Stoner Rock legends Fu Manchu have shared their cover of Rush’s early classic “Working Man”, as a tribute to late Rush drummer Neil Peart, who died in January 2020, after a long battle with brain cancer. All sales proceeds from the track, which was recorded in January, will be donated to brain tumor research at Cedars-Sinai Medical Center in Peart’s memory.
It’s oddly satisfying when an album’s title is also an accurate descriptor for the music it contains. This is more or less the case with Old Blood’s second full-length album, Acid Doom (DHU Records/Metal Assault Records). While the group’s style may not be crushing in the traditional sense, their brand of Heavy Psych has a dark sultriness that should sit well with fans of groups like Uncle Acid and Blood Ceremony. And considering the four-year gap since their self-titled debut, it’s fair to say that things have only gotten more off-the-wall in that time.
Badass Progressive Stoner Doom band Volcanova will release their debut album, Radical Waves this week via The Sign Records. Ghost Cult is bringing you the full album stream right now so you can try before you buy, like a free nug from your dealer of some new good shit. With their mash of old school Doom influences, mixed with proggy modern metal bands, it is a winning combo, sure to set your ears afire. Jam out to Radical Waves now! Continue reading
Time To Pay (Self-Released) is the new EP from Connecticut’s Turkey Vulture, a duo consisting of Jessie May (guitar, vocals, bass, cello) and Jim Clegg (drums, artwork). The EP is a force of incredible energy that nods to a deceptively diverse set of influences. This is punk; this is doom metal; this is stoner rock. Above all, it emanates a refreshingly raw and gloriously unpolished power. Continue reading
Progressive stoner band Moths (PR) is gearing up to release their debut full-length album after a series of impressive smaller releases. The up and coming band from Puerto Rico is releasing a split EP on August 21st with Philadelphia’s The Stone Eye. For their first taste from the release, Moths has shared their cover of Black Sabbath’s classic “Hand of Doom” here at Ghost Cult.
It’s been just a little over a year since Purification unleashed their first album, Destruction Of The Wicked, but their second already comes with some interesting developments. The style on Perfect Doctrine (ODLC PRODUCTIONS, INC.) may be rooted in the same post-Reverend Bizarre Doom Metal, but the Portlandians’ dynamic has dramatically shifted. The recruitment of drummer Count Darragh has led to them growing from a duo to a more conventional trio, allowing Lord Donangato Resurrected to focus on lead guitar alongside William Marshall Purify’s established rhythms and warbling vocals.
Black Spirit Crown’s first proper album sits right on the line between Doom and Stoner Metal with hints of Prog seeping through. The fuzzy riff work is rooted in Sleep and Electric Wizard tradition, the hustling tempos remind me of Orange Goblin, and the tripped-out atmospherics and vocal filters echo Howling Giant or Mastodon. These traits were already distinct on the Red Sky EP released in 2017 and the Cleveland group takes them to even further extents with Gravity (Self-Released).
As cool as it’s been to see some of doom’s most iconic figures go acoustic lately, sometimes it’s even more exciting when fresher faces try their hands at the style. Thomas V. Jäger is one such example, stepping beyond his duties as Monolord’s vocalist/guitarist to release a full-length solo album. It’s an especially interesting transition when you consider that band’s heightened melodicism on 2019’s No Comfort, and this album pushes the idea to even more introspective ends. Continue reading
As much as Wino deserves his doom godfather status for fronting groups like The Obsessed and Saint Vitus, there’s something to be said for his more recent singer/songwriter excursions. Whether going it alone or with such collaborators as Conny Ochs, the acoustic style suits him surprisingly well and the volume contrast brings a fuller perspective to his haggard lifer persona. This is especially true for his third album, Forever Gone (Ripple Music), which may be his most low-key effort to date. Continue reading
While The Path to the Deathless (Desert Records) continues down the psychedelic stoner journey that Red Mesa put forth with 2018’s The Devil and the Desert, its execution is grittier. The atmosphere carries hints of desolation within its imagery of open desert plains and the grainy guitar tone has a certain nastiness even when it isn’t overtly aggressive. There’s also not much emphasis on acoustic playing this time around, and even the tracks that do feature it come with a more noticeably somber air.