Posted in Whathaveyou on February 13th, 2017 by JJ Koczan
UK space groovers Sendelica have given word of the arrival of a new full-length, Lilacs out of the Deadlands, set for issue just in time for them to embark on their upcoming UK and European tour, the Italian segment of which is presented by Vincebus Eruptum Recordings. That label wing of the respected print ‘zine and certified cultural association has stood behind several of Sendelica‘s outings, including 2016’s I’ll Walk with the Stars for You, which you can hear below. I’m not sure if they’ll do a CD or vinyl release for Lilacs out of the Deadlands, but it seems more likely than not a physical pressing will surface eventually, one way or another.
As you can see below, not much word about the album for the time being other than it exists and has a cover. That says “digital first, everything else after,” pretty clearly to me, though of course my assumptions have been wrong before.
Tour dates follow as well, as posted by the band:
New Album And European Tour April 15th Look Forward To Seeing You All…
SENDELICA live: Sat 15th April Cellar Bar, Cardigan (With Here & Now) Sun 16th April Glastonbury King Arthur Avalon Ballroom Weekend Weds 19th April Crash Of Moons Club, Cantebury (Bramleys Cocktail Bar) Thurs 20th April Windmill Inn, Ashford Friday 21st April Re-Strung Harp, Folkestone Sat 22nd April Prince Albert, Brighton Thur 27th April Semifinal Helsinki, Finland Friday 28th April Baari, Turku, Finland Sat 29th April Vastvirta, Tampere Finland Fri 5th May Cairo, Wurzburg, Germany Sat 6th May Zychedelic, Nuremberg, Germany (With Julies Haircut) Monday 8th Brescia, Italy Weds 10th May Pescara, Italy Thur 11th May Bari, Italy Fri 12th May Lecce, Italy Sat 13th May Matera, Italy Sun 14th May Benevento, Italy Tues 16th May Roma, Italy Weds 17th May La Casa Del Popolo , Settignano (Firenze), Italy Thur 18th May Circolo Mesa, Montecchio (Vicenza), Italy Fri 19th May Roosters, Udine, Italy Sat 20th May Dazibao Tortona (Alessandria), Italy – VE Label Night (+ Da Captain Trips) Sun 21st May Beer Room Pontinvrea (Savonna), Italy VE Label Night (+ Dhvani) Thurs 25th May Ue17 Frestival, Karlsruhe, Germany
Posted in Whathaveyou on February 2nd, 2017 by JJ Koczan
Not that I’m not a pretty easy sell anyway on the notion of a CD/DVD live outing from UK melancholy deep-divers Antimatter, but the live video they’ve posted for “Monochrome” makes the case even stronger for Live Between the Earth and Clouds. That track originally appeared on 2012’s Fear of a Unique Identity (review here), and while the tracklisting below shows a couple of cuts from last year’s The Judas Table (review here) as well in “Black Eyed Man,” “Can of Worms” and “Stillborn Empires,” there’s also a fair bit of it that’s retrospective, which apparently fits with the theme of Antimatter‘s upcoming tour marking 10 years since the release of their fourth album, Leaving Eden.
If it seems odd that a band might tour their fourth record a decade later, it kind of is, but it makes sense when one considers that was the point when multi-instrumentalist/vocalist Mick Moss really took the reins in the group after the departure of co-founder Duncan Patterson. It really was the beginning of a new era for Antimatter, and one that finds them continuing to flourish today, as the aforementioned clip below for “Monochrome” shows.
Preorders are up now for Live Between the Earth and Clouds, which releases on March 3. Info on that and the tour dates follow:
Antimatter – Live Between the Earth and Clouds
The new live video ”Monochrome” from the upcoming 2-disc DVD/CD release ‘Live Between The Earth & Clouds’ (due 03/03/17) recently dropped.
It’s Antimatter’s debut concert film and was produced by Tomfoolery LTD (who took care of the ‘Stillborn Empires’ promo video), and mixed by Daniel Cardoso.
Brand new for 2017, the debut Antimatter concert film ‘Live Between The Earth & Clouds’ in a 2-disc DVD/CD 6-panel digipack from Music In Stone, is now available for pre-order from the official Antimatter store. €20.00 plus shipping.
Also available in a strictly limited to 100 ‘Unique Edition’ which comes with extra – handwritten & signed setlist by Mick Moss, hand-numbered ‘Live Between The Earth & Clouds’ postcard and ‘Live Between The Earth & Clouds’ guitar plectrum. €30.00 plus shipping. Both editions will be available throughout the upcoming ‘An Epitaph Tour’. ? Paranova Firewalking Black Eyed Man The Last Laugh Monochrome Uniformed & Black Over Your Shoulder Can Of Worms Leaving Eden Wide Awake In The Concrete Asylum The Parade Welcome To The Machine Stillborn Empires ? Filmed & recorded at De Boerderij, Zoetermeer, Netherlands. Produced by Daniel Cardoso & Mick Moss. Release date 03/03/2017
The DVD is released to coincide with the retrospective ‘An Epitaph Tour’, which launches on the same date, celebrating the 10th anniversary of the breakthrough album ‘Leaving Eden’, and exploring the setlist that should have been performed upon the albums release…
Dates are –
ANTIMATTER: ‘An Epitaph Tour’ 7 Mar – ‘BluesHouse’, Milan, IT 10 Mar – ‘Escape’, Vienna, AT 11 Mar – ‘GMK’, Budapest, HU 12 Mar – ‘Katafonia Jazz & Blues Club’, Katowice, PL 13 Mar – ‘Klub Hydrozagadka’, Warsaw, PL 14 Mar – ‘Protokultura’, Gdansk, PL 16 Mar – ‘Geyserhaus’, Leipzig, DE 17 Mar – ‘ L’Avouerie d’Anthisnes ‘Liege, BE ‘Festival Appearances’ 5 Mar – ‘Prog Dreams VI Festival’, ‘De Boerderij’, Zoetermeer, NL 18 Mar – ‘Darker Days Festival’, ‘The Musician’, Leicester, UK ‘Live Conspiracy’ 28 Apr – ‘Le Salem’, Le Haillan, Bordeaux, FR 29 Apr – ‘La Ley Seca’, Zaragoza, ES 30 Apr – ‘Les Enfants’, Barcelona, ES 1 May – ‘Magazine Club’, Valencia, ES
Everyone’s favorite plunderers-of-riff, Conan, are coming back to North American shores this May for a coast-to-coast run that includes stops at Maryland Death Fest 2017 in Baltimore and 71 Grind in Colorado Springs. The UK trio will of course be over supporting their battle-axe-to-the-side-of-the-head third album, Revengeance (review here), on Napalm Records, who present the tour alongside respected booker Nanotear.
Yours truly also has a logo on the poster, though I can’t actually take credit in terms of making any of it happen. Still, humbling to be involved at all in something that will be so god damned heavy. I feel compelled to note in the interest of full disclosure that no money exchanged hands as a part of this process — Conan frontman Jon Davis asked me if I wanted the logo on there and because I highly support the cause and because I’m no dope I said a quick hell yes. This content isn’t sponsored in any way. It just kind of came together, and again, I’m humbled and appreciative that it did.
The run begins on the West Coast this May 10 and goes through June 4, ending in Tucson. They’ll hit Canada for shows in Vancouver, Toronto and Montreal, and cover both sides of the US and in between, hitting major markets and suitably killer venues in the company of North.
Full list of dates follows the poster below. Check the bottom right corner. Dig it:
Conan Revengeance Tour 2017
05.10 Glendale CA Complex 05.11 Oakland CA Metro 05.12 Portland OR Dante’s 05.13 Vancouver BC Astoria 05.14 Seattle WA Highline 05.16 Minneapolis MN The Triple Rock 05.17 Chicago IL Beat Kitchen 05.18 Indianapolis IN 5th Quarter 05.19 Cleveland OH Now That’s Class 05.20 Pittsburgh PA Smiling Moose 05.21 Toronto ON Garrison 05.22 Montreal QC TBA 05.23 Boston MA TBA 05.24 Brooklyn NY Knitting Factory 05.25 Baltimore MD Ram’s Head – Maryland Deathfest* 05.26 Raleigh NC Kings 05.27 Atlanta GA 529 05.28 New Orleans LA Siberia 05.29 Houston TX White Oak 05.30 Austin TX Sidewinder 06.01 Denver CO Hi-Dive 06.02 Colorado Springs CO 71 Grind 06.03 Albuquerque NM Sister 06.04 Tucson AZ Club Congress * = no North
Posted in Whathaveyou on January 30th, 2017 by JJ Koczan
I have no problem admitting to feeling overwhelmed looking at the full lineup and individual day splits for Desertfest London 2017. I mean, seriously. Look at that poster. What a way to spend a weekend.
Likewise, I have few grand reflections to offer in light of that overwhelming feeling, except perhaps to take a step back and be massively impressed at how much this event has grown in just six incarnations. Along with Desertfest Berlin, the London edition has become an anchor not only for the UK heavy rock underground — which is well represented here as ever in Elephant Tree, Black Spiders, Stubb, Vodun, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Terminal Cheesecake, Chubby Thunderous Bad Kush Masters, Mammoth Weed Wizard Bastard, and so on — but for bands from abroad as well. You’ll note the three headliners: two American, one Norwegian, and the next line down on the poster is two Swedish, one American. Desertfest London 2017’s reach feels wider than ever. Staring at the final lineup, it’s clear just how much of a big fucking deal this festival has become.
Wish I could be there to see it.
Here’s the announcement of the individual day lineups from their website:
DESERTFEST 2017 DAY SPLITS AND DAY TICKETS ARE HERE!
Finally, the Desertfest 2017 day and stage splits are here, along with individual day tickets. It’s the point of the year where you can start planning the weekend, you can imagine the sets in your head and you can curse those god damned clashes.
Last things first, let’s get straight to that insane Sunday main-stage. To celebrate The Roundhouse joining the Desertfest family, we made their debut appearance something special. Not only will stoner doom icons Sleep be topping the bill, but the Roundhouse hosts a full bill of huge acts. Candlemass, with over three decades of underground acclaim to their name, bring the epic doom metal. USA’s Wolves in the Throne Room bring the atmospheric black metal. Traditional doom metal stalwarts Saint Vitus bring the classic riffs. And how about this for a ‘curtain jerker’? Bongzilla bring the raw weed metal for their second show of the weekend; more on the first later.
It’s not just about the Sunday though. Friday’s stage at the Electric Ballroom is headlined by returning heroes Slo Burn whose short run in the mid 90s furthered the then fledgling stoner rock scene. One band they surely had an impact on is Lowrider, who play Europe’s finest stoner rock alongside them. Ukraine’s Stoned Jesus celebrate their resonant album Seven Thunders Roar, and 1000Mods and Pontiak round up the main stage on the Friday.
The Electric Ballroom on Saturday will be swarming with Turbojugends as death-punk grandmasters Turbonegro turn Camden into party central. John Garcia sticks around for a solo show, sure to feature classics from his years of nonstop mastery in the stoner rock scene. Sheffield’s rock and roll five piece Black Spiders visit London for one last time on their farewell tour, with Satan’s Satyrs and Avon rounding up the main stage.
As ever though, it doesn’t stop at the main stages. Our regular partners have delivered three stages with diverse lineups. Human_Disease_Promo and When Planets Collide take over The Underworld on Saturday in a bill headlined by Bongzilla with a special set celebrating the band’s early work. The Quietus stage is led by synth wavers Zombi, and Nightshift Promotions bring an eclectic mix led by Hungary’s Apey & the Pea. To be honest, just stick a pin in the lineup poster and you’re guaranteed a good time.
For those who can’t make the full weekend, we have a limited number of individual day tickets. Priced at £40 for Friday tickets, £40 for Saturday tickets and £45 for Sunday tickets, links are below.
So there we have it. Our final lineup for Desertfest 2017. We hope you’re as excited as we are to get back to Camden this April and riff London to the ground.
DESERTFEST LONDON 2017 Final Lineup: SLEEP SLO BURN TURBONEGRO CANDLEMASS WOLVES IN THE THRONE ROOM SAINT VITUS JOHN GARCIA BAND BONGZILLA LOWRIDER SCISSORFIGHT BLACK SPIDERS SAMSARA BLUES EXPERIMENT THE PICTUREBOOKS STONED JESUS SATAN’S SATYRS INTER ARMA WEAR YOUR WOUNDS 1000MODS STEAK AVON DEATH ALLEY DEAD LORD BOSS KELOID PONTIAK YURI GAGARIN HARK VODUN CHRON GOBLIN PIGS PIGS PIGS PIGS PIGS PIGS PIGS THE WELL MAMMOTH STORM CELESTE STUBB MONOLITHIAN WUCAN VENOMOUS MAXIMUS BRUME APEY & THE PEA ELEPHANT TREE GRAVE LINES IRON WITCH EARTH SHIP BACKWOODS PAYBACK WIZARD FIGHT BRULE CLOSET DISCO QUEEN GRAND MAMMOTH CHUBBY THUNDEROUS BAD KUSH MASTERS MAMMOTH WEED WIZARD BASTARD SAMAVAYO WELCOME BACK DELTA DEAD LETTUCE MONSTERTONE LEDFOOT ZOMBI TERMINAL CHEESECAKE KHÜNNT BASK BRUXA MARIA
Posted in Whathaveyou on January 28th, 2017 by JJ Koczan
Sad news today from the camp of heavy metal forebears Black Sabbath, who report that longtime keyboardist Geoff Nicholls has died following a long fight with lung cancer. Nicholls, who occasionally also contributed rhythm guitar and bass to the band on stage, was a rarely-seen but often-heard presence in Sabbath, adding texture to the crucial albums of the band’s first era post-Ozzy Osbourne and taking part in the great expansion of their sound that 1980’s Heaven and Hell and 1981’s Mob Rules represented, as well as the continuing process of remaking the aesthetic the band helped create across outings like 1983’s Born Again, which brought in Ian Gillan to replace Ronnie James Dio, and into the Tony Martin years with 1987’s The Eternal Idol, 1989’s Headless Cross, 1990’s Tyr, their Dehumanizer 1992 Dio reunion LP, 1994’s Cross Purposes, and 1995’s Forbidden, which brought Martin back into the fold.
During this time of change for Sabbath, Nicholls was a steady presence alongside founding guitarist Tony Iommi amid an often tumultuous lineup. Some of his greatest work can be heard on these under-heralded outings, as well as on 1982’s Live Evil, and though he doesn’t receive the same kind of credit as Iommi, Osbourne, original bassist Geezer Butler or drummer Bill Ward, the atmospheric crux he was able to bring to Black Sabbath during his years with the band still resonates in their ongoing influence on metal in both the commercial and underground spheres.
Nicholls continued to play with Sabbath through their first reunion with Osbourne in the late ’90s, appearing on the single “Psycho Man” and on the 1998 Reunion live album, and into the middle of the last decade, also working with Iommi on the 2004 side-project, The 1996 DEP Sessions. His last appearance on a Sabbath record was 2007’s Live at Hammersmith Odeon, which captured recordings from the early ’80s, but in 2016, he would rejoin with his former bandmates in Quartz to release Fear No Evil, their first album since 1983 and his final studio appearance.
Said Tony Iommi of Nicholls’ passing:
I’m so saddened to hear the loss of one of my dearest and closest friends Geoff Nicholls. He’s been suffering for a while now with lung cancer and he lost his battle this morning. Geoff and I have always been very close and he has been a real true friend to me and supported me all the way for nearly 40 years. I will miss him dearly and he will live in my heart until we meet again.
Rest In Peace my dear friend. Tony
On behalf of myself and this site, condolences to the friends and family of Nicholls as well as to the fans who have appreciated his work over the last five decades.
Black Sabbath are in the process of winding down their farewell shows prior to a reported retirement. Their most recent album, 13, was released in 2013.
Posted in Whathaveyou on January 23rd, 2017 by JJ Koczan
Why would they take a new lineup picture if they weren’t?
I’ve heard Iron Monkey quoted as one of the UK’s least likely reunions. Between former drummer Justin Greaves moving on to a host of outfits including Crippled Black Phoenix and the June 2002 death of vocalist Johnny Morrow, one had to agree the prospects weren’t great. And while I don’t have confirmation of anything in the works in terms of recordings, new material, shows, fest appearances or anything more to go on than a new photo of guitarists Jim Rushby and Steve Watson and drummer Brigga below and the concise first post they put up on a new, seemingly-official Thee Facebooks page, again, it brings back the question above: Why would they bother even going that far if they weren’t reactivating on some level?
Hard to estimate the impact of Iron Monkey‘s two studio full-lengths — 1996’s Iron Monkey and 1998’s Our Problem (box set review here) — because, quite frankly, that impact is still spreading. Their foundation in hardcore echoed US bands like Buzzov*en and Eyehategod to an extent, but in a pre-social media era, Iron Monkey formed in 1994 and immediately set about conveying a rawness all their own. That would lead to their being picked up by Earache Records after a first issue of their self-titled debut in ’97 — the label put it out again in ’97 — and Our Problem behind it, and while that pair, a 1999 split with Church of Misery and 2002’s Ruined by Idiots live compilation would comprise their total discography (to-date), an entire generation of acts has continued to walk the path that Iron Monkey helped forge.
So what’ll it be? Festival appearances seem most likely, but I wouldn’t speculate as to what and when. Needless to say, nailing down an Iron Monkey reunion is a coup for anyone who’s managed to do it, and until we know more about what’s to come, the only thing to do is keep watch for info as it arrives.
Interested to know as well what Earache has to say about it. For now, this is what we have to go on:
Since the better part of a year ago, when it was first announced that woods-worshiping UK four-piece Alunah had signed to Svart Records for the release of their next album, I’ve been dying to hear how their tones — so gracious and consuming as they’ve become, most recently demonstrated on 2014’s Awakening the Forest (review here) — would sound as captured by producer Chris Fielding, bassist of Conan and engineer at Skyhammer Studio. We get a first sampling in Alunah‘s new video for “Fire of Thornborough Henge,” and it’s been worth the wait. The fuzz is maintained, the clarity refined, and as guitarist/vocalist Soph Day enters into layers of self-harmony, she seems to do so with a greater spaciousness around her than ever before.
It seems to be a habit of mine that whether or not Alunah actually have an album coming out that year, they make the list of most anticipated records. Well, Solennial will be out on March 17 via the aforementioned Svart, and preorders are up now, so this thing is definitely happening. I can only encourage you to dig in as Soph, fellow guitarist Dave Day, bassist Daniel Burchmore and drummer Jake Mason unfurl an initial taste of Alunah‘s fourth full-length, holding fast to crucial elements of their sound — even going so far as to reference Awakening the Forest in the lyrics — but showcasing immediate expansion as well in sound and approach. Holy crap I’m looking forward to this record. More than I already was.
Info and links follow the clip. Check it out and enjoy:
Alunah, “Fire of Thornborough Henge” official video
ALUNAH – FIRE OF THORNBOROUGH HENGE VIDEO AND SOLENNIAL PRE-ORDER
We have a double surprise for you. Today we would like to share our music video for ‘Fire of Thornborough Henge’ and also to inform you that pre-orders are now available for our upcoming album Solennial!
Solennial will be released on 17th March via Svart Records and pre-orders will be available up until 28th February. The first 100 orders from the Alunah store will receive a limited edition embroidered patch, and you can choose from limited edition bone white vinyl, black vinyl or digipak CD:http://www.official-alunah-store.co.uk/
We are playing the following UK dates in support of “Solennial.” A European tour to follow is currently being worked on.
Alunah live: Friday 31st March: The Chameleon, Nottingham Saturday 1st April: The Moon Club, Cardiff Thursday 6th April: The Flapper, Birmingham Friday 7th April: Bannermans, Edinburgh Saturday 8th April: Rebellion, Manchester Sunday 9th April: The Lounge, London
Later this year, UK heavy overlords Orange Goblin will celebrate 20 years since the release of their first album, Frequencies from Planet Ten. The nine-track outing surfaced via Rise Above Records in fall ’97, following their split 7″ the year before on the same label issued under their original moniker, Our Haunted Kingdom. It was the beginning of what’s become one of heavy rock’s most storied journeys, and while there have seemed to be times when the London outfit have been doing nothing except waiting for the world to catch up to them — say, the five years between 2007’s Healing Through Fire and 2012’s A Eulogy for the Damned (review here) — they’ve never compromised either their assault or their creative will, and both got their beginning in these nine tracks. It was also a different time. Probably fair to call Frequencies from Planet Ten “stoner rock” for the Sabbathian loyalism it shows in the shuffle of “Saruman’s Wish” or the trippy Monster Magnetism that crops up in opener “The Astral Project,” but already in those cuts, in “Aquatic Fanatic,” “Land of Secret Dreams” and the eponymous “Orange Goblin,” one can hear the roots of the gruff, harder-driving path Orange Goblin would stomp as their sound took shape across their subsequent two full-lengths, 1998’s Time Travelling Blues (discussed here) and 2000’s The Big Black (discussed here), the then-five-piece making an unholy trinity of their first three albums the influence of which continues to reverberate today, especially in London’s fertile heavy rock underground.
Safe to say no one knew that was going to happen 20 years ago, but in addition to being relatively early adopters of a classically heavy sound in the late ’90s and a blueprint others would follow, Orange Goblin showed immediate distinction in their songwriting on Frequencies from Planet Ten. It’s not a perfect album and I don’t think it was meant to be — remember, this was the era of wider-adopted use of ProTools and other digital recording methods, so they were perhaps reacting to that in going for a live sound — but its rawness is only an asset in the forward thrust of “Magic Carpet” or “Aquatic Fanatic,” and vocalist Ben Ward, guitarists Joe Hoare and Pete O’Malley, bassist Martyn Millard and drummer Chris Turner (as well as Duncan Gibbs on keys) cleverly played psychedelics off their more straightforward material, both within in and between songs, so that as “The Astral Project” opened and set a spacious tone, “Magic Carpet” would soon answer by hitting the ground running with a wah-bass and drum boogie that turned into a post-Kyuss push that few making the rounds at the time could match in its tone or execution. Likewise, “Orange Goblin” and closer “Star Shaped Cloud” seemed to reinforce the structure, working at a middle-paced nod and a trippy build, respectively, to round out Frequencies from Planet Ten with an emphasis that while the two weren’t by any means mutually exclusive within their sound, a given track didn’t necessarily need to be aggressive in the metallic sense to be vigorously, righteously heavy.
Of course, over the subsequent two decades, Orange Goblin would become known for plenty of ferocity on their own level. From 2002’s Coup de Grace through 2004’s Thieving from the House of God, the aforementioned Healing Through Fire and A Eulogy for the Damned, as well as their latest outing, 2014’s Back from the Abyss (review here), they’d continue to refine, sharpen and tighten their approach to a point of impact that, by three years ago at least, was positively Motörhead-esque. And while that may have been a long, long way from where Frequencies from Planet Ten saw them start out, they were no less Orange Goblin than they’d ever been (unless you count the actual numbers of their mid-aughts change from a five- to a four-piece with the departure of O’Malley). While they’ve offered many, the most resonant lesson of Orange Goblin‘s tenure — which is hardly over; I’ve heard word of a new album this year on Spinefarm and they continue to tour — has proven to be that when you believe in what you’re doing and if you’re willing to stay true to that in the face of external trend, market, whatever, and if you’re right, you can make yourself a leader. They’ve certainly done that, and looking back on it nearly 20 years later, Frequencies from Planet Ten still kicks ass with what’s become Orange Goblin‘s signature footprint.
As always, I hope you enjoy.
I needed something of a pick-me-up this week, as it’s been a tough one at work. Add to that the fact that Tuesday night I woke up around 1:30AM and never got back to sleep, so went into Wednesday with about four hours of extra-unfortunate consciousness, and yeah, it was even harder. Stressful. Corporate living.
But the whole of today was awesome, so it seemed only fair to close out the week in that fashion as well. I hope yours was good. I’ve got family coming north this weekend — my mother and nephew — and am looking forward to that as well as to a couple hours of relaxed coffee sipping and writing in the mornings. It’ll be a good time. I’m exhausted, but not nearly so miserable as I was, say, Wednesday afternoon circa 2PM. Easy low point of the year so far, if you’re keeping track.
Next week is pretty full already, which I’ll take. I’ve slated reviews for the next however long, and some of it might get interrupted as premieres come in (that happened today, actually, with the John Garcia), but here’s how it looks at the moment:
MON: Eternal Elysium review & Basalt video premiere.
TUE: Electric Funeral Cafe Vol. 3 comp review & Hornss video premiere.
WED: Vinnum Sabbathi review.
THU: Aathma album stream/review.
FRI: Either a Buddha Sentenza review or a new podcast.
I’ve set Monday, Jan. 23 as the date for launch of my 2017 most anticipated albums list, but that might change as the list has over 100 bands at this point — I will not be writing them all out like last year; nobody read it, nobody cared and the post almost collapsed under its own weight — and has become a beast to organize. Some selection of 35-40 picks will be written out, the rest broken up either by how likely they are to show up or some other standard. I’ll sort it all this coming week, hopefully. Definitely by the end of the month.
Anyway. Thanks for reading this week and I wish you the kind of great, safe and recuperative weekend that I’m hoping to have. Please check out the forum and the radio stream.