When I admit that I spent much of the day waffling back and forth on whether or not to trek from my office in Jersey into Brooklyn to catch the London and Maryland Deathfest-bound YOB, Virginian cult doomers Cough and Mike Scheidt‘s opening solo set, I hope you’ll take it more as a sign of what the day was like than any wavering of affection for the doom involved. Perhaps too my experience the other night played some role in my ambivalence, but as soon as I parked right around the corner and strolled into The Bell House, I knew I’d made the right decision in showing up. Stuck in traffic on my way, I wound up right on time to watch YOB‘s own Scheidt get the night started with an acoustic set.

It was my first time at The Bell House, which was mostly empty when I got there. The room was wider than it was long — the bar up a few steps and off to the left side of the stage serving, among other things, Brooklyn Lager on draft for $6 — but though at times throughout the night it seemed like the sound had nowhere to go, Scheidt‘s acoustic material was subdued enough that it came through crisply and clearly, tracks from his forthcoming Thrill Jockey debut, Stay Awake, showing their freshness amid another that the guitarist/vocalist said was, “barely a song.”

Having seen Scheidt‘s solo set at Roadburn Day Three, I was relatively familiar with his onstage approach — calm, collected, sincere — and my chief observation remains the same now as it was just over a month ago: that Scheidt is really new to the acoustic form. A video was released this week for one of the album tracks and met with strong opinions on either side, but what some complained about is exactly what I find most exciting about the endeavor, which maintains some of YOB‘s psychedelic elements but obviously redrafts them into a new context. Where YOB has a well-established modus — most importantly so for Scheidt as the principle songwriter; a clear idea in his head of what the band sounds like — this doesn’t. Songs vary widely from one to the next, and it’s the exploratory nature of it that I’m most intrigued by.

Think of it like hearing a band’s first demo. There’s a rawness and an energy there that can never be duplicated again, and as cool and engaging as the tracks themselves might be, it’s almost as much about the potential as it is about their starting point. It’s the same with Scheidt‘s acoustic material. YOB‘s development is ongoing and they legitimately change from album to album, they’re doing so within a framework. Here, that framework isn’t set, and as long as Scheidt keeps an open mind with his songwriting methods — which I’d argue Stay Awake already shows he is — I think there’s a basic foundation there for something unique among the current bumper crop of doomer solo acoustic projects.

Cough followed not long after Scheidt left the stage to a much larger crowd than was present when he started. I’d seen them at SHoD last year, but it was especially interesting to watch them again having recently watched British doomers The Wounded Kings. The two acts shared space on the 2010 An Introduction to the Black Arts split on Forcefield Records, and it was surprising to hear in context just how much they actually have in common tonally. They take those tones in different directions within the overall context of doom — or if you want to be more specific, “post-Electric Wizard cult doom” — but it seemed an odd pairing to me when I reviewed the split, and actually it makes a lot of sense. Made me want to break out that vinyl.

The last Cough album, 2010’s Ritual Abuse (review here), was a broad reinterpretation of Electric Wizard‘s earlier abrasion, but watching Cough in Brooklyn, they seemed to be developing more of their own take. Maybe that’s just me trying to put a narrative to their progression — we’ll find out when they release their next album — but guitarist David Cisco‘s clean vocals behind bassist Parker Chandler‘s low-mixed screams added a budding sense of dynamics to their set that worked heavily in their favor. And if you have to take one word away from that last sentence, let it be “heavily,” because Cough are a fucking lurching beast. The formula is pretty simple — play slow, play loud and play through killer amps — but drummer Joseph Arcaro makes it, swinging his arms way above his head and crashing them down for each hit like he’s trying to puncture his drum heads and crack his cymbals. No doubt he often succeeds in doing just that.

They closed with “The Gates of Madness” from the Wounded Kings split, Cisco noting that they’d never played it live before. It was a 20-minute cut on that recording and probably the nastiest portion of their set, emphasizing sludge alongside the constant darkness of mood and tone, but they reveled suitably in the song’s horror-minded filth and ended with a mash of noise and feedback before cutting out and making way for YOB to unleash what turned out to be nearly two hours’ worth of material, ranging as far back as 2003’s Catharsis and finishing with a slew of tracks from last year’s monolithic Atma.

Should say something, though, that in that time YOB didn’t wear out their welcome in the slightest. Running through Hull‘s amps, it was almost like they played two sets, starting with (someone please correct me if I’m wrong) “Burning the Altar” from 2009’s The Great Cessation and sorting out some technical issues before harkening back to Catharsis for the highlight “Ether.” Part of me was hoping for the title-track of that album as well — I’ll be honest, part of me is always hoping for the title-track of that album — but instead, Scheidt, who was using Kevin Hufnagel of Dysrhythmia‘s guitar, bassist Aaron Reiseberg (also of Norska) and drummer Travis Foster gave the best rendition of “The Mental Tyrant” that I’ve ever seen. The galloping culmination was beyond epic, and of the several times I’ve seen them play the closer of 2005’s The Unreal Never Lived, this was the most raging and adrenaline-fueled. Maybe that sounds strange for a song that is at times painfully, unbelievably slow, but it’s true nonetheless.

“The Mental Tyrant” made for an appropriate break point between what I’ve been thinking of since as two sets. Scheidt announced they wouldn’t be doing an encore but were going to keep playing anyway. “How late do you want to be out?” he asked the crowd, who responded with cheers instead of numbers. Meshuggah and Baroness were also playing in Manhattan, and though I’m sure many would also be making the trek to Deathfest, the effect seemed to fill the room with those who really wanted to be there rather than diminish the draw. It thinned out some as the second portion of YOB‘s set progressed, but there was a genuine moshpit for Atma opener “Prepare the Ground,” and it was a thrill to see that kind of response as the music cut out and Scheidt held out his “Prepare!” just a little longer than on the record.

A thrill, but not really all that shocking. “Prepare the Ground” is probably the catchiest song YOB have ever written — at least up there with other strong album openers like “Quantum Mystic” from The Unreal Never Lived and “Ball of Molten Lead” from 2004’s The Illusion of Motion — and as the band’s profile has increased over the last couple years, that the audience would feel more kinship to the newer material is reasonable. I’d had a chuckle earlier in the set when Scheidt said something about playing old songs before starting “The Mental Tyrant,” realizing it’s been seven years now since that album came out. People were shouting requests all night, mostly for “Quantum Mystic” or “Ball of Molten Lead” from what I could hear, but the band made Atma the theme for their “encore,” running through “Upon the Sight of the Other Shore” and “Adrift in the Ocean,” which made for a fitting conclusion to a show no one was quite sure of when it would end, despite the two-song warning before “Upon the Sight of the Other Shore.”

Whether it’s true or not, it seemed like they extended the “Adrift in the Ocean” intro for some extra noodling, which made the percussive force that much more potent once the drums kicked in with more than cymbal washes. Scott Kelly adds percussion to the album version, but Foster did an excellent job filling out that space, and it was a dramatic finish to the night, the band looking genuinely exhausted by the time they were done. Perfectly understandable that they would be. I was, and all I did was stand there and bang my head.

Even with the extended set, it wasn’t especially late, but by the time I got back to Jersey, it was well after two and by the time I took out the recycling (there was a lot of it), past three, so I crashed out as soon as I could, well aware of the fatigue that would and has bled into today. Worth it. If you’re getting to see YOB as part of either I’ll be Your Mirror in London or the Maryland Deathfest this weekend, kudos. As I have every time I’ve seen them to date, I felt lucky to catch them in Brooklyn.

Extra pics after the jump. Thanks for reading.

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Some might recall the name Nick Sewell from the more garage-hued rock outfit The Illuminati, who released two albums through Century Media offshoot before they and the label both disbanded. If you don’t recall Sewell from that group or those albums, though, it’s probably alright (though they decent), because as the bassist/vocalist has reemerged in the also-Toronto-based Biblical, the context probably wouldn’t do you much good anyhow. A double-guitar, sometimes-organ-infused four-piece, Biblical seem to be on a completely different wavelength.

Or if not completely different, certainly different enough. Biblical‘s swagger is definitely their own. The foursome of Sewell, guitarist/vocalist Matt Mclaren, guitarist/organist Andrew Scott and drummer Jay Anderson got together in 2010 and last year self-released their debut EP, a four-track self-titled 10″ vinyl that’s as stylish as it is brash, given some sense of foreboding by Scott‘s organ playing and rife with blues-revival furor. Like you took your favorite retro rock band and threw them in an echo chamber in places, and in other spots purposefully calling out The Bad Seeds as an influence to anyone who’ll be willing to listen. Biblical is faster, and a song like “Under Duress” way ballsier, but I get it.

Where things really open up, though is with the finale “Oubliette,” where the guitars start to get all proggy and the melody lines feel cleaner. The organ makes a big difference on “Oubliette,” as it does throughout the EP, but the more relaxed guitar really ups the level of ambience, however re-grounded the song becomes in the chorus, Sewell‘s shouts topping jagged finesse with what sounds an awful lot like ease, especially following the Misfits-meets-Graveyard chicanery of the shorter “Eyes of Lies,” which preceded. It’s a cool release that’s farther away from stoner rock than garage, but still has a couple heavy underpinnings. As it’s 18 minutes long and as Biblical (whose website is here) are streaming it on their Bandcamp page, I figured no harm in posting it in case anyone else wanted to check it out too. Here goes:

Of all the Wino-type excellence 2012 has so far wrought — be that in the form of the collaboration with Conny Ochs or the reunion of The Obsessed at Roadburn — news on the Shrinebuilder front has been curiously sparse. I guess the dudes involved are busy with their main projects, whether it’s Wino with Saint Vitus and his sundry other outfits, Scott Kelly with Neurosis, Al Cisneros with Om and Sleep, or Dale Crover with the Melvins, but I had thought the follow up to their 2009 self-titled would be along this year, and it seems like there would’ve been some word by now if that was going to be the case.

Maybe it’s for the best, since I don’t know if I’d trade the output and shows of all those bands for the prospect of new Shrinebuilder anyway, but whenever the second album from this underground megagroup arrives, it’ll be interesting to hear how or if they build at all on the direction they seemed to be taking with the debut. They were playing new material as early as their European tour in 2010, delayed as much of life was that spring by volcanic activity in Iceland. That tour resulted in the Live in Europe 2010 live album last year, but for a band of this magnitude, it’s hard not to want a new studio offering as soon as possible.

Lurking my way around the TubesofYou, I stumbled on this pro-shot, multi-angle clip of the new songs “Nagas 1 & 2” coupled with “Pyramid of the Moon,” filmed in Belgium at De Kreun in Kortrijk. Credit where it’s due, apparently the crew behind the cameras was 4×4 TV. My only regret is that it wasn’t uploaded in HD, but I don’t even remember if you could do that two years ago. One more reason Shrinebuilder needs to get out there again.

So yeah, here’s 21 minutes solid of ritualistic psych groove. Happy Wino Wednesday:

London-based Crystal Head was a band I knew literally nothing about before watching their set at Desertfest. That was half the fun, in fact, and it made it all the better when they kicked my ass with both the professionalism of their approach and the obvious strength of their hooks. They’d turn out to be a highlight of the weekend, and I was even more stoked after listening to their self-titled debut (review here) and finding that the album confirmed what the live set seemed to indicate: that the heavy rocking trio were more than just the sum of their influences.

As regards those influences, though, you really can’t go wrong blending Queens of the Stone Age‘s wooing pop anthems and the distorted crunch of Helmet with progressive structures and a nearly per-track variety of mood, and Crystal Head‘s Crystal Head did just that. Songs like “Perfect Weirdo” and “Mad Dog” nodded in the direction of heavy, but also had some underlying malevolence about them, a subtle darkness, that hinted well at a classically dangerous element the loss of which is often mourned in rock by those whose heads have long since drowned in the barrel of commercial cynicism. Crystal Head, the album, was crisp, and professional, and accessible, but somehow your lip still ended up bloody by the time it was done.

Being that guitarist/vocalist Tom Cameron and the cousinly rhythm section of bassist/vocalist Jon Deal and drummer Dean Deal made such a strong impression live and followed-up with another on the album, it only seemed right to hit them up for more info on their origins and subsequent doings. Their choice to record Crystal Head at Sawmills Studio in Cornwall — essentially a 17th Century water mill converted to a modern studio that’s only accessible by boat at high tide — made for even more curiosity on my end, and I’m glad to report that Cameron was forthcoming on that situation as well as Crystal Head‘s songwriting processes and what went into making the record the beast it is.

Please enjoy the following Six Dumb Questions:

1. Tell me about how the band got together. I know you went through a name or two before you arrived at Crystal Head. What did it take for you to get to the point where you felt like you were ready to put out the self-titled album?

Jon and Dean are cousins. Dean and I met at school and Jon literally just knocked on my door one day and I let him in. We had a mutual friend so I knew of him, but it was still a bit weird…

We all grew up in the same small area just north of London called Welwyn Garden City. It’s quite a dead town, built around a Shredded Wheat factory with very little to do. Jon and I moved down to London five years ago.

We basically started the group from scratch, out of boredom and a shared love of music and rock bands. Dean learned to play the drums. Jon moved from six-string (which we would jam on together) and started playing bass. I was classically trained piano when I was young and had been messing about with guitar for a couple of years before we began putting songs together.

Jon and I originally played some acoustic shows before Dean began drumming and we still perform like this from time to time.

The album for us was well overdue. We’d produced numerous demos and EPs in our previous guises but never a full-length effort. And with the change to Crystal Head it felt like a suitable time to draw a line in the sand and move forward.

2. When were the songs for the record written? The material sounds fresh, but it’s all really well structured as well. Did it take much time for those tracks to come together, and did you know when you were making the album how you wanted to order the songs?

Songwriting has never been a short process for us. Any songs that make it to a live performance would have been formed over many hours of meticulous rehearsal and change. One song that didn’t make it on the album had four different choruses before we ditched it from our live set.

“Mad Dog” is the oldest song on the album and has been in existence for a few years. “Truth Hurts,” on the other hand, we wrote during the first album session at the studio. Most of our songs, like other artists, evolve and mutate over time until they become the finished recorded article. Then in turn they tend to change again when played live. Areas loosen up and spaces are sometimes filled.

The running order of the album was something very important to us. Without trying to sound cliché, we wanted to make the album as much of a journey as possible without being conceptual. Once all the songs were recorded the tracklisting decisions were like brain surgery that we stewed over for a number of weeks.

3. What was it like recording in Cornwall? From what I’ve seen about Sawmills Studio, it looks gorgeous. How did you find that place and decide to do the album there?

The Mill is one of the most beautiful places we’ve all visited. It’s set within a small tidal creek, which is only accessible via boat at high tide. Basically other than between 7AM-10AM and 6PM-8PM, you are stricken on this remote island in this huge mansion surrounded by woodland.

There’s no mobile phone reception or connectivity so you are literally cut-off from the world. A great place to be (in our opinion) if you want to make a record. Add to that the amazing Tom Joyce who engineered and mixed it with us, you’ve really got something very special. We’d recorded a couple of EPs there prior so knew when we decided to record the album that it was the place for us.

4. The songs sound way more modern than a 17th Century water mill might initially indicate. Did you know what you wanted out of the production going into the recording process?

We benefited from having many of the songs in the bank for a long time so were aware of how they could sound from previous demos. Our main challenge was making the album sound “like an album.” So trying to achieve a comprehensive sound for the record in its entirety without each track losing too much of its individuality. Again a very intense process of working day and night listening to every sound over and over until we reached where we wanted to be.

We also were intent on making a “studio” record, which for me means utilizing anything available in the studio, be it other instruments, effects, layers to create a sound that sets the bar for our live performances. Obviously, being a three-piece, this can be difficult to achieve, but as much as we can we’ll play out the tracks as hard and incisively as the album recordings.

5. How was Desertfest for you guys? It seemed like a really strong gathering of bands and fans across the three venues, and being on the outside of London’s scene, I thought it was a cool opportunity to see bands I might otherwise never be able to catch. What was it like for you playing, and how did you feel overall about the fest itself?

DesertFest was just such a positive experience. I think anyone who was involved or came to watch the bands will say the same. It’s like we took over a little corner of London for the weekend and just had a big party. We had two sets, one acoustic and one plugged in and the response from the crowds was really overwhelming. Have to say a big thank you to everyone who came to our performances and shared those moments. We really appreciate it.

We’re good friends with Reece, Dan and the whole Steak crew and what they are doing is an absolute right. We’ll continue to assist them (as they do us) with anything they need to keep momentum going. We played the very first Desertscene show a couple of years ago now and it’s phenomenal to see the way it’s grown so rapidly and successfully. You can expect some big things in the future from the team there I’m sure.

6. Any other plans or closing words you want to mention?

We’ve just been added to BGA Management Groups, who are based out in Europe. Funnily enough they found us at our DesertFest show at The Underworld. They’ve promised us world domination so we’re going to hold them to that!

You’ll see a revamped online presence and tour dates very soon via crystalhead.co.uk and we’ll be looking to get back in the studio to start work on a second album this winter.

Crystal Head on Thee Facebooks

Sawmills Studio website

The debut album from Houston, Texas’ Sanctus Bellum, Return to Dust (review here) was rife with references, mostly to the work of H.P. Lovecraft. It was also a tour-de-force of classic metal influences, from the given Sabbath leanings to NWOBHM as represented by Iron Maiden to the dirtier death rock of Danzig, taking darkened atmospherics and setting them against a backdrop of crusty riffing. I haven’t yet heard the whole of the follow-up, The Shining Path, but from what I can tell listening to eight-minute closer “Ephaniah” — which I’m fortunate enough to be able to host for streaming on the player below — the key elements are still there, if a bit more refined.

As one might expect, Sanctus Bellum seem to have more of an idea of their own style the second time out, blending the classic metal guitar of Jan Kimmel and Maurice Eggenschwiler (the latter previously only involved in the live incarnation of the band) with the doomly groove seemingly inherent in Cory Cousins‘ drumming and the wildly diverse bass work of Ben Yaker — one minute, he’s in the pocket with Cousins, but by the middle of the song, he’s leading the charge Steve Harris-style through a faster stretch. Add in some Slayer-type riffing and lead work and the post-grunge vocals of Justin Waggoner (ex-Mr. Plow), who on “Ephaniah” shifts smoothly from shouts to deceptively complex melody lines, and Sanctus Bellum come off as more assured and confident without sacrificing their edge.

I dug the first Sanctus Bellum and I’m looking forward to hearing the second — particularly if the interplay on the rest of the tracks between Kimmel and Eggenschwiler stands up to what I’ve so far heard — and I thought that if you like metal with a flair for the doomed that doesn’t necessarily feel the need to commit to one genre or another, you might also be into it. Check it out and feel free to leave a comment with your thoughts:

[mp3player width=460 height=120 config=fmp_jw_widget_config.xml playlist=sanctus-bellum.xml]

The Shining Path is set for release on June 12 — just in time for Sanctus Bellum to head to Wisconsin to play at Days of the Doomed II. You can preorder it here. If you dig “Ephaniah,” the band has also made the tracks “Spiral Jacobs” and “The Shining Path” available for listening. You can hear them and check out more release info here, and tell the band you dig their stuff at their Thee Facebooks page.

The second album from New Zealand heavy rock trio Arc of Ascent, dubbed The Higher Key, could easily be considered the third in a progression. Okay, maybe not easily, since it’s their sophomore outing and there’s no immediate third record to consider, but The Higher Key fits into a line of development that also includes the last album from bassist/vocalist Craig Williamson’s prior outfit, the one-man operation Lamp of the Universe. The final (to date) Lamp of the Universe record, 2009’s Acid Mantra (review here), was beginning to push away from some of that band’s most indulgent psychedelia. It had drums, for one, and the atmosphere of the album overall was more active than the prior few Lamp installments, perhaps harkening back to Williamson’s days playing with underappreciated psych heavies Datura, but not quite there yet. Going from Acid Mantra to Arc of Ascent’s 2010 Circle of the Sun debut (review here) in the space of one year was a big jump for Williamson – who was the only member of one band and remains the lone songwriter in the other – but just as Acid Mantra had some more rock-based ideas present in its songs, so too did Circle of the Sun also find Williamson incorporating sitar and Indian-derived scales into the more straightforward, heavy rocking material. It was a naturalizing and easing effect for anyone who’d followed Williamson’s progression with Lamp of the Universe and welcome flourish to those who perhaps hadn’t encountered him before Arc of Ascent. While The Higher Key still bleeds heavy psychedelia from its very core – one finds Williamson’s vocals on the two side-ending tracks “Search for Liberation” and “Through the Rays of Infinity” to be particularly reminiscent of past ethereal chanting, however different the surrounding context might be – it’s still one more step further along the shifting line of progression that began with Acid Mantra (actually, it probably began well before that, but it began to palpably manifest itself there, anyway). There isn’t a sitar anywhere on it.

And I’ve looked!

Moreover, the whole of The Higher Key, despite being just three minutes shorter than its predecessor at 43, feels more straightforward and stripped down in terms of arrangement. Williamson is more confident vocally than he’s ever sounded, and so is less presented less drenched in echo and more forward in the mix, and there’s a heady crunch in the guitars of Sandy Schaare – come in as replacement for Matt Cole-Baker while drummer John Strange returns to round out the trio. All this, again, is put into a heavy psychedelic context. I’ve no desire to give the impression that Williamson, who also helms the release on Astral Projection and produced these cuts (they were recorded across a few different studios with a few different engineers, but Kenny MacDonald also mixed and mastered) as well as singing on them, playing bass and adding percussion, keys, tanpura and singing bowl, is suddenly writing songs about motorcycle rallies or anything like that, unless he’s cloaking those ideas in lines like, “Solstice of ageless rising, regains delight,” from opener “Celestial Altar.” A fun idea, but not likely. The lyrics seem to be where Williamson has most continued his cosmic-spiritualistic exploration on The Higher Key, and the cadence with which he delivers his lines backs up that idea. He pushes his vocal range some backing himself on side B’s “Redemption” and “Elemental Kingdom,” which is probably the heaviest cut here, tonally speaking, and on in the verse of “Search for Liberation,” he manages to work in a layer on top where he’s almost singing along with himself – I wouldn’t be surprised if the parts were recorded using exactly that method – all the while maintaining a consistency in his rhythmic delivery that feels naturally born out of what he was doing on Circle of the Sun. Fans and followers of Al Cisneros’ work in Om will find Williamson familiar, if less purposefully monotone.

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Not to get all New England about it or anything, but the lineup for this year’s Stoner Hands of Doom is wicked pissah. Having moved from its home in Frederick, Maryland, to the unfamiliar climes of the El ‘n’ Gee in New London, Connecticut, SHoD XII has grown into a massive four-day event featuring some of the best in doom, sludge and stoner that the Eastern Seaboard and beyond has to offer.

I was looking through the lineup yesterday, basically killing time while fantasizing about being somewhere other than at work, and looky looky what I saw on the SHoD site as well — an Obelisk logo! Turns out I’m kinda, sorta, a little bit helping maybe almost present the fest in some small way — apparently enough to get my logo on the page — and I’ll be having much more about it as we get closer, of course leading up to notes and pics from the fest when it takes place over Labor Day weekend.

Check out the day-by-day breakdown on the poster below:

This is a monster fucking fest. From SHoD veterans like Negative Reaction, Akris, Iron Man and Earthride, but though I know I’ve said it before, what really excites me about SHoD XII is how it branches out from it’s Maryland and Doom Capitol roots to bring in outsiders like Roadsaw, Elder, Black Pyramid. Both Connecticut acts, Curse the Son and Stone Titan were a thrill at the CT Fuzz Fest last summer, and When the Deadbolt Breaks have a new bassist and I hear they’re at their most crushing yet, so it’ll be great to catch them alongside bands like Borracho, Fire Faithful, and way-out-of-towners like Kin of Ettins, The Skull, Pilgrim and Gypsy Chief Goliath.

Way stoked all around, and I’ll have much more as we get closer to Labor Day. Can’t wait.

This came in the other day, and if I had half a brain in my head, I probably would’ve posted it as the Frydee video, but whatever. Once you take a look at the video below and listen to the killer version of “Hard Hearted Woman” Stubb do in this, reportedly the first in a series of “Superhot Sessions” from Superhot Records, I doubt you’ll hold it against me. Check out the clip, followed by some PR wire-type info from the label, and enjoy having it stuck in your head for the rest of the day. The song, not the info, though I guess that’s kind of catchy too, in its way.

Whatever. Here:

In March 2012 Superhot Records invited resolvefilm (http://resolvefilm.co.uk/) to come and film Stubb performing a live and slightly reworked take of “Hard Hearted Woman.” This is the first of the Superhot Sessions.

Every now and then we’re going to invite one of our bands or a just a band we really dig to come and perform live for us. We’ll film it, record it and throw it out there so anyone, no matter what corner of the planet they’re on, can see what that band is really about. So here it is, Superhot Sessions 001: Stubb – “Hard Hearted Woman.”

Stubb’s self-titled debut is available on CD, LP and digital in the Superhot Records store.