Youngstown on my mind…

As I type this, I’m getting ready to head out to Days of the Doomed III in Wisconsin, and I can’t get on Route 80 and head out past Pennsylvania without at least tipping my hat — note: I never wear hats; ask me about it sometime — to Youngstown, Ohio, which played host to the glory days of the Emissions from the Monolith festival. Held at the Nyabinghi and masterminded by Greg Barratt (also at the time of Tone Deaf Touring), it was for many a Memorial Day weekend unlike any other.

I only had the opportunity to go once, in 2006, where as well as humbly introducing myself to Johnny Arzgarth and handing him a demo from my band, I was “voted off the island” by a buddy of mine who I’m pretty sure was on shrooms at the time. Can’t lie, that still hurts a little, but I guess I had it coming.

But Emissions was the place to be, and as I anticipate driving past Youngstown and maybe making it my stopping point as I divide up the trip to Days of the Doomed III (which has its own atmosphere; less weed, more beer), it seemed only prudent to dig up some Emissions footage for Wino Wednesday. There isn’t much out there, but The Hidden Hand played in 2004 — I actually posted another clip from the set for the second Wino Wednesday post ever — and though the quality isn’t great, I’m sure there are attendees whose memories are even fuzzier. It went like that sometimes.

Spirit Caravan also were supposed to play in 2001, but no dice there. In any case, whether you ever got to Emissions or not — there are some who speak of it as a religious experience; a Hajj of riffs — I hope you enjoy “The Last Tree,” which appeared on the first Hidden Hand album, Divine Propaganda, in 2003, and I hope you have a great Wino Wednesday:

The Hidden Hand, “The Last Tree” live at Emissions from the Monolith VI, 2004

Reissued in 2006 on CD through MeteorCity and vinyl through 20 Buck Spin, the 1991 Lunar Womb sophomore outing by The Obsessed still seems underappreciated on repeat listens. It was the recorded debut of the lineup of drummer Greg Rogers, bassist Scott Reeder and guitarist/vocalist Scott “Wino” Weinrich — then winding down his tenure with Saint Vitus following the release of V in 1990 — and indeed the only album this trio would put out. By the time The Obsessed got around to releasing the follow-up, 1994′s The Church Within, Reeder was long since departed to Kyuss and replaced by Guy Pinhas.

Reeder winds up a major contributor to Lunar Womb, whether it’s his bass coming to the fore on the later “No Mas” or his taking lead vocals on second track “Bardo” or side B’s “Back to Zero,” but the album is best taken as a whole and on that level, it’s easy to see how it became so central to the blueprint of modern traditional doom. From Wino‘s dreary riffing on the title-track to the faster rush of “Spew” and the ultra-primitive “No Blame” to the muffled heartbeat noises that cap closer “Embryo,” the completeness of Lunar Womb as both an overarching flow of songs and a collection of individual standouts isn’t to be overlooked.

It’s easy to argue the enduring appeal of Lunar Womb and its tracks is part of why The Obsessed have been able to reunite to such fanfare at fests like Roadburn and this year’s Maryland Deathfest (video posted here). With production from the band along with Mathias Schneeberger and the striking Saturn Devouring His Son (circa 1819) cover art by Spanish painter Francisco de Goya, the album taps into a timeless sphere of doom that’s perhaps even more resonant with 22 years of hindsight than it was at the time. After hosting the band’s 1990 self-titled debut a couple weeks back, it seems only fair to give some follow-up.

Here’s The Obsessed‘s Lunar Womb in its entirety. Enjoy and have a great Wino Wednesday:

The Obsessed, Lunar Womb (1991) in Full

Sandwiched in the rather considerable Stage 1 lineup by Weedeater and the Melvins, with Down headlining, The Obsessed played Maryland Deathfest XI this past Saturday as part of a far reaching roster of talent that found them joined on other stages by acts like Aosoth, Weekend Nachos and Broken Hope. Just in case you had any idea what to expect, ever, I guess.

The footage below was filmed by Frank Huang, whose venerable dedication over the years has resulted in a staggering catalog of clips you can check out here (among other places), and who caught The Obsessed just as they were starting into “Hiding Mask” from 1991′s Lunar Womb. I don’t know where that was in the set, and if he was just using the fest’s backline — one of these years I’ll get to an MDF, I swear it — but it’s kind of cool to see and hear Wino playing through Emperor heads and cabs, which capture the low end of his fuzz really well. “Hiding Mask” has that quintessential mid-paced groove that a lot of The Obsessed‘s stuff nestled into, and though the vocals are down in the video, you can still get a feel for what the trio were getting up to this weekend.

Speaking of “the trio,” you might note bassist Reid Raley in place of Guy Pinhas, who’s currently playing with Victor Griffin in In~Graved, who recently returned from a European tour that included stops at both Desertfests, Roadburn and Doom Shall Rise and who will also be playing Days of the Doomed III next month in Wisconsin — so yeah, plenty busy. Raley you might recognize from Arkansas’ Rwake, but he fits in well with Wino and drummer Greg Rogers, both of whom kill it on “Hiding Mask” and “Mourning” from 1994′s The Church Within, which follows immediately.

This video has been making the rounds on Thee Facebooks — unless my feed is just unusually Wino-centric, which is possible — but as it’s so brandy new, I thought it was worth including it here for Wino Wednesday as well. Enjoy:

The Obsessed, “Hiding Mask” & “Mourning” at MDF XI, May 25, 2013

In addition to performing as the headlining act with The Obsessed, Wino joined Conny Ochs last September at the 2012 South of Mainstream fest for a set of material from their Heavy Kingdom album, released earlier in the year. That they’d appear at the German fest is only fitting – Wino & Conny Ochs‘ Heavy Kingdom came out on Exile on Mainstream, the imprint which also curates the festival, and it was the label that brought the two together for a tour in the first place, when Wino was out in Europe supporting his Adrift solo acoustic debut. Alongside labelmates Black Shape of Nexus, Darsombra, Stinking Lizaveta and many others, the duo took part in an eclectic three-day happening that, by all the accounts that I’ve seen, lived up to its name. Right on.

By the time they played “Crystal Madonna” on Sept. 7 at South of Mainstream, Wino & Conny Ochs had already given the new song — that is, written after the release of Heavy Kingdom or at very least not included on the album — considerable road time on their US tour. They played it when I saw them in Brooklyn, and its ultra-moody vibe was certainly palpable then. It would seem the couple weeks since that gig didn’t diminish the spirit of the song any, if the video of the South of Mainstream performance is anything to go by. The sound is just a little blown out — just a little — but especially in washed out black and white, both the classic songwriting and the depressive spirit of the piece really shine through. I heard rumors kicking around not too long ago of a second Wino & Conny Ochs album, and hopefully that materializes sooner or later. If this is a look at what a sophomore outing might entail, it seems like a worthy undertaking.

Enjoy and have a great Wino Wednesday:

Wino & Conny Ochs, “Crystal Madonna” Live at South of Mainstream 2012

After wrapping a stint opening for Clutch, Mondo Generator and Saviours on the former’s annual holiday run, Wino and the other support acts headed out to ring in 2013 on their own, crossing the country on a nine-day trek from New York to L.A. The full Wino set from the Pittsburgh gig Jan. 4 at the 31st St. Pub was taped by the company Digitalive Productions and featured here back in January, but it turns out that Wino also sat in with Saviours for a Motörhead cover of the song “Limb from Limb” that Digitalive also caught on tape — or, more likely, SD card — in a multi-camera shoot.

Really, that’s about all I need to hear before I’m ready to climb on board. You’ve got Wino doing a guest spot with the California-based heavy thrashers on a cover tune? Yeah sure, I’ll check that out. What makes this clip even better — aside from the production value — is how tight the cover actually is. Considering they’d only been on tour three days at this point (maybe they’d done it while on the road with Clutch, but they didn’t do it in Allentown when I saw that tour), they’ve more or less got it down with the double-guitar treatment, and of course Wino‘s vocals bring that seething edge to the song that he’s been heralded for all these many years.

“Limb from Limb” originally appeared as the closer of Motörhead‘s 1979 sophomore outing, Overkill, and if nothing else, this version shows the universal nature of the Motörhead influence, since if you sat down to search out every rock song since that used that riff, by the time you finished there’d probably be 30 or 40 new ones to find. Usually how it goes with Motörhead, especially old Motörhead.

This is week number 87 of Wino Wednesday. Hope you have a good one:

Saviours w/ Wino, “Limb from Limb” live in Pittsburgh, 2013

Some might recognize artist Tom Denney from his contributions to the band I, Klatus or his Doomed Messiah video ‘zine series, but he’s also done graphics for a slew of t-shirts, album covers and even stage animations. This week’s Wino Wednesday clip is the Denney animation used for Saint Vitus‘ 2010 European tour, set to the song “Dying Inside” from 1986′s mega-classic Born too Late.

Now, if there’s one track that’s been featured the most for Wino Wednesday, it’s probably “Dying Inside.” Look for yourself. On multiple occasions throughout the 80-someodd weeks we’ve had it going, “Dying Inside” has been posted several times, but I figure I probably won’t hear any complaints, what with the song kicking ass and this being a different context. If you don’t like it, wait a week and I’ll come up with something else.

Denney‘s work almost always has a dark, psychedelic feel to it, and this clip is no exception. There’s a plug at the end for his website (tomdenney.com) and it’s definitely worth checking out if you get the chance and have an interest in the visually fucked up and want to see designs for the likes of Cannibal Corpse, High on Fire, The Midnight Ghost Train, Cephalic Carnage and a ton of others across a wide spectrum of heavy.

In the meantime, here’s the “Dying Inside” animation. Hope you dig and have a great Wino Wednesday:

Saint Vitus, “Dying Inside” stage animation by Tom Denney

Aside from being the album that gave us the tagline, “If it ain’t heavy, it ain’t shit,” which Wino put right on back for all to see, the self-titled debut from The Obsessed has wound up as one of the most pivotal releases from the man’s many-storied career. It was put to tape in 1985 with the lineup of Scott “Wino” Weinrich on guitar/vocals, bassist Mark Laue and drummer Ed Gulli, but not issued until some five years later in 1990. That same year, Saint Vitus released V, which would be their last album with Wino on vocals until 2012′s Lillie: F-65, and of course when The Obsessed released the follow-up to the self-titled, Lunar Womb, in 1991, it was with the formidable rhythm section of Scott Reeder on bass and Greg Rogers on drums.

That makes The Obsessed‘s The Obsessed something of a standout. Originally put out on Hellhound Records, it was reissued on Tolotta in 2000, a time when Wino had already moved on past the Obsessed reunion of the ’90s that resulted in Lunar Womb and 1994′s The Church Within and onto the trio Spirit Caravan, who released their first album, the classic Jug Fulla Sun, on Tolotta in 1999. It’s a long, winding history, but what it rounds out to is that The Obsessed‘s self-titled, even when it was new, wasn’t, and when it came out the second time around, it was already an artifact from a defunct band.

I know I’ve said in the past that I think The Obsessed could stand a reissue, but I think if you take a listen to it below, you’re probably likely to agree. The album isn’t flawless by any means, it has its moments of drag, but as well as kicking ass, it stands as a testament of the underappreciated nature of traditional doom as a whole. At very least, it’s worth putting on in celebration of another Wino Wednesday, and I hope you’ll do just that.

Enjoy:

The Obsessed, The Obsessed (1990)

“Purple Neon Dream” was the opening track on the last and most progressive of the three The Hidden Hand albums, The Resurrection of Whiskey Foote. Compared to some of what follows it, I wouldn’t go as to call it a highlight, but it does its job well enough. Like a lot of the record, it seems to lose its sense of structure about halfway through and just kind of collapse at its ending, which, incidentally, is also what the band did after The Resurrection of Whiskey Foote came out.

Be that as it may, and whatever brought about their end before they could do another full-length — by all indications it seems to have been a falling out between Wino and bassist/vocalist Bruce Falkinburg — The Resurrection of Whiskey Foote is a standout in the Wino catalog for how its textures unfold. Where sometimes Wino‘s heavier material retains the stripped-down structured feel of his acoustic work, the final Hidden Hand outing didn’t, and both Wino and Falkinburg pushed the band’s sound to places it hadn’t gone on either of the two prior albums.

All the more interesting, then, that Wino should wind up in Germany being recorded playing the song acoustic in what looks like a kickass shag chair in a kickass living room. The clip below of “Purple Neon Dream” predates Wino‘s acoustic debut, Adrift, by some three years, but it’s plain to see the roots of what would become that album taking shape in the below. Of course, in the interim, Wino‘s Wino trio would release their only LP, Punctuated Equilibrium (2009), followed all too soon by the death of bassist Jon Blank, and Wino would front the reformed Saint Vitus on European and US tours in 2009, so there were certainly plenty of other factors to consider in going from one to the next.

Still, this one’s a great listen. Hope you enjoy and have a happy Wino Wednesday:

Wino, “Purple Neon Dream,” Acoustic in 2007

In one of a very long list of guest appearances, Wino played guitar and sang with Royal Trux vocalist Jennifer Herrema on a cover of the Rolling Stones‘ “Sway” that was used as the B-side to a Herrema collaboration with Kurt Vile released as part of Volcom‘s vinyl series a year ago. The plugged-in studio version of the track was premiered here to mark the release (by amazing coincidence, it went up while I was in Europe last year), and it was something different from nearly everything else in Wino‘s sizable discography, even the acoustic stuff.

But it’s that acoustic stuff — namely his late-2010 mostly-unplugged solo debut, Adrift (review here) — that had Wino doing an in-store Jan. 15, 2011, at Volcom‘s L.A. retail store, where Herrema joined him in front of some snazzy pairs of slacks and button-downs to take on “Sway” live. I don’t know how the duet came about and if it was this performance that perhaps sparked the studio version that would be released more than a year later, but it’s out there and as well as it worked in the finished product, I think I might like the live version even better.

Not to mention Herrema‘s poncho looks comfortable as hell. Here’s the live version of “Sway,” recorded in Los Angeles on Jan. 15, 2011. Please enjoy and have an excellent Wino Wednesday.

Wino & Jennifer Herrema, “Sway” (Rolling Stones cover) live at Volcom in L.A.

Looking back on it now more than a year later, one of the things I most enjoyed about the 2012 Heavy Kingdom debut from Wino & Conny Ochs (review here) was that it wasn’t one-sided in any way. Whether it was either player leading through one song or another, Wino working in an electric guitar solo, Ochs‘ unrepentant emotionality, or just the mood of an individual track, for what was a collection of pretty minimalist arrangements, the two songwriters managed to capture a surprising amount of variety. It wasn’t all downers, it wasn’t all upbeat hopes for a better life.

Dynamic is the word I’m looking for, and the live performance was even more so. I was lucky enough to see Wino & Conny Ochs support Heavy Kingdom more than once, in Brooklyn and at Roadburn 2012, and between tossing in new material and covers not present on the album and reworking vocals on songs from how they appeared in the studio versions to better hone in on the duo’s developing harmonics, both times I caught them, it was an exciting and spontaneous show. As this week’s Wino Wednesday clip of “Vultures by the Vines” demonstrates, that was apparently the case throughout their European tour.

Which makes sense. Ochs and Wino got together in 2011 while the latter was on tour for his Adrift solo acoustic debut (review here), so that their chemistry should grow with increased road time isn’t unexpected. That’s usually how it works with any collaboration, band or even solo performer. This video for “Vultures by the Vines” was taken just 10 days before I saw them at Roadburn, so it’s pretty consistent with where they were at around that time. There are a couple cuts from the same show out there, but I liked this one best. Hope you enjoy as well.

Happy Wino Wednesday:

Wino & Conny Ochs, “Vultures by the Vines” Live at Cafe Cairo, April 3, 2012

Conny Ochs‘ new album, Black Happy, is available now. More info at his Thee Facebooks page or the Exile on Mainstream website.

I guess this show and the circumstances surrounding have become something of a tale to tell. In 2010, the supergroup Shrinebuilder were en route to play Roadburn and tour Europe to promote their self-titled debut and only album to date. Coming from the Western Seaboard, where all the members of the band — Scott Kelly and Wino on guitar/vocals, Al Cisneros on bass and Dale Crover on drums — were located, they got as far as New York before their flight was grounded like so many others at the time.

Not to be completely undone by that volcano — whose mere name, Eyjafjallajökull, strikes syllabic terror into the hearts of pronunciation guides everywhere — Shrinebuilder booked themselves a last-minute gig at Brooklyn’s Club Europa. While they were in town, they also recorded a session with Andrew Schneider for Coextinction Recordings that’s been featured here before. They had been to New York for a show about a month before and of course around the time the album came out as well in 2009 (review here), but as it was such a bizarre situation, and as they haven’t been back since, the Europa show has taken on a mystical kind of quality — not that anything these guys did wouldn’t already have had one.

Shrinebuilder did finally get to Europe, and they played Roadburn in 2011 as not the only act on the bill to be carried over from the year before. A self-released Live in Europe 2010 vinyl commemorated the experience, but since they basically started out as a headlining act because of the members’ pedigree in Neurosis, Sleep, Saint Vitus (etc.) and the Melvins, those earlier Shrinebuilder shows featured a couple covers, and on this one from Brooklyn of Creedence Clearwater Revival‘s “Effigy,” Crover and Wino show a classic rocking side of Shrinebuilder that was unlike anything else they did.

Enjoy and have a great Wino Wednesday:

Shrinebuilder, “Effigy” at Europa, Brooklyn 04.16.10

The first thing you hear is that unmistakable wall of fuzz. I was fortunate enough to be standing on the balcony in the Green Room at the 013 in Tilburg when the Wino trio — Scott “Wino” Weinrich on vocals/guitar, Jon Blank on bass and Jean Paul Gaster on drums — played the set that’s captured on Live at Roadburn 2009, and though it’s a work that will probably always carry with it an element of tragedy — Blank would die of an overdose a few weeks after returning home to the States — there’s no denying the potency of the three-piece in this live setting. If anything, Live at Roadburn 2009 (review here) is only made sadder by how good it is and how much potential this partnership had, should it have been able to continue and flourish as its own unit.

Of course, Wino and Gaster (who was on loan from his main outfit, Clutch) were the headlining names, but to hear how well Blank stood up to both of these marquee players in filling out “Sunblood” — which originally appeared on The Hidden Hand‘s first full-length, Divine Propaganda, in 2003 — it’s obvious he was the right guy for the job. In addition to the setlist that spanned Weinrich‘s discography and included cuts from The Obsessed (“Neatz Brigade,” “Streetside” “Skybone” and “Streamline”), Spirit Caravan (“Lost Sun Dance”) and the aforementioned The Hidden Hand in addition to the Wino album, Punctuated Equilibrium, released on Southern Lord the same year they played in Tilburg, Live at Roadburn 2009 showed a nascent propensity to jam as Gaster and Blank took off in “Release Me/Wild Blue Yonder” that Weinrich would soon use as a founding principle in his subsequent four-piece, the shortlived Premonition 13.

Roadburn/Burning World Records, which released Live at Roadburn 2009 late in 2010, has the collection up for a pay-what-you-want download at their Bandcamp page, and to honor their generosity and celebrate this perhaps-baggage-laden-but-still-awesome live record, hosting the stream here for Wino Wednesday seemed like a no brainer. Hope you enjoy.

Happy Wino Wednesday:

I don’t think I’m going out on a limb to say that in more ways than one, 2003′s sophomore outing, 13, is the most pivotal of the three Solace full-lengths. Not only did Agnostic Front and Pentagram covers help define the blend that made the New Jersey doom rockers the vital, aggressive and grooving act they became throughout their own material, but the songs even a decade later remain as memorable and urgent as they are natural sounding and likely drunk. It’s a doom record for doomers, but with its roots in punk as much as stoner rock, Solace found a niche for themselves and delivered what I still consider one of the best heavy albums my beloved Garden State has ever produced.

Among the many highlights of 13 — released by MeteorCity as the follow-up to 2000′s Further debut — is the track “Common Cause,” which features a slide/lead guitar and vocal guest contribution from Scott “Wino” Weinrich. At the time, Wino was post-Spirit Caravan and making his beginning statements with The Hidden Hand while also taking on a role alongside Victor Griffin in Place of Skulls for 2003′s With Vision – an unfortunately short-lived collaboration — so it’s not as though he had nothing going on, and yet the performance stands out for both sonically alongside the other Solace tracks and for how comfortable Wino sounds in the band alongside guitarist Tommy Southard, bassist Rob Hultz and drummer John Proveaux.

The Jersey bruisers, who are more or less defunct despite popping up now and again for an appearance as they did at Days of the Doomed II last year, released two more EPs, a slew of videos and, finally, 2010′s triumphant — fucking brilliant, go put it on again — A.D. (review with ironic headline here), before their split, and even that last album, which took more than half a decade to make, was viciously energetic and seemed to portend good things to come. But some you win, some you lose, and if three brick-wall-solid full-lengths and a handful of other releases is what we get to take away while chasing down subsequent projects and waiting for reunion gigs, it could be worse.

Bottom line is whatever the circumstances, 13 remains a special moment in the band’s ever-tumultuous run, and as I’ve been holding it in my back pocket for a while, I’m glad to finally feature “Common Cause” for Wino Wednesday.

Enjoy:

I don’t know if it actually is, but this show probably should be something of a legend. On May 16, 1986, Saint Vitus played the Palm Springs Community Center in — you guessed it — Palm Springs, California. It was their first gig with new vocalist Scott “Wino” Weinrich, still months before that lineup — Wino, guitarist Dave Chandler, bassist Mark Adams and drummer Armando Acosta – would release the pivotal Born too Late, which has arguably become one of the most influential American doom albums released, though they’re anything but shaky. The six-song set reportedly went like this:

Saint Vitus
Prayer for the (M)asses
Clear Windowpane
Zombie Hunger
White Stallions

Also on the bill was Across the River, whose lineup featured Mario Lalli (of Yawning Man/Fatso Jetson) with Alfredo Hernandez (of Yawning Man) and Scott Reeder (later of The Obsessed and Goatsnake), both of whom would later join Kyuss. It was reportedly also Reeder‘s 21st birthday, but just to have so many crucial figures in doom and desert rock playing one show is mind-boggling. And one better? The dude filming the show was Larry Lalli, who in a few more years would be playing bass in Fatso Jetson. One can only assume a young Brant Bjork was in the crowd somewhere, getting ideas and scratching his teenaged peach-fuzz of a beard.

The whole set is up for streaming, as well as a cut or two from Across the River, should you feel like going searching, but in picking a single track, I decided to go with “Prayer for the (M)asses” precisely because it’s probably not as recognizable as the other stuff they played that night. Hell, I’m pretty sure Vitus is still playing that other stuff on tour. On the other hand, tucked away as the closer of 1985′s Hallow’s Victim, “Prayer for the (M)asses” has hardly had the same kind of reverence paid to it as the rest of the setlist.

Most notable for its lyrics, which I admit are barely audible in the video (hey, it was 1986), “Prayer for the (M)asses” was almost a line-for-line rewrite of Black Sabbath‘s Christian metal precedent-setting “After Forever.” So much so that “Have you ever thought about your soul and can it be saved?” became “Or else with your stupid soul you will have to pay,” and the lines were set to a riff close enough to that of the band’s eponymous song, “Saint Vitus,” that putting the two next to each other in a live setting, one might’ve thought it was simply a different part of the same piece.

Maybe “Prayer for the (M)asses” isn’t one for the greatest hits collection, but at least in the video below, it was part of a pretty special show. Kudos to Larry Lalli for capturing it, since this kind of thing should be in a museum somewhere. At least playing in a bar. I’d have sworn the video of this show came out with the Southern Lord reissue of Vitus‘ aptly-named 1990 live album, Live, but I don’t have the disc on hand to check. In any case, enjoy and have a great Wino Wednesday:

There hasn’t been an update to Premonition 13‘s Thee Facebooks page since last July, and even that was about Wino doing the South of Mainstream festival with The Obsessed, so with their last release as a contribution to a Volcom split with Radio Moscow and Earthless (featured here), and the band having ended their European tour playing as a trio, I think it’s probably safe to assume they won’t be following up their 2011 debut LP, 13 (review here) anytime soon. So it goes.

Aside from having been the first Wino Wednesday post, Premonition 13 had something unique to offer from among Wino‘s many projects — namely, the jam. It didn’t really come across on 13, because after so many years of doing so I don’t think Wino can help but turn a jam into a song, but particularly seeing the double-guitar four-piece live, the character of the project revealed itself most of all in the spontaneous interplay between Wino and fellow guitarist Jim Karow. Wino‘s played with few enough other six-stringers over the course of his career, and whatever else the band may have done, they jammed the hell out of those riffs. That was, as they themselves stated, the foundation of the band.

But the album 13 was still very much an album in its construction; a collection of songs put together in such a way as to create an overall arc or full-length flow. Though it moved away from the basic jams that served as its starting point, there were still plenty of memorable moments on it, whether it was the single “La Hechicera de la Jeringa” or Karow taking on the frontman role for the classically hooky “Modern Man.” As always, groove and tonal warmth abounded, and though Premonition 13 will likely remain a short-lived experiment in the longer run of Wino‘s career, they did touch on something distinct within that vast catalog.

Here’s the album in full. Have a great Wino Wednesday: