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Emerging from the Pacific Northwest, Old Moon channel grief, isolation, and emotional vulnerability into a sound that blends black metal atmosphere with melodic death metal and cinematic orchestration. In this interview, founder Michael Priest reflects on the slow formation of the band’s identity, the emotional weight behind Home To Nowhere, and the balance between heaviness and fragility that defines the project. Rather than chasing extremity alone, OLD MOON focus on creating music that feels deeply human – immersive, melancholic, and rooted in emotional honesty.

Hi! When you first started shaping OLD MOON in the Pacific Northwest environment, what kind of emotional space were you trying to give form to that didn’t already exist in your other projects?
I wanted the music to be something that could be felt. Something that breathes with emotion. It was intended for the listen to be taken on kind of an emotional rollercoaster. In many ways its deeper than music I have previously done. More vulnerable.

At what point did Home To Nowhere stop feeling like a collection of songs and start feeling like a single, shared emotional landscape?
Once I found the sound that I wanted was when things really took off for the music. I think it took me about a year to explore and capture what I was wanting. After that everything came very quickly and organically and started to snowball a bit.

The EP in 2024 clearly introduced a vision that later attracted M-Theory Audio – what did that early material get right about the band before the full lineup and album even existed?
I think it showed what Old Moon and the music were going to be in a raw way but also how dynamic it is. It can be heavy and angry and suddenly spiral into something sad or beautiful. It was a perfect introduction to the world honestly.

When you look back at those first three songs, what parts of OLD MOON were already fully formed, and what parts were still searching for identity?
I took quite a bit of time to find the sound I wanted for the music before anything stuck. It’s a different style of music than I had ever done in the past so I took time with it to learn and let it mature on its own. Once that happened everything came on its own. The full album was a bit different during that time because the tracks that are on the EP were originally supposed to be on the album. That changed obviously but everything from the album and the EP grew together at the same time.

The music blends black metal atmosphere, melodic death structure, and orchestral layers – what usually comes first in your writing process: emotional tone, riffs, or cinematic texture?
It depends. I have a few different ways I start the writing for a track. Usually it starts with what I’m feeling and I try to turn that feeling into a sound. That’s usually how it will happen but there are exceptions of course. Some songs I hear and know the structure and cord progressions. Those ones are more mapped out but also a bit chaotic so I’ll need to write everything down before I lose the thought. Once I physically write down the structure and get to the point of writing the music out everything happens quickly.

Do you think the orchestral elements in OLD MOON function more as emotional amplification, or as something that actively reshapes the meaning of the guitar work?
Both actually. They amplify the emotion drastically at parts but also give room for everything to breathe. At the same time when I first heard the tracks with the choir and orchestra it dramatically changed what the original vision was. It helped give the music life in its own way.

When writing together as a full lineup, how do you maintain intimacy in the material without it becoming diluted by too many creative voices?
I couldn’t really say because I do a very large majority of the writing. There are a few parts that Grady will add here and there but nothing really changes. For the orchestral parts that Jaime did he pretty much nailed it in almost one take for every song. I think the only changes there were extensions for intros and outros. I’m not opposed to writing together with guys as a whole of course, it just hasn’t happened that way.

How do you personally define the difference between melancholy as a mood and grief as a narrative force within this record?
It’s a bit of a balancing act. I think grief is a heavier thing that is more difficult. It’s something that needs to heal on its own and that comes with a lot of different emotions that show themselves in a lot of different ways which I think goes well with the narrative on the album.

The album title suggests arrival, but also absence – what does “home” mean in the context of a record called Home To Nowhere?
It’s something that every person wants but not every person has. It’s the feeling of belonging or having love. Having a place or person that is a safe space.

M-Theory Audio stepped in after the EP gained attention – what did they understand about OLD MOON that you felt others might have overlooked?
I think they just felt the music as it was intended. I know that’s not going to be the case for each person. Everyone has their own preferences but I think that was it.

When someone finishes listening to Home To Nowhere, what emotional residue do you hope stays with them once the music is gone? Thank you!
If they listen to it deeply and find this album relatable, I would hope they find some comfort from it in some way. If someone listens to it just for the joy of listening to music, I hope they find that joy from this album.
This has been Michael Priest. Thank you so much for having me.

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https://oldmoonmusic.bandcamp.com/

It's the latest highlight of the band's current Southern Hospitality summer tour, which has also featured a number of special guests Continue reading…

Posted on May 27th 2026, 12:57p.m.

These bands all began playing death metal but all wound up going down very, very different paths. Continue reading…

Posted on May 27th 2026, 12:50p.m.

In 2026, New Jersey hell-raisers LORNA SHORE will return to Australian shores, with an arena headline tour locked in this October, along with the announcement today of their first ever New Zealand performances. Joined by special guests and fellow American deathcore merchants WHITECHAPEL for all Australian shows, Massachusetts heavy hitters THE ACACIA STRAIN will also support throughout the entire run. Additionally, […]

I always thought Monolord could level up by favoring hooky bangers. So too did Roquentin, who, in evaluating Vænir back in 2015, saw in these long-form Sabbathians the potential for memorable songs. In picking up Monolord reviewing duties, Huck N Roll began charting a consistently Good stoner/doom career that flirted with evolution but consistently maintained a tried-and-true formula. I would have added the adjectival modifier to Your Time to Shine (2021)—its five distinctive tracks strike a Very Good balance of droniness and catchiness across a sensible 39 minutes.¹ My revisionism notwithstanding, Monolord has come to embody the AMG Good, with four branches now on the beloved 3.0tree. As the third Monolord reviewer, the odds suggest I will slap another 3.0 on Neverending and call it a day, especially if album six continues to innovate only around the edges.

Fortunately, Monolord agrees that hooky bangers would reinvigorate Monolord. To help sculpt what they describe as ‘more succinct and immediate songs’ and a ‘sharper album,’ the band enlisted the legendary Sylvia Massy to record, produce, and mix Neverending.² Monolord credit Massy for significantly influencing their editing, but this isn’t to say she radically altered the band’s stoner/doom sound. Sonically, Massy beefs up the already thick n’ fuzzy tones of this Swedish power trio. Indeed, the guitar of Thomas Jäger and bass of Mika Häkki continue to combine for some of the fattest, tastiest riffage in the game, with a signature chromaticism hard to achieve in the genre.³ As on prior records, Jäger’s vocals sit back in the mix, making his mid-to-upper range croon ethereally prominent. The metronomic drums of Esben Willems also sit back, making every crash, fill, and cowbell monumental. Like previous outings, Neverending sounds invitingly warm, with some welcome heft this time around.

Under Massy’s guidance, Neverending shakes up the Monolord formula for the first time. Whereas previous records are 5–6 tracks with an average song-length of 8 minutes, 5 of 8 tracks here sit between 3–5 minutes. Exemplifying this new approach is the opening one-two punch of “Iodine,”—which feels like a miniature YOB meets the noise-groove of Killdozer—and “You Bastard,”—the album’s strongest Minilord song. The latter propels an infectious verse-chorus cycle, supplemented by shimmying shakers, with a Riff o’ the Year candidate. Later, “The Masque” and “Invisible” hit the spot; the former has a fun blues stomp and delightfully dark verses, but the song would’ve benefitted from three iterations of its (terrific) chorus. Minilord falters, however, on “Crystal Bridge,” which actually feels too short. Excellent CoC-style sludgery gives way to Jäger alone, laying plaintive vocals atop clean chords. It seems to set up something expansive, but once the sludge riffing returns as a capper, “Crystal Bridge” ends up sounding like a song without a chorus.

Despite their emphasis on succinctness, Monolord lace ‘classic’ longer jams throughout Neverending. ”Oozing Wound” is the darling in this regard, typifying the winning chemistry Jäger, Häkki, and Willems possess when they lock in on a simple riff and give it enough space, turns, and melodic character to make it interesting yet still hypnotic. On “It’s Neverending,” Jäger vocally collaborates with Jörgen Sandström, the former bassist of Entombed, which gives Monolord its first flavoring of death-doom via Sandström’s growls. Though I’m less enthusiastic about the Sandström-led portions, the song’s gentle, melancholic dénouement makes it an exceptional eponymous closer. Speaking of closers, “Inside a Collider” weirdly feels like one at track three. It drones on a hooky riff/vocal combo for a while, but it also contains a killer doom descent I wish happened more than once.

After careful analysis, I have arrived at the same score Monolord has been achieving at AMG for over a decade. In 2019, Huck described No Comfort as the band’s transition album, which was true at the time. But as it currently stands, Neverending is Monolord’s transition album, and it’s a transition not without its growing pains. Though the songwriting falters more than it should on a ‘sharp’ album, holistically, Neverending is an enjoyable 43 minutes, making it a more-than-worthy branch on the 3.0tree.⁴ In the promo materials, Häkki shares that the collaboration with Massy ‘makes [him] curious about what the next chapter will be’ for Monolord. I count myself among the curious—Neverending isn’t the fully-realized version of Minilord I was hoping for, but it plants the seed.

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Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: Official | Instagram | Facebook
Releases Worldwide: May 29th, 2026

The post Monolord – Neverending Review appeared first on Angry Metal Guy.

Boston Manor have big plans to celebrate the 10th Anniversary of Be Nothing.

Guitarist and singer-songwriter Jack J Hutchinson returns with brand new single and video ‘Soul Believer’. Sream/download the single – here The track is the first single taken from Hutchinson’s forthcoming new studio album of the same name, ‘Soul Believer‘, due for release on Friday 22nd January 2027 and available to pre-order now. To celebrate the […]

The post Jack J Hutchinson Announces New Album ‘Soul Believer’ & Releases 1st Single/Video appeared first on ROCKPOSER DOT COM.

Longevity is an underrated skill. To keep a band alive and still be making music years after breaking out is something to be valued. It takes persistence and commitment just to keep it going, let alone make a quality album. After six years without releasing new music, All Them Witches started to wind down. When their drummer unexpectedly quit, their commitment wavered. It all seemed to be coming to an end. But chance kept them going. Revitalised by the addition of new drummer Christian Powers, they set to work on a new album. Guitarist Ben McLeod, bassist/vocalist Charles Michael Parks Jr. and keyboardist Allan Van Cleave rediscovered their love of music. The result is ‘House of Mirrors’, an album heavy with experience but supercharged by the thrill of rediscovery.

The album’s cover features the four band members, blurred and dyed red; the colour of anger, love and danger. It’s a deeply fitting choice for music that feels passionate and devilish. Each of the ten songs feels like an idea expressed thoughtfully but with an air of recklessness. Compared to their previous album, 2020’s understated ‘Nothing As The Ideal’, it’s far more upbeat and creative and, because it’s almost uninterested in compromise, the tone and energy shift wildly throughout its runtime. This isn’t a bad thing as it all operates within certain parameters and styles that make the whole thing work remarkably well, despite its scope.

As their band’s name implies, the sound is a bubbling brew of folk rock, sludge and doom, with a healthy dose of blues. Each song contains a different mix of these elements and each sits somewhere between Monolord, Cave-In and the White Stripes. It’s an unusual but effective mix.

The whole record is built upon shifts in style and tone that feel both atmospheric and surprisingly effective. At their heaviest, the crushingly eerie ‘Red Rocking Chair’ uses slow, quaking riffs and spoken word to give it authority, while ‘Angel on the Wayside’ is a bluesy number with so much energy it bounds around like a puppy. At the other end of the scale, ‘Starting Line’ feels almost like a folk song until its emotional strings tighten, pulling it in a different direction entirely.

The album’s strongest feature is the way the band balance the different musical styles and the energy between them. ‘The Welterweight’ and ‘Saturn Song’ use fast, muted guitars to give them a sense of urgency and momentum but it’s a sound that sits slightly at odds with the way the songs unfold, giving them a mischievous air. Similarly, ‘Turn On The Light’ marches along on a comfortable, shrugging guitar part, right until its dynamic changes like a twisting knife.

Although the record’s greatest strength is the interplay between band members, the production work by Eddie Spear at Blackbird Studio in Nashville allows the different elements to slot together like a puzzle. It’s notable how much creative energy drummer Christian Powers brings to the album too, and the heavy booming sound gives them a strong presence, particularly on ‘Turn On The Light’. The rides (and the metallic Ting sounds) under ‘Hold Up, Say What?’ also give it a strong character. However, the record’s sound is best defined by the tangible bass and guitars, sounding grubby and lived-in as they express their ideas. Notably, ‘Culling Line’ leans back on a heavy sludge riff that allows the guitar to sing over the top and its biting, emotional tone. It’s a beautiful piece of work.

One of the album’s most compelling elements is its sequencing. Like on their previous record, the various shifts in style lend an unusual energy. After moving slowly in one direction, it shifts, giving it a strange and unpredictable quality. Track four ‘Hold Up, Say What?’ is such a straight-up noisy rock song that it arrives like a shock and feels strangely out of place despite giving the album a huge jolt of energy. Similarly, the lively ‘Angel On The Wayside’ feels as if it’s stepping in a different direction to the proceeding songs, like a kind of musical square dance. That said, the variety of styles makes it difficult to decide if there is a more effective track order. Either way, the slightly bumpy ride is part of the charm.

The album’s title tells you a lot about its themes. The idea of the self being reflective, of recursive ideas and repeated patterns. The most straightforward use of this idea is the droning blues riffs under ‘Aethernet’ or the repeating patterns of ‘Angel On The Wayside’. Both songs treat this as a basis and then break free of the patterns. It’s a striking form of expression, especially as they are using sounds honed over years of commitment.

All Them Witches are reborn on their new record. As the title suggests, ‘House Of Mirrors’ is a familiar space crammed with new ways of seeing themselves. It’s a brilliant, beguiling piece of work.

IAN KENWORTHY