Have to wonder about the cover art for Wovenhand‘s upcoming Star Treatment LP — if band-spearhead David Eugene Edwards is facing away from the camera because the title refers to “star treatment” as being ignored, or if he’s turning his back on it, or if the two aren’t related at all? I’m just going on what I have to go on, which at this point is plenty copy-wise. You know I dig copy, and a new Wovenhand full-length is of course worthy of plenty, but the press release came attached to a stream of the song “Come Brave” from the album and I’ll readily admit I clicked that before I started reading.

Though I’d say on first or second impression (i.e. I’ve listened twice through at this point) the record is more atmospheric than 2014’s Refractory Obdurate (review here) — for which, as it happens, I just bought a t-shirt — both were recorded by Sanford Parker so there’s definitely some continuity of sound. “Come Brave,” which opens Star Treatment, emphasizes the rhythmic insistence that made the last outing such a success and the multifaceted approach to “heavy” that the band has come to take, such that it can be about ambience as much as tone, emotion and melody as much as groove. I’m looking forward to getting to know the album better, and “Come Brave” thus far seems to serve as a memorable introduction. By which I mean I can’t get it out of my head.

Find it below, after the PR wire announcement on the release and the band’s upcoming Euro tour dates:

Wovenhand premiere first track from forthcoming new album ‘Star Treatment’

Wovenhand announce their forthcoming new album Star Treatment today with a premiere of the first track. Star Treatment will be available on Sargent House worldwide — excluding Europe, where it will be released by longtime Wovenhand label Glitterhouse Records — on September 9th.

The band plays Psycho Las Vegas fest on August 26th before embarking on an extensive European tour with main support from Emma Ruth Rundle, also of the Sargent House family, on all shows except Helsinki and Reeperbahn Fest. Please see complete dates below.

The music of Wovenhand and songwriter/multi-instrumentalist David Eugene Edwards has always had an unparalleled intensity. Edwards’ rich, billowing and emotive voice is always the driving force of his music, but it’s catapulted by his spellbinding ability to transform instruments that many people might consider mundane relics – be it banjo, accordion, lesser-known folk instruments from around the world, or even an electric guitar – into devices of dark fury and poignant beauty.

From the apocalyptic revivification of antique Americana of Sixteen Horsepower in the 90s to the threadbare balladry of Wovenhand’s early releases, Edwards’ music has maintained its celestial heaviness as it evolved. But now in its current incarnation, Wovenhand is a band that fully expands that power with exacting and inventive skill. It’s a sound so distinctive and compellingly crushing that even the heaviest of metal bands can’t match.

Wovenhand’s current lineup includes guitarist Chuck French, bassist Neil Keener (both of Planes Mistaken For Stars) and drummer Ordy Garrison, now joined by piano/synth player Matthew Smith (Crime & The City Solution). Star Treatment was recorded at Steve Albini’s legendary Electrical Audio in Chicago with engineer Sanford Parker, who also helmed Wovenhand’s 2014 album Refractory Obdurate.

While Wovenhand ought to be a familiar name to anyone interested in forward-thinking music, the album title Star Treatment isn’t a reference to our celebrity culture obsession. Rather, it’s a clever reference to concepts of astrolatry, or humanity’s enduring interest in the stars of the night sky.

“It’s ethereal in its concept,” Edwards explains. “There are many layers, as always. I’ve been paying attention to the stars in the sky and in literature, and it’s a theme throughout the album.” He adds, “There’s more love song style on this in general, which is nice. The idea of what love is and how it’s expressed and all these different atmospheres.”

Star Treatment kicks off full tilt with the anthemic charge of “Come Brave” – the song’s galloping four-on-the-floor drums driving churning swells of droning, chiming guitars and organ as Edwards’ soaring voice compels us to rise and join the fray. “The Hired Hand” takes a more Western bent with swaggering guitars awash in reverb and a throbbing bass line before the chorus erupts with massive open guitar chords as Edwards howls, “give up your dead.” Further, “Crystal Palace” sounds like Eastern European folk driven through a massive wall of amplifiers while a full gospel choir sings just beneath the gurgling surface of guitars. “Crook and Flail” sounds exotic in its twanging acoustic instruments and tabla/dumbec drum pattern. Elsewhere, “Golden Blossom” is a lush and beautifully unabashed love song, strummed out in a simple, catchy melody that builds to crescendo with the chorus refrain, “only you, my love and your light.” Throughout, Wovenhand deftly merge the outer reaches of rock and world folk sounds with increasing urgency and force.

Star Treatment will be available worldwide excluding Europe on LP, CD and download via Sargent House on September 9th, 2016.

WOVENHAND TOUR 2016:
08/26 LAS VEGAS, NV @ Hard Rock Hotel & Casino – Psycho Las Vegas
09/12 COLOGNE, DE @ Gebäude 9 *
09/13 FRANKFURT, DE @ Zoom *
09/15 BERN, CH @ ISC *
09/16 ZURICH, CH @ Bogen F *
09/17 VIENNA, AT @ Flex *
09/18 BUDAPEST, HU @ A38 *
09/20 SALZBURG, AT @ Rockhouse *
09/21 MUNICH, DE @ Ampere *
09/22 LEIPZIG, DE @ UT Connewitz *
09/23 BERLIN, DE @ Heimathafen *
09/24 HAMBURG, DE – Reeperbahn Festival
09/26 ARHUS, DK @ Train *
09/27 OSLO, NO @ John Dee *
09/29 HELSINKI, FI @ Tavastia
09/30 STOCKHOLM, SE @ Nalen *
10/01 LUND, SE @ Mejeriet *
10/02 COPENHAGEN, DK @ Vega Jr. *
10/04 EINDHOVEN, NL @ Effenaar *
10/05 AMSTERDAM, NL @ Melkweg *
10/06 LEUVEN, BE @ Het Depot *
10/07 GENT, BE @ Handelsbeurs *
10/08 CHARLEROI, BE @ L’Eden *
10/10 LILLE, FR @ L’Aéronef *
10/11 PARIS, FR @ La Maroquinerie *
10/13 ORLEANS, FR @ L’Astrolabe *
10/14 GRENOBLE, FR @ La Belle Electrique *
10/15 FEYZIN, FR @ L’Epicerie Moderne *
10/16 TOULOUSE, FR @ La Rex *
10/18 LONDON, UK @ The Dome *
* w/ Emma Ruth Rundle

Artist: Wovenhand
Album: Star Treatment
Label: Sargent House
Release Date: September 9th, 2016
01. Come Brave (STREAM)
02. Swaying Reed
03. The Hired Hand
04. Crystal Palace
05. Crook and Flail
06. The Quiver
07. All Your Waves
08. Golden Blosson
09. Go Ye Light
10. Five by Five
11. Low Twelve

wovenhandband.com
sargenthouse.com/wovenhand

Phantom Glue run through a chaotic gamut of modern heavy on their third album, 776, but come out of it with a cohesion and stylistic fluidity that is very clearly their own. Released on CD through Negative Fun Records and engineered and mixed by Alec Rodriguez at New Alliance, the Boston four-piece’s latest comprises seven tracks of bombast-fueled heft, marked out by dense tonality, rhythmic tension, the harsh vocals of guitarist Matt Oates and bassist Nicholas Wolf and a snare sound from Kyle Rasmussen (since replaced by Dana Filloon) that recalls Hull‘s 2011 swansong, Beyond the Lightless Sky, in its impact, and lead work from guitarist Mike Gowell that seems to add spaciousness to what can otherwise become a claustrophobic thrust. To wit, the opening salvo of “Ion Cloud” and “Hundred Hand” find Phantom Glue launching at full pummel with two tracks under four-minutes, finding a space between Old Man Gloom‘s still-cerebral cacophony and Celtic Frost via High on Fire-style thrash.

It’s a genuine release when “Hundred Hand” moves into its solo section, even if Rasmussen keeps the bounce steady on drums until the riff starts in with Voivod-ish bends and oddity-worship. Freneticism is nothing new for Phantom Glue, as their 2013 second album, A War of Light Cones (review here), and their 2009 self-titled debut (review here), set forth, it’s a crucial element to what they do. What 776 brings to this form — aside from a conceptual lyrical foundation painting impressions of the American present from 1,200 years in the past (and some untold number in the future at the end) — is a progressive flow front to back that demonstrates the maturity that the band has come by honestly during their time together and the consciousness underlying the onslaught, which at times feels inescapable.

A Voivod vibe continues into “Somatic,” with Oates and Gowell playing off each other with dissonant notes and odd-timed riffing that seems to be a challenge Wolf and Rasmussen are only too ready to take on, but the pacing is slower, and the vocals bring to mind some of the drawling growls of Beastwars frontman Matt Hyde, almost completely indecipherable to the point of becoming another instrumental impression more than a lyrical one. As Gowell tears into a spacious lead behind, Oates‘ shouts add to the atmosphere and largesse of the track, so that while slower, it maintains the intensity of the first two cuts and leads smoothly into “A Worker-less Mill,” the centerpiece of 776 and maybe a little bit what it’s all about.

Here’s what I mean: At five minutes long, “A Worker-less Mill” is essentially one linear build working in multiple stages. The fact, however, is that Phantom Glue — all four of ’em — pull this off with such tension that by the time they move from the chugging first part to the thudding second, you feel like your head is about to explode. It’s the band using the right tool at the right time, and when they move into the payoff riff, a breakdown chug complemented by low wash of keys or effects or I don’t even know what, there’s a real sense of catharsis. The riff fades, but the surrounding noise stays and holds court for the last minute or so, Phantom Glue still harsh with feedback when providing listeners a moment of relative respite.

The 7:13 “Suttungr” recalls the Beastwars-style sludge of “Somatic,” but with a more patient attack in its first half and a heft that seems to be as much about the lumbering rhythm as about the ambience surrounding. It grows more intense in the second half, churning and thrashing through an instrumental section that leads to an extended guitar solo, but they bring “Suttungr” back to its chorus and more grueling plod smoothly to finish out, setting up a stark contrast with “Hocheim’s War,” which essentially strips down and reverses the tempo structure, so that it starts of faster and more avant/prog-metal and hits the brakes as it moves into its second half. Unsurprisingly, the end result is shorter — they spend more time playing fast; that will happen — but still satisfying, both on its own and in context with “Suttungr” before it, giving a sense of Phantom Glue‘s purposefulness to what can at points feel like noise for its own sake.

They save the doom for last as closer “Gog is Dead” begins with a dirge somewhere between a grandfather clock and warped guitar. More likely the latter, but you never know. It’s never quite as simple as a roll, but “Gog is Dead” makes its way toward the crash and stomp of its second half, the feeling of providing 776 as a whole with its payoff is palpable. They carry that forward — huge, open at last, marked by interplay of clear notes and obscure guitar wash — until they pass the six-minute mark, and then suddenly cut, as though the future just ended. Phantom Glue have never been an outwardly accessible band. They’ve never been about hooks, or trying to make their sound friendly, or anything like that. What they’ve done instead is to build a progressive sludge metal that, while constructed from familiar elements, has been shaped into something unrecognizable from where it started. That is no minor accomplishment, and neither is this record.

Phantom Glue, 776 (2016)

Phantom Glue on Thee Facebooks

Phantom Glue on Bandcamp

Negative Fun Records

La Lucha is LP number five from Spanish prog-psych explorers The Soulbreaker Company, and it’s out Sept. 23 on Alone Records. They have the new song “The Kid out of this Land” streaming now from the album, and its synth-laden scope and somewhat foreboding riff are telling particularly in light of the fact that it closes the album. An easy-rolling groove emerges behind a manic guitar solo as it moves toward the halfway point of its 7:28 run, but the prevailing spirit is languid and open, and it would seem that time has loosened the band up somewhat, at least in this context. How it might work out on the rest of the record is of course still unknown.

Preorders are up now from the label, at the store link below. The PR wire had this to say about it:

THE SOULBREAKER COMPANY “LA LUCHA” CD | LP

Fifth album by the Spanish psych rock band The Soulbreaker Company, recorded at Toy Box Studios in Bristol by Stef Hambrook, mixed at Louder Studios in California by Tim Green (Melvins, Six Organs Of Admittance, Comets On Fire…) and mastered by Noel Summerville (Napalm Death, Uncle Acid & The Deadbeats).

The band states: “it reflects all the influences that have marked our history as a band, from heavy to pop, fuzz and psycho with a heavy sound that also shines on clean tunes. Writing and recording was a calm and relaxed process so we had the time to think which tracks to include. We believe it is our most sincere and unpretentious album”.

La Lucha will be released on jewelcase CD and single Gatefold LP, limited to 300 copies on black vinyl and 200 copies on crystal clear colour.

The closing track of the album is entitled “The Kid Out Of This Land” and you can check it on YouTube.

Official release date is set for September 23rd.

https://www.facebook.com/thesoulbreakercompany/
https://www.facebook.com/alonerecords.spain/
http://www.thestonecirclestore.com/

The Soulbreaker Company, “The Kid out of this Land”

Mexican upstarts Vinnum Sabbathi are on the cusp of releasing their debut full-length, Gravity Works, and to herald its arrival they’ll hit the road at the end of next month alongside Terror Cósmico for a quick run of shows in cities like Guadalajara and Monterrey before closing out with a gig together in Mexico City a few nights after the tour-proper ends. You might recall Vinnum Sabbathi issued their Fuzzonaut split (review here) with Bar de Monjas last year, and Terror Cósmico‘s own sophomore album, Devorador de Sueños, will have been out for a year by the time the tour starts.

The Fuzzonaut split left an encouraging impression of Vinnum Sabbathi, so I’ll look forward to hearing what might be in store with Gravity Works, but in the meantime, you can find a brief announcement on the album — which will be out through LSDR Records and Aim Down Sight Records — and the tour dates below:

Terror Cósmico & Vinnum Sabbathi will be touring 6 cities around Mexico plus a show in Mexico City where the bands are based during the end of August and beginning of September.

Terror Cósmico are promoting their second album “Devorador De Sueños” wich came out on August of the last year via Concreto Records, their live sets will also include a bunch of songs from their debut album “Muerte Y Transfiguración” also released by Concreto Records.

Vinnum Sabbathi will be supporting their upcoming first Album “Gravity Works” to be released in later August via LSDR Records in Mexico and Aim Down Sight Records in Germany.

Terror Cosmico/Vinnum Sabbathi Mexico Tour 2016
Tour Dates
25.08.2016 – Queretaro – Cultubar
26.08.2016 – Jalisco – Foro Independencia
27.08.2016 – Morelia – Jeudi 27
01.09.2016 – Matehuala – Soul Rebels Bar
02.09.2016 – Monterrey – Nodriza Studio
03.09.2016– San Luis Potosi – Loud Open Stage
09.09.2016 – Mexico City – El Mundano

https://terrorcosmico.bandcamp.com
https://www.facebook.com/terrorcosmicooficial
https://www.facebook.com/concretorecs/
https://vinnumsabbathi.bandcamp.com/
https://www.facebook.com/VinnumSabbathi/
http://aimdownsightrecords.com/

Vinnum Sabbathi, Fuzzonaut

Terror Cósmico, Devorador De Sueños (2015)

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Get yourself some free vinyl now by entering to win Music for Nations reissues of Opeth‘s Lamentations and Paradise Lost‘s Shades of God. Both releases came out through the reborn imprint on July 22 and are available now to purchase, but if you leave a comment on this post, you can get them both for free. No personal information will be kept, and you sign up for nothing by entering.

I’m going to guess if you’re reading this you’re already familiar with both bands, but here’s more info on these releases from the PR wire:

Opeth, Lamentations

Lamentations features a live performance of Opeth’s Damnation album in full, interspersed with songs from the band’s masterpieces Blackwater Park and Deliverance. Conceived and recorded alongside Deliverence, Damnation marked a radical shift in style and tone. The band took the opportunity to move away from their earlier death metal sound and towards a style reminiscent of 1970s progressive rock, taking inspiration from their Blackwater Park collaborator and producer Steven Wilson (Porcupine Tree).

Lamentations was recorded live at the prestigious Shepherd’s Bush Empire venue, shortly after both albums were released.

Paradise Lost, Shades of God

The album, a follow up to 1990’s Gothic album, is seen as the moment where Paradise Lost moved towards a more doom-centric sound, while still encompassing a wide range of other musical genres, showing off the band’s creativity and inventiveness in forging their own distinct take on doom metal, a style that would be continued on 1993’s Icon.

The album also saw the band’s initial transition away from using traditional death metal growls by blending them in with clean vocals, and quieter passages at times throughout the record.

Special thanks to Music for Nations and Atom Splitter PR for letting me host the giveaway. Winners will be chosen one week from today.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Opeth on Thee Facebooks

Paradise Lost on Thee Facebooks

Music for Nations

It was little more than a week ago that Houston dark heavy rockers Doomstress announced their forthcoming Wicked Woman single, to be released as a 7″ vinyl in time for their upcoming tour. There were a few shows announced at the time for that stint, including the Tennessean Sludge Fest, where Doomstress will headline along with Place of Skulls and Shroud Eater, among many others playing, but the rest of the tour has completely solidified with a Chicago venue just added for Sept. 3. Nice to get these things nailed down.

They’ll be traveling with Venomin James‘ Joe Fortunato — apparently now also in Ancient VVisdom — on second guitar and continue to record new material as they go. Doesn’t look like the 7″ will be done in time to hit the road with the band, but something tells me this won’t be the last tour they announce. Call it a hunch.

From the PR wire:

DOOMSTRESS – Wicked Summer Midwest Tour

#WickedSummerTour

DOOMSTRESS hits the road for a series of dates around the midwest US as well as continuing recording new material at Supernatural Sound in the Cleveland, OH area.

DOOMSTRESS will consist of the recording lineup of:

Doomstress Alexis – bass & vocals
Brandon Johnson – lead guitar & backing vocals
Tomasz Scull – drums

and also on 2nd guitar:
Joe Fortunato – of Venomin James, Sparrowmilk and the new bassist for Ancient VVisdom!

8/18 – Indianapolis, IN @ 5th Quarter Lounge (w/ Archarus, Spirit Division & Ice Howl)
8/19 – Murfreesboro, TN @ Tennessean Sludge Fest (Place of Skulls, Shroud Eater, Order of the Owl, Flummox, Black Tar Prophet, Crawl & more!)
8/20 – Chattanooga, TN @ Ziggy’s Underground
8/21 – Louisville, KY @ Highlands Tap Room Grill
8/25 – Cleveland, OH @ The Foundry Concert Club (w/ The Great Iron Snake and Toro Blanco)
9/2 – Milwaukee, WS @ The Metal Grill
9/3 – Chicago, IL @ Township (w/ Fox 45 & Black Road)

**of Special note:
The “Supernatural Kvlt Sounds” ep was limited to only 150 CDs of which 1/3 are already gone! This ep and the upcoming “Wicked Woman” very limited edition 7″ single from DHU Records (due sometime this Fall) will be the only available recordings for our remake of Coven’s “Wicked Woman”!

https://www.facebook.com/DoomstressBand/
https://www.facebook.com/events/1755896031288992/
https://doomstress.bandcamp.com/
https://www.instagram.com/doomstress_band/
https://www.facebook.com/DHURecords/
http://darkhedonisticunionrecords.bigcartel.com/

Doomstress, Supernatural Kvlt Sounds (2016)

What ultimately stands High Fighter‘s Svart-delivered debut long-player, Scars and Crosses apart, aesthetically, is its aggression. The Hamburg, Germany, five-piece of vocalist Mona Miluski, guitarists Christian “Shi” Pappas and Ingwer Boysen, bassist Constantin Wüst and drummer/backing vocalist Thomas Wildelau made their debut in 2014 with the impressively cohesive The Goat Ritual EP (review here), and at its foundation, the story was much the same. Though High Fighter have been duly embraced by the heavy rock community in Europe and beyond, they’re really a metal band. That’s audible in their tonality, their attention to detail, in the clean singing and screams and growls of Miluski and in the arrangements of how and when she switches between them.

Mixed and mastered by Toshi Kasai (Melvins, Leeches of Lore, etc.) from a recording by Jens Siefert at RAMA Studio in Mannheim, the album’s 41-minute span is vehemently straightforward, with some flourish of effects in the guitars and bluesy undertone, but interested primarily in thrust, and when there’s any letup at all as on the swaying start of “Portrait Mind,” it doesn’t last long. It’s an active listen, and the energy with which they deliver the included eight tracks gives the impression of an active band — punching someone in the face, after all, can be a real workout — but what’s going to be the deciding factor for many listeners particularly within the sphere of the heavy underground is whether they view High Fighter‘s metallurgy as righteous in its defiance of a genre status quo that’s only gotten lazier over the last half-decade or a group simply trying to meld styles to whatever degree of success depending on the audience’s point of view.

Listening to the command with which Miluski and the band behind her execute this material makes it easier to argue toward the former. Adrenaline is a major element at work even in the slower chug and wah of the penultimate “Down to the Sky,” but in its more intense moments — looking at you, “Blinders” — Scars and Crosses plays to modern metal sensibilities with a viscerally screamed verse and soaring clean chorus. The dual guitars of Pappas and Boysen careen through riffs of winding thrash on that song but are no less comfortable dug into the more rolling groove of the preceding “The Gatekeeper,” which also trades melody for screams between its verses and choruses, but swaps the structure to suit the groove and the linear built taking place over the song’s five and a half minutes.

Following 6:33 opener and longest track (immediate points) “A Silver Heart” and the subsequent “Darkest Days” — which features a choice “ough” grunt from Miluski and the most satisfying direct linear build on offer — “The Gatekeeper” expands the context of Scars and Crosses to a degree, finds High Fighter leaning more toward groove than assault, but as noted, “Blinders” is perhaps the most raging cut on the record, so the balance is readjusted almost immediately as side A rounds out. What unites those two tracks, the first two, and the four still to come on side B is the songwriting and the confidence in execution that High Fighter show across the board. The Goat Ritual showed solid potential, but Scars and Crosses takes pivotal steps in positioning High Fighter where they would seem to want to be sound-wise — in a space between worlds that few bands would be so bold as to willfully inhabit.

“Portrait Mind” continues the thread at the launch of the album’s second half but also boasts a highlight guitar solo, while the subsequent “Gods” seems to nod back at “The Gatekeeper” with a desert rock riff reconstituted to suit High Fighter‘s purposes, giving a fuller look at what might become an expanded context over time for their approach. That continues in “Down to the Sky” as they draw back on some of the urgency in order to let a fluidity take hold for a few minutes in the song’s first half, Wildelau‘s kick offering firm punctuation throughout and signaling the launch of the solo section in the final third with an uptick in pace leading back to the chorus. This leaves the title-track with an even more difficult task of summarizing the album as a whole.

It does so with a central push derived in part from Kyuss‘ “Odyssey” that arrives offset by a slowdown hook and layered-in lead work that solidifies around a still-upbeat but nod-ready groove before expanding outward with effects on the guitar, vocal harmonies and a move into the apex of the record itself before a final minute filled only by the hum of feedback. Certainly that says it all as much as anything I could come up with, and “Scars and Crosses” rounds out the album by emphasizing what are already the band’s strengths in songwriting and performance while also giving a look at possible sides of their personality they might play with going forward. Make no mistake, they’re already a solid band, and I think Scars and Crosses deserves consideration among 2016’s most accomplished debuts, but High Fighter give no indication in these songs that this is the sum total of what they have to say as a unit, and that only bodes well for their future progress.

High Fighter, “Blinders” official video

High Fighter on Thee Facebooks

High Fighter website

High Fighter on Bandcamp

Svart Records website

Brazilian boogie rockers Augustine Azul have inked a deal to release their debut album through the newly-minded More Fuzz Records. The band released their first EP — aptly-titled EP — last year and made a considerable impact thereby, enough to catch the ear of Tanguy SeFi Dupré of More Fuzz, who has set an Aug. 16 release date for the full-length. Preorders for the digital edition are up now with physical pressings reportedly to follow.

More to come on this one as we get closer to the release, but I wanted to make sure the info was out there now, so here’s background off the PR wire:

Augustine Azul Sign to More Fuzz Records for their debut album “Lombramorfose”

Be ready for a unique blend of Instrumental Fuzziness, Insane Grooves & Progish/Bluesy Vibes!

Augustine Azul is a kickass instrumental trio from João Pessoa, Brazil consisting of João Yor (guitar), Jonathan Beltrão (Bass) and Edgard Moreira (drums). Their unique sound (yes you never heard something like that before) is focused on the progressive side of the moon, but still retains that “Heavy & Fuzzy DNA” that makes your neighbors call the cops.

After a well-acclaimed EP released in 2015, Augustine Azul come back in 2016 with their debut album “Lombramorfose”. This time even more ready to blast their fuzzy grooves to the world by signing with the newly born label of the More Fuzz blog: More Fuzz Records. The digital-only release date is set for August 16th and is already in Pre-Order on Bandcamp, physical options will come in a near future.

More Fuzz Records was created by Tanguy Dupré, also the creator of the Stoner Rock blog More Fuzz. After 2 years reviewing albums and sharing news about this Fuzzy music scene, it was the next logical step to launch a label in order to support and be even more active in this awesome community. Our Motto: “Your Fuzz Dealer.”

https://www.facebook.com/AugustineAzul/
https://morefuzzrecords.bandcamp.com/
https://www.facebook.com/morefuzzrecords/

Augustine Azul, EP (2015)