling, and young voices of the Blackfeet Nation.

At the heart of the project is the extraordinary work of filmmakers Jason Nix and Bobby Cochran, whose vision, creativity, and unwavering dedication transformed an ambitious idea into a powerful cinematic experience. Through countless hours of travel, filming, editing, and collaboration, they captured not only the breathtaking landscape of Blackfeet country, but the spirit of the people who call it home. Their artistry is a visual testament to the strength and power of this community.

The production also reflects the remarkable contributions of four amazing Browning Public Schools students who were deeply involved throughout every stage of the project. These incredible students served as actors, production assistants, location support, creative collaborators, and storytellers, working shoulder-to-shoulder with professional filmmakers and musicians. Their creativity, commitment, and lived experiences helped shape each aspect of the film, making it an authentic expression of youth leadership and community collaboration.

The film is set against two emotionally powerful tracks from NEUROSIS’ An Undying Love For A Burning World – “We Are Torn Wide Open” and “Mirror Deep.” It tells the story of four young people from Browning confronted by a malevolent spirit, expertly played by the wildly creative Sim Schildt. Rather than facing this darkness alone, these protagonists ultimately confront the entity and find strength through connection and a sense of belonging, demonstrating FIREKEEPER ALLIANCE's core belief that our greatest protection against suicide can be one another.

Director and founder of Firekeeper Alliance Charlie Speicher states, “The film serves as both an artistic collaboration and a reflection of FIREKEEPER ALLIANCE's mission to reduce suicide by strengthening the protective factors that sustain life. Through authentic human connection, we believe hope grows stronger when we stand together. This project represents what is possible when internationally respected artists, visionary filmmakers, educators, students, and the Blackfeet community unite around a shared purpose. We are deeply grateful to NEUROSIS, Jason Nix and Bobby Cochran; our student participants - Haley Running Crane, David Fast Buffalo Horse, Reb Pollock, and Paul Medicine Horse; "dark entity" Sim Schildt; Larry Ground and Lee Little Mustache, and everyone who helped bring this vision to life. We hope this film reminds viewers that even in our darkest moments, we are never meant to walk alone. Keep the fire burning.”

NEUROSIS’ Steve Von Till adds, “We are humbled and honored to have our music associated with the mission of FIREKEEPER ALLIANCE and deeply moved by the collective work of tall involved. We have always believed that this emotionally intense underground music has provided us with a sense of purpose, community, and has been a creative outlet to help us make sense of our place in the world. We stand with FIREKEEPER ALLIANCE in their mission to build connection, celebrate resilience, and strengthen protective factors against suicide.”

Watch the FIREKEEPER ALLIANCE x NEUROSIS short film now playing HERE.

To learn more about Firekeeper Alliance and their mission visit their website here: https://firekeeperalliance.org/`

Photo Credit: Jason Nix and Bobby Cochran

Links

WEBSITE | FACEBOOK | INSTAGRAM | BANDCAMP

Thanks to Neurot Recordings for the details.

Stay Dead - Beneath The Weight Of Worlds (Album Review)

Release Date: July 24th 2026. Record Label: Ripple Music. Formats: CD/DD/Vinyl

Beneath The Weight Of Worlds - Tracklist

1. Empty Pages

2. White Noise (feat. Troy Sanders)

3. Electric Mistress (feat. Matt Pike)

4. Chrysalis (feat. Eryka Fir and Aiwass)

5. What Happened To Rock N' Roll

6. Fever Dog (Original cover)

Lineup

Ryan Garney – Vocals

Rusty Miller – Lead guitar

Blake Carrera – Guitars & synths

Christopher Borrelli – Bass

Kenny Shillingburg – Drums

Review

Stay Dead is the latest supergroup to emerge from the Heavy Underground scene who are made up of members from High Desert Queen, Hollow Light and Fear The Victor, However, that only tells half the story with guest appearances from legends such as Matt Pike and Troy Sanders. You also have appearances from Eryka Fir (Coma Hole) and AIWASS along for the ride. Stay Dead’s debut album Beneath The Weight Of Worlds is quite a complex, brooding, philosophical and emotionally charged statement of the human condition.

The record blends levels of Doom, Sludge, Stoner Metal, Prog Metal and Psychedelic elements with some detours into areas of Post-Rock, Thrash, Space Rock and Groove. This is a very multi-layered record from the very start with influences ranging from Mastodon, High On Fire, ELDER and NEUROSIS with also the band’s members ever present musical projects. Lead vocalist Ryan Garney seems to be everywhere these days and that’s a good thing where he can shine a light to his incredible vocals once more. 

Ryan leaves the musical heavy lifting to his colleagues and famous friends where they all brilliantly succeed in laying down pummelling grooves that will give your body a tough physical challenge whilst rewarding your mental wellbeing when everything is said and done. The whole record relies on hard-hitting lyrics and intense vocals which come alive through tracks such as Empty Pages, White Noises, Electric Mistress and Chrysalis. 

Beneath The Weight Of Worlds does have a grimy and sludgy exterior where the Post-Doom and Post-Stoner thematics work amazingly well with the intense gloomy melodic moments. The most hard-hitting track has to be the excellent second track White Noise which really does touch upon some tough themes which gives Stay Dead a more vindictive appearance than you initially realise until you hear the actual song which leaves you on a more hopeful message.

The flashes of Post-Whatever and Psychedelic melodies is a great way for Stay Dead to introduce a natural way of creative storytelling with the guest appearances of their friends to find common ground to play great music with. The majority of the album is emotionally wrought with complex grooves allowing Stay Dead to align themselves more closely to the likes of Pallbearer and YOB but with a distinctive Hard Rock quality keeping everything grounded.

However, I will say my favourite aspect or track of the album is Stay Dead’s insane and gloriously entertaining cover of the classic track Fever Dog. Fever Dog is from the classic movie Almost Famous. A classic movie directed by Cameron Crowe which was inspired by his early days in the Seventies working for Rolling Stone Magazine and being shown the seedier side of the Heavy Rock scene from the legendary bands of the day. If you haven’t seen the movie then I implore you to watch it now. Watch both versions, the theatrical cut and the even better director’s cut.

Within that movie, there’s a fictional band called Stillwater whose “famous” track “Fever Dog” is played throughout the movie. That song was written by Nancy Wilson of the band Heart and film director Cameron Crowe. This track is pure Seventies HARD ROCK excess but Stay Dead give this a slamming modern day Sludge Rock/Stoner Rock makeover which stays true to the original. (Apologies for the slight historical lesson there. Almost Famous is one of my all-time favourite movies).

Beneath The Weight Of Worlds is how a “supergroup” should deliver their debut album with its fearless attitude and non-stop supply of impactful grooves from start to finish. The legendary record label Ripple Music is releasing this album so you know this is going to sound great. As Ripple Music never put out a bad record within their entire lifetime. 

As we say sometimes in the United Kingdom, Beneath The Weight Of Worlds is the “MUTTS NUTS” or “DOGS BOLLOCKS”  which means outstanding, top-quality, or one of the absolute best things out there. Well, you get the picture!!!

Words by Steve Howe

Thanks to Purple Sage PR for the details.

Beneath The Weight Of Worlds is available to buy now on CD/DD/Vinyl via Ripple Music. 

Links

Facebook | Bandcamp | Instagram

Godzilla In The Kitchen - Empty Cribs (Single Review)

Release Date: July 24th 2026. Record Label: Tonzonen RecorsReleased. Formats: DD

Empty Cribs - Tracklist

Empty Cribs

Members

Simon Ulm (vocals, bass)

Eric Patzschke (guitar)

Thiago Presto (drums)

Review

Psych/Doom/Stoner Rockers Godzilla In The Kitchen return with their latest single Empty Cribs and this track feels like a great homage to the mighty TOOL. The progressive rhythms, sounds, warped melodies and vocals are TOOL through and through. The song is excellent throughout with Godzilla In The Kitchen still adding their own great sound into the mix with swirling Psychedelic Stoner Metal grooves aligning perfectly to the dark complex themes that TOOL are known for.

The vocals follow the template that Maynard James Keenan uses quite closely but Simon Ulm still delivers his own great style. The song is quite catchy and eerie demonic in the heaviest parts but still offers some uplifting Psychedelic passages before the sudden onslaught of brooding Prog Metal energy which ultimately powers the track to its natural conclusion.

I would love to say the song is quite original but it follows TOOL too closely but I applaud Godzilla In The Kitchen for doing something vastly different that they’re mainly known for.  This is still a fantastic track with lots of great things going for it and will no doubt go down a storm with the band’s fan base and even the wider underground Stoner Rock scene in general. 

Words by Steve Howe

Links

https://www.godzillainthekitchen.de/
https://linktr.ee/godzillainthekitchen

Thanks to Broken Music for all of the details.

The Salt Pale Collective - ...and God Said Nothing (Album Review)

Release Date: July 24th 2026. Record Label: Self Released. Released. Formats: CD/DD/Vinyl

…and God Said Nothing - Tracklist

1.Raised aloft upon the horns of the celestial bull

2....and God said nothing

3.Our pale Madonna

4.Litany for a dying son

5.Ahoy! The black caskets

6.The stars fade and reel in confusion

Members

Alex

Dan

Dave

Review

…and God Said Nothing is the colossal second chapter from Doom/Sludge/Post-Metal collective The Salt Pale Collective. The record merges elements of Drone, Doom, Sludge, Post-Metal, Post-Rock, Ambient, Hardcore and Alt Metal. The vocals sometimes feel they’re forged in the underbelly of Death Metal with other different types of vocal progressions being played throughout the album. The heavy reliance of Electronica sounds reminds the listener of NEUROSIS and CULT OF LUNA with the band forging new creative ideas of their own as this album fully sells its deeply haunting themes.

The Salt Pale Collective conjure up gloomy Post-Metal and Prog Metal melodies with a dangerous style of Ambient Metal which aims for pure destruction. The death metal vocals are the most dominant but it’s good to see different styles overlapping from time to time mostly within the excellent second title track. There’s an epic cinematic style of Alt Metal developing that bridges the gap between the Blackened Doom grooves and depth defying Psychedelic beats that the band put to great use.

…and God Said Nothing can be undeniably bleak that left me feeling anxious and left me looking over my shoulder during the heaviest and brutal based beat downs the band applied to their music. The level of sonic brutality is one of the albums main strengths which is put to maximum use on tracks such as Raised aloft upon the horns of the celestial bull, Our pale Madonna, Litany For A Dying Son and Ahoy! The Black Caskets. These tracks alone show the full weight, heaviness, melodic and violent intensity that the band ultimately thrive upon. There is a sense of emotional despair behind the lyrics that can be even quite therapeutic within the mellow Post-Rock and Alternative based moments. 

Sometimes it sounds like there’s two different bands at play here. One is the brutal Doom/Post-Metal band who take no prisoners and unleash a torrent of brutal grooves that demolishes everything in their wake. The other, is a beautifully engaging Ambient Post-Rock band that cares more about the human spirit than the total chaos and destruction being raged around them. However, when both these worlds fully collide then it’s a dangerous mix of epic proportions with The Salt Pale Collective allowing the listener to experience something real and superbly creative at the same time.

There’s some wonderful orchestral arrangements on this record that gives it an almost Classical Metal feel that reminds me of OPETH in many ways. The later stages of the album taps into influences such as The Ocean and Blood Incantation for a record that offers no easy answers whilst leaving you a shivering wreck with its non-stop style of intense Progressive and Post-Metal changes.

…and God Said Nothing is an experimental powerhouse with The Salt Pale Collective bridging the gap between conventional Doom, \Sludge and Post-Metal themes whilst adding a layer of complex Death Metal energy that you don’t really hear such as this. This isn’t a record for the faint hearted and you may perhaps need to be a fan of Experimental Metal and Extreme Music to get the full enjoyment but if you’re willing to stay the course then you’ll be treated to a thrilling and possibly future classic album in the making.

I need to take a long lie down after listening to this masterful album. I’m exhausted just from listening to the album as this feels like an intense endurance course. And I mean that in the best way possible!!!

Words by Steve Howe

...and God Said Nothing is available to buy now on CD/DD/Vinyl.

Links 

LinkTree | BandCamp

IRATA - Human (Album Review)

Release Date: July 10th 2026. Record Label: Small Stone Records Co. Formats: CD/DD/Vinyl

Human - Tracklist

1.Altar

2.Confessions

3.Seeds

4.Delirium

5.Mirrors

6.Slipped

7.Goodside

8.Daystar

Members

Jason Ward: drums, keys, vox

Jon Case: bass, vox

Owen Burd: vox, guitar, keys

Review

Sludge/Stoner Metallers IRATA return with their emotionally charged fourth album Human which sees the band offer their most melodic record to date. IRATA uses a greater musical creative palette for this record with areas of Grunge, Shoegaze, Prog Metal and Cinematic based storytelling being added. With a mind-expanding use of sludgy psychedelics giving Human a cautionary sound which sees IRATA experiment with their music even further and even applying gloomy modern Doom-Pop hooks.

IRATA draws upon the likes of HUM, TORCHE, FLOOR, KYLESA and TOOL with influences appearing from other areas of the Nineties Alt-Rock scene which has become a constant staple of the band’s music whilst still sounding remarkably just like IRATA. The record may take a few listens to take everything in compared to their 2019 effort Tower and that’s down to IRATA’s great use of Progressive melodies and switching into heavier distorted sounds which gives a frenzied and grounded approach to their music.

The sound constantly switches between harsh environments and lush sounding Sludge Rock grooves with a heavy support of distorted Progressive atmospherics. IRATA depends more heavily on keyboards for this album which gives way to some of the best trippy and spaced out elements that IRATA have created to date. I still find it hard to believe or accept that IRATA have been going as a band for nearly two decades and this is their only fourth full length album. They always find the best time to return and this record does feel like a cause for celebration at times and despite the bleak subject matter the record contains you can’t help but feel the gloriously euphoric jams when they appear that leave you in a highly peaceful meditative state.

The first half of the album sees IRATA within their “business as usual “ phase by playing fast-paced and highly psychedelic grunge sounds which made their last two records personal favourites of mine. The music is constantly heavy with areas of distorted fuzz and grunge that’s played against a wall of destructive moments of Psych, Sludge and Stoner Metal with a developing sense of Shoegaze and Alt-Rock developing that turns into something heavier in the later stages of the record. 

The vocals from Jason, Jon and Owen are universally excellent throughout with shades of The Smashing Pumpkins, FLOOR, TORCHE and HUM appearing highly confident but with their own great style being superbly delivered. 

My favourite tracks on the first half of the album are: Altar, Seeds and Delirium as they bridge the gap to the classic sounds of IRATA but also allowing them to develop a new found sense of creativity especially when the music is stripped back and a forceful Progressive Sludge energy appears. Human becomes more evolving but offering moments of wonderful sing-along moments which you ultimately lose yourself in once more. 

The lyrics are super-fresh that taps into the Nineties nostalgia scene perfectly but adding that subtle modern day vibe that adds a level of darkness when you least expect it. Things change quite dramatically within the second half of the record as IRATA switches musical directions with a firmer grasp of Prog Rock/Metal with swirling TOOL-esque compositions being heard with IRATA putting their own great take of modern DOOM-POP into the mix.

IRATA always seem to be thinking five steps ahead when delivering the heaviest and sludgiest sounds on this part of the album with tracks Mirrors, Slipped and Daystar bringing a more focused and cerebral style of music which retains that classic IRATA energy. The record manages to convey that classic IRATA sound with outbursts of bleak sounding Sludge/Stoner Metal with melodic Psychedelic grooves being delivered from the highest point of MOUNT AMPLIFIED DISTORTION.

IRATA ends the record in the most perfect and complete way. You feel highly satisfied by the whole experience as Human actually feels like a record that has a beginning, middle and end. The musical performances from Jason, Jon and Owen are first rate, which is perhaps their best recorded musical performance to date. The production values are of the chart with Human being expertly produced with some eye-catching aggressive sounds being played from the speakers throughout.

Human is an outstanding album on all levels which IRATA should rightly be proud of. This is perhaps my favourite album from IRATA. It may not be as riff-centric as Tower but there’s a lot more progression and musical variety that allows the band to play some intense grooves we haven’t heard from them before which is perhaps the greatest thing you can take away from this record.

Words by Steve Howe

Thanks to Earsplit PR for the promo.

Human is available to buy now on CD/DD/Vinyl via Small Stone Records Co.

Links 

Official | Facebook | BandCamp

BEES MADE HONEY IN THE VEIN TREE drop first advance single 'Departure' & details of new album "In Between Strides"

BEES MADE HONEY IN THE VEIN TREE drop the first advance single, 'Departure', from their fourth album "In Between Strides". The forthcoming new full-length by the German shoegaze rockers has been slated for release on September 18, 2026, via Magnetic Eye Records.

Pre-orders are available HERE

Listen to 'Departure' below:

BEES MADE HONEY comment: "'Departure' was the first song that we wrote for 'In Between Strides'", frontman Simon Weinrich reveals. "It was by far the hardest song to write for this record. It exemplifies our struggle of finding out where to go next after 'Aion'. It was clear from the start that we wanted to go into a more melodic direction and more straightforward songs compared to our previous album. The second part of the song started as a separate composition, but we added it later since it is a nice conclusion of the first part. Our first demo of the second part was recorded at a studio near Passau. This is where the inclusion of a Fender Rhodes piano played through our regular guitar-setup stems from. It began as an experiment and was later re-recorded at Milberg Studios. Lyrically, 'Departure' portrays the first step and point of departure for our journey beyond our old ways of working. We recorded each song without knowing what the next one was going to sound like."

Tracklist:

1. Departure
2. Respite
3. Clutching at Straws
4. Elisa
5. Return, Precipice

When German four-piece BEES MADE HONEY IN THE VEIN TREE began to find their bearings on where to go next from the success of their previous full-length, "Aion" (2023), the core idea for the fourth album, "In Between Strides", was to take a more melodic approach. All else, they would leave to the creative process and somewhat to chance.

Recording one song at a time without knowing what the next would sound like, the track 'Elisa' was the first step forward and became the binding link between the previous and new albums. 'Elisa' came into being as a jam captured on the last day of recording during the "Aion" sessions, which was later heavily condensed and augmented with added instrumentation to create more structure and depth.

BEES MADE HONEY recorded every other song on "In Between Strides" in various settings that were available to them at the time of creation: a cavernous cellar, a concert stage, an indoor balcony, a living room, their rehearsal space, even returning to the studio where their first album "Medicine" was tracked.

Through this spontaneous and shifting approach, BEES MADE HONEY began to move texturally and stylistically from ambient and drone toward shoegaze along with more acoustic elements. According to their original plan, "In Between Strides" stepped into more melodic territory, with each song representing a different aspect of the band's musical vocabulary.

Lyrically, "In Between Strides" portrays a journey of uncertain outcomes, a departure, and a search for something not yet defined. Although this mirrors the experience of BEES MADE HONEY in finding new creative paths and ways of expression, the lyrics paint a broader picture that is not limited to the German's personal experiences or life-circumstances.

BEES MADE HONEY IN THE VEIN TREE originate from the Swabian capital and German city of Stuttgart. All four members grew up together, eventually forming the band in 2014. Their musical template of ambient psychedelic doom was established with the debut album "Medicine" in 2017, and their sound has continued to evolve ever since.

With their sophomore full-length "Grandmother" (2019), their sonic scope expanded through lower tunings, densely layered effects, faster passages, and harsher vocals. The Swabians began performing live, both at home and abroad, in front of continuously growing audiences. This development physically manifested in the recording and release of "Harvestmen (live)" in 2022.

BEES MADE HONEY took a leap forward with third full-length "Aion", which was widely praised by audiences and critics alike. This album features spacious, dynamic compositions that move from drifting tranquility to raging power in a constant tidal movement of spaced-out guitars, pounding basslines, and dripping drum fills.

While "Aion" easily transcended BEES MADE HONEY's psychedelic doom label into something deeper and more resonant, "In Between Strides" roams faster and further.

With "In Between Strides", BEES MADE HONEY have turned rage into reflection by developing a more organic and spontaneous approach to their songs, opening up wide spaces and letting the melodies flow freely. This musical honey tastes simply delicious.

Line-up

Simon Weinrich – guitar, vocals, Rhodes piano
Marc Dreher – drums, vocals, Rhodes piano
Lucas Dreher – guitar
Christopher Popowitsch – bass

Guest musicians

Luis Deffner (JAMHED) – piano on 'Elisa'

Recorded by Ralv Milberg at Zentrum Zinsholz, Ostfildern (DE)
Mixed by Ralv Milberg & Simon Weinrich at Milberg Studios, Stuttgart (DE)
Mastered by Ralv Milberg at Milberg Studios, Stuttgart (DE)

Artwork & layout by Christopher Popowitsch

Links

https://beesmadehoneyintheveintree.com
www.facebook.com/beesmadehoneyintheveintree
www.instagram.com/beesmadehoneyintheveintree

Thanks to All Noir and Magnetic Eye Records for the details.

SOLACE - Fading Failing Ruin (Album Review)

Release Date: July 03rd 2026. Record Label: Magnetic Eye Records. Formats: CD/DD/Vinyl

Fading Failing Ruin - Tracklist

1.Spiral Will 

2.Fettered to a Stone

3.A God Changes His Plans

4.Wrath's Object (The Big Fall)

5.Culling the Herd

6.Beyond Below

7.Malengine (The Scaffold) 

8.Every Day Is A Loaded Gun

9.Ridden

Members

Justin Skyler Daniels – guitar

Justin Goins – keyboard, vocals

Tim Schoenleber – drums

Mike Sica – bass

Tommy Southard – guitar

Review

Legendary Doom/Stoner Metallers Solace return with their fifth full length album Fading Failing Ruin and with the band also celebrating their thirtieth anniversary this year, it’s great to see the band continue to enhance their overall sound on this record. The record is perhaps their most relevant and modern based effort they’ve released to date as Solace touch upon areas of music they haven’t played before such as that thrilling modern day Progressive Doom/Stoner Metal sound.

This album is less operatic than their 2019 effort The Brink. This feels like SOLACE reinventing themselves whilst paying respects to their earlier records which reminded me of their classic records Further, 13, The Black Black and A.D. There is a broader cinematic scope appearing with how SOLACE deliver their music as they touch upon areas of music inspired by the likes of YOB and PALLBEARER within the lengthier and progressive moments on the record.

Though, Solace focus mostly on creating their classic style of Stoner Metal that fuses that classic Seventies Doom Metal energy with the twin-guitar led energy of Thin Lizzy and Wishbone Ash at times whilst keeping that intense SABBATHIAN riff-worship attitude going. However, Solace are known for their self proclaimed style of Dirt Metal which is fully intact that appears fully intact on the early stages of the record on tracks such as Spiral Will, Faltered To A Stone and A God Changes His Plan. 

These tracks see Solace combine groove orientated sounds with that dark twisted style of seedy Doom Metal passages with lead vocalist Justin Goins perhaps offering his best musical performance to date. There are echoes of Occult Rock, Punk Rock, Psych Rock and Proto-Metal forming an epic foundation of music for SOLACE to pulverize listeners with. The lyrics are quite obsessed with Proto-Doom and Occult Metal imagery inspired by the likes of Saint Vitus and The Obsessed but with SOLACE’s seedy “DIRT METAL” appetite being quite original in their own right.

The fourth track Wrath’s Object (The Big Fall) is an absolute game changer for the band as they transform into Doom Metal prophets which does remind me of YOB here. The song starts really slow by introducing Ambient and Psychedelic textures before Solace adding intricate levels of Post-Doom, Shoegaze and Post-Rock sounds that feels like a completely different band. However, Solace returned to their vicious monolithic ways within the second half that elevated the track to a more bombastic style of modern WEDDIAN sound. Though, the earlier stages of this track allows Solace to continue with this Spaced Out journey on the later stages of the record.

Fading Failing Ruin becomes more driven by a riff-centric delivery with changing SONIC movements becoming extra progressive on the standout tracks of Culling The Herd, Beyond Below, Malengine (The Scaffold) and Every Day Is A Loaded Gun. These tracks see Solace combine play strands of classic HEAVY METAL that have a certain IRON MAIDEN and THIN LIZZY relevance to them but still broadening their musical horizon into that familiar SOLACE landscape.

With amazing work done by the ever versatile Eric Rachel who produced the album with SOLACE but also doing sublime work on mixing, mastering and recording duties as well. This is the best that Solace have ever sounded in over twenty years and perhaps creating some of the finest music they’ve released to date. 

Fading Failing Ruin is an absolute masterpiece which once again solidifies Solace as one of the best and legendary Doom/Stoner Metal bands to emerge within the last forty years or so. Long may that continue!!!! 

Words by Steve Howe

Thanks to All Noir PR for the promo.

Fading Failing Ruin is available to buy now on CD/DD/Vinyl via Magnetic Eye Records.

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