Let’s be clear: if I did this in the middle of July, I still wouldn’t need to justify it, but Halloween week, I need to justify it even less. And though I’ve done deep-dive shows before, gone in career order for YOB or Neurosis to look at the arc of their career, this isn’t anything so ambitious. In short, it’s a mixtape. A Type O Negative mixtape.

I’ve listened to this band since I was 10 years old, and their stuff still holds up 30 years later and more than a decade after the death of frontman Peter Steele. But you don’t need me to tell you that. It’s Halloween, so I’m playing Type O Negative on my show. That’s as simple as it gets. If you don’t like them, don’t listen. You’re wrong anyway. This time around it’s your loss.

Thanks if you do listen. I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 10.29.21

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Nov. 12 (subject to change). Thanks for listening if you do.

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I love this record. As much melodic and/or mellow heavy rock has been released since Bordeaux, France’s Mars Red Sky released their 2011 self-titled debut (review here; discussed here), few if any have been able to capture a roll and a basic quality of songwriting and melody as effectively. The idea of the band reissuing the album through their own Mrs Red Sound imprint, well, that’s just ducky as far as I’m concerned. But that the new version comes with access to a tool that lets you play around and make your own mix of it is even more fun.

Maybe I’ll just sit for a while and listen to the bassline of “Way to Rome” on its own. Or mess around with the levels in the harmonies that come up later in “Up the Stairs.” Just for kicks. I’m not looking to replace the original mix of the album or anything — great record, natural feel, doesn’t need me screwing with it — but it’s still an awfully cool idea as a way to revisit an outing well worth revisiting.

The PR wire has details:

French heavy psychedelic trio MARS RED SKY to reissue their cult debut album including a web mixing tool on December 10th via Mrs Red Sound.

For the ten-year anniversary of their eponymous debut album, Bordeaux-based heavy psychedelic merchants MARS RED SKY treat their fans to a very special release including a web mixing tool! The album is due out on December 10th through their own record label Mrs Red Sound.

Heavy psychedelic three-piece MARS RED SKY celebrate the anniversary of their cult eponymous debut album by releasing an original online tool entitled “Inside MRS”, that allows to remix the album stems. Anyone who bought the record, and got a private access code, will be able to log in into the website and to listen to the bass only, or to the lead guitar and vocals only, while watching footage of the recording sessions in the Bardenas Desert, Spain, about ten years ago. The band wanted to let the fans explore the entrails of the recordings. It was created by French web development agency Aropixel. This release also features an illustrated lyrics booklet with fans artworks. Preorder are available at this location.

‘Mars Red Sky’ was recorded by Pierre Fillon in The Bardenas Reales Natural Park, Spain. Mixed by Pierre Fillon and Mars Red Sky in Bordeaux, France. Except “Saddle Point” and “The Ravens Are Back”, recorded and mixed by Mars Red Sky at Mad Reed Studio in Bordeaux, France. Remastered for vinyl by Stéphane Teynié at AD Mastering. Mastered by Mats “Limpan” at Cutting Rooms Studios (Sweden).

Web development: Aropixel. Artwork: Carlos Olmo. Layout: Caroline Paigné. Video editing: Joséphine Labesse. Lyrics booklet cover and back: Freaks.FM. Strong Reflection art: Markus Hiltunen. Curse art: Diogo Soares. Falls art: Emmanuel Garcia. Marble Sky art: Romain Argant. Way To Rome art: Julian Langguth, Black Leaf Designs. Saddle Point art: Luka Noos. Up The Stairs art: Guillaume Magermans. The Ravens Are Back art: Lukasz Marzec.

MARS RED SKY debut album reissue ‘Mars Red Sky’
Out December 10th on Mrs Red Sound
PRE ORDER HERE: https://marsredsky.bigcartel.com/product/mars-red-sky-vinyl-debut-album-reissue

TRACK LISTING :
1. Strong Reflection
2. Curse
3. Falls
4. Marble Sky
5. Way To Rome
6. Saddle Point
7. The Ravens Are Back (bonus track)

MARS RED SKY are:
Julien Pras : guitar, vocals
Jimmy Kinast : bass, vocals
Mathieu Gazeau: drums, vocals

http://www.facebook.com/marsredskyband/
https://marsredsky.bigcartel.com/
http://www.marsredsky.net
https://mrsredsound.com/

Mars Red Sky, Web-mixing teaser

Mars Red Sky, Mars Red Sky (2011)

[Click play above to stream Jointhugger’s Surrounded by Vultures in full. Album is out on Halloween on Majestic Mountain Records and can be preordered here.]

Earlier this year, Norwegian heavybringers released the single-song EP Reaper Season (review here) both as their first offering through Majestic Mountain Records and the quick-turnaround follow-up to their 2020 debut,  I Am No One (review here). The message was clear: “Expect us.”

In the somehow-endless-but-actually-not-all-that-long stretch of time since I Am No One first surfaced, the band’s reputation for immersive riffery has grown significantly, even as they’ve been largely unable to perform live. With the five-song/42-minute Surrounded by Vultures, guitarist/vocalist Nico Munkvold and bassist Tore Pedersen worked with no fewer than three drummers owing to a poorly timed studio mishap, with Daniel Theobald playing on “Midnight,” original drummer Øyvind Nordrum Brattås sitting in for “The Calm,” “Delysid Rex” and opener “In Dire Need of Fire Ch. 2,” and Munkvold himself on “Empty Space.” Tracks were recorded, then lost, and in the meantime, Theobald had left the band, eventually to be replaced by Saint Karloff‘s Adam Suleiman.

That Suleiman doesn’t appear on Surrounded by Vultures is telling in itself. Jointhugger, however they may moderate their tempos at times, are functioning with an expressive urgency. It is not a coincidence that they record live — Munkvold and Hrafn Helgason produced at Stone Bone Cross Studio, Haldor Grunberg at Satanic Audio mixed/mastered — and it is not happenstance that they come into their second full-length with momentum on their side. Their material rumbles and moves with deceptive purposefulness. That is to say, they sound languid, proffering lazy-hazy grooves with modern weedian largesse, but listen to the running guitar and shove in the second third of “Midnight” or the proggy buildup after six minutes into “In Dire Need of Fire Ch. 2” — an answer back to the leadoff from I Am No One and part of a reported trilogy; one hopes they record a special version of all three pieces together when the time comes — and the story becomes more complex. Likewise, “Empty Space” seems to trade out post-Monolord crush for Graveyard-style melancholic boogie, underscored still by Pedersen‘s righteous bass tone but patient as it moves through its shifts in volume and impact.

In the raw listening experience, it is easy enough to get lost in Surrounded by Vultures, to give over to the unifying nod that seems to pervade as one piece moves into the next despite the changes within and between. I’m not sure there’s anything wrong with that and I’m not sure it goes against the band’s intent that that should happen — there’s a clear desire to connect with an audience here, otherwise the songs wouldn’t feel so complete and they might’ve waited until the permanent drummer was settled in before re-recording parts — but it does somewhat negate the statement Jointhugger are making with the album, which is that as a band their interest is in more than just pummeling and bludgeoning those in their path with riff after riff. Surrounded by Vultures has plenty of riffs — if you’ve got a quota, don’t worry — but even in the outright fullness of “Delysid Rex,” which one assumes was titled in honor of Acid King, there’s nuance to be found in how the lead guitar and bass collide and join together for quick transitional runs (thinking around the six-minute mark) or just how prominent the bassline becomes as the central grounding element, building on what “Empty Space” prior seemed to establish as the tonal modus.

Moving from “In Dire Need of Fire Ch. 2” — which opens with some sparse ambient tones ahead of the entry of Munkvold‘s echoing guitar noodles; kudos to the band for not outright including vulture calls while still evoking them — through the easy-rolling first half of “Midnight” and into the surge that follows, there’s a dynamic being laid out that grows in concert with the unfolding of the album itself, such that even “Midnight”‘s downer lyrics can’t hold back the soaring of its bluesy, channel-switching solo, both of which use the lumbering behind as a foundation from which to push outward. That “Empty Space” serves as the centerpiece, moving that blues sensibility from the track prior to the forefront and setting wistfulness and sheer sonic heft against each other to a fascinating and effective degree, is also telling of Jointhugger‘s willful stylistic growth. They’re active in that process, from the songwriting and performance to Munkvold serving as co-producer.

Certainly Jointhugger, whether a duo or trio on any given song, aren’t the first to employ heavy blues as an aesthetic home base — see also: Black Sabbath — but in kind with an increased range in their craft, so too does the band’s performance feel more confident. This is particularly true of Munkvold‘s vocals, which come across as more comfortable expressing an emotional range and proffer memorable choruses in “Delysid Rex” and closer “The Calm,” which speeds up the shuffle of “Empty Space” to a more riotous point, what would otherwise be the stuff of vintage ’70s-ish heavy reborn in a more doomed context. “The Calm,” after feeling so unleashed, manages a return to its verse and chorus — again one hears Pedersen bringing that crucial heaviness to their sound — and departs from there once more, and the turns are smooth, the chemistry feels locked in, the final hits well earned and the residual feedback reminiscent of the stage before the amps are clicked off.

Surrounded by Vultures, among its other achievements, creates a feeling of space that the band often leave at least partially open. This not only lets the ‘big’ parts sound bigger, but conveys an isolated perspective that gives the reverb/echoes that much more atmosphere, enhancing the mood and emotional heft if not always the superficial intensity of the moment. The message — to expect them — is largely unchanged from I Am No One and Reaper Season, but Surrounded by Vultures adds due complexity to that expectation. The advent of Jointhugger over the last year-plus has been a bright spot in a largely dark time. These songs find them continuing to move forward at their own pace toward yet-unknown ends. With Suleiman factored into the lineup for their next offering and more change inevitably in front of them, may their exploration persist unabated.

Jointhugger on Facebook

Jointhugger on Instagram

Jointhugger on Bandcamp

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Majestic Mountain Records on Facebook

Majestic Mountain Records on Instagram

Say hello to Greyborn. Based out of Limoges in central/southwestern France, the newcomer three-piece emerge with an immediate asterisk as one traces their formation back through drummer/vocalist Théo Jude and bassist/backing vocalist Guillaume Barrou‘s former outfit, Mama’s Gun, as well as Jude and newly-joined guitarist Maxime Conan‘s garage-rocking duo Blackbird Hill. With their first single, “After Dark” — video premiering below — the band showcase the change in aesthetic that led to the new group being formed, taking on a modern, moody kind of fuzz-laced groove; uptempo and catchy and melodic, but owing as much to brooding ’90s melodies as heavier desert push.

Hey, sometimes you get a little older, your tastes change, what you thought was working for you in one way maybe wasn’t actually turning out what you wanted to be. All of these things happen, and while I wouldn’t know anything about it myself — I’ve been coming to the same party for 12 years and in no way is that depressing — I’m told that sometimes artistic progression requires such a shift. It’s clear in listening to “After Dark” that Greyborn are intended as a different project from who Mama’s Gun were, even if it’s (mostly) the same people involved. I’m not even sure why I feel the need to justify it on their behalf. Aren’t people allowed to say more than one thing?

The band have about 25 minutes of material demoed out and will reportedly make their debut sometime in 2022 in proper fashion, all due fanfare, and so on. I won’t give too much away about the tracks, but as an introduction to who they are — hence “say hello” above — “After Dark” does well in conveying their balance between moodier impressions and and underlying will to hook their listener.

Video follows here. Please enjoy:

Greyborn, “After Dark” video premiere

Greyborn plays heavy, fuzzed-out rock with a dark, contrasted edge. This band is no rookie to the scene: formerly Mama’s Gun, the trio becomes Greyborn after an EP, an album and a change of artistic direction and ambition.

They used to be filed under the saturated 70s rock revival niche, they’re now tacking in a sound that is dark, adventurous and unwaveringly modern. Warm and cold, psychedelic and industrial, Greyborn embodies duality and refuses clichés.

Greyborn are:
Théo Jude: Drums / Lead vocals
Maxime Conan: Guitar / Backing vocals
Guillaume Barrou: Bass / Backing vocals

Greyborn on Facebook

Greyborn on Instagram

Kudos to Sleep on deciding to take the right two years off. The Sabbathian heirs announced their indefinite hiatus — they made it fun by calling it ‘Hypersleep’ — in November 2019, and, well, if you’ve been alive in the time since, you know how well the world has fared without them.

Their return for three shows next April — two in Colorado, one in New Mexico — is only welcome. No idea what it’ll lead to in terms of touring or anything — Matt Pike has a book of his lyrics coming out and I think High on Fire are due to release an album — but what the hell, three dates are better than none.

The band’s latest album, The Sciences (review here), as well as the companion single “Leagues Beneath” (discussed here), were released in 2018, and followed by the encompassing 3LP live outing, Live at Third Man Records (review here), the next year. The live record(s) was a fitting capper to a run that began with shows a decade earlier that introduced Sleep, long thought of as gone forever as their mythos grew in the digital/social media age, to an entirely new generation of fans. It seemed time had done precious little to dull their impact, and with Neurosis‘ Jason Roeder stepping in on drums alongside Pike‘s guitar and the bass and vocals of Al Cisneros — whose impact with Om in the interim years isn’t to be understated — they had a unifying factor around which to rally the varied on-stage personae between the two founding members.

In a live setting and on The Sciences — not to forget the may-it-be-perpetually-reissued 2014 single, “The Clarity” (review here) — Sleep both justified and added to their legend. May they continue to do so for as long as they find it vaguely interesting and/or lucrative:

Hello Denver, Colorado Springs and Albuquerque. We will be seeing you soon in 2022. Tickets on sale Friday 10/29 at 9a PST/10a MST. Praise Iommi.

Sleep are:
Al Cisneros
Matt Pike
Jason Roeder

http://www.facebook.com/officialsleep
http://weedian.com/index.html

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

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

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Adriaan De Raymaeker of Dorre

—

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

I just mess around with guitars and amplifiers. I wouldn’t call myself a musician, because that would imply that I know what I’m doing or have a formal background in music theory/practice. I basically just started to fiddle around on cheapo gear when I was 15-16 or so and grew into heavier experimental music by jamming with friends. From there it kind of grew into fixed formation bands, where I ended up sticking with one dedicated project, Dorre.

Describe your first musical memory.

This is a tough one, I think my first real musical memory is a festival my parents took me to when I was five years old? I remember being lifted up on a chair by a very friendly woman and Ziggy Marley and the Melody Makers playing, it was loads of fun. The festival was Couleur Café in Brussels, my parents took me to all kinds of cultural events but I think this was the first full-on festival. There were a bunch of other bands playing but I only remember Ziggy Marley to be honest.

Describe your best musical memory to date.

Again, a tough one, because there are so many. But I’d have to say it’s probably the first concert me and my partner went to together, The Mars Volta in de Vooruit in Ghent. She’d never heard of the band and I’d been a longtime fan, so I dragged her along to it and she absolutely loved it. I just remember looking at her while Cedric unleashed his voice on the crowd from about a meter away of his microphone and her eyes going wide in surprise and delight.

I’ll add a second one, because I could list a bunch of memories of gigs and festivals I’ve played myself, but I think the main one there would be Desertfest Belgium as it was and still is the biggest show we’ve ever played with Dorre. The feeling of playing for a full concert hall, even being the first band on the lineup for the last day of the fest, was amazing.

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

I’ve lost quite a few friends to suicide. I used to think that suicide was a cop-out, the easy way, a belief I no longer hold due to the struggles I’ve seen in many of my friends.

Where do you feel artistic progression leads?

A more focused view on what you want to achieve as an artist. Again, I don’t really want to describe myself as a musician, or artist, I just play music or a semblance of music, and when I move ahead in that, be it on a technical or a personal level, it just makes it more clear where I want to end up or what I actually want to be doing.

How do you define success?

Success, in the context of this questionnaire, is keeping a group of friends together while having output that everybody involved is happy with. Success, in general, to me, is what I already have. A loving partner, an inquisitive and kind child, a job that gives me fulfillment and freedom, a band that I can create with, friends that I can relate to and open up to.

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

I don’t think there’s anything I would wish to unsee or unknow. I can’t say I’ve seen many terrible things in person.

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

I’m in the process of creating a first version of it, but I would very much like to build my own full-scale recording studio.

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

For the person consuming art: inspiration, relaxation and an escape from reality.

For the person creating art: an outlet for creativity and emotion and a platform to tell a story.

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

In the last year, me and my partner have been working towards a more ecological and generally sustainable life. End of this year our cargo bike is set to arrive, which will replace about 80% of my car travel, I’m very much looking forward to zipping around with the kid in the cargo bike.

https://www.facebook.com/dorreofficial/
https://www.instagram.com/dorreofficial/
https://dorre.bandcamp.com/
http://dor.re/

Dorre, Fall River (2019)

UK blowout psychscaper outfit The Oscillation will release the new album, Untold Futures, tomorrow, Oct. 29, through Forte Music Distribution. That makes it sound kind of mundane, admittedly, but when you get past the basic bookkeeping factoids — the numbers and names, places and all that — you open the door to the encompassing spaciousness of “The Inner Void,” a new video set to VR compatibility such that even if you don’t have fancy billionaire goggles you can wave your phone around and look at the transformed universe around you.

Such psychedelic futurism perfectly — I mean that: perfectly — suits the consciously-titled Untold Futures, which is Demian Castellanos‘ umpteenth release under the banner of The Oscillation. Joined by drummer Tim Weller and intermittent percussionist Jem Doulton, the self-recording Castellanos sets out a presence like a sure hand reaching into churning lava. My ears keep returning to a molten version of a ’90s British cool, flashes of lysergic electroniche moving in and out around the five-song/47-minute procession, guitar drones and effects farouttery swirling in an urbane cosmos.

And as the 12-minute “Heart of Nowhere” rises to its nigh-on-maddening crescendo, having progressed along a deceptively linear thought pattern to get there, Doulton‘s percussion and Weller‘s drums play a not-at-all secondary role to the liquid tones surrounding. Coming off of “Dilated Mind” and “Forever Knowing” at the outset — the first a scorch and wash psych-rock blaster, the second feeling its way around the hole in space-time that its predecessor just tore — “Heart of Nowhere” and the subsequent “Obscured” (12:30) feel no less purposefully paired as Untold Futures works its pieces shortest-to-longest until capping with the aforementioned “The Inner Void.”

More than the run of its songs, though, it’s the feeling of pushing deeper into the ether that most pervades — yeah, it’s all psychedelia and way trippy as one would hope, but the cavernous reaches of even the early minutes in “Obscured” add a sense of drift that the more manic stretches of “Dilated Mind” and “Forever Knowing” were too manic in their thrust to convey. Slowed down? Why yes, it is a bit, thank you for asking. But there’s also a hit like two and a half minutes into “Obscured” when a genuine verse starts, vocals and all, and you get smacked in the face with the realization of just how far you’ve come in the time since you last experienced human speech. Thusly contacted through isolation, the only thing to do is keep moving, kind of swaggering laissez-faire style through Hawkwind-via-The–Matrix, too weird to be chic, too weird not to be.

“Obscured” gives reality the outright swallowing-up it deserves in its ultra-noisy apex, a rightful heir from the midsection of “Heart of Nowhere” but more, more, more, with an electric guitar solo cutting through somehow like the last radio frequencies being pulled into a black hole, background-radiation drone leftover when all is said and done and the great nom-nom-nomming of all that was and will ever be has taken place. Does that make “The Inner Void” a post-script? Maybe. But isn’t it just as likely that by transferring ourselves into this yet-unlocked dimensional plane we’ve actually embarked on the next stage of a grand renewal cycle, such that the end is a new beginning? Or maybe I’ve got the songs in the wrong order so it just sounds that way? Whatever is left of our matter/energy continuum still holds infinite possibilities and outcomes and nothing is more likely than anything. What do we say when it’s all over and the long fuzz fades into echoes? I don’t know. Thanks, probably? For the ride?

The deeper you go, the deeper you go.

Watch for flashing lights, and enjoy:

The Oscillation, “The Inner Void” video premiere

The Oscillation’s continuing journey into the centre of the mind and beyond shows absolutely no signs of slowing down. New album Untold Futures is less a consolidation of all that we’ve come to love and expect from the cosmic explorers and is more of a leap forward into an upcoming reality.

Redefining the possibilities of altered states through audio stimulation, Untold Futures finds The Oscillation at their most daring and breathtaking. A multi-layered assault on the senses, this is an unexpurgated experience for the seasoned connoisseur and unspoiled novice alike. Its power is felt in the multi-layered dissonance and undying throb of Dilated Mind, the metaphysical possibilities that beat at the heart of metronomic pulses of Forever Knowing and the face-melting attack of The Inner Void. Heart Of Nowhere is a mantra for the profane, while the dissonant beauty of Obscured realises re-birth and resurrection.

Following recent releases Droneweapon and Wasted Space, Untold Futures is an album that’s wholly distinct from its acclaimed predecessors yet unmistakably the work of Demian Castellanos, the driving force behind The Oscillation.

Revelatory in its brilliance and an intersection between the individual self and the collective unconscious, this is music to fuel the inner technology of the mind. So load up to the brim and give yourself up to Untold Futures.

The CD and digital versions of Untold Futures are augmented by ambient versions of The Inner Void, Dilated Mind and Heart Of Nowhere.

Recorded and mixed by Demian Castellanos at Xibalba Studios, London 2019-2021
Demian Castellanos: Vox, Guitar, Keys, Synths, Percussion, FX
Tim Weller: Drums on all tracks
Jem Doulton: Percussion on My Inner Void, Forever Knowing, The Heart Of Nowhere
Mastered by Carim Classman at The Fishtank

The Oscillation, Untold Futures (2021)

The Oscillation on Facebook

The Oscillation on Bandcamp

Forte Music Distribution on Facebook

Forte Music Distribution on Instagram

Forte Music Distribution on Bandcamp

Set to issue through Cappio Records digitally and Svart Records physically, Perfect Light will be the third full-length from Patrick Walker‘s 40 Watt Sun, as well as the first since 2016’s Wider Than the Sky (review here). The Jan. 21, 2022, release is preceded by the new single “The Spaces in Between,” which features textures of piano and guitar woven together in a clearheaded but contemplative spirit of melancholia, which, if you know Walker‘s work either in 40 Watt Sun or his other outfit, the doomlier Warning, you know is a hallmark of what he does.

He’s brought some esteemed company along for the ride on Perfect Light. I for one very much look forward to what Walker and Lorraine Rath might sound like together on a track. “The Spaces in Between” has Ajit Gill on drums, bassist Ryan Cowell and Chris Redman on piano.

Fresh off the PR wire:

40 Watt Sun – Perfect Light

40 Watt Sun has today announced a highly-anticipated new album, Perfect Light, and released their first new music since 2016. The Spaces in Between is streaming on all digital platforms now. Perfect Light will be released on January 21st digitally via Cappio Records and on physical formats via Svart Records. Pre-orders are live now: https://linktr.ee/40WattSun

Joining Patrick Walker (guitar and vocals), the track features guest musicians Ajit Gill, drummer of London-based progressive jazz band Vertaal, bass player Ryan Cowell, and pianist Chris Redman.

Perfect Light is a collection of eight songs recorded across a year, in Hertfordshire (Chat Bizarre Studios) and London (Holy Mountain Studios). Whilst Patrick’s vivid melodies remain as powerful as ever, and his familiar lyrical themes and fixations continue to haunt this new album of material, the music itself marks another transition in the development of his songwriting.

The well-crafted, personal songs range from sparse, unaccompanied voice and guitar, through gently layered instrumentation featuring piano and delicate brush work, to moments more reflective of the warm, subtle overdrive of the band’s previous album, Wider than the Sky (2016). Like Patrick’s best work, the songs quietly build with emotion, and ache with a darkness and melancholy beauty.

Perfect Light will be available as a 2CD numbered digibook containing a 38-page booklet of lyrics and photography by Patrick Walker bound within the gatefold. The second disc contains a 26+ minute live EP recorded at United Reform Church, Hertfordshire.

The vinyl edition will be available as a 2LP gatefold set on black vinyl, with a 28-page booklet featuring lyrics and photography. There will also be a limited edition pressed on yellow vinyl.

The first vinyl pressing will also include a bonus 12″ single in a unique picture sleeve, featuring two alternative versions of album tracks, including a version of Reveal recorded with Emma Ruth Rundle.

Signed/personalised copies are available direct from the band web store: https://40wattsunshop.bigcartel.com/products

Tracklisting:
1. Reveal
2. Behind My Eyes
3. Until
4. Colours
5. The Spaces in Between
6. Raise Me Up
7. A Thousand Miles
8. Closure

https://www.facebook.com/40wattsun
https://www.instagram.com/40wattsunmusic/
https://40wattsunmusic.bandcamp.com/
https://40wattsunshop.bigcartel.com/
http://www.facebook.com/cappiorecords
http://www.twitter.com/cappiorecords
https://cappiorecords.bandcamp.com/
http://www.cappiorecords.com/
https://www.facebook.com/svartrecords
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https://twitter.com/svartrecords
https://svartrecords.com/

40 Watt Sun, Perfect Light (2022)