Heavy Psych Sounds HHV Records 517 Items

Between records like Relentless and Show ‘Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like “Live Again,” “Solve the Puzzle” or “In the Panic Room,” but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling’s unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it’s not a moment to neglect as they dig into a cut like “Dull Pain” or “Lady Heroin,” the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that’s become an inextricable part of the Pentagram story. As he wonders in the lyrics, “Lady Heroin, have I seen the last of you?” it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking. It’s not all brooding, even if it is doom. “Thundercrest” is brash and the nodding title-track brings to mind past glories without actually reliving them. The central message, any way you want to look at it, is that no matter how much the band has been through over the last half-century-plus, they remain a singular force. Lightning in a Bottle might not be the first Pentagram reboot, but it brings fresh ideas and dynamic to one of doom’s most classic, formative acts, and as soon as you hit play, the band absolutely own the moment of their own making.

Repress of the 20th Anniversary remastered/remixed album version in brand new color

Jalamanta was a life changing record for me. Its the record that launched my journey as Brant Bjork. Listening to the tapes 20 years later was amazing. Tony Mason and myself were transported back to that moment in time. Jalamanta was a first for both Tony and myself. My first record as a solo artist and his first record as an engineer. We didn’t think twice about re-mixing it. With our combined experience over the years, we knew we could take Jalamanta to the place we always wanted it to go. And we did. Dig it. BB Jalamanta has been re-mixed by Tony Mason, with a freshly baked re-master by John McBain at JPM Mastering, San Fransisco. Cover photo by Sam Grant. Skull Modern Relics by Joe Joe Herbick. Art direction by Ryan Jones. Layout by Branca Studio.

Between records like Relentless and Show ‘Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like “Live Again,” “Solve the Puzzle” or “In the Panic Room,” but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling’s unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it’s not a moment to neglect as they dig into a cut like “Dull Pain” or “Lady Heroin,” the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that’s become an inextricable part of the Pentagram story. As he wonders in the lyrics, “Lady Heroin, have I seen the last of you?” it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking. It’s not all brooding, even if it is doom. “Thundercrest” is brash and the nodding title-track brings to mind past glories without actually reliving them. The central message, any way you want to look at it, is that no matter how much the band has been through over the last half-century-plus, they remain a singular force. Lightning in a Bottle might not be the first Pentagram reboot, but it brings fresh ideas and dynamic to one of doom’s most classic, formative acts, and as soon as you hit play, the band absolutely own the moment of their own making.

Dead Meadow’s highly anticipated tenth studio album Voyager to Voyager marks a defining moment in their illustrious 26-year journey. Revered as a pioneering force in the heavy psychedelic rock scene since their formation in the late '90s, the band delivers not only their most emotionally charged and sonically expansive album to date but also a powerful tribute to their brother, late bassist Steve Kille, whose battle against cancer and untimely passing in early 2024 has made it the poignant end of a chapter in the band’s history. Written and recorded across three intense sessions in downtown LA’s Ultrasound Studios, Voyager to Voyager perfectly encapsulates Dead Meadow’s raw energy and creative chemistry. During the sessions, the band worked quickly, using only the first or second take to preserve the immediacy found in their live show, with drummer Mark Laughlin delivering some of his best performances to date. Its creation, however, was shaped by personal hardship. In early 2023, the trio began writing and recording, but it wasn’t until later that year that bassist Steve Kille’s health began to decline. In January 2024, just weeks before the final tracking sessions, he was diagnosed with cancer but remained steadfast, fueling the band’s resolve to stay on course and finish the album. As they entered Dave Grohl’s legendary Studio 606 to mix the record, Steve’s health continued to deteriorate, yet his creative influence and presence were felt throughout the process, even as he was confined to a couch during the final mixing sessions. However, the final mixes didn’t quite capture the magic they had hoped for. Guitarist and vocalist Jason Simon reflects, “The famed Sound City Neve board did impart a certain mojo but jumping into an unfamiliar space can be tricky and some of the mixes didn't feel quite right. So I decided to start over, mixing the record at my own studio. The task was herculean, but in the end the new mixes felt like they should, like classic Dead Meadow. I’m really happy with how each song turned out, and I know Steve would agree.” The result is an album that is unmistakably Dead Meadow: expansive, melody-driven, and deeply rooted in their unique sound — one that honors both their roots and the cosmic imagery that defines Voyager to Voyager. Lyrically, the album delves into themes of space, isolation, and human connection, with the opening track, “The Space Between,” drawing from the theory of the universe's continual expansion as a metaphor for strained relationships. The title track “Voyager to Voyager” reflects Simon’s fascination with the two Voyager spacecrafts — humanity’s farthest traveling creation, now venturing into interstellar space as well as representing a message between travelers, an understanding shared between those who have embarked on a genuine journey, whether together or apart. Steve Kille’s passing in April 2024 has made this whole album all the more meaningful. "We’ve lost a bandmate, a brother, a friend, and a creative partner on this voyage of 26 years as Dead Meadow," Simon says. "We are so very thankful to have this LP of new material, as Steve laid down his final bass line shortly before he became too sick to really play.” While Voyager to Voyager is anything but a tribute album, it does ultimately stand as a celebration of Kille’s immeasurable legacy. His unique and endlessly creative bass playing helped shape Dead Meadow’s sound while his singular artistic vision created iconic album covers and defined the band’s visual identity. With Voyager to Voyager, Dead Meadow once again affirms their place in the pantheon of modern psych rock by pushing their sound to new heights, all the while honoring the deep creative bond they have shared through nearly three decades of melting minds worldwide… and perhaps even beyond that time and space continuum. The end of a chapter and a cosmic journey we shall embrace fully.

Between records like Relentless and Show ‘Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like “Live Again,” “Solve the Puzzle” or “In the Panic Room,” but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling’s unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it’s not a moment to neglect as they dig into a cut like “Dull Pain” or “Lady Heroin,” the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that’s become an inextricable part of the Pentagram story. As he wonders in the lyrics, “Lady Heroin, have I seen the last of you?” it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking. It’s not all brooding, even if it is doom. “Thundercrest” is brash and the nodding title-track brings to mind past glories without actually reliving them. The central message, any way you want to look at it, is that no matter how much the band has been through over the last half-century-plus, they remain a singular force. Lightning in a Bottle might not be the first Pentagram reboot, but it brings fresh ideas and dynamic to one of doom’s most classic, formative acts, and as soon as you hit play, the band absolutely own the moment of their own making.

Between records like Relentless and Show ‘Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like “Live Again,” “Solve the Puzzle” or “In the Panic Room,” but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling’s unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it’s not a moment to neglect as they dig into a cut like “Dull Pain” or “Lady Heroin,” the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that’s become an inextricable part of the Pentagram story. As he wonders in the lyrics, “Lady Heroin, have I seen the last of you?” it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking. It’s not all brooding, even if it is doom. “Thundercrest” is brash and the nodding title-track brings to mind past glories without actually reliving them. The central message, any way you want to look at it, is that no matter how much the band has been through over the last half-century-plus, they remain a singular force. Lightning in a Bottle might not be the first Pentagram reboot, but it brings fresh ideas and dynamic to one of doom’s most classic, formative acts, and as soon as you hit play, the band absolutely own the moment of their own making.

Repress of the Shivering King And Others double album in brand new Colored Vinyl. Shivering King and Others is the third album of Washington, D.C. based band Dead Meadow. It was released on CD and double LP by Matador Records in 2003.

More than 20 years after their debut, Witchcraft’s seventh album, ‘IDAG,’ is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in ‘70s classic progressive and heavy rock will delight to the strut of “Irreligious Flamboyant Flame” while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of ‘idag’: “This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones.” These enigmatic few words from the Swedish band’s main songwriter give clues as to the songs’ intentions; a reference dropped to Coven’s 1969 album, ‘Witchcraft Destroys Minds and Reaps Souls.’ Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it’s a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much ‘a Witchcraft record’ can encompass. The storyline of Witchcraft’s growth, from Pelander’s starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken’s disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005’s ‘Firewood’ and 2007’s ‘The Alchemist’ introduced more progressive sounds, and five years later, the pointedly modern ‘Legend’ established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP ‘Nucleus’ introduced fuller-toned doom, and 2020’s ‘Black Metal’ diverged into moody acoustic minimalism familiar to some fans from Pelander’s early solo work, but different from anything Witchcraft had done prior. ‘IDAG,’ then, is the tie that draws all of this – more than two decades of exploring and growth – together. Whatever they’ve done in the past and whatever they’ll do in the future, ‘idag’ feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing.

Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult’s self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener ‘Diabolical Influence’- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic ‘Death Lurks at Every Turn’- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. ‘The Witchfinder Comes’ only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. ‘Be My Witch’ comes in hot and heavy as a grungy ode to the forbidden, and the blistering ‘Annihilation’ concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with ‘Theme From Cyclops’ – the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is ‘Lord Of The Flies’-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, ‘Aradia’ serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage ‘Sacrifice’- an unholy exhibition of undeniable force.

The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

After more than two decades of taking the underground by storm, Nightstalker return with their most colossal and bold statement yet: "Return From The Point of No Return". More than just a continuation of their career, this seventh studio album is the moment they transcend everything they have accomplished in their thirty-year history. As soon as the rip-roaring, banger-heavy fire of the anthemic opening track "Dust" sets your stereo ablaze, you're in for an epic ride. On "Return From The Point of No Return", Nightstalker's signature sound of gritty, massive blues-laden riffs and hypnotic grooves crowned by the commanding vocals of legendary frontman Argy Galiatsatos has gone deeper, darker, and more expansive. It’s a record that speaks to the soul as much as it pounds the body, leaving you wondering how you ever lived without it. From moments of crushing intensity driven by the band's muscular rock'n'roll pulse to slow-burning atmospheric tension, each song takes you on a journey through the darker side of life, telling a story that’s as much about pushing boundaries as it is about confronting the void. This new album is a statement of intent: Nightstalker is not here to follow trends for they have paved the way for an entire generation of Greek stoner rockers, and everything in this new album feels like an electrifying call to arms for legions of fans to pump their fists in the air in unison. "Return From The Point of No Return" is a triumph of heavy rock and a paramount testament to their legacy.

Repress of the fifth double album Old Growth in brand new coloured vinyls. Old Growth is the fifth double album by the Washington, D.C., psychedelic rock band Dead Meadow. It was released in 2008 by Matador Records on CD and LP.

Repress of the fifth double album Old Growth in brand new coloured vinyls. Old Growth is the fifth double album by the Washington, D.C., psychedelic rock band Dead Meadow. It was released in 2008 by Matador Records on CD and LP.

After two years in the making, Wyatt E. seals their long-awaited return in 2025 with the highly anticipated narrative sequel to “āl bēlūti dārû”: zamāru ultu qereb ziqquratu Part 1 (Music from inside the Ziggurat); is the first chapter of a set of 2 concept albums in which the band deepens its exploration of ancient Babylon with an almost mythical approach through the eyes of the exiled captives from Jerusalem.

Featuring contributions from 7 international collaborators, zamāru ultu qereb ziqquratu is poised to become one of the most ambitious projects in the doom scene in terms of production & conception and will be released by the finest label in the genre: Heavy Psych Sounds.

The album pushes sonic boundaries by featuring two drummers recorded simultaneously, creating the immersive effect of distant crowds. An eclectic mix of instruments, including the saz, viola, sitar, and bugle, blend with both analog and digital elements to enrich the soundscape. A nod to Turkish composer Fazıl Say is also present, with a quotation from his symphony Mesopotamia. For the first time, two vocal tracks appear alongside the instrumental pieces. Iranian singer Nina Saiedi lends her ethereal voice to "The Diviner's Prayer to the Gods of the Night," sung in Akkadian, while Jerusalem’s choir conductor, Tomer Damsky delivers a captivating performance of Im Lelya in Aramaic adding a deep vocal layer to the album. The final mix, crafted by renowned producer Tim De Gieter, known for his work with Amenra, Brutus, and Absent in Body, brings everything together with a masterful touch.

Brand new reissue of the Nightstalker legendary debut album Side FX in new coloured vinyls !! Nightstalker’s debut album, recorded in 1993 and released in 1994, captures the raw, rebellious energy of the era, blending gritty, Motörhead-inspired heaviness with infectious grooves. Emerging from Greece during the height of grunge and alternative music, the band delivers a sound that’s unapologetically rough and driven by a heavy, rhythmic pulse. Their music channeled the raw power of ‘90s rock while Nightstalker carved out their own space with their hypnotic riffs, groovy basslines, and a dark, rebellious spirit. A bold first step, this album sets the tone for Nightstalker’s journey.

Yellow/orange/purple vinyl, limited to 150 copies.Brand new remastered version of PENTAGRAM legendary album Review Your Choices in new Colored Vinyl and with a brand new cover desgined by Mirkow Gastow.PENTAGRAM's fourth studio album "Review Your Choices" marked the band's sixth comeback after several changes of line-up and label. These acclaimed protagonists of Doom Metal proved once more indestructible by drug addiction, break ups, bad deals, jail terms, chronic illness, satanic blood sacrifices and various acts of self destruction. Main-man and singer Bobby Liebling has kept his band alive for over 35 years now and might easily be awarded the title of "longest serving cult band" - highly acclaimed by fans, press and fellow musicians alike. "Review Your Choices" marked the return of multi-instrumentalist Joe Hasselvander to join Bobby Liebling in his eternal quest of creating the heaviest sound possible. The album features a mix of re-recorded lost Liebling tracks from the 70's and stellar new numbers penned by Hasselvander, which gave "Review Your Choices" an extra heavy feeling. PENTAGRAM once again set a standard to be followed by such illustrious followers as Cathedral, Spirit Caravan, Goatsnake, St. Vitus, Trouble or High On Fire among many others. Dive down deep into gloom and despair with this classic Doom recording.

Remixed and remastered reissue of the legendary Orquesta DEL Desierto sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group’s dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group’s diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet. Released in 2003, Dos was immediately embraced as a “. . . compelling fusion of Latin stylings and psychedelic-tinged blues that is a real alternative these days” (cosmiclava.com). Bolstered by similar acknowledgements and reviews of their second album, Orquesta del Desierto committed to a series of performances throughout southern California and a European tour in 2004. Joined by drummer Bryan Brown, these shows have become legendary among the fans who were able to attend the band’s only active period of live performances.

“Violence Dimension is our 7th full length release. We have come quite a distance in time and space since we released Horseback in 2010. One thing that binds us all is violence, be that within a video game, or in a movie or on the daily news. Violence affects our daily life, perhaps more than love or kindness ever will. We are all bound by death, whether we like it or not. This release explores the hinterland between being scared to live and bring scared to die, and punches holes in the idea that we must live our life by one set of rules. We all live in the violence dimension, and there is no escape.”

Biography Conan’s doom is singular. Carved of granite. Yes, of course there’ve been changes since guitarist/vocalist Jon Davis founded the group in 2006, but the intention at the time toward superlative heavy – tonal extremity wrought with impressionist lyrics stripping ideas to the core where sometimes the whole line is just one word; they’ve always called it “Caveman Battle Doom” – remains at the root of everything they’ve done since. And across five studio records in the decade from 2012-2022, Conan have set the standard by which much of “heavy” anything is judged. And in comparison, most is found wanting. But for every time you’ve heard about Conan’s music being like galloping steeds or frost-covered sharp-peaked mountains, etc., imagery of largesse and violence, the truth is Conan are an exercise in frequency. It’s the low resonance that shakes your chest, the depth of the bass – now handled by David Ryley (ex-Fudge Tunnel) – the push of air from Johnny King’s kick drum, or the way the dark-fuzz distortion of Davis’ guitar is offset by shouting vocals cutting through that sometimes punishing onslaught, rarely to offer comfort so much as add viciousness to the crash, plod and pillage. In 2024, Conan sign to Heavy Psych Sounds as a recognized name and one of the foremost acts of their generation, wildly influential in their home country of the UK and well beyond; headliners in practice and theory alike. Their fifth LP, 2022’s ‘Evidence of Immortality,’ brought a dark ambience to coincide with its outright attack. With experiments in darkwave and synth adding breadth to the stated root purpose of aural force, it’s never been harder to guess where the next few years might take their sound, but whatever’s coming, Conan will make it kill. The better part of two decades later, their reliability remains unshakable. Which you want when your band is so heavy that the floor and your ribcage both start to vibrate.

Repress of the fifth double album Old Growth in brand new coloured vinyls. Old Growth is the fifth double album by the Washington, D.C., psychedelic rock band Dead Meadow. It was released in 2008 by Matador Records on CD and LP.

Yellow/orange/puple A/B-Side Effect vinyl. LImited to 150 copies.Brand new remastered version of PENTAGRAM legendary album Sub-Basement in new Colored Vinyl and with a brand new cover designed by Solo Macello.Doom is made out of 666 tons heavy riffing, vocals filled with pain, regret and spite as well as leaden song-structures stretched taut to the point of ripping. PENTAGRAM embody all those virtues like no other contender in this oldest of all genres of Metal being founded by none other than Black Sabbath. Many have named PENTAGRAM the true heirs of those originators of Heavy Metal and honourably dubbed them 'the American Black Sabbath'. In this sixth incarnation of the band, Doom lord Bobby Liebling had reunited with drummer Joe Hasselvander, who had already been a member of PENTAGRAM twice before. Hasselvander played all the instruments, while Liebling added his matchless vocals. "Sub-Basement" was the second output of this line-up and is regarded as the most Rock N' Roll effort of the doomsters ever. On top of PENTAGRAM's perfect Doom sound an irresistible groove and capturing catchiness was added, which made the album an all time favourite for many fans. "Sub-Basement" will kick your ass and twist your legs.

Reissue of Conan legendary second album Monnos in brand new Colored Vinyl. Monnos was Conan's second album and helped them to stake their claim to the heavy music elite. Six tracks of uncompromising heaviness that just won't give in.Tracklist:

“Violence Dimension is our 7th full length release. We have come quite a distance in time and space since we released Horseback in 2010. One thing that binds us all is violence, be that within a video game, or in a movie or on the daily news. Violence affects our daily life, perhaps more than love or kindness ever will. We are all bound by death, whether we like it or not. This release explores the hinterland between being scared to live and bring scared to die, and punches holes in the idea that we must live our life by one set of rules. We all live in the violence dimension, and there is no escape.”

Biography Conan’s doom is singular. Carved of granite. Yes, of course there’ve been changes since guitarist/vocalist Jon Davis founded the group in 2006, but the intention at the time toward superlative heavy – tonal extremity wrought with impressionist lyrics stripping ideas to the core where sometimes the whole line is just one word; they’ve always called it “Caveman Battle Doom” – remains at the root of everything they’ve done since. And across five studio records in the decade from 2012-2022, Conan have set the standard by which much of “heavy” anything is judged. And in comparison, most is found wanting. But for every time you’ve heard about Conan’s music being like galloping steeds or frost-covered sharp-peaked mountains, etc., imagery of largesse and violence, the truth is Conan are an exercise in frequency. It’s the low resonance that shakes your chest, the depth of the bass – now handled by David Ryley (ex-Fudge Tunnel) – the push of air from Johnny King’s kick drum, or the way the dark-fuzz distortion of Davis’ guitar is offset by shouting vocals cutting through that sometimes punishing onslaught, rarely to offer comfort so much as add viciousness to the crash, plod and pillage. In 2024, Conan sign to Heavy Psych Sounds as a recognized name and one of the foremost acts of their generation, wildly influential in their home country of the UK and well beyond; headliners in practice and theory alike. Their fifth LP, 2022’s ‘Evidence of Immortality,’ brought a dark ambience to coincide with its outright attack. With experiments in darkwave and synth adding breadth to the stated root purpose of aural force, it’s never been harder to guess where the next few years might take their sound, but whatever’s coming, Conan will make it kill. The better part of two decades later, their reliability remains unshakable. Which you want when your band is so heavy that the floor and your ribcage both start to vibrate.

Dead Meadow’s highly anticipated tenth studio album Voyager to Voyager marks a defining moment in their illustrious 26-year journey. Revered as a pioneering force in the heavy psychedelic rock scene since their formation in the late '90s, the band delivers not only their most emotionally charged and sonically expansive album to date but also a powerful tribute to their brother, late bassist Steve Kille, whose battle against cancer and untimely passing in early 2024 has made it the poignant end of a chapter in the band’s history. Written and recorded across three intense sessions in downtown LA’s Ultrasound Studios, Voyager to Voyager perfectly encapsulates Dead Meadow’s raw energy and creative chemistry. During the sessions, the band worked quickly, using only the first or second take to preserve the immediacy found in their live show, with drummer Mark Laughlin delivering some of his best performances to date. Its creation, however, was shaped by personal hardship. In early 2023, the trio began writing and recording, but it wasn’t until later that year that bassist Steve Kille’s health began to decline. In January 2024, just weeks before the final tracking sessions, he was diagnosed with cancer but remained steadfast, fueling the band’s resolve to stay on course and finish the album. As they entered Dave Grohl’s legendary Studio 606 to mix the record, Steve’s health continued to deteriorate, yet his creative influence and presence were felt throughout the process, even as he was confined to a couch during the final mixing sessions. However, the final mixes didn’t quite capture the magic they had hoped for. Guitarist and vocalist Jason Simon reflects, “The famed Sound City Neve board did impart a certain mojo but jumping into an unfamiliar space can be tricky and some of the mixes didn't feel quite right. So I decided to start over, mixing the record at my own studio. The task was herculean, but in the end the new mixes felt like they should, like classic Dead Meadow. I’m really happy with how each song turned out, and I know Steve would agree.” The result is an album that is unmistakably Dead Meadow: expansive, melody-driven, and deeply rooted in their unique sound — one that honors both their roots and the cosmic imagery that defines Voyager to Voyager. Lyrically, the album delves into themes of space, isolation, and human connection, with the opening track, “The Space Between,” drawing from the theory of the universe's continual expansion as a metaphor for strained relationships. The title track “Voyager to Voyager” reflects Simon’s fascination with the two Voyager spacecrafts — humanity’s farthest traveling creation, now venturing into interstellar space as well as representing a message between travelers, an understanding shared between those who have embarked on a genuine journey, whether together or apart. Steve Kille’s passing in April 2024 has made this whole album all the more meaningful. "We’ve lost a bandmate, a brother, a friend, and a creative partner on this voyage of 26 years as Dead Meadow," Simon says. "We are so very thankful to have this LP of new material, as Steve laid down his final bass line shortly before he became too sick to really play.” While Voyager to Voyager is anything but a tribute album, it does ultimately stand as a celebration of Kille’s immeasurable legacy. His unique and endlessly creative bass playing helped shape Dead Meadow’s sound while his singular artistic vision created iconic album covers and defined the band’s visual identity. With Voyager to Voyager, Dead Meadow once again affirms their place in the pantheon of modern psych rock by pushing their sound to new heights, all the while honoring the deep creative bond they have shared through nearly three decades of melting minds worldwide… and perhaps even beyond that time and space continuum. The end of a chapter and a cosmic journey we shall embrace fully.

Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult’s self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener ‘Diabolical Influence’- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic ‘Death Lurks at Every Turn’- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. ‘The Witchfinder Comes’ only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. ‘Be My Witch’ comes in hot and heavy as a grungy ode to the forbidden, and the blistering ‘Annihilation’ concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with ‘Theme From Cyclops’ – the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is ‘Lord Of The Flies’-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, ‘Aradia’ serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage ‘Sacrifice’- an unholy exhibition of undeniable force.

The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

Life Is Much Stranger" is the mind-blowing 4th studio album from NYC heavy rock trio The Golden Grass and it stands tall and wild, towering above their entire previous discography! It is a massive and epic sonic adventure, a post-modern collage of rock n roll ideology, swelling and bursting with hard, heavy and progressive musical energies...the past is inside the present...and The Golden Grass are moving the sound Forward! It has always been the goal of the group to connect the dots between their influences, to reconcile disparate vintage ideas that perhaps never coexisted in their original place and time! To give life to a NEW artistic vision that synergizes them together like a warm blanket, both familiarly ancient and cosmically NOW! And with all of that sonic information of the past, not to mention a healthy dose of great taste, The Golden Grass concoct their magick brew and are able to conceptualize and materialize music in such a particular way that it screams timelessly from long ago, but could only happen IN This Very Moment! Life IS much stranger after all…. This album was conceived over the past several years, through chaos and confusion, during a global pandemic that forced the band to work in new/unconventional ways they had never before imagined. The music on this album has never seen an audience. These songs have never been performed. And in fact, the recording of the album was the first time the members of the group even understood what their new creations sounded like! The initial writing sessions began in the summer of 2019, but were obviously halted in early 2020 due to the situation. Over the next two years, the band did their best to move forward with the process but rehearsals were infrequent, sickness and health threats always barking at the door, and a constant unknown of what was to come; was there any future for their art at all?...But slowly and disjointedly, they assembled their musical ideas into 7 rough pieces that would soon comprise “Life Is Much Stranger”. From Sept-Oct of 2022, the group worked with a team of engineers across three studios in NYC, recording and mixing the tracks, sculpting their rough song-forms into polished, yet quite surreal, glistening gems! And when they emerged with a finished product, the bizarre and strange events of the previous 3 years all melted into a perfect picture, a complete totality, crystal clear, wholly avant-garde and spellbinding! “Life Is Much Stranger” is an amalgamation of hard rock boogie, jazzy progressive rock, psychedelic exploration and incendiary proto-metal all bursting with soulful harmony-layered vocals, masterful instrumental technicality and an otherworldly creative ambition…and it sounds Fucking Great!

This K2B album was released in 2012. Also known as Karma To Burn: Slight Reprise, the release has 9 tracks featuring also the stoner legend John Garcia singing in the song Two Times !!! After 10 years, Heavy Psych Sounds is now reissuing this stoner gem for the First Time ON Vinyl !!!

As our forthcoming record, we knew we had to go big on Vulture’s Paradise. These songs found the perfect balance of a raw, live sound and psychedelia. Though the lyrical themes revolve around death and destruction, the music is more alive and creative than ever.

Warlung is a Texas rock band formed by longtime friends and brothers in 2016. Inspired by the sounds of old, they wrote heavy, catchy songs with a psychedelic twist. By February 2017, they recorded their debut album, Sleepwalker, which was self-released the following fall. Playing festivals such as End Hip End It Fest and opening for acts like Wo Fat and Dead Meadow, they quickly gained a cult following around Texas.

“They raise the bar for some metal bands, and definitely anyone who's making their blend of metal and psych. The band seems to accept that they don't have to stick to traditional themes and goes for more epic storytelling, helping to further expand their sound.” – David Garrick (Houston Press) Less than a year later, they entered the studio to record their second album, released in February 2019. Immortal Portal went on to hit #14 on Doom Charts and was included on Weedian’s first artist compilation. They continued to host various breweries and festivals like Sxsw, and quickly became a fan favorite within the local rock community. Their audience grew as they opened for bands such as High Reeper, Forming the Void and King Buffalo. “Warlung gasp the airwaves with pneumonic rage, utilizing elements of true doom, heavy metal, stoner rock, psychedelic and occult driven blues. The wicked riffs, dreamlike vocals and sinful solos subdue the listener deep into a deep state of Sabbath fantasia.” – Bucky Brown (The Ripple Effect)

Desert Psychedelic Fuzzsters Nebula are back with an incredible new album!! 8 tracks of pure Fuzzness recorded by bass player Tom Davies and produced together with the mastermind Eddie Glass in the Mojave desert ! It's the classic Nebula sound: walls of guitars, riffs that come from outer space, melodic vocals matched with desert grooves...you couldn't ask for more.The band spent the last 6 months in the studio alone recording and mixing this new Psychedelic Stoner Rock gem!The amazing artwork was made by the one and only Robin Gnista.

The Belzebong first full-length album Sonic Scapes & Weedy Groovesis a milestone record in the Doom/Stoner Rock genre. This 2011 release by the quartet from Poland is a power-packed, riff-laden and uncompromising testament to Belzebong’s authentic and unambiguous style and execution of their material. Tons of evil weedian riffage released on „Sonic Scapes & Weedy Grooves” put instrumental stoner doom in it's most primal form on higher level. Released in 2011 became an instant classic. Considered by many to be one of defining moment in the stoned doom genre. Heavy Psych Sounds decided to give new life to this gem with a new reissue in Colored Vinyl.

Spiral Shadow is the fifth full-length album by American sludge metal band Kylesa. A metal band to the bone, Kylesa stomp the clichés right out of psych-rock on Spiral Shadow. The Georgia band's new album, their fifth in less than a decade, is the next step in a pretty seamless evolution that's hidden increasingly complex (and catchy!) music behind an attack that still hits with the in-the-red rawness of hardcore. - Pitchfork

On the fringe of chaos, in the Year of the Pandemic, the Cannabeast has awoken!! Bongzilla is back with a new full length album, 16 years since their last record. These Pioneers of Weed Metal would like to present “weedsconsin” to the universe. An album written by the three long standing original members of Bongzilla - Muleboy (bass, vocals), Spanky (guitar), and Magma (drums). Recorded and mixed by the late John Hopkins at Future Apple Tree Studios in Rock Island, Illinois in October 2020. The six brand new tracks will blow your mind! In a single instant you are contaminated by the classic Weed-Infected sounds the band is known for, while also finding new elements mixed into the bowl. In the unique piece that is Weedsconsin, Bongzilla delivers heavy doses of Crushing Stoner Doom and Psychedelic Space Rock that sets it apart from earlier material. (That’s why HPS Records is the perfect label to release this stuff). This record travels down a path of heavy riffs, mind-expanding jams, sonic tones, and stomping beats in the band's first release as a thunderous three piece, with Muleboy moving from guitar to bass. Approaching these songs as a three piece has created more space musically and allowed the band to showcase their musicianship in a different way. It results in a sound that is very heavy, along the lines of Gateway tone-wise, but sonically more clear. The album is mastered by Carl Saff at Saff Mastering in Chicago, Illinois, and Eli Quinn (Madison, Wisconsin) is the artist behind the astounding new cover art. Weedsconsin is dedicated to the memory of John Hopkins.

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called Doom Sessions !!We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands.This record you are holding is VOL. 666 – a split album between the UK occult-doom riffers Dead Witches and the french doom sensation Witchthroat SERPENT.All the tracks are new and never released before. An occult-doom explosion !!! Awesome artwork by the one and only Branca Studio.

Live In The Mojave Desert Is A Livestream Concert Film Series Created Deep In The Deep Sand And Huge Boulders Of Some Insanely Beautiful California Wilderness, With Performances From Earthless, Nebula, Spirit Mother, Mountain Tamer, And Stoner (A New Band By Brant Bjork And Nick Oliveri). Each Concert Film Is Presented In A World-Premiere, 1080p Hd Livestream Event And Will Become A Live Album. Rad Music, Good Times, Psychedelic Positive Vibez In The Desert.Live In The Mojave Desert Was Inspired By Pink Floyd's Live At Pompeii. A Few Of Our Favorite Bands - New And Legendary Artists - With The Mad Alchemy Liquid Light Show To Light Up A Huge Double Pyramid Of Boulders. Recorded In 24 Track Protools.

Inspired by Pink Floyd’s ‘Live At Pompeii’ the live in the Mojave desert series will showcase some of desert rock’s best in the middle of the California wilderness. Live IN THE Mojave Desert is a livestream concert film series created deep in the deep sand and huge boulders of some insanely beautiful California wilderness, with performances from Earthless, Nebula, Spirit Mother, Mountain Tamer, and Stoner (a new band by Brant Bjork and Nick Oliveri). Each concert film is presented in a world-premiere, 1080p HD livestream event and will become a Live Album. Rad music, good times, psychedelic positive vibez in the desert. Live in the Mojave Desert was inspired by Pink Floyd’s Live at Pompeii. A few of our favorite bands - new and legendary artists – with the Mad Alchemy Liquid Light Show to light up a huge double pyramid of boulders. Recorded in 24 track ProTools.

Inspired by Pink Floyd’s ‘Live At Pompeii’ the live in the Mojave desert series will showcase some of desert rock’s best in the middle of the California wilderness. Live IN THE Mojave Desert is a livestream concert film series created deep in the deep sand and huge boulders of some insanely beautiful California wilderness, with performances from Earthless, Nebula, Spirit Mother, Mountain Tamer, and Stoner (a new band by Brant Bjork and Nick Oliveri). Each concert film is presented in a world-premiere, 1080p HD livestream event and will become a Live Album. Rad music, good times, psychedelic positive vibez in the desert. Live in the Mojave Desert was inspired by Pink Floyd’s Live at Pompeii. A few of our favorite bands - new and legendary artists – with the Mad Alchemy Liquid Light Show to light up a huge double pyramid of boulders. Recorded in 24 track ProTools.

Jalamanta was a life changing record for me. Its the record that launched my journey as Brant Bjork. Listening to the tapes 20 years later was amazing. Tony Mason and myself were transported back to that moment in time.Jalamanta was a first for both Tony and myself. My first record as a solo artist and his first record as an engineer. We didnt think twice about re-mixing it. With our combined experience over the years, we knew we could take Jalamanta to the place we always wanted it to go. And we did, dig it. “bb” Jalamanta has been re-mixed by Tony Mason, with a freshly baked re-master by John McBain at JPM Mastering, San Fransisco. Cover photo by Sam Grant. Skull Modern Relics by Joe Joe Herbick. Art direction by Ryan Jones. Layout by Branca Studio.

Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with Qotsa, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Black Rainbows are back with a brand new album! This time they are delivering 12 new and fresh tunes. Recorded and produced by Fabio Sforza, who was also behind the previous album Pandaemonium. “Cosmic Ritual Supertrip” has a monolithic force; guitars, drums and bass are all glued together to give the listener a punch in the face! This album gets its magic power from mixing together a 70’s attitude with a doom-occult and stoner rock sound in a masterful way. We can count a bunch of singles, such as “Isolation” and “Master Rocket Power Blast”, as well as a couple of doomy songs like “Universal Phase” and “Saacred Graal” and also more catchy tunes like “Radio 666” and “At Midnight You Cry”. This is the 8th album of the band and we believe the best one so far. Recorded at Forward Studios in Rome on a huge Neve desk, this new gem will be out May 1st, on Heavy Psych Sounds Records.
The amazing artwork, made by the one and only Robin Gnista, is matching in its entirety the album music concept.