I was at this show, All Them Witches at the Middle East Upstairs in Cambridge, MA. It was early February, there were four-foot snowbanks on either side of the road when you tried to park. The dude from local openers These Wild Plains had a man-bun, but The Well killed it, and All Them Witches, who had come through in the fall supporting Windhand, slid easily into the headliner slot. The place was packed. I had “Mountain” and “Charles William” and “Elk.Blood.Heart” stuck in my head for days. Days.

You won’t see it in the video, because the skillful hands of Treebeard Media — whose Stephen LoVerme and Erin Genett filmed and edited the full set — rightfully cut it out, but at several points between songs, some dude in the back kept yelling out the name of his band. Now, I won’t say the name of that band, because when dealing with small brains looking for attention it is important not to give that attention even in an admonishing way, but All Them Witches bassist/vocalist Michael Parks kept thinking someone was yelling “little bitch” at the band, and wondered out loud why someone was shouting it, if they were shouting it at the band or what. I don’t know if anyone ever mentioned that it was general, not-directed douchebaggery and not aimed at him, Ben McLeod (guitar), Allan Van Cleave (Fender Rhodes) or Robby Staebler (drums), but it seems worth pointing out. Ambient assholeism: A constant hassle.

The show was fantastic, despite. All Them Witches were fresh off recording their yet-untitled third album when they hit the road, and if there were any cobwebs, they didn’t show on stage as the Nashville four-piece ran through 55-minutes of quality jams taken, with the exception of “Elk.Blood.Heart,” from their second full-length, Lightning at the Door (review here). No new material, but the performance brimmed with a vitality and veered into and out of improv-sounding moments so smoothly that it gave a fresh take to familiar songs anyway. Here’s the setlist:

Funeral for a Great Drunken Bird
When God Comes Back
Jam
Mountain
The Death of Coyote Woman
The Marriage of Coyote Woman
Elk.Blood.Heart
Swallowed by the Sea
Charles William

With thanks to the band and to Treebeard Media, I’m happy today to host the premiere of the full-set video. Please find it below, and enjoy:

All Them Witches, Live at the Middle East, Feb. 6, 2015

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

Treebeard Media

UK acid folkers Galley Beggar will release their third album, Silence and Tears, on May 19. It’s their label debut on Rise Above, which in itself is notable, but even more so is the six-piece’s warm, melodic approach to classic folk ideals and how subtly they work in just a hint of modern revivalist psychedelia — not quite tonally weighted, but hinting in that direction and giving a sense of spontaneity and a broader stylistic reach to the material on the record. In short, it’s a release worth keeping an eye on. A logical pick-up for Rise Above given some of the imprint’s ’60s fascinations of the last couple years, and it should be interesting to see how Silence and Tears is received by their audience. For what it’s worth, I’m digging it so far.

Details follow, off the PR wire:

GALLEY BEGGAR to Release Silence & Tears May 19th via Rise Above Records

Unbelievably, it’s almost 50 years since Fairport Convention and their followers – Steeleye Span, Trees, Dando Shaft, Mellow Candle and others – fashioned British folk-rock. Kent-based sextet GALLEY BEGGAR – who take their name from a mischievous spirit in English folklore – describe their mission as ‘to imagine the next phase of English folk-rock’ on their third album, Silence & Tears. “We’ve always loved English folk, but when we formed in 2009 it felt like nothing much was happening to carry the style forward,” says guitarist Mat Fowler, “so we thought, we love listening to folk-rock and we love playing it – why not try to write something in that vein?”

The results can be heard on their earlier albums, Reformation House and Galley Beggar, and now on Silence & Tears. “Our first record was very folky,” reflects Mat, “but since then we’ve moved towards a more electric rock feel.” Indeed, the eight tracks on the new album span traditional song, Gothic balladry and peculiarly British acid rock, the mood alternately fragile and robust, with sweet vocal harmonies (led by Maria O’Donnell), lyrical guitar playing from Mat and his cohort David Ellis, and added texture from the violin of Celine Marshall (calling to mind Mr. Fox’s Carolanne Pegg), all anchored by Bill Lynn’s steady bass and Paul Dadswell’s deft drumming. The material spans reworkings of the ancient classics Geordie and Jack Orion, brooding ballads like Adam & Eve and the otherworldy Empty Sky, and the intense 9-minute epic Pay My Body Home, which triumphantly recalls folk-rock’s early 70s glory days.

Silence & Tears may echo centuries of folk tradition, but its crisp, punchy sound is resolutely modern, despite calling on retro flourishes such as phasing, wah-wah and backwards guitar. Much of that is down to the fact that it was recorded at the profoundly analogue Toe Rag studios, where White Stripes, Tame Impala, the Zutons and many others have also worked with renowned producer-engineer Liam Watson. “We made our first two albums ourselves,” says Mat, “so this was the first time someone else has produced us. Recording at Toe Rag was just wonderful – to see all that incredible gear at work, and to have a tangible recording experience rather than staring at a screen, was amazing. And watching Liam at work is mesmerizing – the sounds he gets onto tape are better than they are in real life!”

In an era when bands such as Trembling Bells, Circulus and Wolf People have brought folk-rock to the fore again, the hypnotic interplay and inspired jamming on Silence & Tears is sure to find an enthusiastic audience. “We’ve already got a few festivals lined up this summer, including Leigh Folk Festival and Wessex Festival, and several other shows are still being arranged,” says Mat. “It’s an honour to be compared to other folk-rock bands – but we like to think we’ve got something of our own to offer too.”

For More Info Visit:
http://www.galleybeggar.com/
https://twitter.com/galleybeggar
http://www.riseaboverecords.com/

Galley Beggar, “Willow Tree” Live Dec. 7, 2013

Muddy Waters, Electric Mud (1968)

Well over four decades later, it’s kind of hard to separate fact from fiction and fiction from legend when it comes to a record like Muddy Waters‘ 1968 excursion into psychedelia, Electric Mud. A sort of precursor/companion to Howlin’ Wolf‘s The Howlin’ Wolf Album — which was released the next year and also featured psych rockers Rotary Connection backing a famous bluesman who either did or did not hate the resulting collaboration — Electric Mud nonetheless had an impact beyond probably what producer Marshall Chess of Chess Records could have imagined when he brought the involved parties together to record these tracks, influencing two generations of fuzzed-up blues jams from Led Zeppelin on down to any number of revivalist practitioners today.

It wasn’t the birth of blues rock. Close though. The Yardbirds had been kicking around for a couple years by ’68, as had Cream, but Muddy Waters wasn’t a rocker, and whether it was his take on the Rolling Stones‘ “Let’s Spend the Night Together,” or the yowls that topped the jam in “Mannish Boy,” his approach wasn’t a rocker’s approach. Rotary Connection had released their self-titled debut LP in 1967, and their swing and penchant for fuzzy exploration is a big part of the personality of the album, but Electric Mud‘s mismatch turns out to be one of its greatest assets, the rhythm of “I Just Want to Make Love to You” or “Herbert Harper’s Free Press News” not nearly as fluid as its lead guitar, but busy, and swinging, and — what seems today unmistakable, though it’s a hindsight observation for sure — heavy.

To imagine this and Electric Ladyland and The White Album and Blue Cheer‘s Vincebus Eruptum and numerous others from Deep Purple to Sly and the Family Stone being released in the same year, it’s easy to see why the Baby Boomers point to 1968 as the culturally defining moment of their generation — something Gen X has started to do with 1995, fascinatingly; I would’ve thought ’91 or ’92 — but in its style and concept, Electric Mud is an outlier, and that too is part of what makes it seem so historically righteous. Its moments of stretch-out are righteous, Mud himself kills it despite the culture clash, and it’s almost too easy to read the future of heavy and blues rock into its swaying measures. I can’t imagine what the dudes who would soon enough form Cactus must have thought when they heard this for the first time. Ditto that for Budgie, Atomic Rooster and so on.

Hope you enjoy.

—

So. You may or may not recall that at the end of last year, I did a five-day feature called Last Licks 2014. The idea was to wrap up the year with a splurge of 50 reviews across those five days, basically wiping the slate more or less clean heading into the New Year. Well, it’s been three months and I’m buried in mail again. I’m NEVER gonna complain about people sending me their music — NEVER. EVER. That said, there’s a fuckton of it and I feel like at this point I’m only able to answer about half of the emails that come in.

Bottom line? Next week — assuming I can get my shit together this weekend, which should be an adventure since The Patient Mrs. and I have our niece and nephew for the next three days — I’ll be doing a Quarterly Review. Once again, taking it all on, 10 reviews a day for five days. I’m gonna get through the stuff in the piles and on my desktop and then the week after that, I’m gonna go to Roadburn without feeling like I’m blowing anything off (other than life, responsibility, and the usual) and it’s going to be awesome. That’s the plan, and again, it depends on how willing the ducks are to get in a row, but I’m hoping it works out and that I can do another one in the summer, fall, end of year, etc. Try it at least for the rest of this year, if not next.

Also, this weekend marks a year since I was last gainfully employed, which I shit you not makes me want to go jump in front of a truck. Unemployment’s almost out, and I have no fucking idea what to do next. I have been losing significant amounts of sleep over it and the tension in my house is palpable. It’s a shitter. It’s been a shitter for the last year. You’d think I’d be used to it by now.

On that note, I hope you have a great and safe weekend. In addition to this maddening amount of reviews, also look out for premieres from All Them Witches (a live video that’s killer), Slow Season, Deaf Proof, Abrahma, and maybe more. Space seems to be in demand the last couple weeks, which I guess is nice. Also might hit a couple shows? Gonna be a hell of a week.

Alright, I’m out. Vacuuming to do. Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Formed in 2007 as Spice and the RJ Band, Swedish five-piece Band of Spice will issue their sophomore full-length and first outing in half a decade on April 28. Economic Dancers is the name of the album and it’s coming out via Italian imprint Scarlet Records, which has a relationship with Band of Spice frontman and principal songwriter Christian “Spice” Sjöstrand — noted for his past work in co-founding Spiritual Beggars and singing on their first four records, as well as fronting The Mushroom River Band  — going back a decade to the debut album of the more aggressive project Kayser. Spice and the RJ Band, which was initially the trio of Spice himself on guitar/vocals along with drummer Bob Ruben (“R”) and bassist Johan (“J”), expanded to a foursome after 2009’s Shave Your Fear, the follow-up to their 2007 debut, The Will, and with the inclusion of rhythm guitarist Anders Linusson, the name no longer applied. Spice and the RJ Band became Band of Spice.

The fifth member is pianist/organist Hulk, and while “You Can’t Stop” from Economic Dancers is short, it doesn’t take long for Hulk to make his presence known. Pretty much the first riff, actually. The song is a two-minute rush, constant movement propelled along by Ruben‘s kick drum, and in addition to taking a solo after the second chorus, the organ follows the start-stop riffing early on, leaving Spice plenty of room to soulfully belt out the verse lines, the whole thing sounding rushed but still in control. How “You Can’t Stop” portends the rest of Economic Dancers, I couldn’t really say, but Spice is a proven entity in terms of songwriting, so I’d expect some shakeup within the band’s framework of classically styled heavy rock and roll, traditional in its construction but pulsing with an energy all its own. Oh yeah, and it’s catchy as hell. The video, fittingly, captures the band on stage tearing it up to a vibrant crowd, booze, moshing, the whole bit. Looks like a good time to me.

On the player below, you’ll find the video premiere for “You Can’t Stop,” and some more info from Scarlet Records with some comment from Spice about Economic Dancers, which, again, is out April 28.

Please enjoy:

Band of Spice, “You Can’t Stop” official video

Band Of Spice, the new band featuring Swedish singer/songwriter Spice (Spiritual Beggars, Kayser), have released the video for the song ‘You Can’t Stop’, taken from their new album ‘Economic Dancers’, which will be available available starting from April 28th, 2015 on Scarlet Records.

Here is how Spice himself commented this new release: “When I wrote these songs I was listening a lot of music from the end of the Seventies and the early Eighties. As we recorded them, the songs came out quite smooth, organic and melodic, with a touch of “dirt” I would say. This time, instead of renting a studio to record the album, as we did with the previous albums, we decided to build our own studio. We felt that we needed the time to get it right. We didn’t want to rush it. We wanted to fill the songs with just the right amount of warmth, love and justice. The lyrical concept is about abuse, hope, hopelessness, weakness and strength. To try to live life without safety nets and still be able to stay sane. I hope you will enjoy it.”.

Economic Dancers preorder at Scarlet Records’ Bandcamp

Economic Dancers on eBay

Economic Dancers iTunes preorder

Band of Spice at Scarlet Records

Scarlet Records on Thee Facebooks

Freakout prone Italian psych rockers Nibiru will release their third album, Padmalotus, via Argonauta Records on May 18. Their blend of sludgy aggression and heavy psychedelia has carried them across two records to-date varying in their levels of improvisation, and their third promises further expansion. No audio yet, at least not that I can find, but the PR wire brings copious details theoretical and practical.

Is it just me or has just about every new record I’ve posted about this week got a May release date? Shaping up to be quite a month. Well, add Nibiru to the list. Somehow I doubt they’ll be the last to come.

Have at you:

NIBIRU: cover artwork and tracklist revealed

Ritual Psych Sludge masters NIBIRU reveal cover artwork and tracklist of their highly anticipated new album. Following the great feedback received across the board by their works “Caosgon” and “Netrayoni”, NIBIRU are now ready with their new beast “Padmalotus”, to be released by ARGONAUTA Records on May 18th 2015.

Tracklist:

1. Krim
2. Ashmadaeva
3. Trikona
4. Khem

PADMALOTUS was recorded at Aadya’s Temple, then mixed and mastered by Emiliano “Pilloplex” Pilloni at Soundlab Studio. The Italian trio created its own Art focusing all the energies on the songs’ structure, instead of following the improvisation as they did in the previous albums.

NIBIRU have explored territories never visited before, also in terms of melodic research and songwriting. They aimed at standing out from the nowadays psychedelic acts. “In our opinion, psychedelic research is seeing the world as it is, speaking without preconception, being a storm’s breath”, states Ardath, band’s singer and guitarist.

The 4 tracks off PADMALOTUS (plus a ghost track) were written between September 2014 and January 2015. According to the previous albums, CAOSGON (2013) and NETRAYONI (2014), also PADMALOTUS is connected to occult themes of Eastern Orient. NIBIRU loves exploring the Left-Hand Path (Vama Marg), Kuala rituals, Aghori rituals, and Kundalini awakening.

“PADMALOTUS does not represent a step forward compared to NETRAYONI or CAOSGON, but a move to a higher level. As the lotus grows out of mud, blossoms above the water and rises to the sky, our latest album is a real elevation compared to our previous ones. We stayed true to our roots, but at the same time we stepped into a new territory”, explains Siatris, drummer and guitarist.

Since their inception in 2012, NIBIRU gave vent to their ritualized improvisation urge. They totally refused the concept of ordinary song form, leaving their energy flow, and channelling that into live recordings. “The first 2 years of NIBIRU were a time of empathic creativity. We used to communicate in a roundabout way. Improvisation was instinctive during the making of CAOSGON. Some kind of song structure was there, but in fact we went through an explosion of freedom in writing and playing. NETRAYONI is the zenith of NIBIRU’s improvisation. Maybe those times have been unique, most likely they are”, states the bassist RI.

In Fall 2014 NIBIRU signed to Argonauta Records, and CAOSGON and NETRAYONI (originally self-released) were reissued by the label in January 2015.

Following their philosophical path, the band crafts PADMALOTUS (“padma” means lotus in Tibetan language). Once again, the lyrics are in Enochian language. “We have chosen to reveal our invocations using this ancient language, in order to express ourselves in many different ways. Our lyrics are very personal and can’t be compared to traditional patterns. Enochian language allows phonetics to take space, so that our feelings can be expressed without being trivialized by constrictive words”, explains Ardath.

Through PADMALOTUS, NIBIRU reach their artistic peak. Or at least until the next expressions of their invocations.

For more infos:
https://www.facebook.com/ArgonautaRecords
https://www.facebook.com/nibiruritual

Nibiru, “Kshanika Mukta”

Next week, Finnish spacedudes Deep Space Destructors launch a quick tour they’re calling “Spring Break from Space,” and they’ll be bringing a limited-edition cassette EP — 30 copies only — with them to mark the occasion. Also called Spring Break from Space, the EP contains two rehearsal-room jams recorded live and then fleshed out with synth, vocals and percussion to extra spacey effect. Both cuts, “Journey to the Space Mountain” and “Where Space Ends Time” — yes, they’re working on a theme, and yes, that theme is “space” — offer marked swirl as a result, bassist/vocalist Jani Pitkänen, guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen pushing classically Hawkwindian jams past the thermosphere and into zero-grav floatation.

I’d say that’s nothing new for the Oulu three-piece, whose three full-lengths to date —  2012’s I (review here), 2013’s II (review here) and 2014’s III (review here) — have likewise thrust beyond the limits of convention, but where a song like the 15-minute “An Ode to Indifferent Universe” from III was certainly jam-based, it was more structured than either “Journey to the Space Mountain” or “Where Space Ends Time,” clearer and less awash in effects. “Journey to the Space Mountain” makes a hook of its title line, but still blasts pretty far out, a foundational bassline and drum progression setting a bed for a guitar-led freakout that persists over a long midsection jam before the track resumes its charted course with a stop and layered recitation of a couple lines about — wait for it — space.

It’s fun to kid around that a band with space in their name would release an EP with space both in its title and in the titles of each of its two tracks, but the jams hold up. “Where Space Ends Time” starts with a slower march, minimal in percussion but picking up speed as it approaches the end of its first minute. When the bass kicks in, Deep Space Destructors are underway. Various washes of effects make their way in and out of the jam’s early going, sampled, spoken vocals appear and disappear with a pervasive experimental feel that builds as the track progresses, hypnotic and saturated. There are vocals later, echoing in the second half over a sort of ambient melody given tension by that same bassline, and while it’s easy to forget, the band are actually leading the song somewhere. An apex of “Where Space Ends Time” is signaled by crashing drums, but it’s short, and the track cuts out soon, ending cold as though you’ve just been pushed out the airlock.

There are five shows on Deep Space Destructors‘ upcoming tour, and they’re only making 30 copies of the Spring Break from Space tape, so I’m not sure how available it will wind up being to the worldwide cosmos-faring public. All the more reason I’m glad to be able to stream it in full today. You’ll find the tracks on the player below, followed by tour info and some words about the making of the new release.

Please enjoy:

Psychedelic space rockers Deep Space Destructors made a limited cassette release of 30 copies for the upcoming Spring Break From Space 2015 tour.

With the new material DSD dives towards innerspace, shamanistic rhythms and to the mystic realms of consciousness. What is the space mountain and will you discover it?

The cassette includes two songs recorded live at Rehearsal Vortex, with vocals, percussions and analog synths added afterwards. The cassette contains:

Space (A-side): 01. Journey To The Space Mountain (8:16)
Void (B-side): 02: Where Space Ends Time Begins (11:33)

The tour starts on April 1st from Oulu which is also the release date for the cassette. The songs will also be available for pay what you want digital download through bandcamp:
http://deepspacedestructors.bandcamp.com/

Spring Break From Space 2015 tour with
Boar (https://boar.bandcamp.com/) and Tuliterä (https://soundcloud.com/tulitera):

April 1st Tukikohta, Oulu, Finland
April 2nd Varjobaari, Tampere, Finland
April 3rd Lepakkomies, Helsinki, Finland
April 4th Depo, Riga, Latvia
April 5th Rockstars, Tallinn, Estonia

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp

Swedish trio Kamchatka aren’t all that far removed from their last album, 2014’s The Search Goes On, but the PR wire brings details of a May release for their next outing, titled Long Road Made of Gold. The three-piece have unveiled the new song “Get Your Game On” with its decidedly Clutchy groove and snare runs, and will issue the record May 22 through Despotz Records. They were recently on the road in Europe, so I wouldn’t be surprised if they found themselves out there again soon to promote the new LP. Once you manage to squeeze in so much, the only thing to do is keep doing more.

Those details and audio:

KAMCHATKA ANNOUNCES NEW ALBUM “LONG ROAD MADE OF GOLD” ON DESPOTZ RECORDS

Sixth studio album out May 22

Swedish blues rock trio, Kamchatka, will release its sixth studio album, Long Road Made of Gold, on May 22, 2015 via Despotz Records.

“‘Get Your Game On’ is one of those songs you can’t wait to play live – an up tempo rocker with an uplifting vibe. This is a true energy pill to wake you up like a slap in the face!”

Long Road Made of Gold was recorded in Kamchatka’s own studio and rehearsal room, the “Kamchatka shelter,” and mixed and mastered by Russ Russell (Napalm Death, Dimmu Borgir).

“Even though our music is rooted in ’60s and ’70s music, it’s important for us to have a contemporary sounding album,” explained drummer Tobias Strandvik. “We don’t want to repeat ourselves either, and having Russ Russell mixing and mastering certainly gives it the punch and power we wanted. Russ is mostly known for extreme metal like Napalm Death etc., but embraced this project with open arms and the sonic outcome is definitely our strongest to date.”

Album artwork comes courtesy of Hippograffix, creator of all the Kamchatka graphics since day one.

01. Take Me Back Home
02. Get Your Game On
03. Made of Gold
04. Human Dynamo
05. Rain
06. Who´s to Blame
07. Mirror
08. Slowly Drifting Away
09. Long Road
10. To You
11. No One That Can Tell
12. Devil Dance

Long Road Made of Gold follows Kamchatka’s 2014 release, The Search Goes On. Stay tuned for more information.

Kamchatka is…
Per Wiberg – bass/vocals
Tobias Strandvik – drums
Thomas “Juneor” Andersson – guitar/vocals

www.facebook.com/Kamchatkaofficial
http://www.kamchatka.se/
www.despotz.se
www.facebook.com/DespotzRecords

Kamchatka, “Get Your Game On”

Stylish UK outfit Purson issued their In the Meantime EP late last year as a stopgap to help keep the momentum going that they’d built over the couple years prior leading up to the 2013 release of their debut full-length, The Circle and the Blue Door, on Rise Above. That album, remarkably well-received, springboarded them to a wider public consciousness, and with signing to Spinefarm Records and working toward completing their sophomore LP, Desire’s Magic Theatre, they’ll look to continue winning converts to their classically cultish rock (or is it their classically rockish cult?) with a new release hopefully later in 2015.

The PR wire brings reason for anticipation:

PURSON Sign Worldwide Deal With SPINEFARM RECORDS

Second Album, Desire’s Magic Theatre, Nearing Completion

Download Appearance Confirmed!

PURSON have joined forces with Spinefarm Records for a worldwide deal that will see their second studio album, Desire’s Magic Theatre, released this autumn in the wake of a number of high-profile festivals and shows, including Download in the UK.

The UK outfit, whose music touches a variety of realms, including folk, prog, psychedelic, gothic and classic rock, blending other-worldly romance with shadowy foreboding are currently in the studio putting the finishing touches to Desire’s Magic Theatre, which will be released under the Spinefarm/Machine Elf Records banner.

Says singer/guitarist/songwriter Rosalie Cunningham, “As I sit here in the control room at Gizzard Studios, the pride of East London, I’m excitedly realizing that our second album has turned out to be everything I’d imagined and more! My world has been so consumed by it that I’ve barely been able to reflect on what it has become: a technicolor variety show, a playful display of the musical whims only briefly hinted at in our previous work; a psychedelic rock opera dedicated to our good friends Sarge Pepper and Zig Stardust.”

She continues, “The twists in the tale have been carved out by the path we’ve taken over the last 12 months. It’s been constantly shape-shifting and developing with all the wonderful experiences we’ve had.On behalf of the band, I give thanks to everyone who has bought a PURSON record and been to our shows. Your continued support means everything… and you have our promise that the best is yet to come…”

Says Spinefarm Records General Manager UK, Dante Bonutto, “I’ve been following PURSON since the early days of their career, and I’ve always considered the band something special; I like their vision, their theatricality, and their refusal to be corralled by a single musical genre. PURSON really do have an expansive approach to their craft, and as a song-writer, Rosalie is a unique talent on the rise. In all ways, their future is bright, and I’m delighted that Spinefarm and PURSON have now forged this fresh alliance…”

PURSON are also thrilled to confirm an appearance at this year’s Download Festival, playing live on the hallowed ground of Donington Park for the first time.

The band-Cunningham, George Hudson (guitars), Justin Smith (bass), and Sam Shove (keyboards)- will once again meet up with KISS at Download, having opened for them on last year’s KISS Kruise.

PURSON also rounded off 2014 with a nomination in the “Limelight” category for new and emerging talent at the Classic Prog Awards. They also released the four-track In the Meantime EP, mastered by John Davis from Metropolis (Zeppelin, U2, Lana Del Rey) in November.

https://www.facebook.com/pursontheband
https://twitter.com/_purson
http://www.purson.co.uk/
http://www.spinefarmrecords.com/

Purson, The Circle and the Blue Door (2013)