Desert Storm – Buried Under the Weight of Reason Review By Owlswald

For nearly two decades, Desert Storm has stood at the cornerstone of England’s fuzz-drenched underground. One can imagine my surprise, then, to find that I claim the first review of their catalog here. The group’s maturation has been a process of trial and error, evolving from smoky, blues-soaked stoner and southern rock roots into a heftier, sludgy, doom-infused form. Despite the unevenness of the Oxford outfit’s earlier efforts—Forked Tongues and Horizontal LifeDesert Storm’s more recent output (specifically Sentinels and Omens) found that sweet spot where sludge, doom, and stoner rock collide. While 2023’s Death Rattle saw these lads largely revisiting their old psychedelic ways, their seventh record, Buried Under the Weight of Reason, reverses course with a Saharan surge of down-tuned, resonant grooves and explosive riff drops poised to shatter many a bong.

As the opening notes of “Newfound Respect” hit, Buried Under the Weight of Reason reveals itself as a blunter, more dynamic beast than its predecessors. The guitars have thickened into a sludge/doom/stoner hybrid of epic proportions, blending Boss Keloid-like phrasing (“Rot to Ruin,” “Newfound Respect”) with Baronessian textures (“Twelve Seasons,” “Law Unto Myself”) and even the occasional djenty chug (“Cut Your Teeth,” “Rot to Ruin”). Huge, low-slung riffs drive Desert Storm’s definitive songwriting pattern. Songs lurch between stampeding verses and clean, crestfallen bridges, often featuring playful bass flourishes and blues refrains. Elliot Cole’s drums hit with massive, tom-forward authority. Each booming strike fuses with new bassist Andrew Keyzor (ex-Beard of Zeuss), carving deep pockets on tracks like “Woodsman” and “Shamanic Echoes.” By the time the first few tracks roll by, it’s obvious that Buried Under the Weight of Reason finds Desert Storm operating squarely in their wheelhouse.

DESERT STORM – Buried Under The Weight Of Reason by HEAVY PSYCH SOUNDS Records

Desert Storm commits to a single mission on Buried Under the Weight of Reason: delivering crushing, irresistible grooves from start to finish. Though lesser bands often bail on a great hook too early, Desert Storm has the confidence to lock in and let a sequence breathe like a fine wine, avoiding the common pitfall of over-complicating a riff before it reaches its zenith. Their controlled songwriting approach shines on the “Woodsman” and “Shamanic Echoes,” where the group adds nuance through minimalist, hook-heavy phrasing that feels both exciting and fresh. “Rot to Ruin” and “Cut Your Teeth” utilize spacious, bluesy transitions to reset the listener’s palate before building toward massive payoffs. The latter succeeds because the quartet holds back, patiently waiting for the precise moment to strike with a mammoth closing riff. The album closes with “Twelve Seasons,” a standout track that balances technical complexity and eccentricity with Desert Storm’s conviction to mine every ounce of a groove’s energy until it runs bone-dry.

Matthew Ryan’s vocals have historically been Desert Storm’s hollow point, but on Buried Under the Weight of Reason, they arrive with a newfound polish and reliability. Hitting with a grizzled, Crowbar-like growl, Ryan provides a solid—albeit largely safe—foundation that underpins Desert Storm’s low-frequency bulk. While Ryan’s vocals struggle to elevate the plethora of high-caliber riffs, they sit comfortably in the mix, serving their purpose without overreaching. Inconsistencies surface, however, on “Woodsman,” where mechanical chanting feels like a unique angle tripped up by its own peculiarity. More jarring is “Dripback,” where Ryan’s barking cadence feels a bit too unhinged, overshadowing an otherwise great groove. Beyond the vocal performance, the compressed mix masks the finer nuances—like the cowbell on “Twelve Seasons”—and the quartet’s commitment to the almighty riff sometimes results in songs feeling overextended. While Desert Storm’s “groove-first” philosophy is surely their strength, it leads to some bloat on the record’s longer cuts (“Rot to Ruin,” “Shamanic Echoes”). Additionally, the inclusion of the interlude “Carry the Weight” feels pointless in the context of the album’s flow.

But for Desert Storm, Buried Under the Weight of Reason is a cause for celebration. By knowing and staying largely within their established limits, the group has created not only a good record, but easily their best to date. While it occasionally oversteps its bounds or struggles to maintain its momentum, the songwriting and groove are infectious enough to have every head in the club bobbing in unison. Their sharpest effort to date, with enough weight to kill an elephant, Buried Under the Weight of Reason is a damn good time and a reminder that sometimes, that’s all a record needs to be.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Heavy Psych Sounds
Websites: desertstorm.bandcamp.com/music | desertstormband.com | facebook.com/desertstormuk
Releases Worldwide: March 6th, 2026

#2026 #35 #Baroness #BeardOfZeuss #BossKeloid #BritishMetal #BuriedUnderTheWeightOfReason #Crowbar #DesertStorm #DoomMetal #HeavyPsychSounds #Mar26 #Review #Reviews #SludgeMetal #StonerRock

Beastwars – The Ship // The Sea Review

By Saunders

Kiwi stalwarts specializing in thick, atmospheric sludge-doom goodness, Beastwars boast a strong track record, remaining a dependable force within their field. Sharing loose stylistic similarities with acts such as early Leviathan-era Mastodon, High on Fire, Crowbar, and Boss Keloid, Beastwars continue blazing their own battered trail. Displaying resilience and determination to navigate various personal and career challenges, Beastwars march onwards with sixth album, The Ship // The Sea. Despite being a fan of their past work, especially Blood Becomes Fire and The Death of All Things, I missed their 2023 covers album, Tyranny of Distance, and on reflection, I was surprised I had awarded their 2019 album IV with a coveted 4.0 rating, as I haven’t revisited it often when a Beastwars fix has spiked. Nevertheless, Beastwars is never less than solid, often operating a rung or two above that level across a consistently engaging, if underappreciated career. Now over half a decade removed from their last LP of original material, can these Wellington heavyweights muster something special?

The striking cover art, a beautifully rendered oil painting from artist Nick Keller, illustrates the stormy, heaving turbulence pulsing through the belly of this mighty beast. The Ship // The Sea packs the raw, burly punch and requisite emotional power to simultaneously wrench hearts and bang heads. “We Don’t Say Fear” warmly welcomes listeners back into the comforting grip of the Beastwars experience. Its signature stomp of infectious, hard-rocking, and oh so chunky sludge-doom finds the four-piece in fine form. Beastwars deliver top-notch performances and heart-on-sleeve passion through a decidedly dark, melancholy collection, reflective of personal hardships and current global concerns inspiring the album’s conception and lyrical themes. Beastwars pack power and emotion into concise timeframes, stripping back to their heavy, more straightforward roots without abandoning their sense of progressive adventure.

Amidst bleaker tones, shuffling between the raw, gloomy misery of the ominous, soul-jabbing doom of standout cuts, “Guardian of Fire” and “Rust,” to slightly more uplifting closer “Light Leads the Way,” Beastwars also bring the rocking, sludgy thunder to the equation. More urgent, traditionally infectious songs create welcome structural and pacing variety on such hooky delights as “Levitate,” bustling, psych-stoner surge of “The Storm,” and heady, aggressive throes of “Blood Will Flow.” Listeners from the band’s early days will no doubt enjoy the album’s raw, swaggering edge, amped aggression and immense heaviness. Although The Ship // The Sea boasts many standout songs and a satisfyingly deep, resonant emotional punch, not everything comes together smoothly. While never exactly losing steam, the second half of the album experiences some pacing issues and lulls, not quite matching the hookier rockers and doom-laden highlights of the front-loaded first half. That is not to say the album’s second half is lacking in potency, attested by the bruising grooves and hypnotic flow of “The Howling,” and grinding riffs, catchy groove, and anguished howls on the slow-burning intensity of “You Know They’re Burning the Land.”

Thick doomy rhythms and beefy down-tuned grooves are laid down by the imposing rhythm section of James Woods (bass) and Nathan Hickey (drums), while guitarist Christian Pearce unleashes proggy flourishes and gloomy melodies through a dense filter of sludgy riffcraft, tasty stoner grooves, and punishing, morose doom. Meanwhile, Matt Hyde’s distinctive, gruff roars and anguished bellows remain a key focal point and feature of the Beastwars formula. From overcoming a serious health battle and dealing with life’s inevitable tough times and obstacles, Hyde also uses troubled world events as fuel for an intensely emotive, standout performance. The passion and intensity behind Hyde’s vocals and raw, unvarnished sonic makeup lend the album its gritty, thumping edge.

Recorded in a studio by the ocean, Beastwars fully embrace the album’s spiritual and symbolic themes and connections to the ocean’s unpredictable, turbulent, and unforgiving nature. The production lends the songs a rough, organic crunch and weightiness, perfectly syncing to the band’s tough and gritty delivery, muscular rhythms, and piledriving riffing of the sludge, doom, and stoner varieties. Beastwars consistently write quality songs that fit snuggly in the sludge and doom domains, featuring rich depth, compositional subtletie,s and bleeding heart emotion. While perhaps not the band’s most consistent or instantly hooky album, The Ship // The Sea is a grower that packs a hefty wallop, largely maintaining Beastwars stellar track record of pumping out high octane, harrowing, and sonically booming tunes.

Score: 3.5/5.0
DR: 7| Format Reviewed: 320 kbps mp3
Label: Destroy Records
Websites: beastwars.bandcamp.com | facebook.com/beastwars666
Releases Worldwide: November 7th, 2025

#2025 #35 #Beastwars #BossKeloid #DestroyRecords #DoomMetal #HeavyRock #Mastodon #NewZealandMetal #Review #Reviews #Sludge #TheShipTheSea

Gigafauna – Eye to Windward Review

By Kenstrosity

Established in 2015, Swedish progressive sludge quartet Gigafauna toiled in obscurity, releasing a couple of albums and marching bravely forward into a heavily contested field. This is the first time they’ve graced our little corner of the blogosphere, reaching out to us via our contact form, pushing their third record Eye to Windward. Equipped with a gorgeous cover by the largely unsung Moonroot Art, what otherworldly creatures lie before me in Gigafauna’s Eye to Windward? ONWARDS!

Gigafauna’s style is one unfettered by frills and fiddly fancies. Instead, it delivers a no-nonsense, stripped-down crunch reminiscent of early Mastodon and Warcrab. Balancing clean, proggy noodles with deathly chugs and vicious roars, Eye to Windward boasts a well-rounded palette of songwriting elements to give these 44 minutes plenty of ground to cover without exhausting Gigafauna’s stock of ideas. Tight writing, clever transitions, and engaging twists and turns make Eye to Windward a thoroughly enjoyable experience overall, while its dry and warm production invokes a certain grit to the affair that adds textural depth.

Much of Eye to Windward takes full advantage of the full breadth of skills Gigafauna possess, but some of its best moments come from when Gigafauna’s songwriting is at its most focused. Highlights “Pyre” and “Beneath Sun and Sky” embody this truth with great aplomb; the former pushing the record’s heaviest material with an unearthly musculature, while the latter transcends physical heft for a more sophisticated, progressive lean. In both examples, chunky riffs form each track’s strong backbone, while multifaceted vocals span the gamut between death metal roars and sneering cleans to add variety, and unsettled rhythms contribute a tasteful complexity to keep things interesting. Longer format entries like “Plagued” and “Vessel” take advantage of their more expansive estates to house all permutations of Gigafauna’s sound in one unified piece. While “Vessel” is decidedly more successful in this regard—its main riff is one of the best on record, and the noodling leads in the back half contrast brilliantly with a bass counterpoint—both pull off the feat with respectable form.

Where Eye to Windward falls a bit short is in excitement and distinctiveness. Opener “Drowning Light” is the most quintessential progressive sludge song ever, reminiscent of Mastodon as often as it is of Boss Keloid. The problem is that it is too reminiscent of those artists, and thereby fails to establish its own voice as Eye to Windward’s opening act. “Exogenesis” and “Withered Husk” perform admirably inside these boundaries, but once again struggle to break out of those confines and stake a new claim for their own. There are hints of evolution occurring there, especially in the soaring chorus and blackened rasps that pepper “Exogenesis,” but not quite enough to constitute a differentiated variation. By the grace of Gigafauna’s universally solid performances across the board, very little of this primary shortcoming negatively impacts the album experience in the moment, as Eye to Windward is thoroughly enjoyable while it plays. It’s only upon closer scrutiny that I recognize that Gigafauna needs to push a little harder to find their own voice if they want to stand out in the crowd.

Overall, Eye to Windward is a solid installment in the progressive sludge pantheon. With hooky choruses, muscular riffing and rippling leads, rumbling bass counterpoint, and varied rhythms, all of the pieces exist to craft a killer record. The biggest roadblock to that goal is distinctiveness in songwriting. Gigafauna are on the cusp of finding a voice that stands out, clear and unmistakable, in every song they write. However, they haven’t nailed that level of consistency just yet. You’ll hear it in flashes, and those flashes pop with excitement and vitality. I look to the future with great expectations that Gigafauna will release a record that pops that way from start to finish.

Rating: Good
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self Released
Websites: gigafauna.bandcamp.com | facebook.com/gigafauna
Releases Worldwide: May 16th, 2025

#2025 #30 #BossKeloid #EyeToWindward #Gigafauna #Mastodon #May25 #ProgressiveMetal #ProgressiveSludge #ProgressiveSludgeMetal #Review #Reviews #SelfReleased #Sludge #SludgeMetal #SwedishMetal #Warcrab

Gigafauna - Eye to Windward Review | Angry Metal Guy

A review of Eye to Windward by Gigafauna, available May 16th worldwide via Self Released.

Angry Metal Guy

Moose Cult – Book of the Machines Review

By Kenstrosity

UK progressive heavy/doom metal troupe Moose Cult should sound familiar to fans of the blog. Featuring members of Bull Elephant, Conglaciation, Monsterworks, The Anchoret, and Thūn, Moose Cult constitute a new installment in the Eat Lead and Die canon of artists that we’ve covered over the last decade. This project focuses on generalized environmental issues and human folly, justifying somewhat the band’s self-assigned moniker of “Envirometal.” While that does a poor job of illustrating what it is that Moose Cult plays beyond the scope of lyrical theme and content, sophomore record Book of the Machines won’t puzzle listeners nearly as much as the bespoke genre tag might.

Moose Cult’s closest living relative in the metalverse is very clearly Bull Elephant. Wild combinations of gritty heavy metal, aggressive doom, progressive metal and a touch of the extreme characterize Book of the Machines’ thirty-eight minutes. Gruff vocals reminiscent of Boss Keloid fused with Bütcher passionately deliver lyrics that tackle a wide array of uniquely human quandaries. Meanwhile, lurching guitars and pounding skins—along with an impressive variety of different blast beat variations—provide the muscle to move that kind of potentially weighty messaging. Moose Cult aren’t the first band to concern themselves with environmental matters, but their more vague, generalized approach to that theme differs greatly from the more story-driven, niche nature of Bull Elephant’s material. Whether that is a boon or a detractor is up for debate. However, I maintain that using a near-carbon copy of Bull Elephant’s blueprint to unleash a shotgun blast against human greed and mankind’s disregard for the environment, rather than crafting a more distinct sound to enact a focused attack on a specific environmental issue, works against Moose Cult’s favor.

Book of the Machines’ greatest fumble extends beyond plagiarism of sister projects’ style and application. A more damning lack of memorable songwriting leaves me with little of consequence to hold on to after the record concludes. Enjoyable and entertaining in the moment, stronger cuts like “Erewhon,” “Curse of Creation,” “Earth(l)ing,” and “Book of the Machines” do offer small nuggets worth preserving. “Curse of Creation” in particular features a beautiful, psychedelic ambience in its midsection that immerses me in vivid, kaleidoscopic light, only to bring me crashing back down to a ruined Earth a minute later. Highly effective puts it mildly. However, these moments aren’t strong enough to carry any song on its own, let alone an entire album filled with solid lyrical ideas that never got the development they deserved. Across Book of the Machines’ runtime, passages shift and shimmy with an arbitrary sort of movement that jostles arrangements enough to destabilize them. Put another way, this record is not a smooth one, and consequently feels disjointed and unsteady.

Despite its awkward songwriting and flimsy messaging, Book of the Machines holds potential. Throat singing embellishments and fantastic soloing help elevate tracks like “Gateway to Evolving Thought” and “Headless Cult” almost enough to establish a trademark sound for the band. Closer “Book of the Machines” accomplishes a similar feat, albeit with a completely different approach that evokes a more extreme variant of Killing Joke. If Moose Cult buckles down and unifies these more differentiated elements into a unique, but cohesive, palette that better stands on its own, all the better for future efforts. On the other hand, Moose Cult nailed the production with Book of the Machines. Rich, warm, textured, and dynamic, this record blooms with vibrant color and its varying instrumentation strikes an ideal clarity that deftly avoids an over-polished sheen.

Overall, I am disappointed with Moose Cult so far. I am a longtime fan of Bull Elephant and have heard good things about several of these artists’ other projects, but this record isn’t what it could’ve been. Between the sparse substance behind its theme and the plagiaristic nature of its musical content, Book of the Machines offers a substandard proof of concept that makes it difficult to buy in. Without focusing its message and finding a unique—or at least more creative—voice with which to express it, this record fails to make an impact. Therefore, I recommend passing on it, hanging tight, and waiting to hear where Moose Cult go from here.

Rating: Disappointing.
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Eat Lead and Die Music
Website: moosecult.bandcamp.com
Releases Worldwide: September 6th, 2024

#20 #2024 #BookOfTheMachines #BossKeloid #BullElephant #Bütcher #Conglaciation #DoomMetal #EatLeadAndDieMusic #HeavyMetal #KillingJoke #Monsterworks #MooseCult #ProgressiveMetal #PsychedelicMetal #Review #Reviews #Sep24 #TheAnchoret #Thūn #UKMetal

Moose Cult - Book of the Machines Review | Angry Metal Guy

A review of Book of the Machines by Moose Cult, available September 6th worldwide via Eat Lead and Die Music.

Angry Metal Guy

Gig Review: Uprising 2023 – O2 Academy, Leicester (29th April 2023)

It is always a special occasion, going to metal festivals, but going to Uprising for the first time is a real highlight of the fe

https://www.moshville.co.uk/reviews/gig-review/2023/05/gig-review-uprising-2023-o2-academy-leicester-29th-april-2023/

#GigReviews #BloodOath #BossKeloid #Combichrist #Damim #Inflictions #InternalConflict #Loatch #MuddiBrooke #PalmReader #ParadiseLost #SkarlettRiot #Uprising #Voidwalker