The human psyche is complex. In this rapid paced world of ours full of constant stimulation to our senses, the human brain is scrambling to keep up with constant unpredictability, randomness, and change. We replay constant regrets of the past, project worried what-if scenarios of the future, and find it nearly impossible to sit still or remain in the present, available to the people who matter most.

This inner turmoil and conflict of mind, while not new to the human experience, is certainly amplified in this time of endless doom scrolling. Music helps us process through it all and find our way to come to terms with our reality, making albums like Woodhawk’s latest, ‘Love Find A Way’ (2025), so immediate and relatable. “It really is a journey of getting out of the darkness and into the light,” says the band. This, certainly, is something we all long for, a way through for the dark night of the soul.

We are grabbed right away by the Calgary trio’s stoner grove riffing on “Grave Shaker” (a factor that remains strong throughout the record). The next thing that hits is the clear headedness of the words sung. They are delivered by frontman Turner Midzain, whose vocal style and range is comparable with contemporaries Zach Thomas of High Reeper and Daniel Pascual Salvador of Wet Cactus.

“Stranger Ever After,” one of the album’s two singles, continues the catharsis, juxtaposing high energy riff 'n’ rhythm with atmospheric keys that underscore the rawness of the message. “Now this could bring me to tears, leave me shaken and scared, because I’ve been here before…I’m searching for love, I’m looking for cause, I’m looking for hope for all that I’ve lost.” Midzain illuminates the lyrics, explaining:

Through changes and growth, sometimes you lose people along the way that were once very close to you… Someone who was once your closest person can become the opposite if you grow in different directions.

Love Finds A Way is a moving, introspective, and incredibly honest trek. Doubts and regrets are aired like candid confessions. “Mama I’m scared I’ve gone too far. I’ve lost what to say, I don’t know where to start,” the singer laments in the aptly named “Truth Be Told.” Then he borrows a line from Alice in Chains: “I think it’s gonna rain when I die.”

The music moves the sentiment of these nine songs with a crisp, stalwart beat from drummer Kevin Nelson and robust bass rhythms from Mike Badmington (who also shares vocals throughout the album).

The flow is undeniable in the closing number “Killing Time,” which is to me the gem of the collection. It’s about being gaslit in a relationship, waking up, and rediscovering a sense of self and is just so thoughtfully written from the catchy beat to the vocal phrasing and the guitar solo and addition of the piano.

I don’t think I’m listening
To anything at all
Time is slowly killing me
And my memories they fade
So why are we still here
With fading eyes
Why am I still here
Killing time

While I’ve made much to-do about the lyrical force of the album, it takes every member of the band to really pull it off and make us believers. Woodhawk is working like a well-oiled machine one EP and three albums into their career, making this a wholly convincing spin track after track.

Look for Woodhawk’s Love Finds a Way this Friday, June 6th, on Grand Hand Records (get it here). Stick it on a playlist with The Sword, Thin Lizzy, Horizont, and Priestess. You can catch the album release shows on June 13 in Edmonton at The Buckingham and on June 14 in Calgary at The Palomino.

Give ear…

SOME BUZZ

Formed in Calgary, Alberta, in 2014, Woodhawk swiftly emerged as a formidable presence in the Canadian rock scene. With their debut album Beyond the Sun dropping in 2017, the trio—comprising Turner Midzain on guitar and vocals, Mike Badmington on bass, and Kevin Nelson on drums—immediately garnered attention with their distinctive fusion of classic hard rock and modern stoner metal.

Their music, characterized by infectious grooves and memorable hooks, captivates audiences and has earned them a devoted fanbase. Following the success of their sophomore release, 'Violent Nature,’ in 2019, Woodhawk continues to push boundaries and captivate listeners with their upcoming 2025 album, 'Love Finds a Way,’ set to further solidify their status as one of Canada’s most exciting rock acts. With electrifying performances and a sound that marries nostalgia with innovation, Woodhawk remains a force to be reckoned with, poised to leave a lasting mark on the music landscape.

'Love Finds A Way’ is Woodhawk’s third studio album and their first full-length release in six years, following 2019’s 'Violent Nature.’ Woodhawk’s distinctive fusion of classic hard rock and modern stoner metal continues to captivate audiences and earn them a devoted fan base who enjoy Black Sabbath, The Sword, Priestess, and Red Fang.

Says the band: “Love Finds A Way” is a journey through the last couple of years. All of us went through some hard times, and to no surprise, the pandemic wasn’t much better! We weren’t sure if we would continue being a band or not. But we prevailed and are stronger than ever. It’s about love and friendship. And getting through things together. Checking in on your loved ones and friends.“

Woodhawk has shared two singles, “Relapser” and “Strangers Ever After,” to build momentum for the June 6th release of “Love Finds A Way”, via Grand Hand Records. “Strangers Ever After” showcases the band’s signature blend of classic hard rock sensibilities and modern stoner metal influences, delivering the infectious grooves and memorable hooks that have earned them a devoted following since their formation in 2014.

“Relapser” is an explosive track that showcases the band’s evolution while staying true to their foundations in heavy, riff-driven rock. It’s got the heaviness their fans expect, but with the emotional honesty that’s become increasingly important in their songwriting. This song especially captures that journey of struggling, falling back into old patterns, but ultimately fighting to move forward.

Woodhawk has shared stages with Airbourne, In Flames, Elder, Truckfighters, Metz, The Shrine, and Sandrider. See them on August 3rd, day three of this year’s LOUD AS HELL OPEN AIR FESTIVAL in Drumheller, AB alongside Revocation, Cyborg Octopus, Beguiler, Thirteen Goats, Famous Strangers, and more! Full details on LAH can be found at www.loudashell.ca.

There’s something fatalistic about doom metal. Black Sabbath addressed it in a somewhat cheeky way, laughing at fate, while being damned respectful of it with those heavy chords that shook the world in the ‘70s and have reverberated throughout the generations.

When you combine doom and Gothic strains, though, the game changes and it becomes much more wistful and forlorn. I picked up on it with Ancient Vvisdom, Young Hunter, and Fostermother years back, and now another band has entered into this misty terrain: DEAD FIELDS OF WOOLWICH.

Not technically new to the scene, with their debut LP released already in 2023 (and several North American festivals under their belt, including Electric Highway Festival), the five-piece Ontario crew is now gearing up for a second full-length record, 'Monarch of The Grave’ (2025). This may be, for readers of Doomed & Stoned at least, your first exposure to the band.

I loved the bittersweet nature of this single from the moment I heard it. It’s heavy, but hits a soft spot in my heart as well. Atmospheric and sincere to the core, this is the world premiere of “Cult of Cemetery Light.”

Give ear…

SOME BUZZ

Unleashing their self-titled debut album in 2023, Dead Fields Of Woolwich unveils their first single “Cult of The Cemetery” off their forthcoming sophomore album 'Monarch of The Grave’ due out late this year.

Dead Fields Of Woolwich has its beginnings going back to the autumn of 2020 in North Bay, Ontario, Canada, when multi-instrumentalist Kye Bell (Withing Nostalgia, Falamh) created a gloomy, doom metal project focused on dreary lyrics and a gothic-laden sound. Recruiting Alyssa Broere on vocals, the dark twosome began their musical journey. Now, for their next follow-up and second album, the duo has grown to a full-fledged band with the addition of guitarist Dave Strba, bassist Greg Meir, and drummer Kyle Taylor.

Band founder and guitarist Kye Bell explains further on the band’s evolution:

“The sound has evolved since the first release. When writing the first album, the focus was more on powerful chords and drudging riffs. Those things are still there in small doses, but this album is full of harder-hitting songs and much more memorable parts that stick with you after the listen is done. This album breaks away from the typical Doom formula and kind of takes on its shape. The songwriting has become more refined over time as well, lyrics are more concrete with well-defined concepts. I feel like this particular single, Cult of the Cemetery, will be very well received due to the more rock-rounded nature of the song while still maintaining its heaviness and its foot firmly planted in the metal realm. It opens the doors to a different audience, yet still stays true to the dark nature of the band.”

With its very memorable riffs, this new single is catchy hell and dark as the grave it speaks of. Melodic and melancholic, it is recommended for fans of Paradise Lost, Type O Negative, and Katatonia.

Get ready for an ear-tickling, heart-pounding, three-piece attack with big, rumbling, full-bodied bass, monstrous thundering drums, sweet stinging, rambling guitar riffage, and siren vocals that turn banshee in a hurry.

If you haven’t seen Portland, Oregon’s HIPPIE DEATH CULT do their thing live, you’re missing out. But you don’t have to miss out today, because they are ‘Live At Star Theater’ (2025) and Doomed & Stoned is giving you an exclusive first listen (and front row seat) to the recent full concert spread, out Friday on Heavy Psych Sounds.

The show largely is largely comprised of songs from Hippie Death Cult’s last album Helichrysum (which we premiered and reviewed in these pages), and it will no doubt generate excitement about getting out to see the band live when they travel through your city. This one takes place in the band’s hometown at Star Theater (where I’ve been privileged to film quite a number of bands, including Witch Mountain and Bongzilla).

Kicking things off is the stellar door-kicker “Arise”, with those gnarly downtuned doom trills and the ominous prophetic vocals of Laura Phillips that question everything. “The search for deeper meaning…dark hallucinations.” Eddie Brnabic’s guitar is on fire, and practically singing, with a big, bouncy, badass rhythm shared between Laura’s bass and Harry Silver’s drums.

“Toxic Annihilator” follows on its heels with a hailstorm of spitfire and fury, BPMs flying at you like a nest of pissed-off hornets. It just never lets up. Lyrically, the song couldn’t be more relevant to our own time, with mad power grabs running rampant.

Gotta say it’s great to hear these songs live and see an audience that’s packed and fully engaged in all of it. This comes out with the whistles and cheers as the oh-so psychedelic landscape of “Shadows” unfolds, in a dreamy, kaleidoscopic panorama of guitar that casts a spell on the 6th Avenue crowd. There are so many little touches throughout the song – a riff here, a vocal there – that make this one memorable and compel repeated listens. And there’s a Kyussesque warmth that pervades the atmosphere, a thick cloud of intoxicating smoke made of chill bass groove and guitar fuzz.

The mysterious beginning to “Red Giant” reminds a tad of those first 11 seconds in Guns n’ Roses “My Michelle,” which you kinda wish could linger a little longer. Like “Toxic Annihilator,” this is a hard hitting barnstormer that rustles up a storm. The sweet spot is that grinding guitar breakdown that accompanies the words “She will make you stronger…” The screams on this one are unbelievable.

The album closes with a gargantuan number, “Circle of Days” from the band’s 2021 album of the same name. It’s a fluid 16-minute odyssey of breath-taking scope. The bluesy, soulful moments six-minutes in are to die for and the bass twelve-minutes in sounds so fat and juicy, you can sink your ear-teeth into its notes. In fact, every instrument is honed to great effect. You can see the people mesmerized under the spell of HDC sound, the stage presence of the band and light show buttressing the effect.

Hippie Death Cult’s 'Live At Star Theater’ (2025) is an inimitable display of energy, inspiration, and hard-headed might. Out May 9th on Heavy Psych Sounds, with some particularly tasty looking vinyl varieties as the label is now famous for among collectors (pre-order here or here).

Give ear…

SOME BUZZ

Raw and uncompromised, “Live at the Star Theater” perfectly showcases the thunderous trio’s sonic firepower and wild chemistry through five of their most iconic tracks. From the intoxicating proto-heavy groove of “Circle of Days” to the razor-sharp riffing of “Toxic Annihilator”, all songs are delivered with enough intensity to make the Star Theater’s foundations crumble. Hippie Death Cult confirms their position as one of the heavy underground’s most undefectible live outfits, premium performers that will raise hell in every single town they play. Let the HDC hurricane hit you now.

Says the band:

“We’ve been toying around with the idea of doing a live album for a while now, considering our music has a whole different energy and vibrance to it in any given live situation. There are also moments of spontaneity, improvisation and imperfection, which make each performance different from night to night, so it’s cool to have a well recorded document of a little snapshot in time from this era of the band’s history.

“It’s also something we plan on doing more regularly in the future as we progress along our path and evolve. We toured a whole hell of a lot in 2024, both across the United States and Europe as well as Canada and this was our final show of the year and took place in our hometown of Portland, Oregon.

"We figured it would be a special place to try and capture an audio and video document of a full concert, one, because Portland has always been our rock, a very supportive hometown with whom we’ve always shared a genuine connection with and two, it’s a place where we have the resources to have friends help to make it happen on little to no budget. Some things went 'right’ that night, some things went 'wrong.’ Its raw. It’s live. It’s us.”

From Bologna, Italy comes the mighty WASTE CULT. The ancient city is the home of doom-stoner bands like Three Eyes Left, Hyperwülff, Holy Giant, Slow Order, and State of Non Return – a number of which have been highlighted in these pages and on The Doomed & Stoned Show in past years.

Waste Cult, a four-member doom crew, are poised to release their first full-length record, ‘Blame’ (2025) this summer via UK label Aesthetic Death Records. This follows an excellent self-titled EP debut in 2022.

There’s something stately about the architecture of the songs, no doubt inspired by the legacy of Italian architecture (or at least the psychological impact of those elegant arches, columns, and spires). At the same time, there’s an early morning misty melancholy that pervades, not quite as sad as Pallbearer, yet capturing a kind of wistful wishfulness.

The band’s latest single is “Ad Astra,” (which Doomed & Stoned brings you today), and it opens the record with a fiery spirit, charging forward with melodic guitar, rumbling bass, sturdy chords, and stalwart rhythm. The vocals are earnest, reaching for lofty places, looking to soar, capturing a longing to live beyond regret, aspiring for a life of greater meaning.

The drumming is a big highlight of the album for me, as well – peppy with an off-beat feel, keeping their feet dancing without ever tripping up (something you’ll pick up on immediately with the track that follows, the whimsically titled “Delirium Of Manners”).

The band gives us a bit of background on the new record:

It was written in the very first creative period after the release of the previous work (the self-titled EP) and marked the beginning of the shift towards a style that is both powerful and introspective. 'Blame’ is meant to be a sum of all different influences from hardcore punk classics, to classic doom, to post metal, with a more defined identity, after a few years experimenting in the practice room.

You can get Blame by Waste Cult on June 6th here or here. Stick it on a playlist with Candlemass, Marche Funèbre, Endonomos, and that first album by Age of Taurus.

Give ear…

SOME BUZZ

Waste Cult’s debut full-length album, 'Blame’ (2025), will be released on June 6th, 2025, via Aesthetic Death.

Emerging from Bologna’s underground scene, Waste Cult was formed in late 2021 by musicians with roots in punk and thrash metal, yet a desire to explore a darker, doom-laden sound.

'Blame’ is the culmination of this journey—a raw, introspective work that merges classic doom influences with modern post-metal atmospheres. Following their self-released 2022 EP, this album solidifies their identity, delivering immersive and emotionally charged soundscapes.

Waste Cult started in Bologna, Italy in late 2021, with all members having experience with other punk/thrash metal projects, including Rake-Off, Hyle, Siege Stompers, Call The Cops…

The aim for Waste Cult has been to create different sounds and atmospheres to those other projects - exploring a slower doomier approach to their sound. In mid 2022 they self-released an eponymous 4-track EP on tape, and on the back of that started playing shows across Italy.

The first full length - 'Blame’ - is the characterisation of all their different influences, with a more defined identity - taking inspiration from the doom classics to the more modern post-metal sounds. This reality took shape after years experimenting in the practice room, with 'Blame’ bearing witness to a more introspective and personal approach within both the music and lyrics.

Aesthetic Death has always been a fan of stoner doom sounds and, like many, was schooled on the likes of Kyuss, Monster Magnet and Black Sabbath. Yet, Aesthetic Death has rarely had opportunity to work on any release with bands from these lands of sound.

When first listening to Waste Cult it instantly resonated. Albums can become a soundtrack to a period of our lives, as an immersive escape alongside all the positive or negative things happening.

André Drage seems to take joy in blurring the lines of reality on ‘Wolves’ (2025), but in the best possible way. A funky blend of jazz, prog, and psychedelia, this belongs in the realms of '70’s legends King Crimson and Frank Zappa, but soars into a destination all its own. This slick Norwegian collaboration brings together drummer André Drage, trippy guitarist Viktor Bomstad, violinist Jørgen Krøger Mathisen, a boss bassist in Petter Asbjørnsen, and the keyboard wizardry of Vegard Lian Bjerkan.

From the climbing riff that hooks you on opener “Potent Elixirs” (and the Clutch-funky vibe that follows), you know you’re in for something completely out of this world, with instruments spontaneously going solo for as long as they damn want to.

Every track on Wolves is an anomaly, a creature of its own oddity and mesmerising stripe. Compelling your ear to listen is a buzzing rhythm transporting you through each song’s evolution.

Along the way we capture moments frantic (“Fire”), chill (“Nesodden”), caffeinated (dig that bass on “Tigerboy”), pleasantly strange (the disorienting keys at 2:30 on “Wind in their Sails”), and ecstatic (“Brainsoup”). I could see this as a bewildering alternative soundtrack to David Cronenberg’s Naked Lunch, or simply a companion to the William S. Burroughs’ novel itself.

There are albums that help us process our emotions by lyricizing about something we can relate to or generating a particular mood. This album simply transports you to a new plane of existence, far above worries and sanity.

Get André Drage’s Wolves on Drage Records. Out the 25th of April, this Friday (pre-order here).

Give ear…

SOME BUZZ

With the fires still burning around the release of Journeyman this month, acclaimed drummer and composer, André Drage, is thrilled to announce his second record in as many months.

Compared to the lush electronic and instrumental waves of Journeyman, his next album Wolves showcases an entirely new and ferocious approach to his trademark sound. Packed with complex, experimental, and intensely rhythmic rock like that found in the highly influential music of King Crimson and Frank Zappa, it also travels through the dustier crates of prog rock history. Fans of late ’60s and ’70s outliers will find plenty to love from the heavy acid grooves of Amon Düül II to the intricate, jazz infused guitar work and shifting time signatures of The Mahavishnu Orchestra.

Featuring André Drage on drums, violinist Jørgen Krøger Mathisen, guitarist Viktor Bomstad, bass player Petter Asbjørnsen and Vegard Lian Bjerkan on keys, Wolves is like a long-lost album from the vaults of Vertigo or Deram. A true progressive gem hewn from the minds of unmistakably raw and rising talents.

“It’s essentially a fusion record inspired by both newer heavy metal music, jazz-rock and bands from around the world,” explains Drage. “There’s some inspiration from Mahavishnu Orchestra, Gong, and Soft Machine in there and even bands like Meshuggah too. My hope is that the music released can appeal to music lovers in different camps who want something fresh but strangely familiar at the same time.”

Perhaps best known in the European metal underground for his work with Norwegian trio, Draken, Drage’s new imprint hopes to redefine genre boundaries and inspire new listeners. With a commitment to showcasing a diverse range of musical styles, Drage Records was announced in late 2024 and detailed in this interview with It’s Psychedelic Baby Magazine.

Wolves by André Drage will get an official worldwide release on Friday 25th April and be preceded by the release of Journeyman on 14th March.

EARL OF HELL is good medicine. The Scottish band combines the vivacity of rock ‘n’ roll rhythm with chuggy guitar ferocity for one the most enthralling acts we’ve heard in quite some time.

We brought you Earl of Hell back during the pandemic, with the music video premiere of “Hang 'em High” from their first outing 'Get Smoked’ (2022), which I lauded for its “fat riffs, dramatic flourishes, and some damned impressed pyrotechnics.”

Now comes the band’s first proper full-length, with 9 tracks 36 minutes of pure heavy bliss. For this jaunt, they worked with producer Alain Johannes who scene hounds will recognize from Queens of The Stone Age, Them Crooked Vultures, The Desert Sessions, and his own band Eleven (Earl of Hell did a stormy cover of “Nature Wants To Kill Me” on stage with Alain last summer). He no doubt suggested a few compelling touches here and there that take many a song over the top.

'Earl of Hell’ (2025) begins, intriguingly, with a short homage to The Louvin Brothers ballad, “Satan is Real.” Its backwoods and folksiness, the swirl of evening insects, and gnarled fuzz makes it a bit unnerving, like we’re stumbling into a world where things can get strange and dangerous.

Perhaps a fitting intro, once we hear those damning smashes that tear off the lid off tour de force “The Infernal Dream.” The guitar riff is a stoner metal lover’s dream: dire and badass. The blended vocal harmonies on the verses that follow are soothing to the ears. They transport me to a blissful state, like being strapped in safely to a rumbling jet that’s about to touch off. You feel the growling intensity of the drum, bass, and guitar attack, but feel somehow carried atop it all by the singing.

“Impaler” is a rip roaring bar stormer. One can imagine a devilish hoe down in some God forsaken barn lit about by Jack o’ Lanterns. “Brave New Age” feels like it’s in a guitar driven mania, but the vocals somehow make us less afraid to take a ride on the huffing, puffing rodeo bull. There are some really chill vocal harmonies here that really stick around in my mind and have me revisiting this song just to get my fix of that “Yeah, yeah, yeah” harmonic progression about a minute in.

Impressive on each song is the power of those downtuned instruments, as in those first fistful of notes on “Calling, Is The Crow” – especially when they crash emphatically together. It really hits something deep inside the chest, and I can imagine the low-end would rearrange your internal organs live. A flighty guitar riff shows up 50 seconds in and returns before the final chorus, hovering overhead in the upper register like a crow, singing its short little sad song into the atmosphere.

“My Twisted Mind” opens like a Kaiju pulling spitting high tension wires down, wading through the buildings toward the center of town. It’s one of those songs that seems larger than life (especially listening with a good headset on).

“Macabre Cadabra” would make a great companion following Helmet’s “Exactly What You Wanted,” as both have that real nice headbanging groove. The twin guitar action throughout the album has been outstanding and having Dan Mitchell and Lewis Inglis playing either in sync and each doing their own thing (e.g. driving rhythm vs. obsessive spacey shredding) is one of the great spectacles for the ear. The song ends strong and defiant like a heartbeat.

There are simply no fillers on this record. The tracks seem to just keep besting themselves as the B-side spins along. Just when I think Earl of Hell is going to opt for something ordinary and well-trod, they come back to surprise me. “Waiting to Die” brings in more great harmonic vocal touches from lead vocalist Eric Brock and guitarist Lewis Inglis. The drumming of Ryan Wilson and bass work of Dean Gordon shows not an ounce of fear, but absolute resolution without even a hint of stiffness. The chorus, as with so many others on the record, is a big part of my affection for this bittersweet number.

“Bloodlines” is the longest song so far, with most averaging around 4 minutes. This one goes for an epic storytelling riff that builds with more and more conviction as it is repeated, with the first verse arriving toward minute two and then a bittersweet chorus about how we gotta go, gotta know, and accept things that just gotta be. The band brings all its energy to bear around the four minute mark with chugging momentum and sawing riffage, then a shift to reassuring chords and a solo that swims as freely as a salmon upstream. The vocals get more punky before a return to the opening motif and the foot stomping dirge that closes this romping adventure of an album.

Earl of Hell’s self-titled full-length debut emerges from the depths on April 25th (get it here). I assure you, this one’s gonna get stuck in your craw. Mix it on a playlist with King Gizzard and the Lizard Wizard, Håndgemeng, The Watchers, Helmet, and a dash of Nirvana’s faster songs.

Give ear…

SOME BUZZ

Earl Of Hell was born in 2020, just prior to the COVID pandemic which forced the UK into lockdown. They spent the first few months sharing ideas remotely and began rehearsing once restrictions finally eased. With music venues closed, the band spent a year honing their set and wouldn’t play their first gig until August 2021 to an allseated audience. This was shortly followed by a sold-out first hometown show in Edinburgh’s legendary Sneaky Pete’s.

The band released a succession of singles, ‘Blood Disco’ and ‘Arrhythmia,’ while continuing to play around Scotland and Northern England. They finally hit the studio again in 2022 to record and release their debut EP ‘Get Smoked’ on USA label Slightly Fuzzed Records, receiving many positive reviews within the Stoner/Doom community. This was followed by a more extensive run of shows which included their first visit to London and opening for Bongzilla and Phil Campbell And The Bastard Sons.

Over the Summer of 2022, Earl Of Hell looked to expand their sound by recruiting a second guitarist and quickly found one in Dan Mitchell. The band dynamic was enhanced as they immediately began writing and performing live as a five piece, opening for touring acts such as Lightning Bolt, Gnome and The Vintage Caravan.

2023 would prove to be the most successful year yet for Earl Of Hell, playing in excess of 30 shows, including a slot at the coveted Desertfest London, a summer tour with Iceland’s Volcanova and opening for bands such as Sasquatch and Nick Oliveri’s Mondo Generator. On Halloween, they released their fourth single, ‘Impaler,’ rounding the year off with headline weekenders in London, the Midlands, and the North of Scotland.

2024 saw Earl Of Hell complete a successful tour with Chilean born multi instrumentalist and producer Alain Johannes, performing as tour support and Alain’s own backing band.

Continuing to tour the UK through 2024, the band are currently in the studio working on a follow up to 2022’s “Get Smoked” EP. This will be Earl Of Hell’s first full length record, which will be co-produced with Alain Johannes and the first recorded music since Dan Mitchell joined the band as second guitarist.

With the album scheduled for release in the spring of 2025, the band also have tours with Brant Bjork, Masters Of Reality and another tour with Alain Johannes.

Earl of Hell’s self-titled debut bestows a juggernaut of raucous rock'n'roll delivered with relentless punk energy and brimming with enough fuzz to make your walls tremble. Mixed and mastered by Alain Johannes (Queens of the Stone Age, Desert Sessions, Mark Lanegan), it displays thoughtful yet unapologetically gritty songwriting.

Embodying the spirit of bands like Alice In Chains, Killing Joke and Black Sabbath, this album pays homage to its stoner rock roots while exploring historical and futuristic concepts from Edinburgh’s infamous grave robbers to Planet Earth’s impending doom.

The Doomed and Stoned Show
Season 11, Episode 2

We didn’t wanna let our annual Best Of The Year show slide for 2024, so Billy Goate (Editor, Doomed & Stoned) and John Gist (Vegas Rock Revolution) got together to compare notes on their favorite albums of last year. Late as it is, the music is timeless for lovers of heavy groove and downtuned riffage!

Also streaming on Spotify.

BIG BAD BELATED BEST OF ‘24:

INTRO (theme by Dylan Tucker) (00:00)
1. Huanastone - “If I Had A Head” (00:31)

HOST SEGMENT I: John’s Top 10 (½) (06:27)
2. Duel (no. 10) - “Pyro” (30:37)
3. Slomosa (no. 9) - “Battling Guns” (34:26)
4. Sergeant Thunderhoof (no. 8) - “Salvation for the Soul” (39:18)
5. Sons of Arrakis (no. 7) - “Blood for Blood” (45:03)
6. 1000mods (no. 6) - “Astral Odor” (50:13)

HOST SEGMENT II: Billy’s Top 10 (½) (57:07)
7. Blue Heron (no. 10) - “Dinosaur” (1:25:26)
8. Legions of Doom (no. 9) - “Beyond the Shadow of Doubt” (1:30:59)
9. Fostermother (no. 8) - “Echo Manor” (1:36:25)
10. Ruff Majik (no. 7) - “Moth Eater” (1:40:15)
11. Empty Full Space (no. 6) - “Amnesia” (1:45:38)

HOST SEGMENT III: John’s Top 10 (2/2) (1:52:42)
12. The Watchers (no. 5) - “Eastward Through the Zodiac” (2:09:57)
13. Sundrifter (no. 4) - “Nuclear Sacrifice” (2:15:24)
14. Lowrider (no. 3) - “And The Horse You Rode in On” (2:20:54)
15. Mr. Bison (no. 2) - “The Child of the Night Sky” (2:23:50)
16. Greenleaf (no. 1) - “Breath. Breathe Out” (2:29:05)

HOST SEGMENT IV - Billy’s Top 10 (2/2) (2:34:39)
17. High Reeper (no. 5) - “Broken Upon The Wheel” (2:58:01)
18. Erronaut (no. 4) - “Way Down Below” (3:01:44)
19. Stonekind (no. 3) - “Masters of Man” (3:06:40)
20. DÖ (no. 2) - “Sulfur Incense” (3:14:59)
21. Fu Manchu (no. 1) - “Roads Of The Lowly” (3:20:34)

OUTRO (3:24:17)

Bonus Tracks:
22. Mooch - “Morning Prayer” (3:25:25)
23. Gjenferd - “Restless Nights” (3:30:21)
24. Solar Blooms - “Indifference” (3:35:29)
25. Magick Potion - “Ultraviolet” (3:39:23)
26. Kurokuma - “Death No More” (3:42:44)
27. Acid Mammoth - “Atomic Shaman” (3:49:36)

From the Bay State of Massachusetts comes a sound muddy and unfettered, and as doomy as those stern ol’ Pilgrims who settled in Plymouth back in 1620. This is GRAVE SPEAKER.

The band calls their latest single, “A riff filled march through the fuzzy atmospheres of a world filled with awaiting dangers.” And indeed there are dangers lurking all about, some as primitive as those our encroaching ancestors faced, others completely alien to them (and to us) – from enslaving technology and the brutal grind of shifting economic realities to unnatural chemicals and dehumanizing systems of concrete and plastic.

There is something quite base and earthy about the sound of Grave Speaker in response to this Brave New World, as you’ll witness on the title track to their upcoming Electric Valley Records sophomore album, ‘Rays of the Emerald Sun’ (2025).

The low-end is fat and stout, its rumbling rhythm staggering about like Weedeater on a fresh batch of Uncle Jed’s moonshine. The track really throws its weight around, with thick groove, stinging and often surreal guitar licks, and deliriously entrancing vocals that sing the blues into late night, then stumble out into the darkness of the wetlands. It’s a strange, warm, and haunting vibe that permeates all six numbers on this record.

Grave Speaker’s Rays of the Emerald Sun got some real meat on its bones. Another outstanding release on EVR, emerging May 16th on (appropriately) green splatter black vinyl (pre-order here). Stick it on a playlist with Curse The Sun, Wyndrider, and Lo Pan.

SOME BUZZ

Electric Valley Records is proud to once again work with Grave Speaker, this time for the act’s sophomore LP, Rays of the Emerald Sun, slated for May 16 on two vinyl variants and across digital platforms.

Lurching from the swamps of Massachusetts, Grave Speaker is a one-piece psych-stoner-doom project led by John Steele. Rising from the ashes of High n’ Heavy, the doom unit made its presence known with the self-titled debut in 2023, conjuring a ‘70s aesthetic laced with the raw grit of garage rock and the haze of psychedelia.

Now approaching its second album, Rays of the Emerald Sun, Grave Speaker looks toward the future with a mix of optimism and wonder. Across six tracks, the record delves deeper into psychedelia and the stoner realm, delivering heavier, witch-invoking riffage and vocals oozing with a slow-burning, leaden haze, all while clutching tightly to its ‘70s roots.

Let’s get ready to rumble! From Hertfordshire, England comes a total wrecking ball of a band: NOMADIC REIGN. The five member crew have been at it since 2017, with two full-lengths, two EPs to their name.

Today, the band brings the motherlode with a brand new song, “Silent Revolt.” As yet, this is a stand-alone single while the band continues to plot away at material towards another album. The explosive nuclear detonation of the opening frames of the new music video says it all.

The time of reckoning has arrived
We are the silent revolt
And tonight we are ready to ignite

“It’s about the anger of everyday life and wanting to make a difference and finding strength in the unison of friends,” says vocalist Damien Rodgers.

Guitarist Sam Farrington adds: “Musically it came together quite quickly with our other guitarist Andy Edwards coming up with a lot of the riffs and myself piecing it together and the lyrics were written quite a bit of time after, so the inspiration musically I guess was nothing the more than everyday anger we all feel on our lives and writing the kind of riffs we all love as a release from that.”

Rounding out the roaring horde is bassist Harry Bellano and drummer Andrew Bisgrove, who buttress this doomy, apocalyptic sound. This combined with the growling, no-nonsense vocals with the pounding riffage delivers something that’s truly Medieval.

Give ear…

Sometimes you just need the right combination of veteran musicians to come together and the magic happens. This is RAVINE, born in 2019. I witnessed their rise from afar during the pandemic and hope to see them live in the months ahead. Based in Portland, the grungy doom act features one of my favorite vocalists from the scene, Paul Dudziak, he of the late great Mammoth Salmon (which I’ve filmed many times).

In fact, I have met just about everyone in the band in the different acts they come from, all stand up dudes. We got ourselves twin guitar fire power with Nico Schmutz of Robots of the Ancient World and Justin Morgan from SkullDozer, joined by drummer Matt Amott of Wölflaut and Dylan Wills of Brick Bath (the only one not originally from Oregon).

This is exactly what I like! Some good ol fashion vintage Saint Vitus worship and nasty guitar riffs with a Southern sludge flair that settle somewhere in the neighborhood of classic Alice in Chains and Down. In fact, Ravine is about everything you could dream of in gritty, hard charging, down-to-earth doom metal band.

These songs ain’t no three-minute wonders, either. We’re talking big, meaty ball busters. “Deliver,” the new single from the band’s upcoming Ripple music premiere, ‘Chaos and Catastrophes’ (2025), is the shortest of the lot at 7 minutes. Nearly every song is 10 minutes long, which is just the kind of sustenance that a good doom lover thrives upon. Give us that red meat, baby.

I’m gonna make my stand!

Listen to that sinister groove chug along from 3:32 on. It’s pure headbanging going if you’re at a live show, guaranteed. Paul’s vocals have plenty of gravelly oomph which, when combined with the grind of the riffage and steady heave-ho beat, give this track a real muscular feel. The guitars shine as the song moves along, getting weird and psychedelic in a Dave Chandleresque sort of way.

Other tracks sport romping, stomping attack that will take you back to the glory days of the genre (“Conjure”), raving, panicked tear up the place moshing (“Contagion”), bluesy, swampy picking (“Prophecy”), and my favorite number (“Ennui”) delivers sweet amp worshipping feedback ala Eyehategod and soul-clutching, plaintive guitar harmonies that lovers of The Skull will adore.

Ravine’s Chaos and Catastrophes is a mad, ominous, moving record. Look for it June 20th on Ripple Music (pre-orders available soon right here).

Give ear…

SOME BUZZ

The heavy hitting Portland Oregon based 5-piece group Ravine were originally formed in 2018. A collaborative effort between two local guitarist friends in the metal scene Nico Schmutz (Robots of the Ancient World) and Justin Morgan (SkullDozer).

Channeling common sounds and influences from bands such as Down, Corrosion of Conformity and Eyehategod, they started writing riffs together as a way to branch out and start something new outside of their already established bands, with new people, and fresh ideas.

After a handful of song ideas came together, they quickly enlisted Drummer Matt Amott of Wölflaut along with San Diego transplantee Dylan Wills of Brick Bath notoriety on Bass. The band played shows locally and in July 2019 released their debut EP with original singer Daren Ford who left the group in late 2020.

In March 2022 the band recruited Paul Dudziak of Mammoth Salmon for vocal duties and Ravine now believes with their solidified lineup that they are ready to show the world what they are capable of.

Fast forward to January of 2024, Ravine went into Wrong Way Recording and laid down an album of new music which demonstrates their already focused chemistry as a solid Doom meets Hardcore Sludge Metal band, and that these veterans show signs of experience beyond their years as this line up.

The band signed with Ripple Music in 2024 and Chaos and Catastrophes is set for release in June 2025.

“This band is extremely brutal…” - Jimmy Bower - Eyehategod/Down

“Portland sludge/doom outfit Ravine isn’t just another five-guys-with-beards. These gentlemen are dedicated to a supreme level of heaviness that stands on the shoulders of Endtyme-era Cathedral and YOB’s first demo. New singer Paul Dudziak has developed a wild character voice that’s one part Lee Dorian, one part Tom Warrior, one part Scott Reagers, and one part Killdozer. All together, Ravine are patient enough to play the same riff for minutes in a row without ever lapsing into boredom or forsaking the groove. Too many doom bands have forgotten how to swing like our masters in Sabbath taught us. Ravine remembers that great music has dynamics, and can both pummel and lurch when needed. Chaos and Catastrophes is a full-length album journey into armageddon, with its full clarity and girth captured at Wrong Way Recording.” - Nathan Carson Nanotear Booking, Witch Mountain, The Keening

Love me some fuzz. In fact, it may be the best way to start your day, forget the coffee. Cue up a little FUZZRIDERS and sail right into your day, rain or shine, good or ill. The fuzz has got your back.

Another Electric Valley Records release, a label which can practically do no wrong with one irradiated downtuned issue after another, Fuzzriders bring us a long awaited full-length, having played in the Mediterranean island of Sardinia for some 8 years, home also of Loose Sutures, 1782, and other notables in the Italian heavy music scene as of late.

Fuzzriders channel a vintage sound from an era that just got rock right, amped up with modern innovations to the fuzz rock genre and vocals that for me recall vintage Bobby Liebling of Pentagram (“I am a demon” the singer chants at one point in the album). At the same time, the single before us roils with fearsome undertow that makes it more menacing than your standard ‘70s fare with an injection of jaded grudge. The fierceness of that album cover says it all: this ain’t your grandad’s stoner rock.

Here is the title track for Fuzzrider’s I Like It, coming out on EVR and available soon for pre-order here starting April 16 (release date June 6). US distribution via Glory or Death Records (get it here).

Give ear…

Electric Valley Records is stoked to announce the release of I Like It, the debut LP of the Italian stoner/fuzz rockers Fuzzriders. Scheduled for June 06, the album will be available on three vinyl variants and across digital platforms.

Fuzzriders took shape in 2017 in craggy, sun-drenched Sardinia, born from an idea by Bonettu and Carrasco. After a few trial runs, they were joined by Willy and Cisko, and together they began writing fast, raw, and punchy tracks, full of fuzzy, heavy sounds. On 01 January 2020, the Cagliari-based group released their self-titled EP, Fuzzriders, marking the beginning of a journey that shows no signs of stopping, with a full-length already in the works, set to take the band to new horizons.

In 2020, after the release of their self-titled EP, Fuzzriders reached out to Electric Valley Records with the intention of starting a collaboration. But, unfortunately, with the world shutting down due to the pandemic, the project was shelved before it could take shape. Now, with their debut album finally ready, Fuzzriders and Electric Valley have reignited the conversation, and this time, it’s become a reality.

Fuzzriders’ debut full-length, I Like It, is a sonic explosion: loud, unruly, and packed with the rhythm of chaos. Each track lands like an unexpected slap, leaving you breathless and on edge for unexpected. This is an album that doesn’t ask for permission, it rather kicks the door in and crashes through your consciousness without warning, leaving you rattled but craving more. Expect beefy, riff-heavy songs riding alongside stoned-out, intoxicated vocals, a groove-ready low end, and unfiltered garage convulsions.

At this stage of their career, Eindhoven enigma KOMATSU have developed a penchant for some really tight songcraft. For their fifth studio album the trio has honed all their talents to bring us this bulldozer of heft and energy that just will not let up.

Title track “A Breakfast For Champions” is a mash-up of influences with tastes of post-punk, ‘90s alt rock, prog, and deadly stoner groove. You’ll be swept right away in the undertow of that churning riffage come 1:12. The bass breakdown at 3 minutes is raw as hell. Guitar driven pandemonium.

“Savage” begins in the best way possible, with misty aweing voices joined by a tangled, weaving guitar trail that recalls Tool but goes to melodic places quintessential to Komatsu. The rhythm once again pulls you right into the urgent verve of the song.

“The Devil’s Cut” slows the pace down to a Spaghetti Western ghost town, but then turns into a real pepper grinder (shades of STP) with screeching guitar harmonies.

“Release The Flies” has one of the most convincing two note dirges I’ve heard in quite some time. Will definitely be revisiting this one as the year progresses.

“Fatcamp Workout” is big, brash and in your face with buttery bass, mad dash drumming, and bashing guitar. It’s almost comical at times, considering the title. Don’t worry, dark humor is good – it’s okay to crack a smile.

A voice speaks to me loud and so clear
Remember why you are here
I ignore

“What Lies Underneath” has an incredible sheen to the vocals with a rocking boat rhythmic sway and lyrics that seem to contemplate the big thoughts a human would dwell on were he cast out to sea: purpose, meaning, and destiny.

“Welcome to the Underworld” returns us to the motorific intensity that makes Komatsu so recognizable and great, with cosmic sounding guitars that soar with emotive force and declamatory vocals that have a certain gritty street realism that I can only relate to The Prodigy.

“Climb the Vines” is a pummeling adventure with all the instruments satisfyingly captured in this recording by Pieter Kloos. Love the climax with the guitars reaching for something transcendent, as it climbs higher and higher seeking to escape this mad jungle hell.

Komatsu’s A Breakfast For Champions drops this Friday, April 11th on Heavy Psych Sounds and will be issued on the usual stunning array of vinyl the label is legendary for (get it here).

Give ear…

“A Breakfast For Champion” is the follow-up to 2021’s “Rose of Jericho” and Komatsu’s first outing as a three-piece. As expected with the Eindhoven trio, skulls will be crushed at full force by this sonic sledgehammer. However, the 8-tracker also showcases a more melodic and stripped-down facet from these bearded gentlemen.

To cut it short: becoming a trio hasn’t taken anything away from their pulverizing grit and even adds some extra chemistry and breathing space that takes their sound to higher levels!

Komatsu’s 5th album is no fluffy pancake! 8 heavy, filling and delicious tracks will blow your mind and boost your immune system. Now as a three-piece band, their sound has opened up to show new layers of fuzz, rhythm and groove.

Lyrics range from deep topics like the universe, rebirth and dystopia to fat camps and female parts. Komatsu is proud to add some extra grease, grit and crunch to your morning oatmeal so you can face anything the world throws at you!

Doomed & Stoned is pumped about long-time doom ‘n’ heavy metal band CASTLE headlining the first night of The Electric Highway Festival this weekend in Calgary, April 4th and 5th. I exchanged words with longtime guitarist Mat Davis, one of the founding members who has been with the band since 2009 to talk about Castle’s infectious sound and why live shows always rule!

Castle has been rocking it since 2009 and I’ve had a chance to film you a couple times, I always appreciate the riffs and energy you bring to the stage. What are some of the distinctives of the Castle sound?

Hi Billy, thanks, that’s hard to pin down but one thing we always try is to bring you on a trip with the song and over the course of an album. Live, we try to bring a lot of energy and as a three piece we’re working to fill up the room with a big sound.

How has the Castle sound evolved since you released the first of your six studio albums in 2011?

We’re still a riff-driven, classic metal band but there’s an immediacy and directness that comes through more now with the writing and playing and that’s something we’ll continue to hone and get closer to the source.

You just got back from touring overseas with your new album ‘Evil Remains.’ How was that experience?

The Europe tour was amazing, lots of memorable shows and the response from the crowds was great. We’re heading back in June to play a few festivals and club shows and we’ll be changing up the set list… adding another new song and some older ones too, so very much looking forward to that.

You’ve been performing for pretty damned long. Do you think people’s interest in attending live shows has rebounded since COVID?

Yeah I think so! We held off for longer than most bands, we figured it would be a shitshow for a while but I think judging by our recent shows it seems good as far as booking shows and people coming out again, which is awesome.

What excites you about being a headliner for the Electric Highway Festival this year?

We’re stoked for one, there’s a lot of great bands playing and it’s a cool venue, we played there on tour with The Sword back in 2013 I think. It will be great to do our full set and hopefully people have a great time and go nuts.

I find there’s an incredible energy that comes from music festivals. For those on the fence, why should they get their ass off the couch and rock out with y’all?

Well, as mentioned there’s lots of great bands and shows like this don’t happen every weekend. Plus from what I’ve heard this is the last Electric Highway Fest so it would be wise not to miss it!

CASTLE “Evil Remains” North America

04/04 Calgary, AB - Electric Highway Fest @ Dickens
16/04 Sacramento, CA - Cafe Colonial
17/04 Los Angeles, CA - Knucklehead
18/04 San Francisco, CA - Kilowatt
19/04 Mt Shasta, CA - Vet’s Club
20/04 Portland, OR - High Water Mark
21/04 Seattle, WA - El Corazon
30/04 Toronto, ON - The Garrison
01/05 Detroit, MI - Smalls
02/05 Chicago, IL - Legions Of Metal Fest @ Reggies
03/05 Madison, WI - Gamma Ray Bar
04/05 Pittsburgh, PA - Poetry Lounge
05/05 Brooklyn, NY - The Woodshop
06/05 Boston, MA - Middle East Club
07/05 Montreal, PQ - La Sala Rossa
08/05 London, ON - Palasad
09/05 Hamilton, ON - Doors Pub
10/05 Ottawa, ON - Dominion Tavern

CASTLE “Evil Remains” Europe 2025

29/05 Muskelrock Fest @ Tyrolen, SE
30/05 Hamburg, DE - Bambi Galore
31/05 Desertland Fest @ Pumptrack, Berlin DE
01/06 Prague, CZ - Modra Vopice
02/06 Göppingen, DE - Zille
03/06 Düsseldorf, DE - Pitcher
04/06 Rotterdam, NL - V11
05/06 Heerlen, NL - Nieuwe Nor
06/06 GockelScream Fest - near Dresden DE
07/06 Battle Cry Fest @ Turock, Essen DE

Electric Highway Festival 2025

The Electric Highway Festival takes place on April 4 & 5 at Dickens (1000 9 Ave SW) in Calgary, Alberta. Here’s the full line-up:

Friday, April 4, 2025

• Castle (San Francisco/Vancouver)
• Buffalo Bud Buster (Calgary)
• Blacksmith and Brewer (Vancouver)
• CHÛNK (Vancouver)
• Hydracat (Edmonton)
• The Astral Prophets (Calgary)
• BUNS (Calgary)
• Doors 5pm – Show 6pm

Saturday, April 5, 2025

• Bison (Vancouver)
• La Chinga (Vancouver)
• Fever Dog (Southern California)
• The Getmines (Vancouver)
• 88 Mile Trip (Vancouver)
• Lover (Calgary)
• GEOFF (Calgary)

Doors 5pm – Show 6pm.

Advance 2-day passes are available for $75. Advance single-day tickets are $40 for Friday and $45 for Saturday.

Festival passes and single-day tickets are available at www.theelectrichighway.ca/festivalstore/.

Stay up to speed with the festival with updates right here.

Their sound is unmatched. Primal fury and pissed guitar driven ire with vocals that scream WAR! I speak of Vancouver sludgers BISON who have been at it since 206. Guitarist/vocalist Dan And took a few moments to chat with Doomed & Stoned about their upcoming appearance at Electric Highway Festival this weekend!

Tell us your origin story

In the early 2K’s, James was in a band called S.T.R.E.E.T.S., which I had gotten to know from shows in Victoria. When they broke up a mutual friend of ours suggested to James that he and I should play together. James messaged me on MySpace and somehow convinced me to move to Vancouver. We started jamming in August 2006, and that was that.

Bison has been around for almost 20 damn years, what’s changed and what remains a constant in keeping the hard driving energy behind your sound?

We’ve gone through a number of rhythm sections, but James and I have remained constant. I’m the mom, he’s the pop. We’re fuelled by absolute disdain and despair, which are pretty easy to come by these days.

What is it about the Electric Highway Festival that’s got you pumped?

Being back in Calgary with all our old pals is always a great time. Calgary has been our second home since the very beginning. The current stage and sound setup at Dickens also rules.

For newbies to Bison, what can they expect from a live show?

Ringing ears, and a sore back. We’re just 2 old guys and 2 not-so-old guys trying to give it their all and leave it all up on the stage. Complete emotional catharsis while still trying to enjoy themselves.

You’ve had four impressive full-lengths, three of which were released with Metal Blade Records. Do you have new material in the works?

Yea, we’ve been working on some things sporadically over the past few years. We’re all spread out over BC and the Yukon, so it’s tough to get together. We managed to actually get some stuff recorded last summer so we’ll see what happens with that. Stay tuned!

For the devoted metalheads out there, what instruments and gear do you perform with?

My setup has remained pretty constant since we started: a 100W Soldano Avenger into two 4x12 (one Emperor + one Marshall that was re-speakered by Emperor to match). My main guitar is a completely stock ESP - LTD Phoenix 1000 (their version of a Firebird, except 25.5” scale instead of the 24.75” that Gibson usually uses). I also occasionally use a Squire Partscaster Tele or a late 90s cream SG. I had to retire my custom First Act Delgado due to back problems, but it’s still around. Pedals rotate a lot, but for the past few years, I’ve been using an EHX Hot Wax for boost and cut, an EHX Pitchfork, and an MXR Sub Octave Bass Fuzz for a couple of noisy parts here and there. Been through a few different chorus and delays over the years, too, anything from Donner or Joyo to Boss or JHS.

James used a Mesa Mark 4 Long Head (I think?) for years but has been using a Peavey 5150 for a while now. He’s got a Marshall flat 4x12 and a Mesa flat oversized 4x12. He usually uses a First Act custom Lola or a Hamer double-cut (Special?), but also sometimes a Tele or an SG. His pedal setup changes constantly, but usually just a boost for leads and a spacey delay for noise.

Evan has an old Peavey T40 bass that weighs a million pounds in a full Ampeg SVT fridge. He’s got a couple of old, weird dirt pedals, too. And finally Eugene has some drums that sound fucking great. Probably Ludwigs? I can never remember but he bets the hell out of them!

The Electric Highway Festival takes place on April 4 & 5 at Dickens (1000 9 Ave SW) in Calgary, Alberta. Here’s the full line-up:

Friday, April 4, 2025

• Castle (San Francisco/Vancouver)
• Buffalo Bud Buster (Calgary)
• Blacksmith and Brewer (Vancouver)
• CHÛNK (Vancouver)
• Hydracat (Edmonton)
• The Astral Prophets (Calgary)
• BUNS (Calgary)
• Doors 5pm – Show 6pm

Saturday, April 5, 2025

• Bison (Vancouver)
• La Chinga (Vancouver)
• Fever Dog (Southern California)
• The Getmines (Vancouver)
• 88 Mile Trip (Vancouver)
• Lover (Calgary)
• GEOFF (Calgary)

Doors 5pm – Show 6pm.

Advance 2-day passes are available for $75. Advance single-day tickets are $40 for Friday and $45 for Saturday.

Festival passes and single-day tickets are available at www.theelectrichighway.ca/festivalstore/.