UK Fuzz Rockers 1968 Release "Royal Bastards", Their Heaviest Album Yet!

1968 is a stoner fuzz band from the UK that got their start in 2013 with guitarist Sam Orr and Vocalist Jimi Coppack. The band released their debut EP in 2015, which was quickly followed by the Fortuna Havana EP in 2017, the latter placing the band on the map in the stoner rock community. These EPs feature a grungier sound punctuated by (very) heavy psych undertones. 

2018 saw the release of the beloved album Ballads of the Godless, but not before a lengthy dispute over a record deal gone wrong. It was at this stage that 1968 added a noticeable layer of doom to their sound and turned the fuzz up to 11, almost as if they were officially signaling a headfirst plunge into stoner/doom. 

Salvation if You Need, the first 1968 album on No Profit Recordings, was released in 2021 and showcased more of a classic stoner/desert rock sound. 

In 2023, vocalist Jimi Coppack left the band and was succeeded by Andrew Valiant, formerly of Oak. Now, on June 19, 2025, 1968 has released their first album with their new vocalist and their second with No Profit Recordings, brazenly titled Royal Bastards. 

1968 - Royal Bastards 

1.) Standby 

Not one minute into opening track Standby and I'm already reminded of the things I love most about 1968 as crushing and fuzzy stoner riffs alternate with hypnotic psychedelic interludes. The vocals begin in a melodic manner, and just as I was thinking, "Man, I really like this new vocalist," he launches into some unbridled shrieks. Perhaps most impressive of all, these transitions into blistering and bone-rattling heaviness are impressively seamless, utilizing just enough building to still give you some sense of surprise as the dense riffs and heavy metal screams surround you like an unforgiving sandstorm. 

2.) Endgame 

As it turns out, contrast will be a major theme throughout Royal Bastards, and this is demonstrated even more clearly on second track Endgame. Here, spiraling heavy psych dances with stoner groove in the main riff while velvet melody alternatives with shrieks reminiscent of black metal. 

3.) Jawmelter 

Third track Jawmelter is just that. This song (quite literally) screams carnal desires, as a tribal drumbeat pulses under vocals that go from crazed to utterly unhinged as they let loose along with the instrumentals in the choruses. 

4.) Scorched Earth

Scorched Earth follows a similar pattern, with a great Sabbathian main riff, trippy choruses, and vocals that continue to overflow with passion. This song has noticeably more doom and proto metal influence, providing a mind-bending and slightly sinister groove amid the face-melting shrieks. 

5.) Softly Spoken 

Softly Spoken seems to mark a transitional point on the album. Overall, this song is a gorgeous psychedelic interlude on which the haunting vocal harmonies in the first half provide a spiritual quality with dark, ghostly undertones. Emotion crescendos sharply at the midway point and the tempo picks up a bit as wailing guitar solos set in. The haunting vocalizations continue to soar above seraphically with the weight of the percussion and bass lurking underneath like a somber reminder of where the mood started. All of this combined can only generate a goosebump-inducing, blissful feeling within the listener (I know it did for me). And, even though Royal Bastards is filled to the brim with killer stoner psych jams whose weight I can feel in my bones, I can't deny that Softly Spoken is my favorite song on the album for its absolutely gorgeous composition and uplifting quality... I'm compelled to close my eyes and shut out the world while I let this beautiful song soak into my soul. 

6.) Bad Trip 

The rollicking pace of Bad Trip truly feels like a release after the relative placidity of Softly Spoken, yet the smooth ride of the heavy psych groove from the guitar and bass have a similar kind of mesmeric hold over the listener. A dreamy psychedelic slowdown occurs just past the midway mark, and it includes some well-placed vocal harmonies that are redolent of the preceding track. Naturally, Bad Trip launches into its heaviest, densest tone yet for its final minute, reminding you not to get too settled into your peaceful reverie. 

7.) Tarantula Season 

Tarantula Season is a short but hefty track that's almost entirely instrumental. However, the final forty seconds or so seem to act as a prelude to the final track of the album as they slow to a trepidatious crawl. 

8.) Merlin

As Merlin begins, I'm thinking we're going to go all out 70s rock with some swirling but hushed guitar and a soothing flute solo. This is before the song plunges headfirst into more of those haunting vocal harmonies that we've heard throughout the second half of Royal Bastards along with some weightier sound, but the premise remains the same as this section alternates with that serene intro. Even though it's one of the calmer tracks on the album, Merlin effectively gobsmacks the listener in the end with its tranquil yet thoroughly engaging nature, especially after all the heaviness heard on previous tracks. As its final note fades, the song ultimately gives you the same feeling you get after the final scene of a particularly riveting movie, and it's fair to say that Royal Bastards has a certain cinematic quality, mostly due to the sheer intensity of its expressiveness. 

Final Thoughts

Don't get me wrong, I adore 1968's previous albums (especially Ballads of the Godless), but there's absolutely no denying that Royal Bastards is a clear level-up for the band. 

First of all, it has a cleaner production and a more refined sound, yet it still maintains and even expands upon the heaviness and fuzz 1968 has displayed since their start. 

Royal Bastards was promoted as 1968's heaviest album to date, and that is inarguably the case. There's a much stronger metal influence at play, yet the band still includes plenty of their trademark psychedelic undertone. The result is even sharper contrasts that never fail to keep the album interesting. 

Speaking of "heavy", I have to comment on the amazing vocals of Andrew Valiant, chock full of heavy metal influence but perfectly melodic in all the right places. Best of all, the unfettered, overflowing passion behind the voice in palpable; this is truly a singer who confidently allows his very soul to take the wheel. Whether that leads to heartfelt crooning or screams fit to peel the paint off the walls, it always feels incredibly authentic. Furthermore, Andrew does a great job of fostering a much heavier side of 1969 while fitting in with the band's original tones and creative vision in what seems to be a seamless manner. 

To boil it all down to a single summary statement: On Royal Bastards, it's abundantly clear that 1968 gives it their all and then some...and then gives a little more. 

More About 1968

1968 Is: 

Andrew Valiant - Vocals

Sam Orr - Guitar 

Bear - Bass

Dan Amati - Drums 

You can follow 1968 and listen to their music at the following links: 

• Bandcamp
  
• Spotify
  
• Amazon Music
  
• Tidal
  
• Instagram
  
• Facebook
  

A massive thank you to No Profit Recordings for the promo!