Japanese metalcore powerhouse Sable Hills return with their explosive new single ‘Labyrinth’, the final single to be released ahead of their highly anticipated new album Homura, arriving 13th November 2026 via Arising Empire.
Delivering a thrilling combination of old-school metalcore influences and cutting-edge modern heaviness, the track showcases the band’s ability to breathe new life into the genre’s classic sound while pushing their own musical identity forward.
Drawing inspiration from the golden era of melodic metalcore, ‘Labyrinth’ wastes no time unleashing a barrage of fast-paced, rhythmically driven riffs, soaring twin-guitar harmonies and crushing breakdowns built for pure headbanging mayhem. The song seamlessly shifts between aggressive, high-speed passages and powerful melodic moments, culminating in an epic, anthemic chorus that brings an entirely new dimension to the band’s signature intensity. Combining technical precision with infectious hooks and an unmistakable sense of urgency, Sable Hills deliver a track that feels both nostalgic and refreshingly contemporary.
Lyrically, ‘Labyrinth’ explores the experience of losing direction and finding your way back by reconnecting with your roots. Reflecting on the past, breaking free from repetitive cycles and learning to move forward despite uncertainty, the song carries a message of resilience and self-discovery. Its central theme mirrors the band’s musical approach, embracing the foundations of metalcore while forging a path toward the future.
Formed in Tokyo in 2015, Sable Hills have steadily risen to become one of Japan’s most prominent metalcore exports. In 2022, the band made history as the first Japanese act to win the prestigious Wacken Open Air Metal Battle, marking a major breakthrough on the international stage. Following their victory and subsequent return to Wacken in 2023, Sable Hills signed with Arising Empire and released their acclaimed third studio album Odyssey in 2024. Beyond their own releases and international live performances, the band have also made a significant contribution to Japan’s heavy music scene by establishing their own FRONTLINE FESTIVAL, bringing together exciting acts from the global metalcore community.
With the release of Homura just around the corner, ‘Labyrinth’ serves as one final statement of intent before the band unveils their next full-length chapter. Fierce, melodic and undeniably anthemic, the single captures everything that makes Sable Hills such an exciting force in modern metalcore, honouring the genre’s roots while delivering a sound that is unmistakably their own.
Belgian modern metal outfit Ice Sealed Eyes return with their powerful new single ‘Liberate’, delivering an explosive combination of haunting atmospheres, crushing heaviness and raw emotion. Balancing immersive ambient soundscapes with relentless riffs, driving rhythms and emotionally charged vocals, the track showcases the band’s ability to create music that feels both deeply atmospheric and devastatingly intense.
From its captivating atmospheric passages to its explosive outbursts of aggression, ‘Liberate’ thrives on contrast. Layers of cinematic ambience build an almost hypnotic tension before erupting into thunderous guitars, commanding screams and hard-hitting breakdowns. The constant interplay between vulnerability and sheer force gives the song a powerful dynamic, allowing moments of reflection to collide with overwhelming intensity.
Lyrically, ‘Liberate’ explores the desire to break free from everything that holds us back. Confronting fear, hypocrisy and the pressures of the world around us, the song transforms frustration into a fierce declaration of independence. Rather than simply seeking an escape, it embraces confrontation, turning anger and inner turmoil into a cathartic release.
With their distinctive approach to modern metal, Ice Sealed Eyes continue to push the boundaries between atmosphere and aggression. Their sound combines the emotional depth of contemporary metalcore with immersive electronic textures and uncompromising heaviness, creating a musical identity that is as captivating as it is powerful.
‘Liberate’ stands as another compelling example of the band’s evolving artistry. Dark, immersive and unapologetically heavy, the single captures Ice Sealed Eyes at their most emotionally charged, proving that their greatest strength lies in making beauty and brutality coexist.
The Brussels-based quartet have been steadily establishing themselves as one of Belgium’s most exciting emerging heavy acts. Following the release of their ambitious debut album ALTAR in 2024, which brought together their conceptual EP trilogy Torments, Fragments and Laments, the band have accumulated millions of streams worldwide and expanded their reach far beyond their home country. Their growing reputation has also translated into impressive live achievements. Having toured extensively throughout Europe and the UK, Ice Sealed Eyes have shared stages with acclaimed acts including Resolve, Amenra, Brutus and Unprocessed. Highlights include a standout appearance at Euroblast Festival and supporting Falling In Reverse at major French venues such as LDLC Arena and Zénith Toulouse in 2025. In 2026, the band continued their momentum with the Spring Equinox Tour alongside Wheel and Stoned Jesus, further strengthening their position in the European heavy music scene. Now part of the Arising Empire roster, Ice Sealed Eyes are entering an exciting new chapter, combining their growing international recognition with an increasingly ambitious musical vision. With ‘Liberate’, they once again demonstrate why they are a name to watch in modern metal, delivering a track that is equally haunting, emotional and uncompromisingly heavy.
Catch the band live: 24.10.2026 I La Guerre des Gaules 2026 I Chênée, Belgium 14.11.2026 I ICE SEALED EYES // RELEASE I Bruxelles, Belgium 15.11.2026 I ICE SEALED EYES + Special Guest @La Boule Noire I Paris, France 20.11.2026 I ICE SEALED EYES + Special Guest @MTC Koln I Köln, Germany 21.11.2026 I ICE SEALED EYES + Special Guest @Insel Berlin I Berlin, Germany 04.02.2027 I Transbordeur I Lyon 01, France 06.02.2027 I Revnoir et Ice Sealed Eyes @The Black Lab I Wasquehal, France 11.02.2027 I Le Ferrailleur I Nantes, France 12.02.2027 I Revnoir et Ice Sealed Eyes @Rock School Barbey I Bordeaux, France 13.02.2027 I Revnoir et Ice Sealed Eyes @ Le Rex I Toulouse, France 18.02.2027 I Revnoir et Ice Sealed Eyes @La Cartonnerie I Reims, France 19.02.2027 I Revnoir et Ice Sealed Eyes @Le 106 I Rouen, France
French rising stars REVNOIR continue their remarkable ascent with the release of their brand-new single ‘Far From Home’, featuring UK vocalist REEBZ. The track marks the fourth single taken from their highly anticipated debut album, Sometimes I Feel You, Sometimes I Don’t, set for release on 27th November 2026, via Arising Empire.
Blending haunting atmospheres, soaring melodies and crushing heaviness, ‘Far From Home’ showcases REVNOIR at their most vulnerable and emotionally compelling. The song explores the unsettling feeling of dissociation, portraying a ghostlike presence caught between the desire to protect loved ones and the fear of causing them harm simply by remaining close. Driven by the unmistakable vocal chemistry between frontman Maxime Rodriguez Medallo and rising UK artist REEBZ, the track unfolds into a powerful and deeply personal duet that balances fragility with explosive intensity.
The collaboration feels particularly meaningful, as both artists have followed and supported each other’s musical journeys since the earliest days of REVNOIR. Having attracted significant attention throughout recent months, REEBZ brings a distinctive vocal presence that perfectly complements the band’s atmospheric and hard-hitting sound. Together, they deliver one of the most intimate and captivating moments on the upcoming album, highlighting the artistic connection and mutual respect behind the collaboration.
Since emerging in September 2023 after nearly two years of development behind the scenes, REVNOIR have rapidly established themselves as one of the most exciting newcomers in the modern rock and metal landscape. Their unique combination of cinematic soundscapes, electronic elements, infectious melodies and uncompromising heaviness has helped them build an increasingly dedicated following and gain recognition far beyond their home country of France.
Their impressive momentum reached a major milestone in October 2025, when REVNOIR were crowned ‘Breakout Band of the Year’ in the Rock & Metal category at Les Foudres, France’s prestigious rock and metal awards. The band continued their rise throughout 2026 with appearances at major festivals, including a standout performance on the Main Stage at Hellfest. Further cementing their growing reputation, REVNOIR have received three nominations at the 2026 Les Foudres awards.
Alongside the release of ‘Far From Home’, the band have also announced their appearance at RADAR Festival 2027 in the UK, marking another exciting step in their international expansion.
Catch the band live: 16.10.2026 I Festival de Marne I Fontenay-sous-bois, France 17.10.2026 I Le Bateau Ivre I Tours, France 21.10.2026 I Le Bikini I Ramonville-st-agne, France 22.10.2026 I Le MeM – Magic Mirror I Rennes, France 23.10.2026 I Le Gueulard Plus I Nilvange, France 24.10.2026 I La Guerre des Gaules I Chênée, Belgium 13.11.2026 I File 7 I Magny-le-hongre, France 14.11.2026 I Foud’Rock I Magny-les-hameaux, France 12.12.2026 I Espace Culturel Musique & Danse I Le Blanc-mesnil, France 04.02.2027 I Transbordeur I Villeurbanne, France 05.02.2027 I La Laiterie I Strasbourg, France 06.02.2027 I THE BLACK LAB I Wasquehal, France 07.02.2027 I Le Botanique I Bruxelles, Belgium 10.02.2027 I HYDROPHONE – scène de musiques actuelles I Lorient, France 11.02.2027 I Le Ferrailleur I Nantes, France 12.02.2027 I Rock School Barbey I Bordeaux, France 13.02.2027 I Le Rex de Toulouse I Toulouse, France 18.02.2027 I La Cartonnerie I Reims, France 19.02.2027 I Le 106 I Rouen, France 20.02.2027 I Alhambra I Paris, France
CRO-MAGS, the seminal New York hardcore outfit fronted by Harley Flanagan, is proud to launch their new version of “It’s The Limit (2026),” taken from the upcoming album ‘The Age of Quarrel: 40 Years of Quarrel,’ set for release on November 13th viaBLKIIBLK.
“It’s The Limit (2026)” features a guest appearance by standout hardcore guitarist Meg Mills, and arrives alongside a lyric video, available to view below.
On the opportunity to play on “It’s the Limit (2026),” Meg Mills shares:
“(This is)…the greatest honor that could ever have been bestowed upon this NYHC fan. Wouldn’t have ever started a band without this record… Grateful to be a small part of this 🤯❤️🔥You’re [Harley] one of the GOATs, and I can’t explain how much this record means”
Forty years ago, New York City’s CRO-MAGS defined the metal-punk crossover with their landmark 1986 album, ‘The Age of Quarrel.’ The intensity, influence, and groove of that record continue to resonate today, fueled by the band’s enduring legacy and hard-earned reputation as one of heavy music’s most volatile and influential acts. Led by founding bassist and vocalist Harley Flanagan, who assumed frontman duties beginning with 1989’s ‘Best Wishes,’ CRO-MAGS bring ‘The Age of Quarrel’ full circle with a celebration of the album that started it all.
Joining Flanagan are original ‘AOQ’ guitarist Doug Holland and former CRO-MAGS/ Suicidal Tendencies guitarist Rocky George, plus Meg Mills, Zach Blair, and Arthur Rizk for fresh takes on classics including “Hard Times,” “World Peace,” and “Malfunction,” along with the addition of the 1985 demo-era favorite “Everybody’s Gonna Die.” Flanagan is also joined by current band members Dominic Dibenedetto and Dave Sharpe. Drums on all tracks were handled by drum phenom Greyson Nekrutman. Produced and mixed by Arthur Rizk (Power Trip, Blood Incantation), ‘40 Years of Quarrel’ not merely revisits a pivotal crossover classic, but pours new fuel on the fire for old devotees and new converts to the CRO-MAGS cause.
The decision to revisit ‘The Age of Quarrel’ began during the making of the “Wired for Chaos” documentary. Several songs had to be re-recorded for the film’s soundtrack because the original recordings couldn’t be licensed, inspiring Harley Flanagan to re-record the entire album.
The project also provided an opportunity to address the complicated history surrounding the original record. None of the musicians who performed on ‘The Age of Quarrel’ were ever paid or received an accounting of the album’s sales. For years, Flanagan tried to reunite the original lineup to re-record the album and reclaim the rights to ‘The Age of Quarrel’ and ‘Best Wishes’ through the Copyright Reversion Act, but couldn’t bring everyone together before that window closed.
For the new recording, Flanagan brought together friends, current bandmates, and musicians from other bands to celebrate an album that has impacted generations of fans. Forty years later, everyone who wrote the songs will finally be paid through ASCAP and BMI, with the remaining proceeds going to charity.
The project is Flanagan’s way of honoring the music, its creators, and the fans who have carried these songs forward for four decades while putting the past behind him. The songs belong to the fans. Love wins. The quarrel is over.
Pre-Order ‘The Age of Quarrel: 40 Years of Quarrel’HERE
‘The Age of Quarrel: 40 Years of Quarrel’ Track List:
1. We Gotta Know (Featuring Dave Sharpe & Doug Holland) 2. World Peace 3. Show You No Mercy 4. Malfunction 5. Street Justice 6. Survival Of The Streets 7. Seekers Of The Truth (Featuring Arthur Rizk and Rocky George) 8. It’s The Limit (Featuring Meg Mills) 9. Hard Times 10. By Myself 11. Don’t Tread On Me (Featuring Zach Blair) 12. Face The Facts 13. Do Unto Others 14. Life of My Own 15. Signs Of The Times
CRO-MAGS Live: December 3-5 — Denver, CO @ Decibel Metal & Beer Fest December 12 — Los Angeles, CA @ The Belasco – For the Children
More Dates TBA!
The history of Harley Flanagan and his band CRO-MAGS is integral not just to the history of hardcore, but to modern metal, rock, and punk itself. With roots stretching from the shadow of Warhol and the Velvets to CBGB’s hardcore matinees and L’Amour Brooklyn thrash-a-thons, all the way through current generations of punk and extreme metal, CRO-MAGS are the connective tissue. Just ask the likes of Dave Grohl, Green Day, and Turnstile. CRO-MAGS stand side by side with Black Sabbath, Motörhead, and Metallica as both an influence and a gamechanger.
The brainchild of a 14-year-old Harley Flanagan, CRO-MAGS began in 1981 while Flanagan was playing drums for The Stimulators. By 1982/83, he had recorded the primal CRO-MAGS demos — four songs that would become the blueprint for the seminal 1986 release, ‘Age of Quarrel.’ Initially a solo vision, Flanagan wrote and played all of the music himself. In 1985, alongside guitarist Parris Mayhew, vocalist John Joseph McGowan, and drummer Mackie Jayson, the genre-defining ‘Age of Quarrel’ demo was recorded. The full-length album followed in 1986, with Doug Holland of Kraut joining on second guitar.
Explosive both on and offstage, CRO-MAGS have had a tumultuous history, to put it mildly. Through multiple lineups, six studio albums beyond the original demos, and more than four decades of worldwide touring, CRO-MAGS remain one of the most iconic bands in American hardcore and metal.
ABSOLUTE POWER, the heavy metal project bringing together producer and vocalist Simon Efemey and Shane Embury of NAPALM DEATH, return with “Stand Up and Be Counted”, a new single from their second album, “Needs Must When The Devil Drives”, due on November 6, 2026 via Time To Kill Records.
The track draws on the enduring vocabulary of British heavy metal, pairing sharply defined guitar work with a strong melodic thread and a chorus built for full-throated delivery. Its straightforward, song-focused construction gives the arrangement room to breathe, letting the hooks carry as much weight as the riffs.
Shane comments:
“Lyrically, this song is about growing up in a small village in an area surrounded by other small villages, before the Internet and social media. Back then, magazines and radio stations were my main sources for discovering hard rock and heavy metal. I always felt like an outcast, and heavy metal, followed later by punk, made it okay to feel that way. In truth, though, my friends and I were each following our own individual paths towards liberation. The excitement I felt as a kid when buying a new album or hearing a new track by one of my favourite bands was incredible. Those feelings drove me to become a musician. Nothing quite compares to that, but back then, meeting a new friend and connecting through a shared love of heavy metal gave you a wonderful sense of belonging. ‘Stand Up and Be Counted’ makes just as much sense today as it did back then”.
Fifteen years after the release of their self-titled debut, the heavy metal project founded by vocalist and producer Simon Efemey and Napalm Death bassist Shane Embury returns with a powerful celebration of classic heavy metal. Drawing inspiration from the timeless legacy of Judas Priest, Saxon, Black Sabbath, Dio and the New Wave of British Heavy Metal, “Needs Must When The Devil Drives” combines old-school riffs, unforgettable melodies and larger-than-life songwriting with the energy and attitude of a new era.
The world is in meltdown, and we’re all going to hell in a handbasket. Thankfully, ABSOLUTE POWER are here to offer maximum-volume resistance to the madness with their monumental second album, “Needs Must When The Devil Drives”.
ABSOLUTE POWER is the brainchild of vocalist and producer Simon Efemey and bassist/multi-instrumentalist Shane Embury, two heavy metal lifers who, between them, have left an indelible imprint on modern music.
Embury is the longtime bassist of grindcore pioneers Napalm Death, a band that began pushing music to its furthest extremes in the 1980s and has never stopped evolving. Efemey is one of the most influential British metal producers of his generation, having shaped the modern scene through his work with artists including Paradise Lost, The Wildhearts and Napalm Death, while also developing a reputation as one of the most charismatic figures behind the scenes.
Together, they spent five years crafting “Needs Must When The Devil Drives”, an exhilarating tribute to the classic heavy metal they grew up with, infused with the energy and attitude of 2026.
“I want people to have a good time in the old school way,” says Efemey of the album. “I want them to forget the mundane, boring or horrible parts of their jobs. I want them to forget themselves for a couple of hours. That’s what good music should allow us all to do.”
The album continues the vision that originally brought ABSOLUTE POWER together: a desire to recapture the sense of adventure, grandeur and excitement that defined the heavy metal of their youth.
“When we did the first album, we wanted to make songs like our heroes –Judas Priest,Saxon, theNew Wave of British Heavy Metal– everything we liked as kids,” explains Efemey. “When we were on tour buses, we’d have a few drinks and start blasting old-school heavy metal likeBlack SabbathorDio. One day we said we should write our own tunes like that.”
The debut album was embraced by fans of traditional metal, and “Needs Must When The Devil Drives” expands on that foundation, delivering a collection of songs built around powerful riffs, memorable hooks and a strong sense of identity. The title itself comes from an old proverb that Efemey and Embury would jokingly repeat to each other during the recording sessions.
Alongside the title track, “Saviour” and “Kernschmelze” showcase the band’s most direct and energetic side, while “Mountain Of Hope” increases the epic dimension that has always been central to ABSOLUTE POWER. Meanwhile, “Within” temporarily strips away some of the heaviness in favor of a more atmospheric and hypnotic approach, recalling the psychedelic spirit of 1970s classics such as Black Sabbath’s “Planet Caravan”.
The album also features a reinterpretation of Queen’s 1978 classic “Sheer Heart Attack”, preserving the original’s punk-driven energy while adding the unmistakable personality of ABSOLUTE POWER.
“The drums sounded terrible on it,” laughs Efemey.
For “Needs Must When The Devil Drives”, Efemey and Embury invited several respected musicians to contribute to the album’s expansive sound. Former Judas Priest and Iced Earth vocalist Tim “Ripper” Owens returns after appearing on the first record, delivering his unmistakable screams on the track “Kernscmelze“. The Mission and Tricky guitarist Mark Gemini Thwaite adds subtle layers and textures to several songs, expanding the band’s traditional metal foundation.
“I’ve known him for years,” says Efemey. “I recorded a demo for his old band years ago. I sent him some tracks and he put some magic on them. He added a little goth flavour to some of those tracks. It took it further than the first album, which was just straight-down-the-line traditional metal.”
Also appearing on the record are Napalm Death guitarist John Cooke and drummer Carl Stokes, whose career includes collaborations with bands such as Cancer and The Groundhogs.
At the heart of ABSOLUTE POWER, however, remains the partnership between Efemey and Embury. Both grew up in the West Midlands and shared formative experiences attending concerts at Birmingham’s legendary Odeon before following very different paths: Embury becoming one of extreme metal’s defining musicians, and Efemey establishing himself as a highly respected producer.
“Over the years our paths crossed, and we realized we had a similar love for music and a similar sense of humour –Monty Python,The Young Ones, really dark humour,” says Efemey.
Throughout his career, Efemey has worked with artists ranging from British indie heroes The Wonder Stuff to extreme metal pioneers Napalm Death, but his influence has always extended far beyond production. His larger-than-life personality and his approach to music have made him a unique figure within the British scene.
“You hear the stories from back in the day about these legendary bands and the mad stuff they’d get up to,” he says. “For me, that’s part of rock’n’roll. I never wanted to just be the guy sitting there in the studio nodding along with what bands say. It was more about entertaining people and entertaining ourselves.”
Yet behind all the chaos, Efemey has always remained focused on the most important element: the songs.
“We don’t take ourselves too seriously, but we’re serious about the music,” he says ofABSOLUTE POWER. “We reject ideas that aren’t good enough. Every song needs a good riff and a catchy melody. I wouldn’t let anything go out that was just fodder. That approach has always been prevalent in my work.”
That philosophy defines “Needs Must When The Devil Drives”. The album carries the confidence of a band that knows exactly what it wants to achieve, embracing the foundations of classic heavy metal while sounding fully alive in 2026. As the world falls apart around them, ABSOLUTE POWER stand tall, armed with riffs, melodies and songs built to last.
“I can’t think of many new British bands doing what we do,” says Efemey. “I think people like our stuff because it’s old-school with melodies you can sing along to. We use the formula from the 70s and 80s because we know it works. We make this kind of music because we love it and we want people to sing along with us.”
Tracklist:
1. Needs Must When the Devil Drives 2. Saviour 3. Kernscmelze (feat. Tim “Ripper” Owens) 4. Stand Up and Be Counted 5. Within 6. Mountain of Hope 7. Insanity 8. Hammer of Justice 9. Praise the Fire 10. Sheer Heart Attack 11. Orphans of the Storm
Line-up:
Simon Efemey – vocals Shane Embury – Bass, Additional Instruments
Guests musicians:
Tim “Ripper” Owens – vocals (ex Judas Priest, Iced Earth) Mark Gemini Thwaite – guitars (The Mission, Tricky) John Cooke – guitar (Napalm Death) Carl Stokes – drums (Cancer, The Groundhogs) Joe Taylor – drums Dominik Gryzbon – lead guitar Ilsa Nielson – lead guitar
After topping best of 2025 lists with the scorching opener to their forthcoming album trilogy, heavy progressive rockers Stoned Jesus are leaping into the darkest, most daring and introspective phase of their career with Songs to Moon.
“Stoned Jesus are perhaps in the most impressive part of their career to date and this album is another masterful record for them”, Outlaws of the Sun writes.
Metal Lair agrees. “There is real courage in making something this exposed and refusing to soften it for the listener”.
“Stoned Jesus have spent the better part of two decades navigating the murky waters between doom metal, psychedelic rock and progressive experimentation”, The Needle Drop writes. “Songs to Moon sees the band at its most vulnerable, trading towering riffs and infectious choruses for a heavy dose of haunting melodies and brooding atmospherics”.
Songs to Moonis released today, Friday, October 16 on Season of Mist, and you can hear all seven luminous songs by visiting The Needle Drop, who are premiering the full album stream, here.
“We started The Songs trilogy last year with Songs to Sun, which is a loud and heavy album that’s big on choruses and meaty riffs” Sydorenko says. “While still heavy and catchy, Songs to Moon follows a similar trajectory to Led Zeppelin III, Opeth’s Damnation or Jar of Flies by Alice In Chains. The songs are recognizably Stoned Jesus, but they are bolder, more haunting and introspective than anything we’ve done before”.
No height is too steep for Stoned Jesus to climb. After 15 years of exploring everything from doom metal and psychedelia to grunge and art rock, the heavy progressive trailblazers are hitting the road in search of even more expansive creative peaks.
The Songs trilogy spans all sides of Stoned Jesus. The darker, more introspective Songs to Moon opens in the large shadows of its predecessor with “Under the Skin”, a loud and heavy slab of post-metal that plunges the album into darkness like the setting sun. The existential shroud that hung over Songs to Sun continues to weigh on Sydorenko. “Still I’m falling down / From high above”, he sings with cool remove amidst the catchy doomgaze that’s expertly weaved into lead single “Velvet”.
Mini-prog-opera “Jackal” features the band at their most theatrical. Smack in the middle of the tracklist (and falling precisely halfway through the entire trilogy), the melancholic “Syzygy” configures one melody from each Songs to… album into their first-ever instrumental track. But even on their darkest and moodiest record, Stoned Jesus can’t be confined to just one shade of blue.
During its final lap, Songs to Moon strips down to acoustic guitar and Sydorenko’s hushed vocals. “And when the sun goes down / It brightens up my mood”. As the dreamy desperation of “Window In My Room” fades beneath the stark reminder of closer “One More Empty Day”, Stoned Jesus return to earth weary but wise beyond their years.
With Songs to Moon, Stoned Jesus take a giant leap into the darkest, most daring and deeply moving territory of their career.
Catch Stoned Jesus this fall as they debut Songs to Moon on European stages.
Stoned Jesus 2026 European Festival Dates October 30 – Vallet, France @ WeStill Fest [TICKETS]
Since 2009, Stoned Jesus has served as one of Europe’s leading forces in heavy rock. Igor Sydorenko, a fixture of the Ukrainian underground music scene, started it as a solo project after stumbling upon some heavy and angry riffs that would become the song “Occult.” He fed off his Black Sabbath and Led Zeppelin influences and was soon turned onto Electric Wizard and Sleep, two bands who mastered the art of bold, lurching heaviness, thus creating a sonic template to abide by.
The Kyiv-based project was initially dubbed “Stoned Jesus from the Outer Space” but this was soon shortened to the much crisper Stoned Jesus. The name was trimmed down out of necessity — Sydorenko wanted to legitimize the band immediately. “I realized that this may cause some problems,” he told Psychedelic Baby in 2010. “Some people wouldn’t take our music seriously, then. I don’t mind jokes and having fun, but music is always the most serious thing for me.”
Two demos ensued before Stoned Jesus’s debut LP, 2010’s First Communion. Recorded with the first line-up in two hours, First Communion was a promising offering that dove headlong into the world of heavy stoner rock, with three songs going over the 10-minute mark for hypnotic effect. The album eventually saw a proper reissue in 2020, introducing it to a new group of fans. The first change of rhythm section brought Seven Thunders Roar in 2012, which included “I’m the Mountain,” a 13-minute epic that has since become a live staple. The album also introduced a bevy of acoustic guitar and softer vocal approaches from Sydorenko.
The Harvest came next in 2015 with a new drummer, deftly transitioning Stoned Jesus into the new terrain, with more alternative and progressive rock leanings. This is a credit to Sydorenko’s evolving songwriting style and desire to never allow Stoned Jesus to repeat itself. “It works brilliantly for the likes of Motörhead or AC/DC, but we’re not that legendary yet,” he told Outlaws of the Sun in 2015. “So, let’s experiment, shall we? Let’s play with the genres, the sound, the song structures, the melodies, the time signatures — yes, my favorite trick!”
With another change of the drummer, the fourth LP, Pilgrims, arrived in 2018. A bold and experimental record, it showed the growing maturity of both musical and lyrical sides of Igor’s ever-progressing songwriting. After a year-long The Pilgrimage Tour and yet another year on the road celebrating the band’s 10th anniversary with the greatest hits setlist, Stoned Jesus’ original plans were to record its follow-up in 2020. That, of course, was sidelined by the pandemic. The band then entered Spivaki Records in Kharkiv in July 2021 to record nine songs at 75 minutes. Two-thirds of the material was mixed and mastered before the 2022 invasion of Ukraine, leaving the final run-time of six songs at 43 minutes.
The result was Father Light, the band’s first for Season of Mist, which caught Stoned Jesus in full bloom. The foundational elements of Stoned Jesus’s sound remained (fuzzed-out rock, driving bass lines and maximum groove), once again augmented by the combination of Sydorenko’s gentle clean vocals and hook-laden chorus choices, along with an array of ornamental guitar melodies. And, in true Stoned Jesus fashion, the journey is often the reward. The cuts on Father Light expand and shift — all the while, the band’s trademark heaviness serves as the guide.
Mother Dark, the gloomier introspective twin of Father Light, while partially recorded was shelved due to Igor’s dissatisfaction with the working dynamics of the latest Stoned Jesus line-up. Dissolving said line-up was a difficult decision to make, but Igor’s relocation to Europe brought a surprising reunion with his old friend Yurii, a talented drummer Igor had known even before writing the first Stoned Jesus song. Adding bassist-vocalist Andrew Rodin to this new line-up solidified its reliability, and after the whole year of relentless 15th Anniversary Tour schedule the reinvigorated Stoned Jesus was more than ready for their next chapter.
Songs to Sun arrived in 2025 as the first album in a forthcoming trilogy that once complete, will stand as the pinnacle of what’s been a decades-long trip for Stoned Jesus. While picking up where Father Light left off, Sydorenko and his new mates nodded to Seven Thunders Roar and The Harvest along the way. But by merging metal’s fiery intensity with mind-melting grooves, nods to vintage prog and their catchiest choruses yet, they brought the many distinct phases of Stoned Jesus to a bright, burning head. The album was named one of the best the year by Doom Charts, Rock Hard, The Obelisk, Weedian, Metal Lair and other outlets.
Now, just one year later, following a European co-headline tour with Finnish proggers Wheel and a triumphant return to Hellfest, Stoned Jesus are taking a giant leap into the darkest, most daring and deeply moving territory of their career with Songs to Moon.
“Under The Skin” opens in the large shadows of its predecessor with a loud and heavy slab of post-metal that plunges into darkness like the setting sun. The existential shroud that hung over Songs to Sun continues to weigh on Sydorenko. “Still I’m falling down / From high above”, he sings with cool remove amidst the catchy doomgaze that’s expertly weaved into lead single “Velvet”. Mini-prog-opera “Jackal” features the band at their most theatrical. Smack in the middle of the tracklist (and falling precisely halfway through the entire trilogy), the melancholic “Syzygy” configures one melody from each Songs to…album into their first-ever instrumental track. But even on their darkest and moodiest record, Stoned Jesus can’t be confined to just one shade of blue.
Following in the steps of Led Zeppelin III, Opeth’s Damnation or Alice In Chain’s Jar of Flies, during its final lap, Songs to Moon strips down to acoustic guitar and Sydorenko’s hushed vocals. “And when the sun goes down / It brightens up my mood”. As the dreamy desperation of “Window In My Room” fades beneath the stark reminder of closer “One More Empty Day”, Stoned Jesus return to earth weary but wise beyond their years and ready to explore the next frontier.
Live Lineup Igor Sydorenko – Vocals, Guitar Andrew Rodin – Bass, Backing Vocals Ihor Biriuchenko – Drums, Percussion
Production Credits Producer – Igor Sydorenko Sound Engineer – Andy Rosczyk Mixing and Mastering Engineer – Karl Daniel Lidén Recording Studio: Goblin Sound Studio in Cologne, Germany Mixing and Mastering Studio: Studio Tri-Lamb, Sweden
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
