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Quarterly Review: Black Math Horseman, Baker ja Lehtisalo, Chrome Ghost, Wölfhead, Godzilla in the Kitchen, Onhou, Fuzzerati, Afghan Haze, Massirraytorr, Tona

Posted in Reviews on January 11th, 2023 by JJ Koczan

quarterly-review-winter 2023

Not to get too mathy or anything — stay with me, folks — but today is the day the Winter 2023 Quarterly Review passes the three-quarter mark on its way to 80 of the total 100 releases to be covered. And some of those are full-lengths, some are EPs, some are new, one yesterday was almost a year old. That happens. The idea here, one way or the other, is personal discovery. I hope you’ve found something thus far worth digging into, something that really hits you. And if not, you’ve still got 30 releases — 10 each today, tomorrow, Friday — to come, so don’t give up yet. We proceed…

Winter 2023 Quarterly Review #71-80:

Black Math Horseman, Black Math Horseman

Black math Horseman self titled

Though long foretold by the prophets of such things, the return of Black Math Horseman with 2022’s self-titled, live-recorded-in-2019 EP some 13 years after their 2009 debut full-length, Wyllt (discussed here, interview here), helped set heavy post-rock in motion, is still a surprise. The tension in the guitars of Ian Barry (who also handled recording/mixing) and Bryan Tulao in the eponymous opener is maddening, a tumult topped by the vocals of Sera Timms (who here shares bass duties with Rex Elle), and given thunder by drummer Sasha Popovic, and as part of a salvo of three cuts all seven minutes or longer, it marks the beginning of a more intense extraction of the atmospheric approach to heavy songcraft that made their past work such a landmark, with the crashes of “Cypher” and the strummy sway of “The Bough” following ahead of shorter, even-driftier closer “Cypber.” There’s a big part of me that wishes Black Math Horseman was a full-length, but an even bigger part is happy to take what it can get and hope it’s not another decade-plus before they follow it with something more. Not to be greedy, but in 2009 this band had a lot more to say and all this time later that still feels like the case and their sound still feels like it’s reaching into the unknown.

Black Math Horseman on Facebook

Profound Lore Records store

 

Baker Ja Lehtisalo, Crocodile Tears

Baker Ja Lehtisalo Crocodile Tears

The names here should be enough. It’s Aidan Baker from heavy drone experimentalist institution Nadja ja (‘and’ in Finnish) Jussi Lehtisalo from prog-of-all masters Circle, collaborating and sharing guitar, bass, vocal and drum programming duties — Lehtisalo would seem also to add the keyboards that give the the titular neon to centerpiece “Neon Splashing (From Your Eyes)” — on a 53-minute song cycle, running a broad spectrum between open-space post-industrial drone and more traditional smoky, melancholic, heady pop. Closer “Racing After Midnight” blends darker whispers with dreamy keyboard lines before moving into avant techno, not quite in answer to “I Wanna Be Your Bête Noire” earlier, but not quite not, and inevitably the 14-minute opener and longest track (immediate points) “(And I Want Your Perfect) Crocodile Tears” is a defining stretch in terms of ambience and setting the contextual backdrop for what follows, its howling guitar layered with drum machine churn in a way that’s analogous to Jesu in style but not form, the wash that emerges in the synth and guitar there seeming likewise to be the suddenly-there alt-reality New Wave destination of the more languid meander of “Face/Off.” The amalgam of beauty and crush is enough to make one hope this isn’t Baker and Lehtisalo‘s last get together, but if it is, they made something worth preserving. By which I mean to say you might want to pick up the CD.

Jussi Lehtisalo on Bandcamp

Aidan Baker website

Ektro Records website

Broken Spine Productions on Bandcamp

 

Chrome Ghost, House of Falling Ash

Chrome Ghost House of Falling Ash

While their crux is no less in the dreamy, sometimes minimalist, melodic parts and ambient stretches of their longer-form songs and the interludes “In the Tall Grass” and “Bloom (Reprise),” the outright crush of Sacramento’s Chrome Ghost on their third record, House of Falling Ash (on Seeing Red), is not to be understated, whether that’s the lumber-chug of 14-minute opener “Rose in Bloom” or the bookending 13-minute closing title-track’s cacophonous wash, through which the trio remain coherent enough to roll out clean as they give the record its growl-topped sludge metal finish. Continuing the band’s clearly-ain’t-broke collaboration with producer Pat Hills, the six-song/50-minute offering boasts guest appearances from him on guitar, as well as vocals from Eva Rose (ex-CHRCH) on “Furnace,” likewise consuming loud or quiet, punishing or spacious, Oakland-based ambient guitarist Yseulde in the lengthy, minimalist midsection of “Where Black Dogs Dream,” setting up the weighted and melodic finish there, with Brume‘s Susie McMullin joining on vocals to add to the breadth. There’s a lot happening throughout, loud/quiet trades, experimental flourish, some pedal steel from Hills, but guitarist/vocalist Jake Kilgore (also keys), bassist Joe Cooper and drummer Jacob Hurst give House of Falling Ash a solid underpinning of atmospheric sludge and post-metal, and the work is all the more expressive and (intermittently) gorgeous for it.

Chrome Ghost on Facebook

Seeing Red Records store

 

Wölfhead, Blood Full Moon

Wölfhead Blood Full Moon

Straight-ahead, metal-informed, organ-inclusive classic heavy rock is the order of the day on Wölfhead‘s second album, Blood Full Moon, which is the Barclona-based four-piece’s first offering since their 2011 self-titled debut and is released through Discos Macarras, Música Hibrida and Iron Matron Records. An abiding impression of the 11-song offering comes as the band — who filled out their well-pedigreed core lineup of vocalist Ivan Arrieta, guitarists Josue Olmo and Javi Félez, and drummer Pep Carabante with session players David Saavedra (bass) and Albert Recolons (keys) — present rippers like the Motörhead (no real surprise, considering) via Orange Goblin rocker “Funeral Hearse” as the tail end of a raucous opening salvo, or the later “Mother of the Clan,” but from there the proceedings get more complex, with the classic doom roll of “Rame Tep” or the Jerry Cantrell-esque moody twang of “Everlasting Outlaw,” while “Eternal Stone Mountain” blends keyboard grandiosity and midtempo hookmaking in a way that should bring knowing nods from Green Lung fans, while “The Munsters” is, yes, a take on the theme from the tv show, and closer “El Llop a Dins” takes an airier, sans-drums and more open feel, highlighting melody rather than an overblown finish that, had they gone that route, would have been well earned.

Wölfhead on Facebook

Discos Macarras website

Música Hibrida website

Iron Matron Records store

 

Godzilla in the Kitchen, Exodus

godzilla in the kitchen exodus

Issued through Argonauta Records, Exodus‘ seven inclusions are situated so that their titles read as a sentence: “Is,” “The Future of Mankind,” “Forced By,” “The King of Monsters,” “Because,” “Everything That Has Been Given,” “Will Be Taken Away.” Thus Leipzig, Germany, instrumentalists Godzilla in the Kitchen‘s second album is immediately evocative, even before “Is” actually introduces the rest of what follows across three minutes of progressively minded heavy rock — parts calling to mind Pelican duking it out with Karma to Burn — that give way to the longest cut and an obvious focal point, “The Future of Mankind,” which reimagines the bass punch from Rage Against the Machine‘s “Killing in the Name Of” as fodder for an odd-timed expanse of Tool-ish progressive heavy, semi-psych lead work coming and going around more direct riffing. The dynamic finds sprawl in “Because” and highlights desert-style underpinnings in the fading lead lines of “Everything That Has Been Given” before the warmer contemplation of “Will Be Taken” caps with due substance. Their use of Godzilla — not named in the songs, but in the band’s moniker, and usually considered the “king of monsters” — as a metaphor for climate change is inventive, but even that feels secondary to the instrumental exploration itself here. They may be mourning for what’s been lost, but they do so with a vigor that, almost inadvertently, can’t help but feel hopeful.

Godzilla in the Kitchen on Facebook

Argonauta Records website

 

Onhou, Monument

Onhou Monument

Megalurching post-sludgers Onhou leave a crater with the four-song Monument, released by Lay Bare Recordings and Tartarus Records and comprising four songs and a 41-minute run that’s crushing in atmosphere as much as the raw tonal heft or the bellowing vocals that offset the even harsher screams. Leadoff “When on High” (8:19) is the shortest cut and lumbers toward a viciously noisy payoff and last stretch of even-slower chug and layered extreme screams/shouts, while “Null” (10:39) is unremittingly dark, less about loud/quiet tradeoffs though there still are some, but with depths enough to bury that line of organ and seeming to reference Neurosis‘ “Reach,” and “Below” (11:55) sandwiches an ambient beginning and standalone keyboard finish around post-metallic crunch and not so much a mournfulness as the lizard-brain feeling of loss prior to mourning; that naked sense of something not there that should be, mood-wise. Sure enough, “Ruins” (11:03) continues this bleak revelry, rising to a nod in its first couple minutes, breaking, returning in nastier fashion and rolling through a crescendo finish that makes the subsequent residual feedback feel like a mercy which, to be sure, it is not. If you think you’re up to it, you might be, or you might find yourself consumed. One way or the other, Onhou plod forward with little regard for the devastation surrounding. As it should be.

Onhou on Facebook

Lay Bare Recordings website

Tartarus Records on Bandcamp

 

Fuzzerati, Zwo

Fuzzerati Zwo

Less meditative than some of Germany’s instrumental heavy psych set, Bremen’s Fuzzerati explore drifting heavy psychedelic soundscapes on their 47-minute second album, Zwo, further distinguishing themselves in longform pieces like “Claus to Hedge” (13:01) and closer “Lago” (13:34) with hints of floaty post-rock without ever actually becoming so not-there as to be shoegazing. “Lago” and “Claus to Hedge” also have harder-hitting moments of more twisting, pushing fuzz — the bass in the second half of “Claus to Hedge” is a highlight — where even at its loudest, the seven-minute “Transmission” is more about dream than reality, with a long ambient finish that gives way to the similarly-minded ethereal launch of “Spacewalk,” which soon enough turns to somewhat ironically terrestrial riffing and is the most active inclusion on the record. For that, and more generally for the fluidity of the album as a whole, Fuzzerati‘s sophomore outing feels dug in and complete, bordering on the jazziness of someone like Causa Sui, but ultimately no more of their ilk than of My Sleeping Karma‘s or Colour Haze‘s, and I find that without a ready-made box to put them in — much as “instrumental heavy psych” isn’t a box — it’s a more satisfying experience to just go where the three-piece lead, to explore as they do, breathe with the material. Yeah, that’ll do nicely, thanks.

Fuzzerati on Facebook

Fuzzerati on Bandcamp

 

Afghan Haze, Hallucinations of a Heretic

Afghan Haze Hallucinations of a Heretic

At least seemingly in part a lyrical narrative about a demon killing an infant Jesus and then going to hell to rip the wings off angels and so on — it’s fun to play pretend — Afghan Haze‘s Hallucinations of a Heretic feels born of the same extreme-metal-plus-heavy-rock impulse that once produced Entombed‘s To Ride Shoot Straight and Speak the Truth, and yeah, that’s a compliment. The bashing of skulls starts with “Satan Ripper” after the Church of Misery-style serial murderer intro “Pushing up Daisies,” and though “Hellijuana” has more of a stomp than a shove, the dudely-violence is right there all the same. “Occupants (Of the Underworld)” adds speed to the proceedings for an effect like High on Fire born out of death metal instead of thrash, and though the following closer “Gin Whore” (another serial killer there) seems to depart from the story being told, its sludge is plenty consistent with the aural assault being meted out by the Connecticut four-piece, omnidirectional in its disdain and ready at a measure’s notice to throw kicks and punches at whosoever should stand in its way, as heard in that burner part of “Gin Whore” and the all-bludgeon culmination of “Occupants (Of the Underworld).” This shit does not want to be your friend.

Afghan Haze on Facebook

Afghan Haze on Bandcamp

 

Massirraytorr, Twincussion

Massirraytorr Twincussion

My only wish here is that I could get a lyric sheet for the Britpsych-style banger that is “Costco Get Fucked.” Otherwise, I’m fully on board with Canadian trio Massirraytorr‘s debut LP, Twincussion — which, like the band’s name, is also styled all-caps, and reasonably so since the music does seem to be shouting, regardless of volume or what the vocals are actually up to in that deep-running-but-somehow-punk lysergic swamp of a mix. “Porno Clown” is garage raw. Nah, rawer. And “Bong 4” struts like if krautrock had learned about fuckall, the layer of effects biting on purpose ahead of the next rhythmic push. In these, as well as leadoff “Calvin in the Woods” and the penultimate noisefest “Fear Garden,” Massirraytorr feel duly experimentalist, but perhaps without the pretension that designation might imply. That is to say, fucking around is how they’re finding out how the songs go. That gives shades of punk like the earliest, earliest, earliest Monster Magnet, or The Heads, or Chrome, or, or, or, I don’t know fuck you. It’s wild times out here in your brain, where even the gravity slingshot of “The Juice” feels like a relatively straightforward moment to use as a landmark before the next outward acceleration. Good luck with it, kids. Remember to trail a string so you can find your way back.

Massirraytorr on Bandcamp

NoiseAgonyMayhem website

 

Tona, Tona

Tona tona

Serbian five-piece Tona make their self-titled second LP with a 10-song collection that’s less a hodgepodge and more a melting pot of different styles coming together to serve the needs of a given song. “Sharks” is a rock tempo with a thrash riff. “Napoleon Complex Dog” is blues via hardcore punk. Opener “Skate Zen” takes a riff that sounds like White Zombie and sets it against skate rock and Megadeth at the same time. The seven-minute “Flashing Lights” turns progadelic ahead of the dual-guitar strut showoff “Shooter” and the willful contrast of the slogging, boozy closer “Just a Sip of It.” But as all-over-the-place as Tona‘s Tona is, it’s to the credit of their songwriting that they’re able to hold it together and emerge with a cohesive style from these elements, some of which are counterintuitively combined. They make it work, in other words, and even the Serbian-language “Atreid” gets its point across (all the more upon translation) with its careening, tonally weighted punk. Chock full of attitude, riffs, and unexpected turns, Tona‘s second long-player and first since 2008 gives them any number of directions in which to flourish as they move forward, and shows an energy that feels born from and for the stage.

Tona on Facebook

Tona on Bandcamp

 

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Kehro to Release Debut Album Urdiala April 5 on Ektro Records

Posted in Whathaveyou on March 5th, 2019 by JJ Koczan

kehro (Photo by Susanna Palo)-1400

I’m not saying this to brag or anything, but a fair amount of music gets sent over to check out. The PR wire is pretty consistent, and beyond that, social media and whatnot, it periodically borders on a barrage. I do my best to keep up, and usually fail. I don’t know if I’ll get to review Kehro‘s debut LP, Urdiala, or not, but it came in with the press release below for coverage consideration, and I listened to it and dug it, so here I am posting about it. That’s the whole story. I don’t get to write about nearly as much stuff as I want to in the average week, which is something that’s been frustrating for, oh, the last decade or thereabouts, but if I can sneak in something like this with a streaming track at the bottom of the post and one or two people check it out and dig it, then maybe I can make myself feel better about not giving it its full due.

Please keep in mind I’m trying my best, and that if I didn’t think this was worth your time, I wouldn’t be writing about it at all. In media studies, they call it “agenda setting.” My agenda is “stuff that doesn’t suck.”

Cheers.

Sha la la la la:

kehro urdiala

KEHRO set release date for EKTRO debut, reveal first track

On April 5th, Ektro Records is proud to present Kehro’s debut album, Urdiala, a melting pot of acoustic lounge psychedelia and Latin and Afro grooves packed in the form of highly original musical adventure. It’s not easy to categorise Kehro’s sound, yet it’s a true treasure for fans of eclectic, sunny, and relaxing groove. Reference points include the cornucopia of Penguin Cafe Orchestra, Markku Peltola, and the Hits with Strings and Things Music era.

Employing more-or-less hidden ethno melodies and acoustic downtempo sounds, the album’s soft dreamscape exhibits a thorough understanding of various sub-genres such as avant-folk, melodic space-age pop, exotic coffeehouse jazz, and chillout easy listening. Kehro’s soudscape is based on experiences garnered from gigs at garden parties, dinner parties, cocktail parties, and family celebrations, where it’s best to build ambiance for the imagination – and the listener will take care of the rest if necessary.

The music of Kehro is as eclectic and broad-minded as the ensemble itself. Vesa Kaartinen started his musical career in the obscure agricultural psychedelic group Mummi Kutoo. Markku Kyyhkynen played in the band Sata Lasta, winning the Finnish Championship in Rock Music – as well as in the weird alternative pop group Inkvisitio. Ville Toikka has several local rock groups under his belt. Kalle Outila is a young musical multi-tasker playing swing as well as slide, etc. Marko Timonen is one of the most employed jazz/folk/rock percussionist in Finland, as is Tero Hyväluoma in the humble field of fiddling. Kimmo Pohjonen is often referred to as the Jimi Hendrix of accordion. Samuli Laiho was recently selected as a nominee for the Folk Music Creator of the Year Award for producing the latest album for the group Solju. He’s been playing in the rock groups Hearthill, Soul Tattoo, and Ismo Alanko Säätiö, etc. He has also written Number 1 hits for several pop stars and written music for theatres. Janne Oinas is the man behind the sound and atmosphere in hundreds of pop hits.

Kehro also is a tiny, remote village in Urjala Municipality, 170 kilometers northwest of Helsinki, Finland. The village got its name from a hunter, who settled down there for more than 500 years ago. Today, there are less than 100 inhabitants left in Kehro. The names of the tracks come from the village history. Urdiala is the former, Swedish-based name of Urjala. Further, “Kehro (haal aahei)” is “Hello” in the Sindi language, spoken in India, Pakistan, and Sri Lanka.

Tracklisting for Kehro’s Urdiala
1. Ho?lli
2. Nyyperi
3. Martankari
4. Laikka
5. Kolu
6. Ristolli
7. Kasila
8. Piippala
9. Kikuri
10. Honkolan neiti

www.facebook.com/KehroUrdiala
www.ektrorecords.com
www.facebook.com/ektrorecords
www.soundcloud.com/ektrorecords

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Pharaoh Overlord Announce Zero LP Due April 27

Posted in Whathaveyou on March 1st, 2018 by JJ Koczan

pharaoh overlord

As the old saying goes: There’s weird and then there’s Pharaoh Overlord. I’m not even going to pretend to know what’s going on with the space/psych/anything rockers’ new album, Zero, or how, say, the likes of Hydra Head got involved, which last I heard wasn’t even a label anymore. But hey, if anyone was going to travel to a mirror universe in which Hydra Head still put out records and make that deal happen, wouldn’t it be Pharaoh Overlord? Isn’t it just too perfect, somehow?

Whatever else you do today — and hey, I know you’re busy; we all are — take the time to stream “Maailmanlopun Ateriana” on the player at the bottom of this post. It’s six minutes long, but even broader in terms of mind expansion, and frankly, I think we could all use a little bit of that every now and again.

Zero hits April 27. The PR wire has this:
pharaoh overlord zero

PHARAOH OVERLORD set release date for new EKTRO / HYDRA HEAD album, reveal first track – features Demilich and Faust members

Today, Ektro Records – in cooperation with Hydra Head Records – sets April 27th as the international release date for Pharaoh Overlord’s highly anticipated new album, Zero.

Pharaoh Overlord steer an exceedingly singular course on Zero. Augmented by Antti Boman (Demilich) and Hans Joachim Irmler (Faust), the psychedelic supergroup (consisting of members from Circle) have taken their ouvre to a whole new psychiatric plateau on their ninth studio album.

Libido-driven arithmetics do not apply on these aberrant tracks. Zero provides an offbeat rock ‘n’ roll implosion, with its sonic realm contorting inwards like a sapient voice muffled by the gentle void of cyberspace. What the album has to offer is exposure to genuine ingenuity.

Tracklisting for Pharaoh Overlord’s Zero
Side A:
1. Revolution (8:43)
2. Maailmanlopun ateriana (6:14)
3. Meanwhile (6:02)

Side B:
1. Lalibela Cannot Spell Zero (9:00)
2. Satavuotiaiden Salaisuus (4:12)
3. I Drove All Night by My Solar Stomp (7:40)

www.facebook.com/Pharaoh-Overlord-297881594895
www.ektrorecords.com
www.facebook.com/ektrorecords
www.soundcloud.com/ektrorecords

order misoprostol online

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Janne Westerlund’s There’s a Passage out Feb. 15; Two New Songs Posted

Posted in Whathaveyou on January 18th, 2017 by JJ Koczan

janne westerlund

In the span of two tracks, Janne Westerlund goes from ultra-minimal guy-and-guitar Finnish folk blues to sprawling choral harmonies (in English, but really, the linguistic swap is the smallest of the changes) — and that’s supposed to be the lead-in for Westerlund‘s forthcoming solo LP, There’s a Passage. Wildest part is it probably makes sense when you hear the record. Westerlund, of course, is best known for his work in on-their-own-wavelength-forever progressive post-everything outfit Circle, among others, and There’s a Passage is his second solo offering, set to be released on Feb. 17 via Ektro Records. He’s got two Circle tracks on there among other originals, and the two I mentioned at the start of this paragraph? Yeah, they’re both streaming. You can check them out below.

Art and info off the PR wire:

janne westerlund there's a passage

JANNE WESTERLUND sets release date for new EKTRO album, reveals first tracks

Ektro Records sets February 17th as the international release date for Janne Westerlund’s highly anticipated There’s a Passage. After Marshland, the darkest blues album ever released in Finland, Westerlund is trying to find some light with this new solo effort. By deploying means ranging from the choral exploration of “So Messed Up” to the obsessedly monotonic boogie of “Run No More,” completed with two songs from Circle’s repertoire, he manages to come up with a captivating, sorcerous journey for an album.

Westerlund’s roots may be deep in folk music, but over the years, playing with such bands as Circle, Pharaoh Overlord and Plain Ride, he has developed a highly personalized take on it by questioning the conventions of any given genre. Despite his uncompromising and austere vision on music, there remains an undertone of uncertainty and vulnerability in his voice – perhaps it is precisely this ambivalence that makes his work so accessible and strikingly effective. Hear the first examples of such with the tracks “Kuoleman lautturin tyta?r” HERE and “So Messed Up” HERE. Cover and tracklisting are as follows:

Tracklisting for Janne Westerlund’s There’s a Passage
1. So Messed Up
2. Sick Child
3. Run No More
4. Days of Love
5. Oh Wind
6. Kuoleman lautturin tytar
7. Ydinaukio
8. Back to Etcetera
9. You Come From Far
10. There’s a Passage

www.facebook.com/Westerlund.Janne
www.ektrorecords.com
www.facebook.com/ektrorecords
www.soundcloud.com/ektrorecords

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Begravningsentreprenörerna to Release Self-Titled Debut EP on Ektro Records

Posted in Whathaveyou on May 22nd, 2014 by JJ Koczan

I’m not gonna lie, part of the reason I’m posting about Begravningsentreprenörerna is because, at 26 letters, theirs is by far the longest single-word band moniker I’ve ever featured on this site. Doesn’t hurt either that they come from an island off the coast of Finland and play heavy motorpunk with an eye toward garage groove and Swedish lyrics. The four-piece have signed on to release their self-titled (what else would you call it?) debut EP on Ektro Records this July 3, and the track “Anden I Flaskan” is available now for you to check out. It’s raw but not shy about kicking ass.

In case you’re wondering how Begravningsentreprenörerna translates, the Googles puts it as “Funeral Contractors,” which, though still decent, is nowhere near as cool as what they have. If you need me, I’ll be working syllable by syllable to continue to pronounce it, no doubt incorrectly.

Should you like to try your luck, the PR wire sends this:

BEGRAVNINGSENTREPRENÖRERNA set release date for EKTRO debut

Today, EKTRO RECORDS sets July 4th as the international release date for BEGRAVNINGSENTREPRENÖRERNA’s Begravningsentreprenörerna 10″ vinyl EP. Formed a year ago, the four misfits of BEGRAVNINGSENTREPRENÖRERNA – with members of Obnoxious Youth, Vorum, and Tinner – stitched their rock ‘n’ roll denim together and are now making their debut release a self-titled three-track EP. Like the roar from a bloated V8 that echoes through the wastelands filling the air with its toxic exhaust, BEGRAVNINGSENTREPRENÖRERNA play loud rock music with high-octane guitars that stink of liquor and cigarettes. The weighty ingredients in the lyrics delivered in Swedish kicks the dust of alcoholism, anxiety, death, and loneliness and migrates on the desolate highway towards the sunset, into desperation. Cover and tracklisting are as follows:

Tracklisting for BEGRAVNINGSENTREPRENÖRERNA’s Begravningsentreprenörerna
1. Du Skulle Se Mig Nu Din Fan
2. Anden I Flaskan
3. Snaran och Stålet

MORE INFO:
www.facebook.com/entreprenorerna
www.ektrorecords.com
www.soundcloud.com/ektrorecords
www.facebook.com/ektrorecords

Begravningsentreprenörerna, “Anden I Flaskan”

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