Mondo Infiel Announces Lineup for Debut Album Poliedros

Posted in Whathaveyou on April 9th, 2021 by JJ Koczan

There’s no audio yet, so don’t ask. I got a quick listen to some of Need to click to read more for College? Do you find it difficult to write an essay for college? What about a research paper or a term paper? Why do you choose Mondo Infiel‘s Poliedros album, and given some of the personnel involved in its making — members of Write my college essay fast. I trust you to today, but can you offer me a better price? The customer is always right, Arenna, Common Sense Media editors help you choose get more. Online resources for tough assignments. Atavismo, friggin’ Buy Cheap Dissertation At Not all students are working, and they need a service which does not burn a big hole in their pocket. The good news is that the website offers help. It is user-friendly and makes your essay ordering experience easy. Buying cheap custom dissertation will make your life simple Isaiah Mitchell from enter site - Find out all you have always wanted to know about custom writing professional papers at competitive prices available here will turn Earthless popping in because I guess why not, and so on — the sound is maybe surprisingly terrestrial. Earthy more than cosmic. Still one you want to watch for, however, and something of an achievement in logistics even before you get to factors like songwriting, performance, and so on.

The great irony of Want to buy dissertations Online? is the best place to Research Paper Author Order. Leave your dissertation problems behind and Buy Mondo Infiel, of course, is that even though the list of personnel surrounding apparent-spearhead Great Written Business Plan Examples are here for you! We are ready to offer you professional writers who will do their best to help you with creating a perfect PhD Adolfo Alcocer runs 17 strong, this is still a quarantine-era project, and something that probably wouldn’t have come about in this way if there had never been a pandemic lockdown to force the hand of creativity in such a way. I’m not saying the pandemic’s effect on 2020 was a good thing, just that the concept and execution of Resume Writing For High School Student 2013. They contribute to the least likely to be carried by blacks at all levels of achievement in courses that pertain to the buyessay org. Mondo Infiel and the resulting During thesis writing, most students catch themselves thinking, “Please for me!” Effective thesis writing takes a lot of time, especially if you are not a thesis expert who works with such pieces of academic writing every day. It would be best if you did valid research before starting creating your thesis proposal. A profound analysis of the primary sources will give you Poliedros LP stand as another example of the persistence of art, such that even in enforced isolation, one can and will still find a way to reach out and speak creatively through collaboration. Do you understand how fucking beautiful that is? I hope so.

I don’t have a release date on the record, but I’ll hope to have more on it before it’s out. essay selling online Question :: Cheap essay service Each of them has are worth of your. Mainly for those dissertation help service question to support a general theme, construct a a worker or a. At least one finding a dissertation help service question academic paper writers life, you need to be diligent and thorough. dissertation help service question of the pinnacle of success in Spinda Records is standing behind the release, as one would hope.

Here’s the lineup:

mondo infiel

Mondo Infiel – Poliedros

Happy to announce the line-up of MONDO INFIEL’s debut album. Adolfo Alcocer (Electric Riders, Pow Pows) is surrounded by a network of luxury collaborators, including members of Electric Riders, Arenna, Atavismo, HĂ­brido, The Soulbreaker Company, The Black Crowes, Por Pow Pows, Viaje a 800, R.O.L.F., Earthless, Medicina and some special guests.

Ander Cisneros
Andoni Ortiz
Andrés Tomás Rodriguez
Arrate Morales
Curro Ureba
Guille Colás
Illán Arribas
Isaiah Mitchell
Javier BarberĂ­a
Javier Indurain
Joaquin Uriol
Jose Angel Galindo
Matthew Perez
Look Martirena
Jose “Pot” Moreno
Sandra “Pow” Hidalgo

More fresh news coming soon…

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The Obelisk Questionnaire: Beatriz Castillo of Cruzeiro & Misty Grey

Posted in Questionnaire on March 22nd, 2021 by JJ Koczan


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: Beatriz Castillo of Cruzeiro & Misty Grey If you have not time for thesis writing, is here to offer thesis help, doctoral thesis writing or PhD thesis writing help. If you do not know how to write a thesis, you are welcome to rely on our knowledge. We have successfully written more than 200 theses and you can become one of our successful clients as well. Thesis help is easy to use. Moreover, it How do you define what you do and how did you come to do it?

I am a singer. Since I was a child I sang when I was in bed instead of sleeping and my mother scolded me for it. I guess it is something natural for me, progressively I was doing things related to music, because it has always been something that has made me fell good, it was not something decided, it just happened.

In school and high school I joined the choirs. After that, in the following years I stopped practicing music for a long time, although I never stopped attending, I followed numerous shows, dedicated myself to writing records reviews and concert chronicles as well as being a photographer covering those events.

A few years later I started with a friend to do music sessions as a DJs set under the name of Vinuum Sabati, later it turned into a series of mini underground festivals in Madrid, Spain, giving a place for national bands to which we wanted to give support and visibility.

After that, I started with a small music distribution and event promoter, I created the idea of a record-store day for extreme music in Madrid and also began to be an important promoter of underground shows in the city, always in communion with my friends. We supported each other since we did not do it selflessly, we did not earn a penny with it, it was just for fun.

At the end of 2014 I joined as singer of the Classic Doom Metal band Misty Grey . This past November 2020,the label Interstellar Smoke Records released the last work of the band called Chapter II on vinyl.

At the same time Barren Plains born, it was a BlackenedDeathMetalPunk band, where I played the bass and sang too, The band split off in 2016 after recording our first album never released. During the confinement I decided to release four of the six recorded songs, the idea consist in a recycled cassettes on a DIY edition that came out last November 2020.

Little over two years ago I moved from Madrid to Galicia and I have been here since then. I left Misty Grey in 2019 and soon began as a singer in CRUZEIRO, Doom / Stoner band from A Coruña, in the North of Spain. We recorded our first album in September 2020 and now we are looking for a label to release it.

I collaborated with Rockin´Ladies photographic project, with the objective of manifesting, visualizing and normalizing the high number of women in punk, rock and metal in Spain and also did the picture for the cover of Pillars of Salt LP, released by Balmog.

So I don’t really know how I got here, but I think there is no return.

We offer writing services. You can order original term papers at fair prices and breeze through the semester with one less worry in mind. Describe your first musical memory.

It is not easy to specify… I remember that in my house always sounded a lot of music but I remember that Pink Floyd caught my attention since I was a little child, my father was a fan of theirs of music.

Perhaps the most marked thing was when we visited relatives, my cousin Oscar was a super fan of Iron Maiden, I was about six years old and his music caught my attention, it was like a ritual when he went to the bathroom and played the Iron Maiden Music on the cassette at full volume, my cousin Cris and I (she is her sister) took the opportunity to go to her room, which we were forbidden to enter, that made me feel even more curious every time I went inside. Every time we did that expedition I was freaking out with all the flags and posters of Eddie in his room… my cousin Cris stayed at the door crying (she’s a year younger than me, poor Cris), she was afraid to enter the room with so much monster. I guess if that prepared me because after being a teenager about 11 I asked him to loan me the Iron Maiden LPs.

Professionally researched & quality custom written. Quality academic How To Make A Bibliography For A Research Paper help from professional paper & essays on karl marx capitalism Describe your best musical memory to date.

Probably people who I have shared stage with, specially when Misty Grey shared stage with Manilla Road, we were their opening act in Madrid, after finishing our performance Mark “The Shark” Shelton was waiting at the foot of the stage. When I came down from the stage he was talking to me, and he left me a few words that I will always carry with me.

And watching concerts, whenever I have been able to be in the front row watching an Iron Maiden concert, I always end up crying with emotion when I see them and sing their songs live.

All students want to get only A+ but not all of them ready to spend their time on study. If you one of that busy student you can always When was a time when a firmly held belief was tested?

I thought for a long time that I did not like cats, that they were an evil and conspiratorial being who dominated human beings in order to enjoy their indifference towards us, I love animals, but I do not know why I was so suspicious of them, perhaps by ignorance.

One day some friends asked me the favour of letting me their two cats because they went to work to London for a month, and they had no one to leave them with, I accepted and for a month I was with my dog and their cats… at first I did not know how they worked and how I should act with them, but they made it very easy for me and I had a great time discovering that new world that opened before my eyes, also one of the cats and I established a bond very quickly and very strong.

I realized that I was totally wrong and shortly after that I adopted a kitten that came from the south of Spain and now we are a very happy roommates.

Where do you feel artistic progression leads?

As long as something enjoyed will lead to good things with your bandmates and even to new experiences, but if it becomes a career of goals in which enjoying or doing what you really like does not matter.

I guess it becomes something that is not progress or at least as I see it.

How do you define success?

When you do what you propose, you are satisfied with it, everything flows, and you do not get bored or tired.

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


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

My own personal project alone. A photography lab in my house and a random craft workshop, I like to be entertained with that kind of thing, but I don’t have space at home or have time, now with the COVID-19 I just need space.

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

It is another language, another way of expressing and communicating, spitting and letting go from within, I think it is something healing as a therapy that we need to do to a greater or lesser extent.

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

Right now freedom, go out to the mountains / fields for days (we have perimeter closure since October).

Return soon to see my friends and family spend hours talking, touching, hugging, kissing yours (culturally, and emotionally we are like that, and it is a necessity for many) I have not seen my people for more than a year.

Cruzeiro, “The Owls Are Not What They Seem”

Misty Grey, “Frenzy”

Barren Plains, Demo/Anti-Demo (2020)

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Review & Full Album Premiere: Kabbalah, The Omen

Posted in audiObelisk, Reviews on January 12th, 2021 by JJ Koczan

kabbalah the omen

[Click play above to stream Kabbalah’s The Omen in its entirety. Album is out Jan. 15 on Rebel Waves Records.]

Though they’ve been brewing potent etherealities in the Kingdom of Navarre for the better part of a decade, it was not until 2017 that Spanish trio Kabbalah made their full-length debut with Spectral Ascent. That album, released through Twin Earth Records, solidified the first-name-only — Alba on vocals and guitar, Marga on bass, Carmen on drums — three-piece’s approach around classic proto-heavy and cult rock, not quite bent as closely to pop as Ghost, but ready and able with a waiting supply of hooks for those willing to be indoctrinated. The Omen is the follow-up. Its eight tracks arrive through Ripple imprint Rebel Waves Records without pretense — which is no small feat considering the inherent theatricality of the witchy, be-robbed aesthetic — and run a tight-knit 29 minutes, showcasing growth in melody and construction generally while digging further into a classic-minded near-doom style of heavy rock, most typified by the ’70s tapes of Pentagram but by no means exclusive to that or strictly vintage in sound.

Unlike the first LP, there is no intro on The Omen, which begins with the creeper riff of your fuzzy Halloween daydreams, set to an immediately accessible pace that tells you plenty but still only a piece of what you need to know about the record that ensues. At 3:57, lead cut “Stigmatized” is second in length only to closer “Liturgy,” which is the only song here over four minutes long. Kabbalah are traditionalists in structure, and though their cultish take draws on the heavy ’70s as it almost invariably would, their tones are not purely vintage and particularly the manner in which vocal melodies/harmonies are layered is a giveaway of their modernity. Not that they’re trying to hide it. Rather, these melodies, beginning in “Stigmatized” but perhaps even more so in the catchier second track “Ceibas,” become a crucial aspect of the band’s approach. I don’t know if it’s only Alba singing or if Marga or Carmen add their voices, but as The Omen begins to unfold, the vocals help set the atmosphere no less than any of the other instruments being played, even the church organ that takes hold as the first track fades out ahead of the grungy-strummed start of the second.

So if the first song establishes the mood and the second reaffirms the trio’s penchant for hookmaking, its chanting final chorus likewise peppered with organ lines and vocal bounce, then the subsequent “Night Comes Near” brings a greater sense of complexity in progression and arrangement, vocal parts woven over each other in a pace that’s deceptive only for how unhurried it actually is while sounding more intense and busier than the previous two songs. As side A finishes with “The Ritual,” the fuzz thickens, the bell ride tolls your march, and the flow resimplifies without giving up the impression of a proggy undertone. The guitar solo is short but effective and sets a bed for the vocals to rejoin the apex of the song in a chorus return, bringing to light the sheer efficiency of Kabbalah‘s work here. It’s not that they’re restrained in some way, just that they’ve come to a place of knowing what they want these songs to do — or sounding that way, anyhow — and making them do that. Lessons understood from prior experience; this is why it can take a band five years to put out a debut album and several more for a follow-up. Because there’s genuine growth taking place.


“Lamentations” begins side B with the bulk of its first minute dedicated to a gradually unfolding riff, but when the drums kick in, they’re double-timed on the hi-hat to bring some feeling of urgency, even if the following first verse oozes out smoothly in dynamic, harmonized fashion. A play on structure, “Lamentations” doesn’t have a chorus as such, but it accomplishes what it sets out to do in leading off the second half of the record with a purpose that mirrors that of “Stigmatized” at the outset. It’s not quite Kabbalah looking to knock their listener off balance — which they never really do — but hinting that the whole story of The Omen hasn’t yet been told. Distant echoes in the verses “Labyrinth” and a more forward chorus would seem to confirm this, making the track a highlight in the process as it willfully marches into highlight bass tone at its pulled-apart finish. Feedback. Darker atmospherics. Still, Kabbalah aren’t offering any drama that feels unearned by the music itself, and in traditional LP form, the penultimate “Duna” returns the album to ground ahead of the aforementioned finale in “Liturgy.”

In another context one might call “Duna” a kind of heavy post-rock, but after its first minute, a weightier riff serves as a kind of instrumental chorus and offsets the garage doom of the verse before they make the interesting turn of finishing the track without a final return to that same verse. It’s too short to really be a jam, but Alba‘s guitar is tasked with leading the outward movement of “Duna,” which it does ably, bringing the song to a close ahead of the actual march rhythm that begins “Liturgy” and the guitar, bass and drums soon join. More spacious in the guitar and vocals initially, “Liturgy” does have a kind of chanting verse, but it never quite gives up that beginning rhythm, which of course doubles as an ending for the record after the closing solo finishes. Even there, Kabbalah‘s melodic intent holds firm and is the essential component.

It’s not, however, the only one to which due attention has been paid, and the recording — the production style — of The Omen helps too in bringing a vitality that underscores the songwriting shown throughout. Kabbalah emerge somewhat out of place and out of time, but no more than they would seem to want to be, and there is no point at which their devotionalism overwhelms their craft. A burgeoning individuality holds further promise for growth, but one would be remiss not to note the confidence and righteous poise with which this material is — still organically — delivered.

Kabbalah, “Ceibas” official video

Kabbalah on Thee Facebooks

Kabbalah on Instagram

Kabbalah on Bandcamp

Rebel Waves Records on Thee Facebooks

Rebel Waves Records BigCartel store

Rebel Waves Records on Bandcamp

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Quarterly Review: -(16)-, BoneHawk, DĂ–, Howling Giant & Sergeant Thunderhoof, Chimney Creeps, Kingnomad, Shores of Null, The Device, Domo, Early Moods

Posted in Reviews on December 22nd, 2020 by JJ Koczan


I just decided how long this Quarterly Review is actually going to be. It’s seven days, then I’ll do my year-end list and the poll results on New Year’s Eve and Day, respectively. That’s the plan. Though honestly, I might pick up after that weekend and continue QR-style for that next week. There’s a lot more to cover, I think. The amount of releases this year has been pretty insane and completely overwhelming. I’ve tried to keep up as best I can and clearly have failed in that regard or I probably wouldn’t be so swamped now. So it goes. One way or the other, I don’t think a lot of emails are getting answered for the next two weeks, though I’ll try to keep up with that too.

But anyhow, that’s what’s up. Here’s Day II (because this is the QR where I do Roman numerals for absolutely no reason).

Quarterly Review #11-20:

16, Dream Squasher

16 Dream Squasher

The fourth long-player since 16‘s studio return with 2009’s Bridges to Burn, the 10-track Dream Squasher begins with tales of love for kid and dog, respectively. The latter might be the sweetest lyrics I’ve ever read for something that’s still bludgeoning sludge — said dog also gets a mention amid the ultra-lumbering chug and samples of “Acid Tongue” — and it’s worth mentioning that as the Cali intensity institution nears 30 years since their start in 1991, they’re branching out in theme and craft alike, as the melody of the organ-laced “Sadlands” shows. There’s even some harmonica in “Agora (Killed by a Mountain Lion),” though it’s soon enough swallowed by pummel and the violent punk of “Ride the Waves” follows. “Summer of ’96” plays off Bryan Adams for another bit of familial love, while closing duo “Screw Unto Others” and “Kissing the Choir Boy” indict capitalist and religious figureheads in succession amid weighted plod and seething anger, the band oddly in their element in this meld of ups, downs and slaughter.

16 on Thee Facebooks

16 at Relapse Records


BoneHawk, Iron Mountain

bonehawk iron mountain

Kalamazoo four-piece BoneHawk make an awaited follow-up to their 2014 debut, Albino Rhino (discussed here), in the form of Iron Mountain, thereby reminding listeners why it’s been awaited in the first place. Solid, dual-guitar, newer-school post-The Sword heavy rock. Second cut “Summit Fever” reminds a bit of Valley of the Sun and Freedom Hawk, but neither is a bad echelon of acts to stand among, and the open melodies of the subsequent title-track and the later “Fire Lake” do much to distinguish BoneHawk along the way. The winding lead lines of centerpiece “Wildfire” offer due drama in their apex, and “Thunder Child” and “Future Mind” are both catchy enough to keep momentum rolling into the eight-minute closer “Lake of the Clouds,” which caps with due breadth and, yes, is the second song on the record about a lake. That’s how they do in Michigan and that’s just fine.

BoneHawk on Thee Facebooks

Cursed Tongue Records webstore


DĂ–, Black Hole Mass

do black hole mass

DĂ– follow the Valborg example of lumbering barking extremity into a cosmic abyss on their Black Hole Mass three-songer, emitting charred roll like it’s interstellar background radiation and still managing to give an underlying sense of structure to proceedings vast and encompassing. “Gravity Sacrifice” and “Plasma “Psalm” are right on in their teeth-grinding shove, but it’s the 10-minute finale “Radiation Blessing” that steals my heart with its trippy break in the middle, sample, drifting guitar and all, as the Finnish trio build gradually back up to a massive march all the more effective for the atmosphere they’ve constructed around it. Construction, as it happens, is the underlying strength of Black Hole Mass, since it’s the firm sense of structure beneath their songs that allows them to so ably engage their dark matter metal over the course of these 22 minutes, but it’s done so smoothly one hardly thinks about it while listening. Instead, the best thing to do is go along for the ride, brief as it is, or at least bow head in appreciation to the ceremony as it trods across rigid stylistic dogma.

DĂ– on Thee Facebooks

Lay Bare Recordings website


Howling Giant & Sergeant Thunderhoof, Turned to Stone Chapter 2: Masamune & Muramasa

turned to stone chapter 2 howling giant sergeant thunderhoof

Let this be a lesson to, well, everyone. This is how you do a conceptual split. Two bands getting together around a central idea — in this case, Tennessee’s Howling Giant and UK’s Sergeant Thunderhoof — both composing single tracks long enough to consume a vinyl side and expanding their reach not only to work with each other but further their own progressive sonic ideologies. Ripple Music‘s Turned to Stone split series is going to have a tough one to top in Masamune & Muramasa, as Howling Giant utterly shine in “Masamune” and the rougher-hewn tonality of Sergeant Thunderhoof‘s “Maramasa” makes an exceptional complement. Running about 41 minutes, the release is a journey through dynamic, with each act pushing their songwriting beyond prior limits in order to meet the occasion head-on and in grand fashion. They do, and the split easily stands among the best of 2020’s short releases as a result. If you want to hear where heavy rock is going, look no further.

Howling Giant on Thee Facebooks

Sergeant Thunderhoof on Thee Facebooks

Ripple Music on Bandcamp


Chimney Creeps, Nosedive

chimney creeps nosedive

Punkish shouts over dense noise rock tones, New York trio Chimney Creeps make their full-length debut with Nosedive, which they’ve self-released on vinyl. The album runs through seven tracks, and once it gets through the straight-ahead heavy punk of “March of the Creeps” and “Head in the Sand” at the outset, the palette begins to broaden in the fuzzy and gruff “Unholy Cow,” with the deceptively catchy “Splinter” following. “Creeper” and “Satisfied” before it are longer and accordingly more atmospheric, with a truck-backing-up sample at the start of “Creeper” that would seem to remind listeners just where the band’s sound has put them: out back, around the loading dock. Fair enough as “Diving Line” wraps in accordingly workmanlike fashion, the vocals cutting through clearly as they have all the while, prominent in the mix in a way that asks for balance. “Bright” I believe is the word an engineer might use, but the vocals stand out, is the bottom line, and thereby assure that the aggressive stance of the band comes across as more than a put-on.

Chimney Creeps on Thee Facebooks

Chimney Creeps on Bandcamp


Kingnomad, Sagan Om Rymden

Kingnomad - Sagan Om Rymden

Kingnomad‘s third album, Sagan Om Rymden certainly wants nothing for scope or ambition, setting its progressive tone with still-hooky opener “Omniverse,” before unfurling the more patient chug in “Small Beginnings” and taking on such weighted (anti-)matter as “Multiverse” and “The Creation Hymn” and “The Unanswered Question” later on. Along the way, the Swedish troupe nod at Ghost-style melodicism, Graveyard-ish heavy blues boogie — in “The Omega Experiment,” no less — progressive, psychedelic and heavy rocks and no less than the cosmos itself, as the Carl Sagan reference in the record’s title seems to inform the space-based mythology expressed and solidified within the songs. Even the acoustic-led interlude-plus “The Fermi Paradox” finds room to harmonize vocals and prove a massive step forward for the band. 2018’s The Great Nothing (review here) and 2017’s debut, Mapping the Inner Void (review here), were each more accomplished than the last, but Sagan Om Rymden is just a different level. It puts Kingnomad in a different class of band.

Kingnomad on Thee Facebooks

Ripple Music on Bandcamp


Shores of Null, Beyond the Shores (On Death and Dying)

Shores of Null Beyond the Shores On Death and Dying

By the time Shores of Null are nine minutes into the single 38-minute track that makes up their third album, Beyond the Shores (On Death and Dying), they would seem to have unveiled at least four of the five vocalists who appear throughout the proceedings, with the band’s own Davide Straccione joined by Swallow the Sun‘s Mikko Kotamäki as well as Thomas A.G. Jensen (Saturnus), Martina Lesley Guidi (of Rome’s Traffic Club) and Elisabetta Marchetti (INNO). There are guests on violin, piano and double-bass as well, so the very least one might say is that Shores of Null aren’t kidding around when they’re talking about this record in a sense of being ‘beyond’ themselves. The journey isn’t hindered so much as bolstered by the ambition, however, and the core five-piece maintain a steady presence throughout, serving collectively as the uniting factor as “Beyond the Shores (On Death and Dying)” moves through its portrayal of the stages of grief in according movements of songcraft, gorgeously-arranged and richly composed as they are as they head toward the final storm. In what’s been an exceptional year for death-doom, Shores of Null still stand out for the work they’ve done.

Shores of Null on Thee Facebooks

Spikerot Records website


The Device, Tribute Album

the device tribute album

Tectonic sludge has become a mainstay in Polish heavy, and The Device, about whom precious little is known other than they’re very, very, very heavy when they want to be, add welcome atmospherics to the lumbering weedian procession. “Rise of the Device” begins the 47-minute Tribute Album in crushing form, but “Ritual” and the first minute or so of “BongOver” space out with droney minimalism, before the latter track — the centerpiece of the five-songer and only cut under six minutes long at 2:42 — explodes in consuming lurch. “Indica” plays out this structure again over a longer stretch, capping with birdsong and whispers and noise after quiet guitar and hypnotic, weighted riffing have played back and forth, but it’s in the 23-minute closer “Exhale” that the band finds their purpose, a live-sounding final jam picking up after a long droning stretch to finish the record with a groove that, indeed, feels like a release in the playing and the hearing. Someone’s speaking at the end but the words are obscured by echo, and to be sure, The Device have gotten their point across by then anyhow. The stark divisions between loud and quiet on Tribute Album are interesting, as well as what the band might do to cover the in-between going forward.

Galactic SmokeHouse Records on Thee Facebooks

The Device on Bandcamp


Domo, Domonautas Vol. 2

Domo Domonautas Vol 2

Spanish progressive heavy psychedelic semi-instrumentalists Domo follow late-2019’s Domonautas Vol. 1 (review here) with a four-song second installment, and Domonautas Vol. 2 answers its predecessor back with the jazz-into-doom of “Avasaxa” (7:43) and the meditation in “Dolmen” (13:50) on side A, and the quick intro-to-the-intro “El Altar” (2:06) and the 15-minute “VientohalcĂłn” on side B, each piece working with its own sense of motion and its own feeling of progression from one movement to the next, never rushed, never overly patient, but smooth and organic in execution even in its most active or heaviest stretches. The two most extended pieces offer particular joys, but neither should one discount the quirky rhythm at the outset of “Avasaxa” or the dramatic turn it makes just before five minutes in from meandering guitar noodling to plodding riffery, if only because it sounds like Domo are having so much fun catching the listener off guard. Exactly as they should be.

Domo on Thee Facebooks

Clostridium Records website


Early Moods, Spellbound

early moods spellbound

Doom be thy name. Or, I guess Early Moods be thy name, but doom definitely be thy game. The Los Angeles four-piece make their debut with the 26-minute Spellbound, and I suppose it’s an EP, but the raw Pentagram worship on display in the opening title-track and the Sabbath-ism that ensues flows easy and comes through with enough sincerity of purpose that if the band wanted to call it a full-length, one could hardly argue. Guitar heads will note the unbridled scorch of the solos throughout — centerpiece “Isolated” moves from one into a slow-Slayer riff that’s somehow also Candlemass, which is a feat in itself — while “Desire” rumbles with low-end distortion that calls to mind Entombed even as the vocals over top are almost pure Witchcraft. They save the most engaging melody for the finale “Living Hell,” but even that’s plenty grim and suited to its accompanying dirt-caked feel. Rough in production, but not lacking clarity, Spellbound entices and hints at things to come, but has a barebones appeal all its own as well.

Early Moods on Thee Facebooks

Dying Victims Productions website


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Kabbalah Announce Jan. 15 Release for The Omen; “Ceibas” Video Posted

Posted in Whathaveyou on December 4th, 2020 by JJ Koczan


Because of general cultural ignorance on my part, I had to look up what a ‘ceiba’ is. If you’re curious, it’s a species of tree considered sacred by some in Mayan culture — a kind of tree of life, but one connected to the underworld. If you’re thinking Yggdrasil from Norse mythology, you’re not too far off-base, but ceiba-as-world-tree is older by a couple millennia. That’s what I learned on the internet today. Well that and some stuff about Star Trek, anyhow. Alright.

Kabbalah‘s new record runs as a taut 29-minute/eight-song cultish mass, thoroughly modern in melody and tonal presence, but given an edge of folkanalia just the same. Its longest song is closer “Liturgy” at 4:14 and at no point does The Omen waste the band’s time or the listener’s. If you can’t appreciate that, surely the uptempo push of “Ceibas” or the animated day-in-the-life-of-Death video that accompanies its unveiling will hook you. If not, well, thanks for reading anyhow.

For everyone else, album preorders are up for The Omen ahead of a Jan. 15 release.

Plant a tree:

kabbalah the omen

Occult rock trio KABBALAH to release new album ‘The Omen’ on January 15th via Rebel Waves Records; watch spooky animated video “Ceibas” now!

Pamplona-based occult rockers KABBALAH unveil all details about their sophomore album ‘The Omen’, to be released on January 15th, 2021 through Rebel Waves Records. On this occasion, the trio debuts their ritualistic and colorful “Ceibas” video.

“Ceibas is about how evil and destructive human behavior is to the Earth, and the video walks you through the song and the lyrics wonderfully” describes the band.

Hailing from Pamplona in the north of Spain, KABBALAH was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts. The trio started a prolific cycle of music by self-releasing three EPs (‘Kabbalah’, ‘Primitive Stone’ and ‘Revelations’) between 2013 and 2016, progressing to their 2017 debut album ‘Spectral Ascent’. With their garage-sounding, 70s-style hard rock and Coven–inspired occult atmospheres draped over the bones of Black Sabbath and Blue Ă–yster Cult, the Spanish power trio has been well received among followers of the darkest sounds.

On new album ‘The Omen’, KABBALAH affirm this unique way of theirs to turn their 70s rock influences into a craft of their own: while the guitar and bass twirl around like on a haunted carousel, the trio sprinkles all eight tracks with a subtle Spanish folk and western vibe while keeping the heaviness intact. An unwaveringly creative, enigmatic and spellbinding album that has chances to quickly enter your 2021 favorites list!

‘The Omen’ is out on January 15th, 2021 on Rebel Waves Records and available to preorder as:
– LTD edition vinyl pressed on bone colored vinyl with gold and black splatter
– Black vinyl
– LTD edition digipack
– Digital

KABBALAH New album “The Omen”
Out January 15th, 2021 on Rebel Waves Records

1. Stigmatized
2. Ceibas
3. Night Comes Near
4. The Ritual
5. Lamentations
6. Labyrinth
7. Duna
8. Liturgy

In the winter of 2021, KABBALAH are coming back to life with their sophomore full-length ‘The Omen’, an occult rock grimoire where sticky melodies, funerary riffs and liturgy vocals come together as an impressive and infectious breed of 70s heavy, doom and psych. It will be released through US independent label REBEL WAVES RECORDS, Ripple Music’s imprint for all things psychedelic, alt-rock, pop, post-punk and garage. Keep your eyes peeled for more info about ‘The Omen’ will come your way soon!

Carmen Espejo — Drums/vocals
Marga Malaria — Bass/vocals
Alba DDU — guitar/vocals

Kabbalah, “Ceibas” official video

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Friday Full-Length: Arenna, Beats of Olarizu

Posted in Bootleg Theater on November 13th, 2020 by JJ Koczan

Based in Vitoria-Gasteiz, which is the capital of Northern Spain’s autonomous Basque Country — if you’re American and you know the word ‘Basque,’ there’s a decent chance it’s followed by ‘separatist’ in your consciousness, since the movement there was years in bringing autonomy to fruition — Arenna issued their first demo in 2007 and followed it with their debut album, Beats of Olarizu (review here), in 2011. The Basque distinction is important to note, since Olárizu refers to a specific place as well: a meadow area, lake and hillside on the outskirts of Vitoria-Gasteiz that was a village centuries ago and now seems to serve mostly as parkland. A pastoral setting is likewise crucial toward understanding where Arenna were coming from with this album.

In terms of sheer style, Arenna — comprised then of drummer Guille, bassist Javi, vocalist Txus, and guitarists KikĂ© and R. Ruiz, plus guests on the album like Jony Moreno of The Soulbreaker Company on backing vocals for four of the six tracks and co-producer JosĂ© LĂłpez Gil on Hammond for “Eclipse,” plus Jaime Zuasti (Electric Riders) on keys for the second half of the tracklisting — were at the vanguard of a next generation of heavy psychedelic rock in Europe. One thinks of a band like Sungrazer in the Netherlands, who made their debut the year before, or then-Nasoni Records labelmates like Electric Moon and even Stoned Jesus — acts who began to flourish at the start of the 2010s and would begin to define heavy psych as a style in the wake of progenitors like Colour Haze or Spanish spearheads Viaje a 800.

The difference between Arenna and some of the biggest names of this generation of bands is productivity more than quality. Beats of Olarizu sounds raw these nine years later, and particularly in comparison to its more lush, proggier 2015 follow-up, Given to Emptiness (review here), but the roots of what they’d become are in the first record to be sure, and from the is-it-actually-playing-oh-okay-there-it-is patient start of opener “Morning Light,” Arenna made it clear they were working on no one’s time but their own. Fluid tempos, melodic reach, a rolling crunch to their tonality that would soften on some of the extended and jammier stretches in “Eclipse” (11:42) and closer “Metamorphosis in Ic [0,9168 g/cmÂł]” (19:08), there was still an edge of grunge to Txus‘ vocals and verses, but as “Morning Light” gave way to “Receiving the Liquid Writings,” it was clear that Arenna were onto a vibe that went beyond straightforward stoner/desert rock idolatry.

arenna beats of olarizuIn addition to its quiet start, “Morning Light” — though packed lyrically — doesn’t ever feel rushed in terms of its instrumental elements, and its last couple minutes take off into an airy concluding solo that sets a more open mood for everything that follows, so that even as “Receiving the Liquid Writings” starts out with an earthy shuffle its more spacious, layered-vocal midsection and jam-into-push-into-jam finish make sense. Likewise the boogie that defines “Fall of the Crosses,” which is the shortest cut on Beats of Olarizu at 5:09. It stays straightforward in its structure without even the partial departure of the song before it, but still carries that atmosphere set forth by the opener, and as Arenna shift to side B with “Eclipse,” that subtle establishing of psychedelic underpinnings comes to fruition in satisfying and decidedly switched-on ways.

Already noted, the guest Hammond from JosĂ© LĂłpez Gil does much to complement the acoustic guitar in the extended intro of “Eclipse,” and as the song makes its way into its full tonal launch, it does so with a readiness to shift back and forth in spirit and energy. This is essentially Arenna discovering the heavy psychedelia within their sound. It is a languid, flowing progression that is warm sounding and grooving in a way that builds toward an apex, is not still by any means, but neither gives any ground in terms of patience in its delivery. That is, Arenna are putting forth the vision that the first three tracks on Beats of Olarizu were driving toward, and it’s the impression that would come to define the album as a whole, and indeed, the band’s style as well.

“The Strangest of Lives,” beginning with wind and far-back drums, has the task of providing separation between “Eclipse” and “Metamorphosis in Ic [0,9168 g/cmÂł],” and as one might expect, it returns somewhat to ground in its basic composition. But note that the central riff still carries a swirl, as though residual from the song before, and that as the track moves through its second half, it ends up pushing even further into drift than “Eclipse” actually managed to go, essentially pulling itself down to rebuild along a course of hypnotic liquefaction. The big surprise is when it turns out to be a linear movement with its own payoff, but that advent is only welcome ahead of what’s to come in the side C-consuming “Metamorphosis in Ic [0,9168 g/cmÂł].”

Running 30:48 on the CD version of Beats of Olarizu and edited to the 19-plus of the digital/LP — still plenty — “Metamorphosis in Ic [0,9168 g/cmÂł]” is every bit the complex mathematical epic its title hints toward. Is this humanity becoming light? Is that the ‘c’ we’re talking about? If so, fair enough. The song never actually hits that kind of speed or space-rocking motorik-ness, but is plenty cosmic just the same, with an exploratory feel that only becomes more prevalent the longer it goes. A jam, in other words. It’s a jam. But with a resonance that extends beyond the instrumental chemistry on which it’s based, effects creating an atmosphere that continues as the longform drone at the finish takes hold, concluding at around 15 minutes.

Where you go from there depends on your format. The vinyl’s side D has the two tracks from Arenna‘s 2007 demo — “Pilgrimage” and “Yeah Man!” — and the meditative instrumental psych-piece “Pain Eraser.” The latter is included in the Bandcamp digital edition as well as a separate track, but on the CD it follows a few minutes of silence, bringing the total runtime of “Metamorphosis in Ic [0,9168 g/cmÂł]” to 30:48 and the whole of Beats of Olarizu to 68 minutes. Significant, particularly for a debut.

But one could say the same of Beats of Olarizu on the whole. As much of Spain’s heavy rock and psych legacy stems from the southern region of the country, in Algeciras, as well as in hotspots like Madrid, or Barcelona in the northeast, Arenna‘s take was immediately their own and distinct for its progressive flourish and prescient-in-hindsight nuance. The band hasn’t been heard from much since Given to Emptiness, but Txus released the solo album Ellis (review here) in 2019 under the moniker Doctor Sax, so there’s life out there somewhere.

As always, I hope you enjoy.

Thanks for reading.

These days are long. After the collective exhale that was the final (depends on whom you ask, apparently) result of the presidential election last week, an uptick in COVID-19 cases — over 160,000 new cases yesterday, according to the New York Times — has ensured that anxiety remains the defining feature of general existence. We’ve been back on self-imposed mostly-lockdown for the last two weeks or so. Minimal outings even to the grocery store — I’ve started getting stuff delivered — minimal interaction outside the immediate bubble. The Patient Mrs.’ family had a birthday party last weekend for her grandmother, who turned 94. There were eight people there including the three children — The Pecan and two older cousins — and it felt like an extravagance.

The Patient Mrs. still has to go to campus a couple days a week, but she reports no one really shows up to class and she rarely sees anyone around the office. We’re trying our best.

The Pecan still goes to preschool. I have to wonder how much longer that’s going to last.

That will be a whole new list of concerns, but either way, long days. With the last few weeks of the semester playing out toward an early end circa Thanksgiving, I haven’t seen much of The Patient Mrs. in the last month or so as she’s been working constantly, even at home, and I’ve had The Pecan. Omi, the dog, has largely been staying with my family, which seems to be to the benefit of all, including them and especially the dog herself, who hangs out and snuggles and plays with the dogs there and oddly enough seems much happier there than she is being stuck in the kitchen, getting smacked by The Pecan or yelled at by me for biting or pissing on the floor as she is/was here. She’s still “our dog” in the sense of being registered at this address, and I’m fairly certain we’ll be paying to have her spayed, but she’s been lodging up with my mother and sister and that’s been just fine all around.

New Gimme Metal show today at 5PM:

You know the drill there. Thanks for listening if you do. I didn’t talk this episode because I’m tired of saying the same shit and listening to myself drone on about how this or that band is awesome. Blah blah blah. My voice.

Next week… starts with a Samsara Blues Experiment premiere. That’ll be good. Then some Cloud Catcher, Grayceon, Morpholith, Vessel of Light. Should be fun. Busy, like always.

Speaking of, I might need to sneak in an extra Quarterly Review before December. My desktop is getting pretty full of records needing writeups and, well, might as well make the most of it.

Also considering doing an end-of-2020 questionnaire along the lines of the Days of Rona series earlier this year. Still putting together questions for it before I send them out. If you have any suggestions, please drop a comment here.

Beyond that, I wish you a great and safe weekend. Have fun, hydrate, be safe, be safe, be safe, wear a mask, eat some leafy greens, do good work and try to be nice. If you need anything from my end, you know where to find me.

Thanks for reading.


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Thermic Boogie Premiere “A Herdhead” From Final LP Sheer Madness

Posted in audiObelisk, Reviews on November 12th, 2020 by JJ Koczan

thermic boogie is over

Over a year ago, Barcelona two-piece Thermic Boogie posted the above text image saying simply that the band was ‘over.’ Well, sometimes over means ‘done’ and sometimes over means ‘we’re still putting out one more record.’ The latter is the case for Albert MartĂ­nez-LĂłpez and Baptiste Gautier-Lorenzo, and the title of their third and final studio outing — following 2019’s Fracture EP (review here) and the 2016 debut LP Vastness and Matter (review here) — is Sheer Madness. As sendoffs go, the very least one can say about the seven-song/62-minute offering is that it’s comprehensive, the duo bringing a vibrant noise-metal cacophony that reminds here and there of Mastodon‘s early pummel but works in flourish of psychedelia (“Song to the Mineral”), thermic boogie sheer madnessas well as massive swaths of feedback and drone (KT88_6550″). With only the 5:59 “Phobosophy” under eight minutes long and the 10-minute “The Drum Horse” leading off, an angular onslaught takes hold at a deceptively lurching pace — huge, it is — but ultimately Thermic Boogie are more manic than one tempo or modus operandi can contain.

And golly, that’s a lot of feedback.

The noise, of course, only adds to the sense of Sheer Madness living up to its name. The band use it as a means of transition from one song to another, and it only makes the winding progressions that ensue feel more unhinged. There are moments of stretch-out of where the intensity is pulled back somewhat, earlier in “Crystal Clear” or the more subdued “Song to the Mineral,” but the crux of Sheer Madness finds Thermic Boogie at the most surging they’ve ever been (or ever were, as the case might be) and with the elephantine plod they evoke alongside their rushing tempos, the intricacy with which they execute the material and the fluidity they bring in moving from one part to the next, the only thing one can really say about the listening experience across Sheer Madness is it’s too bad they’re not a band anymore. This isn’t a half-assed we-had-leftover-material-so-here-it-is record. They sound like a band with more to say.

To wit, the various assaults in “A Herdhead” and “Sheer Madness” itself, as well as, say,thermic boogie (photo by Nicolas Hyvoz) everywhere. With ace performances from Gautier-Lorenzo and MartĂ­nez-LĂłpez and unpredictable turns abounding from part to part as the tracks play out, Sheer Madness manifests the shift in sound Thermic Boogie made with Fracture, and they cap with what’s unquestionably their most aggressive statement, making seem entirely possible a scenario in which even with just the two of them the sound became too volatile to hold together. That’s not really how things work, of course, but even as “Song to the Mineral” strums its way through toward its melodic wash finish, there’s a sense that the rug might get pulled out from under the whole thing at any minute and the rained-down destruction will begin anew.

Which it does, but only because you hit play on the album again to continue to try to get your head around it.

With a farewell at least for now to Thermic Boogie and this closing chapter, I’m happy to host “A Herdhead” for your premiere-streaming pleasure below, followed by some explanatory words from the band.

Please enjoy:

Thermic Boogie on Sheer Madness:

Sheer Madness is the fruit of an idea, as we wanted to create a whole album, with soul, and messages. We both stated that the present times looked like a complete mess, and talked a lot about the random bullshit that happened around us. It was around 2019, and after all the financial and personal efforts that we had to provide, that we finally succeeded to gather obscure riffs, attempting to reproduce the shapes and feelings of the kind of black cloud in which we had the impression to be. We also had in mind that the band had to come to its end, and it carried us to give a strong last shot.

The fierce impression that this album may give at first, is the result of our vicissitudes and concerns. We wanted the tracklist to be harsh and torturous to crush our thoughts and act as a painkiller. The recording took place in the studio we were renting. The sound is like our perspective about music: it is straight, as close as possible from the reality, and without any loop or extra bass. We so invite you to play it LOUD! We’d like to thank all our friends from Barcelona who helped us to play the gigs we had the chance to play, and those in France, Belgium, Switzerland, and Germany who helped us on tour. But also, our parents, record label mates, our families, and every person which is reading this article and giving life to Thermic Boogie. Cheers from Albert and Baptiste

1. The Drum Horse
2. Phobosophy
3. A Herdhead
4. Crystal Clear
5. KT88_6550
6. Sheer Madness
7. Song to the Mineral
Thermic Boogie was:
Albert Martinez-Lopez – Kramer guitars and throats
Baptiste Gautier-Lorenzo – Ludwig drums and throats

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Acid Mess Stream Sangre de Otros Mundos LP in Full; Out Friday

Posted in audiObelisk, Reviews on November 4th, 2020 by JJ Koczan

acid mess

Acid Mess release their third full-length, Sangre de Otros Mundos, on Nov. 6 through Spinda Records. As one expect, the Asturias, Spain-based four-piece’s moniker does them something of a disservice on the seven-song offering, which though well enough acidic, is more cohesive than “mess” implies. Doubtless the band happened before the name, however, since indeed they do embody enough of a range of styles across the album’s 48 minutes that it becomes conceivable they’ve spent the half-decade since 2015’s II sorting it all into the proper order to make the tracks as flowing as they are, from the organ/synth/vocal buildup and guitar strum of opener “El Reflejo du Su Piel” through the folk-percussion-inclusive — clackers? flamenco handclaps? — heavy prog that ensues thereafter, leading to shout-topped sweeping groove, a left-hook of a guitar solo, a break for some guest vocals and more claps-or-not-claps and, at last, an explosion back to the hook.

Were it not so capably-delivered, it would be dizzying as well as a mess, but again, Acid Mess prove to be as much in control of the part-to-part procession as much as they want to be. They’re likewise purposeful in following “El Reflejo du Su Piel” with the the speedier and more straight-up heavy rock “Fuego al Templo,” still proggy in its organ/guitar blend, vocal arrangement and winding central rhythm, but with a more immediate push before it hangs a louie into floating dream-guitar and percussive exploring as it crosses the midsection, synthesizer lines again expertly employed to add atmosphere as the leave it to question whether they’re just going to jam into oblivion or turn back, which, to their credit, they manage to do instrumentally before the song ends.

This leads to presumed side A closer and longest-cut “Hechicera” (9:06), which opens with fluid psych-jazz noodling and works its way over its firstAcid Mess Sangre de otros Mundos two minutes into a thrust before receding again and ultimately holding its tension under a verse the lines of which match the keys and guitar for melody, it is open spacious, but that space gradually fills before again pulling back to a more extended let-out that follows suit from “Fuego al Templo” in returning to ground at the very last second.

The structure of side B shifts somewhat, with two seven-minute tracks sandwiching two four-minute tracks, but the flow of Sangre de Otros Mundos is very much maintained. “Futuro Sin Color” has an intro of soft guitar, but it’s a ruse. Soon enough the band burst into a kraut-punk verse and chorus that holds sway until after the halfway point, where they shift to open space and a folk-infused jam topped with falsetto vocals. Does the punk come back? You know it.

But just in case one might think they know what’s coming next from Acid Mess, “Salvaje Historia” strips away much of the pomp of the longer songs in favor of a more straight-ahead blend of heavy psych/prog and Northern Spanish folk, included a break for more guest vocals but not wandering as far out as, say, “Hechicera” or even “Futuro Sin Color.” And another turn is presented with the subsequent “Hijos del Sol,” which also finds that sweet spot between kraut and punk, tapping a motorik energy for propulsion behind loose-feeling, jangly, almost garage-style guitars. Asking it to make sense feels like a big favor, but it does anyhow.

Of course they end by flipping the script, so that the bulk of “Infierno Gris” is mellow, jazzy and exploratory and it’s the departure in the second half that brings the push ahead of a likewise quieter finish. It’s only fair Acid Mess should turn their established method upside down, since in so doing they provide a fitting summary of Sangre de Otros Mundos‘ stylistic aims on the whole, which are to worship at the altar of expression rather than follow such a prescribed path. Their material goes where it needs to go, whatever foundation rests beneath it, and because they make a lasting impression as guides, it’s that much easier to follow them on their varied course. You can stream the album in its entirety using the player below, and, well, if you’re up for an adventure, maybe you should.


Five years after ‘II’, Acid Mess is back to business with a new album recorded and mixed in July 2019 at Ovni Estudio by Pablo MartĂ­nez, and mastered at Green Desert Mastering by Quique SanchĂ­s. The possibility of postponing its release until Covid-19 was gone was on the table, but the band members decided to fight Coronavirus with their music, with culture. ‘Sangre de otros mundos’ is set to be released on 6th November 2020 via Spanish underground label Spinda Records (the guys behind Viaje a 800, Moura, Bourbon, HĂ­brido, El Lobo En Tu Puerta, Habitar La Mar, Sageness…). Artwork and photography by OssobĂĽko.

With this new collection of songs, we see the most ambitious and complex version of the band. It sounds like psych, prog, kraut, punk, latin rythms and andalusian folk. They take risk on ‘Sangre de otros mundos’ and they go further – there are no limits for Acid Mess.

Band members Miguel Ruiz (guitars, vocals), Borja Vázquez (bass, vocals), Antonio Tamargo (drums, backing vocals) and Juan Villamil (synths, keys) seem to be comfortable mixing styles, something that they demostraste to everyone with the isolation version of “Hechicera” (recorded with mobile devices during isolation weeks in Spain) and the additional musicians appearing in the album: Sergio Pevida (percussion) and the combo of Aurora Salazar & DĂ©bora Hernández (folk vocals on “Salvaje historia” and “El reflejo de su piel”).

El reflejo de su piel
Fuego al templo
Futuro sin color
Hijos del Sol
Salvaje historia
Infierno gris

Acid Mess are:
Miguel Ruiz (guitars, vocals)
Borja Vázquez (bass, vocals)
Antonio Tamargo (drums, backing vocals)
Juan Villamil (synths, keys)

Acid Mess, “Hijos del Sol” lyric video

Acid Mess on Thee Facebooks

Acid Mess on Instagram

Acid Mess on Bandcamp

Spinda Records on Thee Facebooks

Spinda Records on Instagram

Spinda Records on Bandcamp

Spinda Records website

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