Recorded in 2020, the second full-length from Calgary heavy rockers Gone Cosmic, titled Send for a Warning, the Future’s Calling, arrives on Sept. 2 through Grand Hand Records. Premiering below, “For Sabotage” is the third single from the impending LP behind the opener “Crimson Hand” (which it also follows on the record) and the side B leadoff “Endless,” and it brings into focus the underlying progressivism of the band’s approach. Oh they’re a rock band, make no mistake, but if you take a listen to the King Buffalo-y guitar in “For Sabotage” or any of the three singles, more generally the message is there waiting to be heard — Gone Cosmic are the kind of band who blow other bands off the stage.

In 2019, the four-piece made their debut on Kozmik Artifactz with Sideways in Time (review here), and even two years after the fact, the urgency that they put into getting back into the studio for the follow-up resonates. Vocalist Abbie Thurgood is a classic heavy rock belter, and from “Crimson Hand” through the sci-fi funk of closer “The Future’s Calling,” her performance is likewise dynamic and forceful. To wit, the three-minute “To Refuse Compromise.” That’s it. That song is the sentence. But guitarist Devin “Darty” Purdy, bassist Brett Whittingham and drummer Marcello Castronuovo are more than a backing band to showcase the talent of their frontperson. It’s Castronuovo who fires the first shots, launching “Crimson Hand” with a drum fill that — once you’ve actually listened to the rest of what follows — is revealed as a signifier of intent. And whether it’s the buildup of “Envy Thrives” or the plotted post-apex comedown of “Causeway,” Gone Cosmic interpret progressive heavy rock as a means to generate movement, to energize and excite.

Send for a Warning, the Future’s Calling was produced and mixed by Josh Rob Gwilliam at OCL Studios, and what a task that must’ve been. Thurgood‘s voice is at the forefront — it could hardly be anywhere else — but to listen to the glorious punch of Whittingham‘s bass on “For Sabotage” or the centerpiece “The Wrong Side of Righteous” as Purdy‘s guitar weaves around it in Elderian noodling style, or the way in which Castronuovo‘s fill seems to roll downhill as “Endless” begins to move toward its payoff at around the 2:40 mark, and the balance of elements at play is striking. Understand, Gone Cosmic aren’t playing expansive, dug in progadelia for their own indulgence. The longest song here is the semi-titular closer “The Future’s Calling” at an airier 6:22, until the penultimate “Taste for Tragic,” the album shifts back and forth between three-minute and four-minute tracks, and for seven of nine inclusions, that pattern results in a raucous, largely uptempo rager.

But there’s no dumbing-down happening anywhere. Gone Cosmic aren’t trying to curb their impulses — again, the ethos “To Refuse Compromise” — so much as bring the listener to their level. And Send for a Warning, the Future’s Calling can be challenging to keep up with as it moves from one side to the other on diagonals, angular corners, forward thrust, reverse transwarp and all this, but the songwriting on the whole is no less a consideration than the instrumental contributions — vocals included — on which it’s built. Even as “Taste for Tragic” gallops to its finish to let the swaying shove of “The Future’s Calling” take hold for an early throwdown before the space-out begins, there’s intent if not staid poise — there isn’t really staid anything — and by the time the album gets to that point, you’re either on board with the band having earned enough trust to believe they’ll make it work, which they do, or you’ve already stopped listening and it doesn’t matter anyhow, except to say you’re missing out and it’s your loss, etc.

One way or the other, Gone Cosmic‘s 39-minute stretch on Send for a Warning, the Future’s Calling draws from multiple sides, and if I’ve focused on the progressivism above, it’s because that’s the underlying foundation, but be sure, there’s plenty of blues rock, psychedelia and outright heavy-heavy to go along with that, and the band’s sense of fluidity emerges from the interaction of elements, stylistic and practical, as they recast genre to suit their purposes. Is it the future? I don’t know. It’s born of the past but not hindered by sentimentality for it, and the command of craft certainly comes across as forward-thinking, but one generally thinks of the future these days as a dark and dystopian place — you know, like the present — and Gone Cosmic here are pushing a brighter but nonetheless realistic vision. I wouldn’t know the future if it punched me in the throat, and maybe that’s what’s going on with “The Wrong Side of Righteous,” but I’ll say that I wouldn’t mind if this was it.

Preorder link and sundry PR wire info follow the premiere of “For Sabotage,” which is on the player below.

Enjoy:

Gone Cosmic, “For Sabotage” track premiere

Abbie Thurgood on “For Sabotage”:

“We are constantly challenged by competitive societal attitudes such as ‘at all costs’ and ‘must win’ mentalities. ‘For Sabotage’ explores stepping outside of these norms and expectations that are ingrained in us encouraging the ability to see consequential thought processes and objectively view one’s path rather than being reactionary. ‘For Sabotage’ is a call to be more kind to oneself and to listen pursue and trust our own individual thought processes.”

Buy the CD/Vinyl here: https://gonecosmic.bandcamp.com/

Gone Cosmic – For Sabotage
Written and performed by Gone Cosmic from album ‘Send for a Warning, the Future’s Calling’ releasing on September 1, 2022
Produced, Recorded, and Mixed by Josh Rob Gwilliam at OCL Studios in Calgary, Alberta, Canada
Mastered by Brian “Big Bass” Gardner
Art by Brock Lefferts
Album release via Grand Hand Records.
Copyright and Publishing 2022 Gone Cosmic Entertainment

Championed by a soaring songstress Abbie Thurgood (The Torchettes), whose boldly evocative tones recall Skunk Anansie chanteuse Skin and Alabama Shakes’ Brittany Howard, and accompanied by an agile and aggressive psych-rock outfit, composed of guitarist Devin “Darty” Purdy (Chron Goblin), bass player Brett Whittingham (Chron Goblin), percussionist Marcello Castronuovo (Witchstone), Gone Cosmic has carved out an expansive domain that stretches from sweltering Southern sludge pits to breath-stealing sonic spacewalks.

A blood (orange)-scented breeze that bows the trees, Gone Cosmic chases the infinite haze from the skies and puts it right back in your eyes. Groove-mining breakdowns become the stuff of legend as the four pieces’ floor-thudding tail kick and hellfire halo holler originates a whole that is far more potent than the sum of its individual elements. Meet your new astromancers, the phase-shifting and hard-rocking force that channels the empyreal sounds of heaven on Earth. – Christine Leonard (Beatroute AB, Canada)

GONE COSMIC is
Abbie Thurgood – Vocals
Devin “Darty” Purdy – Guitar
Brett Whittingham – Bass
Marcello Castronuovo – Drums

Gone Cosmic, Send for a Warning, the Future’s Calling (2022)

Gone Cosmic on Facebook

Gone Cosmic on Instagram

Gone Cosmic on Bandcamp

Grand Hand Records on Facebook

That’s some stomp in the leadoff track from Gone Cosmic‘s new album, Send for a Warning, The Future’s Calling. You can hear even in the snare sound of “Crimson Hand,” for example, that the band are trying to distinguish themselves, and that’s before you get to the fun of the start-stop solo in the second half of the hard-boogie, three-and-a-half-minute, got-no-time-for-your-nonsense rhythm. I guess the irony here is that the follow-up to 2019’s Sideways in Time (review here) was recorded in 2020, which now is the past even before it can come out heralding its warning about the future — do you think it’s about gas prices? — but that was going to be the case anyway, even if perhaps in other circumstances it wouldn’t have taken as long for it to get out.

So it goes. Note that like its predecessor, Send for a Warning, the Future’s Calling references time in the title if not mentioning it directly. Curious to hear how the rest of the record is produced and just how deep Gone Cosmic go in finding a niche for themselves. And also to see whether or not the album was held back in part so the band could tour and if, where, when that might happen.

Maybe asking more questions than I’m answering, but that’s hype in the age of no-sleep. The PR wire takes it from here:

Canadian hard blues rockers GONE COSMIC to issue new album “Send for a Warning, the Future’s Calling” this fall; stream new track “Crismon Hand”!

Calgary, Alberta’s psychedelic hard rockers GONE COSMIC announce the release of their new album ‘Send for a Warning, the Future’s Calling’, due out September 2nd on Grand Hand Records. Listen to their raucous new single “Crimson Hand.”!

About this new song, vocalist Abbie Thurgood comments: “People are complex entities on their own individual paths and it’s important to determine which people in your life may actually be a detriment to you. I have been in multiple situations where people have been very comfortable to take, so they took until there wasn’t much left for me to give. There’s an ignorance in these situations, on my part, in being too trusting and giving the benefit of the doubt. Crimson Hand is a reflection on these types of relationships and the importance of self-awareness and self-worth.”

Featuring nine progressive psych-blues anthems designed to upgrade your sonic synapsis. GONE COSMIC’s sophomore album “Send for a Warning, the Future’s Calling” was recorded in November 2020 at OCL Studios. It was produced, mixed and recorded by Josh Rob Gwilliam (Ghosts of Modern Man, JJ Shiplet, Michael Bernard Fitzgerald), and mastered by Grammy Award-winning mastering engineer Brian “Big Bass” Gardner (Dr. Dre, David Bowie, Outkast, The Melvins, Rush).

New album ‘Send for a Warning, the Future’s Calling’
Out September 2nd on Grand Hand Records – PREORDER: https://gonecosmic.bandcamp.com/album/send-for-a-warning-the-futures-calling

TRACKLIST:
1. Crimson Hand
2. For Sabotage
3. Envy Thrives
4. Causeway
5. The Wrong Side of Righteous
6. Endless
7. To Refuse Compromise
8. Taste for Tragic
9. The Future’s Calling

A blood (orange)-scented breeze that bows the trees, GONE COSMIC chases the infinite haze from the skies and puts it right back in your eyes. Groove-mining breakdowns become the stuff of legend as the four pieces’ floor-thudding tail kick and hellfire halo holler originates a whole that is far more potent than the sum of its individual elements.

Pivoting on the acute juxtaposition of Abbie Thurgood’s soulful vocals and the galvanizing dexterity of Devin (Darty) Purdy’s promethean guitar runs, GONE COSMIC’s sidereal style is emboldened by an equally accomplished and inventive rhythm section, comprising bassist Brett Whittingham and percussionist Marcello Castronuovo. Issuing a universal invitation to emerge from the suspended animation of quarantine and share in their lusty deconstructive discoveries, Gone Cosmic’s stunning future dispatches are set to transmute that which is set in stone back into primordial lava. Their debut album “Sideways In Time” was released in 2019 through Kozmik Artifactz.

GONE COSMIC is
Abbie Thurgood – Vocals
Devin “Darty” Purdy – Guitar
Brett Whittingham – Bass
Marcello Castronuovo – Drums

https://www.facebook.com/gonecosmic/
https://www.instagram.com/gonecosmic/
https://gonecosmic.bandcamp.com

https://www.facebook.com/GrandHandRecords/

Gone Cosmic, Send for a Warning, the Future’s Calling (2022)

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

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Crypt Sermon, The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

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The Neptune Power Federation, Memoirs of a Rat Queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

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Chron Goblin, Here Before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

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Ethereal Riffian, Legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

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Parasol Caravan, Nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

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Golden Core, Fimbultýr

The title Fimbultýr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of Fimbultýr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

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Black Smoke Omega, Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “Kainé” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

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Liquid Orbit, Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

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Sun Below, Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

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Although Chron Goblin ultimately keep the foundation of classically structured songwriting that has served them well up to this point, there’s no question the mood has shifted somewhat on the Calgary natives’ fourth full-length, Here Before, for which preorders begin Aug. 27. It’ll be out a month later — Sept. 27 — through Grand Hand Records, and while there’s no doubt the four-piece are still having a good time, there’s a little bit of a darker edge to the proceedings that shows up as well in the Here Before cover art, which is way closer to Stranger Things than the stonerly hand-drawing of a nonetheless haunted mountain town that adorned 2015’s Backwater (review here). The 11-tracker digs into some of the most atmospheric work they’ve ever done in songs like “Ghost,” “Giant” and “Slipping Under,” which isn’t to mention the ambience bookending the album in intro “Aurora” and outro “Afterglow,” but even “Giving in to Fun” seems to hold some measure of aggression.

You can hear the premiere of “Slipping Under” at the bottom of this post, and drummer Brett Whittingham offered some comment on the track to coincide with the unveiling of it and the album art and details, as well as tour dates for after the release.

Enjoy:

Brett Whittingham on “Slipping Under”:

Slipping Under is one of the more complex arrangements on the album. It starts off with a dark n’ dreamy clean intro, experimenting with some electronic drums and a leslie speaker for the guitar , before it kicks into the heavy bridge and on to the tight n’ groovy verses. The pre-solo section also includes more experimentation with the inclusion of some dirty 808 drops, something we haven’t tried before! This song is a blast to play live with its multitude of changes and dynamics. Mike Fraser mixed this song, along with Ghost, and his take on both tracks added a nice depth and diversity to the album as a whole.

Album Title: Here Before
Release Date: September 27, 2019
Preorders: August 27, 2019
Label: Grand Hand Records

Recorded in July 2018 at Juno Award Winning OCL Studios, ‘Here Before’ is the fourth full-length album from Chron Goblin and will be released and distributed by Grand Hand Records. Produced, recorded and mixed by Josh Rob Gwilliam (Michael Bernard Fitzgerald, Ghosts of Modern Man), Here Before demonstrates a new maturity in songwriting and production for the band. From the propulsive singles of ‘Slipping Under’ and ‘Ghost’; mixed by Mike Fraser (AC/DC, Metallica, Corrosion of Conformity), to the hypnotic riffs of ‘Oblivion’ – Chron Goblin has created an intoxicating collection of rock n’ roll.

Track Listing:
1. Aurora (0:22)
2. Oblivion (4:16)
3. Giving In To Fun (3:37)
4. Out Of My Mind (3:49)
5. Ghost (6:04)
6. War (3:51)
7. Giant (4:40)
8. Slipping Under (4:43)
9. Little Too Late (4:46)
10. Waiting (3:53)
11. Afterglow (1:52)
Album Length: 41:57

Chron Goblin live:
October 10 – Lethbridge – Owl Acoustic Lounge
October 11 – Calgary – The Palomino Smokehouse
October 12 – Regina – The German Club
October 13 – Winnipeg – The Handsome Daughter
October 15 – Sudbury – The Asylum
October 16 – Ottawa – House of Targ
October 17 – Montreal – Turbo Haus
October 18 – Toronto – Hard Luck
October 19 – Windsor – Dominion House
October 25 – Edmonton – Temple

Album Band and Live Line Up: Josh Sandulak (vocals), Brett Whittingham (drums), Richard Hepp (bass), Devin ‘Darty’ Purdy (guitar)