Posted in Whathaveyou on December 21st, 2012 by JJ Koczan
Apparently I missed a few pieces of news while I was spending eight and a half hours putting together my Top 20 yesterday, so in an effort to get caught up, here are the latest additions to Neurosis‘ shows in support of Honor Found in Decay— which, as fate would have it, featured prominently in the aforementioned list. I look forward to nerding out at the Brooklyn Masonic Temple,and if you were fortunate enough to catch them last time they were there, you should too.
The PR wire is wise in the ways of tour dates:
NEUROSIS Authenticates Additional 2013 Live Actions
Details On Vinyl Pressing Of Honor Found In Decay Released
NEUROSIS continues to confirm new live actions in support of the band’s tenth studio opus, Honor Found In Decay.
Following recent announcements on the outfit’s upcoming performances in Atlanta, Chicago, Los Angeles and Seattle, NEUROSIS have just proclaimed additional 2013 on-stage manifestations, with new shows in Brooklyn and Philadelphia planned for January, as well as Denver and Austin in February. Support acts for these new concerts are all being confirmed now, in addition to even more live performances.
The band has also been confirmed for 2013’s installment of the massive Hellfest festival in Clisson, France. The immense gathering runs from June 21st through 23rd, and will see NEUROSIS sharing the stage with Kiss, ZZ Top, Down, Bad Religion, At The Gates, Kreator and hundreds more.
A release date and further details on the anticipated vinyl edition of Honor Found In Decay have also been disclosed this week. This deluxe 2xLP pressing of the album will be unleashed February 5th in North America, February 8th in Germany/Benelux/Finland and February 11th in the UK/World, via Relapse Records/Neurot Recordings, and will be packaged in a gorgeous Stoughton tip-on gatefold jacket and accompanied by a stunning 16-page LP-sized booklet. The audio was cut directly from the original studio master tapes and pressed on 180-gram vinyl, which will be available in five different colors: 2000 on black, 1000 on translucent smoke grey, 500 on translucent yellow, 500 on translucent orange, and 100 on clear, not available to the public.
Preorders can be placed via Neurot and Relapse now!
NEUROSIS Honor Found In Decay Live Actions: 12/29/2012 The Masquerade – Atlanta, GA w/ Rwake, USX, Primate 12/30/2012 The Metro – Chicago, IL w/ Bloodiest, The Atlas Moth 1/04/2013 Fonda Theatre – Los Angeles, CA w/ Savage Republic, Ides of Gemini 1/05/2013 Showbox at the Market – Seattle, WA w/ Tragedy, Black Breath, Stoneburner 1/19/2013 Brooklyn Masonic Temple – Brooklyn, NY 1/20/2013 Union Transfer – Philadelphia, PA 2/16/2013 Summit Music Hall – Denver, CO 2/17/2013 Emo’s East – Austin, TX 6/21/2013 Hellfest – Clisson, France
Posted in Reviews on September 21st, 2012 by JJ Koczan
The advent of a new Neurosis album is noteworthy even in concept. If you count 2003’s collaboration with Jarboe, there have been four in the last decade – which is a better average than some – and yet each new release seems to arrive with more anticipation behind it, the band members’ prolific side-projects and solo outings only feeding the fire that burns its way back to the root act. The 10th studio full-length from Neurosis (that’s not counting the aforementioned collaboration) is called Honor Found in Decay. It features seven tracks and clocks in at an hour even, making it the shortest since 1990’s sophomore LP, The Word as Law, though the difference between it and much of the band’s post-Souls at Zero (1992) discography, time-wise, is only five to 10 minutes. Still worth noting. More pivotal, however, is the emotional and musical progression of the band. It’s been more than five years since Given to the Rising was issued in May 2007, and of course the work in individual members of Neurosis have done outside the band since then – guitarist/vocalist Steve Von Till in Harvestman and with his solo project, guitarist/vocalist Scott Kelly with Shrinebuilder and his solo projects, keyboardist Noah Landis’ outside collaborations with Kelly, drummer Jason Roeder with Sleep and even visual artist Josh Graham with A Storm of Light – has fed into that progression, but Neurosis at this point is like the temple to which these players – as well as bassist Dave Edwardson, whose work here and throughout the band’s discography is both overshadowed and essential – sojourn every few years, coming together for periodic shows from their various geographic locales in the western part of the country, California, Oregon, Idaho, and writing either via the internet, or individually, or some combination of that, or some mysterious other process. Perhaps distance is part of the reason it’s taken Honor Found in Decay (which, like everything Neurosis does at this point, is released on their own Neurot Recordings imprint) five years to materialize – engineer Steve Albini’s schedule might also have something to do with it – but even if so, the new full-length works quickly to justify the wait. Among the many hyperbolic things it is, it is the work of a group of artists unmatched in their relentless pursuit.
What exactly they’re pursuing could probably be the subject of a master’s thesis, but in the case of Honor Found in Decay, one need not look much farther than the album cover for some clue. Since 1993’s landmark Enemy of the Sun, but especially since 2001’s A Sun that Never Sets (the art for which came from the venerable Seldon Hunt), the visual presentation of Neurosis releases has been an especially apt statement of the mood of the album. Thanks to Graham, 2004’s more ambient, brooding The Eye of Every Storm came dressed in cloud-greys as though descended from some snowy mountain, weathered and tired, and Given to the Rising made its bleak, angrier perspective clear in its foreboding but still textural blacks. To look at Honor Found in Decay, then, Graham (who, judging by this and his cover for the forthcoming Soundgarden album, seems to have entered his “put stuff in a pile and take a picture of it” period; no complaints) brilliantly maintains the realistic aspects of Given to the Rising – a photograph, not a painting – while also feeding into a sense of ritual with candles and what looks like tribal-design covered armaments and keeping a connection to the land via the dirt and ash at the bottom. The lighting is natural, but there’s a human sensibility there too. You’re clearly in a room, looking at a wall behind, covered with pictures or who knows what, and there’s a workbench or some other shelving, covered in the chaos of a working life. It could very well be Graham’s studio space, I don’t know, but it gives that kind of impression, mirroring some of Honor Found in Decay’s more chaotic musical moments, like those of “All is Found… in Time”’s early stretches or the masterfully churning culmination of “Bleeding the Pigs.” So there is the earth, the bones, the ritual, the chaos, the humanity, and we can’t ignore the three spear or arrow points below the logo and title, so there’s violence as well, or at very least the aftermath thereof. It’s a scope no less encompassing than the songs themselves – all the more fitting for that – and the melding of browns and yellows with the black char underscores the central mood of the album, which is not as outwardly raging as was Given to the Rising, and still dark, but wizened, older seeming.
Interpretations will of course vary, but it’s important to keep in mind that Neurosis themselves are not that calculating or cerebral in their processes. Even if Graham was playing off the atmospheres in the songs in his creation of the cover art, there’s no doubt he had something completely different in mind than what I’ve stated above; the work’s success is in being evocative. In this as well the art stands in line with the audio density of Honor Found in Decay, the album’s atmosphere allowing the imagination to foster a host of visual landscapes and scenes – “Bleeding the Pig” being particularly vivid – while nonetheless crushing everything in its expansive sights with tonal and ambient weight and lyrics concerning time, kin, penance, nature and the passage from one to the next that the titular “decay” hints at. The progression between the songs is markedly fluid – Kelly discusses his feelings on structuring albums in the recent interview for his latest solo album – but because the personalities of the tracks are nonetheless distinct and representing individual ideas, it seems appropriate to engage them one at a time in a track-by-track analysis. I was back and forth on the idea, because I didn’t want to take away from how well Honor Found in Decay works taken as a whole – it should be taken as a whole, it’s not like Neurosis are writing 12 three-minute radio singles – but hopefully a better look at the pieces will lead to a more engaged understanding of the whole. We’ll begin with the opener, “We all Rage in Gold.”
1. We all Rage in Gold (6:36)
Shortly before the five-minute mark into late album cut “Water is Not Enough” from Given to the Rising, the song hit its peak in furious riffing topped with a kind of high-pitched swirl – presumably from Landis, but I wouldn’t count out the possibility of that being either Kelly or Von Till’s guitars, either – and that same kind of noise begins Honor Found in Decay. Here it is repurposed into a lonely, spiritual kind of digital smoke that winds its way up from silence to precede the opening guitar figure that becomes the basis tempo-wise for what follows. Edwardson joins with subtle rumble, and it’s all unassuming until at 54 seconds, “We all Rage in Gold” bursts to life, Roeder signaling the launch with a crash that brings the full version of the initial progression, surprisingly upbeat in its kick and higher-end while the bass underscores with runs that will stand out as some of the album’s best. The first vocal lines of the album are, “I walk into the water/To wash the blood from my feet,” and they resound the interplay between Kelly and Von Till that will ensue. The duo’s deliveries have grown so much in tandem with each other that it’s hard at times to pick out where the one or the other is singing when the themes are as consistent as they are on Honor Found in Decay – one always wants to credit Kelly with a harsher, angrier growl and Von Till with reverence to the land, but that’s no more a metric than anything – but they’re most effective and most serving the dynamic when they come together, as they do on the subsequent “At the Well” or the later “Casting of the Ages,” as well as elsewhere throughout. With “We all Rage in Gold,” it’s the encompassing whole that carries you with it, rather this or that element, though Kelly’s vocal readily displays the range of emotion he’s come to convey as a singer over time. Following an elongated verse, the song breaks at 2:41 to a quieter stretch – once again Edwardson’s bass shines from beneath the guitar – and when Roeder breaks on the drums, Landis chimes in to fill out the soundscape with foreboding keywork. A soft vocal line turns guttural at 4:05 and the instruments offer likewise explosion, rounding out the last two minutes-plus of the track with a slower push topped at first by throaty vocal lines, and then marches out instrumentally, strings arriving at 4:52 – I don’t want to assume it’s Jackie Perez Gratz on the cello, though she’s contributed to Neurosis before; if you told me Landis’ keys or a tape loop, I’d believe you; the noise is obscure but melodic – and rumbling to a close that feeds into the quiet opening of “At the Well.”
2. At the Well (10:05)
The core of “At the Well” is a linear build. It’s one of Honor Found in Decay’s most effective – going from near silence to raging cacophony in its 10-minute span – and made all the more so by various fluctuations between. A soft guitar strum and breathy Von Till vocal offer initial minimalism torn through at the one-minute mark by Roeder’s tribal drumming and distorted guitar and bass. They seem at first to plateau here, Von Till raging out a verse over Roeder’s precision thumping – presented, as ever, cleanly and naturally by Albini’s recording – and sustained, feedback guitars openly riffed, but even here there are changes taking place to signal movement in the overarching build. Flourishes of (what sounds like) slide guitar add to the tension being created, the stomach tightening for a release that comes 3:24, when Roeder adds cymbals to roughly the same rhythm, no less driving, and Kelly joins on in on vocals. The apex of “At the Well” is still a long way off, but that’s something of a preview, breaking to synth swirls, ambient guitar and backwards cymbal washes at 4:19, either sampled or real bagpipes bringing up a mournful feel that persists even as the instruments resume their lumbering trail, the slide guitar resuming, echoing behind the revived vocal line and fuller distortion. The line “Smoke from a gaping wound,” is a standout and should be telling in terms of the track’s overall impression at this point. They break again to quiet circa six minutes, Landis’ synth taking the fore once again, though a quiet guitar remains, and a likewise subdued spoken word recitation begins, culminating with the line, “Prophecy flows in whispers” before at seven minutes in, “At the Well” meets its payoff. It’s important to remember for the longer track that this is still relatively early into the context of the whole album, and though there’s no shortage of back and forth playing out, the line Neurosis draw is still very much moving forward. Nonetheless, it is with their own and so often imitated feeling of apocalyptic claustrophobia that they culminate “At the Well.” As has been the case thus far into Honor Found in Decay, there’s tension but no gradual swell. The song explodes. Its action is tornado violent. Eight repetitions of the lyric “In a shadow world” only make the churn more visceral before two guitar leads take hold, the first a wavering, plotted course and the second a buzzsaw that cuts through everything in its path – including Roeder’s increasingly manic tom runs – and threatens to derail the song entirely with the force of its plunder. Any other band and it might have, but the “In a shadow world” incantation resumes, this time for a course of 16 that acts as a foundation for additional vocals built on top of it, bringing in Edwardson to excellent effect alongside Von Till and Kelly, the first two blocks of four lines marking the changes and the last eight acting as the apex prior to the finishing crash and feedback hum at 9:41. Neurosis have arranged three-part vocals before – the prior instance that comes to mind most immediately is “Falling Unknown” from A Sun that Never Sets – but they employ it well here, and at the point “At the Well” crashes, it legitimately feels like there’s nowhere else the song could have gone. Like they pushed it to the very edge and then off the side of a cliff.
I’m not sure how much there is left to say about the magnitude of the work Italian space doom trio Ufomammut has done. The sense I get now in listening to the two full-length albums that comprise the whole of Oro, their Neurot Recordings debut, is that they’ll probably have another record out before this one is fully comprehended. One might have said the same thing about 2010’s Eve as well, but that doesn’t make it any less true.
Broken into the two parts Oro – Opus Primum(review here) and Oro – Opus Alter(review here), Ufomammut‘s latest outing has them continuing to plunder the reaches of tonal space. Their sounds are far-out psychedelic even as they seem to bear a tectonic crunch, like plates moving continents. Bassist/vocalist/keyboardist Urlo, guitarist/keyboardist Poia and drummer Vita have persistent as a set trio since 1999, and have never failed to outdo their prior work on the subsequent outing.
The strata that’s put them into, however, is entirely their own. Eve– which was preceded by 2008’s Idolum, also one of that year’s best — was one long composition broken into individual pieces. Orois one album broken into two releases. Do you see where this is going? In a few years, Ufomammut will be issuing 10LP box sets each time out. Maybe not, but what matters most of all is that as the scale of their work has expanded, so has their creative scope, and Orois the most vibrant Ufomammut release to date. One would have to expect no less.
I waited to interview the band until Oro – Opus Alterwas released so that the full project could be discussed, and today I have the sincere pleasure of hosting both that Q&A and a video premiere for Ufomammut‘s self-made clip for the track “Sulphurdew.” Similar to how opening track “Empireum” from Oro – Opus Primum made its way to the public, “Sulphurdew” arrives as a YouTube clip constructed by the Malleus Rock Art Lab, of which Urlo — who fielded these questions — and Poia are a part.
You’ll find both the “Sulphurdew” video and the complete Q&A after the jump. Please enjoy.
Posted in Features on August 17th, 2012 by JJ Koczan
Listening to Scott Kelly and the Road Home‘s The Forgiven Ghost in Me, it’s almost like Kelly — best known as the guitarist/vocalist of Neurosis — can’t escape the heavy. One doesn’t often think of folk-derived stripped-down singer-songwriterisms as being especially weighted, but even through lyrics about near-religious redemption and forgiveness, there’s a sense the spirit remains heavy. And more, the delivery remains heavy. Kelly, who is joined in The Road Home by guitarist/vocalist Greg Dale and Neurosis keyboardist Noah Landis and whose songcraft is at the core of the project, seems to just bleed the stuff.
Certainly the vast majority of his output over the last 25-plus years would bear that out, but more perhaps on The Forgiven Ghost in Me(review here) than ever before in Kelly‘s career, that sense of weight is given a counterbalance. Sure, tracks like “Within it Blood,” “We Let the Hell Come” and “The Field that Surrounds Me” — which features guests Josh Graham (A Storm of Light, also Neurosis‘ visuals) on guitar and Jason Roeder (Neurosis, Sleep) on drums — have darkened and foreboding atmospheres, but there’s an answer to them in “We Burn through the Night” and “A Spirit Redeemed to the Sun,” or even the title-track, “The Forgiven Ghost in Me.” One need only to look at the titles and find images of hell, blood, burning, the sun and fire, to get a sense of the penance that has been the price of even this partial redemption, but it’s there, anyway.
But more than this offsetting defeat and triumph, The Forgiven Ghost in Meis about the songs themselves. It is a gorgeous listen, reveling in its moodier moments but never quite letting go of its sullen melodicism. Flourishes of tape noise on the darker “Within it Blood” may seem on paper to work against, say, the deep breath that starts off the album before “A Spirit Redeemed to the Sun” begins, but in the actual listen, it’s fluid. Kelly is talking about the sharing of influences below when he posits that, “Music is a stream,” but you could just as easily apply that to the context of these songs and how he’s positioned them on the album.
In the interview that follows, Kelly discusses that positioning process, as well as his songwriting and what it was in these songs that seemed to warrant the input of Dale and Landis, as opposed to his 2008 outing, The Wake, which was directly a solo affair, and what separates Scott Kelly and the Road Home from his prior non-Neurosis collaboration with Landis in Blood and Time, and much more. Neurosis have a new album due for release in October called Honor Found in Decay (info here), but I wanted to focus this conversation more on The Forgiven Ghost in Meand the impact Kelly‘s solo work has had on a heavy underground that might not otherwise have so readily discovered the likes of Townes Van Zandt, to whom Kelly, Neurosis bandmate Steve Von Till and Shrinebuilder bandmate and acoustic tourmate Scott “Wino” Weinrich paid homage on the Songs of Townes Van Zandtthree-way split (track stream here) just a few months back.
He was as brutally honest in conversation as he is in his songwriting, as regards his work, what goes into it from and through him, and the influence it’s had on others.
You’ll find the complete Q&A after the jump. Please enjoy.
Posted in Reviews on August 16th, 2012 by JJ Koczan
Earlier this year, Italian space doom trio Ufomammut favored the world with the first half of their Neurot Recordings debut. Oro – Opus Primum (review here) remains a stunning achievement in an increasingly long string of them. 2010’s Eve (review here) was one of that year’s best, and 2008’s Idolum, 2005’s Lucifer Songs and 2004’s Snailking were resounding triumphs as well. Even their first album, 2000’s Godlike Snake (reissued in 2006) impressed in its scope, as did their 2007 collaboration with Lento, and like the universe their sound threatens to encompass at nearly every turn, Ufomammut seem on a course of endless expansion. The second half of Oro, appropriately dubbed Opus Alter, completes the two-part cycle and underscores how right it was for the band to break up the release in the first place. Taken as a whole, the two albums total 10 tracks and 94 minutes of overwhelming tonality, far-off echoing vocals and crushing psychedelic grooves. Oro is an astounding achievement from one of the most pivotal doom acts going. Make no mistake, its every thunderous moment rattles the ground on which it stands, but metaphorically and – if you turn the volume up loud enough to really let bassist Urlo’s low end shine through – literally. But released with Opus Primum and Opus Alter together as the double-album Oro, it might also have simply been too much. Instead, Opus Alter, which is about nine minutes shorter, is a fitting complement to its predecessor, and one that both affirms the ongoing growth of the band as that album presented it and continues to hint at further progression to come. Ufomammut did it right – two remarkable halves of a larger tracklist released in installments so that not a moment seems wasted and their listeners can fully appreciate what they’re doing. No single member of the band, be it Urlo, guitarist Poia or drummer Vita, is really doing anything so different on Opus Alter than they were on Opus Primum – it’s just that now the album has a second half.
It’s a strong one. Urlo and Poia provide prominent keys and synth work even before the doomed sub-shuffle of the instrumental “Oroborus” (one day I’m going to make a list of all the metal songs about ouroboros and the various spellings they use; perhaps this one is a pun on the album’s title) takes full hold, but once it does, there’s no doubt who you’re listening to. The song gets heavy twice. At 2:11, guitars kick in and it seems like the build established is hitting its peak, but then 30 seconds later, the bottom drops out on the low end and Oro – Opus Alter has truly begun. Ufomammut affect a landmark heavy psych build, and for a few minutes it seems like the song is going to live up to its name, just devour itself until there’s nothing left but the various swirls and noises that have come to be such a huge part of Ufomammut’s encompassing ambience, but a little before five minutes into the song’s total 7:55, there’s a break and the bass leads to a faster riff and beyond, to devastatingly heavy plod that finds Vita half-timing it on the drums, his cymbals nonetheless ringing clear the band’s crushing intent. They are so. Fucking. Heavy. The chugging guitar crashes cold, but noise fills out the break between “Oroborus and the subsequent “Luxon,” which – like all the tracks on Opus Alter safe for closer “Deityrant” – also starts quietly, gradually unfolding from its ambience. Deep, slow guitar chords announce “Luxon”’s stomp, and vocals are murky, far off and, to start, indecipherable, but like a distant chorus, they make themselves known anyway before at 1:45, the full breadth of the rumble kicks in and everything else plays off of that. Vocals remain obscure, as is Ufomammut’s wont, but come to the fore over a blissfully stoner groove led by Urlo’s swaying bassline and rounded out by Poia’s own low end. Of the material here, the opening of “Luxon” is among the most effective, though, and its development of parts isn’t exactly linear as opposed to one-into-the-next, but its flow is unquestionable, and there isn’t a turn Ufomammut present that seems out of place or confusing. That holds true as well going into the 12:19 centerpiece, “Sulphurdew,” which gets underway with a churning guitar figure filled out by synth noise and a steady beat from Vita until they reach the next plateau of their build. There are marked changes – another layer of guitar here, crash cymbals introduced here – but they occur in a steady progression of measures, almost so that you expect something to come without knowing exactly what.
Posted in Whathaveyou on August 13th, 2012 by JJ Koczan
No better way to start the week than this:
NEUROSIS: Title Of Eleventh Full-Length From Musical Pioneers Revealed
It is said that great art has the power to take us outside of ourselves and bring us closer to ourselves simultaneously. Few bands have accomplished this rare feat on a more profound and consistent basis than NEUROSIS. For nearly three decades, their music has touched the hearts and minds of young men and women seeking contact with something beyond the physical world, something intangible, something that expresses the inner tumult of the human condition in a way that transcends time and space. Something that not only provokes questions but maybe even hints at answers.
Since 1985 this matchless force has surpassed the boundaries of any genre, never ceasing to mutate and progress their songwriting and sonic delivery, and never failing to mesmerize audiences both in the studio and onstage. And as the anticipation from their diehard fanbase reaches a boiling point, this week NEUROSIS unveil the title of their eleventh full-length studio creation, which will manifest itself as Honor Found In Decay.
The follow-up to their acclaimed 2007-released Given To The Rising album, the music on Honor Found In Decay is both torturous and transcendent. It is the ongoing exposition of a vast internal dialogue that seems to carry the weight of eons. With the right kind of ears and eyes, it can seem like the trials and tribulations of mankind are being channeled through five individuals: Steve Von Till, Scott Kelly, Noah Landis, Jason Roeder and Dave Edwardson. And yet? They will be the first ones to tell you that they are just regular people trying to make sense of the world around them. Aided by Josh Graham, their resident visual guru, they transmit their interpretations through multiple sensory planes. The degree to which Neurosis allows them to step out of their everyday lives is the distance between one and zero, the distance between thinking and doing, the distance between this minute and the one that may or may not follow. Which is to say: NEUROSIS takes them outside of themselves and brings them closer to themselves. Simultaneously.
This next chapter in the evolution of NEUROSIS will see worldwide release through the band’s own Neurot Recordings this Autumn, in Germany October 26th, in the UK October 29th, and in North America on October 30th.
Further details on Honor Found In Decay will be made available over the coming weeks.
NEUROSIS: Scott Kelly – vocals/guitars Steve Von Till – vocals/guitars Dave Edwardson – bass Jason Roeder – drums Noah Landis – keyboards Josh Graham – visual effects, art
Neurosis continue their process of mysteriously teasing their upcoming, yet-untitled new album. You know what would be awesome? If they just put out the record, like, next week. If they pressed the whole thing in secret, got it out to stores on the sly, no advance notice, no track premieres, no advance press. Nothing. Just an album that came out and no one even knew the name of it or any of the songs until it dropped. Not bloody likely. Either way, these clips continue to pique the already-there interest in the first Neurosis release in half a decade.
Special thanks to Dutch heavy devotee Koen for sending along the below clip for this week’s Wino Wednesday inclusion. The video isn’t exactly loaded with pyrotechnics, but it is a straight line feed of the Shrinebuilder vinyl — not recorded from speakers, in other words — of Live in Europe 2010, and for the killer audio, I’m more than happy to take it. That spinning clear LP is pretty hypnotic, either way.
The song is technically more of a Scott Kelly jam — enough so that a version of the song wound up on his new Scott Kelly and the Road Home release, The Forgiven Ghost in Me (review here) — but anyone who’s heard that version and not this, perhaps because they (just a hypothetical) stubbornly refuse to start buying vinyl habitually, will be surprised at the disparity. Kelly‘s quiet croak starts out roughly the same in both versions, but as sent through Shrinebuilder — Kelly and Wino on guitar, Al Cisnernos on bass and Dale Crover on drums — it’s positively apocalyptic by the end, and a far cry from the mostly acoustic rendition.
Not a complaint. Either way you cut it, the song still has a weathered heaviness to it that’s engrossing, and with Shrinebuilder‘s mounting swirl towards the apex, it’s easy to get caught up in it. Since it made it onto Kelly‘s solo album, who knows whether “We Let the Hell Come” will show up on the next Shrinebuilder outing, or even when that will arrive, given everyone involved’s busy schedules. Nonetheless, on this Wino Wednesday, I hope you enjoy: