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The Obelisk Questionnaire: Nathanael Larochette of Musk Ox, The Night Watch & More

Posted in Questionnaire on October 30th, 2023 by JJ Koczan

Nathanael Larochette (Photo by Jonathan Lorange)

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: Nathanael Larochette

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

For over 15 years I’ve been primarily creating instrumental acoustic music, particularly of a finger picked nature. It all began as a teenage obsession with heavy music that eventually sparked a deep fascination with the acoustic interludes that sporadically appeared on my favourite metal records. The first time I remember being completely blown away by acoustic riffing was when I first heard the intro to Blind Guardian’s “Time What is Time”. The next stage of my musical evolution occurred while learning the acoustic parts from Opeth and Agalloch songs while discovering dark folk classics such as Ulver’s “Kveldssanger”, Tenhi’s “Kauan” and Empyrium’s “Where at Night the Wood Grouse Plays”. Other artists and influences have since shaped my sound and playing but these experiences and records formed the blueprint for much of what I do.

Describe your first musical memory.

I’m not sure if I can pinpoint my first musical memory but one of my earliest would be hearing my father playing the flute. He had a demanding job as a plant manager for Michelin but always loved art and music so in his spare time he took jazz flute lessons and I remember hearing him practicing in his office. I started playing violin when I was four so some of my earliest memories of playing music would be childhood violin lessons and recitals. In terms of listening to music, the Gameboy soundtracks for Metroid 2 and Kirby’s Dreamland became burned into my memory after playing those games for hours as a kid.

Describe your best musical memory to date.

One of my best musical memories to date would be recording my interludes for Agalloch’s fourth record “The Serpent & The Sphere”. I discovered their classic “The Mantle” in early 2003, around the time I got my first guitar, so it was surreal for me to be in the studio with them recording my music for their new album in 2013. Although it’s one of my best memories it was also quite stressful because I was so nervous. Honestly, I think the time spent hanging out with the band in the studio and watching them record was the highlight for me.

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

Whenever I see humans mistreating other humans it tests my firmly held belief that we are good by nature. Although tested, there is far greater evidence supporting this belief despite how often we are told to think otherwise.

Where do you feel artistic progression leads?

I like to think that artistic progression leads to a deeper understanding of oneself and a deeper sense of humility because regardless of how much you do or how great you are, there is always more to learn and more work to be done. These experiences will hopefully lead to a deeper sense of gratitude for having the opportunity to express yourself through art which should ultimately lead to a deeper sense of compassion for others.

How do you define success?

Having the opportunity to continually focus energy on fulfilling work is a true measure of success for me. In a broader sense, I believe the heart of success is a balancing act that involves the simultaneous development and nurturing of one’s emotional, physical, spiritual, interpersonal and financial health. Time and again we’ve seen so-called “successful” individuals excel in one of these aspects to the total neglect of others with predictably tragic results. I believe the first and most difficult step is succeeding in treating ourselves with kindness which is a lifelong process that is too easily overlooked. As I’ve gotten older, I’ve been working hard to prioritize my emotional and physical wellbeing because no amount of social or financial recognition will matter if we aren’t comfortable in our own skin. This is especially true for artists living creative lives in the digital age.

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

Human beings dehumanizing their fellow human beings.

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

I’d love to score films and video games someday.

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

I think the most essential function of art is to offer momentary relief to the artist and those experiencing it.

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

Any opportunity to spend quality time with my family.

[Photo by Jonathan Lorange.]

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Nathanael Larochette, Old Growth (2023)

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Quarterly Review: The Temple, Dead Man’s Dirt, Witchfinder, Fumata, Sumerlands, Expiatoria, Tobias Berblinger, Grandier, Subsun, Bazooka

Posted in Reviews on January 5th, 2023 by JJ Koczan

quarterly-review-winter 2023

Here’s mud in yer eye. How are you feeling so far into this Quarterly Review? The year? How are things generally? How’s your mom doing? Everybody good? Hope so. Odd as it is to think, I find music sounds better when you’re not distracted by everything else going to shit around you, so I hope you don’t currently find yourself in that situation.

Today’s 10 records are a bit of this, bit of that, bit of here, but of there, but I’ll note that we start and end in Greece, which wasn’t on purpose or anything but a fun happenstantial byproduct of slating things randomly. What can I say? There’s a lot of Greek heavy out there and the human brain forms patterns whether we want it to or not. Plenty of geographic diversity between, so let’s get to it, hmm?

Winter 2023 Quarterly Review #31-40:

The Temple, Of Solitude Triumphant

The temple of Solitude Triumphant

Though they trace their beginnings back to the mid-aughts, Of Solitude Triumphant (on the venerable I Hate Records) is only the second full-length from Thessaloniki doom metallers The Temple. With chanting vocals, perpetuated misery and oldschool-style traditionalism metered by modern production’s tonal density, the melodic reach of the band is as striking as profundity of their rhythmic drag, the righteousness of their craft being in how they’re able to take a riff, slog it out across five, seven, 10 minutes in the case of post-intro opener “The Foundations” and manage to be neither boring nor a drag themselves. There’s a bit of relative tempo kick in “A White Flame for the Fear of Death” and the tremolo guitar (kudos to the half-time drums behind; fucking a) at the outset of closer “The Lord of Light” speaks to some influence from more extreme metals, but The Temple are steady in their purpose, and that nine-minute finale riff-marches to its own death accordingly. Party-doom it isn’t, and neither is it trying to be. In mood and the ambience born out of the vocals as much as the instruments behind, The Temple‘s doom is for the doomly doomed among the doomed. I’ll rarely add extra letters to it, but I have to give credit where it’s due: This is dooom. Maybe even doooom. Take heed.

The Temple on Facebook

I Hate Records website

 

Dead Man’s Dirt, Dead Man’s Dirt

Dead Mans Dirt Dead Man's Dirt

Gothenburg heavy rockers Dead Man’s Dirt, with members of Bozeman Simplex, Bones of Freedom, Coaster of Souls and a host of others, offer their 2023 self-titled debut through Ozium Records in full-on 2LP fashion. It’s 13 songs, 75 minutes long. Not a minor undertaking. Those who stick with it are rewarded by nuances like the guitar solo atop the languid sway of “The Brew,” as well as the raucous start-stop riffing in “Icarus (Too Close to the Sun),” the catchy “Highway Driver” and the bassy looseness of vibe in the penultimate “River,” which heads toward eight minutes while subsequent endpoint “Asteroid” tops nine. It is to the band’s credit that they have both the material and the variety to pull off a record this packed and keep the songs united in their barroom-rocking spirit, though some attention spans just aren’t going to be up to the task in a single sitting. But that’s fine. If the last couple years have taught the human species anything, it’s that you never know what’s around the next corner, and if you’re going to go for it — whatever “it” is — go all-in, because it could evaporate the next day. Whether it’s the shuffle of “Queen of the Wood” or the raw, in-room sound of “Lost at Sea,” Dead Man’s Dirt deserve credit for leaving nothing behind.

Dead Man’s Dirt on Facebook

Ozium Records store

 

Witchfinder, Forgotten Mansion

witchfinder forgotten mansion

Big rolling riffs, lurching grooves, melodies strongly enough delivered to cut through the tonal morass surrounding — there’s plenty to dig for the converted on Witchfinder‘s Forgotten Mansion. The Clermont-Ferrand, France, stoner doomers follow earlier-2022’s Endless Garden EP (review here) and 2019’s Hazy Rites (review here) full-length with their third album and first since joining forces with keyboardist Kevyn Raecke, who aligns in the malevolent-but-rocking wall of sound with guitarist Stanislas Franczak, bassist Clément Mostefai (also vocals) and drummer Thomas Dupuy. Primarily, they are very, very heavy, and that is very much the apparent foremost concern — not arguing with it — but as the five-song/36-minute long-player rolls through “Marijauna” and on through the Raecke-forward Type O Negative-ity of “Lucid Forest,” there’s more to their approach than it might at first appear. Yes, the lumber is mighty. But the space is also broad, and the slow-swinging groove is always in danger of collapsing without ever doing so. And somehow there’s heavy metal in it as well. It’s almost a deeper dive than they want you to think. I like that about it.

Witchfinder on Facebook

Mrs Red Sound store

 

Fumata, Días Aciagos

Fumata Días Aciagos

There’s some whiff of Conan‘s riffing in “Acompáñame Cuando Muero,” but on the whole, Mexico City sludge metallers Fumata are more about scathe than crush on the six tracks of their sophomore full-length, Días Aciagos (on LSDR Records). With ambient moments spread through the 35-minute beastwork and a bleak atmosphere put in place by eight-minute opener and longest track (immediate points) “Orgullo y Egoísmo,” with its loosely post-metallic march and raw, open sound, the four-piece of Javier Alejandre, Maximo Mateo, Leonardo Cardoso and Juan Tamayo are agonized and chaotic-sounding, but not haphazard in their delivery as they cross genre lines to work in some black metal extremity periodically, mine a bit of death-doom in “Anhelo,” foster the vicious culmination of the bookending seven-minute title-track, and so on. Tempo is likewise malleable, as “Seremos Olvidados” and that title-track show, as well as the blasting finish of “Orgullo y Egoísmo,” and only the penultimate “No Engendro” (also the shortest song at 4:15) really stays in one place for its duration, though as that place is in an unnamed region between atmosludge, doom and avant black metal, I’m not sure it counts. As exciting to hear as it is miserable in substance, Días Aciagos plunges where few dare to tread and bathes in its own pessimism.

Fumata on Facebook

LSDR Records on Bandcamp

 

Sumerlands, Dreamkiller

sumerlands dreamkiller

Sumerlands‘ second album and Relapse debut, Dreamkiller finds Magic Circle‘s Brendan Radigan stepping in for original vocalist Phil Swanson (now in Solemn Lament), alongside Eternal Champion‘s Arthur Rizk, John Powers (both guitar), and Brad Raub (bass), and drummer Justin DeTore (also Solemn Lament, Dream Unending, several dozen others) for a traditional metal tour de force, reimagining New Wave of British Heavy Metal riffing with warmer tonality and an obviously schooled take on that moment at the end of the ’70s when metal emerged from heavy rock and punk and became its own thing. “Force of a Storm” careens Dio-style after the mid-tempo Scorpions-style start-stoppery of “Edge of the Knife,” and though I kept hoping the fadeout of closer “Death to Mercy” would come back up, as there’s about 30 seconds of silence at the finish, no such luck. There are theatrical touches to “Night Ride” — what, you didn’t think there’d be a song about the night? come on. — and “Heavens Above,” but that’s part of the character of the style Sumerlands are playing toward, and to their credit, they make it their own with vitality and what might emerge as a stately presence. I don’t know if it’s “true” or not and I don’t really give a shit. It’s a burner and it’s made with love. Everything else is gatekeeping nonsense.

Sumerlands on Facebook

Relapse Records store

 

Expiatoria, Shadows

EXPIATORIA Shadows

Shadows is the first full-length from Genoa, Italy’s Expiatoria — also stylized with a capital-‘a’: ExpiatoriA — and its Nov. 2022 release arrives some 35 years after the band’s first demo. The band originally called it quits in 1996, and there were reunion EPs along the way in 2010 and 2018, but the six songs and 45 minutes here represent something that no doubt even the band at times thought wouldn’t ever happen. The occasion is given due ceremony in the songs, which, in addition to being laden with guest appearances by members of Death SS, Il Segno del Comando, La Janera, and so on, boasts a sweeping sound drawing from the drama of gothic metal — loooking at you, church-organ-into-piano-outro in “Ombra (Tenebra Parte II),” low-register vocals in “The Wrong Side of Love” and flute-and-guitar interlude “The Asylum of the Damned” — traditional metal riffing and, particularly in “7 Chairs and a Portrait,” a Candlemassian bell-tolling doom. These elements come together with cohesion and fluidity, the five-piece working as veterans almost in spite of a relative lack of studio experience. If Shadows was their 17th, 12th, or even fifth album, one might expect some of its transitions to be smoothed out to a greater degree, but as it is, who’s gonna argue with a group finally putting out their debut LP after three and a half decades? Jerks, that’s who.

ExpiatoriA on Facebook

Black Widow Records store

Diamonds Prod. on Bandcamp

 

Tobias Berblinger, The Luckiest Hippie Alive

Tobias Berblinger The Luckiest Hippie Alive

Setting originals alongside vibe-enhancing covers of Blaze Foley and Commander Cody, Portland’s Tobias Berblinger (also of Roselit Bone) first issued The Luckiest Hippie Alive in 2018 and it arrives on vinyl through Ten Dollar Recording Co., shimmering in its ’70s ramble-country twang, vibrant with duets and acoustic balladeering. Berblinger‘s nostalgic take reminds of a time when country music could be viable and about more than active white supremacy and/or misappropriated hip-hop, and boozers like “My Boots Have Been Drinking” and the Hank Williams via Townes Van Zandt “Medicine Water” and “Heartaches, Hard Times, Hard Drinking”, and smokers like the title-track and “Stems and Seeds (Again)” reinforce the atmosphere of country on the other side of the culture war. Its choruses are telegraphed and ready to be committed to memory, and its understated sonic presence and the wistfulness of the two-minute “Crawl Back to You” — the backing vocals of Mariya May, Marisa Laurelle and Annie Perkins aren’t to be understated throughout, including in that short piece, along with Mo Douglas‘ various instrumental contributions — add a sweetness and humility that are no less essential to Americana than the pedal steel throughout.

Tobias Berblinger website

Ten Dollar Recording Co. store

 

Grandier, The Scorn and Grace of Crows

Grandier The Scorn and Grace of Crows

Based in Norrköping, Sweden, the three-piece Grandier turn expectation on its head quickly with their debut album, The Scorn and Grace of Crows, starting opener/longest track (immediate points) “Sin World” with a sludgy, grit-coated lumber only to break after a minute in to a melodic verse. The ol’ switcheroo? Kind of, but in that moment and song, and indeed the rest of what follows on this first outing for Majestic Mountain, the band — guitarist Patrik Lidfors, bassist/many-layered-vocalist Lars Carlberg, (maybe, unless they’re programmed; then maybe programming) drummer Hampus Landin — carve their niche from out of a block of sonic largesse and melodic reach. Carlberg‘s voice is emotive over the open-feeling space of “Viper Soul” and sharing the mix with the more forward guitars of “Soma Goat,” and while in theory, there’s an edge of doomed melancholy to the 44-minute procession, the heft in “The Crows Will Following Us Down” is as much directed toward impact as mood. They really are melodic sludge metal, which is a hell of a thing to piece together on your first record as fluidly as they do here. “Smoke on the Bog” leans more into the Sabbathian roll with megafuzz tonality behind, and “Moth to the Flames” is faster, more brash, and a kind of dark heavy rock that, three albums from now, might be prog or might be ’90s lumber. Could go either way, especially with “My Church of Let it All Go” answering back with its own quizzical course. Will be very interested to hear where their next release takes them, since they’re onto something and, to their credit, it’s not immediately apparent what.

Grandier on Facebook

Majestic Mountain Records store

 

Subsun, Parasite

Subsun Parasite

Doomers will nod approvingly as Ottawa’s Subsun cap “Proliferation” by shifting into a Candlemassian creeper of a lead line, but that kind of doomly traditionalism is only one tool in their varied arsenal. Guitarist/vocalist/synthesist Jean-Michel Fortin, bassist/vocalist Simon Chartrand-Paquette and drummer Jérémy Blais go to that post-Edling well (of souls) again, but their work across their 2022 debut LP, Parasite, is more direct, more rock-based and at times more aggressive on the whole. Recorded at Apartment 2 by Topon Das (Fuck the Facts), the seven-songer grows punkish in the verse of “Mutation” and drops thrashy hints at the outset of “Fusion,” while closer “Mutualism” slams harder like noise rock and punches its bassline directly at the listener. Begun with the nodding lurch of “Parasitism” — which would seem as well to be at the thematic heart of the album in terms of lyrics and the descriptive approach thereof — the movement of one song to the next has its underlying ties in the vocals and overarching semi-metal tonality, but isn’t shy about messing with those either, as on the lands-even-harder “Evolution” or the thuds at the outset of “Adaptation,” the relative straightforwardness of the structures allowing the band to draw together different styles into a single, effective, individualized sound.

Subsun on Facebook

Subsun on Bandcamp

 

Bazooka, Kapou Allou

bazooka Kapou Allou

The acoustic guitar of opener “Kata Vathos” transitions smoothly into the arrival-of-the-electrics on “Krifto,” as Athens’ Bazooka launch the first of the post-punk struts on Kapou Allou, their fourth full-length. Mediterranean folk and pop are factors throughout — as heard in the vocal melody of the title-track or the danceable “Pano Apo Ti Gi” — while closer “Veloudino Kako” reimagines Ween via Greece, “Proedriki Froura” traps early punk in a jar to see it light up, and “Dikia Mou Alithia” brings together edgy, loosely-proggy heavy rock in a standout near the album’s center. Wherever they go — yes, even on “Jazzooka” — Bazooka seem to have a plan in mind, some vision of where they want to end up, and Kapou Allou is accordingly gleeful in its purposed weirdoism. At 41 minutes, it’s neither too long nor too short, and vocalist/guitarist/synthesist Xanthos Papanikolaou, guitarist/backing vocalist Vassilis Tzelepis, bassist Aris Rammos and drummer/backing vocalist John Vulgaris cast themselves less as tricksters than simply a band working outside the expected confines of genre. In any language — as it happens, Greek — their material is expansive stylistically but tight in performance, and that tension adds to the delight of hearing something so gleefully its own.

Bazooka on Facebook

Inner Ear Records store

 

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The Obelisk Questionnaire: Jérémy Blais of Subsun

Posted in Questionnaire on November 1st, 2022 by JJ Koczan

Jérémy Blais of Subsun

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: Jérémy Blais of Subsun

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

In its rawest way, I play drums in a rock band. Despite all the genres, sub-genres, and whatever you wanna call or define what we do with Subsun, at the end of the day, we play heavy music for fans of rock n’ roll. I think it comes from the dream of a little boy who wanted to imitate the people he saw on stages from shows he went to, thinking, yeah, I can do that as well! Nowadays, it comes from hard work, practice and dedication to the art and the desire to perform with friends.

Describe your first musical memory.

I would say that even at a young age, I was already fascinated by the music that was playing on the television (90’S kid in Québec, Canada), or when my parents would play a disc. As a kid, I would always play the drums on the table, the desk, my books, everything I could get my hands on. One day, I came to my room and my parents had bought me my first drum kit, a white Intex 5-piece kit. Couple years later, I met with a friend’s friend because he was playing guitar. The first song we ever jammed was “Crazy Train” by Ozzy.

Describe your best musical memory to date.

Every time that I have the opportunity to go on the road with friends, to play a gig or to go into the studio to record music, I feel blessed. You have to make the opportunity to do it, it’s not easy, but it’s always worth it. As life goes by, it’s a lot of sacrifices to continue to do music and I’m glad that I’m still doing it past 30 years old.

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

As a band and as a group, we wanted to establish some ground rules regarding the decision we would take. One of them was to never accept a pay-to-play gig, that shit is stupid.

Where do you feel artistic progression leads?

It leads hopefully to more progression and to ultimately, self-discovery as a group. I think every band has to discover who they are as a whole, as an entity. The members come from different backgrounds and musical heritage. You have to discover together what you are becoming as a whole by building your sounds from those heritages and taking from every member.

How do you define success?

It would be easy to define success with numbers, we sold as many albums, we have that many streams. Sure, numbers are a tool to monitor progressions but it can’t be all about that. I think you have to stay true to yourself and to have a strong belief that you create something awesome and at the best of your capabilities.

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

I don’t have a specific example in mind but, it is always sad to see an artist that you listen to and admire performing live and realizing that they are not as good as in the studio. The live performance are where it’s at.

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

I’m fascinated by cartoon voice acting, and sound effects. Being part of a cast of voices for a cartoon would be a project I want to be part of.

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

I would define art as the materialization of the personal expression of every art form that came before it. In a world moving so fast and leaving next to nothing for the individual, art is the truest and most sincere form of expression and the only timeless mark someone can leave behind from his journey into this universe.

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

Video games are a medium that I’m a big fan of. This December, the physical edition of the game Cuphead is getting released and I can’t wait to play that game for the first time. That game is a great example that videogames are a form of art. Cuphead is using a rubber hose style of animation. Popular back in the 1920s and 1930s, every frame of animation is hand drawn and it’s simply gorgeous visually. The soundtrack to the game is also interesting as its live originally composed jazz and big band-inspired music.

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Subsun, Parasite (2022)

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The Obelisk Questionnaire: Paul Slater of Monobrow

Posted in Questionnaire on January 5th, 2022 by JJ Koczan

Paul Slater of Monobrow (Photo by Jay Kearney)

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: Paul Slater of Monobrow

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

I don’t think too much about definitions for our music. But I would say Monobrow is an instrumental stoner doom psych prog band… that doesn’t narrow it down too much, but there are elements of all of that in our music, and I’m not sure if any one of those elements is more dominant than the others. Depends who I’m talking to, though – if it’s someone who’s clearly not much of a music geek, “hard rock” will suffice. But no matter what you call yourself, you’re always at the mercy of other people’s definitions – a Canadian trio? They sound like Rush! Instrumental stoner rock? They sound like Karma to Burn!

Describe your first musical memory.

I don’t have one particular musical memory that stands out as the first. For as long as I can remember, I’ve been consumed by a love of music. But I can remember in kindergarten, one of the activities we had to do was ask the teacher how to spell a word, and she would write it out on a cue card for you. I said “Rolling Stones”; she started laughing and said “I knew you were going to say that!” Yup, a Stones fan in kindergarten, so I guess it all starts from there! My parents had two Stones Greatest Hits cassettes, which I loved back then. Cassettes of Queen’s “Jazz” and Blondie’s “Parallel Lines” were also big favourites around that age (and still are). Another big influence was seeing all of my uncle’s electric guitars laying around. They seemed magical to me.

Describe your best musical memory to date.

I’ve been lucky to have had lots of really cool musical experiences throughout my life. Monobrow has played with a lot of great bands (legends like Iron Man), become friends with really cool bands/people in other cities, and played killer festivals like All That is Heavy, Ottawa PsychFest, and Les Nuits Psychédéliques.

Before Monobrow, I got to play a couple of shows with Budgie’s Pete Boot on drums, playing sets of Budgie classics! Budgie’s an all-time favourite band of mine, so that was pretty surreal.

Jamming under the stars in a big field in BC the night before a festival gig when I was 17 – hardly anyone around but future Sir Hedgehog vocalist Jonas (though this was a few years before we formed SH) on drums and our bass player on mushrooms!

One recent memory that does stick out is playing here in Ottawa with Zaum a few years ago on the Friday night of the August long weekend – we were grumbling about how no one would show up on a long weekend, we’re on first on a four-band bill, blah blah blah. Couldn’t have been more wrong – the place was packed, the crowd was super into us (most of whom we didn’t know, despite it being our hometown), we rocked hard, and we knew it! Just one of those magical nights when all the stars align, and everything is perfect (except that we didn’t record it, ha!).

…ok I guess that was more than one, but it’s nice to revisit good memories, especially in these times.

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

I don’t know about a firmly held belief, but I do feel pretty disillusioned with how gullible and reactionary a huge portion of the population has become over the last few years. I had hoped my generation was better than that. Information literacy… sorely needed.

Where do you feel artistic progression leads?

The unexpected! Well, hopefully, anyway. But artistic progression should make artistic sense; just because you’ve made an Into The Pandemonium doesn’t mean you should make a Cold Lake!

I’ve found that progress happens naturally just over time, when the band is on a roll, whether it’s when we’re in songwriting mode, or live mode. On the flipside, I also think you have to push yourself to progress. Maybe doing something outside your comfort zone, like using a different tuning, collaborating with someone who plays a different instrument (or using a different instrument yourself). Keep your antenna up for the happy accidents and learn from them.

But we all hit plateaus or ruts, and those can be hard to get out of. To be honest, I feel like I’m in one at the moment. I think a lot of people do, thanks to the pandemic. I know some have found the time and inspiration to be creative, but it’s had a mentally draining effect on me. Thank god we finished recording (if not mixing) the new album when we did (fall 2019).

How do you define success?

Success to me is being satisfied with what I have created, knowing I have seen a project through to its conclusion. Artistic success is why we do it, and that is the surest path to feeling “successful”. Of course, once you have completed something, it’s immediately a feeling of, “ok, what’s next?” Not to mention, it’s easy to look back at past recordings and nitpick about what you don’t like about them. But that’s what motivates me to create something new.

I also consider the respect and approval of my peers to be a form of success. If people whose taste or talent I respect likes what I/we do, then that’s really the best compliment. I’ve actually been surprised at how well Monobrow has been received over the years, considering that being instrumental is an instant turn-off for a certain amount of people. We’ve always joked that we should just credit one of us with vocals on the albums, and just tell people that they’re mixed really low…

And just for the record, we also do enjoy getting paid.

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

Flower Travellin’ Band in 2008.

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

I’d like to add more visual elements to our live show. Some form of unique lighting or projections, that kind of thing. I guess it’s nothing that other psychedelic-type bands haven’t done before, but if we could put our own spin on it, I think it could be fun. A few years back we did a Hawkwind covers set for a local Lemmy Tribute night, and I uttered the fateful words “go nuts!” to the soundman who was operating the smoke machine… well, five minutes into the show, I couldn’t see my guitar neck. But watching the video playback, it sure looked great! Even simple things like that can really add to the live experience.

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

To enhance your physical or psychic spaces. Whether it’s how you decorate your house, the music you listen to… It’s something that our senses need on a primal level; your eyes need to see beauty, and you ears need to hear it. If I go too long without listening to or playing music, I feel something’s missing, and my life feels incomplete. Great art takes you outside yourself, and nothing does that to me quite like music.

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

Travelling!

https://monobrowmanband.bandcamp.com/
https://www.facebook.com/monobrowmanband
https://www.instagram.com/theonebrow/

Monobrow, A Decorative Piece of Time (2021)

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Monobrow: A Decorative Piece of Time Vinyl Out Now

Posted in Whathaveyou on August 19th, 2021 by JJ Koczan

Canadian heavy instrumentalists Monobrow have made their new album, A Decorative Piece of Time, available as a limited edition LP. I’ll be honest and say it’s been a while since I’ve heard the Ottawa-based outfit. My own fault, I’m sure. Their last outing was 2017’s The Nacarat, which I missed out on covering owing to the usual I-suck-at-life-I-suck-at-this-blah-blah, but I recall fondly their prior work on 2015’s A Handwritten Letter From the Moon EP (review here), 2014’s Big Sky, Black Horse (review here), which was their third album, as well as their 2010 self-titled debut (review here), which they answered with 2012’s Bennington Triangle Blues. I guess I’ve bene in and out for a while now. Like I said, I suck at this.

But if you believe in due, I’m due for digging into some Monobrow, so the release earlier this month digitally of A Decorative Piece of Time, followed by this limited vinyl edition, is a welcome chance to hear the three-piece flesh out weighted instru-heavy prog on six new tracks. You’ll pardon me if I take advantage, and if you’d like to do likewise, the Bandcamp player’s at the bottom of this post.

The PR wire comes through again:

monobrow a decorative piece of time

Monobrow’s new album, A Decorative Piece of Time, released on limited edition pink vinyl

Time.

2021. Does time mean anything anymore?

As our sense of time becomes more and more distorted, Ottawa’s Monobrow presents a 45-minute respite from the new abnormal, in the form of their fifth opus, A Decorative Piece of Time on Trill or be Trilled Records. In the four orbital spins since 2017’s instrumental rock opera, The Nacarat, Monobrow have continued to further their aural sensibilities, combining both rawness and intricacy into unique alchemy of doom, psych, progressive, and stoner styles. Riff-based and catchy, spacey and atmospheric, Monobrow manage to be both epic and economical, with lengthy tracks wasting nary a second. Their power trio approach is augmented with flourishes of synths and spectral trumpet moans, courtesy of Scott Thompson (The Band Whose Name is a Symbol). The album was engineered by Mike Bond at Wolf Lake Studios, and was mixed and mastered by Topon Das at Apartment 2 Recording.

A Decorative Piece of Time once again features the striking, distinctive artwork of Stephen MacDonald (Task at Hand). It is available as a limited edition, pink vinyl release, as well as in an even more limited deluxe version, featuring silk-screened, alternate artwork.

A Decorative Piece of Time. August 2021.

There are no words.

Tracklisting:
1. Epoch (t0) 02:43
2. Argument (w) 08:15
3. Ascension ([OMEGA]) 10:17
4. Drag (N1) 07:27
5. Inclination (i) 05:19
6. Eccentricity (e) 09:57

Trill or be Trilled Records.
Recorded and Engineered by Mike Bond at Wolf Lake Studios
Mixed by Topon Das and Monobrow at Apt. 2 Recording
Mastered by Topon Das at Apt. 2 Recording

Additional Trumpets by Scott Thompson
Artwork by Task at Hand Illustration and Design

Monobrow are:
Brian Ahopelto – Drums and Synth
Sam Beydoun – Bass and Synth
Paul Slater – Guitars

https://monobrowmanband.bandcamp.com/
https://www.facebook.com/monobrowmanband
https://www.instagram.com/theonebrow/

Monobrow, A Decorative Piece of Time (2021)

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Nathanael Larochette, Earth and Sky: Horizon Meeting (Plus Full Album Stream)

Posted in audiObelisk, Reviews on July 26th, 2016 by JJ Koczan

nathanael larochette earth and sky

[Click play above to stream Nathanael Larochette’s Earth and Sky in full. Album is out July 29.]

First thing to know about Nathanael Larochette‘s solo debut, Earth and Sky, is that it’s actually two albums. Presented across a pair of CDs, one dubbed Earth and the other Sky, the complete offering presents distinct looks between its component parts, as Larochette — the Ottawa-based guitarist known for founding chamber neofolk trio Musk Ox — explores intimate pastoralia via solo classic guitar throughout the six-part initial movement before compiling a massive, 41-minute drone simply called “Sky” for the second. The separation of these two musical personae is worth exploring in itself, and we’ll get there, but the fact that Earth and Sky‘s beginning is fractured, cut up into different pieces — like the land itself — while “Sky” is presented as one larger entity should say something about the conceptual basis on which Larochette is working.

His material is complex, and songs like “Monument” show a bit of the progressive tendency also demonstrated in the likewise new 36-minute single-song full-length from Larochette‘s progressive instru-metal outfit, The Night Watch, even if the project as a whole is more related to Musk Ox for its foundations in quiet acoustic contemplations, just taken to a more pared-back place sonically. “Sky” might be more lush with keys and effects and whatnot, but I’m not sure I’d call the Earth portion of Earth and Sky minimalist in anything beyond its just-guitar, no-vocals arrangement ethic. The textures Larochette brings to life across the six tracks — and really, the seventh as well — remain vibrant and evocative.

Larochette made his solo debut in 2012 with Threshold of Transformation, a 14-track outing melding guitar, glockenspiel, cello, etc. with his own spoken word performance. Obviously Earth and Sky is looking to show a different face these four years later, but a clear expressive undertone comes through nonetheless, bolstered by the clarity of the production and the natural body of the guitar. The presentation is not overblown by any means as “Awaken” slowly takes hold to start the album, but neither is it raw, as the longer stretches of “Oceanic” and the nine-minute “Invocation” demonstrate.

nathanael-larochette

As Larochette weaves the material into and through technically and melodically complex movements without losing the emotional crux underlying, the light reverb on his guitar almost becomes a character in the play. Earth and Sky was recorded and mixed by Simon Larochette in Nova Scotia and London, Ontario, and I’m going to assume that the common last name between Nathanael and Simon is more than just coincidence. Earth and Sky sounds like it was made with a familial touch, and that helps carry through not only the musical flow, but the thematic feel and intricacy of composition as well.

Of course, 37-minutes of solo guitar followed-up by a 40-minute drone exploration is no small ask of an audience, but Larochette meets this fact head on with an easy flow and immersive ambience within his songs, so that when “Slumber” — which no doubt could just as easily have been called “Death” — rounds out the first disc, its sweet wistfulness is no less engaging than was the launch of “Awaken” at the outset. What comes next is the slow unfolding of “Sky,” a departure in form and atmosphere if not entirely in intent. Given that the entire release is instrumental and that its two parts are standalone guitar and an ethereal wash, one might be tempted to combine Earth and Sky‘s pieces, playing both at the same time.

I did precisely that — waiting until “Awaken” picked up about two minutes in before starting “Sky” — and found the impression that both halves made together a deeply rewarding listen. Larochette has referred to the two pieces as “complementary,” but I don’t know if that’s what he had in mind. Even so, with variation of volume and timing, it is another layer of depth added to a work that, on its surface, seems to be simple but ultimately has so much more to offer. Taken on its own, “Sky” brings forward a post-rock sensibility as a central electric guitar figure emerges from the surrounding undulations of tone, but as the two play out together, the experience seems all the more resonant.

Nathanael Larochette on Bandcamp

Nathanael Larochette on Thee Facebooks

Nathanael Larochette website

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Quarterly Review: We Lost the Sea, Dark Buddha Rising, Red Mountains, Black Space Riders, Lamprey, Godsleep, Slow Joe Crow & the Berserker Blues Band, Monobrow, Denizen, Witchsorrow

Posted in Reviews on October 1st, 2015 by JJ Koczan

the-obelisk-quarterly-review-fall-2015

We’re in the thick of it now. It’s hard sometimes putting these things together to remember that each band has worked incredibly hard to put out an album. I’ve been through that process (once), and so I know it can be harrowing at times between acts going back and forth about recording, what’s included, how to release, when, and so on. There’s a lot to cover this week — and we’re not out of the woods yet — but I hope that, just because each review is short, you don’t take that as a sign I don’t have the utmost respect for the effort that has gone into making each of these releases. It can be a tremendous pain in the ass, but of course it’s worth it when you get to the end product. We continue.

Fall 2015 Quarterly Review #31-40:

We Lost the Sea, Departure Songs

we lost the sea departure songs

To be blunt, We Lost the Sea’s Departure Songs is the kind of album that immediately makes me want to own everything the band has done, in hard copy, for posterity. The Sydney outfit’s third full-length finds its crux in its two-part closing duo of “Challenger Part 1 – Flight” and “Challenger Part 2 – A Swan Song,” enacting a lush instrumental interpretation of the Space Shuttle Challenger flight and disaster that took place nearly 30 years ago in Jan. 1986. In its progression, patience, flow and discernable narrative thread it is nothing short of brilliant, a lush and sad beauty that serves as a genuinely affecting reminder of the hope for a better future that died with that shuttle’s civilian crew and the era of aspiration that tragedy brought to a close. I think the closing sample is the only time I’ve ever heard Ronald Reagan speak in my adult life and felt something other than anger, and that’s a testament to the ground Departure Songs covers – on the preceding three cuts as well as the final two – and the masterful execution on the part of We Lost the Sea.

We Lost the Sea on Thee Facebooks

We Lost the Sea on Bandcamp

Dark Buddha Rising, Inversum

dark buddha rising inversum

There does not yet exist a name for what Finland’s Dark Buddha Rising bring to bear on the two side-consuming tracks of their Neurot Recordings debut and sixth album overall, Inversum. Self-recorded and presented following some shifts in lineup, the album swells to a massive head of bleak, noise-infused psychedelia, fully ritualized and self-aware but still vibrant as it makes its way further and further down into itself. It is bright black, based so much around contrasting ideas of form and tonality that to listen to it, one almost doesn’t believe that the band are accomplishing what they are on an aesthetic level, but the weight, chants, screams, cavernous feel and nod that “Eso” (24:05) and “Exo” (23:52) enact is ultimately real no matter how nightmarish and otherworldly the impression might be. A work that sounds as likely to digest as be digested, it constructs a temple of its own sound and then burns that temple and everything around it in a glorious final push into charred chaos.

Dark Buddha Rising on Thee Facebooks

Dark Buddha Rising at Neurot Recordings

Red Mountains, Down with the Sun

red mountains down with the sun

Few endorsements carry as much weight for me as that of Germany’s Nasoni Records, so when I see that venerable imprint is on board for the release of Red Mountains’ first album, Down with the Sun, expectations immediately rise. The Norwegian four-piece don’t disappoint, calling forth a heavy psychedelia weighted enough to be immersive without really falling into the trap of sounding too post-Colour Haze or Causa Sui, finding a balance right away on opener “Six Hands” between open-vibe and structured songcraft. They toy with one side or the other, getting crunchy on “Rodents” and tripping out into ambient echoing on the penultimate “Silver Grey Sky,” but that only makes the debut seem all the more promising. Particularly satisfying is the scope between “Sun” and “Sleepy Desert Blues,” which is enough to make the listener think that grunge and desert rock happened in the same place. An engaging and already-on-the-right-track start from a band who sound like they’re only going to continue to grow.

Red Mountains on Thee Facebooks

Nasoni Records

Black Space Riders, Refugeeum

black space riders refugeeum

It’s improper to think of Germany’s Black Space Riders as entirely psychedelic if only because that somehow implies a lack of clearheaded consciousness in their work, which as their fourth album, Refugeeum, demonstrates, is the very core tying all the expanses they cover together. As Europe comes to grip with its most dire refugee crisis since World War II, Black Space Riders take their thematic movement from such terrestrial issues (a first for them) and it makes a song like 11-minute centerpiece “Run to the Plains” all the more resonant. Of course, the big-chug groove of “Born a Lion (Homeless)” and the cosmic thrust of the penultimate “Walking Shades” still have a psychedelic resonance, but the balance between the earthly and the otherworldly do well to highlight the progressivism that’s been at work in the band’s sound all along. A considerable undertaking at 61 minutes, Refugeeum is an important step in an ongoing development that has just made another unexpected and welcome turn.

Black Space Riders on Thee Facebooks

Black Space Riders website

Lamprey, III

lamprey iii

And so, with their third and final outing, III, Portland, Oregon, trio Lamprey reserve their strongest point for their closing argument. The two-bass trio of bassist/vocalist Blaine Burnham (now drumming in Mane of the Cur), bassist Justin Brown (now bass-ing in Witch Mountain) and drummer Spencer Norman recorded the conclusive six-tracker with Adam Pike at Toadhouse (Red Fang, Mammoth Salmon, etc.) and even the slower shifts of “Harpies” and the decidedly Conan-esque “Lament of the Deathworm” breeze right by. Like their two prior releases, 2012’S The Burden of Beasts (review here) and 2011’s Ancient Secrets (review here), III is a showcase of songcraft as much as tone, and it seems to presage its own vinyl reissue, each of the two halves starting with a shorter piece, the opener “Iron Awake” a notably vicious stomp that sets a destructive vibe that the rumble and weirdo keys and leads that finish out “Gaea” seem to be answering, a quick fade bringing an end to an underrated act. They’ll be missed.

Lamprey on Thee Facebooks

Lamprey on Bandcamp

Godsleep, Thousand Sons of Sleep

godsleep thousand sons of sleep

If newcomer bruisers Godsleep seem to share some commonality of method with fellow Athenians 1000mods, it’s worth noting that on their debut, Thousand Sons of Sleep, they also share a recording engineer in George Leodis. Fair enough. The big-toned riffing and shouty burl on which Godsleep cast their foundation makes its identity felt in the post-Kyussism of “Thirteen” and stonerly grit of centerpiece “This is Mine,” which follows the extended opening salvo of “The Call,” “Thirteen” and “Wrong Turn,” the latter of which is the longest cut at 9:09 and among its most satisfyingly fuzzed nods. They’re playing to style perhaps, but doing so well, and if you’ve gotta start somewhere, recording live and coming out with a heavy-as-hell groove like what emerges in the second half of “Home” is a good place to start. Godsleep are already a year past from when they recorded Thousand Sons of Sleep in Summer 2014, so I wouldn’t be surprised if a follow-up happened sooner than later.

Godsleep on Thee Facebooks

Rock Freaks Records

Slow Joe Crow & the Berserker Blues Band, We are Blues People

slow joe crow and the berserker blues band we are blues people

Kentucky-based, cumbersomely-named Slow Joe Crow and the Berserker Blues Band may indeed live up to the We are Blues People title of their debut EP, but they’re definitely riff people as well. As such, the four-track sampling of their wares draws from both sides on a cut like opener “No One Else,” the three-piece of guitarist/vocalist Austin P. Lunn, bassist Patrick Flanary and drummer Thom Hammerheart in the process of figuring out how much they want to lean to one or the other. They round out with a fuzzy take on the traditional “John the Revelator,” but the earlier “Muddy Water Rising” strikes a more effective and more authentic-feeling balance, leading to the slow jam of “Before I Go,” which adds a ‘70s rock vibe to push the bluesy feel even further and expand the palette in a manner one hopes they continue to pursue as they move forward.

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Slow Joe Crow and the Berserker Blues Band on Bandcamp

Monobrow, A Handwritten Letter from the Moon

monobrow a handwritten letter from the moon

Canadian trio Monobrow follow their 2014 LP, Big Sky, Black Horse (review here) with what’s essentially a new single that finds them continuing to step forward in their approach. Dubbed A Handwritten Letter from the Moon and taking its name from the 8:33 title-track, the Ottawa group’s latest offering finds the instrumental outfit smoothing out the tones a bit, still hitting into raucous grooves, but closer to Truckfighters than their prior brashness. I don’t know if it’s a method they’ll stick to going into their fourth LP next year, but the result is dynamic and suits them well. “A Handwritten Letter from the Moon” comes coupled with “Dyatlov Station 3,” a seven-minute rehearsal-space jam from 2011 that fascinatingly (and I’m sure by no coincidence) showcases some similar classic heavy rock influence. The only real shame of the release is that both these tracks are probably too long to fit on a 7”, since a small platter of vinyl would be a perfect way to hold over listeners until the next album arrives. As it stands, the digital version is hardly roughing it.

Monobrow on Thee Facebooks

Monobrow on Bandcamp

Denizen, Troubled Waters

denizen troubled waters

French heavy rocking four-piece Denizen issued their decidedly Clutchian debut, Whispering Wild Stories (review here), in 2011, and follow it through Argonauta Records with Troubled Waters, a more individualized 10-track outing that alternates between punkish rawness and classic upbeat grooves. Four years after their first album, their progression hasn’t come at the cost of songwriting, and while they still have work to do in distinguishing themselves in a crowded, varied European market, they deliver the material with an energy and vitality that makes even its familiar parts easy enough to get down with, be it the Southern heavy solo of “Jocelyne” or the meaner bite of “Enter Truckman.” I’ll take the pair of “King of Horses” and “Heavy Rider” as highlights, and remain interested to find out where Denizen head from here, as well as how long it might take them to get there. Four years between records gives Troubled Waters the feel of a second debut as much as a sophomore effort.

Denizen on Thee Facebooks

Argonauta Records

Witchsorrow, No Light, Only Fire

witchsorrow no light only fire

Releasing through Candlelight in their native UK, doom metal trio Witchsorrow mark a decade with their third album, No Light, Only Fire. Opener “There is No Light There is Only Fire” seems to nod immediately at Cathedral, with a speedier, chuggier take, and the record proceeds to alternate between shorter and longer tracks en route to the 14-minute closer “De Mysteriis Doom Sabbathas,” cuts like “Negative Utopia” and “Disaster Reality” sailing a black ship past the 10-minute mark on a rumbling sea of riffs and slow motion nod. They break for a minute with the acoustic interlude “Four Candles” before embarking on the finale, and the respite is appreciated once the agonizing undulations of “De Mysteriis Doom Sabbathas” are underway, using nearly every second of their 14:25 to affirm Witchsorrow’s trad doom mastery and bleak, darkened heft. No light? Maybe a little light, but it’s still pretty damn dark, and indeed, it smells like smoke.

Witchsorrow on Thee Facebooks

Candlelight Records

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The Obelisk Radio Add of the Week: Fuck the Facts, Amer EP

Posted in Radio on June 26th, 2013 by JJ Koczan

It’s only been two years since the last Fuck the Facts release, but in grindcore that’s an eternity. The Canadian outfit issued the Die Miserable full-length in 2011 on Relapse, and after a subsequent EP and compilation marking, as they put it, Ten Fucking Years (2001-2011), the Ottawa five-piece follow-up Die Miserable this week with the new Amer EP, a suitably blasting collection of seven aggressive pummelers that tops out at a bit over 13 minutes. Seven tracks in 13 minutes. Welcome to grind.

To point out the obvious, it’s not really the kind of thing this site usually covers, and as far as I’m concerned, that’s precisely the appeal. There are elements of heavy tonality in cuts like “Jour de Souffrance,” and closer “Amère” toys with slower, tense pacing en route to a bash-you-over-the-head finale, but my idea in adding Fuck the Facts to The Obelisk Radio is to change things up a bit so that it’s not the same kind of riffs all the time played at the same speed and working under (vaguely) the same influences. Amer is a nuanced collection from the Napalm Death runs of “Vent du Nord” to the ambient ending of “L’Enclume et le Marteau,” and as varied as it is on a song-by-song basis, I figured it would be a good fit precisely because it didn’t really fit at all.

So yeah, at just 1:44, “A Void” might be a quick blip on the ongoing radio stream, but I think there’s enough substance to what Fuck the Facts does that their material stands up to the bevvy of amp-crushers they’re joining in the playlist. With the double-guitars of Topon Das and Johnny Ibay, bass of Marc Bourgon (also vocals), drums of Mathieu Vailandré (also vocals) and Mel Mongeon‘s vocals, the self-recorded Amer is varied, extreme and something you might not see coming when it arrives — all of which argue convincingly enough in its favor that here we are.

Fuck the Facts will begin a European tour next week. Dates are below the Amer player from the band’s Bandcamp page, where the EP is available on 10″ vinyl and cassette:

Fuck the Facts, Amer EP (2013)

FUCK THE FACTS 2013 EUROPEAN TOUR
07/01 ITA Milano Blue Rose Saloon
07/02 GER Leipzig
07/03 GER Berlin Koma F
07/04 CZE Trutnov Obscene Extreme Festival
07/05 HOL Rotterdam Baroeg
07/06 HOL Nijmegen Nothing Changed Fest
07/07 UK Brighton Sticky Mike’s Frog Bar
07/08 UK Leeds The Fox & Newt
07/09 UK Manchester Kraak Gallery
07/10 UK Bristol The Stag and Hounds
07/11 UK London The Unicorn Camden Live
07/12 BEL Brussels DNA
07/13 FRA Lille Le Bistrot de St So
07/14 FRA Toulouse Pavillons Sauvages
07/15 SPA Bilbao Sentinel Club
07/16 SPA Logroño Villatruño Squat
07/17 SPA Zaragoza Arrebato
07/18 SPA Torellò Eclectic Club
07/19 SPA Barcelona TBA
07/20 FRA Luynes Le Korigan
07/21 ITA Bologna Freakout Club

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Fuck the Facts on Bandcamp

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