Steak Serves Up an LP of Heavy Riffs and Distorted Grooves

London-based Stoner-Rock band Steak released their 4th album, the self-titled LP Steak, on October 9th, 2026. This stoner rock record features prominent lead and rhythm guitars, with moments when the bass’s bottom end takes center stage. Unfortunately, it’s an average record that doesn’t offer much; most songs are predictable, making it obvious what is going to happen next, though it still delivers some good moments.

Steak opens with “Cometh,” starting with a clean guitar riff before the whole band crashes in with distorted guitars, steady drums, and thumping bass fills that fill the low end. Vocal harmonies complement the song, along with call-and-response between the distorted rhythm, clean solo guitar, and the rest of the rhythm section. The song then returns to its opening riff before building into another heavy passage, concluding with a wailing guitar bend.

The follow-up “Luxury Junk,” like “Cometh,” starts slowly with a guitar riff and a wailing bend before the drums enter. The tempo picks up as the entire band unleashes a heavily distorted line, supported by a very woolly bass tone in the bottom end. A brief slowdown gives way to a faster rhythm, with the drums leading the charge and clear vocals supporting them.

“Dust” features a hypnotic, distorted rhythm, while an eerie guitar solo seems to reverberate into the void. The lyrics suggest that humanity is nothing but dust from dying stars. 

“Two By Two” takes a slower approach, starting with clean guitar before the rest of the band comes in. Like the opening track, a high-pitched guitar melody sustains the track, this time in the background as the rhythm guitar gradually distorts. The drums eventually lead on to a more aggressive arrangement.

“Aether” follows the same structure, starting with a slow drum loop before the band enters with a malicious groove. The contrast between the clean lead guitar and heavily distorted rhythm guitar is particularly effective. A simple but bluesy guitar solo in the later portion enhances the melody. The song eventually settles on a sliding bass note, bringing it to a close.

Unfortunately, “Infinite” becomes the album’s breaking point: predictability. Another slow, guitar introduction makes the album’s arrangements feel repetitive; however, heavily distorted rhythm guitar and a prominent bass line provide much-needed energy. Luckily, it develops into an impressive jam session that saves the track from its repetitive structure.

“Knucklehead” offers a different vibe–a 1970s hard rock sound reminiscent of Black Sabbath. Its heavy riffs and slightly distorted vocals give the track a different character, making it one of the album’s stronger moments.

“Short Arms” closes the record with a heavy six-minute jam session that provides both moments of clarity and aggression. However, it ultimately offers little that distinguishes it from the rest of the album.

Overall, Steak is neither great nor bad; the album shows the band’s musicianship, but it feels limited because of the record’s predictable structure. Yet, moments like “Knucklehead” and the extended jam on “Infinite” show how they can display different sounds.