I do my best to not talk about politics on this site, and I’m not always successful. I am of the firm belief that everything — even the decision not to talk about politics on this site — is political. So as Revvnant, which is the post-The Flying Eyes project helmed by that band’s drummer Elias Schutzman (here cast as a multi-instrumentalist/vocalist), unveil the new single “The Second Coming” with lyrics derived from Yeats‘ poem of the same name — “what rough beast” and all that — it’s harder than usual not to engage with the political moment in which we’re living. As much as COVID-19 would seem to be the plague of our times — or at least until the next one hits — perhaps too one might consider the persistent spread of the schism between sides of humanity that might lead some people not to care as others are dying. I know that’s nothing new, but it sure is stark these days.

If you’re not considering radical labor action, you probably don’t work at a grocery store right now. I know the young woman who scanned my blueberries at Shop-Rite yesterday was thinking about putting a bullet in my brain, and I can’t fault her for that.

Capitalism. Symptoms and causes.

Enjoy the track:

Elias Schutzman on “The Second Coming”:

Shortly after the 2016 election I came across the apocalyptic poem “The Second Coming” by William Butler Yeats… It perfectly expressed the existential dread I was feeling so I decided to put it to music, enlisting the help of Adam Bufano (my long time bandmate in The Flying Eyes) on guitar. I wasn’t really planning to release it, but in this moment it feels so relevant. This song isn’t the “feel good jam” people probably wanna hear right now. But for me music is supposed to express truth, no matter how dark and ugly that is. And the truth here is we are in deep shit. We have a “leader” who cannot, or will not adequately protect us in this time of crisis, instead feeding us incessant lies and looking out for his own self interest. If we don’t remove this human virus from office, we will truly reap the whirlwind…if we haven’t already.

Lyrics adapted from William Butler Yeats’ poem “The Second Coming”…

“Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.

The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?”

released March 24, 2020

Elias Schutzman- Vocals, Synthesizers, Programming
Adam Bufano- Guitar
Stella- Backing Vocals

Produced and mixed by Elias Schutzman

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Revvnant, “The Second Coming”

In some ways, Arbouretum‘s seventh album, Let it All In, tells you what you need to know right there in the title. It is a summary of the emotional perspective of the songs and the general outlook of the aesthetic, which embraces the world around it with open eyes and a keen sense of absorption and reflection, taking in ideas and melodies, turning them into cohesive expression, and giving them back in the form of eight songs that are as widely varied and stylistically adventurous as anything guitarist/vocalist/principal songwriter David Heumann and the Baltimore-based outfit have ever done before.

Issued by Thrill Jockey, it’s an album that might strum out electric folk blues on the way to an unexpected and understated guitar-goes-wandering jam on “No Sanctuary Blues” and then just as easily put keyboardist Matthew Pierce (also woodwinds) in the lead on synth for the two-minute instrumental “Night Theme,” the songs finding union through a thematic around the natural world even when Heumann‘s voice isn’t there to tie the material together. And it’s worth noting that even as Heumann, Pierce, drummer Brian Carey, bassist Corey Allendar and percussionist/drummer David Bergander get underway in opener “How Deep it Goes” — the title of which is doubly noteworthy as Heumann‘s 2015 solo debut was Here in the Deep (review here) — Heumann shifts his approach to a higher register so that the gentle delivery to be found on the subsequent quietly marching “A Prism in Reverse” and later pieces like “Buffeted by Wind” is replaced right away by something less familiar, something new. This as well speaks to the ethic of Let it All In as a whole, which remains distinctly Arbouretum‘s own while pushing the limits of what that means.

Tracked in a return collaboration by Steve Wright at Wright Way Studios in Baltimore with mastering by Sarah Register, the album is invariably marked out by its title-track, which arrives as an unmatched sprawl topped 11 minutes and taps into motorik beats and a sense of thrust that nothing else here or in recent memory from Arbouretum comes close to matching, be it 2017’s Song of the Rose (review here), 2013’s Coming out of the Fog (review here) or 2011’s The Gathering. They’ve certainly jammed and incorporated psychedelic aspects before — “The Rise” on 2007’s Rites of Uncovering was a positive freakout — but even with the additional percussion of Mike Kehl and Mike Lowry (the former also appears on “No Sanctuary Blues”) as part of the proceedings, “Let it All In” brings a progressive sense of construction that holds to its purpose even as it moves into further reaches. It goes, in short, until it stops.

And it’s not so much about pushing to the outer limits of — what? expectation? — as it is finding a place on the borderline between celebration and exploration; a fuzzy lead that takes hold around seven minutes in does no less than dance over the central rhythm beneath it, winding its way with a sure-handed cosmic pull. And since “Let it All In” is the penultimate inclusion on the album that shares its name, and since by the time it comes around, Arbouretum have already found the pastoral serenity in a post-truth world on “How Deep it Goes,” set to the organ-inclusive warm spaciousness of “A Prism in Reverse” — reminding of precisely the kind of “heft” in which they’ve long specialized, as well as the essential role of Allendar‘s bass tone therein — pulled all the wires and laid back down on “No Sanctuary Blues,” cast the meditative space of “Night Theme,” rambled and reveled in the fuzz-folk of “Headwaters II” with particularly satisfying snare punctuation, and reclaimed the shimmer on “Buffeted by Wind,” really the only thing left to do is throw in a bit of honky-tonk and call it a day, right? Right? Because where else do you go after the 11-minute flowing space-prog epic other than the ’70s AOR saloon, graced with piano by Hans Chew and culminating in an apex further marked out by an arrangement of trumpet and flugelhorn by Dave Ballou? How could it possibly be otherwise.

Of course, it works. The sudden turn from riding-light-through-the-galaxy to “High Water Song” (note also the opening “How Deep it Goes” to the closing “High Water Song” thematic bookend) might not make sense on paper, but as Arbouretum have proved on a reliable basis before, it’s the songwriting itself that is the underlying foundation of everything they do. The difference between Let it All In and even Song of the Rose, which was by no means lacking in breadth, is simply that they go further in a broader range of directions. All of these elements have been in their sound all along, but it’s as though the band have sought to reshuffle the balance thereof and the material is intended to highlight the varying facets of their approach. But again, it works, because of songwriting. After 15-plus years, Arbouretum have no trouble in positioning the listener where they want them to be, and with an overarching sense of melodic detail in vocals and instrumentation alike, from “How Deep it Goes” onward, Let it All In serves as its own best advice.

There is no mistaking a standout moment like Heumann‘s voice ringing out the repeated lines of “No Sanctuary Blues” — the whole song seems to come to a halt and give him the space to do so, then recover as it makes its way into its jam — but whether it’s that highlight or the sweet procession of “A Prism in Reverse” or the sunshine-laced bounce of “Buffeted by Wind,” the album as an entirety earns its communion with the natural world, and maybe it is looking for a sanctuary, or some manner of escape, but there’s nothing cloying or desperate about it. It remains clearheaded for the 45-minute duration and lets the horns finish “High Water Song” in a clean, sharp, but still fluid finish, serving as one final reminder that Arbouretum are no less accomplished than they are underrated. You’ll either let it in or you won’t, but if you take the time to listen, a record like this only makes your life richer.

Arbouretum, Let it All In (2020)

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I don’t feel like it’s a risky political position to not support murder either on a mass or individual scale. Violence is a ubiquitous and foundational part of American culture, from the ongoing subjugation of the Native American population as part of the colonial process, to the continued stain on the nation’s soul that slavery represents — implicit bias, cultural appropriation, casual racism, fear, microaggression; it’s its own list — to the regular slaughters that pepper the news, to the rise of Antisemitism and xenophobic jingoism, to the glorification of rape for shock value in media at the same time an entire landscape of sexual violence is being unveiled, to every time a husband batters his wife behind a closed door and no one ever knows about it, or worse, everyone does but can’t or won’t do anything in response. As a people, we are complicit in violence against the earth itself every time we wear mass-produced clothing, eat Roundup-treated produce shipped by a truck, or run tap water through a 60-year-old lead pipe, use a car, plug in a refrigerator, or heat our homes. It is the way the world has been arranged for us and for as long as there is a planet hosting us, it is the inheritance our species will pass to the subsequent generations that follow our path, either blindly or conscious of their own shame.

It doesn’t matter whether you believe these things or not. Glaciers fall into water. People die. Life proceeds until it doesn’t. And violence was by no means invented by America, though American gun culture, as Revvnant‘s Elias Schutzman examines in the new single “Automatic,” does seem to be something that, at least for now, is particular to the national character. In the “Automatic” video, drone-wave undulations of riff and far-back dream-style vocals are set to footage of firearms being shot and various other portrayals of violence throughout culture, some insidious — televangelist preachers knocking people over to heal them, snakedancers, Charlie Manson, etc. — some subtle like the staring eyes of Bill Cosby selling Coke, Burt Reynolds smacking Marc Summers from Double Dare on The Tonight Show, and so on. But the visual hook is guns, and the focus is guns. Schutzman, formerly the drummer of The Flying Eyes and currently also in Black Lung, is hardly the first to tackle the subject, but the means through which he and Christopher Stone and Dave Gibson — who made the video — use it to tie the various sides together into a single description/perspective is clever and no less hypnotic than the song, which sets its trance around the refrain, “You’d better pray that god is really dead.”

So be it.

Revvnant, which also features Trevor Shipley (who worked with both The Flying Eyes and Black Lung in the past) alongside Schutzman, are donating proceeds from this debut single to the March for Our Lives via their Bandcamp, and there are far worse ways you could spend your money. Like on a gun. Or a snake.

Video and info follow:

Revvnant, “Automatic” official video

Elias Schutzman on “Automatic”:

“Automatic” is my livid critique of American gun culture, the epidemic of mass shootings, and the profiteers who lobby to keep the system in place. It’s just one of the many viruses that have infected our society. People have an almost erotic obsession with their firearms. Many will claim it’s for safety, when the hard facts show owning a gun makes you statistically less safe. I think it’s really about a false sense of power, when you feel powerless about everything else in life. And after every mass murder, gun sales go up, and masters of this bloody industry get richer…”

Video created by Christopher Stone and Dave Gibson

Buy the single here: https://revvnant.bandcamp.com/track/automatic
All proceeds will be donated to March For Our Lives (marchforourlives.com).

Lyrics:
“Words carry disease
Murder feeds families
God killed himself from shame

You’d better pray
That god is really dead

All hearts flirt with insanity
Tools of men worshipped so easily
Auto-erotic war machines
Breed violence, a quest for infamy

You’d better pray
That god is really dead

Where do we place the blame?
Evil, a flawed society?
Or masters of blood and industry?

You’d better pray
That god is really dead.”

Revvnant is Elias Schutzman (Vocals, Synthesizers, Programming), with Trevor Shipley on guitar.

Mixed by Mickey Freeland
Mastered by Alan Douches

Revvnant on Instagram

Revvnant on Thee Facebooks

Revvnant on Bandcamp

I added three albums to my budding best-of-2020 list this past weekend, and Arbouretum‘s Let it All In was one of them. The Baltimore psych-folk stalwarts will issue the follow-up to 2017’s Song of the Rose (review here) on March 20 through Thrill Jockey Records and I’m not even going to pretend I don’t love it. They bliss out motorik space rock. They dive in mellow wash. They even honky-tonk a little bit. And it’s all cool, and it’s all them. They’ve got a single streaming now called “A Prism in Reverse” — as you maybe read in the headline above — and it’s a decent lead-in to their style, but what they do is so rich here that I don’t think any one song could really do it justice.

Fanboy ranting? Most definitely. No regrets. More of that to come, I’m sure.

Art, info, preorder link and track from the PR wire:

Arbouretum announce the transportive new album Let It All In Out on March 20th

On March 20th, Arbouretum will release their transportive album Let It All In. The album’s first single “A Prism In Reverse” encapsulate’s guitarist/vocalist Dave Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor. Arbouretum has always centered around Heumann’s remarkable voice and songwriting, and his skill as a vocalist and guitar player have led to playing with artists such as Cass McCombs, Will Oldham, and many others. Heumann’s songs are transportive and decidedly album-oriented, and Let It All In is an invitation to jump into an album rich with timeless elegance.

Arbouretum’s mystic folk-rock collapses a continuum of 20th century music into decidedly classic song structures. English folk, country blues, Americana and 70s psychedelia all serve as touchpoints in their singular and distinctive sound. The Baltimore-based band have perfected the craft of storytelling using the delicate interplay of melodies and prosaic lyrics to tell vivid stories that engage the listener and transport them the way an immersive novel would. Recorded at Wrightway Studios with Steve Wright and featuring guests such as Hans Chew and David Bergander, each song is a vivid scene or tale; meticulously detailed and crafted, transporting the listener to another world and time.

Listen to Let It All In single “A Prism In Reverse”: https://arbouretum.bandcamp.com/track/a-prism-in-reverse

Arbouretum – Let It All In tracklist
1. How Deep It Goes
2. A Prism In Reverse
3. No Sanctuary Blues
4. Night Theme
5. Headwaters II
6. Buffeted By Wind
7. Let It All In
8. High Water Song

Pre-order Arbouretum’s Let It All In: http://thrilljockey.com/products/let-it-all-in

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This shit is insane. Do I really think you’re going to sit and watch all 43 minutes of Darsombra‘s video for the title-track and only-track from their 2019 LP, Transmission (review here)? Well, when you put it like that, no, I don’t, because who the hell has 43 minutes to do anything ever, but whether it’s the frenetic, full-body-suit-clad fire-dancing ritual followed by a bit of shoulder boogie near the halfway point or some more serene nature shots of waterfalls, mountains, animals, caves and so on captured during the two-piece’s many adventures hither and yon on this silly planet, I’m really glad the clip for the entirety of “Transmission” exists. Put together by Ann Everton, whose visuals have become an essential component of Darsombra‘s live presentation yet inherently go underrepresented when it comes to their studio work, the video makes its interpretive aspects plain to follow as “Transmission” shifts between parts and moods, as her own various instrumentation and Brian Daniloski‘s guitar intertwine with a fluidity that, frankly, to call it drone would be underselling its complexity and psychedelic nuance.

Not to mention, Transmission is active. It’s not bouncing to a catchy, danceable drumbeat — or any drumbeat at all, mind you — but it is a work of pointed exploration and movement. Darsombra‘s pieces have certainly done their share of adventuring in the past, real-world and ethereal as some of the footage captured while driving through various landscape portrays, but the will to push these impulses further to new places can be heard even as parts loop around and are manipulated by various effects and added layers of synth, maybe-vocals, definitely-vocals, and so on. The video goes so far as to involve the viewer, turning white letters of its later chanting yellow in follow-along fashion — only the bouncing ball is missing. And it’s fitting that what began with birds flying under the sun and a spinning moon should close with a solar eclipse and that same returned moon, which appears over silence as the song itself has ended. For those who stick it out or those who skim, the resonance goes well beyond the tonal.

As ever, Darsombra will tour. They’ll do a Northeast weekender this weekend, then head to the West Coast for shows in Tijuana and CA ahead of an appearance next month at Shadow Frost in Maryland. Then in Spring it’s off to the UK and Europe alternately alongside fellow Exile on Mainstream types Conny Ochs and Kristian Harting. They’ll stop at Roadburn in April, where I look forward to seeing them.

Dates follow courtesy of the PR wire.

Enjoy:

Darsombra, “Transmission” official video

Following the release of their sprawling fifth album, Transmission, Baltimore, Maryland’s audiovisual progressive/psychedelic duo DARSOMBRA has digitally released a film, to accompany the entire record. In addition, the band is expanding their upcoming tour itinerary with new North American and European dates booked in support of the record.

Released independently by the band last summer, Transmission consists of one continuous forty-one-minute flood of DARSOMBRA’s sprawling, mind-expanding, musical exploration. Ranging from relentless, charged, and cinematic, to ephemeral, transcendent, and delicate, the song embraces its many qualities as it wraps itself into a thematic, uncompromising saga with a million different interpretations available to the listener. The band’s filmmaker, Ann Everton, directed, shot, and edited the new film accompanying the album, backing the entire song with a visual experience as vivid, vast, and harrowingly psychedelic as the music itself.

DARSOMBRA Tour Dates:
1/17/2020 Sacred Root – Ithaca, NY w/ Ruckzuck, Dead Nettles, Shaawano
1/18/2020 Honey Room – Buffalo, NY w/ Circular Logic, Pam Swarts, Different Planets, Cacklmancy, Lala Funstar, Magisole, Isometrics, God Hates This Band, Djinn, American Raga
1/23/2020 Lyncanthro Pub – Tijuana, BC w/ Astral Azif
1/24/2020 Til-Two Club – San Diego, CA w/ Amerikan Bear, Soul Juice, Infinity Eyes
1/25/2020 The Paramount – Los Angeles, CA w/ All Souls, CFM, Biblical Proof of UFOs, DJ Dale Crover
1/26/2020 Golden Heart Space – Santa Barbara, CA
2/22/2020 Shadow Frost Music & Arts Festival – Frederick, MD
4/02/2020 West Street Live – Sheffield, UK w/ Conny Ochs
4/03/2020 Conroy’s Basement – Dundee, UK w/ Conny Ochs
4/04/2020 Tooth & Claw – Inverness, UK w/ Conny Ochs
4/07/2020 The Cellar – Aberdeen, UK w/ Conny Ochs
4/08/2020 BLOC+ – Glasgow, UK w/ Conny Ochs
4/09/2020 Henry’s Cellar – Edinburgh. UK w/ Conny Ochs
4/10/2020 Cluny 2 – Newcastle, UK w/ Conny Ochs
4/11/2020 The Exchange Basement – Bristol, UK w/ Conny Ochs
4/14/2020 The Underdog – London, UK w/ Conny Ochs
4/18/2020 Roadburn Festival – Tilburg, NL
4/22/2020 VEB – Siegen, DE w/ Kristian Harting
4/23/2020 UT Connewitz – Leipzig, DE w/ Kristian Harting
4/24/2020 Zukunft am Ostkreuz – Berlin, DE w/ Kristian Harting
4/25/2020 Chemiefabrik – Dresden, DE w/ Kristian Harting
4/30/2020 Punctum – Prague, CZ w/ Kristian Harting
5/02/2020 Soul Kostel – Verné?ovice, CZ w/ Kristian Harting
5/03/2020 Kapu – Linz, AT w/ Jarboe, Kristian Harting
5/04/2020 Grillx – Vienna, AT w/ Kristian Harting
5/06/2020 Galerie Kur – Zürich, CH w/ Kristian Harting
5/10/2020 MCP Apache – Fontaine-l’Évêque, BE w/ Kristian Harting

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Rituals is the former Windup Space in Baltimore, or so I’m told, and will play host to Grim Reefer Fest 2020 next April 18. The all-dayer will be headlined by Destroyer of Light from Austin, TX, and in addition to them and fest-organizers Haze Mage — credit where it’s due — the lineup boasts an impressive range of mostly regional denizens like Philly’s High Reeper and Green Meteor and Maryland-based acts like Asthma Castle, Cavern and Alms. Hyborian will be in from Kansas City which leaves me wondering if perhaps they’ll be on tour at the time, but either way, they’re keeping good company to be sure. If you’re the type to celebrate the Stoner New Year or just the type to celebrate riffs, seems to me there are far worse ways to spend your Saturday. They’ve got a food truck and everything.

Tickets are on sale now. Here’s the info:

Are you ready to get grim? Because we sure are! Join us for the 4th annual Grim Reefer Fest on 4.18.20 at Rituals (The new and improved former Windup Space location) in Baltimore, MD!

A full day of incredible live music, a food truck, and heavy riffs to keep you in the right head space!

Here’s the full 2020 lineup!

Destroyer of Light (ATX) – Heavy crushing doom with the heart of rock from Austin, Texas here to obliterate your minds

Hyborian (KC) – Hard-Hitting heavy and stunning riffs from Kansas City to melt your faces

Asthma Castle – Heavy stoner sludge from the depths of Baltimore

Haze Mage – A blend of stoner, doom, and classic heavy metal with epic vocals

HIGH REEPER (PHI) – Heavy pounding rhythms, thick guitars, and soaring screeching vocals

Cavern – Heavy prog rock from Western MD

Green Meteor (PHI) – Psychedelic sonic warriors from outer space

Alms – Classic 70’s style hard-rocking heavy metal with entrancing harmonized vocals

Tombtoker – Dirty and heavy doom forged with the soul of punk

Compression – Recently reforged, a unique blend of thrash, metal, hardcore, and everything inbetween.

Tickets are $25 in Advance and $30 the day of the event!
Get yours at www.grimreeferfest.com!

Logo and Poster by Ghostbat

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Destroyer of Light, Mors Aeterna (2019)

It should probably (and hopefully) go without saying that the bigger story here will be when Grim Reefer Fest 2020 actually announces its lineup, but that’s not until Nov. 21 and maybe you, like me, enjoy making plans in advance. Though it’s been traditionally held on April 20 going back to its time operating under the banner of Stoned to Death, next year will find Grim Reefer taking place on April 18, once again at The Ottobar. It’s okay, you’re allowed to get high on two days in April, though I say that with zero knowledge of where legalization stands in Maryland.

Just checked: medical, yes, less than 10 grams decrim. There you go. Homework done for you.

So yeah, it’s April 18. Fine. Who do you think will play? Well, Haze Mage run the thing, and they seem to have played all the years, so it’s their party, I wouldn’t be surprised to find them taking part. And Heavy Temple have done at least the last two editions of the gathering as well, so maybe a return and maybe not from the Philly trio, but rest assured, no matter who’s ultimately involved, there will be riffs, there will be volume, and if you, I don’t know, trip and fall maybe?, there will be blood.

Oh, there’ll be a food truck! That’s fun too.

Date reveal was quick and to the point:

Are you ready for next year’s fest? Because we sure are! Join us for the 4th annual Grim Reefer Fest on 4.18.20 at the Ottobar ! The full lineup will be announced next month on 11.21.19!

https://www.facebook.com/events/1016565088689615/

Are you ready to get grim? Because we sure are! Join us for the 4th annual Grim Reefer Fest on 4.18.20 at the legendary Ottobar in Baltimore, MD!

A full day of incredible live music, a food truck, and heavy riffs to keep you in the right head space!

The full lineup will be announced next month on 11.21.19! Help spread the word and get hyped!

Logo design by Ghostbat

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Heavy Temple, Live at Grim Reefer Fest 2019

At this point, Baltimorean extreme-ish sludge three-piece Yatra tour with a frequency that makes one only hope they really get along as human beings in addition to, you know, being a good band. Otherwise, that’s an awful lot of time to spend together. With a new album in some stage of completion — mixed? mastered? in the can? at the press? promo just came down the PR wire? wouldn’t that be a fun coincidence of timing if it were true (it isn’t)? — and recently signed to STB Records for its release, the trio just wrapped a European stint that included stops at Desertfest Belgium, Into the Void, and Høstsabbat (review here), where both they and their tourmates in Polish prog-heavies Sunnata properly killed.

Not a group to rest on laurels or rest, period, Yatra will embark next week on a new round of touring, this time playing dates with — among others — Stonecutters, Destroyer of Light and Black Tusk as they cut a pretty broad swath across the Midwest and Southeast. The tour isn’t actually all that long by the standard of some they’ve done, but looks like a pretty fair bit of geographical ground to cover in less than two weeks of every-night shows — a Nov. 4 TBD notwithstanding; someone better call Vegas Rock Revolution and get them on the case — while still saying South-centric. I wouldn’t be surprised if they were back out in January either, or if they snuck in a couple shows around the coming holidays. Because that’s how they do.

Hoping for actual release news soon about their record, but till then, here are the dates:

Alright ‘merica we are back inside you!…..

This lil U.S. tour starts next week! Playing with some rad bands in awesome places! Stoked to get back in the van again!

YATRA needs to fill one date on this tour! November 4th! Somewhere between SLC and Pheonix (thinking Vegas or Flagstaff)! Any booking help or info on shows we could hop on would be rad! Thanx!

Check it…..!

YATRA live:
10/31 Louisville KY Magbar
11/01 Witchita KS Barleycorns
11/02 Denver CO 7th Circle
11/03 Salt Lake City UH Urban Lounge
11/04 TBD
11/05 Phoenix AZ Yucca Tap Room
11/06 Taos NM Taos Mesa Brewery
11/07 Austin TX The Lost Well
11/08 Memphis TN B-Sides
11/09 Greenville SC Gottrocks
11/10 Baltimore MD Metro Gallery

YATRA:
Dana Helmuth – guitars/vocals
Maria Geisbert – bass
Mike Tull – drums

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Yatra, Death Ritual (2019)