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ELDER

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Formed in a small coastal town in Massachusetts in the mid aughts, Elder hasreinvented their sound over the course of seven albums to grow from a stalwart of thestoner/doom scene into one of the most unique voices in the rock underground. Theirlong-scale compositions unfold as journeys, running the gamut of styles from the 70'sto the present within a single song with a penchant for "sheer gatefold-era grandeur"(Rolling Stone).Now two decades into their existence, the band remains an anomaly in theunderground rock scene - a rare band with the ability to absorb and shed influencesfrom a myriad of genres without falling into pastiche or losing their own identity. Theirnew recordThrough Zerois a strong reaffirmation of a commitment to pushingboundaries in the world of heavy rock and cements the group’s status as leaders ofthe pack in heavy psychedelic rock.Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns,hypnotic grooves and ethereal atmosphere along their path of music-making in thepast twenty years. On their new albumThrough Zero, Elder takes these years ofexperience and forms possibly their most immediate and engaging record to date,while allowing seeds from outside the sphere of rock music to take root and bloomwithin their progressive framework. Listeners will find familiar elements of newtextures, sequences, and sounds alongside Elder’s iconic take on heavy rock. Asalways, every spin reveals new details.Recorded in Berlin across several months between tours in 2025,Through Zerois thefirst album which the band not only produced but also co-mixed together withlongtime collaborator Richard Behrens. The album sounds more like a full extension ofthe band’s creative intentions than ever before

Blackwater Holylight

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When the women of Blackwater Holylight left their hometown of Portland OR three years ago, their mission was to escape the gloom of the Pacific Northwest and the placating comfort of familiarity. Aiming for the sunnier climes of LA, the band found themselves not only in a warmer environment, but in a blank slate landscape—one without jobs, longtime friend groups, and the easy retreat of old habits. And it was here, unencumbered by the contentment of security, that Blackwater Holylight began diligently working on their fourth full-length album,Not Here Not Gone.

As with their previous work, Not Here Not Gone explores the duality of light and dark—menacing riffs provide the bedrock to beguiling melodies; dense walls of shoegaze guitars pair with lighter-than-air synths; and heavy subject matter is delivered by siren song vocals. Across their work, the listener gets a sense of empowerment at one turn, vulnerability the next. As drummer Eliese Dorsay describes it, “some songs we’re the predator, and some songs we’re the prey.” The juxtaposition of confidence and uncertainty is never in as such stark relief as when one makes a life changing decision, which may explain how the band’s relocation intensified their study in contrasts to intoxicating new heights on Not Here Not Gone.

The title is the perfect description of the band’s adjustment. “It’s one foot in, one foot out,” vocalist and guitarist/bassist Sunny Faris explains. “It’s about how you can lose people in your life but still have their presence and energy around you.” And indeed, listening toNot Here Not Gone, you get the distinct sense that Blackwater Holylight dragged some of the Northwest gloom down into Southern California. The opening chords of “How Will You Feel” are drenched in the muddy weight of perpetually overcast skies. But a Jacob’s Ladder of light shines through the scuzzy guitars in the form of Faris’ lilting vocals and Sarah McKenna’s blissed-out ambient synth work, guiding the listener out of the mire and into the garden.

Even in their heaviest moments, like the sludgy psychedelia of “Bodies” and “Spades,”Blackwater Holylight masterfully sculpt the thunder and grime into something that feels transcendental. Lead single “Heavy, Why?” is perhaps the apex of the band’s master fulduality and an appropriately titled examination of the ensemble’s methods. Mikayla Mayhew’s low, dirge-like riff and Dorsay’s propulsive drums could easily find a home in the catalog of an amp-worshipping Road burn act, but Faris’ fragile vocals transform the composition into a question, a pointed and probing examination that uses beauty and grace to offset the threatening instrumentation.

In one of the biggest stylistic shifts of the album, the instrumental track “Giraffe” churns out a hallucinatory blend of woozy keyboards and pulsating bass over a beat provided by David Andrew Sitek (TV on the Radio, Run the Jewels, Solange). The song serves as a dividing line of sorts, asNot Here Not Gone shifts gears into even more nuanced territories. The band asserts that the primary change to their music has been the addition of time. On previous albums, youthful urgency yielded material that felt immediate and direct. But onNot Here Not Gone,Blackwater Holylight deliberately slowed their creative pace. “If there were to be a theme to the album, it would be patience,” says Faris. “Some of these songs we’ve been working on for three years, just giving the songs time to breath and develop while we were exploring a new place and new lives.” It’s especially evident on the latter half of the album, where tracks like “Void to Be,” “Fade,” and “Mourning After” deliberately eschew the big riff in favor of fever dream melodies and layered instrumentation. But forever savoring the paradox, the album’s final track was composed just days before the band entered the studio.“Poppy fields” is a harrowing account of a friend losing their home in an LA wildfire, set against a backdrop of blast beats, double kick drum, symphonic synths, and black metal-inspired guitars. In what feels like a counterweight to the album’s general tilt towards less tormented territories, “Poppy fields” serves as a stark reminder that no paradise is permanent, and everything will be reborn through ashes.

Not Here Not Gone was recorded at Sonic Ranch outside of El Paso TX by Sonny Diperri (Narrow Head, DIIV, Emma Ruth Rundle), allowing the band to once again step outside of their comfort zone and isolate themselves in a place where they could focus exclusively on their art. The result is the crown jewel of Blackwater Holylight’s catalog—a rich and immersive study in tonal chiaroscuro, where light finds its way out of the shadows. Suicide Squeeze Records is proud to release Blackwater Holylight’s Not HereNot Gone to the world on Limited Edition Deluxe LP, standard LP, and CD on January30, 2026