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The journey begins with “Solace,” a track that instantly places you in the vast Australian bush.
Juggernaut is Stormcellar’s Album Out Now

A slow-burning intro of echoing harmonicas and dusty atmosphere sets the tone — not in a rush, but ready to transport. It’s an evocative entry into Juggernaut, the 16th studio release from veteran Aussie outfit Stormcellar.
“Morning Flame (Juggernaut Mix)” follows and brings depth to their songwriting. There’s something classic about it — the DNA of John Denver or Neil Young pulses underneath. It’s thoughtful, honest, and unhurried, the kind of storytelling that feels lived-in rather than manufactured.
But just when you think you’ve got Stormcellar figured out, they hit you with “Liquidator (Juggernaut Mix),” a sudden swerve into darker, more abrasive territory. With pounding drums and cryptic, swirling guitars, this one leans into rock with a dystopian flair. There’s an urgency here, a feeling of unrest that keeps you locked in.
“Crossfire (Juggernaut Mix)” is a standout, not just for the gritty drive of the arrangement, but for its striking vocal interplay between male and female leads. There’s an old-school theatrical energy at play — shades of Alice Cooper-style drama mixed with genuine melodic punch.
Then comes “The Fix Is In (Juggernaut Mix),” where a distorted, almost megaphone-like vocal effect adds a layer of grit. The saxophone lines punch through with bold flair, giving the track a vintage twist without ever feeling nostalgic.
“The Yearning” gently pulls us back into more reflective territory. The band’s ability to shift gears from rowdy to reflective is impressive. Here, they lean into the lyrical tradition of classic songwriters, creating a piece that feels personal and timeless.
“Waiting on a Message from Bob (Juggernaut Mix)” strips things down. Carried by guitar and voice, with harmonica slipping in like a ghost at the edges, it’s understated and beautifully raw — a track that might sit comfortably next to Bowie’s quieter moments.
The album closes with “A Message from Bob.” The opening guitar riff growls like something out of a ZZ Top session, but the vocals bring sophistication, elevating the track into something grounded and airy — ideal for the open road, windows down, heart open.
Juggernaut is not an easy album to categorize, and that’s its strength. From folk-tinged ballads to aggressive alt-rock, from heartfelt duets to instrumental experimentation, Stormcellar doesn’t just flirt with genres — they drag them into the cellar and reshape them. This is the sound of a band doing exactly what they want, and doing it well.
Juggernaut is Stormcellar’s Album Out Now!

What If…

Steely Dan wrote Blues songs.

Bowie sang Country songs.

Jethro Tull played Harmonica.

James Taylor fronted the Rolling Stones.

17 years, sixteen albums, 5 US tours, one thousand shows.

Stormcellar might be your new favourite band.

TL;DR good band, good writers, good music you’ve probably never heard, if it’s your sort of thing you’ll be stoked to know they’re prolific and have been around since 2008 and still doing their best work.

Read on if you want a review from someone who fugging loves these guys.

Roger Onbestaand,

May 2025.

JUGGERNAUT – MARCH 2025

Cult Aussie Roots band Stormcellar have continued their phenomenal production rate with their 16^th Studio release since 2008, ‘Juggernaut’.

This mutation around, the fellers from the cellar have delivered an unabashed rocker on side one and a rootsy weirdness on side two,  and as we have come to expect from a band who has produced no two albums alike, no two songs are alike; ‘Juggernaut’ sweeps from Apocalyptic Gospel to Eastern European Metal, by way of Aussie Pub Rock, African World Music and SynthPop.

‘'I don't know whether they're blues, folk, country, contemporary or Eurovision candidates.'
- Anonymous Reviewer

‘Juggernaut’ marks the fourth time at the mixing desk for lead cellar feller Michael ‘MJEB’ Barry, each edition since 2020’s ‘Sweet Grace of Mercy’ has progressively upped the production soundscapes. This is original music made by detailed minds, rich, complex, and layered but based on simple sounds and old-fashioned musicianship.

‘Relentless Creativity’

Emma Driver, review 2024’s ‘Basilisk’

Lead singer/harmonica player Michael Barry and Slide Guitar/Writer Paul Read have produced one of Australia most prolific song writing partnerships, with numerous local #1’s and Roots charts placement in the US, UK, France, and Japan across the last fifteen albums.

‘Juggernaut’ powers out of the speakers from the opening salvo of ‘Zeppelin’, a harmonica distortion and echo homage to ‘in the light’ by Zeppelin, landing in the lush harmonies of ‘Solace’, a song that feels like the inverted happier version of ‘Rikki don’t lose that Number’ and featuring the Jazz touched solo of virtuoso guitarist Michael Coggins (The Subterraneans).

In fact, you’ll feel more than a little of the lyricism of the ‘Dan in Stormcellar’s work, from their earlier Rootsy cover of ‘Dirty Work’ to the jazz flavours of ‘The Kid Stays in the Picture’ from 2024’s ‘Basilisk’.

If you’re new to the ‘Cellar, ‘Solace’ is where you’ll meet MJEB for the second time, now in his guise as lead vocalist.

Described as one of the ‘stand out voices of his generation’ Barry has a formidable range and a unique texture. Simply put, he doesn’t sound like anyone else. This becomes apparent as you cruise into the Apocalyptic-Country of ‘Morning Flame,’ with a tone and a reverence that even Johnny Cash would approve of. Mystical slide and acoustic guitar carry the pleading tone of a man who has sought and lost God. There’s a commanding presence in the lyric and the sound of Barry’s voice is one of the for the ages.

‘By myself without you’ brings us to the mutations Stormcellar is renowned for, as we ditch the acoustic guitar for Rock Loops courtesy of long time road warrior and veteran guitarist Paul Surany, matched with the growing fascination of Barry and Surany collaborating on Synth and Harmonica loops. Rock powered, Werner Herzog flavoured, ‘By myself without you’ feels like a dancefloor anthem waiting to be discovered, once again Barry, ever the trickster, changes to the forlorn and falsetto vocals of the chorus. It’s a song you want to turn up at each hearing.

‘Juggernaut’ is well named for the unrelenting creative force of Stormcellar. By track 3’s ‘Crossfire’, we start to see the depth of the songwriting team, with a rock opera level duet written specifically for singer/songwriter/lead guitarists Den Hanrahan and Christina Crofts, the former known for his Country Rock vibes and the latter for her smokin’ husky Blues, both First Class lead guitar players.

In ‘Crossfire’ we see ‘the machine’ at work, the internal Stormcellar description for their creative process, Theo Wanders on Percussion driving a Barry/Read written and arranged piece that sees Read switch to Bass and Barry to Harmonies while their guests take center stage.

Featuring a powerful second chorus, the solo from Crofts and Hanrahan are authentic pieces of lead guitar work from two masters of their craft.

At this point Juggernaut is on full rampage, from the surf-rock ‘Psychedelic Surfer’ to the Ukrainian Metal inspired ‘Liquidator’ from alter ego ‘Sturmkeller,’ to the straight forwards akka dakka pub rocker of ‘The King Is Back, official theme song of Australian Wrestling Entertainment.

Passing through Tuba solo’s on ‘The Fix is In’, Viking Chants on ‘Heavens on my shoulders’ you reach the cross over point of the album, the instrumental ‘Where am I’  and a blessed slowdown from the grinding pace.

Side 2 takes you through the folksy roots of the band from the African/World Music sounds of ‘2 Week Millionaire’, featuring soul singer Pat Powell, to the Dave Graney influenced ‘Message from Bob’ (with a reply from Bob himself).

Juggernaut is Stormcellar in full force, continuing to push the boundaries of what a single band can get away with stylistically. In a career of change they have displayed an uncanny ability to write catchy songs in every style they attempt.

Stormcellar are a songwriting and performing band in the best traditions of original music and Juggernaut is an excellent place to make the acquaintance of your new favourite band.

Roger Onbestaand

May 2025

It's fair to say there's a lot of trying that leads to Le Nope and that's cool. Sometimes it is trial and error. Or...error and error.

I'm not frantic to keep up the pace, so allowing for some slow days makes sense. Juggernaut's just out.

I've been messing with some video ideas. Nope. I am trying to skip some of the LLM image stuff for the time being and yet may go back to it cos it's so practical.

The songbook project is still bubbling but my last 2 sorties in search of singer/instrumentalists have come up short. There's an Australian sound I have heard that goes 'weeeellllll' and the minute you hear that, it's time to look somewhere's else.

Greenhouse 4 is coming into season, there's no need to rush. It's being tended appropriately. I'm awaiting parts, have new guides and we're reviewing what's growing.

We have a slow month and it's ok to take some time. A few wiser folks along the trail have explained that the downtime is part of the process.

Songwriting session today, some advance on work in Greenhouse 4, 1 new thing.

Other status:

1. increased repertoire

Thanks to Abe joining us, we have increased the total pool of available songs for set inclusion.

2. how many songs?
Catalogue has 230 entries. Removing dupes, covers (4), singles, remixes and live versions, it looks like (approx) 164 originals. By the time I add the next instrumental release we'll be listing 240+ tracks. This also in

Given that we can usually do around 32 songs a show, we have 5 shows worth. Le Oops.

3. Juggernaut promo
LOL. needs some attention.

4. Songbook Show

Closed FB ads for singer/instrumentalists, no dice. Found alt, chasing now.

Located possible venues.

Chasing up 2nd participant to see how that's going.

On target for mid year action

5. Video's

Next on my list.

6. Gigs and Touring

Hey! I'm workin heeeeere

We have fun here.