Wren Post “The Herd” Video

Posted in Bootleg Theater on June 15th, 2017 by JJ Koczan

wren

Preorders are up now for Wren‘s debut album, Auburn Rule, which is out July 14 via Holy Roar Records. How’s that old song go? To everything, churn, churn churn? Something like that. The post-sludging UK four-piece seem to have taken that ethic to heart either way, if “The Herd” is anything to go by. It’s the first audio to be made public from Auburn Rule, which follows Wren‘s 2016 EP, Host (review here), a 2015 split with Irk (review here) and their 2014 self-titled debut EP (review here), and it would seem to be the next logical step forward in their sonic development, which has proven equal parts menacingly heavy and markedly progressive.

Like the song itself, the video for “The Herd” wants little for atmosphere. In fact, that’s kind of the whole thing. Black and white nature shots, hooded figure, dark grayscale kaleidoscopic imagery — all of it is appropriately suited to Wren‘s aggressive but spacious aural crux. The band has pointedly evolved with each new offering, and “The Herd” seems to take its cues from where they were with Host in its cerebral flow from one movement to the next as Wren evoke bleak pastures akin to the clip’s visual depictions. Hardcore roots shine through in starts and stops and the buried-beneath-tone shouted vocals, lending even more bite strength to the track’s sharpened-tooth assault.

Auburn Rule is out in less than a month, and I have my doubts “The Herd” will be the last sneak preview given to listeners before it arrives, so keep an eye out. I’ve been looking forward to finding out what Wren can do in the context of a first full-length since I heard the EP three years ago, and I continue to be excited at the prospect after getting to know this track better. I’ll hope to have more to come soon.

Till then, dig in and enjoy:

Wren, “The Herd” official video

Taken from their debut album ‘Auburn Rule’.

Out 14.07.17 on Holy Roar Records, preorder now: www.holyroarrecords.com

Directed by: www.gardenback.com

Following on from the release of their ‘Host’ EP last year, London-based progressive sludge/noise-rock four-piece Wren, have announced details of their new album ‘Auburn Rule’, which is due out 14th July 2017 via Holy Roar Records.

To coincide with the release of ‘Auburn Rule’ Wren have also announced a short UK release tour with Fvnerals, they will be playing the following dates:

30th June – London – Birthdays
1st July – Birmingham – The Flapper
2nd July – Bristol – The Cube
3rd July – Cardiff – The Full Moon
4th July – Brighton – The Prince Albert

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Wren website

Holy Roar Records website

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Green Lung Post Green Man Rising Single as Name-Your-Price Download

Posted in Whathaveyou on June 6th, 2017 by JJ Koczan

green lung

I don’t know about you, but when UK newcomers Green Lung call their debut single Green Man Rising, my head immediately goes to Type O Negative. I acknowledge not everyone is from the New York area, so that association might not be universal, but given how both “Green Man Rising” and “Freak on a Peak” take flight in their hooks, I can’t help but wonder if the London-based outfit aren’t looking to be in conversation with October Rust-era Type O, among other, more directly stonerly influences. It’s an engaging mix, either way.

And I’d be remiss too if I didn’t consider the nature-worship and rolling grooves of Alunah as a point of reference along with Steak and the godfathers in Orange Goblin, but Green Man Rising — as one might expect for a debut single — hits with a bit of a rawer take. Cool vibe in any case, and the solo in “Freak on a Peak” and a name-your-price download only sweeten the pot for Green Lung as one to watch in springing from London’s seemingly-perpetually-fertile underground.

Art, info and audio follow:

green-lung-green-man-rising

Green Lung Release Debut Single ‘Green Man Rising’

Formed in March 2017, GREEN LUNG play heavy psychedelia that is more attuned to wild woodlands than desert dunes. Made up of current and former members of stoner heavies Oak, occult doom trio Tomb King and instrumental sludge minimalists Deadbox Radio, the London-based four-piece have combined strengths to record an opening salvo that balances gargantuan heaviness with intricate melody.

‘Green Man Rising’ gallops from lysergic guitar freakouts to megalithic breakdowns and will soon have the listener frenziedly worshipping at the altar of its titular leaf-adorned deity. B-side ‘Freak on a Peak’ is no less potent, a cosmic paean to wilderness that couples soaring vocals with a riff that’s as ruggedly magnificent as any mountain range.

Recorded at Vatican Studios with engineer Steve Good, these two monumental tracks announce Green Lung as one of the freshest and most dynamic new bands on the UK heavy scene.

Tracklisting:
Side A: Green Man Rising
Side B: Freak on a Peak

Green Lung is:
Vox: Tom Killingbeck
Guitar: Scott Masson
Bass: Andrew Cave
Drums: Matt Wiseman

Gigs

The band will be playing a launch show with Wychhound and Purple Kong at Surya on Wednesday, June 7th.

We are also playing the Stone Frequency All Dayer alongside Mammoth Wizard Weed Bastard, Desert Storm and Sigiriya at the Black Heart on the 22nd July.

greenlung.bandcamp.com
https://www.facebook.com/greenlungband/
http://instagram.com/greenlungband

Green Lung, Green Man Rising (2017)

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Trippy Wicked and the Cosmic Children of the Knight Premiere “75 What the Hell” Video

Posted in Bootleg Theater on May 25th, 2017 by JJ Koczan

trippy wicked and the cosmic children of the knight

Tomorrow, May 26, Trippy Wicked and the Cosmic Children of the Knight will issue Lost Songs, a two-songer double-A-side seven-inch with material originally intended for use on a 2011 split with Dopefight that never came to fruition, not the least because that band called it quits. Still missed. Anyhoozle, it’s the first Trippy Wicked standalone offering since their 2013 EP, Underground (review here), and their second outing through HeviSike Records behind last year’s Guppy split/collaboration with Gurt (review here). They mark its coming by today unveiling a new video for the song “75 What the Hell.”

Over the years, we’ve heard Trippy Wicked — guitarist/vocalist Peter Holland, bassist Dicky King and drummer Chris West — cover a pretty wide range of sonic terrain. trippy wicked lost tracksTheir earlier material on 2009’s Movin’ On (review here) explored a kind of semi-Southern heavy rock, and over time they gradually took on a more aggressive edge, resulting in a particularly metallic feel for the songs on Underground. “75 What the Hell,” which would’ve preceded their 2012 second album, Going Home (review here), once again turns expectation on its head by featuring a two-minute punker blast built off an almost Karma to Burn-style riff. It’s got a hook to be sure, but Holland‘s vocals are blown-out in a way that’s way more Helmet-style noise rock than one would think. I guess sometimes you just have to belt one out.

“75 What the Hell” comes accompanied on the platter by “In a Bottle,” and it seems like Lost Songs will be a lead-in for the next Trippy Wicked full-length, which would be their first since the aforementioned Going Home. I don’t know the timeline on when one might expect that, but given that it’s already been half a decade, it doesn’t seem like there’s much of a rush on it, particularly with Holland keeping busy in Elephant Tree and West (who might be tapped to record even though he’s not currently in the lineup of the band) playing bass in psych-proggers Landskap. Still, as a fan and someone who’s been fortunate enough to see Trippy Wicked live, their next long-player will be welcome whenever it wants to show up. Hell, I’ll be around either way.

Enjoy “75 What the Hell” below, followed by more info from HeviSike about Lost Songs, courtesy of the PR wire:

Trippy Wicked, “75 What the Hell” official video

London-based hard rock / metal trio TRIPPY WICKED & THE COSMIC CHILDREN OF THE KNIGHT are set to unleash two previously unheard tracks on 26th May.

When founding member Chris West opened the great vault that is the Trippy Wicked archive, he found two songs that were recorded in 2011 for a planned split release with Brighton sludge act DOPEFIGHT. The two bands couldn’t co-ordinate schedules before Dopefight split up and the songs went on the backburner eventually lost to time. Now exhumed from their digital resting place the songs have been freshly mastered by Tony Reed (MOS GENERATOR) for release by UK label HeviSike Records.

‘Lost Songs’ captures a snapshot at a key period in the band’s evolution and will prove to be essential listening for fans of Trippy Wicked and the wider underground rock & metal community. A promotional video for ’75 What The Hell’ was planned and has now, 6 years later, been completed.

Trippy Wicked are currently writing their next album; their first full-length since 2012’s Going Home. The trio have recently released a split EP ‘GUPPY’ with fellow Londoners GURT, with whom they share current sticksman Bill Jacobs. At the same time as working on Trippy Wicked material, frontman Peter Holland has been gigging extensively across the UK and Europe with new band ELEPHANT TREE, including memorable sets at this year’s Desertfests London & Berlin. Chris West, who also previously played in STUBB alongside Peter, is currently performing bass duties in the psychedelic rock group LANDSKAP.

Regarding the recently completed video for ‘75 What The Hell’, West comments “Because the the songs had been shelved indefinitely I’d actually forgotten about the video we started work on. Releasing these songs has been a great opportunity to finish editing that. The song is a little unusual for the band but the video is 100% in the spirit of Trippy Wicked. I’d also say with the time it took to filming/photograph that last sequence Pete has a solid career as a living statue ahead of him.”

As well as a digital release, Lost Songs will be made available via a limited edition 7” single.

Side A – 75 What The Hell // Side AA – In A Bottle

‘Lost Songs’ credits
Pete Holland: Vocals, Guitar, Tuba
Dicky King: Bass
Chris West: Drums

Recorded by Westminster Brown at Dropout Studios.
Mixed and mastered by Tony Reed at HeavyHead Recording Co.
Artwork & Video by Chris West

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HeviSike Records webstore

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The Riven Premiere “Killer on the Loose” Video; Debut EP out Now

Posted in Bootleg Theater on May 3rd, 2017 by JJ Koczan

the riven

Comprised of five tracks of classic boogie made modern through production clarity and general of-the-now blues vibes, The Riven‘s debut EP, Blackbird, makes a strikingly cohesive impression. The four-piece start out at a rush with “Ain’t No Doctor” and nestle themselves right away into a crisper take on post-Blues Pills heavy jams, big on hooks and easy on groove. London isn’t exactly short on heavy rock and roll these days — or ever — but as The Riven dive into cuts like “Tower” and Blackbird‘s centerpiece title-track, it’s pretty clear they’re making an effort to stand themselves out from the pack.

The band features bassist Max Ternebring, also of Bright Curse, and doesn’t waste time in letting him make an impression on “Ain’t No Doctor,” but by the time they getthe riven blackbird down to “Killer on the Loose” before closing out with “One Last Time,” it’s as much about the whole shuffle as what anyone individually between Ternebring, guitarist Arnau Diaz, vocalist Charlotta Ekebergh and drummer Olof Axegärd might be doing at any given moment. That said, Ekebergh establishes a considerable frontwoman presence throughout, and that remains no less true as Axegärd‘s nuanced snare work punctuates her echoes on “One Last Time” than it was for the boogie of “Tower” earlier on the release. Clearly not something happening by accident.

For those of us not fortunate enough to haunt the bevvy of underground heavy rock clubs throughout London’s winding neighborhoods, The Riven have a brand new performance video for “Killer on the Loose” that’s premiering today. It basically captures them doing what they do with the rock and roll and whatnot, splicing in some old black and white horror movie footage for good measure. You know the drill by now, I’ve no doubt. The highlight of the thing, of course, is the song itself, which stands among Blackbird‘s strongest hooks, delivered from Ekebergh with just a bit of a blown-out edge on her vocals. You’ll hear what I’m talking about as you make your way through.

More info follows the clip below, courtesy of the PR wire.

Please enjoy:

The Riven, “Killer on the Loose” official video

London based heavy rock band THE RIVEN released their debut EP Blackbird on April 14 2017. The album’s five tracks recall the glory of 70s hard rock and is influenced by bands such as Grand Funk Railroad and Deep Purple.

The Riven is all about raw, soulful, heavy rock with lots of hot sauce and cheap beer. Formed in West London after an alcohol-fueled songwriting session between guitarist Arnau Diaz and bass player Max Ternebring, they were soon to be accompanied by Charlotta Ekebergh on vocals and Olof Axegard on drums.

With a love for bands like Rush, Grand Funk Railroad and Deep Purple in common they started writing and recording songs together. Recording and mixing was done by JB Pilon at his studio Buffalo Studios in East London in November 2016.

The Riven is:
Charlotta Ekebergh – Vocals
Arnau Diaz – Guitar
Max Ternebring – Bass Guitar
Olof Axegärd – Drums

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The Riven on Bandcamp

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Purson Announce Final Single and Breakup

Posted in Whathaveyou on April 27th, 2017 by JJ Koczan

If you’re thinking the demise of Purson is the last we’re likely to hear from guitarist/vocalist Rosalie Cunningham, I’ll just say that seems deeply unlikely. Though the London-based psych rock outfit released what has now become their swansong full-length in last year’s Desire’s Magic Theatre (discussed here), the fact that they’re not even able to break up without putting out a new single speaks to a desire on the part of Cunningham to keep things going. And she’s not the only one. Guitarist George Hudson premiered a new project called Flare Voyant in London last weekend, so things are already afoot in the Purson aftermath, and that only seems likely to continue as the rest of 2017 plays out into the unknown beyond.

For now though, kind of a bummer to lose Purson, because while a primary part of their expression was always their hyperstylization, they were also legit songwriters. Their last single, “Chocolate Money,” is out now through Spinefarm, as the PR wire informs:

purson photo peter brenchley

PURSON RELEASE FINAL SINGLE “CHOCOLATE MONEY”

BAND CONFIRMS DECEMBER 2016 LONDON SHOW WAS ITS LAST

“FAREWELL” SINGLE SET FOR RELEASE VIA SPINEFARM RECORDS AS SINGER/SONGWRITER/GUITARIST ROSALIE CUNNINGHAM PLANS NEXT MUSICAL MOVE

PURSON are officially no more.

After a career spanning five years, two studio albums, one EP, a number of singles and videos, plus live shows and festivals in both Europe and America, including a full U.S. run guesting with Ghost, the acclaimed, award-winning, ever-flamboyant UK outfit have decided to call a halt to proceedings.

Singer and guitarist Rosalie Cunningham, the creative force behind the project and the one who provided both the songs and the vision while playing most of the instruments in the studio, had this to say about Purson’s split.

“The past five years have been an unforgettable whirlwind, for which I have to thank our wonderful fans around the world, the band, and all the people who have contributed to Purson’s success over the years. Their support has been overwhelming, but the Purson framework has gone as far as it could go, and now it’s simply time to move on. I feel strongly drawn to a more DIY approach to my career in music, and look forward to the freedom to explore many avenues as a solo artist.”

As a way of going out with a (glam rock) bang, Spinefarm Records released a farewell Purson single on April 21.

“Chocolate Money” was and produced and mixed by Cunningham and John Mitchell (Steven Wilson, It Bites). The song features guest contributions from Jon Seagroatt (Comus) on saxophone and Vodun frontwoman Chantelle Brown on backing vocals. It also boasts wickedly tongue-in-cheek lyrics, taking in “cocoa casanova,” “raison d’etre cake,” and more. The song joyfully celebrates an era when bands like Slade and Wizard ruled the charts, Top of the Pops was essential viewing and vinyl was king.

“‘Chocolate Money’ is a snapshot of the ostentatious decadence of the ’70s,” said Cunningham. “The mythical rock star character with his double-entendre and self-centred hedonism. The industry has become a very different world since then, which is something I will expand on lyrically with my next album. It has inspired my desire to go back to basics and remember what music is supposed to be about.”

“Chocolate Money” does not live on Purson’s last album Desire’s Magic Theatre, which is out now.

https://www.facebook.com/pursontheband/
http://purson.tmstor.es/
https://itunes.apple.com/us/album/chocolate-money-single/id1225790684
https://www.facebook.com/spinefarm
https://twitter.com/spinefarm
http://www.spinefarmrecords.com/usa/

Purson, “The Window Cleaner” official video

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Wren Announce Debut Full-Length Auburn Rule Due in July; UK Tour Dates

Posted in Whathaveyou on April 18th, 2017 by JJ Koczan

wren

Whether or not you heard it, Wren‘s 2016 EP, Host (review here) was one of last year’s best short releases. Their second four-songer behind a 2014 self-titled (review here) that was likewise moody and brutal, the latter release pushed into growlier, harsher terrain, more metal on the whole as well as basking in the post-hardcore-meets-sludge vibes of its predecessor. What their sonic development might hold for Auburn Rule, I don’t know, but the safe bet is it’s going to be heavy in some ridiculous proportion. What will serve as their first full-length will be out July 14 following a quick UK tour with Fvnerals and will be released by Holy Roar Records, which if you’ll recall also put out Host. If it ain’t broke.

These cats have done nothing but impress since they got going, and my big question going into the record is how much of their focus will be on atmosphere vs. pummel, since that seems to be the dichotomy at work in their aesthetic thus far. Where that balance will come down this time out as they take this crucial step in putting out their first album.

Hopefully I’ll have more to come on this one before it’s released. Here’s info from the PR wire in the interim:

wren auburn rule

Wren announce new album ‘Auburn Rule’ and UK tour.

AUBURN RULE | 14.07.17

Following on from the release of their ‘Host’ EP last year, London-based progressive sludge/noise-rock four-piece Wren, have announced details of their new album ‘Auburn Rule’, which is due out 14th July 2017 via Holy Roar Records.

The band have released the artwork for the new album (above) and have detailed the track listing as below:

1. In Great Yield
2. Scour The Grassland
3. The Herd
4. Traverse
5. Dwellers Of The Sepulchre

To coincide with the release of ‘Auburn Rule’ Wren have also announced a short UK release tour with Fvnerals, they will be playing the following dates:

30th June – London – Birthdays
1st July – Birmingham – The Flapper
2nd July – Bristol – The Cube
3rd July – Cardiff – The Full Moon
4th July – Brighton – The Prince Albert

https://www.facebook.com/Disciplesofwren/
https://disciplesofwren.bandcamp.com/
http://twitter.com/disciplesofwren
http://www.disciplesofwren.com/
http://www.holyroarrecords.com/

Wren, Host (2016)

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Stubb Premiere 24-Minute Single “Burning Moon”

Posted in audiObelisk on April 10th, 2017 by JJ Koczan

stubb

UK power trio Stubb will release their new single-song EP, Burning Moon, on April 29, marking the occasion of their appearance and performance of it at Desertfest London 2017. They’ll be at The Black Heart in Camden Town, a place of which one has fond memories, and joined by guests Ewan Duffus on keyboard and Thomas Mowforth and Zel Kaute on percussion. Listening to the freshly-mastered studio version of the 24-minute “Burning Moon,” it is duly expansive as to make a trio into a six-piece, with founding vocalist/guitarist Jack Dickinson leading bassist/vocalist Tom Hobson, who makes his debut here, and drummer Tom Fyfe, who came aboard for their late-2014 sophomore long-player, Cry of the Ocean (review here) and the subsequent 2015 The Theory of Light and Matter split with Mos Generator (discussed here), through movements either tied to memorable verses and choruses or floating free on a resounding psychedelic jam.

It does not take long in hearing it for one to realize Burning Moon is a special project for Stubb even after the marked aesthetic growth of Cry of the Ocean, and the continued collaboration with producer Chris Fielding (AlunahElectric WizardConan) at Skyhammer Studios ensures the sound is full and duly expansive throughout. Much as that album started subtly with the quiet unfolding of its two-part title-track, a soft bassline from Hobson begins the first minute of “Burning Moon,” though it will be the swell of Duffus‘ keys that make the most striking immediate impression. It’s not the first time Stubb have put keys to use in their material — Mos Generator‘s Tony Reed guested on Hammond for Cry of the Ocean‘s “Snake Eyes” and Duffus also played on the cover of “Little Wing” that was included as part of Magnetic Eye Records‘ The Best of James Marshall Hendrix tribute compilationSTUBB BURNING MOON (review here) — but they’ve never been more of a presence than they are on “Burning Moon.”

They give the track a stateliness that speaks to their continued inspiration from ’70s heavy and also puts the listener in a more patient mindset for what’s about to take place as the extended track unfurls. After about three minutes in, a sleek, subdued and decidedly Stubbian groove locks in — particularly encouraging to hear, as it’s a new rhythm section since the last record — and Dickinson begins the first verse, shifting easily into and out of a fuzzy, rolling hook that, after its second time through, shifts via a chugging transitional riff into a guitar solo that is the gateway to the jam that will consume the remaining 15 minutes or thereabouts of the piece. It is an immersive stretch beginning with a five-minute run at about the 10-minute mark, and they do come back to ground momentarily with Hobson and Dickinson joining forces for a few lines vocally, but soon enough another fuzzed-out lead hits and from there they shift into section of bass-key-and-percussion shuffle that builds toward the rolling call-and-response crescendo circa 20 minutes in.

Soon enough that crashes its way into a fade — Hobson‘s bass holding steady — and the organ line and drums build back into the song’s final push, more melodically resonant in the keys, bass and guitar, and more propulsive in Fyfe‘s drums as one might expect to close a work of such breadth. The finish itself is a series of hits that provide a progressive culmination and end suddenly, cold, as if to highlight the point that all of the preceding motion was not simple instrumental meandering but the outcome of a purposeful and directed approach. Indeed, Stubb have said the plan is for Burning Moon to become a series of between-album releases. Ambitious, but not impossible. If this turns out to merely be a first installment of some greater idea, the scope on offer will no doubt continue to widen, but as it stands, it’s the farthest to-date that Stubb have pushed their sound, and they do so in a manner both vibrant and individualized. Whether you call it an EP or a single, there’s no doubt it will stand among 2017’s best short releases.

Please enjoy the stream of “Burning Moon” below, followed by more info courtesy of the band:

Recorded Jan 2017 at Skyhammer Studios, England, by Chris Fielding.
Music by Stubb
Produced by Chris Fielding/Stubb

Stubb is:
Jack Dickinson – Guitar/Vox
Tom Hobson – Bass/Vox
Tom Fyfe – Drums/percussion

Ewan Duffus – Keys

Burning Moon is part one of the Burning Moon Trilogy, a story about the end of the Earth. The idea is to release the other 2 parts in between albums.

This is the first track that we have released with Tom Hobson on bass//vox. Special guest Ewan Duffus is on keys. He played on our cover of “Little Wing” for the Best of James Marshal Hendrix compilation (MER).

We don’t have a label for this yet, so it will be available for download from our Bandcamp on the weekend of the April 29th (Desertfest London). What ever happens this will definitely be available on CD and Vinyl at some point in the future.

We’ll be playing the tune in full for the first time with Ewan, and we are very lucky to be joined by Thomas Mowforth of Limb and Zel Kaute of Vodun on percussion. Sat 29th April, The Black Heart, Desertfest London.

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Greenleaf & Steak Desertfest Split 7″ Available to Preorder

Posted in Whathaveyou on April 4th, 2017 by JJ Koczan

This year will be the third that H42 Records has offered up an exclusive single to mark the arrival of Desertfest. The first featured Sons of Alpha Centauri and Karma to Burn, and the second was Monster Magnet and Ramming Speed. This year, it’s quintessential Swedes Greenleaf with a classic track and London heavy underground ambassadors Steak with brand new material. Seeming to represent both Desertfest London and Berlin 2017, this year’s single is limited to 400 copies, and the green vinyl is already gone on preorders, so if you want one at all, you probably don’t want to sleep on it.

I also don’t know how many of these will actually make it to Desertfest, versus how many have been preordered and just sold through that way, so yeah, much to consider here. Not trying to sell you on anything, I’m just saying these are factors to consider when acquiring heavy rock and roll. You know how it is.

Release details from the PR wire:

desertfest-split-steak-greenleaf

GREENLEAF & STEAK will take part on this years DESERTFEST Split-7″

GREENLEAF is a righteous kick in the ass and a testament to the almighty riff! On Side A they presents you their alltime classic “Sold My Old Lady (Out of the back of an Oldsmobile)”. The song was originally released on their long sold out debut EP from 2000. If you don’t own this EP this is your chance the get this song on vinyl. That’s the first time in 17 years.

Side B is reserved for a brand new song from STEAK: “Overthrow” is the first living sign of the four Londoners since ‘Slab City’ from 2014. And what is closer to the fact that Steak is represented with a new song on the new DesertFest Split cause they will also rock the stage of the DesertFest London this year.

Limited Edition up to 400 copies out on H42 Records (H42-040)
200 on DARK GREEN vinyl
200 on BROWN vinyl

Tracklist:
A1 // Greenleaf Side: Sold My Old Lady (Out of the back of an Oldsmobile)
B1 // Steak Side: Overthrow

http://www.h42records.8merch.com/presale
https://h42records.bandcamp.com/
https://www.facebook.com/H42Records
https://twitter.com/H42Records
https://www.h42records.com/

Greenleaf, “Sold My Lady (Out the back of an Oldsmobile)”

Steak, “Pisser” Live in London, 2016

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