In their own festering way, I, Klatus have been active for over 20 years, working at the behest largely of guitarist/vocalist Tom Denney — also a visual artist one might call when looking for something equal measures of fucked up and cool looking and/or mud-brown psychedelia — and the impending Targeted that’s to be released April 1 through the band’s own Dead Sage Records imprint will be their fifth album in that time, following behind 2017’s Nagual Sun (review here). Which, yes, was fucked up, mud-brown psychedelia and topped by cool looking cover art to match.

I haven’t heard any of Targeted as yet, but I’ll have ears open, as I, Klatus have long since found their niche between Chicago’s atmospheric-everything ethic and rawer, Midwestern Rust Belt sludge, post-industrial in the economic sense rather than the aesthetic, disaffected and ultimately its own kind of extreme, ultra-dug-in heavy.

If you think you can hang, maybe you can, maybe you can’t. Nothing’s up from the record as yet, but you can check out a video for “Moment of Devastation” below from the prior album, and yeah, that should get the point across nicely. This band never has been and never will be for everyone. That is completely intentional.

From the PR wire:

I KLATUS: Chicago Sludge/Doom Metal Trio To Release Targeted Full-Length Through Dead Sage In April

Chicago, Illinois-based esoteric sludge/doom metal trio I KLATUS presents their fourth full-length, Targeted, confirming the album for release through their own Dead Sage label in April.

I KLATUS is embodied by drummer Chris Wozniak (Lair Of The Minotaur, Earthen Grave), bassist John Bomher (Yakuza, Indian), and guitarist/vocalist/visual artist Tom Denney (renowned artist for Soilent Green, Kylesa, Weedeater, Black Cobra, Rwake, Samothrace, among countless others).

The entire concept of I KLATUS’ new album, Targeted, is about fear, addiction, and psychosis, confronting the self-obsessed fears often faced by those with mental health challenges such as schizophrenia or bipolar disorder. Often, these unfortunate victims of their own minds are terrorized by unseen entities which cause them to turn to drugs and other strange behavior to cope with the daily horrors which plague them. An irrational fear of being followed, tracked, and hunted. Fear of being implanted with microchips while unconscious; injecting shadow entities into their nightmares; nightmares which bleed into daytime realities. The psychosis is infectious, affecting who you’re able to trust. Here, the band confronts the harsh reality that we’re face-to-face with when these kinds of struggles affect our loved ones, and we find ourselves in a position of needing to protect ourselves from these unseen forces which are very real to the victims of such maladies.

Mixed and mastered by John E. Bomher at Berwyn Recording, with layout/artwork by Tom Denney, Targeted also features guest performances by Alison Chesley aka Helen Money (cello on “Solstice Of Wind), Valentina Levchenko (vocals on “Solstice Of Wind”), Joseph Starita (violin, cello on “Shitback And Halfway Damned”), Patrick Hamilton (gongs, robots on “Opium Cyborg” and “Targeted”), and guest lyricist Michael McEvoy on “Dance With The Skulls In The Church.”

I KLATUS will release Targeted through the band’s own Dead Sage imprint on April 1st, digitally and in a limited run of cassettes. Stand by for preorders, audio previews, and more to be issued over the weeks ahead preceding its release.

Targeted Track Listing:
1. Solstice Of Wind
2. Shitback And Halfway Damned
3. Opium Cyborg
4. Dance With The Skulls In The Church
5. Targeted

I KLATUS:
Tom Denney – guitar, voice, noise
John E Bomher – bass, voice, noise
Chris Wozniak – drums, voice

https://iklatus.bandcamp.com
https://www.facebook.com/iklatus
https://twitter.com/i_klatus
https://deadsage.bandcamp.com
https://www.instagram.com/dead_sage_records
https://www.facebook.com/Deadsagerecords

I, Klatus, “Moment of Devastation” official video

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: Alexander Adams of Plague of Carcosa & Lurker Bias

—

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

I play the drums and other devices in a group called Plague of Carcosa. The how is less interesting; I was looking for a new project, Eric reached out through a friend I think?

Describe your first musical memory.

One of my parents is a classically-trained opera singer, so I have a ton of very early memories that all kind of group together. Lots of foreign languages, lots of being quiet in a theater when I’d rather be doing kid stuff, lots of flowers after.

Describe your best musical memory to date.

Memorizing all the lyrics to “It’s the End of the World as We Know It (And I Feel Fine)” when I was a teenager.

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

Once when I was a teenager a friend told me I couldn’t memorize all the words to “It’s the End of the World as We Know It (And I Feel Fine)” and I firmly believed that I could.

Where do you feel artistic progression leads?

Hopefully toward more fully-realized art.

How do you define success?

You make a thing, people like the thing, they support you on your way to the next thing.

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

I mean, there are a lot of dark places that humanity has gone, and there are plenty of those that I could erase from my brain and be a little happier.

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

A concept record following the story of The Music of Erich Zann.

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

Depends on the kind of art.

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

Live theater is coming back, that’s very exciting.

https://www.facebook.com/plagueofcarcosa/
https://plagueofcarcosa.bandcamp.com/
https://www.facebook.com/lurkerbias/
https://lurkerbias.bandcamp.com/

Plague of Carcosa, Live at JZTV, Feb. 29, 2022</h3

Plague of Carcosa, Dream Quest of Unknown Kadath (2021)

Lark’s Tongue, “The Novelty Wears Thin” video premiere

[Click play above to see the premiere of Stefaan Temmerman’s video for Lark’s Tongue’s ‘The Novelty Wears Thin’. Album preorders are available from Consouling Sounds.]

Illinois heavy post-rockers Lark’s Tongue release their new album, Eleusis, on Feb. 18 through Belgium’s Consouling Sounds. It has been eight years and an entire universe since the Peoria-based five-piece issued their full-length debut, Narrow (review here), and their post-metal-adjacent take on heavy is presented through Eleusis across six tracks and 44 minutes of consuming, melodic fare, heavy in purpose and tone, but not at all held back by that when it comes to making a given song move. The dual vocals of guitarists Christopher Bennett and Jeff Hyde — joined in the band by synthesist Jonathan Wright, bassist Mike Willey and drummer/percussionist Sledd — play a large role in conveying the emotional crux of the material, as they inevitably would, but the instruments behind do well in setting an atmosphere of marked depth and reach for the stories to take place.

There are moments — looking at you, “Arborist” — where if Lark’s Tongue were from Finland instead of Peoria, you’d call them folk metal, but they’re no less likely to tap John Carpenter via slow-Slayer at the outset of “Folly of Fantasy” or circa-2001-Katatonia in the melody of opener “The Novelty Wears Thin” (video premiere below), signaling with a tambourine that, like Crippled Black Phoenix before them, just because Lark’s Tongue could get blast-your-face-off heavy and aggressive at any given moment doesn’t at all mean it’s going to happen. If anything, they’re all the more post-metal for sounding like they’re actually over it.

I took notes while I was listening to the record — the title of which refers to a site in Greek mythology, a season-based myth of rebirth around Persephone and Demeter, etc. — and I hit a point about seven minutes into fourth cut and presumed side B opener “A Common Denial” (10:32) where I actually typed out “This record is officially better than anyone will ever know.” That may prove to be the case over time — certainly plenty of stellar albums fly under the radar of hype or don’t receive the word of mouth attention they deserve — but given the textures of Eleusis and the obvious care and attention detail Lark’s Tongue have taken here, the record deserves a better fate. To wit, that tambourine in “The Novelty Wears Thin.”

Sledd brings hand percussion to bear in various points of the record, whether it’s “Arborist” or elsewhere, but amid the layers of guitar, keys, bass and drums, the tambourine demonstrates a loyalty to an idea of rhythmic movement that’s older, poppier even. It comes in right where so many bands would click on the distortion pedal and start growling. And much like the psych-prog triumph that takes place in “Folly of Fantasy” or the payoffs of “A Common Denial” (their “Stones From the Sky” moment, admirably made their own) and album-closer “Obsolescence” that seem to be doing work on behalf of the entire record as well as their individual purposes, “The Novelty Wears Thin” is nonetheless righteously heavy. But by not becoming a blowout, by ending with that tambourine, the leadoff signals to the listener that Lark’s Tongue will not be swayed from their own purposes to conform to the expectations of genre. And much to their credit, they never do.

The keyboard and organ work of Wright across the span of Eleusis is a thing to celebrate. On the penultimate “Elucidate” — which is as close to a title-track as they come — Wright‘s keys run alongside particularly vital guitar and a verse that’s near Cave In in its careening, adding flourish to the melodies of the vocals and the drive surrounding; a shimmering edge on top of the heavier distortion. That cut is the shortest of the inclusions at 4:05, but the band still find room to break at around the 2:30 mark and pursue another, more open movement, and there too the keys play an essential role in the atmospheric impression being made, and as far out as it goes in its time, it doesn’t lose sight of the melody led by the vocals.

At any given point on Eleusis, there might be so much going on that it’s hard to ascertain what’s what — I’d have sworn I heard a sax on “Obsolescence” when I first heard it; had me looking for a Bruce Lamont guest spot, to no avail — but the vocals do much not just to unite the material which is instrumentally and structurally varied. All the more since they’re presented with a relatively clean treatment — the arrangements are thoughtful enough to call progressive, as on “Arborist” or the hold-back-then-get-just-a-little-shoutier finish in “Obsolescence,” or even the harmonies on “Elucidate” — the human voice coming through with a minimum of effects.

This sensibility, like that tambourine, makes Lark’s Tongue feel less experimentalist than considered. The album having been recorded by Joel Madigan at Sound of Mind in Illinois between late 2018 and early 2019 — it was done in Feb. 2019; Sanford Parker mixed at Hypercube and Kevin Rendleman mastered at Hive Mind Audio — positions it as a pre-pandemic offering, despite the 2022 release, and there is a sense of the band in the room together that can be heard in stretches like the bassline taking “Obsolescence” for a walk (rather than the other way around) in its early going, almost swaggering on the way before the break to the rolling drums and mounting guitar tension that eventually lead to Eleusis‘ last crescendo, or in the slow punch of “A Common Denial,” which toasts heavy Americana on guitar after refusing to take any time other than its own in developing from its melancholy and vaguely futuristic noise intro.

They sneak in the heavy later. It’s a joy. And they’re not necessarily going for a band-on-stage feel, but using the studio space as a means of bolstering the ambience and lushness of the record as a whole. This blend of careful planning — at least apparent careful planning — and vital delivery is a piece of what allows Lark’s Tongue to have such a stylistic reach here, but any route one takes to get there, it’s a question of songwriting. Of craft. And Eleusis is by no means the kind of record to beat you over the head with a hook — its purposes are elsewhere — but its impact is resonant and memorable just the same.

Lark’s Tongue on Facebook

Lark’s Tongue on Instagram

Lark’s Tongue on Bandcamp

Consouling Sounds on Facebook

Consouling Sounds on Instagram

Consouling Sounds on Twitter

Consouling Sounds store

If you’re feeling like you want heavy Amercana in literature and Faulkner’s too obvious, probably the place to head next is Cormac McCarthy, and fair enough. An Evening Redness take their moniker from the alternate title of Blood Meridian, or The Evening Redness in the West, which was first published in 1985, and their self-titled debut will be released in just a few weeks through Transylvanian Recordings.

The project, spearheaded by Brandon Elkins of Auditor and Iron Forest, A Crown of Amaranth and others, brings together members from the Midwest, the UK and Australia, so one way or another a modern edge is sneaking through, but going by the streaming track “Mesa Skyline,” the intent is clearly geared toward atmosphere and texture in a post-metallic vein, and the first listen they’re giving is encouraging.

Info and whatnot from the PR wire:

AN EVENING REDNESS: Desert Drone/Doom Outfit To Release Self-Titled Debut February 25th Via Transylvanian Recordings; New Track Streaming + Preorders Available

AN EVENING REDNESS will release their stunning self-titled debut full-length on February 25th via Transylvanian Recordings.

AN EVENING REDNESS is parched desert drone doom and the sound of thunder over the mountains. Evoking the hallucinatory clarity of the alkali plains and the biblical violence of its literary namesake, the collective bursts from obscurity with a fusion of sounds that seem incompatible on paper but prove blindingly innovative in action.

Deeply introspective and evoking hallucinatory darkness, AN EVENING REDNESS’ self-titled debut is the newest release from Brandon Elkins. Composed, arranged, and produced by Elkins, the offering is a masterwork of diverse ambient doom and post-ambient composition, with the minimalism of Earth contrasted with passages that wouldn’t feel out of place on Jesu’s Opiate Sun. An ensemble of musical talents including vocalist Bridget Bellavia (BLKTXXTH, Piggy Black Cross), guest soloist Brendan Sloan (Convulsing), and session drummer Ryan Jewell (Riley Walker and many others) serve to underscore the drama and focused production contained within the album’s six tracks.

What ties the whole album together is an atmosphere that feels spiritually closer to a film score than what you’d expect from a solo record. Notes Elkins, “I wanted to make music that sounds like how Blood Meridian reads. Lonely, high plains insanity, sudden bursts of violence, longing melodies, ambient isolation.” Elkins’ work has always been hard to pin down, but this feels like a culmination of not only the best elements of his many projects – but the compositional mastery that can only come from decades of refined craft. With the intensity of modern doom masters like Bell Witch and the emotional and musical dexterity of Neko Case at peak powers.

In advance of the record’s release, today the band unveils their first single “Mesa Skyline.” Notes Elkins of the track, “‘Mesa Skyline’ begins the tale: a lonesome man sat down next to a withering fire, out among the salt and sage of the Western desert, waiting to die. He sleeps, but instead of the death he longs for, he awakens into a world of biblical violence and a blazing storm of hallucinatory revelation on the horizon.”

An Evening Redness will be released on CD, vinyl, and digital formats. Find preorders at THIS LOCATION: https://transylvaniantapes.bandcamp.com/album/an-evening-redness

An Evening Redness Track Listing:
1. Alkali
2. Mesa Skyline
3. Winter, 1847
4. The Judge
5. Pariah
6. Black Flame At The Edge Of The Desert

http://twitter.com/alkalidweller
http://www.facebook.com/TransylvanianRecordings
http://www.instagam.com/transylvanianrecordings
http://www.transylvaniantapes.bandcamp.com

An Evening Redness, An Evening Redness (2022)

Holy trinity? Maybe it would be if the rest of Pelican‘s discography wasn’t also so good. Still, you won’t hear a bad word from me about Australasia (discussed here), and I still remember the first time I listened to follow-up The Fire in Our Throats Will Beckon the Thaw was at a gate at Chicago O’Hare airport waiting for a connecting flight to Austin, Texas, for SXSW a couple rows away from Sanford Parker, to whom I was too shy to say hello. I have a million stories like that, about not talking to people. More than ever, it seems.

City of Echoes was badass too, crunchy and defying-expectations-of-escapism and all. But the additional cool news to go with the remasters that Pelican‘s upcoming European tour will include founding member Laurent Schroeder-Lebec is certainly welcome, though Dallas Thomas was killer as well. Truth of the matter is I guess I’ll take Pelican as they come. It is my deep hope to be able to catch them at Freak Valley Festival. If that doesn’t happen, well at least I’ll have more stories of not interacting with humans.

Hoo-mans.

Here’s word from the PR wire. Listen to Pelican today:

Thrill Jockey to reissue three essential albums by Pelican:

Australasia
The Fire In Our Throats Will Beckon The Thaw
City of Echoes

Deluxe vinyl reissues throughout 2022-2023 will include rarities, unreleased outtakes, demos and remastered audio

Pelican touring Europe this Spring with original lineup

Thrill Jockey are proud to reissue acclaimed and innovative classic albums by Chicago/Los Angeles quartet Pelican: Australasia (2003), The Fire In Our Throats Will Beckon The Thaw (2005), and City of Echoes (2007). The trilogy is streaming now and will be issued on deluxe vinyl editions throughout 2022 and 2023. The reissues will include a bevy of bonus material comprising rarities, unreleased recordings, long out of print singles & EPs and more. Each album will feature painstakingly remastered audio by Josh Bonati as well as deluxe artwork that recreates the classic artwork expanded to include unseen images sourced from the band’s archive.

Pelican have announced a European tour this spring, including their return to headlining Dunk! Festival, as well as rescheduled appearances at Hell Fest, Freak Valley Festival, and a handful of headlining shows. Following the departure of long-standing guitarist Dallas Thomas, the band will be joined on upcoming dates by founding guitarist Laurent Schroeder-Lebec, reuniting the classic Pelican lineup behind their first three albums.

Pelican is a dreamlike art-metal institution, a band whose kaleidoscopic melodies and ocean-dredging riffs have now hypnotized audiences for more than two decades. Emerging from the frozen tundras of Chicago, Pelican were early adopters in blending majestic repetition with sludge metal’s skull-vibrating bluster, adding their own singular sense of keening emo-psychedelia and heavy-metal motorik. Since then, their prismatic instrumental mesmerism has rippled across six critically acclaimed studio albums, been featured in television and film, and influenced countless bands in their wake.

Pelican tour dates
May 28 – Ghent, BE – Dunk! Festival
June 12 – Vienna, AT – WUK
June 13 – Linz, AT – Kapu
June 14 – Dudingen, CH – Bad Bonn
June 15 – Karlsruhe, DE – Jubez
June 16 – Netphen-Deuz, DE – Freak Valley Festival
June 17 – Strasbourg, FR – La Laiterie
June 18 – Clisson, FR – Hellfest

http://www.pelicansong.com
http://www.facebook.com/pelicansong
http://www.twitter.com/pelicansong
http://www.instagram.com/pelicansong
http://www.thrilljockey.com/
http://www.facebook.com/thrilljockey
http://www.instagram.com/thrilljockey

Pelican, Australasia (2003)

Pelican, The Fire in Our Throats Will Beckon the Thaw (2005)

Pelican, City of Echoes (2007)

Cheers and well wishes to Chicago four-piece REZN, who’ll follow-up the East Coast tour they did at the end of 2021 by heading West starting March 12 in Minneapolis. It’s a not-insignificant run, more than two weeks out in the Upper Midwest, looping through Seattle and Portland, down the coast and back through the desert in time to rest up ahead of supporting Russian Circles on April in their shared hometown. When the East Coast dates were announced last September, there was word of the band having finished a new recording. I haven’t seen any announcement of what might be to come, but I’m reminded they were taking part in PostWax from Blues Funeral Recordings, so as nothing else has been unveiled, it doesn’t seem reasonable to assume that was that. If dudes wanted to toss out a follow-up for 2020’s Chaotic Divine (review here), I sincerely doubt they’d meet with any objection.

Hey, here’s a good band doing stuff. Like good bands? Like stuff? Well here you go.

Happy and safe travels:

Here it is: we’re finally headed West. See you this Spring.

Poster art by Julia Flippo

FULL DATES BELOW:
Mar 12: Minneapolis, MN @ Part Wolf
Mar 13: Des Moines, IA @ Lefty’s
Mar 15: Colorado Springs, CO @ Triple Nickel
Mar 16: Denver, CO @ Hi-Dive
Mar 17: Salt Lake City, UT @ The DLC
Mar 18: Boise, ID @ CRLB
Mar 19: Seattle, WA @ Substation
Mar 22: Portland, OR @ High Water Mark
Mar 23: Eugene, OR @ Old Nick’s
Mar 24: Sacramento, CA @ Cafe Colonial
Mar 25: Oakland, CA @ Elbo Room
Mar 26: Los Angeles, CA @ Permanent Records Roadhouse
Mar 27: San Diego, CA @ Til-Two Club
Mar 29: Tempe, AZ @ Yucca Tap Room
Mar 30: Albuquerque, NM @ Launchpad
Mar 31: Norman, OK @ Opolis
Apr 1: Lawrence, KS @ Replay Lounge
Apr 10: Chicago, IL @ Lincoln Hall w/ Russian Circles

REZN are:
Phil Cangelosi
Patrick Dunn
Rob McWilliams
Spencer Ouellette

facebook.com/reznhits
instagram.com/rezzzn
rezzzn.bandcamp.com
offtherecordlabel.bigcartel.com
https://www.facebook.com/Off-The-Record-1558728014411885/
https://www.offtherecordshop.nl/index.php/off-the-record-label

REZN, Chaotic Divine (2020)

Had you asked me how long it’s been since Lark’s Tongue put out Narrow (review here), their debut album, I definitely wouldn’t have told you it was going on eight years, and yet the numbers will not be denied. The melodically-minded post-heavy rockers offered a showcase of copious potential in that first record — enough so that the better part of a decade later, I still find myself looking forward to discovering what’s in store on Eleusis, which Consouling Sounds has up for preorder now ahead of a Feb. 18 release.

Sadly there’s no audio available to dig into that I can find, but hey, after eight years, certainly one would consider Narrow prime for a refresher, so you’ll find that streaming below, however much it may or may not have to do with what the band are up to now remaining to be seen. I dig the Eleusis cover art though. Reminds me of that Peaceville-style classic logo-type, though I doubt there will be much death-doom happening in the material itself. Still, I’ll take it.

Details/links follow:

Lark’s Tongue – Eleusis – Feb. 18

Lark’s Tongue – Eleusis album is now available for pre-order on CD and vinyl! To be released on the 18th of February.

Pre-order CD: https://bit.ly/Eleusis-CD

Pre-order LP: https://bit.ly/Eleusis-LP

The Mysteries of Eleusis continue to defy scrutiny as one of the most ancient occulted narratives. The promise of communion with Demeter echoes a desirous return to the natural world which seems ever more fleeting as we entangle ourselves amidst the tools of modernity. Meditation upon ancient mysteries invites us to imagine an existence where harmony takes precedence over convenience and where our stories remain hopeful in the face of apathy.

And so it is with Lark’s Tongue’s psychedelic opus, Eleusis. Just as the entheogenic kykeon transmuted pilgrims at the Rites of Demeter, Lark’s Tongue forge a dizzying concoction of heaviness and lightness, tension and release. Eleusis is Lark’s Tongue’s first recording for Consouling Sounds and it is a complex tapestry of melodic grandeur and imperial distortion- commingling the sonic loom with stately lyricism and deeply impassioned vocal performances. The result is an album that speaks to truths both hidden and overt. The songs are at once tribal and personal. There is an enigmatic pull contained in these songs that upon surrender delivers a familiar sense of time and place that is just left of center yet all its own.

This Eleusis is subtle without being inscrutable, and, with the right attention, its charms reveal themselves- richly rewarding bold travelers with songs of yearning and questioning, survival and grief- all returning to the altar of earth as they must- to the natural laws that bind our existence together as we push our way through this life and onward to whatever pantheon awaits.

https://www.facebook.com/larks.tongue
https://instagram.com/larks_tongue_music
http://larkstongue.bandcamp.com/
https://www.facebook.com/ConsoulingSounds
https://www.instagram.com/consouling/
https://twitter.com/consouling
https://store.consouling.be/

Lark’s Tongue, Narrow (2014)

Midwestern fuzzbringers Twin Wizard released their debut album, Glacial Gods (review here), about a week before lockdown hit in the US last year. Timing is everything. At that point, the band was comprised of drummer Anthony Dreyer (ex-Telekinetic Yeti) and guitarist/vocalist Brad Van, also of Droids Attack. Earlier in 2021, Dreyer put out word that Matt Larson (Dead Emperors, Mad Monks) had taken over frontman duties and the band was at work on their second album, first in this incarnation. Fair enough.

As it turns out, the first Twin Wizard release with the Larson/Dreyer lineup will be a reworking of Glacial Gods with the new guitarist on vocals. To coincide with that coming in Spring on vinyl or perhaps to herald its arrival, the duo are set to hit the road at the end of next month around the Midwest and Southeast — four stops in Texas, to answer your first question — and in accord with that announcement today, they’re premiering a new clip for the revamped Glacial Gods track “Smoke Wizard.” You’ll find it remains catchy as hell.

I’m not sure what the exact reissue date for Glacial Gods is, but you can find the original version of the album streaming at the bottom of this post, and if you want an excuse to leave the house in January in Iowa, it’s a good one.

Enjoy:

Twin Wizard, “Smoke Wizard” video premiere

We are proud to present our music video for Smoke Wizard. This video will be part of our re-release of “Glacial Gods” which will include Matt Larson on vocals for all tracks. We plan to have this record available for Vinyl in the Spring of 2022. We are working to have it available digitally and on CD in early 2022.

We are also extremely excited to announce tour dates with our friends in Ape Vermin as part of our “Glacial Noise” tour. We can’t wait to be on the road again bangin our heads with y’all.

1/28 Iowa City, IA @ Gabe’s
1/29 Des Moines, IA @ Lefty’s
2/1 Evansville, IN @ Lamasco Bar & Grill
2/2 Louisville, KY @ Mag Bar
2/3 Clarksville, TN @ The Warehouse
2/4 Asheville, NC @ Fleetwoods
2/5 Athens, GA @ Flicker
2/6 Atlanta, GA @ Sabbath Brewing
2/8 Mobile, AL @ Alabama Music Box
2/9 New Orleans, LA @ Santos
2/10 Houston, TX @ Acadia Bar & Grill
2/11 Austin, TX @ Independence Brewing Co
2/12 Denton, TX @ Rubber Gloves Rehearsal Studio
2/13 Wichita Falls, TX @ Iron Horse Pub

Twin Wizard are:
Anthony Dreyer – Drums
Matt Larson – Guitar/Vocals

Twin Wizard, Glacial Gods (2020)

Twin Wizard on Facebook

Twin Wizard on Bandcamp

Twin Wizard webstore