https://www.high-endrolex.com/18

Kitsa Stream Dead by Dawn in Full; Album Out Saturday

Posted in audiObelisk, Reviews on February 21st, 2024 by JJ Koczan

kitsa dead by dawn

Port Orchard, Washington, heavy rockers Kitsa release their debut album, Dead by Dawn, this weekend in collaboration with Music Abuse Records and at a release show joined by Mos Generator and Chameleons. The event page is linked below, should you be in the area, and the eight-track release, which will be on CD and vinyl in addition to the download, is a cause worth supporting, with a direct take on ’90s-style grunge and alt rock put through a filter of modern and heavier tonality. In its melodies, its flashes of Southern-via-Pacific-Northwest semi-twang, with the title-track representing well what the band calls a Nazareth influence (fair enough, not arguing) and feels like the path there came via Jar of Flies era Alice in Chains or how Jerry Cantrell always leaned a little country.

On Dead by Dawn, it’s part of the pastiche, not the whole sound, and if you’re listening to opener “Seeds of Famine,” you might wonder where the hell I’m getting this from. But elements there of crunch in the guitar of Chris Pound (Deepwater) and the groove built around his chugging riff by bassist Jeremy Deede (Teepee Creeper) and drummer Randy Fort (Abused) give vocalist Skot Davis a righteous backdrop for the hookcraft in “Seeds of Famine,” which even before the sun turns sepia on subsequent the title-track gives hints of open spaces in the shift into its chorus. The character of that emerges across the album works across two sides — four cuts per — and saves the outright heaviest moments for cuts deeper into the procession like “Hate” and the penultimate “Journeyman,” which roll out thick and lumbering ahead of the faster, not-a-Misfits-cover finale “She.”

And in “She,” as well as its side-A-capper counterpart “Wasteland,” Kitsa proffer melodies reminiscent of C.O.C.‘s Blind while setting forth on their own take, particularly in the layered guitar work of “She” and the churning movement of a midsection that straightens out to make the record’s last shove before the guitar solo brings the end. The ultra-catchy “Downhill” — which reminds listeners where the shit goes and which is one of those songs Kitsa just might have to play at every show for as long as they’re a band — blends brood and a midtempo groove-rock nod en route back to its next chorus. These familiar aspects are hints more than direct sonic references — at least so far as I can tell — and bolstered though the vocals of Davis, whose low-in-mouth burl on “Dead by Dawn” touches on Chris Cornell in “Dead by Dawn,” taking a route to get there that will be recognizable to fans of Sasquatch, while subverting whoa-momma-hey-yeah-baby frontman caricature in his balance of dudeliness and range.

That same flexibility also adds to the impact on side B, as they pick up from the lighter strum of “Koi” into that brief instrumental’s bluesier stomp before “Hate” announces its arrival with immediate largesse in its riff. The heft subsides in the verse but is never far off, and “Journeyman” — which along with “Downhill” and “Wasteland” was one of three initial live demos re-recorded for the LP — awaits with reinforcement with a fervency of snap to its drums and a tension in its early going that makes most of the second half of the song feel like a payoff. It ends with Davis declaring himself the titular character and gives over to “She,” which is the longest inclusion at 5:31 and in summarizing much of what Kitsa have put forth as their sound on their first proper release, it leaves off with a sustained hum of distortion after one last showcase of dynamic pace and knows-where-it’s-coming-from songwriting.

If you read the first sentence above, there were two hints dropped even before Mos Generator were directly mentioned as regards an association with that band’s founding guitarist/vocalist, Tony Reed (also Big Scenic Nowhere and sundry concurrent projects), in “Port Orchard” and the association with Music Abuse RecordsReed produced Dead by Dawn, and the pro-shop sounds captured are balanced in the mix so that a detail like the headstock strum early in “Hate” can shine through even some of the otherwise most consuming moments. Suited to the ’90s vibe, the recording brings atmosphere and impact alike, and is only one more factor in helping distinguish Kitsa on their debut.

You can stream Dead by Dawn in its entirety on the player below, followed by more info from the PR wire.

Please enjoy:

KITSA is a rousing heavy rock act hailing from the salted aura of Port Orchard, Washington. Launched in 2022, the band’s music is deeply rooted in weighty riffs, spanning various genres over several decades, with a deep nod to Pacific Northwest grunge.

With Elder, The Sword, Down, Alice In Chains, and Nazareth cited as some of their influences, the foursome of KITSA comprises members from eclectic bands, including Devilbilt, YEDD, Teepee Creeper, Pivot Point, Earthwreck, and Abused. In April 2023, KITSA released three incendiary live demo tracks recorded by Jeremy Deede and Tony Reed at Devils Child Records.

Later in 2023, the band set out to record their full-length debut, ‘Dead by Dawn.’ A melting pot of musical forces, the record features an assortment of sweet, sweeping vocal harmonies on the title track “Dead by Dawn,” the live fan favorite “Journeyman,” and a classic rock banger “Seeds of Famine.” Dead by Dawn is transcended by hard-hitting muscled tracks like “She” and “Hate.”

Dead by Dawn – Tracklist:
01. Seeds Of Famine
02. Dead By Dawn
03. Downhill
04. Wasteland
05. Koi
06. Hate
07. Journeyman
08. She

Dead By Dawn was produced by the venerable Tony Reed, with all songs written by KITSA. The album was recorded, mixed, and mastered by Reed at APL and HeavyHead Recording Co. in October and November of 2023. The album’s intimidating artwork was created by the gifted Jerry Padilla and Rob Lorenz.

Upcoming Live Dates:
Feb. 24 – Bremerton, WA @ The Charleston – Record Release Show (w/ Mos Generator, Chameleons)
Apr. 06 – Bremerton, WA @ Redwood Theater (w/ Pike vs The Automaton, Wizzerd)

Release show event page:
https://www.facebook.com/events/3690753154473870/

Kitsa are:
Skot Davis: Lead Vocals
Chris Pound: Guitar, Vocals
Randy Fort: Drums
Jeremy Deede: Bass

Kitsa on Facebook

Kitsa on Instagram

Kitsa on Bandcamp

Tags: , , , , ,

Elk Witch Announce Azimuth LP Out April 12; Premiere Title-Track

Posted in audiObelisk, Whathaveyou on February 15th, 2024 by JJ Koczan

Elk Witch (Photo by Craig Alan)

Medford, Oregon, heavy rockers Elk Witch have signed to Majestic Mountain Records for the April 12 release of their sophomore full-length, Azimuth. With it, the three-piece of guitarist/vocalist Deven Andersen (who also engineered and mixed the recording), bassist Darren Wostenberg and drummer Joe Coitus offer a take on turn-of-the-century-style, hyper-unpretentious riffy groove bolstered by more modern atmospherics and centered around themes of nature and space, as though to confirm that 2022’s Beyond the Mountain (review here) was the statement of purpose it seemed to be.

With this point of view and purpose behind them, Elk Witch could hardly be more suited to go to ground as they do. The nine-song/37-minute Azimuth — “Liminal Space” is a quiet interlude after the title-track, and the side B intro “Vortex” pairs nighttime insect sounds with a brief instrumental — feels more straightforward than it is, and carries an ease to its groove that reminds of earlier Suplecs or others among the more venerable on the Man’s Ruin roster, some of it perhaps filtered through the later interpretations of The Sword, even as the shimmer on the lead guitar marks “Empyrean” or “Goddess of Winter” as current. “Universe 25” is about as close as they come to naked Kyussery, but fair game for an album that’s working to bring elements of mountain and desert together, and even there the vocals and the insistent snare drum assure they bring their own personality to it.

Pairing its hi-you-should-check-out-this-record nodder chug with an AI video animated to highlight the theme of nature reclaiming spaces humans think they’ve conquered, and also some mystic-ish iconography and whathaveyou, the title-track is the longest song on the album, so “Azimuth” gives you a substantial piece of the whole as well as a demonstration of tone, songwriting, thee hook, and so on. It’s representative of Azimuth as a whole, as one would hope, and engages a welcoming vibe to foster the greater groovealanche of the LP.

Please enjoy:

Elk Witch, “Azimuth” premiere

Preorders:
https://majesticmountainrecords.bigcartel.com/product/elk-witch-azimuth
and/or https://elkwitch.bandcamp.com/

Majestic Mountain Records are pleased to announce a release from the the mountainous high desert landscapes of Southern Oregon.

Elk Witch bring us their second full length album entitled “Azimuth” on the 2nd of April, 2024.

Elk Witch emerged into heavy consciousness in 2019, founded by guitarist/vocalist Deven Andersen, bassist Darren Wostenberg, and drummer Joe Coitus. The three united to combine their influences into hazy expressions of classically blazing Stoner/Doom with elements of Prog/Rock. Full of raw energy and a seamless blending of modern Stoner/Doom metal rooted in classic 70s and 90s Metal and Rock, Elk Witch critics have noted that fans of legendary bands such as Black Sabbath, The Sword, The Obessed and Freedom Hawk will be captivated by Elk Witch’s burly, riff-driven profile.

Their debut EP “The Mountain,” released in 2019, was followed by an expansion on the theme as Elk Witch went back to the studio in 2021 completely re-producing the release while adding two new tracks. “Beyond the Mountain,” released in 2022 continued on the theme set in motion while also featuring two new tracks. Two placings on the mighty Doom Charts later, the band’s reach extends far beyond Oregon, and now in a partnership with Majestic Mountain Records, Elk Witch is poised to release their second album “Azimuth” on 12.04.2024.

From the band: “It’s a surreal feeling to be able to call Majestic Mountain Records home. MMR was on our minds from the get-go of making our second record. It seemed like a natural home for our band for too many reasons to list. There’s this undeniable vibe about MMR that resonates with us, and we’re genuinely psyched about what it represents in the heavy underground scene. Marco is a cool dude, and he has built something awesome with MMR. We feel honored to be among all the incredible bands on the MMR roster, and the prospect of adding our sonic fingerprint to their already killer catalog is exciting. If you know anything about us, you know our obsession with mountains runs deep – “Mountain” found its way into the titles of our last two releases. Our lyrics too, are woven with references to mountains and nature throughout, so we also felt a draw and natural connection with MMR there. MMR’s geographical location also seems like a dream come true with Sweden being a major force in the heavier and slower side of metal. We look forward to working with MMR and can’t wait for our upcoming album to get out there and be heard.”

…MMR brings you the first single, ‘Azimuth’ and Deven Andersen, vocalist and guitarist of Elk Witch, comments:

“Azimuth is the title track and to me it holds the feeling and vibe we were really going for on the album. The lyrics of ‘Azimuth’ draw inspiration from a personal experience – a trip to the high desert in Eastern Oregon, a land of isolation with sparse population. It has an amazing blend of desert landscape with high peaked snow-covered mountains. I was thinking this is the place I would go if something happens to civilization.”

We’re super stoked to bring this chugging slice of the Oregon high desert stoner doom to life with the Majestic treatment, and we thank you for tuning in, turning on and riffing out with us. Stay tuned for all the juicy details and presage information to come.

Track list:
SIDE A
Dead Silence – 4:59
Azimuth– 6:00
Liminal Space – 1:32
Empyrean – 5:35
SIDE B
Vortex – 2:41
Universe 25 – 3:23
Space Drift – 4:01
Ghosts of the Lupatia – 5:05
Goddess of Winter – 4:36

Produced by: Elk Witch
Engineered by: Deven Andersen
Mixed by: Deven Andersen
Recorded & Mixed at Vortex Studios – Central Point, Oregon
Mastered by: Dan Coutant at Sun Room Audio – New Windsor, New York @srmmastering
Album Cover: Adam Burke @nightjarillustration
Gatefold Images: @Nibera and @Jadoarts
Gatefold Layout & Graphics: Deven Andersen

Elk Witch:
Deven Andersen ~ Guitar / Vocals
Darren Wostenberg ~ Bass
Joe Coitus ~ Drums

https://www.facebook.com/ElkWitch/
https://www.instagram.com/elkwitch/
https://songwhip.com/elkwitch
https://elkwitch.bandcamp.com/
https://www.elkwitchband.com/

http://majesticmountainrecords.bigcartel.com
http://facebook.com/majesticmountainrecords
http://instagram.com/majesticmountainrecords

Elk Witch, Beyond the Mountain (2022)

Tags: , , , , ,

Red Mesa Premiere “Witching Hour”; Partial Distortions Out April 19

Posted in audiObelisk, Whathaveyou on February 14th, 2024 by JJ Koczan

Red Mesa

Albuquerque desert metallers Red Mesa will release their fourth album, Partial Distortions, on April 19 through guitarist/vocalist Brad Frye‘s Desert Records with a Euro pressing on Majestic Mountain, and it is nothing less than the point at which they find their sound. The blend of grueling sludge and uptempo earthy groove on opener/longest track (immediate points) “ÓDR” shows a character that both 2020’s The Path to the Deathless (review here) and the follow-up willful-aural-divergence of the single “Forest Cathedral” (review here) hinted toward, but the balance between nod and aggression, the density of the atmosphere emerged from the tones, and the sense of the band having genuinely dug into their own approach are all palpable across an album that I can’t stop thinking of as a point of arrival. As potential realized.

That’s before you get to the Soundgardenery of “The Assertion” or the suitable roll and more forceful chug of “Desert March,” and, sitting back there waiting for you all the while, closer “Witching Hour,” which premieres today. Hints of a blend of doom, rock, metal and maybe even hardcore that reminds of Solace‘s brooding moments is met with a multi-layer vocal and an explosive back and forth in the hook that is worthy of the album it caps. The thing’s not our for two months, so I don’t want to sit here and review it before anyone’s ready. Think of this as me sharing a song I think you might dig in a spirit of friendship and a hope for making your day, week, whatever, better.

There’s a press quote from me floating around with the album. I was asked to give one and did, pretty straightforward. As a rule, I don’t run press quotes, even my own, because I should be having my own opinions instead of cutting and pasting someone else’s, but I’ll just say I stand by what I put there. This is a new level for the band. And there’s a lot to say about consistency in lineup, expanded input from the rhythm section in the writing process, exploring different sides of one’s personal influences, on and on. I’ll hope to have more to come as we get closer to the release.

“Witching Hour” premieres below. Partial Distortions is out April 19.

Enjoy:

Red Mesa on “Witching Hour”:

“This is our foreboding tale inspired by the creepier elements of Stephen King’s “Pet Cemetery”. The closing track is heavy and dark with Alex taking the lead on vocals. Musically, the song consists of two sections that were organically brought together. The first half of the song consists of two riffs that Brad showed Roman and they recorded it into the voice memos of an Iphone in early 2021. The second half showcases a huge riff that Alex had been keeping in his back pocket for 20 years. Once the ending riff was worked out, the song came together quickly. We have been adding this song to our live setlists and is quickly becoming a staple.”

‘Partial Distortions’ shows a powerful return of the Albuquerque, NM heavy desert rock trio Red Mesa with their fourth full-length. The album will be released on April, 19th 2024 via Desert Records (North America) and Majestic Mountain Records (Europe).

This 6-track album features the same lineup from their 2020 release ‘The Path to the Deathless’ and the 2022 single ‘Forest Cathedral’.

The record shows further collaboration between band members as guitarist/vocalist Brad Frye, bassist/vocalist Alex Cantwell, and drummer/vocalist Roman Barham all contributed musically and lyrically throughout the album.

Red Mesa has been leading the new generation of desert rock by proving that the genre is capable of greater expanses. The trio has expanded their signature heavy desert sound on ‘Partial Distortions’ to include more doom and sludge metal moments. “Blackened desert” sound collages and an overall doomier and downright frightening musical path will confront the listener, as the album is darker musically and thematically. All whilst still dwelling within an optimism that instills hope that amongst the loss, the tragic endings, and the suffering that this existence brings, that life is still worth living.

Presale for limited edition LP and CD have begun on Bandcamp and www.desertrecords.us and majesticmountainrecords.bigcartel.com/

Album cover gouache painting by Marco Blasphemator.
Gatefold and back cover photos by Hayley Harper.
Graphics and Layout by Dave Walsh.

Recorded by Augustine Ortiz at the Decibel Foundry in Santa Fe, NM in December 2022.
Recorded and mixed by Matthew Tobias at Empty House Studio in Albuquerque, NM in April, June, August, & October 2023.
Mastered by Brad Boatright at Audiosiege in Portland, OR in October 2023.

Tracklisting:
1. ÓDR
2. The Assertion
3. Dying in the Cold Sun
4. 12 Volt Shaman
5. Desert March
6. Witching Hour

Red Mesa is:
Brad Frye – Rhythm and Lead Guitars, Lead and Backing Vocals
Roman Barham – Drums, Lead and Backing Vocals
Alex Cantwell – Bass Guitar, Lead and Backing Vocals, Additional Rhythm Guitars, Piano

https://www.facebook.com/redmesaband/
https://www.instagram.com/redmesaband/
https://redmesarock.bandcamp.com/

https://www.facebook.com/desertrecordslabel/
https://www.instagram.com/desertrecords/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/
https://linktr.ee/desertrecords

http://majesticmountainrecords.bigcartel.com
http://facebook.com/majesticmountainrecords
http://instagram.com/majesticmountainrecords

Red Mesa, “Forest Cathedral” (2022)

Red Mesa, “Witching Hour” live in Albuquerque, NM, Jan. 27, 2024

Tags: , , , , , ,

Schubmodul Premiere “Ascension” From New Album Lost in Kelp Forest

Posted in audiObelisk, Reviews on February 13th, 2024 by JJ Koczan

schubmodul lost in kelp forest

German heavy instrumentalists Schubmodul are set to issue their sophomore LP, Lost in Kelp Forest, on Feb. 23 through Tonzonen Records. As the title alluding to submerged plantlife hints, the album follows a submerged conceptual narrative such that the sun-reflecting lead guitar in “Emerald Maze” around six minutes into the total 9:57 genuinely seems to discover something as it shifts from its exploratory outset into a more linear pattern ahead of a thicker riff’s return. Samples bolster the affair and fill in some of the places vocals might otherwise have gone — according to the PR wire below King Gizzard did that at one point?; fair enough — as across the six-song/42-minute rolling horizon, the three-piece of Christoph Kellner, Fabian Franke and Nils Stecker bring purpose to a weighted and progressive-leaning, clear-headed psychedelia. This could easily have been an LP of jams that afterward the band decided was about the ocean. That’s not what’s happening here.

Schubmodul‘s material is composed and brings a sense of intention even to the nodder chug in “Silent Echoes” that feels like it could be anything. It’s not that you feel like you’re underwater or that, thankfully, the music itself sounds like it, but the power of suggestion, the commonality of the metaphor within the genre, and your own willingness to go should be enough to get you there. The trio open with “Voyage” and offer the first of the six individualized progressions within the songs, each carving out its own space of the entirety both in terms of story — I’m just cut and pasting the credits so I don’t spell anyone’s name wrong: the spoken narrations are France’s Alma Chomel and Shane Wilson in the US — and the alignment around and movement through structured parts. A band with a marker-board in the rehearsal space? They might be. Somebody, somewhere along the line, has arranged the parts of Lost in Kelp Forest, if not as a cinematic experience, then certainly with a mind toward evoking an emotive or associative response in the listener. As the swinging ‘verse’ of the penultimate “Ascension” (visualizer premiering below), with its proggy bass punches and strutting groove emerges from the spaces cast in the largesse of “Silent Echoes” just before, Schubmodul offer dynamic of intention as well as volume, reaching into varying niches of microgenre while thoughtfully distinguishing their songs in conceptual approach and the finer details of their layering.

An example of that lies in the acoustic beginning of “Renegade One,” the five-minute finale of side A. They open into a groove bordering on huge, as one will, and are both methodical in terms of pace and mindful of when the changes should be. A switch to lead guitar here, some flourish on drums to mark the transition. A stop before you jump in again. Complemented by a captured tonality that is sharper at its corners than one might at first expect, Schubmodul can gear a given part or track toward impact or atmosphere seemingly as they choose,Schubmodul and more often than not on Lost in Kelp Forest, they choose both. The record is stronger for it while still remaining cognizant enough of their basic underlying riffage to be likened to later Karma to Burn, though certainly Schubmodul have layered an entire aesthetic atop that most straight-ahead of instrumental structural foundations. “Ascension” ends sharp and gives over to the Wilson voiceover, naming a deep sea wreck of a ship named Renegade One and revealing the mission to harvest kelp forests that, well, don’t let me spoil it. Ambient guitar behind, the heart of the story ends in closer “Revelations” with an urging to “protect our planet and all living things” before its meditative roll takes hold in earnest. And of course they build around the finale as they’ve been building all along to their various purposes either in storytelling or kicking ass more generally.

It’s not quite a blowout, but it’s the end credits as the pace picks up in the second half of “Revelations” and the band push into the last fadeout. I’m not quite ready to call Schubmodul heavy prog, though there’s some distillation of an Elder influence audible in the shimmering of the guitar and some of the sway in their larger grooves. I can’t get away from feeling like someone in the band — be it SteckerKellner or Franke — has some noisier background, but across Lost in Kelp Forest, everything the band put into the record is funneled into the central purpose of the narrative and the songs themselves, and the story being told is that much clearer and expressive for that. Giant kelp can grow up to 250 feet tall, two feet per day if it’s the right kind. An underwater forest is an entire ecosystem, with predators and prey, eggs laid behind leaves and fish living off the plants that are their entire world. Humans I think mostly use it as a place to keep discarded plastic wrap.

But our pitiful species’ disregard for the (actual) treasures that surround us nothing new, and if part of Schubmodul‘s intent is to remind of that or at least pull the thought out of the listener’s brain, then they have succeeded in affecting the mood and mindset of their audience — I was thinking about genocide, now I’m thinking about climate crisis; welcome to the 2020s! everyone’s sad and everything is why — and that’s not an accomplishment to discount. Their debut, 2022’s Modul I, functioned similarly in terms of impact and atmosphere, but what’s found in terms of method and purpose throughout Lost in Kelp Forest is a marked forward step that comes with a greater breadth of production to match that of its basic sound. I don’t know that their next effort — the e’er crucial ‘third record’ — will tell the same kind of tale or not, but I would expect the refinement of approach that Schubmodul have undertaken in the last couple years to continue, and that means that’s an album I’ll want to hear.

Please enjoy the visualizer for “Ascension” premiering below, followed by more from the PR wire:

Schubmodul, “Ascension” visualizer premiere

Lost In Kelp Forest is a concept album that doesn’t take place in the vastness of space like its predecessor, but rather in an underwater world. The six mainly instrumental pieces are accompanied by narrator voices, which reveal a coherent fictional story on a dense atmospheric carpet of sound. The voices were professionally recorded by Alma Chomel from France and Shane Wilson from the USA.

As a foundation, the triumvirate, formed by a classic line-up of guitar, bass and drums, thunders a mix of space, stoner and progressive rock onto the stage, which is occasionally supplemented by synthesizers, sound and voice samples. Dreamy, atmospheric passages combined with colossal riffs will often lead to an epic melodic zenith of voluminous, warm sounds, over which gentle to fast guitar solos are released.

The compositions use a large modal palette and versatile harmonies that are intended to continually surprise the listener and at the same time follow a driving, natural and catchy rhythm. Lost In Kelp Forest has a very high level of attention to detail and should remain exciting even after repeated listening.

The band’s inspiration for this album was genre-typical greats like Elder, King Buffalo, more progressive bands like Dream Theater and elements from Hans Zimmer’s film music. The idea using a spoken word on top of the music was inspired by the albums Eyes Like The Sky and Murderer Of The Universe by King Gizzard & Lizard Wizard. Lost In Kelp Forest was recorded in August 2023 in the legendary Tonmeisterei in Oldenburg, Germany. The entire album was recorded in just six long days. The band was housed in the studio for the entire recording process, which created a unique atmosphere. The first tracks (Emerald Maze and Silent Echoes) were written shortly after the release of the first album in spring 2022 and set the basic mood of the album. The remaining pieces were completed by summer 2023.

Tracklist
1. Voyage
2. Emerald Maze
3. Renegade One
4. Silent Echoes
5. Ascension
6. Revelations

Schubmodul are Christoph Kellner, Fabian Franke and Nils Stecker.

Schubmodul on Instagram

Schubmodul on Facebook

Schubmodul on Bandcamp

Schubmodul on Spotify

Tonzonen Records website

Tonzonen Records on Facebook

Tonzonen Records on Bandcamp

Tags: , , , , ,

The Sonic Dawn Announce Phantom LP Out May 10; Premiere “Iron Bird”

Posted in audiObelisk, Whathaveyou on February 13th, 2024 by JJ Koczan

Copenhagen psychedelic heavycrafters The Sonic Dawn are releasing their new album, Phantom, on May 10 through Heavy Psych Sounds. Preorders are up as of this announcement and you’ll find the links below, under the player bringing us “Iron Bird” as the first single to come from the record. You might recall their most recent long-player was 2020’s Enter the Mirage (discussed here). That was their third outing under the Heavy Psych Sounds banner behind 2019’s Eclipse (discussed here), 2017’s Into the Long Night (review here), their debut, Perception (review here), having been issued through Nasoni in 2015.

That makes Phantom their fourth album, and it’s also the first to be released since they marked their 10th anniversary as a band last year. In the interim since Enter the Mirage, frontman Emile Bureau has focused on solo work playing as just Emile and also releasing through Heavy Psych Sounds. “Iron Bird” marks a striking return for The Sonic Dawn, who with it present an earthier groove than one might expect from a band so generally given to ethereal float. Not that there’s none of that happening in the track, but they call it proto-metal, and you can hear that in there; a lean toward a more straightforward side of vintage-ism is by no means beyond The Sonic Dawn‘s reach at this point, or entirely unexpected. They’re songwriters. At a certain point, once you’ve got that, you can take it anywhere.

I haven’t heard Phantom in full, so can’t speak to how “Iron Bird” ties in, but it’s neither the band’s nor the label’s nor my first time at this particular dance, so I’ll cut the bullshit and say I hold this band to a pretty high standard of craft. They’ve shown themselves to be up to that over time, and their work has developed a personality and perspective of its own while remaining open to new ideas and thoughtful of its audience. They’re not going to be for everyone, but nothing is. Maybe they’re for you and that’s why you’re here. Great, and I mean that.

You’ll find “Iron Bird” on the player below, followed by a quote from the band, preorder links and more info from the PR wire.

Goes like this:

The Sonic Dawn, “Iron Bird” track premiere

The Sonic Dawn on “Iron Bird”:

Iron Bird is a protest against organized mass murder and the war pigs who run the show. As we see it humanity stands at a crossroads – a choice between sharing and coexistence or inevitable extinction. There will be no winners only death. Such a message calls for a heavy sound. On Iron Bird we explore an almost proto-metal style but fully psychedelic. If that sounds unsettling to you you’re getting the right picture. Much like the psychedelic experience itself our new album “PHANTOM” oscillates between the terrifying and the beautiful. Iron Bird certainly resides on the dark side of that spectrum. Brace yourself for a journey into some heavy acid rock.

THE SONIC DAWN – New album “PHANTOM” out May 10th on Heavy Psych Sounds

ALBUM PRESALE:
https://www.heavypsychsounds.com/

USA PRESALE:
https://www.heavypsychsounds.com/shop-usa.htm

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe’s most prominent current acid rock bands.

Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels ‘Bird’ Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds.

The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour—some 60 shows, including two weeks with Brant Bjork (US)—solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as “easily one of the best psychedelic pop albums of the decade,” and once again the group hit the road hard, playing in 11 different countries.

In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as “a modern psych classic” by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR’s legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years.

Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik ‘Errka’ Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.

The band is gearing up for an extensive European tour in 2024-2025, promising a further development of their mind-altering exploration.

THE SONIC DAWN is
Emil Bureau – Guitars / Vocals
Jonas Waaben – Drums
Niels Bird – Bass

https://www.facebook.com/thesonicdawn/
https://www.instagram.com/thesonicdawn/
https://thesonicdawn.bandcamp.com/
http://thesonicdawn.com/

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

The Sonic Dawn, Enter the Mirage (2020)

Tags: , , , , ,

Kungens Män: Track-by-Track Through För samtida djur 1 & Full Album Premiere

Posted in audiObelisk, Features on February 9th, 2024 by JJ Koczan

Kungens Män

Today’s the day, kiddos. Swedish jammers Kungens Män release their latest collection, För samtida djur 1 (review here), through Majestic Mountain Records as the first of two chapters with the next to be unveiled later this year. And when I say a phrase like “Swedish jammers” in that prior sentence, rest assured what I mean is that the warm-toned, organic-vibes-only-yes-even-in-the-synth six-piece head ever closer toward the heart of the creative spark itself, endeavoring with the ethic of harnessing a moment of creation as it happens — the proverbial lightning in the bottle. This is an ideology held by a lot of improv-based outfits, some of whom write three-minute pop songs, which even as Kungens Män refine their own approach and dig into crafting material more across this nine-song/45-minute outing, remains open, experimental, righteously weird, and very much its own kind of fun.

The title För samtida djur 1 translates to English as ‘For contemporary animals 1,’ and fair enough. I played it for the dog and she didn’t seem to mind, but I take the ‘animals’ more in the sense of an outsider cast. Maybe that’s you, maybe that’s them, I think it’s probably everybody at some point or another, but as you immerse in the album stream below, maybe something to hold onto in the back of your head while perusing the track-by-track that the band has generally offered, giving insight into their methods, theKungens Män För Samtida Djur 1 circumstances of the album’s making (as well as that of the video for the title-track that premiered here and you can see near the bottom of the post), and revealing some of the little things — a guitar that sounds like a cat, some cellphone interference — that made the experience from the band’s own point of view. I can’t help but feel like for an album that starts off basking in anachronism with the dialing of a rotary phone, the phrase, “Confusion is what we like,” posited below by the band, is a fitting summary. See also, “Perhaps not to reach a goal but to feel alive.”

So jump in and maybe let yourself be confused a bit. För samtida djur 2 will reportedly be more of a stretch-out in terms of longer songs and such, but if maybe you’re new to the band as a result of their being picked up by Majestic Mountain or other happenstance, this initial För samtida djur installment should make for a rousing introduction.

I beg of you, enjoy yourself. Thanks to the band for the time and words. Thanks to the label for letting me host the stream. Thank you for reading.

Here we go:

Kungens Män: För Samtida Djur 1 Track-by-Track

”Framtidens start” (The start of the future)

Mikael: The hotline to Moderskeppet, Aspudden.

Indy: …which is where we hang out to create our stuff.

”För samtida djur” (For contemporary animals)

Mikael: This is from a session without Indy, so Peter brought out the drum machine instead. Everything is steady, but slightly off like it should be. Someone from another timezone in the real world is eager to get in touch while we keep on dreaming about androids getting eaten by ancient fish.

Gustav: When we shot the video for this song, video director Patrik Instedt thought his cat was meowing – three times in a row! “The cat” is me playing the pointy guitar. We also have some classic cell phone disturbances somewhere in all the mess. Confusion is what we like.

”Tycka rakt” (To think straight)

Mikael: Me and Gustav are wearing our Sonic Youth worship on our sleeves in this song, though in a very mellow way. A threatening slow, dark undercurrent is flowing in the bass and synth department giving the song very interesting temperament layers.

Gustav: Micke is 100% right. I still haven’t gotten over Sonic Youth not being an active band, and it’s been a few years now.

”Grovmotorik” (Gross motor skills)

Mikael: The main riff is invented by Gustav, followed by a catchy synth riff, the rest of us chugging away while Hans paints a floating landscape. Then gradually falling apart until the song enters a completely different headspace in the tail end.

Gustav: An example of an occasion when everyone makes their own musical decision, sticking to it while trying to find their place among the rhythms and riffs. The mood shifts by the end, the music falls apart.

”Motarbetaren” (The opposer)

Mikael: This is probably my favorite song on this album. I have never quite heard anything like it. To me it sounds like The Velvet Underground making music for a 1970:s children’s tv show. Distorted steam train awakening.

Gustav: The organ grinder from Rabbalshede market is here and he cranks and he cranks.

”Virvelresan” (The vortex trip)

Mikael: Serenity among the spikes. Once again an interesting conversation full of information, but still the space remains open and open ended.

Gustav: Another mood swing! A conversation, just like Micke says. Things are constantly happening on all fronts, and even if we talk over each other’s mouths sometimes it’s more like we’re filling in each other’s speech.

”Bra moln” (Nice cloud)

Mikael: Meditation music. Watch the thoughts/clouds passing by. Chimes and horns – breath in, breath out.

Gustav: “Thank you, if you appreciated the tuning so much I hope you will enjoy the playing more”. Like the famous quote from Ravi Shankar, it’s more like we are tuning than playing here. Sometimes it’s the most basic things that hit you the hardest.

”Tyska ninjor” (German ninjas)

Mikael: Relentless hi-hat beauty by Indy. Sometimes we have to run with this machinelike state of mind. Perhaps not to reach a goal but to feel alive.

Gustav: Get up! Time to shake your hips! One thing that Micke sometimes does while he’s mixing is to have the “riff guitar” up front in the mix while the “lead guitar” is a little more in the background. This creates a certain atmosphere, and it sharpens your ears.

”Nu eller aldrig” (Now or never)

Mikael: The Pharoah Sanders vibe is strong here, what is there not to love? This was an exciting space to be in, with everyone adding dots, splashes, mirrors and shades, painting a loud whisper.

Gustav: As a completely subjective observer, I can conclude that “För samtida djur 1” is a very diverse and very good album. This track sums it all up very well.

Kungens Män, “För Samtida djur” official video

Kungens Män on Facebook

Kungens Män on Instagram

Kungens Män on Bandcamp

Majestic Mountain Records on Instagram

Majestic Mountain Records on Facebook

Majestic Mountain Records store

Tags: , , , , , ,

Full Earth Premiere “Echo Tears”; Cloud Sculptors Out March 15

Posted in audiObelisk, Reviews on February 7th, 2024 by JJ Koczan

FULL EARTH Cloud Sculptors

Norwegian progressive instrumentalists Full Earth will make their full-length debut with the 2LP Cloud Scuptors on March 15. The Oslo-based outfit release through respected purveyor Stickman Records, which makes them labelmates to Elder, Iron Jinn and King Buffalo — Stickman is also the ancestral home of Norwegian prog dispensers Motorpsycho, which will be relevant shortly — and like each of those outfits, Full Earth have their own take on a progressive heavy ideology. To call it expansive is to say the least of it.

There’s been a palpable buzz around Full Earth, and reasonably so. With the three members of Kanaan all involved — guitarist Ask Vatn Strøm, bassist Eskild Myrvoll, and drummer/project spearhead Ingvald André Vassbø — alongside bassist Simen Wie and organist/synthesist Øystein Aadland, the five-piece seemed to be immediately embraced as part of that band’s ongoing momentum. Before a song was released, let alone word of Cloud Sculptors or more details about the project’s prog-honoring, sometimes-longform, deeply methodical approach, the band were popping up on festival bills for Spring 2024, and indeed, they’ll be at Desertfest in Oslo and Berlin as well as Roadburn, with Freak Valley in Germany this June and Down the Hill in Belgium in August and probably tours hither and yon as well.

The actual arrival of the album, then, is anticipated. Full Earth meet that electric undercurrent with a massive glut of headspinning prog and other atmospheric and purposeful explorations. The bulk of Cloud Sculptors‘ feature-length 85 minute runtime resides in its most extended pieces: opener “Full Earth Pt. I – Emanation” and the title-track for a 40-minute one-two pairing at the start of the record. This initial impression, the runs of keyboard notes alongside sustained distortion and feedback around 14 minutes into the leadoff, or the bounce of organ that sweetly starts “Cloud Sculptors” hinting at some of the vintage-synthery both of the largely-melancholy-in-the-Lake-era-King-Crimson-tradition “The Collective Unconscious” (18:37) and the exploratory “Echo Tears,” which premieres below.

You would be hard-pressed to find someone less qualified than I to discuss the work of Daniel Lopatin or probably any number of the other krautrock and classic prog influences under which Full Earth are operating, but what you really need to know in listening to the album is everything’s under control. Yeah, Full Earth are kind of doing for krautrock and the headier end of kosmiche what Earthless did for classic heavy in cherrypicking stylistic aspects and blowing them out to epic proportion while staying conscious enough to actually guide the listener. But it’s that last part that’s the most important, because what most affects the listening experience is the skill with which Full Earth execute these pieces.full earth echo tears

I won’t pretend that “Full Earth Pt. I – Emanation” or its closing counterpart “Full Earth PT. II – Disintegration,” “The Collective Unconscious” or “Cloud Sculptors” itself aren’t overwhelming. They absolutely are and I think that’s the point; operating under the “put it out now and let them spend the next six years picking it apart” ethic, and indeed Cloud Sculptors might be densely packed enough at its most intense to provide fodder for a long-term deep-dive (if they do more records, I expect the phrase “long term deep dive” to come up again as a summation of their career arc), while remaining dynamic in the starts-peaceful “Full Earth Pt. II – Disintegration” and “Weltgeist,” which makes me want to put on a lounge jacket and make a documentary about space with all the latest science 1976 has to offer, speaking in clear, Saganian tones about the mysteries of the universe while Full Earth remind that at its heart all of the cosmos is math.

It is rare that a debut album comes with such a sense of mastery, and Cloud Sculptors has purpose to match. Each song, each change, a little swap in the drums or on keys in that all-in immersive rollout at the start, is in its place and keyed to bring as much to the proceedings as possible. They’re willing to reside in parts, as a band with 20-minute songs had better be, but cognizant of the listener’s place in and interaction with the material. Songs unfold in movements, ideas fluidly melding with graceful performances, a marked heft in reserve for when it’s needed, and guide the listener through Cloud Sculptors‘ otherwise staggeringly complex path. They might be pairing the half-time drums and what sounds like double-time guitar on “The Collective Unconscious” or making aural references that at very least I’ll probably never get, but you can also put on the album and Full Earth, through the music itself, act as a guide to get you safely from one end to the other. So while it’s a lot to take on, you can also roll with it as Full Earth quickly earn a trust that can’t be faked.

In talking about “Echo Tears” under the player below, Vassbø talks about using instruments “to their full extent.” That’s a classic prog phrase and mentality. He’s pushing himself and the instrument(s) as part of the same drive, trying to “get as much out” of the drums, organ, whatever it might be. Keep that in mind as you listen to “Echo Tears,” which is drumless and comparatively minimal next to “The Collective Unconscious” before or “Full Earth Pt. II – Disintegration” after. Because it doesn’t just have to mean playing fast, or making a part as busy as it can be, but utilizing a given instrument as a tool of emotive expression or sonic exploration, as seems to be the case with this track. And no, “Echo Tears” doesn’t represent the whole crux of Cloud Sculptors‘ 85 minutes — how could it? — in terms of basic sound, but as you listen to the track, know that Full Earth‘s ability to carry the listener through its atmospheric contemplations absolutely does.

The potential here is vast, and it’s difficult not to think of what Full Earth might accomplish in the future based on their achievements here, but worth staying in the moment as you listen.

As always, I hope you enjoy:

Full Earth, “Echo Tears’ track premiere

Full Earth (Photo by Thea Grant)

Echo Tears is the second single from the up and coming experimental rock band Full Earth’s debut album, Cloud Sculptors. Album preorders launch Feb. 9 via www.stickman-records.com.

The tune is one out of two shorter organ-compositions from the album that are more inspired by electronic and modernist classical music. The song is an echo-jam for Full Earth’s combo-organs in the style of Oneohtrix Point Never’s early releases, and an attempt to adapt this cosmic style for fluttery organs. The French band Heldon and Laurie Spiegels Expanding Universe are two other important references. The organ-arpeggios, recorded by Øystein Aadland and Ingvald Vassbø in their rehearsal space, feels like they are levitating and circling freely in the air. One goes into a trance and the insisting and repetitive music grows continuously. In a mechanical but analog way, always towards an ecstatic vision. Echo Tears is exploring another edge of the Full Earth-universe than the band’s first single Cloud Sculptors did, and shows how wide and multicoloured the bands’ pallet at times can be.

Says Ingvald Vassbø: «A few years ago, I was totally in love with the early and cosmic synth-works of Daniel Lopatin, and listened to it almost every night before going to sleep. It was a really fun process to let myself be inspired by that music, make some kind of echo-jam in that vein and record it together with Øystein in our rehearsal space. We got really inspired, and I really feel that we managed to utilize our instruments, my Terry Riley-organ, Øystein’s Farfisa and our tape-echo to their full extent.»

Cloud Sculptors tracklisting:
1. Full Earth Pt. I – Emanation (21:06)
2. Cloud Sculptors (20:05)
3. Weltgeist (6:08)
4. The Collective Unconscious (18:37)
5. Echo Tears (5:36)
6. Full Earth Pt. II – Disintegration (13:46)

The fantastic “Echo Tears” artwork is made by Sunniva Hårstad
Pre save: https://bfan.link/echo-tears

Full Earth live:
18.04 – @rare_guitar Münster 🇩🇪
19.04 – Magazine 4 Brüssel 🇧🇪
20.04 – @roadburnfest , Tilburg 🇳🇱
22.04 – @le3pieces , Rouen 🇫🇷
23.04 – @linternational_paris Paris 🇫🇷
24.04 – Venue tbc, Köln 🇩🇪
25.04 – @trauma_marburg Marburg 🇩🇪
26.04 – Freaques de la Musique, Bremen 🇩🇪
27.04 – @husetkbh , København 🇩🇰
10.05 – @sonic_whip , Nijmegen 🇳🇱
11.05 – @desertfest_oslo 🇳🇴
23.05 – @gjovikkinoogscene 🇳🇴
24.05 – @lokal.trhm , Trondheim 🇳🇴
26.05 – @desertfest_berlin 🇩🇪
29.05 – Blauer Salon/Hausbar, Tübingen 🇩🇪
30.05 – @freakvalleyfestival Netphen 🇩🇪
30.05 – Posten, Odense 🇩🇰
31.05 – @esbjerg_fuzztival l 🇩🇰
31.08 – @downthehillfestival Rilaar 🇧🇪

Full Earth are:
Øystein Aadland – farfisa organ, yamaha yc30 organ, mellotron, synthesizer
Ask Vatn Strøm – guitars
Simen Wie – electric bass, additional guitar
Eskild Myrvoll – additional guitar, korg MS-20 synthesizer, noise
Ingvald Vassbø – drums, yamaha yc30 organ

Full Earth, Cloud Sculptors (2024)

Full Earth on Facebook

Full Earth on Instagram

Full Earth on Bandcamp

Stickman Records website

Stickman Records on Facebook

Tags: , , , , ,

Kariti Streams Dheghom in Full; Album Out Friday

Posted in audiObelisk, Reviews on February 1st, 2024 by JJ Koczan

kariti Dheghom

The second Kariti full-length, Dheghom, releases tomorrow, Feb. 2, through Lay Bare Recordings. The 11-song LP is the Russian-born-Italy-residing polylingual dark atmospheric folk singer-songwriter’s first for the Dutch imprint, and it brings 43 minutes of new material that greatly expand the context wrought for Kariti — née Katerina, also stylized all-lowercase: kariti — by her 2020 debut, Covered Mirrors (review here). While still able to offer the voice-on-tape minimalism of some of the first album’s loneliest fare, Dheghom broadens the reach of Kariti‘s arrangements, such that the quiet electric guitar on the harmonized highlight “Vilomah” that brings a duet with Dorthia Cottrell of Windhand (and her own solo work) and the keyboard-driven “A Mare Called Night” that gets its instrumental answer at the end of the proceedings in closer “So Without, ” the title of which bookends with in-Russian spoken intro “As Within,” as Kariti translates that spoken poem to English, switching languages throughout no less fluidly than she leads “Reckoning” with piano and the subsequent “Metastasis” with electric guitar.

“Emerald Death” touches on Irish folk traditions and pairs its melody with harsh distorted strums of guitar in true doom-folk style, which picks up from the surprisingly-full-band-sounding “River of Red,” with drums and a darkly progressive exploration that feels consistent with the rest of Dheghom, even if its sad metallurgy is coming from somewhere else than the initially-largely-empty “Son,” which Katerina‘s voice easily carries in layers before it shifts into its more distorted second half drone. Goth plays a big role as “Reckoning” follows “Vilomah,” with flourish of strings to coincide with its steady piano line, less foreboding than “Metastasis” still to come, but consistent in its downerist melodic spirit. Beethoven’s Ninth Symphony gets referenced at the outset of “Sanctuary,” but the song itself is moved elsewhere by its vocals, harmonized in a kind of American folkishness far removed from any sense of twang. The point is underscored with a plains-rumble of piano near the finish, from which “River of Red” picks up and transitions smoothly to its fuller arrangement before giving over to “Toll,” which is 41 seconds of bells — because what else — before the keyboard of “So Without” brings Dheghom full circle with ethereal operatics backing the lead vocal line and a sense of warning that’sLaroto almost cultish as presented.

Certainly Covered Mirrors had its sense of adventurousness, but it was also the launch point for Kariti as a project and the fact that it existed was part of the adventure. Dheghom is a genuine branching out of intent and composition, a different way of constructing songs around ideas for what they need and/or want to express. And because the backdrop she’s working with is still largely minimal — to wit, only “River of Red” has drums — each tweak in arrangement throughout has an impact on the material and the scope of the whole outing, even as they cast her voice in the role of unifying the songs, which it does without trouble. Affecting emotionally and striking in its reach, it’s Kariti‘s vocals and sometimes bleak melodicism that give Dheghom such a sense of personality amid its complexities, and whether it’s a flourish of keys, the strings on “Reckoning” or Cottrell showing up on “Vilomah,” there’s never a pivot made that removes the album from what feels like its intended course. That that would coincide with such a significant uptick in attention to detail makes Dheghom all the more of a triumph, even if it’s too morose to outwardly enjoy its own accomplishments.

The expansion of the collaboration with guitarist Marco Matta (also Grime) and engineer Lorenzo Della Rovere likewise feels organic and purposeful, helping to build Dheghom up as a showcase of Wovenhand-style go-anywhereism that nonetheless retains its crafted feel. And while it seems safe to imagine Katerina would keep that collaborative thread going on a third Kariti LP when and if she gets there — note she put out an EP with the experimentalist Néant last year; some of that attitude seems to have bled into Kariti — I find I’m less comfortable predicting where she might go sound-wise than I was coming off of Covered Mirrors. This, despite a style that’s almost entirely balanced toward the subdued, is one of the most exciting reasons to be a fan of an artist, and Dheghom is sure to pull more of those into Kariti‘s sphere as well. I think I might be one too.

Dheghom, accompanied by PR wire info, streams in full below.

Please enjoy:

kariti (карити) – ‘to mourn the dead’ in church Slavonic – is a Russian-born artist based in Italy. Her debut ‘Covered Mirrors’ was released in September 2020 by the cult Italian label Aural Music (Negură Bunget, Imperial Triumphant, Messa) and represents a ‘cathartic peregrination through bereavement’. Marco, the leader of the heavy sludge outfit Grime contributes to some of the songs and often joins kariti for live performances.

In September 2023, an industrial/trip-hop/shoegaze s/t EP was released under the moniker Néant – a collaboration between kariti and Void of the anonymous Parisian industrial sludge collective Non Serviam.

kariti’s next record will see the light on February 2, 2024 courtesy of the independent forward-thinking Dutch label Lay Bare Recordings (Frayle, Thief (ex-Botanist), Yawning Man), focussed on high-quality vinyl releases, and sees a notable development in sound, songwriting and instrumentation used: apart from electric guitars it features various synthesizers, analogue piano, strings by Jon K (live Cough, Dorthia Cottrell), a song with drums and bass, multiple contributions of Marco (Grime, Simian Steel) on guitar/noise, and a haunting duet with Dorthia Cottrell (Windhand, solo).

kariti’s atmosferic mournful ‘ambient folk’ is recommended to those who enjoy ‘dark explorations accompanied by the smell of burning wood and the moonlight reflecting off snow’ delivered through profound lyrical content. kariti toured Europe several times, shared the stage with Messa, Grift, Conny Ochs, Plum Green among others, and recently was invited by Brutus to open the Italian leg of their tour. her intense live shows have been described as liturgy-like and cathartic and the touring schedule for 2024 is in the works upon the release of Dheghom.

Kariti on Facebook

Kariti on Instagram

Kariti on Bandcamp

Lay Bare Recordings on Facebook

Lay Bare Recordings on Instagram

Lay Bare Recordings on Bandcamp

Tags: , , , ,