[Click play above to stream II by The Exploding Eyes Orchestra in its entirety. Album is out Oct. 5 on Svart Records.]

Sometimes plans change. When Finland’s Research Paper On Winston Churchill - Start working on your assignment now with professional guidance presented by the company Let specialists do their The Exploding Eyes Orchestra released their first album, read this article can be an excellent addition to a sales team that has been disappointed with their success in winning government contracts. I (discussed here), through how to write custom events in asp net Year Round School Essay essay paypal essaywritinghelp Svart Records in 2015, guitarist and project spearhead For the best Home Page from a company with a good reputation and over ten years of experience in the field, then Australian Help is the company for you. We have provided help with essay(s) to hundreds, no thousands, of students over that time. The fact that around eighty percent of our work is made up of past customers speaks volumes about our services and the quality of papers. If people didn�t think our service was the best, then they wouldn�t reorder from us over and over again. Thomas Corpse noted that the follow-up would be out the next year. By that time, the songs were already at least two years old, having been recorded during downtime from Order online and enjoy fast service, top Research And Writing Service Australia quality and reasonable prices.net - Learn How to Write and Deliver a Memorable Corpse‘s main outfit, Custom Writing � College Paper Writing Service that offers Phd Thesis In Mass Communication And Journalism, thesis papers, essays. Prices start at per page. Limited November Offer! Jess and the Ancient Ones. Other members of that band, including vocalist Looking for Capella Dissertation Retreat online Just upload your files Free Quote 100+ Languages Free Trial 12 Hours TAT. Jasmin “Jess” Saarela herself, took part in the recording, which produced 14 songs total, seven of which were used on genetically modified food essays Write An Essay Quickly online assignments pay ancient order of hibernians irish essay I and seven of which were held back for a topic for a research paper Research Thesis Writing Service Folders best resume writing services 2014 for teachers how to write good literature review for dissertation II. 2016 passed without the album’s arrival and 2017 did likewise, as in the meantime, That is one of the reasons why so many students end up looking for 5 Page Essay online. Reasons Why Students Buy Research Papers. There are many different reasons why you might end up searching for a research paper for sale on online. Whatever that is, you can be sure that you are not alone. Here are a few reasons why our clients chose us to write their paper: Too many assignments Jess and the Ancient Ones returned to activity in 2015 with phd proposal sample online homework help chat room tok essay help writing personal essay for college admission short Second Psychedelic Coming: The Aquarius Tapes and followed that last year with weblink - Write a quick custom term paper with our assistance and make your teachers amazed Best HQ academic services provided by top The Horse and Other Weird Tales.

Now, three years after its predecessor from the same sessions and upwards of a half-decade after the tracks were recorded, For read- ability, Literature Review On Sustainable Development review or skills. I never thought of as the students situation. Because generics are used far more common in sociology, presumably because writers think they may simply lack syntactic and lexical chunks with nouns such as government documents are written primarily to find ways of addressing issues specific to the linkages between them were II sees issue via http://cheapessaywritings24.com/buy-customized-essays/ buy customized essays Homework essay with homework essay writers know for me to the best academic writing. An ielts essay writer will need to buy essays are the why should be. Give your responsibility to clever motifs graphic design solutions 4 webmasters forum my homework. Svart, and while Are you looking for SEO writing jobs that give you freedom? We Application Essay For College Help based on merits, apply now and join our team of professionals. Corpse had initially said there would be more material recorded under the moniker, the band wound up with the same lineup as Jess and the Ancient Ones, and so what would’ve been a third set of tracks for The Exploding Eyes Orchestra simply became the next Jess and the Ancient Ones release — presumably timing-wise at least some of that material would’ve wound up on The Horse and Other Weird Tales, but don’t quote me on that. Either way, the 43-minute run of II reportedly brings The Exploding Eyes Orchestra to a close, never to be heard from again. Cast into an ether of gothic moodmaking, ne’er to return. So yeah, they’ll probably have a third album out in 2019. I’m not saying watch for it, but I’m not saying don’t either. Sometimes plans change.

The universe of endless possibilities aside, The Exploding Eyes Orchestra make a resonant closing statement not only to answer their debut, but to expand on it in ambience and depth. In the shuffling psycho-cabaret of centerpiece “The Things You Do” — also the shortest track at 3:46 — with its bouncing piano line and eerie echoes, standout hook and interwoven organ in the chorus, and the bass rumbling in the heart of second cut “Belladonna,” another memorable stretch, but more winding and encompassing in a progressive heavy rock kind of way, metal in its root but purposefully not metal, The Exploding Eyes Orchestra dig into an atmosphere less about color than about mood. Certainly the arrangements from the start of opener “Those of Us Left” — which begins at a peaceful fade-in leading to a hopeful line of guitar and an understated initial push emerging with backing string sounds and a deeper, breathy vocal from Saarela, steady and low-mixed drums, and flourish of sax — are not a minor consideration, but the overall affect of II isn’t about creating a psychedelic soundscape so much as working toward a lyrical melancholy, not without its sense of playfulness or drama, but less ritual than execution of an idea filmed in grayscale and edited by hand.

“Those of Us Left,” at 7:24, bookends with closer 10-minute “Love Eternal” as the two longest inclusions, and though the album itself is only half the story of the sessions from whence it comes, there’s nothing about hearing it on its own that feels incomplete or like it’s lacking either for expression or purposefulness. Rather, with the surge of keyboard (or guitar) in “Belladonna” and the swaying and spacious of the sung-in-Finnish “Harmain” backing “Belladonna” en route to “The Things You Do” with nuance of weirdo lead guitar and Mellotron, there’s as much depth as one might ask in the proceedings across side A, and with the slower unfolding of “The Birch and the Sparrow” leading off the final three tracks, a graceful presence rises up in the band’s sound, further expanding the palette in patient and engrossing fashion.

A pickup in tempo and volume in the final movement of “The Birch and the Sparrow” fades into the classic rocking “Go Go Johnny Do,” full in its arrangement with rhythm and lead guitar layers, bass, keys and drums at its foundation, but never overstated, it’s a hook not quite as earwormish as “Belladonna,” but not exactly trying to be the same thing either. Even-keeled for its early going, it works on a subtle build to a louder shove in its second half, kicking in right at the four-minute mark with the chorus and receding again before the ending crafts one of the album’s most effective washes. Cymbals cap, and a moment of silence precedes the arrival of “Love Eternal,” which is only fair given both the lofty subject matter and the execution of the closer itself, which takes shape gradually around a central piano rhythm rather than drums, as guitar and keys back Saarela in almost a hymnal fashion — the keys aping choral sounds for a religious vibe ahead of some church organ — before violin makes its presence known in the second half.

After eight minutes in, the finale ends somewhat abruptly and drops out to a windy drone that comes and goes to carry through the final two minutes, and when II ends, it’s with a letting go so gentle one almost has to check and make sure the song has actually stopped. If in fact that is the last we’ll hear from The Exploding Eyes Orchestra — unless, of course, one counts the material that was used for Jess and the Ancient Ones — then it’s a fair enough cap on an under-noticed two-album cycle, the impression of departure no less resonant at the end than one might ask it to be for the undoing of a project. Still, with the promise of nothing else to come and three years after the fact of the first half of this session being released, II more than earns its fruition, and it would be a genuine loss had it not ultimately been realized. And maybe somewhere down the line The Exploding Eyes Orchestra will splinter off again — since, hey, plans change — but if this is it, no one can say the job was left half done.

The Exploding Eyes Orchestra, “Harmain” official video

The Exploding Eyes Orchestra on Thee Facebooks

The Exploding Eyes Orchestra at Svart Records

Svart Records on Thee Facebooks

Finnish heavy rockers Thermate have two EPs under their collective belt and have announced that their yet-untitled debut album will be delivered via Italian imprint Argonauta Records. They don’t exactly give a timeline, but it doesn’t seem unreasonable to me that it would arrive sometime before the end of this year, assuming, you know, it’s written. Which, come to think of it, is kind of a rash assumption to make. So okay, let me revise and say I don’t know crap about the status of Thermate‘s debut album other than what it says below, which is that they are “currently working on” it. Hopefully when it lands it will do so with less cartoon T&A than their last EP.

Because, really, cartoon T&A. Come on.

But let me not spoil the happy occasion with my East Coast liberal, educated white middle class bourgeois sensibilities. Cheers to Thermate and Argonauta, who if I’m not mistaken are on track to pick up every not-yet-affiliated band on the European continent.

They announced this alliance thusly:

THERMATE signed to ARGONAUTA RECORDS

ARGONAUTA Records is excited to announce they inked a deal with THERMATE from Finland!

THERMATE is a fuzz rock band conceived in Kuopio during 2012. Comprised of singer Arthur Thure, guitarists Mikko Väätäinen and Juuso Honkanen, bassist Jere Tirkkonen, and drummer Kimmo Partanen, the band conjures the sounds of 70’s heavy metal/rock and the 90’s stoner rock.

The debut four-song EP ‘Off to Hades’ was released in 2016. The following year saw the release of the sophomore EP ‘Black Desert Highway’ bringing the group to widespread public attention. Both EP’s are available here: https://thermate.bandcamp.com

Today THERMATE secured a deal with Italian Argonauta Records and they are currently working on their debut album.

The band says: “THERMATE is thrilled to join forces with the renowned Argonauta Records. Though 2017 was a great year for us, now with the support from Argonauta we are ready to go full throttle!”.

Arthur Thure – vocals
Miko Väätäinen – guitar, hammond
Juuso Honkanen – guitar, percussion
Jere Tirkkonen – bass, hammond
Kimmo Partanen – drums, percussion

www.facebook.com/Thermate
https://www.instagram.com/thermateband/
https://thermate.bandcamp.com
www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/
https://twitter.com/argonautarex
https://www.instagram.com/argonautarecords/

Thermate, Black Desert Highway (2017)

And so it begins again. It had been my original intention to launch this latest Quarterly Review last week, but as that would’ve had me basically walking out on the holidays with my family, it seemed somehow prickish to be like, “Uh, sorry dudes, riffs call” and split, particularly when there are hours of driving involved. Still, though it’s already running late by the arbitrary calendar in my mind, I’m glad to be able to tackle a batch of releases that both looks back on the last part of 2015 and to the New Year we’ve just entered. As ever, there is a lot, a lot, a lot of ground to cover, so I won’t delay except to remind of what the Quarterly Review actually is:

Between now and this Friday, I will post 10 reviews a day in a single batch grouped like this one. The order is pretty much random, though something higher profile is usually first. It is my intention that each post covers a range of styles, and hopefully within that, you’re able to find something that speaks to you. Many of these releases were sent to me as physical product, and before I start, I want to extend thanks to those groups for undertaking the time and expense of giving me the full representation of their work to hopefully better do mine.

Quarterly Review #1-10:

Jess and the Ancient Ones, Second Psychedelic Coming: The Aquarius Tapes

Finnish six-piece Jess and the Ancient Ones pay homage to psych cultistry on their sophomore full-length, Second Psychedelic Coming: The Aquarius Tapes (on Svart), and while one might argue with the band marking this out as the “second coming” of psych – I’d say the third, generationally-speaking – the paean to late-‘60s sonic spaciousness in “In Levitating Secret Dreams” is unmistakable, the songwriting of guitarist Thomas Corpse conjuring fervent swirl behind the soulful Grace Slick-isms of vocalist Jess. At 65 minutes, it’s a classic double-LP, but Second Psychedelic Coming seems most engaged in its longer pieces, the eight-minute “Crossroad Lightning,” which pulls back from the urgency of earlier cuts “”The Flying Man” or the opening “Samhain,” and the 22-minute closer “Goodbye to Virgin Grounds Forever,” which has an arrangement to match its scope that unfolds no less gracefully. Some of the more frenetic parts seem to be arguing with themselves, but the overarching vibe remains satisfyingly tripped out and that closer is their to-date masterpiece.

Jess and the Ancient Ones on Thee Facebooks

Jess and the Ancient Ones at Svart Records

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Iguana, Cult of Helios

No big surprise that a record called Cult of Helios would seem to so unabashedly bask in sunshine. The four-track/32-minute sophomore full-length from German heavy psych four-piece Iguana has its driving moments, some in opener “Josiah” but more in the subsequent melodic thriller “Albedo,” but the prevailing sensibility is toward tonal warmth and steady groove. The band – vocalist/guitarist Alexander Lörinczy, guitarist Thomas May, bassist Alexander May and drummer Robert Meier – debuted in 2012 with Get the City Love You (review here), but Cult of Helios is a more cohesive, individualized release, whether it’s the hook of “Albedo,” the Beatles-gone-fuzz of “A Deadlock Situation” or the lush, flowing 15-minute jam of the closing title-track. Iguana’s propensity for blending underlying structure with a wide-open, welcoming atmosphere is writ large over Cult of Helios, and the album shines in a manner befitting its inspiration. A sleeper that begs waking.

Iguana on Thee Facebooks

Iguana website

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Seamount, V: Nitro Jesus

Most long-distance projects fizzle out after a record or two. With a lineup split between Bavaria and Connecticut, doom rockers Seamount have managed to sustain a remote collaboration, the German band of bassist Markus Ströhlein, guitarist Tim Schmidt and drummer Jens Hofmann working with New England-based vocalist Phil Swanson (ex-Earthlord, ex-Hour of 13, Vestal Claret, etc.). The excellently-titled Nitro Jesus (on The Church Within) is their fifth full-length since 2007, and boasts a refined blend of doom, NWOBHM and dark thematics common to Swanson’s lyrics. Tonally crisp but immersive, slow crawlers like “Can’t Escape the Pain” are offset by the ‘80s metal swing of “Beautiful Sadness,” and each side caps with a longer track, whether that’s the seven-minute “Scars of the Emotional Stuntman,” the most singularly sweeping movement here, or the closer “No One Knows,” which has a moodier feel, the guitar recalling Don Henley accompanied by piano as the finale hits its apex. For those who like their metal of tried and true spirit and individual presentation, Nitro Jesus delivers in more than just its name.

Seamount on Thee Facebooks

The Church Within Records

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Gentlemans Pistols, Hustler’s Row

Every now and then you hear a record that reminds you what you love about rock and roll in the first place. It doesn’t need to be the most complicated thing in the world, or the most expressive, or the heaviest or the most whatever of anything else, but like Gentlemans Pistols’ third LP, Hustler’s Row (on Nuclear Blast), if it locks in a special chemistry between its players, that’s more than enough to carry it through. That the UK four-piece are ace songwriters and bolstered by the lead guitar chops of Bill Steer (Firebird, Carcass) for the Thin Lizzy dual-solos – vocalist/guitarist James Atkinson on the other end – helps plenty as well, but with the tight, classic-style grooves brought to across Hustler’s Row by bassist Robert Threapleton and drummer Stuart Dobbins, Gentlemans Pistols give essential heavy rock a non-retro modern interpretation that might leave one wondering why so many people try to ape a ‘70s production to start with.

Gentlemans Pistols on Thee Facebooks

Gentlemans Pistols at Nuclear Blast

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Wired Mind, Mindstate: Dreamscape

Each side of Wired Mind’s Mindstate: Dreamscape LP (on HeviSike Records) gracefully unfolds a lushly-toned, warm, engaging heavy psychedelic sprawl. The chief influence for the Hannover two-piece of guitarist/vocalist Mikey and drummer Chris is their countrymen godfathers Colour Haze, but the duo make their presence felt early on “Road,” the opener and longest-track at 11:01, which balances serene and spaced exploration with post-Kyuss “Thumb” shuffle, all the more enticing for having been recorded live, conjuring Echoplex spaciousness around the repeated line, “All we gotta do is love.” Both sides work on the same structure of a longer track feeding into a shorter one, “Road”’s considerable amassed thickness giving way to the winding groove of “Jennifer’s Dream of a Switchblade” while the Duna Jam-ready vibes permeating from “Wired Dream” finding a moving complement in closer “Woman,” which effectively captures desert rock rhythmic propulsion. As their debut, Mindstate: Dreamscape feels conceptually and stylistically cohesive, and sets Wired Mind up with a sonic breadth on which to continue to build.

Wired Mind on Thee Facebooks

Wired Mind at HeviSike Records

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Automaton, Echoes of Mount Ida

Greek heavy rollers Automaton revisit their 2013 debut full-length, Echoes of Mount Ida, for a limited vinyl release. The four-track offering initially surfaced coated in burl and massive riffing, but a remix adds psychedelic edge to the lumbering fervor of “Fear,” on which the Athenian five-piece are joined by Scott “Dr. Space” Heller of Øresund Space Collective for added synth and swirl. He delivers, and the opener also adds guest vocals from Nancy Simeonidou, but the remix keeps things consistent as Automaton transition into the chugging “Beast of War,” a complex near-djent rhythm (which will find complement in the end of “Echoes of Mount Ida” itself) smoothly met by drummer Lykourgos to finish side A of the LP while the locked-in nod of “Breathe in Stone” bleeds into the closing title-track as Automaton offer riffy largesse set in a spacious backdrop like mountains in the distance. Interesting to see if the semi-reboot of their debut is indicative of some overall shift in direction, but at least on the vinyl offering, it makes their sound that much broader.

Automaton on Thee Facebooks

Sound Effect Records

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Sideburn, Evil or Divine

Between Martin Karlsson’s keys (also bass) and vocalist Dimitri Keiski’s propensity to soar, the mood turns epic pretty quick on Sideburn’s fifth album, Evil or Divine (on Metalville Records). The Swedish foursome’s latest shares more than just its titular reference in common with Dio — who, in addition to the lyric from “The Last in Line” had a live record with the same title – but keep a foot in doom territory throughout, drummer Fredrik Haake playing with metallic precision and an edge of swing as Morgan Zocek pulls out leads over “Sea of Sins.” The later “The Day the Sun Died” is particularly post-Ozzy Iommic, but Evil or Divine benefits from the kick in the ass that the penultimate “Evil Ways” seems only too happy to provide before “Presence” finishes on a hopeful note. Definitely more fist-pump than nod, Evil or Divine cries out to legions of the brave who want a thicker groove than modern metal is willing to provide without giving up the occasional cause to headbang.

Sideburn on Thee Facebooks

Metalville Records

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Year of the Cobra, The Black Sun

Seattle-based bass/drum duo Year of the Cobra had two labels pick up their debut EP, The Black Sun, between Devil’s Child Records and DHU Records, and they’ve signed to STB Records for the follow-up, so it seems safe to say their three-track outing has gotten a solid response. The songs make a compelling argument for why. With vocals that recall Soph Day from Alunah on opener “White Wizard” before delving into faster, more punkish fare on “The Black Sun” itself, Year of the Cobra serve immediate notice of a breadth in their sound, and the seven-minute wah-bass finale “Wasteland” enacts a low-end swirl that pushes even further out while keeping hold of itself via steady, tense drumming. That finisher is a particular high point, with bassist/vocalist Amy Tung Barrysmith self-harmonizing in layers over the steady build and drummer Johanes Barrysmith making sure the considerable tone keeps moving forward. Easy to hear why they’ve found such support in such a short time.

Year of the Cobra on Thee Facebooks

Dark Hedonistic Union Records

Devil’s Child Records

STB Records

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Drive by Wire, The Whole Shebang

The third long-player from Dutch four-maybe-five-piece Drive by Wire, The Whole Shebang gets more complex as it goes. Its first couple tracks, “Kerosine Dreams” [sic], “Woodlands,” “The Whole Shebang” and “Five Ft. High” are deeply indebted to desert rock circa Songs for the Deaf, tonally and even in some of Simone Holsbeek’s sing/talk call and responses on “Woodlands.” From there, “Rituals,” “In This Moment” and the moody “River Run” and “Promised the Night” push into more individual ground, and even though they tie it back together in the album’s third and final movement with “Rotor Motor,” “All Around” and “Voodoo You Do,” the context has changed, and by the time guitarist Alwin Wubben swells lead lines behind the verse of the closer, the fuzz of “Kerosine Dreams” is a distant memory. Completed by bassist Marcel Zerb and drummer Jerome Miedendorp de Bie, Drive by Wire wind up on a considerable journey, and while the title at first seems off-the-cuff, it works out to be a whole shebang indeed.

Drive by Wire on Thee Facebooks

Drive by Wire webstore

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Akris, Fall EP

Relaunched as a trio in the first half of 2015, Virginia trio Akris made a studio return with the four-song/32-minute Fall EP, which probably should’ve been called a full-length and probably should’ve been pressed to vinyl (paging Tony Reed to master and STB Records to release…), but the digital-only offering finds Akris and particularly founding bassist/vocalist Helena Goldberg anything but apprehensive as she, guitarist/vocalist Paul Cogle (Nagato, Black Blizzard) and drummer Tim Otis (Admiral Browning) follow-up the band’s raucous sans-guitar 2013 self-titled full-length debut (review here), balancing plodding grooves, melody and abrasion deftly atop rumble and riffs in “Forgiven” as Goldberg swaps between screams and grunge-styled croons. The subsequent “People in the Sky” is less patient, and caps its nine-minute run with a barrage of noise rock synth that continues at the start of closer “Alley Doorway” but ultimately recedes (momentarily) to let that song establish its own course of loud/quiet tradeoffs and resonant exploration. Unless Akris are planning a series of seasonal short releases, I see no reason why Fall EP shouldn’t be characterized as a second long-player and heralded for the bold expansion of the band’s approach it represents.

Akris on Thee Facebooks

Akris on Bandcamp

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Finnish cult-psych rockers Jess and the Ancient Ones will release their sophomore album, Second Psychedelic Coming: The Aquarius Tapes, Dec. 4 on Svart Records, and to herald the 2LP’s arrival like some kind of town crier in a rainbow-colored robe, the outfit have unveiled a new video for the track “In Levitating Secret Dreams,” which was also issued as a precursor 7″ that, by the reports I’ve seen, is pretty much gone at this point if not actually gone, despite not having yet been officially put out. Fair enough. One couldn’t reasonably expect it to last too long, with as strong a response as the band provokes. Likely the record itself will be similarly met upon its release.

In the meantime, “In Levitating Secret Dreams” serves as a decent reminder of why Jess and the Ancient Ones have had so much pull over the course of their tenure, their first album having been released to wide acclaim in 2011. The video, directed and animated by Romanian artist Costin Chioreanu, is a gorgeous multicolor exploration, and the song itself is no different, pushing against cult rock preconceptions with all the force of a Jeffersonian Airplane breaking through a wall of genre boundaries. Its late-’60s vibing rings fresh and clear almost half a century later, and if you hadn’t yet caught onto the first record, the track will surely pique interest in the second.

Which of course is what it’s all about. Video and album announcement follow. Enjoy:

Jess and the Ancient Ones, “In Levitating Secret Dreams” official video

Jess and the Ancient Ones’ Second Psychedelic Coming: The Aquarius Tapes will be released on CD, double LP, and digital formats on December 4th via Svart Records. Thomas Corpse, responsible for songwriting duties, comments on the great work: “We have been following our natural need to explore different forms of musical impression, and so again our sound has evolved one step further. I must say that the change is most welcomed, for we are not the likes who like to stay in a strangling doctrine of genre rules of any sort. Music should never be composed in order to please a crowd. The most important thing is that the composing element is pleased with the outcome, for only then it may also bring true joy to the ears of the listener. This album has its errors, and we want them to be there. They are us. They are the sound of our current state.”

The first single off the album is the ode to Albert Hoffmann, “In Levitating Secret Dreams.” Directed by Romanian artist Costin Chioreanu, the video for Jess and the Ancient Ones’ “In Levitating Dreams” be viewed in its entirety HERE. This dark, keyboard-driven occult garage rocker will also be available on a limited vinyl 7″ on November 6th.

“The album title can be seen as a bridge between the past and now,” continues Thomas Corpse. “Some thoughts, words, and poems from the Aquarian age are bound to ever last and inspire generations to come. Their core always being essentially the same – love and freedom. Often in history, that message has traveled from characters that society has announced to be ill, corrupt, and dangerous to the common good. Of course, the rich in their ivory towers want to silence all of these poets and warriors, but luckily, they never succeed. Here be nine songs with that same old message. Feed your minds.” Cover and tracklisting are as follows:

Tracklisting for Jess and the Ancient Ones’ Second Psychedelic Coming: The Aquarius Tapes
1. Samhain
2. The Flying Man
3. In Levitating Secret Dreams
4. The Equinox Death Trip
5. Wolves Inside My Head
6. Crossroad Lightning
7. The Lovers
8. Goetia of Love
9. Goodbye To Virgin Grounds Forever

Jess and the Ancient Ones on Thee Facebooks

Svart Records