UltraNothing have nothing to add to the usual, standard litany of “punk” phrases and ideologies: of course, they are anti-racist, anti-fascist, anti-sexist and anti-everything else that discriminates people, however, as they see it, punk slogans and phrases unfortunately didn’t leave much of a dent on the institutions and on the main causes of discrimination and suffering of people around the world during the past 50 years. Nevertheless, the trio are very much intent on grinding on ferociously and defiantly to the rhythm of modern fallacy in an empty ode to daily exhaustion, ennui, spleen and existential tiredness. It’s melanchopunk, it’s UltraNothing!

https://ultranothing.bandcamp.com/album/ultranothing-s-t-e-p

Tracklist:
A1. The Grace Of Time
A2. Fight It Out
B1. Elation
B2. Animosity

And above it all, scratchy vocals snarl, singing about all that big city/small town/youth/throwback stuff that sometimes sounds very familiar and sometimes very unfamiliar.

In any case, answers are given to some of life’s essential questions – or do you know what Hüsker Dü would do? Or what’s going on with Dennis Rodman, why the lift shouldn’t pull you down or what the ups and downs in the life of a lift boy are?

https://sex-beat.bandcamp.com/album/call-me

Tracklist:
A1. Call Me
A2. Ups & Downs In A Lift Boy’s Life
A3. Tillie
A4. Don’t Let The Elevator Bring You Down
A5. What Would Hüsker Dü?
B1. Nasal Spray
B2. Punks Of Portland
B3. Sort It Out
B4. Secrets
B5. Dennis Rodman

https://keineangstimdunkeln.bandcamp.com/album/keine-angst-im-dunkeln

Tracklist:
A1. Intro
A2. Paradise
A3. Hope for the Best
B1. Unanswered
B2. Almost Anything
B3. In A Pit

Everything falls into place here – the guitars are perfectly locked in, the drumming is tight, and above all Wally, the vocalist, has made a huge leap into the premier league of shouters.
Sure, Toxic Shock aren’t reinventing the crossover thrash game – on the contrary, they pay tribute to the greats of the genre. Excel, Suicidal Tendencies, Testament – those are the obvious references. At the same time, you can clearly hear the band’s hardcore/punk roots – not least in their extremely fitting and well-executed cover of The Gun Club.
And fun fact – on the Gun Club track, Toxic Shock occasionally sound like Lee Hollis in his prime Spermbirds days!
What really sets “Future Is Calling” apart, though, is its raw, unrestrained energy that never tips over into chaos. The songs are compact, get straight to the point, and still pack enough hooks to stick in your head. No unnecessary gimmicks, no self-indulgent noodling – just honest, hard-hitting crossover with attitude. This is exactly how 2020s thrash revival should sound. Moshpit guaranteed.

https://toxicshock.bandcamp.com/album/future-is-calling-2

Tracklist:
A1. Into The Garden Of Grief
A2. Reborn
A3. Three Nine
A4. Lifelong Sentence
A5. Quick To Forget
B1. Earth
B2. NQ
B3. Through The Poison
B4. Procrastination-Frustration
B5. Creeping Rea
B6. Sex Beat

A post-industrial, ambient, and noise duo formed in 2024 in the mountains of southeastern France.

Atmospheres of a future set in antiquity—retrofuturism, space-time labyrinths.

Levitating amidst cosmic pillars, suns explode as ancient gods pass by…

A slow unfolding of cinematic soundscapes—sci-fi, epic historical drama—heralding the rise of a civilization akin to *Dune*.

Obscurantist fiction gnaws at the doors of perception.

Long, sweeping trails of luminous insects organized into a curse.

The oily sludge of epic cinema staining motionless oceans.

The advent of a mutilated space-time civilization, reduced to heavy, gaseous threats hovering over the ruins.

And the rivers of Antiquity flowing solemnly, at a trickle, over the carcasses of digitized planets.

The song of our own fading away within the imperturbable forge of the centuries.

OVOO came together in the isolation of the Duyes valley and the magnetic lands of Malvallon, in the mountainous region of Haute-Provence.

OVOO is a retro-futuristic instrumental duo that unleashes the stretched dimensions of an instrumentarium comprising an analog Korg MS-20 and the Osmose—a next-generation instrument where each note can be articulated independently, offering unique expressive possibilities (quarter-tones, etc.) and effects—alongside „La Plaque“ (The Plate), a handcrafted spatial instrument equipped with a volumetric drum system.

They release progressive soundscapes of unfathomable mood, propelled by the beats of a ghostly rock machine.

OVOO claims no reverence for *Kosmische Musik* or Stanley Kubrick, yet, like them, celebrates the forces of the

telluric omnipotence of our human condition.

The vinyl edition includes a vinyl-exclusive track „VIII“

https://ovoo.bandcamp.com/album/obsidian

Tracklist:

A1. I

A2. II

A3. III

A4. IV

B1. V

B2. VI

B3. VII

B4. VIII

https://doghag.bandcamp.com/album/the-inner-pain-2

Tracklist:

A1. Left Lane

A2. Warcry

A3. Her Blind Eyes

A4. Dead Slow

A5. Breathe In-Out

A6. Whiskey Trial

During the writing sessions a theme emerged: Mankind’s obsession with its own destruction. Where did it come, and where will it take us? The Electric mud intended to examine some of the darker angels of our nature, and set it to music. Decamping to Juniper Recordings in Cape Coral, Florida, and bringing Caleb Neff aboard not just to engineer the record but produce it created an open and creative environment in the studio that’s integral to the sound. There is a deep collaborative bond stitched into the fabric of the record, a collection of heavy sounds and ideas that are truly egalitarian in nature. The point is emphatically driven home with a fantastic mix by Ben McLeod, studio wiz by day, guitar demigod for All Them Witches by night. The resulting record, Ashes and Bone, has been a labor of love, and a reminder of what they love about music and each other.

https://smallstone.bandcamp.com/album/ashes-and-bone

A1. Silent Gods
A2. Top Of The Tree
A3. The Crown That Eats The Head
A4. Gone Are The Days
A5. Wrath Of The Mighty
B1. Ashes And Bone
B2. The Old Ways
B3. Manmade Weather
B4. Pillars
B5. Ace

https://burnritual.bandcamp.com/album/grave-watcher

Tracklist:
A1. Becoming The Beast
A2. Waiting For The Sun
A3. Embrace The Flames
A4. Grave Watcher
B1. Black Veil
B2. Demons
B3. When The Darkness Comes

At its core, Tahlia is an album about fracture and survival, pain, frustration, and relationships breaking under pressure. Uncannily, its themes mirror the years that followed its recording, which only strengthen the emotive undertones of Tahlia. Delivered through soaring vocals, unforgettable hooks, and searing riffs.

The journey begins with the title track and first single, “Tahlia” a riff-driven return to the band’s classic sound. It charts a visceral descent from rock bottom to redemption. A tango between vintage doom metal and modern heavy rock. Tahlia is a homage to the Latin phrase “that which nourishes me, destroys me” told through a blend of energetic verses, chanting choruses, and moody riffs. All designed to leave the listener in an enigmatic state of mind. From there the band changes pace with “Jill and jack shit,” a swaggering, attitude-laden track that is cut full of spitting vocals and sharp edges, proudly tipping its hat to the grit and character of the band’s hometown, Melbourne.

Third single “Weirdos” pushes the pace further, embracing a punchy, contemporary hard rock energy before diving into more experimental territory with “When We Talk About Nothing.” Inspired by Raymond Carver’s What We Talk About When We Talk About Love, the track strips things back and drags the listener into a heavier, more peeled back space that sets up the epic and hard-hitting “Acid Bath”.

“Acid Bath,” is an instrumental collaboration featuring Lex Waterreus of Seedy Jezus. A slow-burn descent into hazy unease, the track builds an immense wall of sound. The souring guitar solo and unhinged vocal loops by Lex will ensure this song is played on repeat, as it will tickle heavy rock, psychedelic and doom fans alike.

All paths lead to “This Hereafter,” the album’s final track; the longest and most epic doom offering by Devil Electric. Clocking in at nine minutes, it is a marathon of tension and release through epic highs and crushing lows that feel like pushing a boulder through desert sands before finally reaching an oasis. Lyrically the most vulnerable moment on the record, the raw emotion is unmistakable, with Pierina’s voice audibly breaking in the closing lines, leaving the listener with a fragile but undeniable glimmer of hope.

Balancing heavy rock and doom with a contemporary edge, Tahlia is an album that demands to be felt start to finish. Soaring, immersive, and deeply personal, it marks a powerful chapter for Devil Electric and one well worth the wait.

https://devilelectric.bandcamp.com/album/tahlia

Tracklist:
A1. Tahlia
A2. Jill & Jack Shit
A3. Weirdos
A4. …When We Talk About Nothing
B1. Acid Bath
B2. This Hereafter

Since 2020, the band has recorded more than 20 hours of music. They have decided to release the fruit of their work in three steps: „The U Book“ at the end of December 2021, „Renaissance“ in December 2022 distributed by Kozmik Artifactz and then last one in 2023.

„Renaissance is a 40-minute stoner heavy psyche experience testimony to what makes the identity of Domadora: their organic way of making and playing music. There is no preparation, no Intro, and no Outro. There are no restraints, there is just pure music expressed through vibrations, strong or soft ones; Our current emotions are the only thing that leads us.“

https://domadora.bandcamp.com/album/renaissance

Tracklist:
A. I
B. II