It’s that time of month for my Top 19 Heavy Underground albums, and the deadline snuck up on me. I don’t know if it’s because I’m tired or there’s too much music coming out simultaneously, but I’m grumpier than usual. It was harder narrowing it down to 20, and some albums just effing pissed me off. Almost to the point where I posted a negative review, which I almost never do.
I am not an objective reviewe. I don’t believe objective reviewing is possible: there is always subjective bias involved, and there’s no way out of it. I don’t even pretend.
In that spirit, I don’t pretend that these are the absolute Best albums of the month ranked in an objective order. I’m not a gatekeeper, and I’m not trying to tell you what to listen to. These are my favorites, based on what I think I’m most likely to listen to six months, a year, and five years from now.
My Top 19 Heavy Underground Albums
19. EARL OF HELL – EARL OF HELL
Thank Gawd I really like and love the albums on this list. Earl Hell is a FUN band that manages to overcome the typical intro track that in 2025 feels like its cleverness left us in 2020. Aside from that, this is high-grade Hard Rock that veers between punk and NWOBHM just often enough to keep things lively. The guitars steal the show on this one, and the writing is crisp and tight and perfect for a late-night joyride.
18. ASHES OF THE CROW – DYSTOPIA
Here we go again with the intro stuff, and Ashes of the Crow was in danger of being thrown onto the junk pile. Instead, the minute-long intro actually works. This is a solid debut and a must-have for those adventurous souls searching for the ‘next’ band to tell their friends about. Riffs, groove, and melodic hooks abound with these guys. Ashes of the Crow is the biggest reason I’m so grumpy: ONE sale so far on Bandcamp while a lot of mildevel slop will get the attention. 🙁
17. SOLAR MONOLITH – THE CROOKED PATH
All my close friends are talking about Solar Monolith, and with good reason. Bass and Drum bands are becoming more and more common, and most of them focus on production and multi-tracking to some extent. Not these guys: it sounds like they’re playing in your living room and the whole neighborhood is on the brink of calling the Fuzz.
16. BENEATH THE SKIN – PAY UP
Recovery Doom? It’s a thing now. And Beneath the Skin is bringing it blunt and hard. Based on writings from rehab and other life experiences, Beneath the Skin’s Mike Riley lays it all out in a voice that’s hard to ignore. I had a chance to talk to Mike and guitarist Russel about the making of the album and my reaction to the song, Pay Up. This raw, uncut Stoner Doom with an edge.
15. Duskhead – THE MESSENGER
Duskhead is back after about 11 years of hibernation, lean and mean as a three-piece machine. And they’re doing what Duskhead does best: giving you some heavy-ish tunes for the upcoming days on the beach and BBQ’s. No sarcasm here- Duskhead avoids the more psyched-out and gloomy aspects of the Heavy Underground and comes up with music to make you feel good about things. Welcome back, dudes!!!
14. ALAMO BLACK – STARGAZER
I know a lot of people regard bands like Alamo Black as a ‘retro’ band, but I’m hard-pressed to come up with any band from the 70s that sounds this cool. The guitars have more overdrive than fuzz, and the vocals have that Faye quality that I go nuts over. Alamo Black is like the fading light at sunset rather than the pitch black of midnight. And it Dooms so well!
13. BLACKWATER HOLYLIGHT – IF YOU ONLY KNEW
If You Only Knew is my reminder that I don’t listen to Blackwater Holylight often enough. Everything’s here from the soothing harmonies, layers of fuzz, and pop sensibilities that are the trademarks of this oft-forgotten band. Sure, there’s heavier and harsher out there. But few are this consistently interesting.
12. FUZZ EVIL – SMEAR MERCHANTS
Fuzz Evil is back with an album worthy of their name. Everything is bigger, from the riffs to the fuzz, and it all adds up. My personal fave is Progession of the Black Sun, which reminds of a heavier Masters of Reality from back in the day. Check out this interview from my bud at The Heavy Underground Farm report for more deets…
11. MESSA – THE SPIN
I surprised a lot of people with my negative reaction to The Spin. That reaction still holds, and it is by far my least favorite material Messa has ever released (it’s not even Close, he he). But it’s still better than 99% of what is released in Heavy Metal. They’re still in my Top 5 current bands, and no love has been diminished. As Joe Turmes would say, I was not the target audience. No sour grapes.
Here’s a video I did with a couple buddies where we talk about it…
The Top 10 Heavy Underground Albums for April
It gets real from here on out, moogerfoogers. This is not a list where one is better than the other: these Top 10 Stoner/Doom albums are all #1 worthy.
10. LO-PAN – GET WELL SOON
Lo-Pan is such a personal band for me, even my subjective way of writing about music is hard, man. I love this band. I love their signature sound and endless variation of staccato synchopation. I love the guitars and the mind-blowing experience of hearing Jeff Martin convince me every time that he’s the most underrated singer in Stoner/Doom. And in the early days of my YouTube Channel, I got to tell Newbie Doomer all about it before we saw them at Desertfest NY.
Oh yeah, the album’s great!!!
09. VOID KING – THE HIDDEN HYMNAL: CHAPTER II
Damn, Void King! You didn’t really have to kick me in the ass with this amazing slice of Progressive Stoner. But you did. And you effed up this list for days. I’m still second-guessing, but I have another shot at the end of the year. Everything on The Hidden Hymnal: Chapter 2 is a testament to how good our music in the Heavy Underground can be. Jason Kindred has always sounded good, and these are his best vocals yet. The whole band is on fire, and if the percussion from Derek Felix doesn’t have you air-drumming, you’re already dead.
08. THE ELVEN – SOLSTICE
A supergroup featuring Saturna and Isaiah Mitchel? Instant buy, instant download, and instant Top 10. This shouldn’t work as well as it does, but this may be that elusive “feel good hit of the Summer.” Isaiah shows off the gentler, soulful side to his guitar-godness, with more than the occasional nod to Carlos Santana and other ’70s icons. James Vieco is quickly becoming my favorite voice in all of rock- just hearing him is enough to blow me away. This is retro in all the right ways: good, solid rock that even Rick Beato might love. Just put this on with that special someone in your life and watch the sunset…or long for one.
07. KIRITSIS – KIRITSIS
That a band can hit this hard, from out of nowhere, with some of the best and most distinctive Hard Core/Doom ever written is the fuel that drives me. Holy crap, Kiritsis hits hard and keeps on hitting, without sounding repetitive or stale. For me, this is the breakout artist of the year in Doom, similar to Azell last year. Here’s why:
06. BUZZARD – MEAN BONE
Doom Folk is a sub-genre that’s been growing for a long time. From the two-piece wonder that is Moon Womb to the celebrated stylings of Dorthia Cottrell. But if I have to pick one album that stands out as Ground Zero for Doom Folk to come of age, it’s Mean Bone by Buzzard. Buzzard has been kicking around for a few years now, but this feels like the definitive statement of an idea whose time has come. No quarter is given on the cultural/political commentary on this album, and it hits HARD with its concept. Essential.
05. HANDGEMENG – SATANIC PANIC ATTACK
The most infamous album cover of the year hides one of the best straight-ahead heavy metal releases in recent memory. This is addictive Heavy Rock with both a sense of humor and a dark reflection of the times. Handgemeng never takes themselves too seriously, but they take their craft extremely seriously. This will be a top 10 album for many people, but you need to experience it for yourself.
04. CONAN – VIOLENCE DIMENSION
Not everyone loves Conan. Not everyone can handle Conan. Conan doesn’t care. Neither do I. This is as heavy as heavy gets without going over 60 beats per minute. Violence Dimension is a celebration of all things low, slow, and pummeling. The vocals might be a tad cleaner, but nothing else has changed. Conan defined and refined this style of Doom, and they are still writing killer songs that never feel like the same thing over-and-over again.
03. TEMPLE FANG – LIFTED FROM THE WIND
For me, there is nothing better than an album that starts with an 18-minute opus like The River. By the time I mourn that it’s over, the next song, Once, clocks in at 21 minutes! Oh, happy day that Temple Fang exists to drown me in an epic album of heavy psych. I feel cleansed after the journey, and for those who live for this kind of extended trip, this is as good as it gets. Masterful.
02. BANK MYNA – EIMURIA
Bank Myna’d EIMURIA took my breath away on the first listen, and it still does. The whole experience was loving what I was hearing, and having absolutely no clue where it was going. Eimuria is an experience of tranquil ambience that gets assaulted by post-rock heaviness. My favorite track, Burn All The Edges, is experimental and innovative without being dull and pointless. Bank Myrna’s second album, Eimuria, is as fresh and unexpected as Messa’s Feast for Water. I never thought I would write something like that!
01. RITUAL KING – THE FUTUREWORKS SESSIONS
I have so many biases that I can’t keep track of them all. I am what some people will call a “rockist.” Apparently, a rockist is a form of the elite snob who values authenticity, live performances, and natural production. As if that’s a bad thing. Honestly, taking it to the point where you dismiss other forms of music is ridiculous gatekeeping. So yeah, it’s a bad thing when taken that far.
I don’t take it that far, not anymore, at least. But when a band has the balls of Ritual King, and Sergeant Thunderhoof last month, I go nuts. Because I believe it is the authenticity of rock music, when performed authentically, that makes it a highly refined form of art.
Three dudes: bass, guitar, and drums. A video camera. Ready, set… go!
King Buffalo did a similar thing with the Quarantine Sessions, and it was awesome. The Futureworks Sessions takes it a step further, releasing an impeccable set of Progressive/Stoner/Blues that has taken over my headspace. THIS is a reformed rockist’s dream. What makes it even more incredible is that there is no live audience to feed off of. Just three musicians, in a room, letting it rip. This may be my favorite live album of all time, and I’ve listened to it more than anything else in recent memory.
I am in awe of what the Heavy Underground is capable of…
