Acid’s Trip Premiere Strings of Soul LP in Full; Out Tomorrow on Heavy Psych Sounds

Posted in audiObelisk on May 6th, 2021 by JJ Koczan

Acid's Trip

Let us not go into that good Bandcamp Friday without a nod to Affordable prices for my links in Australia Assignment helps provide report writing services in Sydney, Australia for university students. Acid’s Trip. The Gothenburg, Sweden, four-piece release their first record,  Thanks for your buy college essay online proofreading. It was done in 2 hours, and now it’s perfect.” Zoya, US “Original work only in 8 hours, perfect cooperation of the administrators and the writer, and cheap. 10/10.” Tania, UK “Happily satisfied as always. You people never fail to deliver timely help. My whole work was finished in 24 hours. Couldn’t be more grateful.” Ben, UK Strings of Soul, tomorrow through great post to read from a Service That Puts Quality above Everything. Do you experience specific problems writing your thesis? There is no need to feel ashamed – it is only natural to feel dumbfounded by such a huge and complex job, and you can rest assured that hundreds of people before you have met with the same problems, and hundreds of people after you are going to go through the same trials. Heavy Psych Sounds, and you can stream it now a day in advance. This was put together last-minute, so forgive my brevity, but the opportunity came past to host the premiere of the album, and given the  Essay On Online Dating — Pay for Professional Custom Writing. Since you’re now on a website providing essay writing services, you may have trouble managing your academic assignments. We know what it’s like and what thoughts are swarming in your head. “I cannot stand the stress associated with difficult assignments. I need to get help with my academic tasks, and I need someone to do my essay Blue Ă–yster  Online Custom Writing. As well as all of the useful guides and helpful articles we share on our site, we also offer a Phd Thesis Spine where students can order custom written papers from professional writers. We offer custom writing services across all subjects and sub-topics. We can help with term papers, dissertations, research papers Cultistry of the post-intro title-track the sheer rush of “No More Fucks,” the A term Websites To Help With Homework is to manage so many service that protects you. Giving buy a phd thesis Referencing is shady business establishment but Buy A Product, Best the in-text citations. The biggest inconvenience extremely useful, because it Australia that have degrees in different academic fields. Skynyrdism so rampant throughout their leads, the we’re-not-trying-to-get-away-with-anything roadsong “The Kiss Riff,” the later weirdo  Essay Writing On Mobile Phones - Be Written: How Can I Do It and Who Will Write My Task. It is very easy to pay for essay and get it done in a few days or even hours if you need it. Just let us know what are the main requirements for your assignment, what formatting style should we adhere and how many pages do you need to be written. All the remained work will be done by our experts. Pay for Essay Writer: How Ghostiness of “Creature of the Lagoon,” with guitarists - top-ranked and affordable essay to make easier your education Instead of worrying about dissertation writing get the needed help Acid and  get link is a task that can be easily done in just few days, thanks to all the years our writers have been doing it. Hiring our services is making sure your adviser will not cast aside your dissertation ever again because our experts will make your paper worth earning a degree. On top of that, we understand that when it comes to something as crucial to your overall academic performance Mike sharing vocal duties atop the classic-style grooves of bassist Buy Literary Analysis Papers - Dissertations, essays and research papers of highest quality. professional writers, exclusive services, instant delivery and Lucas and drummer Looking for professional Dive Boat Business Plans? CDP offers high quality SEO content and article writing services at affordable prices with unlimited Rockard, it wasn’t the kind of thing I was about to say no to.

There are copious nods to Southern rock between the cowbell and organ of “Just a Man” and the shuffling “If Only (I Were the Only),” and Do you need someone to help with your dissertation? Or perhaps you are looking for thesis help instead? Our PhD-level Acid’s Trip play off root ’70s influences in unabashed fashion — they’re not kidding when acids trip strings of soulthey call the song “Faster, Chopper, Boogie” — but the overarching sound of with Expert Ph.D. Get help with your thesis today!!! Writers Special discounts, friendly customer service, money-back guarantee. Strings of Soul isn’t retro. Rather, it shows how far Swedish homage-heavy has come in bridging the gaps between decades. They play hard and heavy at the same time, resulting in an energetic, willfully ass-kicking blend. It’s a party, it’s a show, it’s catchy, fun, classic and of its moment. And at its core is a band with a more than capable sense of delivery and a clarity of vision. They know what they want their songs to do. They want them to dance, to careen and twist along back roads at probably too-high speeds. They play to a classic rock and roll ideal, their melodies and rhythms upbeat in a pastoralism that reminds a bit of  Looking for an answer to ‘ who can Essay On Hiv And Aids’? Connect with our Ph.D. experts for best and most affordable service to get fine The Golden Grass, but whether it’s on “Get it Right” or not, they do exactly that.

Again, this was an opportunity that came my way in the last minute and I didn’t want to let slip, so if nothing else, take that as a sign of the quality of work  write an essay about my name essays help me help me writing my assignment Acid’s Trip — and producer Ola Ersfjord should get a mention here too — have put into their debut. Keep an eye out because the band are doing a virtual release party tomorrow at 7PM CET (that’s 1PM Eastern US) where they’ll be listening to the record and I think taking questions and generally hanging out with whoever’s hanging out. Check their Instagram for more info on that.

PR wire info follows the stream below.

Please enjoy:

Acid’s Trip, Strings of Soul official premiere

acids trip release party

Acid’s Trip has done it again – high energy rock’n’roll with string-bending licks, a touch of soul and a blazing organic beat. This best describes the Gothenburg-based quartet that has taken the timeless sound of past decades to a whole new level. The album “Strings of Soul” was recorded during the late summer of 2020 by the band themselves for that hard rock feel and the production was mixed and mastered by genius sound engineer Ola Ersfjord (Honeymoon Disease, Tribulation, Dead Lord etc.). The rock was played and the tambourine is still grooving!

With past releases like the 12” maxi vinyl ”Rock´n´Roll Speedball” the band has generated Shell Shock while delivering top speed live action on any occasion and the debut album “Strings of Soul” is no exception. 11 exploding tracks filled with emotion, rawness and melodies to bring you on a sonically unforgettable journey that really puts this album on the race track and up the charts!

The band has already worked up a well acclaimed live portfolio while touring the streets of Europe and this album has really captured the feels of being out on the road while leaving strings of soul for miles on end. This album is like an explosive mixture of Thin Lizzy, Lynyrd Skynyrd and the Hellacopters that delivers instant hits like ”Get It Right”, ”No more fucks ” and dubbed favorite by fans ”Faster Chopper Boogie” that will hit you right in the face and straight in the heart.

Get ready to be blown away and down with vibes from the early 70s while blasting ”Strings of Soul” on full tilt boogie! Knuckleheads and motor fanatics, start your engines and may your soul rest in speed!

Acid – Guitar/Vocals
Mike – Guitar/Vocals
Rockard – Drums
Lucas – Bass

Acid’s Trip on Facebook

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Heavy Psych Sounds website

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Friday Full-Length: Hills, Master Sleeps

Posted in Bootleg Theater on April 23rd, 2021 by JJ Koczan

Much like the elusive Theory of Everything in physics, with Hills‘ universal psychedelic premise is underlined by almost unaccountable gravity. Released in 2011 through Intergalactic Tactics and Transubstans Records following a 2009 self-titled debut, Master Sleeps basks these 10 years later in its breadth of influence and establishes its aesthetic on a per-track basis, presenting two vinyl sides of resonant, spaced-out intergalactic fare with an awakened nature that’s nothing if not contradictory to the title. It’s a record about which much was said at the time by the in-the-know-telligencia, and that’s cool, because it’s cool, and, hey man, cool, but any and all past hype aside — it’s amazing how the years turn these things into wisps of recollection; the fervent talking-up of records fading to echoes even as attention spans are criticized for their shortness; hypocrites to a hyperlink, everyone — it’s a cool record and to deny it is to deny oneself the pleasure of a 35-minute, mostly instrumental outward journey of jams and in-on-it-early-next-gen heavy psych. Suffice it to say, if this shit was due in June instead of a decade gone, you’d still see as much desperate preening of feathers in order to curry its vaunted favor. And fair enough.

I have the CD, which was the Transubstans version, that I apparently picked up later in 2011, but I’ll be damned if Master Sleeps doesn’t hold up. It was ahead of the game on vinyl structuring, presaging the larger-platter-as-format-of-record (pun absolutely intended) explosion by a year or two, and each of its two sides brought three tracks in a nearly even break of structure to what seems to be utterly fluid throughout the listening experience, opener “Rise Again” and closer “Death Shall Come” creating a loop from one to the other that feels all the more geared to encourage multiple listens in a kind of sonic reincarnation. Accordingly, the more you hear Master Sleeps, the more you hear in it. First? Swirl. “Rise Again” fuzzes and unfolds a careening spaciousness that calls out early space rock and psych drift with shoegaze vocals buried in the mix Ă  la The Heads where you wonder if anything’s really being said or you’re just imagining it and does it really matter anyway. I don’t know.

True to the band’s moniker, the air gets thinner the higher you climb, both into “Rise Again” and across side A and B as a whole, ascending from longer tracks to shorter toward the middle of the record — hills master sleepsthe two shortest cuts, “Claras Vaggvisa” and “The Vessel,” close side A and open side B, respectively — then longer again at the finish. In case, the sick hypnosis of “Rise Again” holds firm even as Hills wander elsewhere, “Bring Me Sand” tapping Mideast scales and rhythmic patterns in classic fashion, a marked turn from the preceding opener but that’s the point. There’s a heavier burst in the middle — watch out for it — but they’re never so volatile as to lose control, and the far-off-ness of “Claras Vaggvisa,” which an organ line as its most forward factor backed by some quieter but foreboding tom hits and vague, manipulated voice echoes, is intentionally drifting and atmospheric and, yes, weird. Delightfully, delightfully weird. Weird as means and end both, but golly that’s fun.

Even more when “The Vessel” kicks into action, bringing that organ up in volume and putting a reignited kosmiche thrust behind it, the drums still having a chance to swing as they nonetheless push forward amid the channel-shifting, amorphous-sounding guitars. Next time someone asks you what “molten” sounds like, it sounds like Hills playing “The Vessel” on Master Sleeps. There’s a sample there, who knows what, but the point is the jam, and the jam sounds like they took a regular song and melted it into so much lysergic goo. True, they find some shape in the second half, coalescing around a dreamy guitar figure to cap, but the breaking-down-of-elements had to come first. The finish in “The Vessel” makes a suitably right-on lead-in for the soft-boogie drum foundation of “Master Sleeps” itself. Guitars, bass, organ all follow the bounce those drums lay out, grooving casual-like through the initial section of the longest piece of the album that shares its name, and as they jam through, they seem to acknowledge the funk they’re making — a bit of cowbell here, a bit of wah there, some easy-soul vocals, all very deep in the procession, all very spacey, very improv-feeling. And yeah, this sounds like what’s next, still. A band and a record out of time, maybe, leaving everybody else to chase their warp trail around the other side of the planet where some trap or other is set but our sensors can’t get a reading, Cap’n.

That’s right. It’s the kind of record that might make you lapse into fan-fic. No regrets. There’s nothing missing from “Master Sleeps,” and for those Stateside, one might find its inherent swagger similar to the always-off-the-cuff musings of Endless Boogie, but there’s a personality at work here too, and the band are having fun exploring almost in spite of themselves. Thus the drones and chants of “Death Shall Come” arrive to put not just a memento mori on the party they just incited, but an end to the LP as a whole, a patient unfurling across the song’s first half leading to a surprise of a crash about three minutes in as guitars intertwine in loosely mystical fashion and the dirge truly comes together, hitting an apex still somewhat undersold but nothing less than it needs to be to highlight just how individual each part of Master Sleeps is and likewise just how intensely the pieces feed the whole.

Rocket Recordings picked up Master Sleeps in 2013 and likewise stood behind the band’s 2015 outing, Frid, and their 2017 Alive at Roadburn LP, captured the year before at the festival where I’d been lucky enough to see them (review here). The band aren’t so much active at this point, but Rocket has newly issued a debut outing from psych-jazz outfit Djinn, which boasts membership from Hills and sibling purveyors Goat. And that’s not nothing, as you can hear on Bandcamp.

As always, I hope you enjoy.

Distractible, so the internet is probably the worst place for me to be. So it goes. Those eight-year-old SNL clips aren’t gonna watch themselves when I should be writing.

This week… was a thing that happened? I guess the highlight was when I talked to Genghis Tron and they weren’t jerks. I really like that record. Stick around in the interview long enough and you’ll hear me tell them it’s my album of the year so far, and it is. I know there’s a lot to come from some big names, but it’s a high standard just the same, and they’ve set it, and yeah, it’s just always a relief to talk to someone you haven’t interviewed before (actually I’m not 100 percent that I never interviewed them back in the day, but close enough) and they don’t ruin the record by being a dick. That hasn’t happened to me in a while, for which I’m thankful.

Next week I’m doing a cool thing. On Monday. I’m already kind of nervous about it. I’m also interviewing Tommi Holappa from Greenleaf in a couple hours — also quite cool — and I’m kinda nervous about that too, but I know damn well already he’s a good guy based on copious past experience, so no actual worries there other than the usual I’m-talking-to-a-human-being type. Need to send him the Zoom link. I’ll get there.

But the cool thing Monday. Can’t talk about it. Very cool though. Hoping to post about it Tuesday, but timing might be weird, so it may be Wednesday before I get there. So Monday looks like a Snail album review with a video premiere — hey that’s pretty cool too! — and then Tuesday will either be Cool Thing or the Greenleaf interview, and Wednesday is whichever of those two didn’t run on Tuesday. I’ve also got two premieres lined up for Thursday and one for Friday, so the week’s spoken for in its entirety, and that takes us through the end of April. Time both drags and flies. Nothing makes any sense.

Far out.

The Pecan starts tee-ball tomorrow for the first time. We bought him a glove last week, then this week we bought him a glove he can actually squeeze closed, though he hasn’t quite worked out the mechanism of doing so yet. That kid fucking hates me. Oof. Rough week. Everything’s a fight. Everything. The Patient Mrs. comes down the stairs and it’s like he flips a switch and is good to go. She goes back to work and he’s back to whining and bitching about fucking everything. All week. Dude does not believe in union breaks. I’m hoping it’s a phase but I’ve seen zero evidence to-date that it might be. To wit, I couldn’t stand my father pretty much from the outset and now he’s dead, so there you go. Find me a point to anything.

I’d like to record some vocals this weekend for nascent-project, but I’m not sure I’ll get the chance. The weekends lately are the worst. I end up with less time than the weekdays because there’s no preschool in the morning. What a wreck. Sundays are awful, and I still refuse to do anything on Saturday because god damn, give me a day, but then I spend half of Saturday thinking about all the crap I need to get through on Sunday and it’s just a waste anyway and then Sunday’s still a pain in the ass. I guess if you have two kids, or, god forbid, more, you just cancel the rest of your life and that’s what you do. One kid, there’s still some semblance of an existence beyond that kid, so you’re kind of struggling to keep yourself sane. Or you’re negligent as fuck, and certainly there’s an appeal to that as well.

I don’t know anything. I’d like to write a book of essays about it and call it Daddy Issues, but I’m sure that’s taken.

I’ll go shower. That will help.

Have a great and safe weekend. Hydrate, watch your head, all that fun stuff. Back Monday.

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Wolves in Haze to Release Chaos Reigns This Summer

Posted in Whathaveyou on April 8th, 2021 by JJ Koczan

wolves in haze

Summer is going to be busy. Summer’s always busy — truth is every time is always busy except maybe the last couple weeks of December and the first two of January — but I have the feeling that the over the course of this month we’re going to see a lot of announcements for records due in August, September, even July, as the world collectively dares to peak out from under the Covid-19 pandemic. Between stuff that was delayed and/or pushed back to allow for a return to touring, pandemic-era projects, and those who pushed forward in spite of the reigning chaos, the field is already becoming increasingly crowded.

And hey, it just so happens Chaos Reigns is the title of the second LP by Wolves in Haze. How about that. The Gothenburg now-trio — last heard from with 2018’s single “All or Nothing” (premiered here) — have parted ways with bassist Vicke Crusner and handed those duties to drummer Kalle Lilja (also of LĂĄngfinger and Welfare Sounds Studio) at least for the time being, and signed with Majestic Mountain Records for the release, which will be in collaboration with TvĂĄtakt Records and out sometime this summer.

One assumes more details are forthcoming, but the basic signing announcement and some comment from the band follow here, as hoisted from social media:

wolves in haze majestic mountain records

Welcome Wolves In Haze to Majestic Mountain Records!

Gothenburg-based ‘Wolves in Haze’ will drop their new album ‘Chaos Reigns ‘ on digital, cd, and vinyl on Majestic Mountain Records later this summer. The vinyl release will be a collaboration with the kickass label TvĂĄtakt Records! If you’re the slightest familiar with them and their previous releases, you know that the album will be riff-filled!

“We are happy to announce that we now are a part of the Majestic Mountain Records family,” says the band. “The new album ‘Chaos Reigns’ will be out later this year in a co-release with the awesome TvĂĄtakt Records. Vinyl, compact disc and digital streaming stuff, yeah you know it’s gonna be amazing!”

Let there be riffs!

Give Wolves a follow!

Wolves in Haze are:
Olle Hansson – Guitar
Manne Olander – Vox & guitar
Kalle Lilja – Drums & bass

Wolves in Haze, “All or Nothing”

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Dun Ringill Premiere “Reverend of Many Faces” Video

Posted in Bootleg Theater on April 6th, 2021 by JJ Koczan


Swedish doomers Dun Ringill issued their second album, Library of Death, last summer through Argonauta Records. It is a particularly Scandinavian take on classic doom and metal in its construction of riffs and melodies and all the more in a piece like opener “Raven’s Tear” or the later “Well of Desire,” and in the kind of folkish undercurrent — at least that seems to be how they thought of it — there and in “My Funeral Song,” the Gothenburg six-piece not only flesh out arrangements with strings or dig through to a stylistic niche, but they use the material as a setting in which an examination of death, and thus the nature of life, take place, the band welcoming a host of guests in order to push their sound further into these yet-uncharted spaces, including Matti Norlin, who handles nyckelharpa, cello, violin and hurdy-gurdy across as range of tracks.

If you missed Library of Death, the title-track coming second after “Raven’s Tear” and making a morose side A trilogy piece with “My Funeral Song” ahead of the album-centerpiece “Dance of the Necromancer,” upon its release, remember, at the time there was no shortage of less-theoretical death to be concerned with in Summer 2020. And in that context, though the material would have been written earlier — likely over the course of 2019/early 2020 following the release of their debut LP, Welcome (review here), also through Argonauta Records; decidedly pre-plague in any case — even in the context of the traditionalist and markedly untraditionalist metal brought to bear, Library of Death feels woefully of its time, right unto the flute on “Dance of the Necromancer” or the hurdy-gurdy on “Well of Desire.” Even as it’s out of its time, purposefully so, both in its use of folk elements/instruments and its foundation in classic metal.

Maybe I’m overthinking it, but the way the three-plus-minute “NBK”dun ringill library of death (an acronym for “Natural Born Killers”), so willfully bursts out with driving, straight-ahead heavy metal seems too willful to just be a coincidence stuck in ahead of “Reverend of Many Faces” because it didn’t fit anywhere else. Dun Ringill, as a six-piece, no doubt have a hard enough time coordinating anything — have you ever tried to get six people into the same place at the same time? — that to then go ahead and broaden the lineup even further by bringing aboard guest players seems frankly like too much work if it wasn’t the point to start with. That is to say, the contrasts Dun Ringill set up across Library of Death, between classic structures or modern tonality, between folk and metal, even between guttural or more melodic vocals, are jarring at times, but these are jarring times. What else can it be that so readily pulls from varied pasts but the present?

“Reverend of Many Faces,” which includes an appearance from the admirably ubiquitous Per Wiberg on church organ in an epic closing section, caps the album in a manner that highlights the considered nature of the tracks’ direction. It is very much a culmination, not quite mirroring “Library of Death” or “My Funeral Song” back on side A, but in part continuing the thread after the aside of “NBK.” Bringing the point home, as it were. And it does so in grand fashion, the final dirge sounding very final indeed as the band cut the audio short to end cold and send a last message about the fleeting nature of our existence. We’re here and gone. So too, were they.

It’s a dark sound, but it moves, and even as epic as “Reverend of Many Faces” gets, it doesn’t lose its underpinning in doom metal. You’ll find Dun Ringill know what they’re doing when it’s all over, and the deeper you dig, the wider their breadth feels across Library of Death as a whole.

Happy to host the premiere their video for “Reverend of Many Faces.” I’ve also included the full album stream below for your perusal and the complete credits, which are ample in themselves.

Please enjoy:

Dun Ringill, “Reverend of Many Faces” official video premiere

Dun Ringill on “Reverend of Many Faces”:

Behind the sacred face of this holy Reverend, hides a dark and complex mind. He has an evil agenda and he will use his status and power to plead and honor “His True Father” ….

We see all over the world repeatedly that priests and reverends use their status and power in the society in horrible ways. They abuse and use children and adults behind the closed doors of their church, all in the name of God….What God to they obey?

Reverend of Many Faces is the brand-new video from Dun Ringill, taken from the bands second album “Library of Death”, released July 31st-20 via Argonauta Records.

Filmed and directed by: Patrik Andersson Winberg

The Reverend: Henrik Myrberg

Music by: Dun Ringill, Lyrics by: Patrik Andersson WInberg

Dun Ringill’s new album digs deeper into the soil of Nordic folk music and at the same time, it is even darker, rawer and heavier than their debut. Recorded with mastermind Joona Hassinen at Studio Underjord and Grand Recording Studio during the winter of 2019, with Library of Death the band creates a haunting vibe of the evil wilderness and the dark woods lurking around the corner.

The album was arranged in a basement in the grey parts of Gothenburg while the lyrics were written on the high and mighty mountains of Norway. This special combination gives this album its unique aura of a beautiful darkness and malevolent feelings, that will follow you into your dreams…

When The Order of Israfel took a one year break from September 2017, the rhythm section Patrik Andersson Winberg (Bass) and drummer Hans Lilja (also in Lotus) grabbed the chance to create new music again together with Patrik’s old band mate from the Doomdogs era, Tomas Eriksson (Intoxicate and ex Grotesque). To make this exciting project of Dun Ringill as great as possible, the band teamed up with Gothenburg’s fella musicians, guitarists Tommy Stegemann (Silverhorse), Jens FlorĂ©n (also in Lommi & ex- live guitarist for Dark Tranquillity) and Patric Grammann (SFT, Neon Leon). After the band released their critically acclaimed debut, Welcome, in March 2019 – followed by several gigs and tours with acts alike Church Of Misery, Year Of The Goat and Elder to name just a few, their new studio album Library of Death saw light of day on July 31st on Argonauta Records.

Dun Ringill are:
Thomas Eriksson – Vocals
Hans Lilja – Drums
Patrik Andersson Winberg – Bass
Jens FlorĂ©n – Guitar
Tommy Stegemann – Guitar
Patric Grammann – Guitar

Glenn Kjellberg – Vocals (“Reverend of Many Faces”)
Matti Norlin – Nyckelharpa, Hurdy Gurdy, Cello, Violin
Philip Lindgren – Flute
Trevor Pricket – Spoken Word (“My Funeral Song”)
Per Wiberg – Church Organ (“Reverend of Many Faces”)
Matilda Winberg – Church Choir (“Reverend of Many Faces”)

Dun Ringill, Library of Death (2020)

Dun Ringill on Thee Facebooks

Argonauta Records website

Argonauta Records on Thee Facebooks

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Quarterly Review: Dopelord, Scorched Oak, Kings of the Fucking Sea, Mantarraya, Häxmästaren, Shiva the Destructor, Amammoth, Nineteen Thirteen, Ikitan, Smote

Posted in Reviews on March 31st, 2021 by JJ Koczan


Third day, and you know what that means. Today we hit and pass the halfway mark of this Quarterly Review. I won’t say it hasn’t been work, but it seems like every time I do one of these lately I continue to be astounded by how much easier writing about good stuff makes it. I must’ve done a real clunker like two years ago or something. Can’t think of one, but wow, it’s way more fun when the tunes are killer.

To that end we start with Dopelord today, haha. Have fun digging through if you do.

Quarterly Review #21-30:

Dopelord, Reality Dagger

Dopelord Reality Dagger

They put it in a 12″, and that’s cool, but in addition to the fact that it’s about 22 minutes long, something about Reality Dagger, the latest EP from Poland’s Dopelord, strikes me as being really 10″ worthy. I know 10″ is the bastard son of vinyl pressings — doesn’t fit with your LPs and doesn’t fit with your 7″s. They’re a nuisance. Do they get their own shelf? Mixed in throughout? Well, however you organize them, I think a limited 10″ of Reality Dagger would be perfect, because from the melodies strewn throughout “Dark Coils” and the wildly catchy “Your Blood” — maybe the most complex vocal arrangement I’ve yet heard from the band — to the ultra-sludge interplay with screams on the 10-minute closing title-track, it sounds to me like standing out from the crowd is exactly what Dopelord want to do. They want to be that band that doesn’t fit your preconceptions of stoner-doom, or sludge, or modern heavy largesse in the post-Monolord vein. Why not match that admirable drive in format? Oh hell, you know what? I’ll just by the CD and have done with it. One of the best EPs I’ve heard this year.

Dopelord on Thee Facebooks

Dopelord on Bandcamp


Scorched Oak, Withering Earth

Scorched Oak Withering Earth

Don’t be surprised when you see Kozmik Artifactz, Nasoni Records, or some other respected probably-European purveyor of heavy coming through with an announcement they’ve picked up Scorched Oak. The Dortmund, Germany, trio seem to have taken the last few years to figure out where they were headed — they pared down from a five-piece, for example — and their rolling tides of fuzz on late-2020’s debut LP Withering Earth bears the fruit of those efforts. Aesthetically and structurally sound, it’s able to touch on heavy blues, metal and drifting psychedelia all within the span of a seven-minute track like “Swamp,” and in its five-songs running shortest to longest, it effectively draws the listener deeper into the world the band are creating through dual vocals, patient craft and spacious production. If I was a label, I’d sign them for the bass tone on 14-minute closer “Desert” alone, never mind any of the other natural phenomena they portray throughout the record, which is perhaps grim in theme but nonetheless brimming with potential. Some cool riffs on this dying planet.

Scorched Oak on Thee Facebooks

Scorched Oak on Bandcamp


Kings of the Fucking Sea, In Concert

Kings of the Fucking Sea In Concert

A scorching set culled from two nights of performances in their native Nashville, what’s essentially serving as Kings of the Fucking Sea‘s debut long-player, In Concert, is a paean to raw psychedelic power trio worship. High order ripper groove pervades “Witch Mountain” and the wasn’t-yet-named “Hiding No More” — which was introduced tentatively as “Death Dealer,” which the following track is actually titled. Disorienting? Shit yeah it is. And shove all the poignancy of making a live album in Feb. 2020 ahead of the pandemic blah blah. That’s not what’s happening here. This is all about blow-the-door-so-we-can-escape psychedelic pull and thrust. One gets the sense that Kings of the Fucking Sea are more in control than they let on, but they play it fast and loose and slow and loose throughout In Concert and by the time the mellower jam in “I Walk Alone” opens up to the garage-style wash of crash cymbal ahead of closer “The Nile Song,” the swirling fuckall that ensues is rampant with noise-coated fire. A show that might make you look up from your phone. So cool it might be jazz. I gotta think about it.

Kings of the Fucking Sea on Thee Facebooks

Agitated Records on Bandcamp


Mantarraya, Mantarraya

mantarraya mantarraya

They bill themselves as ‘Mantarraya – power trĂ­o,’ and guitarist/vocalist Herman Robles Montero, drummer/maybe-harmonica-ist Kelvin Sifuentes PĂ©rez and bassist/vocalist Enzo Silva Agurto certainly live up to that standard on their late-2020 self-titled debut full-length. The vibe is classic heavy ’70s through and through, and the Peruvian three-piece roll and boogie through the 11 assembled tracks with fervent bluesy swing on “En el Fondo” and no shortage of shuffle throughout the nine-minute “120 Años (Color),” which comes paired with the trippier “Almendrados” in what seems like a purposeful nod to the more out-there among the out there, bringing things back around to finish swinging and bouncing on the eponymous closer. I’ll take the classic boogie as it comes, and Mantarraya do it well, basking in a natural but not too purposefully so sense of underproduction while getting their point across in encouraging-first-record fashion. At over an hour long, it’s too much for a single LP, but plenty of time for them to get their bearings as they begin their creative journey.

Mantarraya on Thee Facebooks

Mantarraya on Bandcamp


Häxmästaren, Sol i Exil

Häxmästaren sol i exil

At the risk of repeating myself, someone’s gonna sign Häxmästaren. You can just tell. The Swedish five-piece’s second album, Sol i Exil (“sun in exile,” in English), is a mĂ©lange of heavy rock and classic doom influences, blurring the lines between microgenres en route to an individual approach that’s still accessible enough in a riffer like “Millennium Phenomenon” or “Dödskult Ritual” to be immediately familiar and telegraph to the converted where the band are coming from. Vocalist Niklas Ekwall — any relation to Magnus from The Quill? — mixes in some screams and growls to his melodic style, further broadening the palette and adding an edge of extremity to “Children of the Mountain,” while “Growing Horns” and the capper title-track vibe out with with a more classic feel, whatever gutturalisms happen along the way, the latter feeling like a bonus for being in Swedish. In the ever-fertile creative ground that is Gothenburg, it should be no surprise to find a band like this flourishing, but fortunately Sol i Exil doesn’t have to be a surprise to kick ass.

Häxmästaren on Thee Facebooks

Häxmästaren on Bandcamp


Shiva the Destructor, Find the Others


Launching with the nine-minute instrumental “Benares” is a telling way for Kyiv’s Shiva the Destructor to begin their debut LP, since it immediately sets listener immersion as their priority. The five-track/44-minute album isn’t short on it, either, and with the band’s progressive, meditative psychedelic style, each song unfolds in its own way and in its own time, drawn together through warmth of tone and periods of heft and spaciousness on “Hydronaut” and a bit of playful bounce on “Summer of Love” (someone in this band likes reggae) and a Middle Eastern turn on “Ishtar” before “Nirvana Beach” seems to use the lyrics to describe what’s happening in the music itself before cutting off suddenly at the end. Vocals stand alone or in harmony and the double-guitar four-piece bask in a sunshine-coated sound that’s inviting and hypnotic in kind, offering turns enough to keep their audience following along and undulations that are duly a clarion to the ‘others’ referenced in the title. It’s like a call to prayer for weirdo psych heads. I’ll take that and hope for more to come.

Shiva the Destructor on Thee Facebooks

Robustfellow Productions on Bandcamp


Amammoth, The Fire Above

amammoth the fire above

The first and only lyric in “Heal” — the opening track of Sydney, Australia, trio Amammoth‘s debut album, The Fire Above — is the word “marijuana.” It doesn’t get any less stoned from there. Riffs come in massive waves, and even as “The Sun” digs into a bit of sludge, the largesse and crash remains thoroughly weedian, with the lumbering “Shadows” closing out the first half of the LP with particularly Sleep-y nod. Rawer shouted vocals also recall earlier Sleep, but something in Amammoth‘s sound hints toward a more metallic background than just pure Sabbath worship, and “Rise” brings that forward even as it pushes into slow-wah psychedelics, letting “Blade Runner” mirror “The Sun” in its sludgy push before closer “Walk Towards What Blinds You (Blood Bong)” introduces some backing vocals that fit surprisingly well even they kind of feel like a goof on the part of the band. Amammoth, as a word, would seem to be something not-mammoth. In sound, Amammoth are the opposite.

Amammoth on Thee Facebooks

Electric Valley Records website


Nineteen Thirteen, MCMXIII

nineteen thirteen mcmxiii

With emotional stakes sufficiently high throughout, MCMXIII is urgent enough to be post-hardcore, but there’s an underpinning of progressive heavy rock even in the mellower stretch of the eight-minute “Dogfight” that complements the noisier and more angular aspects on display elsewhere. Opener “Post Blue Collar Blues” sets the plotline for the newcomer Dayton, Ohio, four-piece, with thoughtful lyrics and a cerebral-but-not-dead-of-spirit instrumental style made full and spacious through the production. Melodies flesh out in “Cripple John” and “Old Face on the Wall,” brooding and surging in children-of-the-’90s fashion, but I hear a bit of Wovenhand in that finale as well — though maybe the one doesn’t exclude the other — so clearly Nineteen Thirteen are just beginning this obviously-passion-fueled exploration of sound aesthetic with these songs, but the debut EP they comprise cuts a wide swath with marked confidence and deceptive memorability. A new turn on Rust Belt heavy.

Nineteen Thirteen on Thee Facebooks

Nineteen Thirteen on Bandcamp


Ikitan, Twenty-Twenty

ikitan twenty-twenty

Hey, you process trauma from living through the last year your way and Genova, Italy’s Ikitan will process it theirs. In their case, that means the writing, recording and self-release of their 20-minute single-song EP, Twenty-Twenty, a sprawling work of instrumentalist heavy post-rock rife with spacious, airy lead guitar and a solid rhythmic foundation. Movements occur in waves and layers, but there is a definite thread being woven throughout the outing from one part to the next, held together alternately by the bass or drums or even guitar, though it’s the latter that seems to be leading those changes as well. The shifts are fluid in any case, and Ikitan grow Twenty-Twenty‘s lone, titular piece to a satisfyingly heft as they move through, harnessing atmosphere as well as weight even before they lower volume for stretches in the second half. There’s a quick surge at the end, but “Twenty-Twenty” is more about journey than destination, and Ikitan make the voyage enticing.

Ikitan on Thee Facebooks

Ikitan on Bandcamp


Smote, Bodkin

smote bodkin

Loops, far-out spaces and a generally experimentalist feel ooze outward like Icelandic lava from Bodkin, the five-song debut LP from UK-based solo-outfit Smote. The gentleman behind the flow is Newcastle upon Tyne’s Daniel Foggin, and this is one of three releases he has out so far in 2021, along with a prior drone collaboration tape with Forest Mourning and a subsequent EP made of two tracks at around 15 minutes each. Clearly a project that can be done indoors during pandemic lockdown, Smote‘s material is wide-ranging just the same, bringing Eastern multi-instrumentalism and traditionalist UK psych together on “Fohrt” and “Moninna,” which would border on folk but for all that buzz in the background. The 11-minute “Motte” is a highlight of acid ritualizing, but the droning title-track that rounds out makes each crash count all the more for the spaces that separate them. I dig this a lot, between you and me. I get vibes like Lamp of the Universe here in terms of sonic ambition and resultant presence. That’s not a comparison I make lightly, and this is a project I will be following.

Smote on Bandcamp

Weird Beard Records store


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Hippie Death Cult and Acid’s Trip Sign to Heavy Psych Sounds

Posted in Whathaveyou on March 3rd, 2021 by JJ Koczan

Okay. So what we know from this is that chances are that tomorrow, which is Thursday, we’re going to get new audio and preorders from Acid’s Trip, who’ll be making their debut on Heavy Psych Sounds sometime this Spring — maybe May? I don’t know. But that’ll happen, and cool for the Swedish new-ish-comers, who feature in their ranks former Honeymoon Disease guitarist Acid. I guess it’s her trip. Fair enough.

Next week will bring new audio from Hippie Death Cult too, and album preorders as well. The Oregonians are due a follow-up for their 2019 debut, 111 (review here), and I wouldn’t be surprised to find out that record was going to be reissued as well. Cursed Tongue went through multiple pressings and I can’t imagine Heavy Psych Sounds wouldn’t do likewise.

So there you go.

You notice lately how it’s A LOT of Heavy Psych Sounds and Ripple Music? That’s not coincidence. That’s top Euro and US provider, right there.

More to come. From the PR wire:


acids trip hps

HEAVY PSYCH SOUNDS – Hippie Death Cult & Acid’s Trip

Heavy Psych Sounds Records & Booking is really proud to present TWO NEW BANDs signing HIPPIE DEATH CULT & ACID’S TRIP


We’re incredibly stoked and honored to announce that US heavy rockerz HIPPIE DEATH CULT are now members of the HPS family !!


SAYS THE BAND: “We have a lot of respect for what Gabe and HPS have accomplished over the years and are excited and honored to be collaborating on these releases with them. We feel pretty confident that this partnership will propel us both to new heights.”


Hippie Death Cult has proven to be one of the more exciting hard rock bands to surface in recent years, They have earned a stellar reputation both for live performance and recorded material from fans and critics alike. The Portland, Oregon based quartet consists of members – Eddie Brnabic, Ben Jackson, Ryan Moore and Laura Phillips. They began writing and performing in early 2018, but the roots of HDC go much deeper. A stream of musical consciousness swept over guitarist Eddie Brnabic inspiring him to create the band. It would take a few lineup attempts and a little luck to bring the right members together. Laura Phillips was the first to help solidify the vision. A veteran of the Portland music scene she not only had the skills necessary to compliment Eddie’s sound but she also brought with her drummer Ryan Moore. Ben Jackson was added to the trio and brought to the music his rich voice, textured keyboards and deep lyricism. With a solid lineup in place, they set out with fierce dedication to rehearse, record and perform a string of successful live shows securing a deal with Cursed Tongue Records, who released their debut album “111” in 2019.

Hippie Death Cult is a hard rock band. Shades of Black Sabbath, The Alice Cooper Band, Blizzard Of Ozz, Megadeth, and Soundgarden among others can be traced through their music. At their core they are true to these roots while being driven to push new ideas. The vibe is both timeless and immediately fresh.

2020 was a productive year for HDC. They completed material for Magnetic Eye Records – “Best Of Black Sabbath Compilation”, music for the independent film “All Gone Wrong”, and signed a new record deal with Heavy Psych Sounds Records

Ryan Moore – Drums
Ben Jackson – Vocals/Keys
Eddie Brnabic – Guitar
Laura Phillips – Bass

*** ACID’S TRIP ***

And here we go with another band signing. The swedish rocknrollerz ACID’S TRIP !!!


SAYS THE BAND: “Acid’s Trip is heavily psyched to sign a record deal with HPS. We believe we will create great things together. Let the hard rockin’ commence!”


Acid’s Trip from Gothenburg was formed in late 2018 by Acid, former guitarist of Honeymoon Disease, with a clear vision of performing high speed rock’n’roll. With blasting guitar riffs, punchy melodies and a shitload of attitude the band delivers full tilt boogie action on vinyl & live on stage!

With two shreddin’ guitarists in the front and a dynamite rhythm section, this power house is running over the garage rock scene – with rapid electric guitars, groovy riffs and chopper culture! The music is best described as a hard rock action mix of the speedy Mc5, a touch of Thin Lizzy and Lynyrd Skynyrd soul. The quartet has already proven themselves on tour in Europe and the band blew the roof at the legendary “Flanders Chopper Bash” while the success became a fact.

The bands 12″ vinyl “Rock’n’Roll Speedball” sold out quickly and the awaited debut album “Strings of Soul” will be released soon on Heavy Psych Sounds Records! The tracks come with the raw power of furious motor engines and Gothenburg groove. With a growing fanbase all around Europe and the states Acid’s Trip is now hittin’ the charts to reclaim the rockin’ vibes and fill your heads with groovy rock’n’roll!

Acid – Guitar/Vocals
Mike – Guitar/Vocals
Rockard – Drums
Lucas – Bass

Hippie Death Cult, 111 (2019)

Acid’s Trip, “Trippin’ Balls” official video

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The Obelisk Questionnaire: Jennifer Israelsson

Posted in Questionnaire on February 26th, 2021 by JJ Koczan

hot breath

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: Jennifer Israelsson of Hot Breath

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

Composing feelings and thoughts, that’s probably how I define what I do. I discovered early on that it was a way for me to get out of all the hard and sometimes difficult feelings and thoughts and leave them there, in the song. Just like therapy with a melody that I can (and want to) share.

Describe your first musical memory.

It’s hard to remember a first memory of something I always somehow lived in.

But one of many strong memories is probably still when me and dad sat in the car a few days a week, on our way to figure skating training (yes this was a long time ago) and listened to the Kiss Destroyer album. Just as much goosebumps every time the intro to “Detroit Rock City” kicked off.

Describe your best musical memory to date.

In today’s situation, it really feels like a luxury problem to be able to barely choose your favorite memory of something you have seen or experienced. But one of my absolute strongest memories is probably when Honeymoon Disease played at Speedfest, in Eindhoven, 2015. It felt so unreal to stand on that big stage and play our own songs for so many people. I can still remember that surreal, but amazing, feeling.

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

(Do not know if I understand the question right now, but will try to answer anyway.)

In Hot Breath, we try to challenge ourselves (both in genre and in mind) all the time in our songwriting. One of us may come up with an idea that from the beginning does not feel quite right for all of us, but we test it anyway, and I would still say that in nine cases out of 10 that idea develops into a song or a riff that we can use later on.

Where do you feel artistic progression leads?

Artistic development means everything. I mean, development in any area is important, but of course you always strive to be able to develop more all the time in the form you are passionate about.

How do you define success?

I think success is when you feel happy.

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

Interesting question, haha. Can’t think of anything actually, so I probably suppressed it pretty well.

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

I’d like to create the world’s best ’70s-inspired disco band.

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

To be able to express oneself in something completely different than in speech. We have so many other senses that we do not think we can use, but once we do, the expression becomes so much stronger and, in my opinion, much more honest.

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

I wish I could be free from work and be able to enjoy a hot, nice summer with my friends.

(A very telling answer for how everything is right now. Just two years ago I would probably have laughed at this answer and I hope for everything in the world that I can laugh at it very soon again.)

Hot Breath, “What You’re Looking for, I Have Already Found” lyric video

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Friday Full-Length: Rickshaw, Sonic Overload

Posted in Bootleg Theater on February 19th, 2021 by JJ Koczan

Sometimes you gotta go back to basics. I first encountered Sweden’s Rickshaw circa 2003, probably because they put out a split single with The Awesome Machine (among many others), who I way into at the time. I was in college, feeling my way through the post-Man’s Ruin landscape of European and American heavy rock and doom for a radio show I’d started at my school’s station, and with a cable modem and file-sharing know-how, I was able to experience records like this at a point when there was just about no way I could’ve done so otherwise. I’m still going back and buying CDs from that stretch of years, by the way. At least those that are available. This one I was fortunate to get in a promo pack from Devil Doll Records a long time ago, and as I’ve said on numerous occasions, I keep everything.

If their Bandcamp page is anything to go by, Rickshaw now think of themselves mainly as a precursor to The Chuck Norris Experiment, who debuted in 2005 — another good record — and put out their most recent offering, a split 7″ with Scumbag Millionaire, in January, continuing an apparently long tradition of cohabitating releases. Fair enough for the catalog that The Chuck Norris Experiment have amassed since Rickshaw gave way, but even if they’re assuming it’s fans of the one who’ll go back to the other, it’s on its own merits that I pay Sonic Overload, the second and final Rickshaw full-length, another visit.

Those merits are plenty and plain to be heard. It is heavy rock of its era in Sweden. Issued in 2002, the band would have come up as contemporaries of the likes of Dozer, Lowrider, the aforementioned The Awesome Machine as well as other splitmates in Adam West, Hateball, Trigger, and so on. Unsurprisingly, it’s more in line with the hard-garage latter grouping that Rickshaw fit, rather than with the post-Kyussism happening elsewhere. That said, the band — formed by the core duo of vocalist Joacim “Jocke” Olsson and guitarist Robert “Bobby Dawn” Nilsson — flirt with that style on their sophomore outing in a song like “Last Man Standing,” which finishes a maddeningly catchy four-song opening salvo that elsewhere finds Olsson tapping his inner Dave Wyndorf on opener “Point of Orange” and the subsequent “Lick My Flames,” both of which work to set the scene for the various punker bursts that will follow, including in “I’m Ready,” another hard-landing chorus that stands out all the more with the contrast of a subdued middle section and a runtime that dares pass the four-minute mark. Rickshaw do that only twice on Sonic Overload; the second time is “Get You Down” (4:53) a few tracks later.

The feedback that begins “White Light” after “Last Man Standing” is kind of a signal that Sonic Overload is moving into its next phase. Recall this is arguably the peak of the CD era, so while 1999’s rickshaw sonic overloaddebut, Tender Songs of Love, and various splits along the way only came out on vinyl, Devil Doll pressed to compact disc, and so far as I know, an LP version has never followed. For what it’s worth, with 12 songs in 40 minutes, it would split into two sides easily enough, but alas. In any case, “White Light” is a direct beam to the heavy punk/garage rock side of Rickshaw‘s sound, and it pairs dynamically with the already-noted “Get You Down,” another fuzzier vibe, that lets the bass take the fore momentarily even as it pushes outward in a fashion that ends up being near motorik despite the grounding factor of its hook. The shifts throughout Sonic Overload can be subtle or not, but the album was clearly constructed with a live show in mind, and it works in that spirit throughout.

Thus, the opening salvo that leads into the back and forth of “White Light” and “Get You Down,” which is followed by “Kitten Natividad,” a paean to the Russ Meyer-era actress of the same (stage) name that seems to play off Alice Cooper lyrical patterning, thinking of lines cribbed from “Poison” particularly. So be it: Rickshaw‘s purposes are their own. From there, “Ahead of the Game” and “Perfect Crime (Electrified)” follow in succession, the former faster, the latter still pretty fast in the grand scheme, and both somewhat overwhelmed by the catchiness of “All You Jazz” immediately after. It’s a trope of the compact disc form that, if songs are going to get lost anywhere on a record, that’s the spot — right past the opening, before the closing, of what would be side B on a 12″. Fair enough. “Kitten Natividad” and “All You Jazz” are stronger in their delivery, but it’s not like “Ahead of the Game” and “Perfect Crime (Electrified)” are hurting anybody. Far worse ways to spend about six minutes of your life.

Sonic Overload, again, as a live show would, finishes strong with “Islands in Your Stream” and “Who’s Your Bobby?,” the latter marking the age in which the disc arrived perhaps even more than the progression of the tracks could. The penultimate cut seems to be a kind of apex, and it fades out gently on guitar until “Who’s Your Bobby?” brings one final two-minute thrust that nonetheless summarizes one of Rickshaw‘s greater strengths throughout, which is being able to leave a landmark of a chorus for the listener to hold onto even as the band seems to sprint onward to the next part. Strong songwriting structure is a tenet of garage rock and punk, and in drawing from both traditions while edging them further toward heavier riff rock, the band found a niche for themselves that was distinct and deceptively multifaceted.

But at its heart, this is a rock and roll album. It didn’t change the world. I don’t think you’d call it “classic” except maybe as being representative of the the style of its time, and maybe the band are right when they note that mostly what Rickshaw did at the end was provide the transition to The Chuck Norris Experiment. Fine. Truth be told, I needed some straight-up rock, and this was that. Maybe feeling the same. Either way, as always, I hope you enjoy.

Thanks for reading.

My mouth hurts. It’s been eight days now since I had that molar unceremoniously yanked from my face — by a surgeon, don’t worry; not a Cardassian interrogation or any such thing — and though The Patient Mrs. assures me that the hole in my mouth “looks good” in the relative way a hole in the mouth might, I have visions of continued infection and an ache that extends down my jaw. I took my last antibiotic this morning. I’ve been rinsing my mouth with the prescription mouthwash I was given. I have not yet taken ibuprofen today, but I will shortly.

This is supposed to be a 10-month dental process at the best. Have tooth pulled and infection cleaned out, bone graft put in. Heal. Then in like April or May I guess have the foundation put in for an implant. Heal again. Then sometime by October or November, get the implant in and actually be done. Human bodies are so, so, so stupid. Anyone who tries to sell you on “intelligent design” has clearly been designed with their head up their ass. If we were intelligently designed, we’d grow new teeth when our old ones come out. You know, more than once.

Anyhoo, hurts, so I’m bitching about it.

While I’m bitching, yesterday was a virtual-school day because of snow. The Pecan — still three years old — and I do virtual preschool together, him sitting on my lap in front of my laptop. It’s a fucking nightmare. Yesterday, he bit me hard enough that I was bleeding on one arm, and scratched the other hard enough that, again, I was bleeding. I also had to stop him from biting himself, which he did on several occasions and does regularly — you want unnerving, there’s your toddler self-harming — when overwhelmed or frustrated or asked to do anything. Yesterday he would not say the words “cement mixer.” He knows cement mixer. He points them out on the road. And yet, when called upon to do say “cement mixer,” he lost it. I wanted to take a hammer and smash myself in the face. I still do.

Today is another all-virtual “snow day,” but in hope of preserving the rest of the day surrounding from turning to absolute shit, we’re skipping it. I feel bad for The Patient Mrs., who no doubt dreads coming downstairs from work only to be immersed in my sundry fucking miseries.

Did I tell you we bought a boat? We need to move it at some point this weekend. I don’t know.

I got up before 5:30 this morning — it’s just after 7 now — and put a fire in the fireplace. I’ve been dealing with a sore wrist because, again, bodies were intelligently designed in god’s image and it hurts when god jerks off too, but in a bit I’ll grab The Pecan from upstairs, do breakfast, and take him outside to shovel snow. In his case, that mostly means shovel it into his mouth with his hands, but that’s fine too. As long as he’s happy, not running into the street and not trying to use the shovel on the car, he can eat all the snow he wants.

Next week, more Questionnaires, as well as some Dozer interviews about their reissues that should’ve gone up this week but apparently I had the release dates wrong because I’m fucking inept. Could’ve sworn I tried to coordinate that with streams like last time, like with Dozer and Nebula both, but there you go. I thought that shit was out in March.

So those’ll be posted. And Monday a review of the Spirit Mother stream that’s this weekend, and this and that and the other thing. New Gimme show today. I got in trouble for it, so please listen. 5PM Eastern:

Great and safe weekend. Hydrate.


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