Release Date July 10th, 2026
Format LP/CD/Digital
Genre Doom/Stoner Metal
Origin United States
Shadow Of Jupiter is a doom rock band based in Chicago and Northwest Indiana, rooted in the Midwest heavy underground and steeped in proto doom, 1970s stoner rock and blues. Singer John Piotrowski, guitarist Colin Peterson, bassist Scott Brakebill and drummer Adam Kazragys make up the lineup, with each member holding a distinct place in the band’s sound. Their music places soulful vocals above low tuned guitar riffs, broad bass lines and hard drumming, and then opens into psychedelic and Middle Eastern colors alongside its blues core.
The independently issued debut album, “Porta Coeli”, arrived in 2023 and reached number 20 on the monthly Doom Charts as well as number 19 on Desert Psychlist’s year end ranking. That response brought support slots with touring underground acts, followed by appearances at Ripplefest Texas, Rhune Mountain Festival, Grand Rapids Doomfest and HUFR Fest. “Bones” is the band’s second full length and its first release through Ripple Music, extending the scale of its early work through longer arrangements, heavier blues and a darker psychedelic current.
“Bones” contains seven songs, arriving on LP, CD and digital formats through Ripple Music. Sam Henderson handled recording and mastering, shaping a mix with a broad low end, scorched guitar tones and drums presented with minimal restraint; there is enough separation for the bass movement, vocal grain and psychedelic detail to register when the arrangements become packed. The album links doom metal’s lumbering pace with heavy blues, late 1960s and early 1970s rock, psychedelic turns and Middle Eastern melodic color, allowing the longer songs to develop through tempo shifts, altered guitar textures and changes in vocal intensity.
Piotrowski’s singing binds these elements, moving from a worn, soulful croon to a harder attack. His melodies rise above the low tuned guitar work and make the emotional stakes easy to grasp when the music drops into its deepest crawl. Peterson uses wide bends, smoldering leads and blunt chord patterns, Brakebill adds depth under the guitars, and Kazragys strikes his kit with a loose edge that can tip into frantic motion, making the rhythm section sound close to collapse as each beat remains planted.
The extended sections sometimes circle their main riff past the point of maximum effect, and several 1970s touches sit close to their sources, making certain transitions easy to predict. Shaving a few cycles from those sections would have made the attack more severe. Across the full album, the vocal lines, varied guitar language and volatile rhythm section create a unified character. “Bones” emerges as a very good doom rock album with substantial riff craft and excess that remains visible across its longer cuts.
|7.5
Add comment
Comments