[Click play above for the video premiere of Mount Saturn’s ‘Sword First.’ O, Great Moon preorders are available here.]

Bellingham, Washington’s Mount Saturn make their self-released full-length debut this week with O, Great Moon, a six-song/40-minute collection that builds on the direction they took on early-2019’s Kiss the Ring EP (review here) and sees the four-piece beginning to flesh out their material atmospherically. This can be heard almost immediately on six-minute opener “Astraya,” as the four-piece of vocalist Violet Vasquez, guitarist Ray Blum, bassist Cody Barton and drummer Josh Rudolph steer their way into a reverb-laced spaciousness that very much sets the tone, literally as much as figuratively, for what comes after. The vocals are far enough back in the mix to let the guitar and bass breathe, but able to cut through in the song’s more driving later moments, meeting the instrumental crescendo head on until the quick final-rumble leads to the drum-led beginning of “Sword First,” the video for which is premiering above.

It is the second single from O, Great Moon — recording/mixing by Erik Takuichi Wallace at Shibusa Sound and The Unknown Recording Studio in Anacortes, WA, mastering by James Plotkin — behind the previously-unveiled nine-minute “Sandcrosser,” and in its fuzz and languid tempo, it feels like an update to some of what Acid King brought to their Middle of Nowhere, Center of Everywhere album in the middle of the last decade, and the bridge reminds that both Blum and Vasquez are fans of All Them Witches. None of this should be cause for complaint, and the manner in which the track slowly unfolds gives Vasquez room to push herself vocally, adding emotional and soulful crux to the accompanying thud and crash of the drums, the airiness of the lead guitar and the thank-goodness-it’s-there-or-we’d-all-be-lost bass. “Sword First” saunters into an even-bigger nodding finish, which is only welcome as what’s clearly intended as a vinyl side A — no release planned, wouldn’t be surprised in the slightest if that changed quickly once more people hear the album — moves toward “Sandcrosser” for its culmination.

Among the ambitions Mount Saturn resonate throughout O, Great Moon, whether it’s toward a high-pine psychedelia, heavier groove or what, is patience. This can be a particularly difficult trap, especially on a first long-player, but both “Astraya” and “Sword First” find ways to harness urgency toward fulfilling ends — the former with speed, the latter with largesse. “Sandcrosser” brings a smile as it announces the arrival of its first verse with a guitar blurt (really, it sounds like a blurt) at 1:55 into its total 9:26, and as the longest inclusion on the record, it is a prime opportunity for the band to disrupt the structural pattern they’ve already set, which they do, working in volume trades in verses and choruses in the first half before “Sandcrosser” takes off in its midsection, cuts briefly to quiet, and then goes outward again, lumbering astride a riff that reminds of the time Tool covered Led Zeppelin that holds a place soon to be filled by a skillfully plotted solo. At the very end, you can hear fingers sliding on strings, and that brings a human element to the procession, but there’s little question that Mount Saturn have accomplished their goal not only of conveying patience, but using it to construct a sound that is immersive, that brings the listener along its dreamily rolling course.

It’s to the band’s credit that “The Knowing,” with its progressive flourish in the shimmering early guitar and atmosphere coinciding with its mellow shuffle in the verse, follows directly. Running 8:16, its sensibility as an answer back to “Sandcrosser” is palpable, and results in a depth to the construction of O, Great Moon that goes beyond just two sides, the tracklist setting itself into three pairs with the longest of them, “Sandcrosser” and “The Knowing,” in the middle. Like its predecessor, “The Knowing” rolls out in its own time, but its linear build and cleverly-layered solo in the second half, rising up in the mix before consuming it and receding as the next wave is set up, add to an open vibe marked out early and complemented by the vocals following the pattern and mounting intensity in the guitar, bass and drums. The surge hits at around 6:38 and comes across as earned rather than sudden, and is met by vocal layering that is an arrangement aspect Mount Saturn will hopefully continue to develop as they move forward.

“The Knowing” drifts into “Haunt” as the final pairing begins, also with a build, but just about half as long and correspondingly more straightforward in its delivery. It is a consciously wrought grounding effect — evidence for Mount Saturn thinking of O, Great Moon as a whole work as well as making moves to best serve the individual tracks — and as the only cut under five minutes long, the fullness of its shove and delve into an almost classic-metal-derived riff in the back end serve to hold momentum firmly as the band make ready for “Crooked Bones” to round out, its galloping course laid forth by the drums soon joined by guitar and bass ahead of the vocals. Thus the speed that caps “Haunt” is no fluke, and “Crooked Bones” pushes more into this direction, giving O, Great Moon an energetic setup to its conclusion, which comes with a laugh that in itself pays off the classic metal vibe earlier while sounding likewise sinister and sincere. The word “earned” applies here as well.

For as much as they demonstrate an awareness of who they are and what they want to do as a band on the level of craft, O, Great Moon sends no signals that Mount Saturn have finished growing as a unit, and it’s easy to imagine that, given the consciousness-of-self (as opposed to self-consciousness) shown otherwise, they know it. But O, Great Moon is a quality album as well as being a promising debut, and it shouldn’t be looked at as one at the expense of the other, however they might continue to forge their own path moving forward, develop the patience of approach that’s nascent here and explore their impulses as regards arrangements and structures. On the most basic level of putting on a thing and hearing it on its own terms, Mount Saturn have moved beyond Kiss the Ring and onto their first LP with a clearly conveyed feeling of intent to progress further, and they offer an abundance of signs they’ll do just that. Here’s hoping.

Mount Saturn on Facebook

Mount Saturn on Instagram

Mount Saturn on Bandcamp

Mount Saturn Linktree

Bellingham, Washington’s Mount Saturn have announced they’ll make their full-length debut on March 18. The record in question is titled O, Great Moon — including the comma, which I appreciate — and the cover art has been newly posted by the band. You can see quickly why they might be stoked on it. Ditto their logo.

Last I heard, they were waiting on getting the masters back, which was last week, so it may well be that the album is finished by now, and if so, hey, right on. Either way, this is one I’ve been looking forward to since the band made an encouraging first offering with 2019’s Kiss the Ring (discussed here), so you’ll pardon me if I take a minute to be likewise excited at the prospect.

Part of the conversation last week was sorting out premiere(s) coverage for the record, so stay tuned for that. I’ll get on sorting out a day and all that stuff and keep you posted accordingly.

For now:

We’re proud to announce that our debut album “O, Great Moon” will be self released on March 18th, a full moon Friday!

Here’s our beautiful cover, a reworking of a painting called “Famine” by John Charles Dollman, done by CLAYSHAPER with logo by Pencilmancer:!

A lot has changed since our EP and we’re excited to show you how we’ve evolved and grown. Pulling from such influences as Pallbearer, Holy Grove, and Windhand, “O, Great Moon” is bigger, sadder, and heavier than we’ve ever been before.

Our story follows a grieving soul on a journey through the valley of despair and isolation, one fraught with hyper vigilance, bargaining, and ultimately, revenge.

Although we are choosing to not press vinyl right away, know it is absolutely our goal, and we hope to offer a limited run by the year’s end. A hometown release show will be announced next week, so don’t miss it! Your support means everything to us, we can’t wait to share this with you!

Mount Saturn is:
Cody Barton – Bass
Ray Blum – Guitar
Josh Rudolph – Drums
Violet Vasquez – Vocals

https://www.facebook.com/mountsaturnband
https://www.instagram.com/mountsaturn/
https://mountsaturn.bandcamp.com/
https://linktr.ee/Mountsaturn

Mount Saturn, Kiss the Ring (2019)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Violet Vasquez of Mount Saturn

—

How do you define what you do and how did you come to do it?

I’m the lead singer of a band called Mount Saturn out of Bellingham, WA. We dabble in heavy psych, doom, and general witchy shit.

I started singing in public when I started a My Chemical Romance cover band for this old annual-cover-band-show in town. I was totally obsessed with that band growing up. I know a lot of people have this aversion to them but they’ve really stood the test of time and urged and inspired a lot of people to pursue creative outlets, something that really helped me a lot as a young person. Anyways, doing this cover show was a total blast! After my first performance, I was hooked on the high of it all. I seriously had my first out of body experience, it was a trip! The next year, we signed up to play the show again, but this time we needed a guitar player. Ray offered to step in. Not because he liked My Chemical Romance particularly, but because he kinda liked me. That got us playing music together.

Since then we’ve released an EP together and have an album on the way! It’s been a lot of fun writing together.

Describe your first musical memory.

My first musical memory was in a car somewhere with my mom, this KISS song was on and I started singing the first line right in time with the music. I must’ve been three years old, I just remember my mom’s reaction, she was so elated she nearly swerved out of her lane. She praised me up and down and I remember feeling so proud of myself. I also have early memories of watching live KISS shows. My mom says me and my little sister would ask for it by saying “blood, momma, blood!” She was always happy to oblige.

Describe your best musical memory to date.

So many come to mind. The most fun memories have been made at Psycho for sure, walking the hallways with a bunch of doomers, swimming while your favorite band plays, meeting you, JJ! That was cool. But the best? The best memory is a fresh one.

So, Ray and I have this thing for All Them Witches. We’ve seen them 26 times. Literally cannot get enough of them. And recently, they played their first live shows since COVID hit, and they started off in Winston-Salem. Their first show back was also their first show with returning member Allan Van Cleave on the keys. Ray and I had to go, we’re sentimental like that. The first night was incredible, it was everything I wanted and more, but the second night, in Charlotte, they played so long. Like the longest set I’ve sent them do, and their encore was something we’d never seen before, too, it was “Swallowed by the Sea” but with an alternate beginning, some other Appalachian folk song , then into “HJTC.” Allan played his violin, another thing we’d never seen them do before, and I just wept! I’m serious, I just cried and cried! To me, a good band is one that surprises you even after seeing them 25 times, one that can make you cry like no one is watching. And that’s them! It was incredible.

When was a time when a firmly held belief was tested?

I used to firmly believe people were good or bad, one or the other, no in-between. I work in social work and my view of people has really shifted. People are so much more complex than I ever thought possible. Some of my own clients, who rely on public benefits to survive actively vote against their interests. It’s so perplexing. I guess really what I mean is that I used to firmly believe I understood people, but the more people I meet, the less I actually do.

Where do you feel artistic progression leads?

It leads to gettin’ good! It makes me think of this song we recorded off our EP, in the studio I had to do a few takes to hit this note, and now it’s not a problem for me at all, it’s nothing! That’s lead to my self confidence getting a boost, ya know? And when that happens, I try new things, I push myself more to improve and ultimately the idea is you is inspire someone else to do it, too.

Ray and I joke a lot that it was easier to write a song in the ’80s, you could write just the dumbest shit, but art has progressed! It’s more difficult to write a good song! So I think that’s also where it leads, is to better music. I think some of the best music I’ve ever heard is being made right now. We’re very lucky.

How do you define success?

My definition of success is shifting as I get older but I define success as the ability to make art as much as you’d like, having your needs met at the same time, and having enough to reach your hand out to help someone get to where you are.

What is something you have seen that you wish you hadn’t?

I wish I hadn’t seen Ace Frehley at Psycho. Like I mentioned, I grew up on KISS, and Ace was always my favorite. My first KISS show was at 8, my mom painted my face as Ace and I was so stoked. But seeing him at Psycho was a bummer. He talked shit and politics the whole time. I left in the middle of the set.

Describe something you haven’t created yet that you’d like to create.

I’d like to write a book! I’ve written a play that got published back when I was in high school. That was a great experience for me. But I’d like to write a book! I’ve started one actually, about tarot. I’m super into it, but I’m in no hurry.

What do you believe is the most essential function of art?

Wow. What a question. The most essential function of art is to connect us to Source. I really believe that when we create, we’re channeling something divine. When we create, we’re in conversation with our ancestors, our spirit guides, all of that. And then when we experience “good” art, art that moves us, it has that same ability. And that connection fuels us, it keeps us going. I know that my most cathartic experiences have been either performing or seeing someone perform. There’s nothing like it.

Something non-musical that you’re looking forward to?

In June of 2022, Ray and I are getting married! Right before our seventh anniversary of being together. We’re going to have a karaoke pizza party and sing a Dio duet in lieu of a first dance. I can’t wait!

https://www.facebook.com/mountsaturnband
https://www.instagram.com/mountsaturn/
https://mountsaturn.bandcamp.com/
https://linktr.ee/Mountsaturn

Mount Saturn, Kiss the Ring (2019)

Before I get started, I want to say thanks to Mark Kitchens from Stone Machine Electric for the artwork above. He did the platypus design and I added the blue background and yellow text kind of thinking it would be like one of those old title cards from David Letterman or something. I love it, so yeah. Thanks, Mark.

Like the prior episode, this one was themed around a playlist of some of the best of 2019 so far. I actually didn’t get to hear the whole show because I was at Maryland Doom Fest this past weekend, but I did check in on it while doing other stuff in Frederick. One way or the other, the playlist starts with Holy Grove and has Yawning Man, Magic Circle, Duel, Nebula, Roadsaw, Earth and Across Tundras on it, so you know it’s going to be killer. Really, the only thing I’d have listened for was to make sure I didn’t ruin it with my own derpy derp derp.

I wanted to include some lesser-known stuff here too, so check out the Cosmic Fall, SÂVER, Ealdor Bealu and Mount Saturn tracks if you haven’t, and that Centrum at the end I really dig a lot. Hell, the whole thing is great. You really can’t go wrong when your operating theme is “stuff that’s awesome.”

Thanks if you got to check it out.

Here’s the full playlist:

The Obelisk Show – 06.21.19

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is July 5. Thanks for listening if you do.

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In the bleary-eyed early hours of 2019, when most heads were still clearing from the panicked revelry celebrating the march into an unknown and horrifying future, there came Kiss the Ring (discussed here), the debut EP/demo from Bellingham, Washington’s Mount Saturn. Then a four-piece and currently a trio seeking a drummer, the upstart outfit follows in the Pacific Northwestern tradition of putting the focus on riffs and melody, with guitarist Ray Blum and vocalist Violet Vasquez working in partnership to set a solid foundation of both throughout Kiss the Ring‘s four tracks, with bassist Cody Barton and then-drummer Tanner Scinocco locking down a duly weighted groove to counterbalance the spaciousness of the vocals and guitar.

The EP, preceded only by a single-version of its opening track “Dwell,” holds to a central method, but is varied in mood and approach around that enough to give its songs an organic sense of character, and as statements of intent go, it shows both a will toward progression and an ingrained penchant for songcraft, and it makes it clear that the band know where they want to reside on the spectrum of heavy and, most importantly for the longer term, they’re willing to adjust that balance as called for by their material and progressive intent.

I know you heard the thing, so I won’t prattle on, but just in case, there’s a full stream below from Bandcamp and tapes are newly available from Ice Fall Records. I wanted to get the basic background on the band and how they worked together to make the EP, and Vasquez and Blum were both kind enough to offer insight.

Please enjoy the following Six Dumb Questions.

Six Dumb Questions with Mount Saturn

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How did Mount Saturn get together? Give me the origin story for the band.

Violet Vasquez: So myself and my partner Ray knew we wanted to start making “doom” or something that strayed a bit from conventional metal together, and starting by jamming together in an old storage unit. I had never sung before in a band, but really wanted to give it a shot, and Ray had been playing guitar for a while but had no projects. It started as something to do. We tried out a couple of drummers, and then decided to just write together for a bit and see what we had to say as writers. We were discovering so much new music together at this time and weren’t sure what we wanted to sound like. We took our time, for sure. Ray ended up starting the band Crystal Myth with Tanner, who he had jammed with in another band briefly, and then Cody came along by suggestion of our good friend Autumn. Essentially, the members of Crystal Myth were coerced into backing the songs that we been working on, and lending their talents to the development of new ones. They both just wanted to play music, so it wasn’t too hard to convince them. We were eager to contribute to a heavy scene that seemed to be experiencing a sort of resurrection in Bellingham and it’s been really fun to do that.

Tell me about writing Kiss the Ring. How did the songs take shape? You’d done a version of “Dwell” earlier. Was that the first song you wrote together?

VV: The first song we wrote together was a song we don’t have recorded, called “Down” about a witch who employs a wizard to fight a dragon. Perhaps a little heavy handed on the DOOM elements in retrospect, and it was a bit too long admittedly at seven minutes, but I recall it fondly! As far as writing Kiss the Ring goes, we would bring the skeletons of ideas to practice and work it out. We jammed a lot, and some of the things we expected to go one way went another based off the input and style of our rhythm section. I think songs like “Dwell” became keepers because of this. Generally, though, we had really good chemistry in jamming and got a few ideas that way. Once I found a melody that I liked to sing, that jam became a song in progress and would take shape from there.

How long were you in the studio making the EP, and what was the recording process like? Is there anything different you’d like to do next time around? Anything you’d like to keep just the same?

Ray Blum: We took a weekend in July 2018 to go to a studio in Anacortes, WA, called The Unknown with hopes of nailing down a drum and vocal sound that we liked. Erik Wallace, our engineer, suggested the space because it’s an old church with great acoustics. To this point in the band’s life, every studio experience has been successively better than the last, as we gather knowledge and an increased understanding of what we think the project should sound like. It was probably a faster process than we would have liked it to have been, but we had drums essentially done on the first day, guitar and bass done the second and vocals on the third. As far as things I would change, I would have liked to have spent a little more time trying to vary tones from song to song, but I think that’s what every guitar player thinks about studio time. Working with our friend Erik Wallace of Shibusa Sounds (who recorded, mixed and mastered the whole thing) was a blast and definitely something I would like to keep the same. He pulled not only a good sound out of us; but good performances, which at the youthful stage the band was at, was integral to the positive response that the EP received. Next time, we’d like to really take our time and try to record more things live.

Of course, the Pacific Northwest is a huge hotbed for bands and all that. What influence do you take from your surroundings, whether it’s nature, other bands, whatever? What does being from the PNW mean to you?

VV: Mount Saturn would probably not be the band we are without the doom, the gloom, and Holy Grove. We love that band, they’ve inspired our inception in a way, truly. We love our often-gloomy surroundings, too, and there’s no doubt that fuels our moods and keeps us inside jamming or writing. Being from the PNW, we are also living in a pretty socially-conscious area, and I’d say I tend to definitely focus on those kinds of issues thematically. Half our songs are about issue of feminism and the fight for equality across genders, but issues of racism and classism are also on our minds, and on the minds of people we play with or those who come to our shows. Those themes, they’re not just fueling our lyrics, but our passionate performances, too. It’s a way to heal that pain and I think it’s why we’ve gotten a good response locally; people want to be healed and empowered by music.

You seem to have a good idea of what you’re looking for in terms of your sound and style. How do you see the band growing as you move forward?

RB: It’s tough to say how we think the band will grow musically moving forward at the moment. We’re in the process of replacing our drummer (Tanner left shortly after Kiss the Ring was recorded), and we can’t make any assumptions about future sounds until we have an understanding of what that new person may bring to the table. I would say that our influences have certainly shifted slightly away from purely doom metal and more towards psych rock but I would hesitate to guess how that will be reflected in the writing at such an early stage.

Will you tour? Any other plans or closing words you want to mention?

VV: You know, we would love to. We’re in the process of looking for the right drummer to join us so we can start writing a full-length and at least go down the coast a bit before the end of 2020. Wish us luck! Also, keep your eye out for our pals in Dryland who are about to release their first full-length. They’re Bellinghamsters, too, and we can’t get enough of them.

Mount Saturn, Kiss the Ring (2019)

Mount Saturn on Thee Facebooks

Mount Saturn on Instagram

Mount Saturn on Bandcamp

Ice Fall Records webstore

Good show. I had fun, anyway. I cut the voice breaks for this one while The Patient Mrs. and her mom took The Pecan out to the grocery store, but the breaks nonetheless worked out to be maybe a minute longer than usual and that gave me a little rant time. Right before I played Goatsnake, which was the “new classic” choice cut for this episode, I went off about doing my dishes as rock and roll. As usual with words coming out of my mouth, the idea was kind of half-represented, but what I was talking about was the notion that your love of music should be a part of your life, not something separate from the rest of it. If you love music, it shouldn’t be something you segregate from the rest of who you are — something you sneak off to a dive bar to partake of — it should be a part of your everyday. I cut radio voice breaks while running the dishwasher. It’s a part of who I am.

How fortunate I have this post to explain the half-formed notions I don’t have the wherewithal to properly express vocally. Huzzah.

Anyway, if you got to listen, I tried to set this one up with a good flow from front to back plus a couple stark contrasts in the second hour. The break is between Graven and SubRosa, contrary to what the playlist says, but I liked that transition anyhow, and I think you can see early on that the focus is on some boogie with a sense of atmosphere. I talk up the Green Lung record again, because, well, it’s worth talking up, and dig into a few other things that I think are killer, including that Mount Saturn EP, which is likewise right on. And then I dip back from new music to play SubRosa’s “The Mirror” from their SubDued: Live at Roadburn 2017 release, because it’s a song I sing to The Pecan when I put him down for naps and have just about every day since he was born some 15 months ago. Fun stuff.

If you missed the show, it airs again tomorrow at 9AM Eastern at http://gimmeradio.com

And if you dig this and want to hear more of The Obelisk Show, Gimme of course has their archive set up that you can sign on for at a reasonable price and dig into a bunch of various kinds of metallurgy.

Okay, here’s the playlist. Thanks to reading and/or listening:

The Obelisk Show Ep. 09 – 02.03.19

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 17. Thanks for listening if you do.

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Bellingham, Washington, heavy rockers Mount Saturn will release their debut EP, Kiss the Ring, on Jan. 4. The 25-minute four-tracker comes preceded only by the digital single “Dwell,” which also shows up as the leadoff cut on the forthcoming release and makes for a right-on seven-minute leadoff, the echoing vocals of Violet Vasquez following the riffs of Ray Blum on an outwardly-directed astral plane of reverb and grooving heft. Got that bass punch tho from Cody Barton and the drums of Tanner Scinocco, whose snare cuts through the tonal density surrounding in order to give ground to what otherwise would surely take flight, some double-kick coinciding with second-half squibblies in “Dwell” that, in another context and from another WA -state band, would be black metal. Mount Saturn are up to a different kind of business.

The nod is pervasive throughout Kiss the Ring, as the 4:12 shortest cut “Idol Hands” demonstrates despite a somewhat faster tempo and more rocking swing ahead of the brash garage intro to the penultimate “Salt.” The overarching feel of the release is very much in the debut EP vein, as Mount Saturn began their exploration just last year, but a drive toward aesthetic can be heard in the tracks all the same, whether it’s the already-noted cavernousness of Vasquez‘s voice throughout or the depth of Blum‘s guitar tone, which lends immediate character to the songs and is suited to the feeling of space as well as that of the earthier groove supported by Barton and Scinocco. “Salt” echoes through a slowdown to cut out before the closing title-track, which again leads off with Blum‘s guitar as the focal point — a task to which it stands up well. Barton‘s bass kicks in at around 40 seconds and is a thick, distinct presence, while Scinocco holds town a straightforward beat still portentous of change to come. They drop back to a more spacious progression to give Vasquez room in the mix and find a new balance between molten and solidified impulses. An all-out psychedelic finish would be a decent enough fit, but Mount Saturn don’t quite get there, opting instead to stick to the hook in “Kiss the Ring” and trade back and forth from that to a solo, capping with both.

It’s the band’s first outing, so take “Salt” with the appropriate grain if you need to in order to dive into the premiere below — which I’m thrilled to host — but if you can’t hear the potential in its run, then you’re missing out. Tracks were recorded by Erik Wallace. Again, it’s out Jan. 4.

Please enjoy:

Mount Saturn rises from the damp soil of the Pacific Northwest to forge a heavy sound that worships riffs, dabbles in psychedelia and takes no shit. Formed in 2017, the heavy quartet has had the pleasure of sharing a stage with some of the West Coast’s best, including Holy Grove, Castle, and Mos Generator.

‘Kiss the Ring’ is their debut EP, recorded at The Unknown in Anacortes, and engineered and mastered by Erik Wallace of Shibusa Sounds, which the band will self-release on January 4th, 2019.

Mount Saturn is:
Cody Barton on Bass
Ray Blum on Guitar
Violet Vasquez on Vox; and on this recording,
Tanner Scinocco on Drums

Mount Saturn on Thee Facebooks

Mount Saturn on Instagram

Mount Saturn on Bandcamp