Posted in Whathaveyou on January 11th, 2017 by H.P. Taskmaster
A second full-length from Norwegian heavy rockers The Devil and the Almighty Blues is an intriguing prospect. The Oslo five-piece impressed with their 2015 self-titled debut (review here), and the aptly-titled follow-up, II, is set to arrive March 17 via Blues for the Red Sun Records (with distribution through Stickman). As the debut was one of 2015’s best and band have spent the last year-plus taking part in fests like Freak Valley and playing shows and getting themselves recently confirmed for Roadburn 2017, it seems fair to expect some marked forward movement in their sound. I guess the underlying point here is I hope to get the chance to find out.
Info follows, as well as the band’s upcoming live dates, as scoured from the social medias:
Finally! Blues For The Red Sun are proud to announce release of the second The Devil And The Almighty Blues album!
The album will hit the streets Friday 17th March 2017. From early January there will be possible to pre-order the limited edition (on white vinyl). More info will follow.
When the 60’s turned into the 70’s there was a musical crossroads. The American blues had had it’s run with teens on both sides of the Atlantic long enough so that the blues-offspring named rock’n’roll had to expand or die. It did not die, it expanded in all kinds of directions! And right there in the crossroads between blues-based rock and all the world’s other sub-genres of rock, something happened to the blues. The format got experimented with, expanded and almost made unrecognizable. But at the same time the roots to the original ’real’ blues was never lost. The result was a highly electric musical revolution, where e.g. the newly born genre hard rock walked hand in hand with traditional delta blues.
It is out from this musical mud The Devil and the Almighty Blues have found their inspiration. Their music is slow, heavy, melodic and raw, all without losing the almighty blues out of sight.
The Devil and the Almighty Blues live shows:
APR 6 The Devil and the Almighty Blues / supp. There Will Be Blood Parkteatret Oslo, Norway
APR 7 The Devil And The Almighty Blues + There Will Be Blood Studentsamfunnet driv Tromsø, Norway
APR 20 Roadburn Festival 2017 Apr 20 – Apr 23 Tilburg, the Netherlands
The Deivl and the Almight Blues is: Arnt Andersen Petter Svee Kenneth Simonsen Torgeir Waldemar Engen Kim Skaug
Posted in Whathaveyou on May 31st, 2016 by H.P. Taskmaster
Italian boogie-blues rockers There Will be Blood may have named themselves after an exceedingly dark, grim, at-times brutal movie, but the material on their third album, Horns, seems to be much more upbeat and much less prone to take itself seriously. To wit, the band’s video for “Undertow” below, which looks like a Wes Anderson-filmed workout parody. The new record from which that song comes will be released on June 10 — egad, that’s next week! — via Blues for the Red Sun Records, and reportedly wraps a trilogy about redemption and weirdos which the PR wire describes below.
THERE WILL BE BLOOD – HORNS (LP/CD/Digital) BFTRS 007
Album out June 10th 2016 on Blues For The Red Sun.
The story of There Will Be Blood started back in 2009, and in the seven years passed they have made 3 albums and 2 EPs, playing live around Italy in festivals and rock clubs, gaining excellent reviews from press and audience. Their third album “Horns” is the end of a trilogy of concept albums that tell the story of a lone wandering man looking for a way to redeem his soul and finally find his vengeance, crossing his path with all kinds of freaks and prodigies, miracles and disasters.
Compared with the previous albums, “Horns” is a more articulated work; the band has put a lot of effort into these 12 tracks, challenging themselves with new styles and new influences. Through their collaboration with professional musicians, “Horns” has become their biggest project so far: choir, harps, trum- pets, saxophones, trombones, pianos and keyboards add layers and volume to There Will Be Blood’s fantastic blues-rock sound.
With elements from classic blues, rock and roll, soul, gospel, stoner and country the band stretches their signature sound to new frontiers, without losing their focus on strong riffs, powerful drums and the catchy lyrics that we love.
All music and lyrics written and performed by There Will Be Blood. Recorded and mixed by Andrea Cajelli at the Sauna Recording studio/ Varese. Studio assistant: Andrea Ravasio. Mastered by Andrea “Berni” De Bernardi at Eleven Mastering/ Busto Arsizo Album cover “Drive-in” by Jesse Treece www.collageartbyjesse.tumblr.com. Album artwork by Riccardo Giacomin www.riccardogiacomin.com
Tracklist: Burn Your Halo Fire Blind Wandering Undertow Mismatch Revevier
Ride Turn Your Back Horns Short Breath Lust Til Death Do Us Apart
Posted in Reviews on March 29th, 2016 by H.P. Taskmaster
I thought yesterday went pretty well, by which I mean I didn’t receive any complaints that somebody’s name was spelled wrong (yet), so I feel alright going into the second batch of releases for the Quarterly Review. Today mixes it up a bit, which is something I always enjoy doing with these, and while I’ll take pains to emphasize that the list of releases today, as with every day, isn’t in order, there was no way I wasn’t going to start with the first record below. Some albums just demand top placement.
Quarterly Review #11-20:
Eight Bells, Landless
However you define the word “heavy” as it relates to music, Eight Bells are it. The Portland, Oregon, trio release their second album and first for Battleground Records in the form of the five-track Landless, and from the opening sprawl and lumber of “Hating” through the crawling-plus-blasting chaos of “Touch Me,” a strong progressive current underscores the material – most notably the 13-minute title-track, but really the rest as well, which flows gracefully even in its harshest moments, the blackened rush in the second half of “Landless,” for example, which follows psychedelic drones and harmonies just minutes before, or the similar thrust of centerpiece “Hold My Breath,” which works in tighter quarters but manages to span genres all the same. “The Mortal’s Suite” provides some respite in airy guitar and airier vocals, giving new drummer Rae Amitay a break while showcasing the harmonies of guitarist Melynda Jackson (ex-SubArachnoid Space) and bassist Haley Westeiner. As open atmospherically as the band is in their creative scope, there just isn’t a level on which Landless isn’t superb.
Swedish four-piece Öken do themselves huge favors by refusing to be easily categorized on their 2015 self-titled Ozium Records debut full-length, which runs an immersive 62 minutes and blends doom, classic heavy/desert rock and forest psych with subtle grace throughout its eight tracks, each of which is fleshed out in an overarching naturalist atmosphere. “Väktaren” dives headfirst into boogie only after initial minimalist teasing, and “Crimson Moon” bursts to life after a hypnotic psychedelic opening to find its crux in later runs of dueling guitars. The two closing cuts, “Under Vår Sol” and “Cuauhtémoc” are an album unto themselves, the former nodding initially at Sungrazer’s serene vibes before pushing into even more open psychedelic territory, and the latter proffering riffy largesse en route to a striking classic prog finish. That Öken make these elements work side-by-side and transition from one to the other fluidly is emblematic of the confidence at work in the band, and they carry their scope with organic-sounding ease.
West Virginian roots doomers Brimstone Coven made their debut on Metal Blade in 2015 with a self-titled EP compilation (track stream here), and Black Magic is their first full-length. Its 10 tracks/54 minutes take cues varyingly from classic heavy rock, doom and the less majestic side of the NWOBHM, but Brimstone Coven’s approach is marked out by the extensive use of vocal harmonies on cuts like the prog-tinged “Beyond the Astral,” the later moments of raw-roller “Upon the Mountain” and “The Plague.” Black Magic’s production is barebones enough that this singing – credited solely to “Big John” Williams, while Corey Roth handles guitar, Andrew D’Cagna bass and Justin Wood drums – doesn’t really soar so much as nestle in and enhance the begging-for-vinyl analog-worship of the instruments surrounding, a proliferation of cultish themes distinguishing Brimstone Coven even as a song like “The Seers” finds them inheriting a trad-doom soulfulness from The Gates of Slumber.
Between its vicious aggression, inhumane chug and have-fun-enduring-this stomp, the self-titled, self-released debut LP from Pants Exploder could just as easily be definitive New York noise, but the low-end heft of their assault right from opener “It’s Ok, I’m Wiccan.” (punctuation included in title) has an element of early-Mastodonic lumber, and that’s a thread that continues throughout “End of the World” and “You Don’t Strike Me as a Reader,” which offsets its slab-of-concrete-on-your-chest push with moments of respite, but remains driving in its intensity. As in, driving your head into the ground. Also the ground is pavement. It’s fucking heavy, is the point. To wit, the mega-plod of “Um, I Curated an Art Show in College, So…” and thrust of “God Has a Plan for Me.” Capping with the seven-minute “You Smug Bastard,” Pants Exploder pays off the tension they build in a noise-wash fury that is as impressive as it is scathing.
The rather ominous The Moon Rises EP is the first non-demo offering from Asheville, North Carolina, four-piece Shallows, who blend heavy psychedelic and grunge influences across its five tracks, opener “Shimmering” and closer “Distance” mirroring each other’s spacious push while between, “Zero,” “A Mile Beneath” and the Earth-influenced “The Barn Burning” enact gorgeous vocal harmonies between Cameron Zarrabzadeh and HannahLynn Cruey atop atmospheric heavy rock, hitting into Alice in Chains-meets-Kylesa territory on the centerpiece, “A Mile Beneath,” which is a fair bit of ground to cover. That cut is the high point in showcasing Shallows’ potential, but the Western take with “The Barn Burning” and meandering post-rock echoes and organ of “Distance” only add to the breadth of this impressive, too-short collection. With a focus consistently kept on ambience throughout, The Moon Rises flows like a full-length album, and so bodes that much better for what Shallows will be able to accomplish when they get there. I’ll look forward to it.
Even before they get to the all the aggro fuzz riffing, there’s a distinct threat of violence in Monumentum’s The Killer is Me. Its four songs, “Noose,” “Whore,” “Fiend and Foe” and “Killer Me,” each seem to find the Norwegian band doling out noise-influenced heavy rock, driven by some underlying dissatisfaction on this, their first EP. Released on vinyl through Blues for the Red Sun Records, it offsets being so outwardly pissed off through groove, the starts and stops of “Killer Me” and the rolling seven minutes of opener and longest track “Noose” (immediate points) both marked out for both their tonal weight and the force with which Monumentum push their material forward – not speedy, though “Whore” is by no means slow, but dense and emitting a residual tension all the same. Somewhat unipolar in its mood, The Killer is Me still manages to give an initial impression of what Monumentum are about sound-wise, and provides them with a solid start to work from.
While the UK isn’t at all short on doom or sludge at this point, Canterbury five-piece Famyne distinguish themselves on their self-titled first EP with a traditional take and the at-times theatric harmonies of vocalist Tom Vane. Along with guitarists Alex Tolson and Alex Williams, bassist Chris Travers and drummer Jake Cook, Vane nods at Alice in Chains on lumbering opener “Enter the Sloth” without going full-on “hey whoa momma yeah” and provides a considerable frontman presence, particularly for a debut recording. Comprising three songs with the speedier bonus track “Long Lost Winter” as an add-on download with the CD version, Famyne’s Famyne EP finds its crux in the nod and push of the 10-minute “The Forgotten,” which takes a cue atmospherically from The Wounded Kings but finds its own, less-cultish niche in bringing new energy to classic doom and setting in motion a progression that already puts an individual stamp on established tenets.
There’s patient, and then there’s Ethereal Riffian, whose riffy ritualizing and exploration nonetheless brims with some intangible energetic sensibility on their new live outing, Youniversal Voice. Heavy psychedelic wash, thick riffs, theatric vocals and guitar effects, stoner roll and the occasional fit of shredding, one might hear any of it at a given point in over-12-minute cuts like “Wakan Tanka” and “Anatman,” the latter which arrives as the penultimate of the eight-song/56-minute set. The clarity, for being a live album, is remarkable, and Ethereal Riffian add to the experience with a CD version that includes a candle, elaborate packaging and artwork, and tea, so the multi-sensory impression is obviously important, and where many live outings are throwaways or a means of bowing to contractual obligation, Youniversal Voice adds to Ethereal Riffian’s studio work a substantial ambassasorial feel, conveying an onstage vibe with a fullness of sound and clarity of mind not often heard.
Desert rock trio Wet Cactus don’t make any bones about where they’re getting their influence from on their late-2015 self-titled second EP. By the time they get around to the penultimate “The Road” on the five-track/24-minute outing, they’ve dug themselves in deep into the worship of crunchy Kyuss-style riffing, and you can throw in looks for Unida, Queens of the Stone Age, Slo Burn and whoever else of that milieu, but Kyuss is at the root of it all anyway. Less grand in their production than UK outfit Steak, who operated in similar territory on their 2014 debut LP, Slab City, Wet Cactus keep it natural in the tradition of their forebears, and while there’s room for them to grow into a more individual approach, the hazy fuckall in closer “World’s Law” has a stoner charm before and after it kicks into a punkish push to close out. Cool vibe either way, and the tone is dead on. If these cats go jammier, watch out.
I won’t say a bad word about the artwork of David Paul Seymour in the context of this review or any other, but ultimately, Louisiana doomers Forming the Void are coming from someplace much more in line with progressive metal than the three-eyed goat and robed figures on the cover of their second album, Skyward, might represent. Again, that’s not a knock on Seymour, or for that matter, the band, just that the look of the record is deceptive, dogwhistling stonerisms even as moody cuts like the opening title-track and “Three Eyed Gazelle” – while thoroughly doomed in their vibe – prove more lucidly constructed. That holds true through the chugging centerpiece “Saber” as well, marked out by vocal harmonizing, and “Return Again,” which rolls through atmospheric metal and an ambient interlude to enact the record’s most memorable payoff and set up the linear course of the more patient closer “Sleepwalker.” Cohesive in mood and clearly plotted, Skyward is ultimately darker and more driven than it might at first appear.
Posted in Whathaveyou on March 10th, 2016 by H.P. Taskmaster
Interested to hear where the self-titled debut from Norway’s Heave Blood and Die goes. The Tromsø five-piece are newly signed to Blues for the Red Sun Records, and the album will be out April 29. As you can find out for yourself in the advance streaming track “Draugen” below, they’re kind of hard to pin down aesthetically, and that track has a brooding kind of intensity to it, but it never quite explodes or rages, so I’m curious to find out what the rest of the LP goes, particularly as there are some aspects of the artwork and their presentation that seems to lean toward hardcore, and they shout out hardcore as an influence in their PR as well.
Though of course, hardcore can be just as subjectively defined as anything else. Again, the album is out at the end of April. If you’d like to get introduced, have at the following:
Heave blood & die – heave blood and die (LP/CD/Digital) BFTRS 006
Debut out April 29th 2016.
Northern Norwegian stoner/doom band Heave Blood & Die are about to release their debut “Heave Blood and Die” on April 29th 2016.
Behind the snowy mountains of Northern Norway, under the light of a sinking sun, there is a town called Tromsø, where you will find a stoner/doom band called Heave Blood & Die. A gang of 20 year old boys who’ve created a dark, winterized and raw-sounding album, ready to show it about. A new sound is created with deep and mossy guitars, growls of a troll and screams from a wolf. On their debut album you will find a wide specter of songs. Inspired by groovy 70s rock, super heavy soul rotating riffs and hardcore – they create their own sound of dark, doomy and dirty tunes. The result is far from being a possible radio-hit, but on the other hand it is one of the heaviest and coolest albums released by a band from above the polar circle.
The band gets their juice from other classic bands like: Neurosis, Sleep, Kyuss and Red Fang.
The self-titled debut album was recorded and mixed by Jonas Sivertsen (Kys-ten Studio Tromsø), mastered by Njål Lie (NFL Produksjoner) and produced by Rolf Ole Rydeng Jenssen (Reptile Master).
Tracklist: Side A: Neurotic I 4:39 t RATS 1349 8:21 Krokodil 5:06
SIDE B: Desert Green 3:34 Blues Machine 5:55 Draugen 6:22 Neurotic II 5:14
The band: Karl Pedersen – bass/vocal Mads Ystmark – guitar/vocal Jonas Helgesen Kuivalainen – guitar/backing vocal Kenneth Mortensen – drums
Big-toned aggro-doomers Reptile Master will issue their debut long-player, In the Light of a Sinking Sun, on Oct. 23 via Blues for the Red Sun Records. The five-piece outfit hail from Tromsø in the north of Norway and before you’re assaulted with a barrage of cliches about how cold their sound is, I’ll go the opposite route and say rather that it’s magmic, a vicious roil no less brutal in intent than what Aussie destruction specialists Horsehunter made such a splash with earlier this year, and akin in its extremity to the drone-evil riffing that’s made Bongripper a household name among doomers.
I looked up how to say “thunder plod” in Norwegian. If you’re wondering, it’s “torden traske.” Good to know — especially as I’ve been given permission to host the title-track, “In the Light of a Sinking Sun,” for its streaming debut!
You’ll find the song under the PR wire info below. Thanks to the label for letting me host it:
Reptile Master In The Light Of A Sinking Sun (LP/CD/Digital) BFTRS 003
Debut album out October 23rd 2015
Filled with a passion for everything evil, Reptile Master from Tromsø / northern Norway is on a mission to spread the gospel of doom. With strong roots in both traditional heavy metal, post-metal and sludge, they create a new sound composed of the outermost extremes found in aggression and sorrow. Reptile Master, in cooperation with the label Blues For The Red Sun from Tromsø/Norway, now present their first full length album, which has recently been recorded and is expected to be released in October. The result is far from becoming a commercial radio hit. This is probably one of the most heavy and doomy records ever to be released from the dark north!
If you like Bongripper, OM, Indian, Thou or bigger bands like Black Sabbath, Electric Wizard or Sleep you probably will find something to dig on Reptile Master’s debut album “In The Light Of A Sinking Sun”.
Tracklist: Hekseprosessen I The Sorcerer’s Weed Butcher’s Boogie Verdict From Crown To Dagger Hekseprosessen II Moon Ritual In The Light Of A Sinking Sun
Guitar – Markus Kjelstrup Andreassen Bass and vocals – Nicolay Tufte Østvold Drums – Steinar Haugan Guitar – Øystein Midtgård Johansen Bass and vocals – Rolf Ole Rydeng Jenssen
Posted in Radio on January 30th, 2015 by H.P. Taskmaster
The Obelisk Radio server, which I’ve taken to calling the “main computer core,” was down most of last week after some kind of unknown surge in the EPS conduits, so with the data stream running on auxiliary power (yes, I’m using Star Trek science lingo; I’ll stop) it didn’t make much sense to do a round of adds. No one would hear the stuff anyway amid all the Sabbath, Kyuss, Goatsnake, Electric Wizard, etc. Sometimes I really like that backup server, but after a few days of listening, a change is welcome. I was pretty happy when we got the primary box back online.
And by “we,” I mostly mean Slevin, to whose technical expertise I am perpetually indebted. While I wouldn’t dare go much farther than doing so, I’m fortunate enough to be able to add files to the server on my own — I’m sure if you gave him five minutes he’d come up with a more efficient method — so we’ll give that a shot, and if the whole thing doesn’t come crashing down, we can consider it a win. Here goes.
The Obelisk Radio adds for Jan. 30, 2015:
Sumac, The Deal
Sumac start out high-profile thanks to the lineup of guitarist Aaron Turner of Isis and Old Man Gloom and drummer Nick Yacyshyn of Baptists and the fact that Russian Circles bassist Brian Cook recorded the low end for their Profound Lore debut, The Deal, but I think even if they were a trio of out-of-nowhere unknown entities, this record would turn some heads. Coated in feedback, blisteringly heavy — in the tradition of older Isis but more assured in its purpose — its six tracks breathe dense tonal life into the pallid post-metal vibe, songs like “Hollow King” (12:21) and “The Deal” (13:41) sounding as complex as they do crushing, wanting nothing in impact or atmosphere. “Spectral Gold” (3:18) and “Thorn in the Lion’s Paw” (8:55) begin The Deal on an ambient note, and the sprawl-drone of “The Radiance of Being” ends it likewise with five minutes of solo guitar from Turner, but in between “Hollow King,” “Blight’s End Angel” (10:17) and “The Deal” work quickly to win over even skeptical ears. Yacyshyn‘s performance is of particular note. Where it would’ve been all too easy to fall into Isis-style patterning to complement Turner‘s riffs, he holds firm to his own personality and The Deal is that much stronger for it. It is a startling and potential-laden debut. Almost enough to make up for the needless dickery Old Man Gloom pulled last year sending a fake record to the press, assuming what I’ve heard from Sumac is actually the real thing. Sumac on Thee Facebooks, at Profound Lore.
Garden of Worm, Idle Stones
Tampere, Finland, trio Garden of Worm make their debut on Svart Records via Idle Stones, their second album following 2010’s Garden of Worm (review here) on Shadow Kingdom. Comprised of four songs alternating between shorter and longer before arriving at 19:49 closer “The Sleeper Including Being is More than Life,” the sophomore outing is a richer, more progressive affair, with bassist SJ Harju and guitarist EJ Taipale combining their vocals effectively at the fore of the mix on “Summer’s Isle” (10:13), which follows the rolling opener “Fleeting are the Days of Man” (5:35). With a style that ultimately owes more to Witchcraft‘s tonal understatement than Reverend Bizarre‘s genre-defining traditionalism, they nonetheless shirk the trap of retroism and make an individual showing with a feel both loose and purposeful throughout. The brighter guitar work of “Desertshore” (7:01) makes it a highlight, along with the persistent crash of drummer JM Suvanto, and the freakout that emerges in “The Sleeper Including Being is More than Life” gracefully and boldly flows across the rarely-bridged gap between doom and heavy psychedelia with a naturalness that very much makes me hope it’s not another half-decade before we hear from Garden of Worm again. Garden of Worm on Thee Facebooks, at Svart Records.
Carpet, Riot Kiss 7″
Story goes that German progressive heavy rockers Carpet started writing for their third album, to follow-up on 2013’s Elysian Pleasures (review here), which was released by Elektrohasch, and wound up with some material that didn’t quite fit the concept they were going for. Since they dug it and didn’t want to just toss it, the Riot Kiss b/w Song of Heartship 7″ was born. Two songs, both a little over four minutes long, reaffirm the Augsburg four-piece’s commitment to forward-thinking textures, with “Riot Kiss” as the space-prog A-side and the quieter, atmospheric-but-still-clearheaded “Song of Heartship” emphasizing Carpet‘s range on side B, the cuts having more dynamic between them than many bands show in their career. I don’t know what Carpet — the lineup of Sigmund Perner, Jakob Mader, Hubert Steiner and Maximilian Stephan — are shooting for with their third record that these songs didn’t jibe with, and I guess we won’t know until that album arrives, but Riot Kiss is a stopgap of considerable substance that showcases Carpet‘s ability to present progressive ideas in ways not only palatable but deeply engaging. Carpet on Thee Facebooks, Elektrohasch Schallplatten.
Sporecaster, See Through Machine
An experimental drone/psych duo comprised in half by Ron Rochondo of Boston’s Ice Dragon, Sporecaster‘s debut release, See Through Machine, is four tracks/26 minutes of exploratory drone given natural breadth through use of didgeridoo and percussion. The outing was tracked at Ron’s Wrecker Service and has a lo-fi feel despite its spaciousness, and chants out its hypnotism early, opener “Invocation or Incantation” (4:20, by astounding coincidence) wrapping itself around consciousness like some kind of psychedelic serpent, only to have the whistle-blowing “Things are Not What they See” (3:21) and tribal-ish drummed “The False Light” (5:46) push deeper into the moody ambience laid out at the beginning. Closer “You are Transparent” (12:45) makes me wonder what Sporecaster might do working in even longer forms, its drone-out having room for both a jammy drum progression and a continuation of the earlier experimental and improvisational feel. As an early showing of their intent, though, See Through Machine makes it clear that Sporecaster‘s creative process is wide open. Sporecaster on Thee Facebooks, Ron’s Wrecker Service.
The Devil and the Almighty Blues, The Devil and the Almighty Blues
The slow-rolling “The Ghosts of Charlie Barracuda” (7:46) begins the self-titled debut from Oslo-based five-piece The Devil and the Almighty Blues, released on the upstart Blues for the Red Sun Records. That song picks up gradually in the first of several of the six-song full-length’s satisfying builds, but atmospherically sets a laid back tone that tracks like the subsequent “Distance” (4:11) and more active “Storm Coming Down” (10:17) play off of, the band proving equally comfortable in long- or short-form material, nestling into a neo-heavy semi-retro blues rock more in line with Graveyard‘s overarching moodiness than Witchcraft‘s early-days dooming. Well-balanced lead guitars and crooning vocals serve as a uniting theme, but in a classic dynamic, it’s the rhythm section that makes the swing of side B’s particularly thick “Root to Root” (9:48) and “Never Darken My Door” — the singing especially blown-out on the latter — so irresistibly grooved. Wrapping with the classy fuzz of “Tired Old Dog” (6:28), The Devil and the Almighty Blues will come from a familiar place sonically, but as their debut, The Devil and the Almighty Blues boasts a cohesion worthy of its weighty title. The Devil and the Almighty Blues on Thee Facebooks, Blues for the Red Sun Records.
Some of this stuff — Sumac, The Devil and the Almighty Blues, Carpet — was also included in the podcast that went up yesterday, so if you’d like another avenue for getting a sample, that might not be a bad way to go. However you choose to dig in, I hope that you will and hope that you find something that you feel is worth the time and effort.