Ryan Garney (High Desert Queen and so much more stuff), one of the busiest and most important humans in the heavy underground scene, lends his amazing vocals to a new project that is special in a way that I have not covered on a release before.
The band is called Stay Dead, and project founder and bass player Christopher Borrelli battles his demons, with the weapons being the songs on this record, on Beneath The Weight Of Worlds, brought to us by the amazing Ripple Music.
The album is a lesson in persistence, and how art as an outlet can help you beat the things that try to bring you down, like the PTSD and other effects of his time in the US Army. Oh, and also, the record rips, with a series of unbelievable guests on the sludgy, doomy bangers that make up Beneath The Weight Of Worlds.
The opener, Empty Pages has Garney going places with his voice he has not visited before with amazing results, to go along with the work of Borrelli, Garney’s HDQ bandmate, Rusty Miller, on guitar, and Kenny Shillingburg with quite the effort behind the kit.
The opener, Empty Pages has Garney going places with his voice he has not visited before with amazing results, to go along with the work of Borrelli, Garney’s HDQ bandmate, Rusty Miller, on guitar, and Kenny Shillingburg with quite the effort behind the kit.
The spoken word bits across the record add a different and more pointed experience, like the way it leads to the title track, which is all sorts of heavy and dark.
Did I mention guests? Well Troy Sanders from Mastodon appears on the sludgy yet atmospheric White Noise, which reminds me of Soundgarden done by Mastodon, and the one and only Matt Pike lends but has axe work and vocals to the totally made for Matt Pike track Electric Mistress.
The least famous but probably my favourite guest star appearance is from the Rhode Island band Coma Hole, as Eryka Fir joins Blake from Aiwass on Chrysalis, an epic track that is more of a composition than just a song, this one will blow you away as the music and Fir’s voice joined with Garney is something to behold.
Coving Fever Dog, a song from a fake band from a famous movie, seems like an odd choice, and it kind of is, until you hear their version, which reminds me of a slower tempo Soundgarden song more than the tune from Almost Famous.
Stay Dead is thankfully not a one off, as we need more of the collaborations we hear on this record. From what I have gathered it has really been helpful in Chris’ healing, which is a testament to what music can do.
Stay Dead is thankfully not a one off, as we need more of the collaborations we hear on this record. From what I have gathered it has really been helpful in Chris’ healing, which is a testament to what music can do.
From a pure music perspective, this record rips. It is heavy, sludgy, a bit atmospheric, has Matt Pike, exposes more people to Eryka Fir and Coma Hole, has amazing vocal and musical performances, and so much more.
Check this one out, and, since Ryan promised it, go see them when they make the dream of playing on the same together a reality. 9/10
Minipony– Detach (Subsound Records) [Spike]
Metal as a genre has so many sub-sections and weird variants that discovering something completely unhinged is a genuine joy. Some people want comfortable, familiar riffs, while others want unpredictable noise and total technical chaos.
Minipony– Detach (Subsound Records) [Spike]
Metal as a genre has so many sub-sections and weird variants that discovering something completely unhinged is a genuine joy. Some people want comfortable, familiar riffs, while others want unpredictable noise and total technical chaos.
I am firmly in the second camp. Detach by Ecuadorian trio Minipony is definitely not music for the masses, and honestly, that’s exactly why I love it. Also Minipony as a metal band name is genius.
I’ll admit I missed their previous two releases, so thanks to Musipedia Of Metal for dropping this on my desk. I’ve found a new band, a brand new sound, and something I’m going to be blasting for a long time to come.
The album kicks off with the instrumental track OM, and it made me smile right out of the gate. It sounds like an angry bee buzzing around with a chainsaw. It sets a frantic, chaotic tone before launching straight into the crushing weight of Detachment.
I’ll admit I missed their previous two releases, so thanks to Musipedia Of Metal for dropping this on my desk. I’ve found a new band, a brand new sound, and something I’m going to be blasting for a long time to come.
The album kicks off with the instrumental track OM, and it made me smile right out of the gate. It sounds like an angry bee buzzing around with a chainsaw. It sets a frantic, chaotic tone before launching straight into the crushing weight of Detachment.
This is where the utter lack of conformity lands, the vocals are epic, swirling, harsh and putting my in the mind of Brody Dalle from The Distillers which the riffs are chaotic and powerful.
Musically, this EP is a wild mix of djent, mathcore, and electronic layers, with some subtle Latin-influenced percussive grooves thrown in for good measure.
Musically, this EP is a wild mix of djent, mathcore, and electronic layers, with some subtle Latin-influenced percussive grooves thrown in for good measure.
Emilia Moncayo’s vocals shift effortlessly from visceral, throat-shredding growls to strange atmospheric synths, while Amadeus Galiano’s low-tuned guitars and Carlos Sanchez’s drums deliver absolute rhythmic madness.
The mix, which is handled by Jamie Uertz, who worked on Gojira’s Magma, gives the whole thing a punchy, physical hit without losing any of the raw edge and feedback.
The mix, which is handled by Jamie Uertz, who worked on Gojira’s Magma, gives the whole thing a punchy, physical hit without losing any of the raw edge and feedback.
Tracks like Hope and Pachanga pull you in completely unexpected directions, while Inner Dance brings the whole chaotic experiment home with relentless energy.
Chaos, feedback, angry bees, and chainsaws, what’s not to love? Detach is a thrilling, uncompromising piece of work that rewards you for stepping off the beaten path. It’s an easy 9 out of 10 for me. 9/10
Hopsydian– A Graceful Sin (Arising Empire) [Spike]
I’m completely new to Milan’s Hopsydian, but as far as introductions go, their debut EP A Graceful Sin makes a very strong first impression.
Chaos, feedback, angry bees, and chainsaws, what’s not to love? Detach is a thrilling, uncompromising piece of work that rewards you for stepping off the beaten path. It’s an easy 9 out of 10 for me. 9/10
Hopsydian– A Graceful Sin (Arising Empire) [Spike]
I’m completely new to Milan’s Hopsydian, but as far as introductions go, their debut EP A Graceful Sin makes a very strong first impression.
Formed only back in 2024, this Italian crew has managed to assemble a 5-track release that lands right in the sweet spot of modern, cinematic metalcore.
It’s definitely a release that sits comfortably “of the genre”, you can hear the lineage of influences all over this. The initial though in my head went to the vocals for 30 Seconds To Mars but building on rock-solid foundations is always the best way for a new band to open their account.
The EP kicks off with the heavy, atmospheric push of Elysium. Right away, you get a feel for what Hopsydian are about: crisp, modern production, huge soaring choruses, and sharp guitar work from Loris Ronchi and Nikolay Deliyski.
The EP kicks off with the heavy, atmospheric push of Elysium. Right away, you get a feel for what Hopsydian are about: crisp, modern production, huge soaring choruses, and sharp guitar work from Loris Ronchi and Nikolay Deliyski.
Vocalist Myles Idolo carries a lot of the weight here, effortlessly shifting between clean, chant-ready hooks and throat-shredding growls over a tight, punchy rhythm section.
The real centrepiece of the record is Heavenly. It’s a towering, ritualistic anthem built around massive build-ups and eruptive breakdowns. It takes that classic modern metalcore formula, combining dark, sacral atmospheres with heavy post-hardcore urgency and delivers it with absolute confidence.
The real centrepiece of the record is Heavenly. It’s a towering, ritualistic anthem built around massive build-ups and eruptive breakdowns. It takes that classic modern metalcore formula, combining dark, sacral atmospheres with heavy post-hardcore urgency and delivers it with absolute confidence.
It’s easy to see why this track has been turning heads and why they’ve already managed to land spots at festivals like Slam Dunk Italy alongside LANDMVRKS and Caskets.
Tracks like Blind Faith and Seraphim keep the momentum going, balancing aggressive riffs with polished, accessible melodies. There’s an undeniable theatrical polish to the whole thing (which is probably why I got the 30 Seconds To Mars reference), but it never feels like it’s sacrificing its heavy edge for the sake of radio appeal.
Tracks like Blind Faith and Seraphim keep the momentum going, balancing aggressive riffs with polished, accessible melodies. There’s an undeniable theatrical polish to the whole thing (which is probably why I got the 30 Seconds To Mars reference), but it never feels like it’s sacrificing its heavy edge for the sake of radio appeal.
By the time the final notes fade out, you’re left with the distinct feeling that this is a band that knows exactly who they are and where they want to go.
For a debut release, A Graceful Sin doesn’t try to completely reinvent the wheel, and it doesn’t need to. It’s a tight, confident, and well-crafted package that showcases a young band playing to their strengths.
For a debut release, A Graceful Sin doesn’t try to completely reinvent the wheel, and it doesn’t need to. It’s a tight, confident, and well-crafted package that showcases a young band playing to their strengths.
If you’re a fan of modern, atmospheric metalcore with big hooks and heavy riffs, Hopsydian are definitely a name to keep on your radar. 7/10
Svindel – Drömfeber (Chien Noir) [Rich Piva]
Svindel is the latest out-of-nowhere killer band that Chien Noir brings to us, and I don’t need to speak Swedish to understand what these proto-psych and classic rock newcomers, as their bio on Bancamp states, are all about. I just need to know that the songs on Svindel’s debut sounds like they are from somewhere between 1968 and 1973 and it is wonderful.
The guitar tone on Pionjärer. The organ on Jupiterbarn. The riff on Katten. The CCR vibes on Drömfeber. The 60s psych pop trippiness of Atlanten. The funkiness of Tunga ögon. The hypnotism of Chimär. The Dylan/60’s pop weirdness of Ta mig tillbaka till världen nu. The Three Dog Night-like Göken. I don’t even know how to explain En blå charad and it doesn’t matter.
This is the language I speak now. I don’t need to know what the words are actually saying, which is not the norm for me, as I tend to not connect with albums not sung in my native tongue, but Svindel got me with their retro sounds on Drömfeber, and they are going to get you too. 8/10
Svindel – Drömfeber (Chien Noir) [Rich Piva]
Svindel is the latest out-of-nowhere killer band that Chien Noir brings to us, and I don’t need to speak Swedish to understand what these proto-psych and classic rock newcomers, as their bio on Bancamp states, are all about. I just need to know that the songs on Svindel’s debut sounds like they are from somewhere between 1968 and 1973 and it is wonderful.
The guitar tone on Pionjärer. The organ on Jupiterbarn. The riff on Katten. The CCR vibes on Drömfeber. The 60s psych pop trippiness of Atlanten. The funkiness of Tunga ögon. The hypnotism of Chimär. The Dylan/60’s pop weirdness of Ta mig tillbaka till världen nu. The Three Dog Night-like Göken. I don’t even know how to explain En blå charad and it doesn’t matter.
This is the language I speak now. I don’t need to know what the words are actually saying, which is not the norm for me, as I tend to not connect with albums not sung in my native tongue, but Svindel got me with their retro sounds on Drömfeber, and they are going to get you too. 8/10
