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Released: 2026 Genre: Sludge, Post-doom Sounds Like: YOB, ISIS, Neurosis Homeland: Slovenia What makes AYD elite and sit atop OHMs Peak? AYD is a monumental album filled with Post-metal, sludge, and doom. It might be one of the most diverse sludge albums to enrich our rotation in quite a while. The four songs are deeply engaging and draw you into their spiraling sludge world. For a debut album, AYD shows impressive patience, skillfully balancing the contrast between the most intense moments and the quietest sections. Track Listing: The Giant 11:56 God Flesh 9:11 Somniferum 15:56 Al' Araf 22:07 Dive deeper into AYD with our Q&A with the band. OHMs Peak: AYD is a relatively new name, but the three of you sound like a band with years of shared instincts. How did this trio come together, and what shaped the early identity of AYD? AYD: Yes, with AYD we only recently released our first full length, but we've been making music together since 2020. When we first started out, our intention was to make nasty, slow and heavy music, which we're all huge fans of. Jan and Tarik talked about making this kind of band since they were in college, because they both played in different bands before, with different musical backgrounds (Tarik played in a few punk bands and Jan is still playing in a dm/deathcore band) and saw doom metal as a golden middle ground. We met Gabrijel in 2020 and we quickly came to a conclusion that we all want to make this kind of music. Soon after we started jamming at Gabrijel's home and the rest just came together naturally. The shared instinct was there from the beginning, which really surprised and motivated us. OHMs Peak: “Somniferum” is the album’s towering centerpiece — a slow‑burning, suffocating, almost ritualistic track. What were the inner workings behind how this song came about? AYD: As a doom metal band, we felt it was appropriate to pay homage to the godfathers, Black Sabbath, with one of our songs. The first idea of a song started with the main riff of the song, and then slowly started taking shape into what is the final version. In making of this song we also applied the philosophy of Matt Pyke, which goes something in the lines of: ' If the riff is good, you can play it as long as you want'...or something like that. OHMs Peak: The album art for AYD is stark and ominous — a monochrome, high‑contrast image that feels like a relic pulled from a forgotten industrial archive. Who created the image and what atmosphere were you aiming for with this visual identity? AYD: So the image is actually a real natural shape that resembles a face in a mountain slope of Prisojnik near the Vrsic pass in the Triglav national park. The face is called Ajdovska deklica (roughly translated Pagan/Giant Maiden), who is part of Slovenian mythology/folklore. The image was taken by Nusa (Tarik's girlfriend) while they were on a holiday trip. We then slightly altered the image to our liking. OHMs Peak: Outside your genre, what band do you feel would most complement your sound in a live setting? AYD: Hmm, this is a bit tough. If we go outside our genre, it would be bands like Pink Floyd, Korn and Bohren & der Club of Gore. The picks are from each member, respectively. OHMs Peak: Each of you has a history in other bands and projects before AYD. Can you tell us more about your prior projects and how did those past experiences shape what you’re doing now? AYD: Tarik started playing in a punk band with his brothers at age 13. In 12 years the band split into two bands, and in the end just one stayed together. In the end he felt that the band was not creative enough for his needs, also the fast paced, linear music and lifestyle didn't suit him anymore. He felt that he can express his creativity much more with AYD. Gabrijel also has a history of playing in different bands, different genres, different instruments and was also a DJ for a while. In the end, he simply found out that this kind of music suits him the most. Jan first started playing in a dm/deathcore band Dethrone the Corrupted but eventually wanted to have a project that is slower and less technically demanding. So you could say that we each had our share of experience of playing in a band and how a band functions in general and so on, AYD is simply a common point of our musical interests, an awesome stress reliever and fun creative outlet. OHMs Peak: AYD is stranded on an island with only a solar‑powered record player. As a band, collectively, what single album are you bringing with you? AYD: Hali Gali Halid – Hajde Da Se Drogiramo! Follow AYD: Instagram / Facebook Grab some AYD Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Stoner rock Sounds Like: Los Natas, Demonauta, Mermaid Homeland: Spain What makes MLAD elite and sit atop OHMs Peak? MLAD is a beautifully crafted stoner rock album loaded with plenty of jams and heavy psych. The music transitions smoothly through different stoner blues phases, featuring authentic deep fuzz that holds our attention. The production is flawless without being overly polished, presenting an impressive and rich sound that is best experienced on vinyl. Track Listing: Huellas y rumores 08:41 Cruz de Benalfil 01:30 Los hijos perdidos de Umrica 07:54 Cruz del Tajo 01:54 El camino silencioso 08:01 La ley del cuarto ¿Quién es el 67? 11:46 Cruz de la Viñuela 03:03 Dive deeper into MLAD with our Q&A with Mientras las abejas duermen. OHMs Peak: MLAD is the perfect combination of heavy psych and stoner. You sound like a band that’s been together for 20 years; with relaxed vocals and plenty of jamming, you guys have come up with a refreshing sound for the genre. What musical or non‑musical influences guided the band’s creative direction during the making of this record? MLAD: The truth is, this project didn't start with any deep intentions, quite the opposite. It all came about organically and naturally, without any expectations of ourselves or what might emerge. We're three friends who have been playing in different projects of varying styles for many years, and a couple of years ago we wanted to do something of our own, but as we've already mentioned, without any grand ambitions. So we decided to hold some jam sessions in our rehearsal space and record them, just to see what would come out. From those long sessions emerged the backbone of the project, both its approach and its sound: a blend of all our influences and interests, from the most mellow psychedelia to the heaviest touches of sludge/doom. OHMs Peak: The track "El camino silencioso" has such great rhythm, we love the heavy buildup at the end, it makes us want more. Can you provide some insight to the writing of this song. MLAD: "El camino silencioso" was born almost entirely during the sessions we mentioned earlier. If you listen closely, it's just a couple of riffs. The song's punch and catchiness come more from the dynamics. We wanted to differentiate two clear parts: the first, full of questions and unknowns, and the second, more chaotic, full of unresolved issues. Nothing could be closer to life itself: the flow of living without certainties. OHMs Peak: The production on this album is spot on. It never feels overproduced and still carries that raw DIY spirit. Who handled the production, mixing, and mastering for the album, and what was the vision behind achieving that balance? MLAD: The recording and production of the album was handled by our great friend and colleague Rafael Camisón of El Bisonte Estudio. We entrusted him with every decision made in the studio: from the choice of microphones, amplifiers, and effects, to the most subtle production touches, as we had complete confidence in him and his judgment. We are more than happy to have worked with him and to have followed his guidance and advice. As for the mastering, the great Mario G. Alberni of Kadifornia Mastering was in charge. When he heard the LP, he knew exactly how to take Rafael's mix to the next level. He managed to give it more power and bring order to all the chaos we were trying to capture. OHMs Peak: What band NOT in the heavy psych/stoner genre would you love to tour with that would most compliment your sound? MLAD: If we're dreaming big, it would be incredible to share the stage with the Hermanos Gutiérrez. Their way of creating atmospheres and emotional landscapes has influenced us greatly, and I think our styles would mesh well. OHMs Peak: The album art is very intriguing and reflects the music very well. Who is the artist and is there any meaning behind the artwork? MLAD: The artwork was done by our friend Alberto Oliva (aov.es), a great artist from our hometown of Ubrique. We've known each other for years, and one day when we were starting the project, he overheard us talking and decided to capture what we were doing in a drawing—it was that simple. There were no guidelines or recommendations. He perfectly understood the essence of it. OHMs Peak: MLAD is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? MLAD: We'd probably choose Pink Floyd's Animals. A magnificent concept with infinite depth. We've probably listened to it a million times, and yet there's always something new to discover with each listen. I definitely think it would be an excellent choice. Follow Mientras las abejas duermen: Instagram / Facebook Grab some Mientras las abejas duermen Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Noise rock, Punk Sounds Like: Chat Pile, Jesus Lizard, Pissed Jeans Homeland: Philadelphia, Pennsylvania What makes Let's Give The Land Back To The Animals elite and sit atop OHMs Peak? Bitter Branches returns with one of this year's leading noise rock/punk albums to hit our speakers. The album is heavily influenced by 90s noise rock, yet it distinctly bears their unique mark on the genre. The music flows effortlessly through various impeccable transitions, with genuine angst that keeps us captivated. The production is flawless without being overdone, perfectly suited to the rock style. This album features an impressive and deep sound that is a must-hear on vinyl. Track Listing: Rat Poison 2:30 Cave Dwellers 3:01 Pity Party 2:26 Basic Karate 2:52 Posture Contest 3:31 Everything Must Go 3:58 High Street 2:24 7-11 3:19 Fine Powder 4:00 Here Comes The Chisel 5:20 Dive deeper into Let's Give The Land Back To The Animals with our Q&A with Bitter Branches. OHMs Peak: Bitter Branches has roots in some of the most influential 90s hardcore, math-rock and noise rock bands. The BB team has years of amazing different projects. How did this lineup come together, and what made the chemistry feel right for a new project? Bitter Branches: Philadelphia is home to so many musicians that it was only a matter of time that we bump into each other. As "veterans" of 90s hardcore scene, I think we all share a musical shorthand and an itch to explore certain lanes and see what happens when it’s the five of us attacking that kind of songwriting. OHMs Peak: “Everything Must Go” stands out as one of the album’s most psychologically revealing tracks. What were the inner workings behind how this song came about? Bitter Branches: That’s basically me talking to myself and trying to muster the strength and will to march on as the world seems to be headed for that iceberg and we’ve been failing to turn the ship. It’s a bit of a self-critique of myself and people in general. We clearly aren’t making the world a better place. Every smile seems fake to me. Meanwhile, enjoy your capitalism and get back to work. OHMs Peak: The album art for ‘Let’s Give the Land Back to the Animals’ is striking …a dark, surreal scene with a giant hand lowering a tiny tricycle‑riding figure by a string. What was the visual concept behind this artwork and who created it? Bitter Branches: That would be me. There are a few meanings there I suppose. I like to leave it open to interpretation, but it’s definitely about large forces pulling the strings while we are entertained and sometimes blissfully ignorant. It’s also about childhood and innocence and trust being ripped away and taken advantage of. OHMs Peak: Many songs on the album feel like character studies or emotional autopsies. Do you have a preferred setting as you create and formulate the tracks? Would love to hear more about your process. Bitter Branches: I spend way too much time inside my head and wonder how people seem oblivious to the smoke and fire that surround us. We are easily distracted by shiny objects and we seem to have very little collective will to do the right thing. We live in an age where we have the means and intelligence to solve the world’s problems, but we create billionaires and divisive labels instead. Empathy is in short supply — for people and animals. OHMs Peak: How did the name Bitter Branches come about? Bitter Branches: It’s the title of a PJ Harvey song. Just sounds cool. No deep meaning. OHMs Peak: If you could play with any band NOT in your genre who would it be and why would it complement your live performances? Bitter Branches: Hmmm. I would play with just about anyone. I love bills that mix it up. OHMs Peak: Bitter Branches is stranded on an island with only a solar‑powered record player. As a band — collectively — what single album are you bringing with you? Bitter Branches: Tough one. Maybe The Clash’s London Calling or Radiohead’s Kid A. Bitter Branches are: Jeff Tirabassi, Dan Yemin Matt Ryan Kevin Sommerville Tim Singer Follow Bitter Branches: Instagram / Facebook Grab some Desert Collider Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Heavy psych, Stoner rock Sounds Like: All Them Witches, Ecstatic Vision, King Buffalo Homeland: Australia What makes Inexorable Opposites elite and sit atop OHMs Peak? Jack Harlon and the Dead Crows have released an outstanding new album filled with psychedelic fuzz, trippy vocals, and imaginative storytelling, positioning it as one of the top heavy psych albums for 2026. Inexorable Opposites demonstrates the band's ongoing development. While maintaining the same formula as previous albums, they manage to reinvent their heavy psychedelic vibe. The production is flawless. This album features a rich sound without being overly produced, maintaining a raw quality. Track Listing: Moss 6:11 Venomous 4:13 Mt. Macedon 5:57 Dave Is Done 5:03 Junior Fiction 6:18 Seer 4:36 On The Overwhelm 5:50 To Die 5:20 Dive deeper into Inexorable Opposites with our Q&A with vocalist/guitarist Tim Coutts-Smith. OHMs Peak: Inexorable Opposites is a massive psychedelic fuzz journey — equal parts stoner rock, psychedelia, and mind-bending heaviness. The album feels both rooted in the classics and completely forward-thinking. What influences — musical or otherwise — shaped the band’s sonic direction while creating this record? Tim Coutts-Smith: There were definitely some new and unexpected influences on this album. I was listening to a lot of 'Show Me The Body' when I wrote 'Dave Is Done'. I wanted to write a song with that same feeling as 'Arcanum' by that band. It just has this emotion of boiling frustration and anger that increases through the song. I wanted to make my own version of that. 'Dave Is Done' ended up sounding nothing like SMTB in the end, but the same amount of emotion is there. I also discovered Oranssi Pazuzu during this album process, hence some faster beats with wild time signatures. A lot of our post-rock influences are making their way into our sound these days too - Some Protomartyr. There's actually some Big Thief in there too if you listen closely. OHMs Peak: Australia is becoming a fertile ground for heavy, psychedelic, and fuzz‑driven bands. What other Australian bands have inspired your work that you have seen or played with? Tim Coutts-Smith: I'm glad you asked this question - I'm sick of people thinking that Australia's only exports are Amyl & The Sniffers, King Gizz and Tame Impala. They are all so separated from the current Australian underground scenes that you see now. Some unreal bands you should check out are: Goat Shaman, Cannabyss, AGAM (A Gazillion Angry Mexicans), DOGWATCH and Astrofuzz. OHMs Peak: Of all the heaviness on the album, the last track "To Die" is a beautiful tune with thought provoking lyrics. Can you provide what inspired you to write this classic? Tim Coutts-Smith: I actually wrote that back in 2021 when I was freestyling hymn-like songs over a drone machine. I wanted to write a song for any soul that is passing on, and for the people that are saying goodbye. It's essentially a eulogy song. The song's setting is a group of loved ones at a funeral, and the sounds aim to paint a picture of the process that a spirit goes through on it's way to the 'otherside'. I'm pretty Godless/agnostic at this time in my life. Writing that song just made me feel more settled with everything. OHMs Peak: What is the story or meaning behind the band name Jack Harlon & The Dead Crows? We’ve done a bit of research ourselves, but we’d love to hear the true origin and inspiration behind it. Tim Coutts-Smith: This band actually started out as a side project that most of the original band members were in. Since I never intended JHATDC to be a long-term thing, I wanted to make the most convoluted storyline. I could and hide the true identities of the band members. Jack Harlon is the main character of a lot of the symbolic stories of the band and my alter-ego on stage. I tried to pick a name that doesn't exist to make the project easier to remember. So the surname 'Harlon' doesn't actually exist. I never thought that in the future I'd be frequently mixed up with the hip-hop artist 'Jack Harlow', but here we are. My name is made up, and his is his true birth name, so I'm the imposter! OHMs Peak: The album artwork is very unique and captures your sound perfectly. Who is the artist and is there any meaning behind this drawing? Tim Coutts-Smith: The original artist is named 'Baroquegothik'. This artwork already existed, and I licensed its use from the artist. The image almost perfectly summed up all of my drafted notes; I wanted an aggressive drawing involving teeth, wolves, eyes and hands and this fit my mind's eye perfectly. At one point the album was going to be called 'The Kind Hand and The Teeth'. OHMs Peak: Jack Harlen and the Dead Crows is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Tim Coutts-Smith: If it's the band collectively choosing, I'd say we'd have to go with any album by Meshuggah... maybe Koloss. That is a band that we all love dearly. Jack Harlon & The Dead Crows are: Tim Coutts-Smith – Vocals, guitar Jordan Richardson – Guitar Brayden Becher – Drums Liam Barry – Bass Follow Jack Harlon & The Dead Crows: Instagram / Facebook. Grab some Jack Harlon & The Dead Crows Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Stoner rock Sounds Like: Kal-El, Black Rainbows, Monster Magnet Homeland: Italy What makes Generational Ship: Endless Drift Through Infinity elite and sit atop OHMs Peak? Desert Collider has unveiled an impressive debut album filled with ethereal space riffs and psychedelic fuzz, emerging as one of the leading stoner rock albums for 2026. If you enjoy the psychedelic landscapes of Monster Magent or the pure fuzz from Black Rainbows, we have no doubt this is right up your alley.. The production is flawless. This album boasts a monumental sound, and kudos to Small Stone Records for adding them to their already impressive catalog. Track Listing: Orphans of the Sky Part I: Generation Ship 7:48 Floating Space Hand 5:55 Sonic Carver 5:28 Orphans of the Sky Part II: Disembark 10:54 ThumpeRRR 6:16 Nomads of the Red Sun 4:50 Far Centaurus: Drifting without Guidance through Interstellar Space 13:40 Nebuchadnezzar 6:27 Dive deeper into Generational Ship: Endless Drift Through Infinity with our Q&A with vocalist/guitarist Federico Costanzo. OHMs Peak: As a debut, ‘Generation Ship: Endless Drift Through Infinity’ lands with a fully realized identity, old‑school stoner rock laced with a boatload of fuzz and a clear sense of direction. What were each of you doing musically before Desert Collider, and how did those earlier projects and creative fires shape the vision behind this first full‑length? Federico Costanzo: That’s a great question! It is true that we as individuals were part of different projects. I (Federico Costanzo), apart from playing in underground stoner rock realities in France, was part of an Italian pagan/black metal band in the early 2000s named Legion of Darkness. Manuel has a solid rock blues background, and he published an album very much 70s rock oriented named Moon Circle. Federico Gianfanti is still making vocals in a punk band named So Long, active in Cesena.. Andrea has a variegated background ranging from funk to the most Sabbath-oriented sounds. We are happy to hear that there is a perception of the album as a fully realized identity, as you said. Definitely, you can hear in the album influences coming from all our backgrounds, fused as a band. Our will is to stand on the foundations of stoner rock to push towards more personal directions by embracing our different histories in a way that feels natural and unconstrained. Composition-wise, you can hear the attitude in switching tempos and alternating with atmospheric moments, acoustic interludes, and the extensive use of synthesizers, which are definitely coming from either metal imprinting and a shared passion for prog rock and psychedelia. Whether in some more sped-up songs, you can perceive the punk attitude. It is true that this pot allows us to range from more immediate to more immersive songs. OHMs Peak: Italy has become a fertile ground for heavy, psychedelic, and fuzz‑driven bands. What other Italian bands have inspired your work that you have seen or played with? Federico Costanzo: It is true, Italy has a growing and growing scene in that regard. We have been influenced somehow by bands such as Mr Bison (late albums such as Seaward) or for example L’Ira del Baccano from Rome in the use of synths and progressive melodies. Also somewhat by a band from Marche called Zippo and their album Ode to Maximum, But you know, it is plenty of great album out there in Italy that of course left a footprint on our sound…think about Lee Van Cleef - Holy Smoke or certain parts engaged by Fvzz Popvli. OHMs Peak: “ThumpeRRR” is one of the album’s most addictive moments — a massive, rolling slab of fuzz with that classic desert‑rock stomp baked right in. Can you walk us through how that track came together and what sparked its tone, groove, and attitude? Federico Costanzo: Thanks a lot for the feedback! The basis of the riff in ThumpeRRR has been composed by Manuel. Often, Manuel and I exchange riffs by phone when something comes into our minds. Hence, Manuel built the foundation of the riff with bass and then constructing the first part of the song was quite straightforward and developed as a Jam in the first place. Andrea also did an excellent job with the drums. With Federico (Gianfanti) we started to work on the idea of alternating my voice and his, which felt the best choice to be made at that stage. Let’s say that the tricky part of the song composition has been the second half. I had that guitar arpeggio in stock since a long time, and we knew that we wanted to build tension in the song's coda. After the guitar interlude representing a quite desertic vibe (the calm before the storm), we started to build this coda with the idea of creating a recall of something that was yet to come. With this in mind, we used that arpeggio to create a climax of tension, then we added synthesizer and the vocal choirs (Rhythm, sand, quakes) to create the release. In other words, what had to be recalled has been summoned. That’s the atmosphere we wanted to recreate in the song. OHMs Peak: The album leans unapologetically into vintage stoner‑rock DNA — thick riffs, warm analog grit, and that unmistakable low‑and‑slow propulsion. The album feels like a galactic concept album. Take us through the themes and messages throughout. Federico Costanzo: Well, you are right. Even though the album contains songs that are our first creations (Sonic Carver for example) and that lean towards classic stoner rock, we then made an effort to recreate a cosmic or galactic atmosphere throughout the record, as a result of the evolution of the band that took place meanwhile the album was being composed. At the same time, we aimed to create a dynamic balance within the album, alternating moments of tension and high energy with more relaxed, psychedelic passages, so that everything flows into a cohesive and harmonized, otherworldly experience. We love sci-fi novels and movies so it was inevitable for us to go through this exploration. Concept-wise, with the exception of the two “Orphans of the Sky” songs (Pt1 and Pt2) and “Far Centaurus: drifting without guidance through interstellar space”, the other tracks are not related to the work of Robert A. Heinlein. However it is true that the characters and stories told in these songs propose a manifestation of the same concepts, that is the cost of breaching preconceived notions in order to find one’s true self. This is symbolized in Floating Space Hand for example, and is the same path that the main character in Orphans of the Sky is undertaking, the inner realization as an objective that comes at the cost of inner sacrifices. However, some of the songs are purely and intentionally cosmic and desert-rock oriented, without following this common thread (see “Nomads of the Red Sun”). OHMs Peak: With such a massive, fuzz‑driven sound, we imagine these songs would be amazing live. Do you have any aspirations to tour the U.S., and what’s your favorite venue to play in Italy — the one that feels most like “home base” for Desert Collider? Federico Costanzo: Ah! We would love to tour in the U.S.! It is something that we envision to do, and that we will work hard to reach! About the Italian venues, we love “Tu.Mi.Turbi” in Varese. The venue is great and the people there are making a great effort to make the bands sound at best. Moreover, after they give you risotto with radicchio and gorgonzola, how can a place not become one of your favourite? Cesena too, is full of great realities for underground bands! For example, Magazzino Parallelo is an incredible venue to play in. OHMs Peak: If Desert Collider were stranded on a desert planet with only a solar‑powered record player and could collectively choose just one album to bring, which album would you agree on? Federico Costanzo: Well it depends on the nycthemeral cycle or if there is any on this planet! I think that on common grounds we would bring In the Court of the Crimson King by King Crimson. We never get tired of it and it has so many nuances in it that allow the record to flow undisturbed while somehow engaging in active listening. We can listen to 21st Century Schizoid Man and Epitaph in a loop. But I hope that this solar-powered record player is good in terms of autonomy and the gravity isn’t different from Earth’s, to avoid stylus crushing the vinyl or, on the contrary, floating space vinyls!! Desert Collider are: Federico Costanzo: guitars, vocals, percussio, synthesizers Federico Gianfanti: vocals, synthesizers Manuel Colucci: bass Andrea Casagranda: drums, percussion Follow Desert Collider: Instagram / Facebook. Grab some Desert Collider Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Post-metal Sounds Like: The Ocean, Somali Yacht Club Homeland: Brighton, UK What makes Above, Below and So elite and sit atop OHMs Peak? Matador has unveiled a classic post-metal album, seamlessly navigating through sludgy post-metal valleys and clean stoner sounds, providing an excellent fusion of metal styles. The vocals transition smoothly between angst and clean tones, crafting a distinct and original balance that enhances their sound.. The production highlights each band member's unique style: intricate bass work, steady drumming, and intense rhythmic riffs. Track Listing: The House Always Wins 7:48 Glitter Skin 6:48 The Flood 6:41 O Suna 2:31 A Virus 10:17 Hooks 7:24 Dive deeper into Above, Below and So with our Q&A with Matador. OHMs Peak: ‘Above, Below and So’ is such a tremendous continuation to as your third release. We loved ‘The Surge’ and ‘They Were Here Before Us’ but this just takes things to another level. We find it even more expansive and enthralling. As your third release, what creative breakthroughs or lessons from your earlier records shaped the writing and recording of this album? Matador: On the last release we actually worked remotely. For various reasons the three of us ended up living on different continents, so the whole process was a lot of back and forth. But in a strange way that worked in our favour, because there wasn’t any pressure to write something that had to be performed live straight away. There were no real time constraints — we could just take our time with it. I think having that space changed things creatively. Vocals started to appear, which hadn’t really been part of the band before. I was feeling inspired by things going on in my life and in the world at the time, and that started to translate into lyrics. Generally my feeling is that if I don’t have something important to say, I’d rather not say anything at all — which is probably why the first two releases ended up being instrumental. But this time it felt like there was actually something to say, and that ended up shifting the whole musical landscape of the record. OHMs Peak: “Glitter Skin” is one of the album’s most arresting moments. We find it tense, and cathartic all at once. Can you take us through how that track came together and what sparked its emotional and sonic direction along with the unique title. Matador: “Glitter Skin” was actually almost bolted onto the album at the end. We’d written everything — I think it was even recorded and mixed — and once that was done there was suddenly a bit of space to do something else. And weirdly, that track came together really quickly. We'd even agreed to sign the record to Church Road before writing Glitter Skin but as they had a release backlog it gave us the time to write and record this one. Lyrically and emotionally it comes from the shock of suddenly becoming a father — not to one kid, but two at the same time. We had twins. And that all happened while we were living in a country that wasn’t our home country, in the middle of a global pandemic, when we couldn’t travel to see family. So it brought up a lot of pretty intense feelings. The verse sections are really about that initial period — the stress, the overwhelm, the lack of sleep, trying to figure everything out. Then later on, when the music gets heavier and more aggressive, the lyrics are actually much more positive. They’re about adjusting to this new life and realising that you’ve got these two amazing kids. So even though it sounds more aggressive musically, it’s actually the point where things feel more hopeful. The title itself came from when we were in the hospital after they were born. They arrived early and were tiny, so we were there for four nights while they were being monitored. We basically didn’t sleep the whole time. At one point my wife started hallucinating toy soldiers marching across the end of the hospital bed. I didn’t get hallucinations, but I remember thinking everyone’s skin looked like it had glitter all over it. And then fast-forward four years, and the kids are coming home from nursery literally covered in glitter most days. So in a weird way the title ended up tying the whole thing together. OHMs Peak: The album art is striking — those lonesome swans feel haunting, elegant, and strangely comforting. Who created the artwork, and what was the concept behind choosing such a minimal, evocative image for this record? Matador: Yeah, the artwork is amazing — we’re really happy with how it turned out. It’s maybe a bit different from what you’d normally expect within this genre, which we liked. A good friend of mine, Spike Johnson, created it. We’ve collaborated quite a few times before — he’s done artwork for other projects I’ve been involved in and various bits and pieces over the years. So I asked if he’d be up for doing something for this record and he was keen. We basically went through his Instagram feed and pulled out a few images that we liked and the final piece actually ended up being a combination of two photographs. The bottom image — the one with the swans — is a river scene somewhere in the UK countryside. The top image is actually inverted, and that’s the reedy banks of a lake somewhere in Texas. Conceptually we liked the idea of that kind of above-and-below relationship. The top layer feels darker and more ominous, and the bottom image is brighter and calmer, with these swans just totally content, going about their day without really worrying about anything. I guess that’s where the meaning comes in — whether things feel like heaven or hell, good times or bad times, positive or negative… life kind of keeps moving. The swans are just there, carrying on regardless. After a bit of back and forth we landed on this final image, and yeah, we’re super stoked with it. OHMs Peak: Brighton has a deep and eclectic music scene. Which local band outside your genre do you feel would complement your sound most powerfully in a live setting, and what makes that pairing feel so natural to you? Matador: Yeah, Brighton definitely has a great scene. There are loads of cool bands on the south coast at the moment. But Matador actually started in Vancouver, Canada. Over time we’ve ended up based between Hastings and Brighton in the UK now with a line-up change. So we’re only just starting to properly reconnect with the UK scene and the Brighton scene in particular. In terms of bands around here that we’d love to share a bill with, there are a few — not all strictly Brighton. Bands like Believe in Nothing and IAN. Like us they don’t seem too interested in sticking to any particular formula. There's no verse–chorus–verse kind of structure — the songs just go where they go. It feels quite similar to how we approach writing, where you just follow the idea and see where it leads. And dynamically they’re great as well — really quiet, delicate passages that suddenly open up into something massive. Particularly with Believe in Nothing, some of the heavy sections are just absolutely crushing. So yeah, I think it’s that non-standard approach to songwriting that really stands out and resonates. OHMs Peak: The album moves between post‑metal weight, post‑rock expansiveness, and moments of raw vulnerability without ever losing cohesion. We find the album title fits the sonic journey but also curious as to the story behind the title? Matador: Yeah, I think it comes from life experience. Having been around a bit longer now, and you start to realise that life kind of moves in waves. There are good times, there are bad times, sometimes really bad times, and sometimes really great ones. But whatever’s happening, time keeps moving forward. That’s reality. So I think a lot of it is about accepting that — understanding that life has both light and dark or Above and Below moments. And the “and so” part of it is really about that acceptance. Things happen, things change, but you just keep going. You carry on. OHMs Peak: If Matador were stranded on a desert island with only a solar‑powered record player and could collectively choose just one album to bring, which album would you agree on? Matador: That’s a super hard question. We all come from different musical backgrounds, which is a good thing. If you drew a Venn diagram of it, it’d probably be something like punk, jazz, and metal all overlapping somewhere in the middle. If we had to pick something though… we might have to cheat a little bit. On one side of the record it’d probably be some older Tool — maybe Lateralus or 10,000 Days. And then on the other side… I’m not totally sure. Probably something totally different. Let's say Rumors, Fleetwood Mac?! But yeah, that kind of contrast probably sums up the band quite well — darker, heavier stuff on one side and then something a little more open or melodic on the other. Matador are: Mark Ainsworth - Bass James Kirk - Guitar Scott Stronach - Drums Follow Matador: Instagram / Facebook. /. Linktree Grab some Matador Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Post-punk Sounds Like: Dead Kennedys, Sex Pistols Homeland: Rhode Island, USA What makes Mirror Men elite and sit atop OHMs Peak? Mirror Men have unveiled one of the most authentically raw Post-punk albums to grace our speakers this year. Mirror Men have a talent for showcasing the impact of early punk rock while infusing their unique style. Each instrument is distinct and precise. Sharp guitars, pounding bass, and precise drumming, combined with resonant vocals, make this essential for all fans who celebrate punk rock. Track Listing: Mirror Intro :44 Ride The Brain 2:46 Latest Lie 2:19 Off 1:32 Nobody 2:58 Surgery 2:08 Two Left Hands 2:08 Sit Right Down 2:46 Translucent Leather 3:45 Spanish Bridges 3:05 Move 2:52 Five Head 2:03 Too Late For Later 2:40 Push 2:35 Mirror Outro 1:01 Dive deeper into Mirror Men with our Q&A with Dare Matheson of Mirror Men. OHMs Peak: Your self‑titled debut is filthy, raunchy, and wildly fun, a record that feels fully committed to its own twisted vision. What headspace were you in while writing it, and how deliberate was that raw, unfiltered energy that runs through the whole album? Dare Matheson: We rehearse in an unheated auto garage in rural Rhode Island. In winter it can drop to ten degrees, sometimes with a car on the lift between us. New England’s unforgiving climate is in our blood, and we have a single-minded, DIY approach with no room for over-thinking. Our process is simple – record everything, listen back, and chase down bombastic, rhythmic hypnosis to ease our frayed nerves. OHMs Peak: The album art has this retro, comforting, almost bowling‑alley warmth to it …simple, striking, and instantly memorable. Who helped shape the visual concept, and what were you aiming to evoke with that aesthetic? Dare Matheson: We are drawn to bold shapes, limited colors, and stark contrast - the same kind of reduction we aim for in the music. Providence has a rich history of screen-printed posters and album art that feel outside of any specific time period, and that was definitely an influence. The idea was simple: The words “MIRROR MEN” casting long, colorful shadows. Something that could sit in 1978 or 2028. Dare hand-cut the shapes, and it immediately fit what we felt was the record’s almost primitive simplicity and physicality. OHMs Peak: “Translucent Leather” is one of the album’s standout moments ….both swaggering, and weirdly hypnotic. Can you walk us through how that track came together and what you were trying to capture with it? Dare Matheson: “Translucent Leather” began as a jam built around this steady rhythm we just didn’t want to stop playing. All three of us are drummers, so we tend to treat every instrument as part of the rhythm section. We hammer away at a rhythm until it feels trance-like, and only then start to shape it. To keep it raw, we avoided forcing an arrangement. We just kept playing it until certain patterns emerged naturally. Drum accents landing in the same spot, bass lines forming in the pocket, and vocals settling into place. The arrangement grew organically out of that repetition. OHMs Peak: This is your debut, but it doesn’t sound like a first step — it sounds like a band with history. What were each of you doing musically before Mirror Men, and how did those prior projects feed into the sound you’ve landed on here? Dare Matheson: We’ve all been part of the Providence underground for decades. Rick was the drummer in Sub Pop’s seminal ‘90s noise rock band, Six Finger Satellite. John played drums in early Arab On Radar. Dare was drummer for Skin Graft’s Made In Mexico. We’ve played in La Machine, Olneyville Sound System, The Chinese Stars… and many more. That minimal, rhythm-focused backdrop has carried through. With Mirror Men, it’s more direct and personal. There’s a stronger psychedelic current running through it now. We’re drawing from a wider range of references, but we treat every idea the same way — strip it down to the essence and let repetition do the work. OHMs Peak: The album moves between sleaze, groove, noise, punk, and pure theatrical chaos without ever losing momentum. How do you balance the humor, the grime, and the musicianship so it never tips into parody or self‑seriousness? Dare Matheson: There’s an unspoken, shared taste between the three of us - we’re drawn to primitive, groove-based music from any time and place. Our working method is based on intuition, without calculation. We record and listen back to everything, rely on each other’s ideas, and trust our shared judgment. When working on a song, we know when it's wrong and when it’s finally right. In this way, the music is very simply the sound of our three sensibilities intersecting... nothing gets through that isn't. https://mirrormen-pvd.bandcamp.com/album/mirror-men OHMs Peak: If Mirror Men were stranded on a desert island with only a solar‑powered record player and could collectively choose just one album to bring, which album would you agree on and why? Dare Matheson: We’d probably bring Ege Bamyasi by Can. Little excess or decoration, just strong ideas played with conviction. That kind of economy makes sense to us. Mirror Men are: Rick Pelletier — vocals, guitar Dare Matheson — bass John Ryan — drums Follow Mirror Men: Instagram / Bandcamp Grab some Mirror Men Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Psychedelic rock, Sounds Like: Acid Mothers Temple, Sun Ra, Goat Homeland: UK What makes Mother, Give Your Children Sanity elite and sit atop OHMs Peak? Codex Serafini has released one of this year's most exciting psychedelic albums to grace our speakers in a long time. The vocals possess a distinctive and psychedelic operatic style that truly sets them apart. The production showcases the distinctive style of each band member: complex bass lines, ethereal saxophone, consistent drumming, and celestial riffs elevate this album to new heights. Track Listing: Pitying Them For Giving Life 3:25 Cause And Effect 6:59 Keep The Mask That Fits 9:07 Alpha Sista With The Heel To The Mouth First 6:17 Mother, Give Your Children Sanity 6:11 Marching Like A Toad 8:36 Dive deeper into Mother, Give Your Childern Sanity with our Q&A with Codex Serafini. OHMs Peak: Our site features a Q&A format and we have a few questions are below: The integration of saxophone harkens us back to the days of Blodwyn Pig and King Crimson yesteryears. It adds a unique dark edge. We would love a glimpse into your biggest influences of sound from days past. Codex Serafini: Of course the first King Crimson record is a touch stone in progressive music utilising sax, Blood Quartet, Five the Hierophant, and Zu are great examples of that continuation of bands taking that and pushing it in a darker direction. OHMs Peak: While the entire album bleeds a majestic tribal atmosphere, ‘Cause and Effect’ has one of the most infectious melodic chants. Take us through the meaning and making of this track. Codex Serafini: As with most of our output this track was born out of extended jam sessions that grew quite organically into what you hear on the record, having the time to experiment and then taking the most interesting parts into the finished compositions. Keeping the bass simple and leaving room for the sax and vocals to weave themselves around it. A lot of the melodies from each of those elements inform each other, like a conversation. The lyrics explore the cycle of habitual addiction and the constant struggle between giving in and trying to stop. The lyrics reflect on how destructive patterns repeat themselves, even when we recognise their consequences. They also touch on the dynamic of couples who share the same addictions, sometimes reinforcing each other’s habits while finding it difficult to break the cycle. OHMs Peak: What was Codex Serafini's most memorable live performance? Where was it held and why was the night so special? Codex Serafini: There have been a few that have felt very special, getting invited to play at ArcTanGent in 2024 was amazing as it’s a festival very close to our hearts, and playing under Slift who we love and the same day as Mogwai was incredible. Next to that, playing at the Legendary 100 club last year with sonic psych heroes Acid Mothers Temple was a real honour, they have been doing what they love for so long and the atmosphere was electric. OHMs Peak: What band NOT in the psychedelic rock genre would you love to tour with that would most compliment your sound? Codex Serafini: We have a real affinity with The Mars Volta, they are a band we all agree is amazing and they span lots of genres and have crafted out their own sound which is something we aspire to. Their energy is outstanding and if we can exert just half of that we will be very proud. Another band would be Fire! - a Nordic experimental supergroup formed in 2009 by the core trio of Mats Gustafsson (sax), Johan Berthling (bass guitar) and Andreas Werlin (drums) who joined together to develop a fresh approach to improvised music drawing on influences from free jazz, psychedelic rock, and noise. As well as those groups, we would love to play with Terri Gender Bender’s band La Butcherettes . She is an incredible artist! OHMs Peak: The album cover is wildly intriguing and elaborate. landscape. We see Ana-Maria Bordei Terr championed this. How did the concept come about to tie into the album? Codex Serafini: The album cover reflects the chaos and insanity of the world through intense colours and sprawling tentacle-like forms that surround the central figure. In the middle, the mother figure is trapped inside a box-like structure, unable to move, while two protectors stand on either side. The image represents a world where chaos grows when sanity is absent, and the struggle to regain clarity within that confusion. OHMs Peak: Codex Serafini is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Codex Serafini: I don’t think we could ever agree to listen to just one album, each of us devour music and it’s a constant soundtrack to our lives and an inspiration for our output, just the process of choosing just one could spell the end of Codex Serafini. Codex Serafini are: Matt, Ana, Weez, Oli Follow Codex Serafini: Facebook Grab some Codex Serafini Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Punk, Grunge Sounds Like: Unwound, Polvo, Cherubs Homeland: Illinois What makes Foreplay elite and sit atop OHMs Peak? *Brain Sex* has created an incredible album packed with raw, 90s-inspired post-punk grunge. The dual vocals exhibit a traditional, intense punk attitude filled with desperation and emotion. The production has a DIY feel that suits this style of punk rock perfectly. It's not overly polished and seems like it will translate well in a live performance. Track Listing: BPD 03:13 Tilly 05:43 Scotty's a Bitch 02:34 Delta G Double Dagger 04:34 Whiff 05:54 Dive deeper into Foreplay with our Q&A with Brain Sex. OHMs Peak: On ‘Foreplay’, the dual‑vocal dynamic is one of the most striking elements of your sound. How intentional was the contrast between Madison’s calming, dark, almost ethereal delivery and Max’s feral post‑hardcore energy? How do you balance the chaos with the more atmospheric, introspective moments that appear throughout the EP? Brain Sex: The choice wasn’t too intentional, we choose the best of our newer material and it just so happened to have an interesting dynamic between the vocals. We did however curate the style of each song to create a wider dynamic range within the EP. We wanted to capture the energy of seeing us live, with a raw sound and a even split of both of our vocalists. OHMs Peak: “Tilly” is our favorite track on the EP — it hits with a really distinct emotional weight. Can you walk us through its meaning, how it came together, and what sparked the creative direction behind it? Brain Sex: “I had just watched the movie Bound from ‘96 and was buzzing off of this euphoria of what it’s like to be in lust with another woman. I wanted to capture how that felt and really paint the picture of my own experiences—almost obsession. There’s a lot of depth and complexity in relationships like that, the intimacy can be exciting. I wanted the lyrics to be dark but relatable, I guess it’s written about women but I left it open to interpretation. It’s a horny song, it’s got a lot of sexual undertones. In the second verse I get into some historical images too with Sappho and the porch of the king (which was originally porch of the queen but I changed it). I’ve always associated that ancient Mediterranean vibe with romance and mystery and intimacy. It felt fitting. The last verse ends with one of my favorite lines I’ve ever written about heaven and poison and vomiting to taste it all over again. I don’t know it’s obsessive, it’s addictive, it’s threatening almost. I like to think I did an alright job conveying that.” - Madi OHMs Peak: Take us through the album cover art. Who created the caricature and risqué art. How did the concept align with ‘Foreplay’. Brain Sex: We did an art contest with our fans, top prize was the album cover! The winner was Corvin, @rabid.designs on Instagram. The cover art features a portrait by Egon Schiele, title “Standing Nude with Orange Drapery”, presented in a collage. The piece is on a ripped piece of paper, with a splattering of paint over top and the title at the top. We all instantly connected with this one. There’s a duality to the art: the black and white sections; a provocative pose covered with tape; it captures difficulty in wanted to express yourself to the fullest, but feeling like you have to hold yourself back. It’s phenomenal art, but it’s also intentionally messy, rough around the edges, and highlights imperfections. I think the reason we all connected with it is that these traits are all common in our music and the themes of our songs. In that way, it was perfect. OHMs Peak: Brain Sex has been described as grunge‑inspired punk with grinding riffs and breakneck drums. Take us back to the beginning …how did Brain Sex form? What were each of you … Max, Ratt, and Madison doing musically before this project, and what made this lineup click in a way your previous projects didn’t? Brain Sex: Rat started brain sex because they were in a band called Crazy Low that wasn’t going anywhere. They eventually started writing music with an old member of the band, eventually they were making music they liked a lot more. They’ve been in the band since the start and it’s been over 3 years of figuring out what sticks. Madi was the second to join of this lineup, and she had been living in Champaign a few months and Rat started seeing Madi’s roommate. Upon learning they both did music, they invited Madi to jam and she stuck with the band since then. Reyansh was the third to join, and came along a few years after the start of the band. He saw brain sex at a show and told them that he loved their music and plays the drums. Rat told him he could jam with the band and invited him to Madi’s place, without letting Madi know. Madi had no idea who he was and basically told him to leave her house. When he explained they rescheduled and he was a perfect fit for the band. Addie was the most recent addition, and he answered an Instagram request for a new guitarist when the old one quit. Madi and Rat invited him to jam with a few of the songs and he made the cut, and it’s been  this group since. The group on paper aren’t good fits for one another; we all have extremely different tastes in music, ranging from classic rock to prog metal, hardcore to folk. However, these differences in tastes have led us all to get used to adapting our own capabilities to best fit the song, which has succeeded in creating a really unique sound. OHMs Peak: Champaign‑Urbana has a reputation for nurturing talented, high‑energy DIY acts. How has the local scene shaped your identity as a band? Brain Sex: The scene in Urbana is incredible. It feels like a gem and to be thrown straight in the middle of it from the start has been so good for us. In a way the high energy that each show has can kind of cloud your judgement. It can be a bit jarring to have the crowd experience be so different from the performers experience; having fans come tell you how insane your show was when you didn’t really feel that good about it has made us doubt if we’re any good at all at times. As confusing as that can be, I think it made all of us reevaluate our standards. Now I feel like we’re all writing music from a place of trying to impress ourselves, rather than trying to make crowd pleaser music. OHMs Peak: If Brain Sex were stranded on a desert island with only a solar‑powered record player and could collectively choose just one album to bring, which album would you agree on — and why? Brain Sex: We can’t choose one, so would rather let the surf take us than pick one album. Follow Brain Sex: Instagram Grab some Brain Sex Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Sludge Sounds Like: Crowbar, Bongzilla, Church of Misery Homeland: Austria What makes Axis Mundi elite and sit atop OHMs Peak? Axis Mundi is another outstanding chapter in the TarLung saga. The album is packed with raw sludge, and they may have surpassed themselves with this release. The vocals remain in classic TarLung style—guttural and sludgy—but they occasionally incorporate clean vocal styles. This welcome contrast broadens their sound. The production highlights each band member's unique style: intricate bass work, steady drumming, and intense rhythmic riffs. Track Listing: Static Noise 4:25 The Valley Of Nowhere 4:42 Burning Out 6:10 Sea Of Drowned Souls 4:20 Swans 4:11 Full Circle 4:17 Between Earth And Moon 5:17 Axis Mundi 5:21 Dive deeper into Axis Mundi with our Q&A with TarLung. OHMs Peak: As you may already know, we have been fans since your debut album, and your music continues to expand all while keeping to your signature style. Would love for a brief glimpse into your process and time commitment in making the album. TarLung: Many thanks for giving us a chance to talk about our music! OHMs Peak (and before that Rotation11) have been great supporters of our band from day one. We really do appreciate that passion in underground music! In general, we have a rather unregular rehearsal schedule. Mostly because everyone has their own busy schedule and life, but we try to find as much time to play and do rehearsals together as possible. We mostly go in with a general concept for a song based on an idea one of us had. We then work together over multiple rehearsals to fine-tune, add and subtract elements to finally get something we all are comfortable to play and stand behind. In the case of ‘Axis Mundi’ it took us roughly 3 years. But the first song ideas started to form even before we released our 2021 album ‘Architect’. We recorded ‘Axis Mundi’ at DDP studios the week before Christmas 2024. Finding the right partner and planning the release took up the better half of a year until everything was ready. Now, we are very happy to have the support of Argonauta Records for this release – it’s a great label with really cool bands on it, and we are very pleased that it has worked out this way! OHMs Peak: The music is so addictive with your distinctive raw sludge that only TarLung can produce. What influences does each band member bring to the table to create such an engaging heavy music? TarLung: Thank you for saying that! We have quite diverse influences. Naturally, there’s classic Doom, Stoner and Sludge bands, but there’s also a healthy dose of old school Death Metal and some influences like Death, Entombed or Dismember. Two of our band – Marian and Philipp - are also founding members of BLACK AIR, which sounds somewhat like (Dylan Carson’s) Earth, so that might have had some influences of that kind of music trickling down to TARLUNG as well. On top of that our drummer plays in TORPEDO TORPEDO, Vienna’s greatest Heavy Psych outfit, in our humble opinion. (Thanks Clemens ;) – Marian) OHMs Peak: It's nearly impossible to think of a standout track on Axis Mundi, but tunes like "Burning Out," "Sea of Drowned Souls" and "Full Circle" seem to shine with the expanded vocals; we love the contrast. How did this vocal style come to formation? TarLung: It was cool to do the growling distorted vocals for a total of 5 releases. But after doing that for over a decade, we thought of changing our approach a bit. Might be that we grew older and had more exposure to heavy music that doesn’t rely only on a screaming or growling kind of vocal style. Furthermore, we like to also push ourselves for each new release, learn new stuff, expand our horizon – and that includes trying different things with vocals as well as the instruments. OHMs Peak: What band NOT in the sludge genre would you love to tour with that would most compliment your sound? TarLung: Oh man that is a tough question. I guess bands like Blood Incantation, Amenra, Arabrot, Russian Circles, Cave In … come to mind. We are generally open to play and tour with any kind of band, as long as the members are easy going and don’t have a ‘rockstar’ attitude. Life is too short for dealing with difficult characters, and we prefer to hang out with chill people. Best example are our tour buddies and now friends Mares Of Thrace from Canada. Trez and Casey are two of the most awesome people we had the pleasure to share the stage with. OHMs Peak: We absolutely love the album cover as it ties in well to your music. Is there any meaning behind the artwork and who is the artist? TarLung: Thank you, we love how the cover turned out! We wanted a representation of the world on the brink of destruction, revealing mechanical contraptions and a skull within. It’s like an allegory of the everyday struggle in an uncaring cold world that tries to grind you down. We all have to face this in one way or another. In the end, it turned out to look very Warhammer 40k-ish, and we loved that! There are also some Warhammer 40k references in the lyrics, so the cover fits the album like a glove. The artist is Alex Eckmann-Lawn. He is a fantastic artist from the US. He did amazing work for the Smashing Pumpkins, Inter Arma, Imperial Triumphant, Abbath and many more. Alex also designed all our full- length album covers since 2017, so Alex is also responsible for giving ‘Beyond the Black Pyramid’ and ‘Architect’ the amazing cover art we hold so dear. OHMs Peak: TarLung is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? TarLung: That is a very tough question. After long and hard thinking we might go with Hegy – ‘We Won’t Make It Home’ – a Hungarian band we played with on our 2023 tour in Budapest. They are from that beautiful city and truly blew us away. What awesome music, great live performance and awesome humble people! After that show their album was on heavy rotation on our bus for the rest of the tour. Also, the album title seemed quite fitting to us. TarLung are: Rotten – Guitars Philipp Seiler – Guitars & Vocals Marian Waibl – Drums. Additional bass guitar by Lukas Haidinger. Additional vocals on ‘Sea of Drowned Souls’ by Thérèse Lanz and Casey Rogers Follow TarLung: Instagram / Facebook Grab some TarLung Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Stoner rock, Psychedelic, Heavy psych, Doom Sounds Like: Various Artists Homeland: USA OHMs Peak Unveils ‘The Mindful Collective’: A Charity Compilation Supporting Music & Memory. A Purpose‑Driven Collaboration Across the Heavy‑Music Landscape ‘The Mindful Collective’ brings together 21 remarkable bands who generously donated tracks handpicked by OHMs Peak’s editorial team. Known for its rigorous curation and its mission to elevate albums that “reach new heights,” OHMs Peak selected artists whose work embodies emotional depth, atmospheric power, and genre‑defining creativity. Supporting Music & Memory’s Transformative Mission Music & Memory helps individuals living with dementia, Alzheimer’s, and other cognitive or physical challenges reconnect with their identity through personalized music playlists. These playlists — built from the songs that shaped a person’s life — can unlock memories, reduce anxiety, and restore a sense of self. For more information about Music & Memory, visit: musicandmemory.org A huuuuge thank you to all the bands who donated a song. This is not possible without you. Lower Slaughter, Torpedo Torpedo, Domkraft, CHEEKS, KLPS, KNUB, Spiralpark, Beneath a Steel Sky, Fomies, Blessings, Pothamus, Cosmic Reaper, Apex Ten, Doble Sesion Nocturna, Froglord, All is Violent, Sheev, coastlands, Kal-El, Sunbreather and Bask Track Listing: Lower Slaughter - Take A Seat 04:02 Torpedo Torpedo - Fade 05:22 Domkraft - Spiral Noises 05:16 KNUB - Wet Lung 05:34 Spiralpark - Slumber 04:47 Kal-El - Cloud Walker 06:55 Beneath a Steel Sky - Everyone you've ever known 04:35 Fomies - Neon Gloom 03:35 Blessings - No Good Things 03:44 CHEEKS - hi list 2 die list 03:21 Pothamus - Zhikarta 07:26 Cosmic Reaper - Bloodfeather 06:03 Apex Ten - Ruthless 06:26 Froglord - Follow the Star 04:00 All is Violent - Born Of Kalahari 04:47 Sheev - Tüdelüt 05:01 coastlands - hollowing 05:51 Bask - In the Heat of the Dying Sun 04:57 Sunbreather - WINE 06:07 Doble Sesión Nocturna - Acto III: Que No Quede Ninguno 05:44 K L P S - TRIBULATION 08:06 Grab the OHMs Peak Comp Here Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Stoner rock, Psychedelic, Heavy psych Sounds Like: Bonehawk, Iota, Black Elephant Homeland: UK What makes Universal Heat Death elite and sit atop OHMs Peak? Universal Heat Death is an energizing blend of raw stoner rock and melodic psychedelic fuzz, highlighted by a wealth of jamming. The vocals have a classic muffled tone that blends perfectly with the music. The production possesses a raw and authentic sound that captures the essence of a live performance. This unique ambiance enhances the overall experience. Track Listing: Universal Heat Death 3:36 The Raven 4:35 Bloodsands pt.1 5:13 The Slow Descent into Hell 2:29 Debt Ridden Blues 7:42 Bloodsands pt.2 7:29 So Low 6:06 Dive deeper into Univeral Heat Death with our Q&A with Tom Pilsworth, Singer/Guitarist. OHMs Peak: Universal Heat Death is a massive, echo‑laden journey—equal parts classic stoner rock, cosmic doom, and melodic psychedelia. Your sound feels both familiar and forward‑thinking. What influenced the band’s sonic direction leading into this album? Tom Pilsworth: I should start by saying that we recorded this album in 2024. Four years after the previous album, We Are Doomed. In that time longstanding guitarist John Slaymaker left to re-join Caravan of Whores (great band check them out) and Lewis Batten joined us. So that was a period of change and must have influenced the sound. We allowed ourselves to be a bit more experimental, which you can hear in the “Bloodsands” tracks, and also Debt Ridden Blues, which Lewis wrote the music for and is about as close to real blues as we’ve ever come! I’ve always been quite influenced by the first Queens of the Stone Age record - the clean simplicity of those tracks. So that’s probably where the ironically titled “Slow Descent into Hell” came from. But really we have so many different influences in this band, everything from Killing Joke and Kyuss to Pink Floyd and The Who. Stoner rock and doom is where our playing styles converge when we jam in the studio, but it's nice to pull it in different directions sometimes. OHMs Peak: “Bloodsands Pt. 2” absolutely floored us. The way it erupts with that percussive surge, the swirling echo, and the sense of momentum—it’s such a unique and powerful moment on the record. Can you walk us through the creation of this track and how it evolved into the album’s standout centerpiece? Tom Pilsworth: Andy, our bassist, wrote the music for this one and when I asked him he said “It just sounded cool at the time… A faint groove to propel it along with enough breathing space in the verses for some all important silence.” It was quite a difficult one to put together as I remember so I’m glad it came off. Andy was mucking around with this “Phrygian dominate” scale and his noodlings first produced the “Bloodsands PT.1” track, which I think we put together basically by jamming it out in the studio. Then he came up with this different set of riffs using the same scale and it produced another great jam, but we weren’t sure what to do with it. So later on he came up with the other parts like that chunky chorus riff, and put it into a rough structure. At that point I usually try to come up with a theme and lyrics… I knew I wanted to write something about Boudica, a British tribal Queen, as it's such a cool topic for a doom band - her rebellion against the Romans which took them by surprise. I bought some old historical fiction book off eBay about her life and raided that for inspiration. Then we started putting it together in the practice studio. It was a struggle at first, especially getting the vocals right, in that unusual scale. But the end result was a really immersive track, so it was worth the effort. Now we are in the process of re-learning it to play live! OHMs Peak: Indica Blues has built a reputation for immersive, high‑energy live shows. What has been your most memorable performance to date, and what made that night particularly special for the band? Tom Pilsworth: If there’s high energy I think it’s mostly coming from Rich who is a whirlwind behind the kit at our shows! Our most memorable gig by a long way has to be playing Desertfest London. It was always a bucket list thing for us - the band was basically founded to be a part of that scene but it took a really long time to get in there. The venue was packed like no other gig we’ve played and the backline was unbelievably loud. And nothing broke! Which is unusual for us. Unforgettable experience. OHMs Peak: Your sound is rooted in stoner rock, doom, and heavy psych, but it also stretches into melodic and atmospheric territory. What band outside of those genres would you love to tour with—one whose audience or energy you feel would complement your own? Tom Pilsworth: Personally I’d love to support Amyl and the Sniffers. I think the energy they bring to live shows is just unreal. We’re more of a close your eyes and listen kind of band. But we could certainly make a great warm up act. OHMs Peak: The album artwork for Universal Heat Death is striking and cosmic, perfectly matching the scale of the music. Who developed the concept, and what meaning or story does the imagery hold for you? Tom Pilsworth: It was Rich who first mentioned the concept of the heat death of the universe (in which the universe will expand to the point at which there is no energy left - and no life) in band practice. He works on nuclear fusion projects so actually knows about this stuff! As soon as he started talking about it, I thought that sounded a great title for an album. And it makes sense - the last album was partly about nuclear war. So where do you go after the end of humanity? You have to talk about the end of the universe itself. It wasn’t easy to find an appropriate artist but we found Reza Afshar, a great sci fi illustrator - check his stuff out on instagram. OHMs Peak: Indica Blues is stranded on an island with only a solar‑powered turntable and a pair of majestic solar Bluetooth speakers. The band can collectively choose only one album to bring. Which album do you all agree on? Tom Pilsworth: You’ll be pleased to know we took this question very seriously, and after a lengthy and bitter debate, during which Black Sabbath Vol.4 was cast into the sea because “I’m not listening to ‘Changes’ on repeat on a desert island!”, we finally settled on Earthless - Rhythms From a Cosmic Sky . Indica Blues are: Tom Pilsworth – Guitar, Vocals Lewis Batten – Guitar Andrew Haines-Villalta – Bass Rich Walker – Drums Released on Majestic Mountain Records Follow Indica Blues: Facebook Grab some Indica Blues Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2026 Genre: Stoner rock, Space rock Sounds Like: My Sleeping Karma, Glowsun, Homeland: Spain What makes Fuzz Transmissions elite and sit atop OHMs Peak? Wild Fuzz Trip is precisely what their latest release delivers. The gentlemen from Spain continue to expand their impressive catalog of heavy, psychedelic instrumental fuzz. The synthesizers truly elevate the experience and add a layer of comfort, propelling the album to another stratosphere. The bass and drums form the foundation that holds everything together, while the guitars soar melodically. And let's not forget about the saxophone, particularly on the final track, "Nebula Groove," which adds extra flavor to the mix. Track Listing: Echoes from the Fuzz Garden 9:41 Big Grey 9:43 Galactican Twilight 6:29 Old Kraken 7:48 Nebula Groove 6:18 Wild Fuzz Trip are: Guitars - Miguel A. Marañón & Diego López Keyboards - Diego López Bass Guitar - Andy Shardlow Drums - Suso Valcárcel Sax - Martin Ludl Follow Wild Fuzz Trip: Instagram Grab some Wild Fuzz Trip Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Post - punk Sounds Like: Fugazi, Girls Against Boys, Rival Schools Homeland: North Carolina What makes Cheeks elite and sit atop OHMs Peak? Cheeks brings a refreshing vibe to the punk rock scene. Their fusion of punk and math rock evokes a nostalgic 90s atmosphere. Occasionally, a touch of psychedelic heaviness emerges; take a listen to the track Dream Boat. The vocals have an ideal tone for this music style. Neither overpowering nor underwhelming, they have a homegrown feel. The production is excellent and not overly polished; we believe it would translate perfectly on tour. Track Listing: Sound Of The Devil 4:33 transmission interrupted 3:36 Danger Squeeze 4:21 Dream Boat 4:26 Butchery Summer 5:12 hi list 2 die list 3:21 Flap Jackets 5:04 Dive deeper into Cheeks with our Q&A with the CHEEKS. OHMs Peak: Your sound is mature beyond years with a myriad of rock, post-punk, noise rock, and hardcore. Tell us how you formed and provide us some background on your previous endeavors. CHEEKS: Our sound is 5 people living in a pre-dystopian society, moving through the crushing pressures of our lives mixed with drugs. We all feel that our lives and previous endeavors have been leading up to our present-day band. Fate formed us. OHMs Peak: All 7 tracks resonate and only get better with each listen. The closer, ‘Flap Jackets,’ is a whirlwind of great contrast. How did the darker track come about, and what is the track about? CHEEKS: Lyrically, I would say the song is a day in the life of my brain. One foot in front of the other, trying not to blow it, that sort of thing. And of course the fact that we're all here together doing just that, simultaneously, but ultimately in this one brain and body of ours. All by ourselves yet surrounded by one another, just floating out in space. It all spins on the head of a pin. That said, if someone connects to it and finds some meaning in it for themselves, then all the better. Musically, I believe Alex came in with a great idea, and everyone else expanded upon it and dusted it with their unique and personal majick, and wala! A new Cheeks song was ushered into the world. OHMs Peak: How did the band name ‘Cheeks’ come about, and what does it signify? Our record release was definitely the most memorable performance to date. We played at Fleetwood’s Rocknroll Chapel in Asheville, NC. Among other things, it was special because it signified the end of an era with the 5 of us and the birth of a new chapter for CHEEKS. Cheeks was made up randomly one night lol. Spread the word!! OHMs Peak: What bands most influenced your sound, and which band NOT in your genre would you want to play live with that would most complement your sound? CHEEKS: Some of the bands' influences would be Jesus Lizard, Drive Like Jehu, and the Cramps. Playing with someone like Brian Jones Massacre would be cool. OHMs Peak: Cheeks is stranded on an island with only a solar-powered turntable and majestically powered solar Bluetooth speakers. The band collectively can only choose one album. Which album do you agree to? CHEEKS: We agreed that if we had to choose one record, it would be the first Stooges album. CHEEKS are: Alex, Tony, Cheryl, Luke, and Chadwick Follow CHEEKS: Instagram Grab some CHEEKS Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Punk, Noise rock, Heavy rock, Math rock Sounds Like: Shellac, Drive Like Jehu, Unwound Homeland: Brighton, UK What makes Deep Living elite and sit atop OHMs Peak? Deep. Living guides us through a variety of genres, including punk, noise, stoner, and math rock. It’s incredibly diverse and our top album of 2025. Frontman Barney Wakefield's vocals perfectly suit this style of music. His blend of desperation and punk tones enhances the music seamlessly without overwhelming it. The production is spot on, with each instrument standing out clearly. Every time we listen, we notice different nuances. Track Listing: Year Of The Ox 4:15 Take A Seat 4:02 The Lights Were Not Familiar 3:33 Dear Phantom 4:01 Goes Fast 1:22 Memories Of Road 6:32 Hospital Chips 4:00 We Bring Power :36 The Bridge 1:50 The Shape Of The Fire 3:57 Motions 2:51 Deep Living 7:08 Dive deeper into Deep Living with our Q&A with the vocalist Barney Wakefield. OHMs Peak: ‘Deep Living’ has been our # 1 album of the year three months in a row. It is absolutely chock full of brilliance. You cross over so many genres, what influenced you the most in developing your sound over the years. Barney Wakefield: Well first of all, thank you very much for the kind words. We really appreciate it! The initial canvas we loosely drew from when we first started back in 2014 was Harvey Milk, Pissed Jeans, The Men, Hot Snakes, and other stuff along those lines…  Since then, because we all listen to different types of stuff separately that we’re individually influenced by, our sound has changed and developed over the years from how it started out to now, which we hope covers a slightly wider range of stuff, but is still in keeping with what we’re about. Jon our guitarist for example is into plenty of pop music and Motown type stuff, and likewise I’m personally influenced at the moment by artists like Aesop Rock & Talk Talk, and whilst none of us ever aim to create or replicate these types of styles, the influence of our specific tastes might seep in somehow. 'Green album' era Weezer was something me and Graham (drums) were digging and discussing a lot when we were writing thr album, but I don't think it's evident in the music neccessarily...!   OHMs Peak: ‘Take A Seat,’ gun to our head, would be our favourite track on the album. Take us through the making of this track….between its jaw dropping changeups and quirky melodies… how did it come to fruition. Barney Wakefield: This is a fairly old song now compared to the others on the album - it started off as an initial idea with our old line-up, and our newest recruit James bought his own take on it once we re-set activities with the line-up we have now. It went through many variations before we got to the version that we have now. Most of our songs start with an idea from Jon, which we collectively build on and shape as a group. I think this one probably came quite easy, but I truly can't remember now how this one worked out! It’s one of our favourite songs to play live for sure, and it kinda covers various aspects of our sound, and ebbs and flows nicely. It would likely be the song I’d pick to introduce someone new to what we do.   OHMs Peak: What was Lower Slaughter’s most memorable live performance? Where was it held and why was the night so special? Barney Wakefield: With our previous line-up, playing at the Cosmic Carnage all dayer at the Brixton Windmill around 2016-ish was a pretty amazing one. We were on at the right time where everyone was in a very lively mood and keen for dancing, and it’s the only gig to date where I’ve crowd surfed whilst playing…still searching for that feat again! More recently, supporting Melt Banana in Brighton was a pretty big highlight. We were opening the show at a venue that’s way bigger than we’re used to playing, and we were expecting it to be fairly quiet during our set. We walked on stage and the place was packed, all we could was just a sea of heads that extended all the way to the back of the room. We just ploughed through our set with as much energy as we could, and I remember coming off stage thinking we’d had a goodun’ that night! Supporting The Men a couple of years ago in London was amazing too. ‘Open Your Heart’ was a big album for us, so it was an honour to share a stage with them. OHMs Peak: What band NOT in the math rock genre would you love to tour with that would most compliment your sound? Barney Wakefield: I reckon Status Quo in their early days would have been a good laff!    OHMs Peak: The album cover provides a serene and intriguing landscape, who came up with the concept and meaning behind the image? Barney Wakefield: The photo on the front cover was taken a fair few years ago now by an old friend of ours when he was travelling around the world. I believe this particular photo was taken somewhere near Penzance-way. I first saw it when he put it on their photobucket page (remember that site?!), and it caught my eye at the time and I always tucked it somewhere in the back of my head for many years after.  When it came to thinking about artwork, that photo came back to me as a fairly striking but simple image to illustrate the general narrative arc and musical mood of the album, which in a nutshell was to loosely convey the sense of navigating through the emotions of fear and trauma within a beautiful and safe surrounding, and coming out the other side positively.  Plus it didn’t come across as a straight ‘rock album’ type album cover, which was intentional on our part. I personally love album covers that both convey the general tone of the music, but don’t come across as a stereotypical portrayal of a certain genre or style. Yo La Tengo’s ‘And Then Nothing Turned Itself Inside-Out’ for example was a big visual inspiration for this one. That is such a beautiful and powerful image that at first glance doesn't tell you what the sounds contained within will necessarily be, but it portrays the feeling of the songs so perfectly. 'Hex' by Earth is another example. ‘What Burns Never Returns’ by Don Cabellero is another great one that sums that up. And their second album for that matter- that cover is so great!   OHMs Peak: Lower Slaughter is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Barney Wakefield: We tend to default to something like ‘Classic Rock FM’ when we’re on tour in the van, as we can never collectively agree on one single thing to listen to.  That said, we’ve concluded that a ‘Now That’s What I Call Music’ compilation from the late 80s/early 90s would suffice nicely. Something for everyone, several discs’ worth…done! Lower Slaughter are: James Gardiner – Bass Graham Hebson – Drums Barney Wakefield – Vocals Jon Wood – Guitar Follow Lower Slaughter: Instagram / Facebook Grab some Lower Slaughter Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Sludge, Doom Sounds Like: Amenra, Cult of Luna Homeland: Seattle, Washington What makes Psychic Pain elite and sit atop OHMs Peak? Psychic Pain consists of 5 tracks filled with raw, emotional atmospheric sludge. Serial Hawk has steadily amassed an impressive body of work. Their relentless sludge sound is oddly soothing. The production is impeccable, with each instrument standing out clearly. Every time we listen, we notice different nuances. Track Listing: Pulsate 3:41 Raw Wound 7:30 Drift Away 8:12 Psychic Pain 11:34 Caged 5:53 Dive deeper into Psychic Pain with our Q&A with the Will Basin of Serial Hawk. OHMs Peak: Would love for a brief glimpse into your process and time commitment in making the album. Will Basin: Some of these songs were written as far back as during covid times in 2020 but ultimately a turning point occurred during November of 2023. I was in a pretty dark place personally and musically, and then out of no where, unexpectedly I had an opportunity to play roadie for the band Ulcerate. -It was such a gift and inspiration to spend time with them on the road. When I returned home I knew that I had to dig deep, push forward and see through many of these songs and ideas that I had been avoiding. So a few months later during spring on 2024 we began recording what would be our next two records. One manifested into ‘Psychic Pain’ and the other is on the way! OHMs Peak: As heavy as the album is, the track 'Drift Away' really stands out for us. It's a beautifully written track that is easy to get lost in. What is the meaning behind this glorious tune? Will Basin: This particular song is one of the more personal and forthright songs on the record. It’s about being self destructive, drifting away from your true self, confronting those demons, getting through. OHMs Peak: As a band, you write some complex and thoughtful doom/sludge on all your albums. What influences does each member bring to the table to create these songs. Will Basin: I feel like our music is almost like a soundtrack that paints a picture of a massive landscape of nature or of the depths of space and the vast universe. -That’s at least what we’re reaching for. We toured pretty heavily for about the first ten years of being a band, exploring a lot of places, driving a lot of miles, seeing a lot of things. I feel like that as well as what we’ve all experienced growing up, especially since we started in 2010, has all really contributed to our music. OHMs Peak: What was your band’s most memorable live performance? Where was it held and why was the night so special? Will Basin: More recently we played in a big old barn on a beautiful piece of land in Quilcene, Washington. We played with EARTH and it was a magical night filled with so many great people supporting music and each other. Life affirming on many levels. OHMs Peak: What band NOT in the doom/sludge genre would you love to tour with that would most compliment your sound? Will Basin: Hm, that’s tough because sometimes it’s hard to feel like we fit in with the scene or whatnot and I think we get passed over a lot and get lumped into a category of like ‘just another stoner rock band’, and sure maybe the band name has kinda pigeonholed us in that regard, haha, but personally I feel like we could tour with any band that is loud, heavy, melodic, dark or textural. I’ve taken inspiration from bands like Hum, Failure, Mogwai, Sunny Day Real Estate, Smashing Pumpkins, Tortoise, MBV, JAMC, heck even Radiohead and Sonic Youth, I could go on and on! OHMs Peak: The album art reflects your music perfectly. Can you provide a backdrop into the making of this album cover? Will Basin: It’s called the Soul Nebula (also called the Embryo Nebula) I have a friend who is really into Astro Photography, he set up his equipment outside on a clear night for several hours and gathered some incredible data on this nebula with, I believe it was a Hydrogen-alpha filter, so it’s all red, but I guess technically depending on what gasses you want to capture then the color will render that? I love this image, many light years away, painful and beautiful. OHMs Peak: Serial Hawk is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Will Basin: FFS, probably Wish You Were Here Serial Hawk are: Will Bassin, Adam Holbrook and Karter Rosner Follow Serial Hawk: Facebook Grab some Serial Hawk Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Psychedlic rock, Stoner rock Sounds Like: Dead Meadow, King Buffalo Homeland: Leeds, UK What makes Sunbreather elite and sit atop OHMs Peak? Sunbreather delivers a soothing mix of smooth Stoner rock blended with trippy psychedelia. The vocals are quite relaxed and contribute a sense of comfort to the swirling stoner fuzz. The production is spot on. Sunbreather possesses a studio homegrown quality that isn't overly polished, which truly enhances their sound. Track Listing: Foreglow 1:50 Apricity 10:57 Sunbreather 8:30 WINE 6:07 Reverie 1:34 Sleep 6:29 Aubade 8:00 Dive deeper into Sunbreather with our Q&A with the Sunbreather. OHMs Peak: Your self-titled debut continues to lower our blood pressure each listen. Such calming beautiful heavy. Would love to hear more about your setting in making this album and how it came about? Sunbreather: These songs came from a really dark time in my life and I think that's why they're so bright and full of hope, it was the message that I needed to hear. One song that didn't make it to the album had the lyric "Forget happiness, give me hope", and I think that sums up where I was at. This was before I transitioned and my partner was living thousands of miles away, so writing was all I had to keep me going.  Apricity and Sunbreather were the first tracks I wrote, originally apricity was a fourth higher, so in G rather than D like it is on the record. Lyrically they're both about finding hope and solace in dark times through nature. WINE was basically a bag of riffs that I moved around like a puzzle that eventually clicked into place, and the heavy gross outro riff was just something that came out of us jamming the song, same with the solo for apricity - I jammed it that way the first time and thankfully the practice session was recorded! I went back and learnt it from the recording - technically it's nothing special but I thought it was perfect! Reverie and Sleep are one track in my head and are pure chilled out escapism - I found a lot of escape in sleep and the track had this heavy lullaby vibe that I really dug. Same with Aubade, the name comes from a love poem usually performed at dawn, and the song is kind of a love poem to dreaming.  OHMs Peak: Could we get into a glimpse of the Sunbreather background and how the band formed along with any prior groups or projects you may have been involved with? Sunbreather: The three of us have a long history and have jammed on and off for over a decade at this point. Chris and I were at school together and George is my brother and we've all been really close friends for most of our lives. Back in the day we'd jam covers in Chris' garage. We all got super into the UK underground stoner scene in our early twenties, and became obsessed with bands like Elephant Tree, Boss Keloid, Barbarian Hermit, Battalions (I could go on listing bands forever here). If it was a stoner gig in Manchester between 2014 and 2020 then you could put your house on at least one of us 3 having been there! We often talk about that as the "golden era", it felt like there was a gig every weekend - it was glorious! In about 2018 George and I started throwing ideas for songs back and forth and eventually we convinced Chris to join and started jamming. One pandemic later we had an album full of songs ready to go and we started gigging.   OHMs Peak: Sunbreather your self-titled track is an absolute juggernaut on the album. The meandering jazz percussion and majestic riffs combined with the angelically soothing vocals make this our favorite.How did the track come about and take us through your passion for the title. Sunbreather: The title comes from a misheard lyric in Antarcticans Thawed by Sleep. I misheard "sun prevails" as "sunbreather" and I thought it sounded cool so I named the first song I wrote for the band that, and we could never come up with anything better. Funnily enough there's a band in Canada also called Sunbreather and we got chatting about how we came up with the name and they also came up with it in the exact same way! I couldn't believe it, it was so funny. The name then inspired the lyrics to the track - which are about coming out of a depression cocoon into the sun and just breathing in the beauty of nature. From a guitar and vocal point of view the song is very heavily influenced by Elephant tree, the main riff was started as me trying to write a riff similar to Attack of the Altaica. The verse is in the mixolydian mode and the main riff is in the dorian mode so both give you a bright, hopeful sound but the chorus is just a touch darker, which i think fits the lyrics really well. There's the psychedelic interlude that relies on the major scale so has an even brighter, happier feel, so a bit of escape before we go back to dorian for the heavy bridge part, and the outro is a repeated perfect cadence - the major seven chord of the fifth into the major one chord, which is like the most final sounding, resolving chord change you can get. OHMs Peak: Where was Sunbreather’s very first gig? Were you nervous ? How ds it come together? Sunbreather: We played our first gig at Crank Studios in Morley near Leeds which is a music school with a lovely vegan cafe/bar, we were all terrified and the audience was almost entirely our families and friends, which I think is even harder than playing to strangers because you have to see them again. We all had a blast though and it was lovely to be surrounded by loved ones. It was all livestreamed on facebook and I think it's probably still on their page if you scroll back far enough. We played everything on the album except Reverie and Sleep. I think it went pretty well for a first gig but it wasn't the best, the drum kit kept walking away from Chris and the PA just couldn't really keep up with our Matamps! OHMs Peak: What band NOT in the psych/stoner genre would you love to tour with that would most compliment your sound? Sunbreather: That's a tricky one, I love doom-adjacent acoustic stuff like Dorthia Cottrell, Emma Ruth Rundle and Chelsea Wolfe, I think we could get a real chill vibe going. There's definitely going to be some of that sort of stuff on the second album. Also I adore The Beatles and Fleetwood Mac, in fact we've recently been working on a doom cover of The Chain, so that would be neat.  OHMs Peak: Sunbreather is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Sunbreather: This led to some really intense discussion but I think it would have to be Melted On The Inch by Boss Keloid, it's a masterpiece in every sense. The riffs, the tone, the drums, the groove, the vocals, the lyrics, we were all really obsessed with that album for years when it came out and there's a track that's probably going to be on our second album that heavily pulls from their progressive sludgey sound. Alex Hurst's lyrics and philosophy have been a massive influence on me and my lyrics, and I think they'd keep our spirits up. It would also be a great reminder of all those gigs where we bonded over this beautiful, heavy music. Follow Sunbreather: Facebook Grab some Sunbreather Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Progressive rock, Stoner rock Sounds Like: Tool, Floater, Howling Giant Homeland: Germany What makes Ate's Alchemist elite and sit atop OHMs Peak? Ate's Alchemist is a pure gem in the world of new progressive rock. Sheev features a modern technical progressive sound enhanced by stoner rock melodies, creating a unique vibe unmatched by others. The production is impeccable, with each instrument standing out clearly. Every time we listen, we notice different nuances. Track Listing: The Alchemist 1:24 Martef 6:48 King Mustard II 6:09 Elephant Trunk 7:45 Henry 5:33 Cul De Suc 8:25 Tüdelüt 5:01 Sabress 8:54 Dive deeper into Ate's Alchemist with our Q&A with the Sheev. OHMs Peak: Would love for a brief glimpse into your process and time commitment in making the album. Sheev: So the album is a collection of songs we wrote over the last four years since the release of the first album. Some of them were finished years ago, while others we completed literally during the recording process. After recording, we had the pleasure of mixing the album with David Bottrill, the producer who has worked with Tool, Mastodon, and many others. We then mastered the album with Karl Daniel Lidén, who has worked with The Ocean, Bloodbath, and others. OHMs Peak: The title of this album, Ate's Alchemist is very unique. Is this a concept album? How did this title come about? Sheev:  Naa, it’s not a concept album, although we like that many people think it is. We wanted to create some kind of connection to our last album, Mind Conductor. Phil, our drummer, came up with the idea that, just like in the last one where we had a conductor planting ideas and thoughts into people’s minds, now Ate’s Alchemist tells the story of the servant of Ate, the goddess of mischief, who is known for planting dark emotions in people’s minds such as fear, delusion, anxiety, and more. In this story, we see her Alchemist at work, crafting the very demons she later instills in humanity. OHMs Peak: Your music travels through so many avenues of stoner rock, progressive rock and psychedelic, there is not one song that stands out, they all blend together perfectly. What are your influences as musicians? Sheev:  We’re big fans of Opeth and Mastodon on the progressive side, Alice in Chains and Soundgarden on the grunge side, and The Sword and Down on the sludge/stoner side. Of course, there are many other bands as well. OHMs Peak: What was your band’s most memorable live performance? Where was it held and why was the night so special? Sheev:  One of our best gigs was at a place called Tief in Berlin (which unfortunately no longer exists). It was the basement of a bigger venue, packed until the end, and we played face to face with an audience that really connected with our music. The vibe was amazing, everything came together perfectly, and we still talk about it every now and then, many years later. OHMs Peak: What band NOT in the doom/sludge genre would you love to tour with that would most compliment your sound? Sheev:  Oh, our ultimate dream will always be either Opeth or Mastodon. OHMs Peak: The album art by Bobby Anders & Sve.a illustrations is vey detailed. We love the black and white illustration. Can you provide any insite to how this vision became to be the albums cover? Sheev:  So, similar to the name of the album, we also wanted to create some continuity with the first album and, of course, capture the meaning of the new album’s title as clearly as possible. There was a lot of back and forth, but in the end we got to where we wanted, and we’re super happy with the result! OHMs Peak: Sheev is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Sheev:  Opeth - Ghost Reveries Sheeve are: Nitzan Sheps Philipp Vogt Joshan Chaudhary Follow Sheeve: Instagram / Facebook Grab some Sheev Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Post metal Sounds Like: Cult of Luna, Young Widows, Rebreather Homeland: Sweden What makes Blodsträngen elite and sit atop OHMs Peak? Blessings are a truly distinctive band in the Post-metal scene. Their innovative approach sets them apart as one of the standout metal bands in 2025. Blodsträngen is far more than just a post-metal album. It incorporates elements of sludge with an angst punk vibe. These seven tracks blend effortlessly to form a captivating album that truly stands out when played on vinyl. Track Listing: Raised on Graves - 5:57 Strings of Red - 5:57 Clean - 8:24 No Good Things - 3:44 Allt Vi Kan Ge Är Upp - 5:47 Copper + Dirt - 1:50 Through Veils - 9:46 Dive deeper into Blodsträngen with our Q&A with drummer Mattias from Blessings. OHMs Peak: Blodsträngen is a beautifully crafted sludgy hardcore journey. The song structure and contract is so engaging we cannot get it out of rotation. This being your third release since 2012’s ‘Bittervatten’ your sound has obviously changed. We find it so cathartic where heavy and beauty collide. What drove the landscape behind this album? We would love some perspective regarding the process. Mattias: That’s a really good question, and honestly, I don’t have a direct answer. From my perspective, the beauty of it all is that I focus entirely on my own part—everything related to drums and drumming. I leave everything else to my bandmates, so I actually know very little about why they do what they do. That creates a real sense of mystery around our music for me, even though I’m one of its creators and performers. We’ve never been the kind of band where one member shows up at rehearsal with a finished or half-finished idea that we just complete together. On the contrary, all of our music is created collectively in the rehearsal space, with everyone contributing. I suppose it’s within that setup that the landscapes of Blodsträngen emerge. When we’re all in a room together, things happen that none of us need to fully understand as long as we all feel it. OHMs Peak: What was Blessings most memorable live performance? Where was it held and why was the night so special? Mattias:  For me personally, I’d have to say Pelagic Fest in Maastricht just a few weeks ago. It was Blessings’ second show ever outside of Sweden, and we honestly had no expectations. The room was packed wall-to-wall with people who seemed to genuinely connect and absorb. Absolute goosebumps from the moment we stepped on stage. OHMs Peak: ‘Clean’ is exactly that, some of the purest bass-work and creeping undercurrent. This could be one of the best tracks of the year in our eyes. The song is impossible to describe in words other than it builds incredibly and absolutely takes ahold in pushing your speakers to the limit. Take us through the meaning and making of this tremendous track. Mattias:  The first thing that comes to mind is how “Clean” came together the same way most of our songs have historically. We get in a room and just jam. We often don’t even talk much—sometimes not at all. Someone starts playing something, someone else follows on instinct, and suddenly we’re in the middle of something, hoping the music takes us somewhere. Sometimes it moves us collectively; sometimes it doesn’t, and if it doesn’t, we never revisit it. “Clean” is roughly eight minutes long, and it’s no exaggeration to say that’s about how long it took to create. The phone recording from the moment the song happened isn’t all that different from the final version. OHMs Peak: We would love any insight as to your current and upcoming tour plans. Have you played the US and are there plans on the horizon to visit from Sweden? Mattias:  We don’t have any concrete touring plans at the moment, unfortunately. We’ve always been a band that rides the wave when it comes, if it comes. We’re planning a release show in our hometown with special guests, and we’ve had a few offers for gigs and festivals, but nothing major. I’ve toured the U.S. a couple of times, but it’s been a long time now. We’d obviously love to come over, so invite us and we’ll do everything we can to make it happen. Thank you so much for the kind words, we appreciate it so much!. OHMs Peak: What band NOT in your genre would you love to tour with that would most compliment your sound? Mattias:  I’d love to see Steve Von Till every night, for example. I absolutely love everything he’s ever been part of, and I think we’d make a great package. Or why not Autopsy? They were a big influence on our first album. OHMs Peak: Blessings is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Mattias:  There’s an incredible amount of amazing music in the world, and probably a hundred albums that three of us would completely agree on—but not four. Our individual tastes are pretty spread out. Our keyboardist, Erik, threw out suggestions like Neil Young – Harvest , Neurosis – Times of Grace , or "any Slayer record from the 80s", and that’s where we can all meet I guess. It seems like we ultimately agreed on Times of Grace . For me, that’s an album that feels bigger than music and bigger than life itself, absolutely monumental. There's also a version out there with it and Tribes of Neurot - Grace mixed together, as intended. It's otherworldly. Follow Blessings: Bandcamp / Facebook Grab some Blessings Merch Music (vinyl, CDs, digital, shirts, etc.)

Released: 2025 Genre: Heavy Psych Rock, Krautrock Sounds Like: Firefriend, Fomies, Wooden Shijps Homeland: London, UK What makes The Animals Are Coming elite and sit atop OHMs Peak? Black Helium has released one of this year's most creative heavy psych albums. This masterpiece is driven by remote vocals, psychedelic distortion, and a sense of exploration. The six tracks flow seamlessly, making it effortless to become immersed in their brand of heavy psychedelic wonder. Track Listing: Return The Curse 11:44 Saviour Destroyer 6:23 Worm Vision 4:00 They Have Bodies 6:27 Up On A Hill 4:37 Inside The Horror Mask 10:11 Dive deeper into The Animals Are Coming with our Q&A with vocalist/guitarist Stuart Gray of Black Helium. OHMs Peak: We love your library of releases! Your fourth full length,  The Animals Are Coming  is absolutely addictive hitting new heights us. Of the four albums this seems the most cohesive from a concept album perspective as the six tracks are inseparable. Take us through some themes and the intriguing dystopian type title on this one. Stuart Gray: Thank you so much, that makes me happy to hear. We're super happy with this album, we're kinda hitting our stride a bit more with this one. The album title came from Beck, in fact all of our album titles, come from Beck She was talking to a friend who was dealing with grief at the time having lost his Mum, and he mentioned,  that he was having weird moments where animals such as birds, dogs and insects were actually approaching him,comforting him, and how he felt the spirit of his lost one was coming to him in animal form. This was very comforting to him, and when Beck went to sleep that night she awake suddenly with a strange feeling, and the phrase "the animals are coming!" just came to her. I thought it was very moving, but also without that context it feels both reassuring and ominous, especially in these times. OHMs Peak: ‘Inside the Horror Mask’ is such a brilliant closing track. The swirling euphoric height of this track and subtle synths is incredible. We would love to hear more about how this song came about.  Stuart Gray: It's very hard to remember writing songs, especially in this band as we work extremely fast, but also super intensely. I had the first 'song part' for a while, and we'd worked on a quite complex piece for the end, but somehow it never really felt right, too cerebral for us. So we just decided to do something simple, yet dynamic. All the other weird sounds came from synths and Beck playing a bowed bass. It has the strange eerie euphoria of Ecstasy Symphony by Spacemen 3 to my ears. OHMs Peak: You seem aligned with our passion for horror films. If you could go back and lay down the soundtrack for any horror film ….what would it be and why? Stuart Gray: I hardly watch any horror films these days, although I've watched thousands over the years. Eighties slasher films used to give me a warm sense of nostalgia disturbingly. But I guess I'm getting too sensitive to enjoy them nowadays, especially with all that's going on in the world. My friend came over at Christmas and we watched Terrifier 3! fucking hell! what was all that about? Makes Friday the 13th look like Herbie Goes Bananas. But it would be very hard to change a soundtrack to a film we love, so maybe something cheap and silly would be more fun. Something daft like Street Trash or Spasms. But we'd love to do a soundtrack someday, maybe not a horror, but something. OHMs Peak: We have a fetish for echo particularly in the psychedelic rock genre. The Animals Are Coming has the absolute perfect blend and precision of echo within the vocals. Just our ignorance, but take us through how the echo is infused with your music and how you master just the right balance. We hear this butchered by various acts but you guys integrate it so beautifully. Stuart Gray: It's hard to say really, everything we do is 99% intuitive. We lay down our tracks pretty dry as I don't use any reverb on my guitar, but it's a lot more spacious with the overdubs. Ben Turner did an amazing job making these sound worlds actually come out the speakers. I guess we go a bit Reign In Blood with the backing track, and Space Ritual with the overdubs. I like my vocals to have a calm otherworldly vibe to them. OHMs Peak: We would love any insight as to your current and upcoming tour plans? Have you played the United States? Where have you not played that you would love to make an appearance? Stuart Gray: Because we are a small band we don't have the budget to play many places overseas. We played the Netherlands and Germany last year which was absolutely amazing. But we'd love to go to the US someday. I don't know how tricky and expensive it is with work visa and stuff.  OHMs Peak: The album art is very bold on  The Animals Are Coming  with its in your face font. Who created and how did it come about? Are you utilizing the same artist on all four albums? Stuart Gray: Beck has done every cover since our first. We definitely have an aesthetic which is quite fun, yet dark, so I guess its a case of having something bold and direct which suits the album. I always prefer and love bands that do their own artwork. That gives them a deeper and more intuitive sense how  the artwork should look. We're really lucky. I couldn't bear it if we asked someone else to do it and we weren't happy. OHMs Peak: Black Helium is stranded on an island with only a solar powered turntable and majestic powered solar blue tooth speakers. The band collectively can only choose one album. Which album to you agree to? Stuart Gray: Impossible really. but we all love Forever Changes by Love! That's a beautifully dense psychedelically comforting album. Black Helium are: Stuart Gray (vocals, guitar) Beck Harvey (bass, vocals) Diogo Gomes (drums) Follow Black Helium: Bandcamp / Facebook Grab some Black Helium Merch Music (vinyl, CDs, digital, shirts, etc.)