Quarterly Review: Negative Reaction, Fuzz Evil, Cardinal Point, Vlimmer, No Gods No Masters, Ananda Mida, Ojo Malo, Druid Fluids, Gibbous Moon, Mother Magnetic

Posted in Reviews on November 27th, 2023 by JJ Koczan

The-Obelisk-Quarterly-Review

Don’t ask me if the ‘quarter’ in question is Fall or Winter, and I’m still planning another QR probably in early January or even December if I can sneak it, but I was able to sneak this week in while no one was looking at the calendar — mostly, that is, while I wasn’t filling said calendar with other stuff — and I decided to make it happen. I even used the ol’ Bing AI to make a header image for it. I was tired of all the no-color etchings. It’s been a decade of that at this point. I’ll try this for a bit and see how I feel about it. The kind of thing that matters pretty much only to me.

This might go to 70, but for right now it’s 50 releases Monday to Friday starting today, 10 per day. I know the drill. You know the drill. Let’s get it going.

Quarterly Review #1-10:

Negative Reaction, Zero Minus Infinity

Negative Reaction Zero Minus Infinity

Holy fucking shit this rips. You want sludge? Call the masters. There are two generations of bands out there right now trying to tap into the kind of slow and ultra-heavy disaffection — not to mention the guitar tone — of Negative Reaction, and yet, no hype whatsoever. This record didn’t come to me from some high-level public relations concern. It came from Kenny Bones, who founded Negative Reaction over 30 years ago in Long Island (he and thus the band are based in West Virginia now) and whose perpetual themes between crushing depression and the odd bit of Star Wars-franchised space opera have rarely sounded more intentionally grueling. Across six songs and a mood-altering 46 minutes, Bones, bassist KJ and drummer Brian Alien bludgeon with rawness and volume-worship weight that, frankly, is the kind of thing riff-dudes on social media should be tripping over themselves to be first to sing its praises, the lurch in “Back From the Sands” feeling sincere in its unconscious rifference (that’s a reference you make with a riff) to Saint Vitus‘ “Born Too Late,” and maybe Negative Reaction were, or maybe they were born too early, or whatever, but it’s not like they’ve been a fit at any point in the last 30-plus years — cheeky horror riff chugging in “Space Hunter,” all-out fuckall-punker blast in “I’ll Have Another” before the 13-minute flute-laced (yes, Bones is on it) cosmic doom finish of “Welcome to Infinity,” etc., reaffirming square-peg status — because while there’s an awful lot of sludge out there, there’s only ever been one Negative Reaction. Bones‘ and company’s angry adventures, righteous and dense in sound, continue unabated.

Negative Reaction on Facebook

Negative Reaction on Bandcamp

Fuzz Evil, New Blood

fuzz evil new blood

Arizona brothers Wayne and Joey Rudell return with New Blood, the first Fuzz Evil full-length since High on You (review here) in 2018, and make up for lost time with 53 minutes of new material across 13 songs from the post-Queens of the Stone Age rock at the outset in “Suit Coffin” to the slow, almost Peter Gabriel-style progressivism of “Littlest Nemo,” the nighttime balladry of “Gullible’s Travel” or the disco groove of “Keep on Living.” Those three are tucked at the end, but Fuzz Evil telegraph new ideas and departures early in “My Own Blood” and even the speedier “Run Away,” with its hints of metal, pulls to the side from “Souveneers,” the hooky “G.U.M.O.C.O.,” a cut like “Heavy Glow” (premiered here) finding some middle ground between attitude-laced desert rock and the expansions thereupon of some New Blood‘s tracks. Shout to “We’ve Seen it All” as the hidden gem. All Fuzz Evil have ever wanted is to write songs and maybe make someone — perhaps even you — dance at a show. With the obvious sweat and soul put into New Blood, a little boogieing doesn’t seem like too much to ask.

Fuzz Evil on Facebook

Fuzz Evil on Bandcamp

Cardinal Point, Man or Island

Cardinal Point Man or Island

A second full-length from Serbia’s Cardinal Point, Man or Island asks its central question — are you a man or an island — in the leadoff title-track. I’m not sure what being one or the other delineates, but masculinity would seem to be preferred judging by the Down-style riffing of “Stray Dog” or the heavy-like-1991 “Right ‘n’ Ready,” which feels like it was written for the stage, whether or not it actually was. “Sunrise” borders on hard country with its uber-dudeliness, but closer “This Chest” offers tighter-twisting, Lo-Pan-style riffing to cap. The tracks are pointedly straightforward, making no pretense about where the band is coming from or what they want to be doing as players. The grooves swing big and the choruses are delivered with force. You wouldn’t call it groundbreaking, but the Vranje-based four-piece aren’t trying to revolutionize heavy so much as to speak to various among those traditions that birthed it. They succeed in that here, and in making the results their own.

Cardinal Point on Facebook

Cardinal Point on Bandcamp

Vlimmer, Zersch​ö​pfung

vlimmer zerschopfung 1

Voices far more expert than mine have given pinpointed analyses of Vlimmer‘s goth-as-emotive-vehicle, semi-electronic, sometimes-heavy post-punk, New Dark Wave, etc., stylistic reach as relates to the Berlin-based solo artist’s latest full-length, Zersch​ö​pfung, but hearing The Cure in “Makks” and “Fatalideal” taken to a place of progressive extrapolation on “Platzwort” and to hear the Author & Punisher-informed slow industrial churn of the penultimate “Todesangst” become the backdrop for a dreamy vocal like Tears for Fears if they stayed up all night scribbling in their notebook because they had so much to say. Vlimmer (né Alexander Leonard Donat) has had a productive run since the first numbered EPs started showing up circa 2015, and Zersch​ö​pfung feels like a summation of the style he’s established as his own, able to speak to various sides of underground and outsider musics without either losing itself in the emotionalism of the songs or sublimating identity to genre.

Vlimmer on Facebook

Blackjack Illuminist Records on Bandcamp

No Gods No Masters, Torment

No Gods No Masters Torment

Dutch sludge metallers No Gods No Masters may seem monolithic at first on their second full-length, the self-released Torment, but the post-metallic dynamics in the atmospheric guitar on lead cut “Into Exile” puts the lie to the supposition. Not that there isn’t plenty of extreme crush to go around in “Into Exile” and the four songs that follow — second track “Towering Waves” and closer “End” on either side of the 10-minute mark, “Such Vim and Vigor” and “A God Among the Waste” shorter like “Into Exile” in a five-to-six-minute range — as the band move from crawling ambience to consuming, scream-topped ultra-doom, leave bruises with elbows thrown before the big slowdown in “Such Vim and Vigor” and tear ass regardless of tempo through the finale, and while they never quite let go of the extremity of their purpose, neither do they forget that their purpose is more than extremity. Torment sounds punishing superficially — certainly the title gives a hint that all is not sunshine and puppies — but a deeper listen is met by the richness of No Gods No Masters‘ approach.

No Gods No Masters on Facebook

No Gods No Masters on Bandcamp

Ananda Mida, Reconciler

Ananda Mida Reconciler

Italian psych rockers Ananda Mida are joined by a host of guests throughout their third full-length, Reconciler, including a return appearance from German singer-songwriter Conny Ochs on the extended heavy psych blueser “Swamp Thing” (14:52) and the four-part finale “Doom and the Medicine Man (Pt. V-VIII)” (22:09), which draws a thread through the history of prog and acid rocks, kraut and space applying no less to the 12-minute “Lucifer’s Wind” as to the surf-riffing “Reconciling” after — the latter gets a reprise on platter two of the 83-minute 2LP — as Ananda Mida dig deep into the shining thrust in the early verses of “Never Surrender” that give over to thoughtful jamming in the song’s second half, finding proto-metallic resolve in “Following the Light” before reconciling “Reconciling (Reprise)” and unfurling “Doom and the Medicine Man” like the lost ’70s coke-rock epic it may well be in some other universe, complete with the acoustic postscript. It’s two records’ worth of ambitious, and it’s two records’ worth of record. This is exploratory on a stylistic level. Searching.

Ananda Mida on Facebook

Go Down Records website

Ojo Malo, Black Light Fever Tripping

ojo malo black light fever tripping

Lumbering out of El Paso, Texas (where folks know what salsa should taste like), with seven tracks across a 23-minute debut EP, Ojo Malo follow a Sabbathian course of harder-edged doom, thick in its groove through “Crow Man” after the “Intro” and speedier with an almost nu-metal crunch in “Charon the Ferryman.” There’s Clutch and C.O.C. influences in the riffing, but there are tougher elements too, a tension that wouldn’t have been out of place 28 years ago on a Prong record, and the swing in “Black Trip Lord” has an undercurrent of aggression that comes forward in its chugging second half. The penultimate “Grim Greefo Rising” offers more in terms of melody after its riffy buildup, and “Executioner” reveals the Judas Priest that’s been in the band’s collective heart all the while. Bookended with manipulated sounds from the recordings in “Intro” and “Outro,” Black Light Fever Tripping sounds exactly like it doesn’t have time for your bullshit so get your gear off stage now and don’t break down your cymbals up there or it’s fucking on.

Ojo Malo on Facebook

Ojo Malo on Bandcamp

Druid Fluids, Then, Now, Again & Again

druid fluids then now again and again

Druid Fluids — aka Adelaide, Australia’s Jamie Andrew, plus a few friends on drums, piano, and so on — inhabits a few different personae out of psychedelic historalia throughout Then, Now, Again & Again, finding favorites in The Beatles in “Flutter By,” “Into Me I See” (both with sitar), and “Layers” while peopling other songs specifically with elements drawn from David Bowie and the solo work of Lennon and McCartney, all of which feels like fair game for the meticulously-arranged 11-song collection. “Sour’s Happy Fantasy” offers sci-fi fuzz grandeur, while “Timeline” is otherworldly in all but the central strum holding it to the ground — a singularly satisfying melody — and “Out of Phase” swaggers in like Andrew knows he was born in the wrong time. He might’ve been, but he seems to have past, present and future covered either way in this material, some of which was reportedly written when he was a teenager but which has no doubt grown more expansive in the intervening years.

Druid Fluids on Facebook

Druid Fluids on Bandcamp

Gibbous Moon, Saturn V

Gibbous Moon Saturn V

The years between their 2017 self-titled three-songer EP and the forthcoming 11-track debut full-length, Saturn V, would seem to have found Philly heavy rockers Gibbous Moon refining their approach in terms of craft and process. “Blue Shelby” has a turn on guitar like Dire Straits as vocalist Noelle Felipe (also bass) drops references to Scarface in “Blue Shelby” and brings due classicism to Mauro Felipe‘s guitar on “Ayadda.” That song, as well as “Everything” and closer “Peacemaker,” tie the EP to the LP, but Noelle, Mauro and drummer Michael Mosley are unquestionably more confident in their delivery, whether it’s the bass in the open reaches of “Sine Wave” or the of-course-it’s-speed-rock “Follow that Car” and its punker counterpart “Armadillo.” Space rock is a factor in “Indivisible,” and “Inflamed” is almost rockabilly in its tense verse, but wherever Gibbous Moon go, their steps are as sure as the material itself is solid. I’m not sure when this is actually out, if it’s 2023 or 2024, but heads up on it.

Gibbous Moon on Facebook

Gibbous Moon on Bandcamp

Mother Magnetic, Mother Magnetic

mother magnetic

Arranged shortest to longest between the ah-oo-oo-ah-ah hookiness of “Sucker’s Disease” (3:03), the nodder rollout of “Daughters of the Sun” (5:47) and the reach into psych-blues jamming in “Goddess Land” (7:03), Mother Magnetic‘s self-titled three-song EP is the first public offering from the Brisbane four-piece of vocalist Rox, guitarist James, bassist Tim and drummer Danny, and right into the later reaches of the last of those tracks, the band’s intentions feel strongly declarative in establishing their melodic reach, an Iommi-circa-’81 take on riffmaking, and a classic boozy swagger to the vocals to match. There was a time, 15-20 years ago, when demos like this ruled the land and were handed to you, burned onto archaic CD-Rs, in the vain hope you might play them in your car on the way home from the show. To not do so in this case would be inadvisable. There’s potential in the songwriting, yes, but also on a performance level, for growth as individuals and as a group, and considering where Mother Magnetic are starting in terms of chemistry, that’s all the more an exciting prospect.

Mother Magnetic on Facebook

Mother Magnetic on Bandcamp

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The Obelisk Questionnaire: Wayne & Joey Rudell of Fuzz Evil

Posted in Questionnaire on July 27th, 2023 by JJ Koczan

fuzz evil

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: Wayne & Joey Rudell of Fuzz Evil

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

Wayne: Well, we’re two brothers that make some of the dirtiest fuzz rock this side of the San Pedro River.

Joey: Wayne and I have been playing music together since we were little kids. Our parents were ungodly religious, so we ended up starting out playing in Church. At one point we were playing 7 days a week if you include the practices for church and our own band including all the shows/services.

Wayne: Of course, that ended when they found out we listened to Marilyn Manson and Tool.

Joey: Yeah, we’ll the church started turning to a Cult anyway.

Wayne: Hell, but at least we got to learn how to play gospel out of it.

Joey: Right lol. So, our first band was called 12tone. It’s cool to have a recording from when you were just a kid. Some of those songs are a Jam. We were totally a Prog Rock band. Probably because we were so into Tool at the time.

Wayne: We have a bandcamp for 12tone still out there. https://12tone.bandcamp.com/album/vertigo

Joey: Man, the song Vertigo is still a jam. We played a bunch of local shows as 12tone and then we just kind of morphed into Powered Wig Machine. All the same band members. Really nothing changed except the style of music.

Wayne: The song Seven Four kinda got us into the whole stoner rock movement. It’s wild because our mom was an acute paranoid schizophrenic and the bridge section of Seven Four has a recording of a phone call I got from her.

Joey: I’d say that our very first Powered Wig Machine album still had some 12tone feel to it. Like the song Death by Suplex. That still was very progressive. We played a ton of shows as Powered Wig Machine and really went on some great Journeys. I guess Fuzz Evil happened because Daniel (Drums) and Dusty (Guitar) were both having kids and couldn’t commit as much time to playing anymore.

Wayne: Joey and I wanted to do something different, and it quickly became our main project.

Joey: I really like Fuzz Evil, it’s something that is more akin to Wayne and I playing when we were kids. Just the two of us writing riffs. We play off each other well.

Describe your first musical memory.

Joey: We’ve been playing music together for as long as we can remember.

Wayne: I have distinct memory of Joey and I jamming. We were probably 16 and 12, maybe younger. We were recording on one of those old tape recorders where you had to press down the play and record button at the same time. We had our little amps cranked up to 10 rocking out something fierce.

Joey: Right in the middle of the recording our Mom burst into the room and screams at us “Turn it down” “Turn ..it..DOWN” “THINGS ARE FALLING”.

Wayne: hahaha. The moment she walked away we started jamming again.

Joey: I remember listening to that recording like a 1000 times. It was hilarious to hear the few second pause after the door closes and then us starting to play again.

Describe your best musical memory to date.

Wayne: Probably playing with Eagles of Death Metal at the Rialto Theatre in Tucson.

Joey: That was a rad show. That show was pretty much sold out.

Wayne: After the show we were hanging out with Jesse, Danger Ehren (from Jackass) who was working as their camera man, and the guys from Black Magic Flower Power showed up for a real rager in the Rialto green room. What a fun night.

Joey: I know this is not like a single memory, but honestly, I’d say that the first time we went on tour up the coast with Orgo will always hold a special place in my heart. We had a blast. Shenanigans every night.

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

Wayne: I’d say, my views on how to put out music and the music scene in general. I guess I had this old guard view of how things had to be done. Because that was the way they were always done. Truth is, there is no right or wrong way to do it. Nowadays it’s even easier for us with platforms like TikTok, Wix, Bandcamp, etc.. You can build a whole career, with a huge demand, without even leaving your house. Within the last year I’ve seen so many people in the entertainment industry gain notoriety on Tiktok without ever touring. Then the moment they do tour they are playing major venues. It’s changing the whole way I’m looking at what we are doing with Fuzz Evil.

Joey: So was this question supposed to be about music or are you trying to take us down the rabbit hole. Honestly, I can’t really think of any belief I firmly hold. Beliefs are perspectives based on assumptions. Most things in life are gray, not black and white. If you go down any path long enough you’ll realize that believing anything too much is probably steeped in logical fallacies. Haha, this perspective probably stems from the emotional trauma of having a schizophrenic mother, and being punished for illogical things as a child.

Where do you feel artistic progression leads?

Wayne: I think artistic progression is a double-edged sword. It can lead you to some real genre inspiring music, similar to what King Gizzard and the Lizard Wizard do on every record, or it can lead you down a path where it’s almost like an inside joke, musically. I love Mars Volta, but their last couple albums were so progressive that they lost us. Still an amazing band, but it’s a double-edged sword.

Joey: I’m with you on that. I’d also say that artistic progression has a lot to do with why you want to progress artistically. Some people write music for themselves, and some people write music for others. Which one takes precedence will drive the progression. I think there should be a balance between the two. I love playing music because I like to make something I can look back on with pride and for others to appreciate. For us, even though it was the same members between 12tone and Powered Wig Machine we changed band names and genres. Now we are on to Fuzz Evil, still Wayne and I. I don’t think there is any right or wrong way to go about it.

How do you define success?

Joey: I believe that our lives are our legacy. To me creating something that others appreciate, whether it be art, music, or just memories is success to me. I always joke that you can spend your entire life staying at home doing what you always do and years will go by and you’ll have no distinct memories, or you can go out and do something wild and have a great story to tell.

Wayne: I’d define success as when people look back on your whole body of work and it holds some weight to it. Maybe, we’ll never be arena famous, but I love making music and that’s the true inspiration. When people look back at Fuzz Evil or Powered Wig Machine, it might not hold as much weight as Led Zepplin or Black Sabbath, but it may hold its own like Rare Earth. I’m ok with being the Rare Earth of stoner rock.

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

Wayne: Uh, Two Girls one Cup?

Joey: That’s a good one. I still wish I never say that Youtube video of those two dogs humping and then the one dies mid banging. In all honesty, I’ve been pretty lucky in life, and haven’t had to experience anything extremely traumatic that keeps me up at night.

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

Wayne: We are currently making shorts of an animated series called “Fuzz Off”. It’s an animated series that personifies guitar pedals. Kinda like South Park meets Beavis and Butthead. I’m really hoping we can get a deal with someone like adult Swim to make these full-time.

Joey: I agree. We’ve come up with about 50 scripts already. These are hilarious. Here is the first episode: https://www.tiktok.com/@fuzzevil/video/7247169567292804398

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

Wayne: I believe it’s the tangible expression of who you are as a person. When a song is heavy or beautiful you are experiencing that artist’s interpretations of those emotions through their life experiences.

Joey: To get laid or help others get laid. Haha, I mean think about it. What IS the purpose of art. At a fundamental level it’s peacocking. Seriously though, as an artist I’d say the most essential function of art is to express myself and communicate my emotions. As an appreciator I’d say the most essential function is escapism. Something that helps you forget about everything for just a moment.

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

Wayne: Season 18 of APEX. I’m a huge gamer. They really messed up the ranking in Season 17. Everyone hit the highest rank you can hit. Something like 20% of the player base. I hit Masters, haha. Looking forward to something a little more challenging in Season 18. Hit me up, I’m Wolf_Blitzinator on PS5 if you want to get down.

Joey: Uh, I don’t know. Retirement? Actually, I’m a huge gamer too, but I haven’t touch Diablo 4 or the Zelda yet because I’ve been too busy working on music/art stuff. Looking forward to playing these. I mean, if we are dropping gamertags I’m Shakalo on everything.

https://www.facebook.com/FuzzEvil/
https://www.instagram.com/fuzzevilaz/
https://fuzzevil.bandcamp.com/
https://linktr.ee/fuzzevil
https://www.fuzzevil.com/

Fuzz Evil, New Blood (2023)

‘Fuzz Off’ ep. 1

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Fuzz Evil Premiere “Heavy Glow”; Announce New Blood LP

Posted in audiObelisk on July 6th, 2023 by JJ Koczan

fuzz evil

Tomorrow, July 7, Sierra Vista, Arizona’s Fuzz Evil will release their first new music in five years. The band propelled by the brotherly duo of Wayne and Joey Rudell have been proffering outsider desert rock since they showed up on a 2014 split with Chiefs as they evolved out of Powered Wig Machine, and their new single “Heavy Glow” and upcoming fourth album, New Blood, help get the point across that the band are back and looking to catch as many ears as possible. Last heard from with 2018’s High on You (review here) — they also had the of-era quarantine video “Better off Alone (Redux)” in 2020 — the Rudells look to issue New Blood and claim their place in the desert-heavy pantheon in the coming months, and “Heavy Glow” provides an enticing glimpse at some of what might be on offer.

Which means that, no, I haven’t heard the whole record yet, and no, I don’t have an exact release date yet. Fuzz Evil have never been ones for working without a plan — their songs are well structured and the band seems to function similarly — and in listening to “Heavy Glow,” at least part of the objective seems to have been an expansion of their sound. In under three minutes, Fuzz Evil remove themselves from baseline desert rock and can be heard using the fuzz evil new bloodproduction of the song itself as an instrument. Even before the layered vocals of its chorus, the buildup of the riff around which the song works — insistent but not overbearing, actively working to engage the audience from the first second onward — and the shift into the first verse, the layering there and the shift to the bridge and back; these smooth changes and the shifts in vocal effects and the extra voices in the chorus demonstrate the band’s branching out in terms of sound. Clearly a professional presentation was somewhere among their goals for their latest batch of material, and at least with “Heavy Glow,” they hit that mark easily.

And yes, there was a band called Heavy Glow. They broke up in 2017 and so far as I know, the song is not about them. If I’m wrong about that, fine. Either way, it’s not a diss track or anything. Would be awesome though if bands started writing songs about how cool other bands are. Maybe some day we’ll get there. Same team and all that.

With the caveat of more to come, here’s “Heavy Glow” a day early. The pre-save link and more info follow, courtesy of the band via the PR wire.

Please enjoy:

Fuzz Evil Unleashes the Dirtiest Glow Up from the Deserts of Arizona with New Single “Heavy Glow”

Heavy Glow Spotify “presave”: https://distrokid.com/hyperfollow/fuzzevil/heavy-glow

Prepare to be engulfed in the relentless, scorching waves of desert fuzz rock as Fuzz Evil, the formidable band from the Borderlands of Arizona, returns with their long-awaited single “Heavy Glow.” Brothers Wayne and Joey Rudell, the dynamic duo behind Fuzz Evil, are back with a vengeance, ready to ignite the music scene once again. This powerful track is the first glimpse of their upcoming third release titled “New Blood,” marking the band’s triumphant return after a three-year hiatus.

Fuzz Evil has long been known for their signature brand of gritty, unapologetic fuzz rock that transports listeners straight to the arid heart of the Arizona desert. Since their inception, the band has been celebrated for their electrifying live performances and ear-rattling studio recordings, building a dedicated fan base both locally and globally.

“Heavy Glow” stands as a testament to the Rudell brothers’ musical prowess, delivering a auditory assault of colossal riffs and thunderous rhythms that will leave fans craving for more. The song showcases Fuzz Evil’s growth and evolution while staying true to their desert rock roots. Wayne’s hauntingly raw vocals intertwine seamlessly with The layers of bass and guitar work, creating an entrancing synergy that echoes through every note.

The single “Heavy Glow” will be released on all major digital platforms on [7.7.23], setting the stage for the arrival of “New Blood.” Fuzz Evil invites all fans, both new and old, to join them on this exhilarating musical odyssey.

Tracklist:
1. Suit Coffin
2. My Own Blood
3. Run Away
4. Perfect Slut
5. Heavy Glow
6. The Silver Bells
7. G.U.M.O.C.O
8. We’ve Seen it All
9. New Blood
10. Souveneers
11. Littlest Nemo
12. Gullible’s Travel
13. Keep on Livin’

Fuzz Evil on Facebook

Fuzz Evil on Instagram

Fuzz Evil on Bandcamp

Fuzz Evil merch

Fuzz Evil linktr.ee

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