Salt Lake City heavy groovesters Hibernaut, Dave Jones (guitar/vocals); Zach Hatsis (drums); Josh Dupree (bass) and Matt Miller (guitar), blew a fair few minds with their debut release “Ingress“, ours included, musically the album sat somewhere between “DopeSmoker” era Sleep and “Children of the Haze” period Dopelord, a mix of sludge and stoner metal that also boasted prog-like elements and psychedelic essences, lyrically though “Ingress” album was in a class all of its own with otherworldly tales laid out like ancient poetry. “Ingress” was roundly praised on its release and grabbed Hibernaut a well deserved #15 place on the Doom Charts and it will come as no surprise to Desert Psychlist if the bands latest album “Obsidian Eye” (Olde Magick Records/ Kozmik Artifactz) matches that achievement or even betters it as “Obsidian Eye” is everything “Ingress” was but so much more..

The album begins with “Engorge Behemoth” a song that opens it account with dissonant dual guitars trading off against each other (especially effective through headphones) then shifts into a just shy of doomic paced stoner metallic groove underpinned with low gravelled bass and thunderously busy drumming. Vocals here are delivered gruff and bear like yet despite this retain much of their clarity, which is applaudable given how much thought that has gone into the lyrics. Next song “Venatic Rite” kicks off in a similar style to its predecessor only a touch more drone-like and murky but then a piercing guitar motif cuts through the murkiness and the band explode into hard-driven sludge meets thrash like groove around a full on and forceful vocal, on a sidenote you could almost be fooled into thinking the drums are the leading instrument here such is the force of their impact. Those drums are just as impactful on the following “Pestiferous” however they do not have it all their own way here as they have to contend with constantly swirling guitar solos, a powerfully performed vocal and a rolling bass line weightier than a ships anchor. Title track “Obsidian Eyes” rears its gnarly head next and like the songs before it this starts dissonant and drone-ish but then slams into a thunderously dark groove over which a powerful vocal tells of “sylphlike silhouettes” who stand “in shadow” and “sexless tattooed priests” with “nefarious intellect” in tones dripping with throaty contempt. By now you are probably hoping for a break from all the full on intensity and relentless furiosity but Hibernaut are not in agreement and instead plough on regardless with “Revenants” another sludgy stoner metal barn burning opus that gives no quarter, this one telling of “soupy skies” where “leviathans slither and twist“. Final number “Beset” does not bring any respite from all the heaviness but it does slow down that heaviness to something approaching traditionally doomic, the guitar work here is blistering, the bass lines boneshaking, the drumming pounding and the vocals strong and gruffly sinister.

Powerful heavy music framing powerful lyrical imagery is what Hibernaut serve up with their second album “Obsidian Eye“, a conceptual album exploring themes that include infection, resurrection and manipulation. A musical force of nature from its first note to its last “Obsidian Eye” delivers musically, vocally and lyrically and could well be one of the best albums of its style released this year (2025).

Before Facebook dominated the internet, a darker corner of the web existed. It was a digital sanctuary for goths, punks, and industrial music fans. This place was VampireFreaks. Launched in 1999 by Jet Berelson, the site quickly grew into a massive online community for the alternative scene.

It was more than just a social network; it was a cultural hub where alternative people could connect. In a world before social media was everywhere, VampireFreaks gave a voice to the voiceless. It provided a space where being different was celebrated, not judged. Many of us found our first real community there, discovering new bands and making lifelong friends. This platform’s legacy is a testament to the power of finding your tribe, even if it’s online.

The Golden Age of VampireFreaks: Cults, Covens, and Community

The original VampireFreaks website was a vibrant ecosystem of dark creativity. Unlike the clean, sterile look of modern social media, it was raw and customizable. Users could create highly personalized profiles, which were affectionately called “Cults.” These profiles were our digital bedrooms, plastered with our favorite bands, dark poetry, and moody selfies.

Furthermore, the social aspect was deeply engaging. You could join groups, known as “Covens,” to discuss everything from industrial music to gothic fashion. These forums were the heart of the community. They allowed people from small towns and big cities to connect over shared interests.

The site was also a powerful tool for self-expression. It had features for rating photos, music, and even other members. This created a dynamic and interactive experience for everyone involved. The entire atmosphere of VampireFreaks was built around its users.

It felt less like a corporation and more like a massive, underground club that was open 24/7. For many, logging into VampireFreaks was like coming home. It was a place where you could be your truest, weirdest self. You could do so without fear of judgment from the mainstream world.

VampireFreaks and Its Unbreakable Bond with Rock Music

Music was the lifeblood of VampireFreaks. The platform was an essential promotional tool for countless artists in the goth, industrial, EBM, and punk rock scenes. The site featured dedicated band pages where artists could upload music, post tour dates, and interact directly with their fans. This was revolutionary at the time, giving independent bands a way to reach a massive audience.

Consequently, it gave underground bands a way to connect without needing a major record label. Many users discovered their favorite artists right on the platform. The music section itself was a treasure trove of new sounds. For many, it was the primary way to find new rock and industrial music.

Bands like Combichrist, HIM, The Birthday Massacre, and VNV Nation had a huge presence on VampireFreaks. However, the site also paid tribute to the legends. You could find communities dedicated to classic goth rock acts like Bauhaus, The Cure, and Siouxsie and the Banshees. It was a place where the old guard of goth met the new wave of industrial metal.

Ultimately, the site’s influence helped shape the listening habits of an entire generation of alternative music fans. Because of this, VampireFreaks wasn’t just a social network. It was an essential part of the rock music industry’s underground circuit. It truly changed how many of us experienced music.

The End of an Era: The Social Network Shuts Down

All good things must come to an end. As the internet evolved and giants like Facebook and Instagram took over, niche social networks found it hard to compete. Consequently, on February 1st, 2020, the social networking side of VampireFreaks officially closed down. It truly was the end of an era for many.

The announcement sent waves of nostalgia and sadness through the community. Many decade-long members felt they lost a part of their identity. The forums filled with farewell messages and memories of friendships forged in the digital darkness. A unique and beloved online world had come to a close.

However, the VampireFreaks brand did not disappear entirely. The name and spirit live on through its online store. For years, this store operated alongside the social network, selling gothic clothing and band merchandise. Today, it stands as the primary focus of the brand.

While the community forums are gone, the store continues to serve the scene it helped build. It remains a popular destination for those looking to express their alternative style. This ensures a piece of the VampireFreaks legacy stays alive. It serves a new generation of alternative individuals.

The Alternative You’ve Been Searching For: Welcome to VampFreaks

Do you miss the community feeling of the old VampireFreaks? Are you looking for a new digital home where you can connect with other alternative souls? Look no further, because a new platform has risen from the ashes. It was built to capture the spirit of what we all loved.

We welcome you to VampFreaks. This new site is not just an alternative; it is a spiritual successor for today’s outcasts. VampFreaks is a community for freaks to be themselves, support each other, and be weirdos together. It’s a space dedicated to fostering genuine connections.

VampFreaks aims to bring back the close-knit vibe that made the original so special. The platform offers a welcoming environment for everyone in the alternative scene. This includes goths, punks, metalheads, and rivetheads. You can create a profile, join groups, and dive into discussions about music, art, and life.

The entire site is built on the idea that everyone deserves a place to belong. If you are searching for the VampireFreaks community, you will find its heart beating strong at VampFreaks. Find your tribe again and help build the future of our subculture. Join a community that understands you.

A Legacy That Never Dies

The original VampireFreaks social network may be gone, but its impact is undeniable. For over two decades, it was the central nervous system of the goth and industrial subcultures. It helped thousands of people feel less alone and connected them with music that would define their lives. VampireFreaks was more than a website; it was a movement.

It proved that a community built on shared passions and mutual respect could thrive online. The friendships made and bands discovered on its pages left a permanent mark on the alternative scene. Its story is a crucial chapter in the history of internet culture and rock music. Now, the spirit of that iconic community lives on. We encourage everyone who misses that feeling to check out VampFreaks and find your people once again.

The post The VampireFreaks Story and Its New Alternative, VampFreaks appeared first on Rock Informer.

Interview with Post Death Soundtrack | From Doom / Grunge to Absolute Eclecticism

From the ever-evolving Canadian music scene comes the chameleonic project Post Death Soundtrack, which has shifted from focused doom-grunge to a sprawling, eclectic new sound. Helmed by the singular vision of founder Stephen Moore, the project has always been a vessel for raw, uncensored expression. The new 30-track album, In All My Nightmares I Am Alone, introduces this vision; one that links industrial chaos, punk fury, and stark acoustic honesty. It’s an ambitious approach, bringing a new layer of vulnerability to the project.

Introduction: Who is behind the release In All my Nightmares I Am Alone?

With In All My Nightmares I Am Alone, Stephen Moore channels a journey of personal trauma and healing through a diverse and unflinching collection of songs. The album builds on a foundation of rediscovered recordings and new, visceral material to capture the chaotic nature of a mental breakdown. The approach serves a deeper purpose: to create a “complete breakdown in audio format” that ultimately finds a powerful breakthrough. The result is both a harrowing listening experience and a profound statement on the power of unflinching artistic honesty.

---

Full Interview

In this interview with Post Death Soundtrack, we explore an evolving force in Canada’s alternative music scene. With roots in the Canadian scene and a sound that has journeyed from doom-grunge to raw industrial and avant-garde, Post Death Soundtrack crosses genre lines with unflinching honesty. Fresh off the release of his new album, In All My Nightmares I Am Alone, Stephen Moore shares the story behind his radical shift in sound and the intensely personal nature of the record.

---

Stephen, thanks for talking with us. The new record, In All My Nightmares I Am Alone, is an absolute behemoth. 30 tracks. It feels less like a conventional album and more like an uncensored audio diary. What was the catalyst for creating such a sprawling and vulnerable body of work right now?

Thanks so much! It’s an honor to talk with you, especially since RiffRiot has been such a big supporter of PDS. The new record was not planned in this fashion at all. I had been starting to prepare another album with He Is Me, my other industrial doom metal project, as well as combing through riffs intended for the next PDS album. I ended up coming across 10 or so songs I had recorded between 2009-2011. Around the same time, I began using Bandlab for production and it opened up some ideas and possibilities as far as creating some new structures on top of the existing ones. It eventually led to an inspired ransom note-type of album, a whole bunch of new material and a raw approach to everything. There were several nights where I didn’t sleep and there were days where I wrote and recorded two or more songs. It was a creative streak that is still continuing.

Last year’s Veil Lifter was a focused blast of doom and grunge. This new album explodes in every direction—industrial, punk, raw acoustic, darkwave. Was this sonic chaos a deliberate choice to mirror the album’s themes, or a natural result of the creative process?

Some of it was unintentional, because several of the ‘forgotten’ songs I initially uncovered were acoustic. They were actually intended for an acoustic solo album, but I’m not much of an acoustic guy at heart. I wanted to inject this album with a lot of noise to balance it out, and also explore more darkwave, electronic, gothic and industrial sounds. The album’s sound was also shaped by recording it in my apartment. Limitation can be good for art. What I complete here will end up different than at a studio where I can scream my head off.

The album’s title is incredibly stark. Can you talk about that feeling of isolation and how it weaves its way through the record, both lyrically and sonically?

Yes, I even hesitated with this one but liked how eye-catching and direct it seemed. And strangely, it also seems true. In your dreams you’re alone, and often even when you dream of someone you know or care for, they can be hard to reach or may turn their head when you try to connect with them. The album explores depression, mental illness, addiction, mourning…a lot of the things we often avoid. So I figured, let’s go ahead and make this album extremely uncomfortable. It’s comfortable for me because I have lived with these things, but it might be shocking to others. I find it comforting to express these kinds of things or enjoy art that does. The main thing as an artist is to tell the truth. Whether it’s dark or joyful matters less.

The opener, “Tremens,” is a harrowing piece of music that reportedly captures a real-life delirium tremens episode. How important was it for you to channel such raw, personal trauma directly into the sound, and what is that process like, turning a moment of crisis into art?

I felt as if I had gone through a very unique experience that few might understand, and nobody was able to help me through it. I wanted to capture the same fear and isolation in the final mixing of the song, adding elements of chaos and even resilience. It was life-affirming to make it through that while being largely ignored and on my own.

We investigated sources that indicate that some of the material on this album dates back nearly fifteen years. What was it like revisiting those older ideas and skeletons, and how did they transform when viewed through the lens of your more recent experiences?

I really enjoyed compiling the pieces I most liked and giving them a proper home within this album. Half of the songs such as “Tremens”, “Good Time Slow Jam”, “We Fall”, “Song for Bonzai” and Reckless Fever”, I built new structures on top of them and in several cases radically changed the original song. Others, such as “Desert Wind”, “Surrender”, etc, I decided to leave completely alone aside from a quick master and maybe adding more reverb.

Amidst the industrial chaos and punk fury, there are moments of stark, haunting beauty, like the instrumental “Song for Bonzai.” How do these quieter, more tender tracks function within the album’s overall narrative of trauma and breakdown?

I feel like they all end up going together somehow. I’ve always found that interesting with art and with making music. Even if I tried my best to screw an album up or make it too eclectic, it will still sound like me. It would still probably work. So I’ve learned to remove a lot of thought from my creative process and just go. I feel like Nine Inch Nails and Pink Floyd have always had those dynamics ranging from very soft ballads to crushing pieces.

You’ve described this album as “a complete breakdown in audio format, and in that there is a powerful breakthrough.” For you, what was the breakthrough that came from this process of deconstruction?

I think part of the breakthrough was a feeling of resilience and a deeper trust in myself – surviving and persevering. It was also the deep feeling of satisfaction that comes from creating and completing something yourself.

With such a massive and emotionally draining project now complete, what’s on the horizon for Post Death Soundtrack? Are you looking to continue this eclectic, cut-and-paste style, or do you feel a return to a more focused sound, like “Veil Lifter,” coming next?

Good question! I am planning on doing both, actually. I just released a 3-song EP called “White Dove” and a single called “Call me Alice”, both of which are on the darkwave spectrum. I plan to continue releasing eclectic material as often as possible. I also plan for a more focused, consistently heavy release for PDS. Regardless, there will be a lot of material. The upcoming He Is Me album, my duo with Portland musician Casey Braunger, will be a focused heavy album and it should be coming out this year.

Finally, what do you hope listeners take away from the experience of being completely immersed in In All My Nightmares I Am Alone?

I hope they feel empowered and that they can do anything.

---

Conclusion

---

Post Death Soundtrack References and Links of Interest

• Website
• Instagram
• Spotify
• Youtube
• Bandcamp
• Facebook
• Twitter / X:

La entrada Interview with Post Death Soundtrack se publicó primero en .

Interview with MAX CHAOS | Modern Ways, Traditional Punch

From the diverse musical landscape of Los Angeles comes a new project: MAX CHAOS, which fuses the aggression of nu-metal with a sharp, modern melodic sensibility. Helmed by a dynamic frontman and featuring collaborators like Karlos Doom (Evil Dead), MAX CHAOS is a project with a unique visual scope. The debut single “Ride The Wave,” from the upcoming album Order of Mayhem, introduces this vision; one that links aggressive rock music with a distinct animated narrative. It’s an ambitious approach, bringing a new layer of storytelling to the genre.

Introduction: Who is behind the release “Ride The Wave” ?

With “Ride The Wave,” MAX CHAOS channels a theme of modern frustration through powerful guitar work and dynamic vocals. The track builds on a nu-metal foundation to capture the cathartic energy of breaking free from the daily grind. The approach serves a deeper purpose: to have the music function as the soundtrack for a distinct animated story. The result is both a potent debut single and a clear statement of the project’s artistic direction.

---

Full Interview

In this interview with MAX CHAOS, we explore a new voice in heavy music scene. With roots in the Los Angeles scene and a sound forged from both nu-metal and modern rock, MAX CHAOS crosses genre lines with raw energy. Fresh off his debut single, “Ride The Wave,” he shares the story behind his distinctive sound and the launch of his ambitious animated world.

---

Congrats on the explosive debut of “Ride The Wave”! It’s hit the radio charts hard, landing as the #2 most added on both Metal Contraband and NACC. For a debut single, that’s a massive statement. How does it feel to come out of the gate with such strong support from radio stations like WPJX, WMFR, and WHPC?

Thank you so much! It’s honestly an amazing feeling. We put everything into “Ride The Wave”, so seeing it get such strong support right out of the gate feels like all the hard work has paid off. The response from stations like WPJX, WMFR, and WHPC is remarkable with their reach. It’s not easy for a band coming out of nowhere to break through, especially with a debut single, so to have these stations backing us like this—it’s a humbling validation for us as a band and as artists. but, honestly, it’s not just about the charting numbers; it’s the energy and passion we feel writing the music. To hear that our music is getting played on the airwaves and resonating with people that love music like our is the real reward and encouraging to finish the album ORDER OF MAYHEM.

“Ride The Wave” hits with this incredible, raw energy that feels both nostalgic for the nu-metal era and completely modern. We hear nods to the greats, but it’s undeniably your own sound. What was the creative spark for this track? Was it a riff, a lyric, a feeling of pure frustration?

Ah, that’s exactly it! The riff was the heartbeat of “Ride The Wave.” It all started when I was messing around with my Digitech Whammy pedal one night. I had this raw, distorted tone happening that felt a little chaotic but also really grounded. It just felt like something intense and vibrant needed to be built around it. The riff came first, and then everything else kind of followed in its wake. It felt like this perfect blend of frustration and adrenaline. From there, the song started to take shape both musically and emotionally. Lyrically, it’s a reflection of all those moments where you feel like you’re on the edge-whether it’s with your own internal battles or the larger, chaotic world around you. But even when you’re feeling that frustration or tension, there’s this sense of determination too-kind of like riding the wave, even though you know it might crash at any moment. The nu-metal influences definitely seeped in, but we wanted to push it further, make it feel modern Nu Heavy and fresh, but still have that rawness and grit you can trace back to the classics. You know, bands like Korn, Linkin Park, and Deftones-they did it so well, and we wanted to channel that energy into something new.

The track was co-produced with Dan McConomy and mastered by Maor Appelbaum. What was it like working with them to shape the sound? How did they help you translate the “chaos” in your head into the final, polished track?

Working with Dan McConomy and Maor Appelbaum was a total game-changer. Both of them brought a level of expertise and vision that really helped us refine what we had in our heads and make it a reality. Dan, especially, was amazing at capturing that raw energy we wanted, but he’s also super meticulous about making sure every element fits together. We’d come in with these ideas that were sometimes pretty chaotic, like trying to bottle up lightning, and Dan was able to translate that into something that was still powerful but didn’t feel disjointed. He’s got this great ear for finding that balance between heavy, gritty tones and making sure everything stays dynamic. Like, we didn’t want it to just be a wall of sound; we needed the chaos, but it had to be organized chaos, you know? Dan really helped us pull that off. Then Maor Appelbaum, when it came to mastering, he was the final piece of the puzzle. He took everything we recorded and made sure it hit the right frequencies and tones. He knew exactly where to bring out those heavy, visceral moments and then give space where it was needed, so the track still felt like it had breathing room. It was like he gave it the final polish that made everything explode in the right way. We didn’t want to lose the “live” feel of the song, but Maor made sure that when you hear it through headphones or on big speakers, it hits you in the chest. It was definitely a collaborative effort, and working with people who understood what we were going for and had the skill to help us reach it was an incredible experience. I think that teamwork really helped us find that blend of chaotic energy and tight, refined sound.

The vocal performance on the track is wild, shifting from guttural growls to soaring, clean melodies. You’ve said you just “woke up one day” and realized you could use your voice in these different ways. Can you talk about that journey of discovering and honing your vocal style?

The vocal journey for “Ride The Wave” actually started with the instrumental. I had this riff that felt intense and chaotic, and when I played it back, I immediately heard these screams in my head-like, I could feel the aggression and emotion the track needed. At first, I was considering bringing in a collaborator to handle the vocals, but then I decided to step into the booth myself and see what came out. To be honest, I was surprised at how much better it sounded than I expected. There was this raw, gritty energy that pushed me to experiment with different vocal techniques. I spent the next few months really honing in on my vocal performance, trial and error style. It wasn’t about trying to nail one perfect sound-it was about exploring what worked for the track, letting the chaos and power of the music lead the way. The growls came easily, but the clean melodies took some more time to figure out. I had to experiment with range, dynamics, and transitions, and over time, I found a balance that felt organic and true to the song. The whole process was super rewarding. I think that raw energy and grit-combined with the freedom to experiment-gave the vocals a unique quality that fits the track perfectly. It’s about capturing that feeling of pushing through something difficult, of finding strength and release in the chaos. It became not just a performance, but a journey of self-discovery.n to pause.

The lineup came together in a unique way, with Justin being a long-time collaborator and Karlos Doom (of Evil Dead fame) being brought in by your producer. What has that chemistry been like in the studio, and how is it shaping the sound of the upcoming Order of Mayhem album?

The chemistry in the studio has been absolutely electric! Having Justin on board as a long-time collaborator was a no-brainer-he and I have worked together for so long that we almost have a telepathic connection when it comes to creating music. We know each other’s strengths and weaknesses, so when we’re bouncing ideas around, it’s smooth and intuitive. We push each other, but there’s a lot of mutual respect there, which makes the creative process feel really natural. Karlos brought this whole new energy with him-his experience, his musicality, and just the raw power of his bass playing. He’s got such a unique style, and having him contribute to the project really shifted the dynamic. The way this lineup has come together has shaped the sound of Order of Mayhem in a big way. The blend of Justin’s and my chemistry with Karlos’s contributions creates a kind of tension and release that’s going to be central to the album. We’re exploring more complex arrangements and textures, but we’re also staying true to that gritty, hard-hitting sound. There’s a balance between chaos and control that the three of us are able to tap into, and I think it’s really going to come through on the record.

The music video for “Ride The Wave” is a trip, blending surreal live-action with an animated alter ego who loves metal, muscle cars, and crowd surfing. What’s the story behind this visual concept, and how does it tie into the larger world you’re building with the upcoming comic book series?

The “Ride The Wave” music video! That was a total blast to bring to life. The concept came from this idea we had about blending reality with the surreal-a visual reflection of the chaos and energy in the track itself. I wanted to create something that wasn’t just a traditional music video but something that could stand on its own as a narrative. The animated alter ego you see in the video is kind of like a hyper-realized version of myself, but also an embodiment of everything I love about metal and the world around it-muscle cars, crowd surfing, and, of course, that pure, unapologetic chaos that comes with the music. The idea was to take the viewer on a ride through this wild, almost dreamlike journey where the line between reality and fantasy gets blurred. There’s this freedom in being able to create an animated version of yourself, and it allowed us to amplify the things that make the song feel larger than life. It’s about pushing those boundaries, just like how the track itself mixes the aggression of metal with melodic moments. The crowd surfing, the muscle cars-those are all symbols of the energy and rebellion that’s at the heart of “Ride The Wave.” It’s all about embracing the chaos, but also celebrating the freedom that comes with it. As for how it ties into the larger world we’re building-this is where things get really exciting. The animated alter ego actually ties directly into a comic book series we’ve been working on. The story of the comic is a mix of fantasy and reality, where the protagonist-kind of like my animated alter ego-navigates a dystopian world that’s filled with chaos, rebellion, and larger-than-life characters. The visuals in the video are just a taste of that world. We wanted the video to be a sort of introduction to this universe we’re creating, a teaser for what’s to come.

Lyrically, the song is a powerful anthem about escaping the daily grind and societal pressures. You’ve mentioned it’s about being empowered to conquer fear and frustration. In a world with plenty to be frustrated about, what message do you hope fans take away from “Ride The Wave”?

“Ride The Wave” is all about embracing the chaos of life, but also using that energy to fuel something bigger than just surviving day-to-day. I really wanted to create an anthem for people who feel stuck or overwhelmed by the grind and societal expectations. It’s easy to get bogged down in frustration, fear, or feeling like you’re just a cog in the machine. But the core message of the song is about empowerment-about recognizing that even in those chaotic, stressful moments, you have the strength to push through, rise above, and ride the wave of whatever comes your way. I want fans to feel like the song is their personal battle cry. It’s okay to feel frustrated, it’s okay to be angry, but don’t let that define you. Instead, use it to break through the barriers, push yourself past your limits, and ride through whatever challenges come your way. It’s a reminder that even in moments of uncertainty or fear, there’s always a way forward if you’re willing to embrace the ride.

“Ride The Wave” is the first taste of the full-length album Order of Mayhem. What can you tell us about the album as a whole? Does it follow the sonic path of the single, or are there more surprises in store?

Order of Mayhem is shaping up to be a wild ride from start to finish. While “Ride The Wave” gives a taste of the album’s energy-chaotic, raw, and unapologetic-the full album is a bit more of an emotional rollercoaster. The single definitely represents a core element of the album’s sound, but we’ve got a lot of twists and turns in store, both musically and lyrically. The album’s themes dive even deeper into rebellion, frustration, and empowerment, but we also explore more personal territory. There are tracks that dig into internal struggles-dealing with self-doubt, pushing through moments of personal breakdown, but also moments of triumph and clarity. We didn’t want to just create a record that stays in one lane; we wanted to show the full spectrum of emotions and experiences that come with confronting chaos, both in the world and within yourself. While you can expect a lot of that hard-hitting, metal-infused energy, there are also moments where we experiment with more atmospheric or even melodic passages. We dive into some heavier, darker tones, but also flirt with more melodic and even almost cinematic sections. It’s about creating tension and release, keeping listeners on their toes, and giving them space to breathe before slamming them with something heavy again.

---

Conclusion

---

MAX CHAOS References and Links of Interest

• Website
• Instagram
• Spotify
• Youtube

---

La entrada Interview with MAX CHAOS se publicó primero en .

The post NEON DRAGON – Enter The Dragon (Single Review) first appeared on ROCKNGROWL HARD ROCK HEAVY METAL MUSIC PRESS PROMOTION.

Neon Dragon “Enter the Dragon” feat. Ronnie Romero – Single Review Lyric Video: https://youtu.be/0oUvhE0fFJQ Digital stream: https://earache.lnk.to/351118EntertheDragon Neon Dragon Review In a musical landscape often saturated with overproduced gloss and digital shortcuts, Neon Dragon’s “Enter the Dragon” roars in with a refreshing blast of old-school firepower. This track is not just a throwback — it’s a resurrection. Fueled by real instruments, blistering guitar work, and a powerhouse vocal performance, “Enter the Dragon” captures the spirit of 80s heavy metal with […]

The post NEON DRAGON – Enter The Dragon (Single Review) first appeared on ROCKNGROWL HARD ROCK HEAVY METAL MUSIC PRESS PROMOTION.

The post Neon Dragon ‘Enter The Dragon’ Single & Video Out Now first appeared on ROCKNGROWL HARD ROCK HEAVY METAL MUSIC PRESS PROMOTION.

NEON DRAGON, Los Angeles based heavy metal band feat. Ronnie Romero (Rainbow) on vocals, have released their debut single ‘Enter the Dragon‘ and lyric video.View the lyric video here: https://youtu.be/0oUvhE0fFJQ Digital here: https://earache.lnk.to/351118EntertheDragon Formed by guitarist Will Wallner, drummer Devin Lebsack, and bassist Nick Loxx, Neon Dragon is high energy ‘old school’ heavy metal. Their debut single features special guest vocals from Ronnie Romero (Rainbow). Mixing and Mastering – Evan Heritage. Dragon Artwork – Will Wallner. Logo Design – Pitforge. […]

The post Neon Dragon ‘Enter The Dragon’ Single & Video Out Now first appeared on ROCKNGROWL HARD ROCK HEAVY METAL MUSIC PRESS PROMOTION.

“Minimalist” is not how Desert Psychlist would describe Skulldozer’s music but that is the legend sitting beneath the bands photo on their Bandcamp page, to be fair though they do follow that up with the sentence “loud riffs” and they are definitely words we at The Psychlist can get on board with. You would probably have to ask the band themselves why they decided to describe their music as “minimalist” but we are not going to do that instead we are going to just give you our thoughts on the bands new album “High Tide” and let you decide the rest.

A few thunderous drum beats announce the arrival of first track “Bloody Ground” followed by an equally thunderous guitar and bass riff over which vocalist Ben House sings of “blood running in the streets” in tones that sit at the slightly helium end of powerful. If you were unfamiliar with the Skulldozer before hearing this track you will now know that they are kick-ass unit with their feet planted firmly in the soils of proto flavoured doom and metal, and a very good one we might add. Next track “Sign of the Times” begins with a heavily fuzzed guitar motif from Justin Morgan that is then joined by bassist Dylan Wills and drummer Jay Erbe in a ferocious stonerized metal groove that if it were a few bpm’s faster, and did not slow down to allow for a searing lead break, would almost fall into thrash territory. House once again excels in the vocal department here, his higher ended tones coming across at times like a hybrid cross between Sabbath’s Ozzy Osbourne and Dope Smoker’s Gareth Hopkins but with twice the power. Title track “High Tide” explodes out of the speakers next, the songs dynamic a mix of stop start sludge, doom and drone offset with a mantra like vocal, it is followed by “Erosion” a thrumming slightly off-centred  tome with Sabbathian undertones that boasts a slightly lower key but just as effective House vocal, Dissonance and drone introduces next track “Mass Production” the band then hitting into a strident proto metal/doom groove beneath a surprisingly swinging vocal melody. Skulldozer go epic for the ten minute plus “Misanthromation“, here we find the band mixing stoner metal stridency with low’n’slow doominosity, constantly shifting up and down the musical gears around a powerfully delivered vocal that rails against fake news, lies and misinformation, the real delight here though comes when the vocals drop out and Wills and Erbe settle into a thrumming and intense dank groove which Morgan decorates with blistering but tasteful lead work. Final number “Hand of Fate” sees Skulldozer throwing everything into the musical cauldron with doom, heavy rock, stoner metal, sludge and even a little blues all getting mixed and mashed together beneath yet another powerful vocal performance, if this is what the band call “minimalist” then god knows what they might sound like if they ever decide to go down the extravagant route.

© 2025 Frazer Jones

“Minimalist” is not how Desert Psychlist would describe Skulldozer’s music but that is the legend sitting beneath the bands photo on their Bandcamp page, to be fair though they do follow that up with the sentence “loud riffs” and they are definitely words we at The Psychlist can get on board with. You would probably have to ask the band themselves why they decided to describe their music as “minimalist” but we are not going to do that instead we are going to just give you our thoughts on the bands new album “High Tide” and let you decide the rest.

A few thunderous drum beats announce the arrival of first track “Bloody Ground” followed by an equally thunderous guitar and bass riff over which vocalist Ben House sings of “blood running in the streets” in tones that sit at the slightly helium end of powerful. If you were unfamiliar with the Skulldozer before hearing this track you will now know that they are kick-ass unit with their feet planted firmly in the soils of proto flavoured doom and metal, and a very good one we might add. Next track “Sign of the Times” begins with a heavily fuzzed guitar motif from Justin Morgan that is then joined by bassist Dylan Wills and drummer Jay Erbe in a ferocious stonerized metal groove that if it were a few bpm’s faster, and did not slow down to allow for a searing lead break, would almost fall into thrash territory. House once again excels in the vocal department here, his higher ended tones coming across at times like a hybrid cross between Sabbath’s Ozzy Osbourne and Dope Smoker’s Gareth Hopkins but with twice the power. Title track “High Tide” explodes out of the speakers next, the songs dynamic a mix of stop start sludge, doom and drone offset with a mantra like vocal, it is followed by “Erosion” a thrumming slightly off-centred  tome with Sabbathian undertones that boasts a slightly lower key but just as effective House vocal, Dissonance and drone introduces next track “Mass Production” the band then hitting into a strident proto metal/doom groove beneath a surprisingly swinging vocal melody. Skulldozer go epic for the ten minute plus “Misanthromation“, here we find the band mixing stoner metal stridency with low’n’slow doominosity, constantly shifting up and down the musical gears around a powerfully delivered vocal that rails against fake news, lies and misinformation, the real delight here though comes when the vocals drop out and Wills and Erbe settle into a thrumming and intense dank groove which Morgan decorates with blistering but tasteful lead work. Final number “Hand of Fate” sees Skulldozer throwing everything into the musical cauldron with doom, heavy rock, stoner metal, sludge and even a little blues all getting mixed and mashed together beneath yet another powerful vocal performance, if this is what the band call “minimalist” then god knows what they might sound like if they ever decide to go down the extravagant route.

© 2025 Frazer Jones