A note to anyone who’s perhaps gone numb with the glut of tour announcements — not to mention Heavy Psych Sounds news — these last couple weeks as the year has begun to unfurl: This tour is happening sooner than most. A lot of what’s come down the PR wire of late has been stuff for Spring, or at least March. One struggles to keep up. This is for February, and it starts this week because — holy shit — so does February. There are still a couple dates TBA, which, hey, happens, and I’ve no doubt Kadabra and WarLung can happen into a gig somewhere between Germany and France over the course of those three days, but if you’ve got access to a show and can help, of course you’re encouraged to do so.

Kadabra will also play Heavy Psych Sounds Fest in California this March (WarLung played last year), and they head abroad supporting their a-little-under-the-radar-but-so-damn-good 2021 debut album, Ultra (review here), a follow-up to which would likely be impending sooner or later because if the band didn’t have any interest in continuing they probably wouldn’t bother going to Europe in the first place. WarLung in 2022 released Vulture’s Paradise (review here), their fourth album and a marked step forward in their blend of immersive breadth and structured, forward-delivered heavy. The two acts will complement each other well on stage. Safe travels to all.

From the PR wire:

Heavy Psych Sounds Records & Booking is proud to announce *** KADABRA + WARLUNG European Tour ***

– a massive heavy fuzz experience –

03.02.2023 IT Torino-Blah Blah
04.02.2023 IT Trieste-Kulturni Doom Prosek
05.02.2023 IT Bologna-Freakout
06.02.2023 HR Pula-Monte Paradiso
07.02.2023 TBA
08.02.2023 SL Ilirska Bistrica-MKNŽ
09.02.2023 AT Wien-Arena Beisl
10.02.2023 AT Ebensee-Kino
11.02.2023 DE Jena-KuBa
12.02.2023 TBA
13.02.2023 TBA
14.02.2023 TBA
15.02.2023 FR La Clusaz-Namass Pamouss x Le Lion d’Or
16.02.2023 FR Montpellier-Secret Place
17.02.2023 IT Parma-Splinter Club
18.02.2023 TBA
19.02.2023 IT Pescara-Scumm

KADABRA is
Garrett Zanol (Vocals/Guitar)
Ian Nelson (Bass)
Chase Howard (Drums)

WARLUNG is
George Baba: Guitar/Vocals
Philip Bennett: Guitar/Vocals
Chris Tamez: Bass
Ethan Tamez: Drums

https://www.instagram.com/kadabra_band/
https://kadabraband.bandcamp.com/

https://www.facebook.com/WARLUNGBAND/
https://www.instagram.com/warlung/
http://www.warlung.bandcamp.com/
https://www.planetwarlung.com/

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Kadabra, Ultra (2021)

WarLung, Vulture’s Paradise (2022)

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: Nathan Bidwell of Twin Void

—

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

I am a musician in a touring band on a record label that’s trying to make it in the music industry, I feel like I’ve always known that I wanted to be a musician and to play on stage.

Describe your first musical memory.

Some of my first musical memories is hearing my parents play music like sublime, beastie boys and slayer in the house and that to me was always inspiring and cool of them to play music that’s not just on the radio.

Describe your best musical memory to date.

Still to this date the coolest memory was when we were playing in Orlando at the Warlando fest with Judas Priest and not only did we open the main stage for priest but soulfly was also on the bill and before we went on Max Cavalera (from of course soulfly but one of my all-time favorite bands sepultura) fist bumped me before our set and that to me still to this day rocks me.

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

I feel like back in the day when I was a straight edge vegetarian my beliefs were always tested but back then I was against animal farms and all that, but nowadays I’m not straight edge or vegetarian haha

Where do you feel artistic progression leads?

Artistic progression should always lead to ultimate happiness and bliss, and I think also just working with cool artists and whatnot, being able to create awesome things and being able to have a creative space.

How do you define success?

I think success is when you can fully do what you love and not have to have a secondary job to do it.

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

Back when my parents had chickens one morning I went to go let them out and I think someone didn’t put them away and I guess maybe a cat or raccoon got to them and lemme tell ya it was not a pretty sight.

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

I would really love to create a new country project one day; I feel like I have so many roots and desire for country music I think that would be so fun and especially working with banjos and fiddles and stuff would be so rad.

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

Being able to have good solid platforms for artistic people to show their stuff, I think a lot of the times bands will go unlistened or someone’s art may be buried because they don’t have proper platforms for people to check out, so anyone reading this keep supporting Bandcamp and all those solid platforms cause that’s what’s helping us function as a band.

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

I’m currently a cook as well and I would love to get my sous chef position, culinary arts is something I’ve always really loved and I think food and music go hand in hand.

https://www.facebook.com/twinvoidband/
https://www.instagram.com/twin_void/
https://twinvoid.bandcamp.com/

Twin Void, “HELLCAT” video premiere

Twin Void, Free From Hardtimes (2022)

Spokane, Washington, garage-psych rockers Children of Atom released their aptly-titled EP four-songer Aug. 2021 on limited tape and (unlimited) digital. The clip you see premiering below for “Bloodlust Boogie” is actually the second for the track in question. It’s a lyric video, so I guess if you want to say it counts differently, fine, though I’m not sure why the ‘rule’ remains that a song can only have one video anyway in this brave new world in which anyone with a phone is also a cameraperson. But either way, clearly it’s a song they believe in, and listening, it’s not hard to hear why.

Alongside the rampant — rampant. — sleaze and exploitation vibes, “Bloodlust Boogie” offers a likewise rampant instrumental earworm set to a classic shimmy. It brings together psychedelia, early punk attitude and garage-style raw strum, electric organ and, topped off with twisting lead guitar, it makes its five-minute runtime feel about half that long and burns, baby, burns with readily apparent fervor. It’s sweaty, smoky, and likely too intoxicated to drive, yet “Bloodlust Boogie” steers through its course fluidly with its tale of a murderous she-devil serving as lyrical accompaniment.

Kids’ll be kids, right? I guess. I’m too exhausted to go on a rant or some shit about how even the story of a succubus, which seems to put a woman in a position of power — in this case, she does the killing, at least — still dehumanizes women, and I would for what? Who’s that gonna help, except my liberal guilt? It is what it is. What caught my ear here was the blend of retro and modern in the band’s style and production, that slight edge of almost rockabilly in the vocals and the interplay of the organ and guitar. More than a year after the EP’s release, I’m honestly not sure what the motivation behind making the new video is, but if it’s just to bring more attention to EP, then fair enough since it apparently got mine.

The full EP EP stream is down near the bottom of the post, and the (new) “Bloodlust Boogie” clip follows here.

Enjoy:

Children of Atom, “Bloodlust Boogie” video premiere

Michael Fenris on “Bloodlust Boogie”:

“Rock ‘n’ roll needs more good dance songs. That’s what Bloodlust Boogie is. A rock ‘n’ roll dance song about sex and murder. It’s inspired by classic ’70s revenge flicks; all those trashy cult films always have a theme song, and that’s what Bloodlust Boogie is, but for a movie that doesn’t exist.”

The Pacific Northwest-based Children of Atom is a “Psy-Fi Rock” machine who moved into the jam room for the duration of the pandemic and came out with a polished live performance and catalog of crushing new songs.

Drawing elements of blues, funk, and early metal, they seamlessly mix aggressive keys, greasy guitar hooks, and dark crooning vocals about space travel with driving rhythms and random, meandering psychedelic adventures.

Children of Atom is:
Michael Fenris – Vox, Guitar
Josh McClure – Drums
Myles Weaver – Bass, Vox, Gtr
Shane Birdsill – Keys

Children of Atom, EP (2021)

Children of Atom on Facebook

Children of Atom on Instagram

Children of Atom on Bandcamp

Children of Atom website

The prospect of a solidified Merlock should only be concerning if you don’t like having your bones rattled. The Spokane, Washington, outfit led by guitarist/vocalist Taylor D. Waring — who writes expressively and efficiently and whose social media game is ever on point — have announced a Feb. 24 release date for Onward Strides Colossus, their awaited debut album following behind last year’s You Cannot Be Saved EP (review here) and 2020’s That Which Speaks EP (review here).

This material would seem to have been in the works for a while, since even before You Cannot Be Saved was released, the band had a live-ish video of a set (it’s at the bottom of this post) which included “Where No One Goes,” a lumbering psych-sludge rocker like YOB covered in mud and angry about it. That song — starting at 21:12 in the video, if you’re looking for it — will feature on Onward Strides Colossus, and I look forward to hearing the proper studio version of its duly soaring culmination and overarching chaotic vibe.

No audio yet, but here’s the album announce courtesy of the PR wire:

MERLOCK Announce New Album Onward Strives Colossus

Exploring gloomy realms, MERLOCK produce imposing soundscapes that embrace the murky depths. Seeing multiple genres converge, MERLOCK manifest a compelling doom, psychedelic and stoner mix in the new record Onward Strives Colossus.

“Onward Strides Colossus is a sort of “hero’s journey” set in a posthuman, postdoom atmosphere. Sonically and lyrically, it explores cycles of death and rebirth, notions of hell, and of self-actualization. Seeking truth is the primary urge of the album, and that urge becomes, at times, colossal, which is where the name comes from. Heady pretension aside, the album is also very much about the three of us building this monstrosity that is Merlock. Writing albums, touring, failure & victory — all of those intense experiences that continually shape and reshape us as people. We all had to grow into new, more powerful versions of ourselves to create this album. We know the colossus doesn’t stop here.” — Taylor D. Waring

Introducing the release is “Sovereign Throne”, a groove rhythm powered track with a bluesy side. Lead guitars emerge out of the shadows with bright intricate solos that interweave. An injection of energy sees the pace increase and elevates the music as the vocals soar above. “Behold the Sword of Lock” brings an aggressive onslaught seeing harsh vocals combined with noisy guitar tones to unleash a fully immersive sound. MERLOCK pull out all the stops with the album’s title track. Eerie, droning fuzz and wandering vocals evoke a haunting, otherworldly air. Playing with dynamics, the tracks builds up into explosive rhythmic guitars and percussion — “Onward Strides Colossus” delivers a powerful and impressive impact.

About MERLOCK:

Described by critics as “gloomy and semi-mystical”, “shadowy and mysterious”, and “epic and ever-climbing”, MERLOCK melds stoner doom with heavy psychedelic sounds to create heavy post-doom atmospheres. Formed in 2017 in Spokane, Washington, MERLOCK has self-released 2 EPs and toured the West Coast while continuously demonstrating their willingness to evolve a songwriters and performers. Having weathered line-up changes and the ever-evolving music scene in the post-COVID world, MERLOCK continues to look for new paths forward.

Tracklisting:
1. Sovereign Throne
2. Sunnbarren
3. Behold! The Sword of Lock
4. Where No One Goes
5. Somniloquy
6. Onward Strides Colossus

Album Credits:
Album Art – Leoncio Harmr
Album Layout – Taylor D. Waring
Engineering and Mixing – Nic Wilbur
Mastering – Adam Tucker

MERLOCK is:
Taylor D. Waring – Guitar / Vox
Andrew Backes – Bass
Lucas Barrey – Drums

https://www.facebook.com/MerlockSpokane/
https://www.instagram.com/merlocklives/
https://merlock.bandcamp.com/
https://www.merlocklives.com/

Merlock, You Cannot Be Saved performance video

These guys were a highlight of my addled Psycho Las Vegas 2022 experience back in August and their new video for “Graveyard” is a further reminder of the wholesome-toned earliest-Mars Red Sky vibes that persist across their 2021 debut album, Ultra (review here). The timing on the new clip is somewhat unexpected, since that record came out last Sept., but there are any number of reasons why Kadabra might put it out now. Maybe it took a year to make. That shit certainly happens with these things. Or maybe they just wanted to give an extra push after a while to move some records, which getting more people to hear this song is bound to do. Or maybe it might be a way to herald something new, either a preface for a tour or a new studio work, album, etc., to be announced in the coming weeks. Or something else entirely. I simply don’t know, and this just kind of showed up in my recommendations and I saw it was listed as new. For all I know the band posted it last year and the label, Heavy Psych Sounds, just put it up under their own account.

In any case, it hasn’t been posted here before, so I’m glad to get it up now, purely because the track is awesome and the record remains killer, whether the Spokane, Washington, three-piece are about to do another one or not. Among the reasons to be excited at the prospect that they are is that it would mean the band thought enough of the response to the first putting to keep the band going as more than a one-off — because I don’t think Kadabra is anyone in Kadabra’s only band — and given the strength of their material on Ultra, they showed some serious potential for growth that it would be cool to see (hear) realized. I didn’t think Ultra got the attention it deserved, but that’s no reason for the band not to make a follow-up if they’re even remotely inclined toward doing so.

We’ll find out, I suppose, and if I see word of their doing something new in 2023, or touring, or whatever, I’ll post when I see it. You know how it goes.

Enjoy the clip:

Kadabra, “Graveyard” official video

GRAVEYARD is KADABRA first single taken from the band’s latest album ULTRA. Out September 2021 via Heavy Psych Sounds.

GRAB YOUR COPY HERE:
https://www.heavypsychsounds.com/shop.htm#HPS178

USA SHOP:
https://www.heavypsychsounds.com/shop-usa.htm

Written throughout the 2020 global pandemic, Kadabra’s debut album “Ultra” presents an aesthetic that nears that “classic rock” charm and energy. The group has meshed together the droned flow of psychedelic clamor with an abrasive fuzzed riff drive. The sound is a mixture of psychedelic rock and hard rock riffing, vocals are choral and magnetic. In the fall of 2020, KADABRA enter the studio to record “Ultra” with producer Dawson Scholz : 7 brand new tracks for a fresh debut album: ULTRA keep the listener awake until the last minute of the album, with a variety of chill atmospheres. You can listen strong influences of Dead Meadow, Pentagram.

KADABRA is:
Garrett Zanol (Vocals/Guitar)
Ian Nelson (Bass)
Chase Howard (Drums)

Kadabra on Instagram

Heavy Psych Sounds on Facebook

Heavy Psych Sounds on Instagram

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

Somewhere between sneering punk-informed heavy rock, sneering ’80s metal — that shout of “guitar!” before the solo on “Sky Burial” is a dead giveaway — and sneering sneer, Spokane, Washington’s Twin Void‘s debut album, Free From Hardtimes, wants nothing for attitude. The trio issued the full-length in April through Electric Valley Records and are set to support it next month by hitting the road on the West Coast, keeping partial company on the run with LáGoon out of Portland, Oregon, who are soon to release their own new LP through the same label.

You can hear Free From Hardtimes below, so don’t let me prattle on too much, but after a slew of short releases between 2019 and 2020, Twin Void‘s first long-player has a definite sense of self, whether it’s the Nebula-style acoustics of “Set Me on Fire” or the drumstick-in-your-eye-on-its-way-to-the-snare punctuation of “You Can Hear the Devil Walkin’.” They are intermittently raucous, defined in part by the throaty vocals of Nathan Bidwell, and they would seem to have brought enough riffs for the whole class, so right on. In the post-lockdown era, as we mammals poke our heads out of the ground and survey the destruction wrought by that giant asteroid what slammed into our concept of a “night out,” maybe this is the kind of kick in the pants needed. I’m not a virologist, but I know catchy when I hear it.

Dates follow, as per socials and the PR wire:

TWIN VOID – West Coast Tour

New Twin Void / Lágoon WEST COAST TOUR, in support of Twin Void’s first record “Free From Hardtimes” and Lágoon jumping on the same label Electric Valley Records!

10/7 – Seattle, WA *
10/8 – Portland, OR *
10/9 – Bend, OR *
10/11 – Eureka, CA
10/12 – Sacramento, CA
10/13 – Santa Cruz, CA
10/14 – Palmdale, CA
10/15 – San Diego, CA
10/16 – Tempe, AZ
10/19 – Gallup, NM
10/20 – Denver, CO
10/21 – Salt Lake City, UT
10/22 – Boise, ID
(w/ Lágoon *)

Twin Void is:
Nathan Bidwell: Guitar/Vocals
Mike Bidwell: Bass
Cory McCallum: Drums

https://www.facebook.com/twinvoidband/
https://www.instagram.com/twin_void/
https://twinvoid.bandcamp.com/

http://electricvalleyrecords.com
https://www.facebook.com/electricvalleyrecords
https://www.instagram.com/electricvalleyrecord
https://www.evrecords.bandcamp.com

Twin Void, Free From Hardtimes (2022)

Spokane, Washington, weirdo sludge trio Merlock release their new offering, You Cannot Be Saved, on Nov. 19. Gadzooks, that’s Friday! They’ve pressed the six-song/40-minute follow-up to last year’s That Which Speaks (review here) — a title referenced in the creepy whispers here on “Final Condemnation” — to 75 tapes and 100 CDs and already wrapped up a round of tour dates to herald its coming, cruising hither and yon along the Pacific Coast and areas inland. The included tracks date back to the band’s 2018 self-titled demo/EP, with opener “Grimelord” having appeared on that release, but all are re-recorded/reinterpreted by the band as they are these 75 plague-addled years later and complemented by the new song “Where No One Goes” (premiering below), which will reportedly also feature on Merlock‘s first outing as a three-piece sometime in 2022.

The seven-and-a-half-minute “Where No One Goes” is a psychedelic sludge stunner, rife with noise and an undercurrent of plot that shows itself in its second half build of layered, thought-out solos and gradual devolution to noise. I’ve compared the band to earliest YOB before, and I stand by that, but there’s a modern willingness to be harsh throughout You Cannot Be Saved that consumes the early cosmic meanderings of song like “Idolon (Return),” the rawness of “Final Condemnation” seeming at the same time to act as a precursor to “Gloomtrain,” which is bitter sludge, but feels filtered through some late ’80s no wave experimentalist impulse; arthouse fuckery set to crucial volume. That’s as far out as Merlock go in the procession, though I won’t take away either from their speedier visit to Black Sabbath‘s “Electric Funeral,” or the wink-wink of tagging the mp3 I got as a Pantera cover. I legit got a chuckle out of that.

When Merlock announced the release of You Cannot Be Saved, they posted a video of the band playing it through from front-to-back — it’s at the bottom of this post, after all my blah blah and the PR wire stuff; you’ll find it — and that shows them as duly noisy, but doesn’t necessarily capture the atmosphere of the songs in the same way as their audio-only incarnation. The echoing cavernousness of “Where No One Goes” becomes part of the message of the song itself, which would seem to draw from a deeper searching of the subconscious for one’s motivations and emotional daily existence — the “shadow work” referred to below. If that effort is what’s being conveyed in the three different movements throughout the track, from the quieter unfolding to the chugging middle and the solo-laced apex, then I’m not sure where it all ends up, but the last crashes and residual rumble that ensues would seem to speak to some manner of discovery. It does not sound comfortable, in any case. Nor does it want to.

One doesn’t expect either the tapes or the CDs to last, but in the spirit of sharing, you can enjoy “Where No One Goes” on the player below, followed by the aforementioned PR wire whatnots.

Dig:

You Cannot Be Saved features reimagined tracks from their first demo and that which speaks…, a never before recorded early track, a new track from their anticipated 2022 full release, and a cover of Electric Funeral. For newcomers and fans alike, You Cannot Be Saved offers an experience down a dour path into the unknown.

Picking up where that which speaks… left off You Cannot Be Saved further explores Merlock’s fascination with shadow work and digging through the sludgey recesses of the mind. Sonically more raw and infinitely heavier than its predecessor, the EP pushes the extremities of Merlock and their post-doom soundscapes.

To support the release, Merlock hit the road for their You Cannot Be Saved Tour, touring the Northwest in November 2021 with dates in California, Nevada, Utah, and Idaho. As they crawl forward through a wall of sound, they smoke out the demons from the inner void. Can you be saved?

Tracklist:
1. Grimelord (Hailey Moore, Taylor D. Waring)
2. Idolon (return) (Taylor D. Waring)
3. Final Condemnation (Andrew Backes, Hailey Moore, Taylor D. Waring)
4. Where No One Goes (Taylor D. Waring)
5. Gloomtrain (Taylor D. Waring)
6. Electric Funeral (Black Sabbath)

Album Credits:
Engineered by Jamie Yeats and Wayne Randall at Black Magick Studios, in Kalispell, MT
Mixed by Nicholas Wilbur at The Unknown in Anacortes, WA
Mastered by Uncle Randy at Sky Ranch Studios
Artwork by RF Pangborn
Layout by Taylor D. Waring

Merlock, You Cannot Be Saved performance video

Merlock on Facebook

Merlock on Instagram

Merlock on Bandcamp

Merlock website

In the trippy performance video at the bottom of this post that covers the entirety of their upcoming EP, You Cannot Be Saved, Spokane, Washington, now-trio Merlock include the track “Where No One Goes,” which they say will feature on their upcoming LP next year. They call it their debut, though I thought last year’s That Which Speaks… (review here) was that, but I’m not about to quibble details. For that matter, You Cannot Be Saved is 39 minutes long — or at least the video is — so what the hell. We could be here all day with this crap and still say nothing about the music.

But the music is the thing. Listening to “Where No One Goes,” and indeed songs like “Idolon (Return)” and the drawling “Gloomtrain,” you can get a sense of where guitarist/vocalist Taylor D. Waring is coming from in talking about the band finding their sound. Yeah, they close with “Electric Funeral” and that’s good fun, but there and in the originals preceding, I get a vibe distinctly like a rawer incarnation of earliest, 12th Records-era YOB, and if that’s where Merlock are setting out from with their first record — or first as a three-piece, or second, or whatever — then that’s one I’m going to look forward to hearing next year.

And you know I keep a list for that kind of thing.

You Cannot Be Saved is out Nov. 19 and the band have tour dates to support. All info follows here, courtesy of the PR wire:

Merlock – You Cannot Be Saved EP – Nov. 19

Formed in 2017 in Spokane, Washington, Merlock came together as recent Spokane transplants. Having weathered lineup changes and the ongoing madness of coronavirus, they have made their presence known in the Northwest US and beyond. 

You Cannot Be Saved, the highly anticipated EP follow up to that which speaks… (2020) emerges on November 19, 2021. Recorded live on Halloween weekend to capture the band’s organic energy and psychedelic leanings, the EP showcases the authentic, adventurous style of these forlorn stoners in their debut as a 3-piece. 

You Cannot Be Saved features reimagined tracks from their first demo and that which speaks…, a never before recorded early track, a new track from their anticipated 2022 full release, and a cover of Electric Funeral. For newcomers and fans alike, You Cannot Be Saved offers an experience down a dour path into the unknown.

Picking up where that which speaks… left off You Cannot Be Saved further explores Merlock’s fascination with shadow work and digging through the sludgey recesses of the mind. Sonically more raw and infinitely heavier than its predecessor, the EP pushes the extremities of Merlock and their post-doom soundscapes.

To support the release, Merlock are hitting the road for their You Cannot Be Saved Tour. They will be touring the Northwest in November 2021 with tour dates scheduled in California, Nevada, Utah, and Idaho. As they crawl forward through a wall of sound, they smoke out the demons from the inner void. Can you be saved?

Quotes:

“We recorded You Cannot Be Saved to reintroduce the world to Merlock. that which speaks… felt stilted and inorganic and after losing our rhythm guitar player, we wanted to take a step back and reevaluate what Merlock meant to the rest of us. It’s a sonic vessel, a ritual exorcism, damnation and salvation all at once.” (Taylor D. Waring, guitar/vox)

“Thematically, You Cannot Be Saved involves a lot of shadwork. I try to explore the worst parts of myself and my culture in order to interrogate and exorcise–to cast them into the pyres of damnation. Tracks like “Grimelord” and “Gloomtrain” explore failed relationships and “Final Condemnation” speaks to a sense of self-disgust, both personally and culturally. However, it’s not all darkness in there: “Idolon (return)” is about refusing to wallow in the depths of self-doubt and “Where No One Goes”, which will be our debut full-length next year, finds a spiritual center in all of murky, mystical darkness.” (Taylor D. Waring, guitar/vox)

Tracklist:
1. Grimelord (Hailey Moore, Taylor D. Waring)
2. Idolon (return) (Taylor D. Waring)
3. Final Condemnation (Andrew Backes, Hailey Moore, Taylor D. Waring)
4. Where No One Goes (Taylor D. Waring)
5. Gloomtrain (Taylor D. Waring)
6. Electric Funeral (Black Sabbath)

Album Credits:
Engineered by Jamie Yeats and Wayne Randall at Black Magick Studios, in Kalispell, MT
Mixed by Nicholas Wilbur at The Unknown in Anacortes, WA
Mastered by Uncle Randy at Sky Ranch Studios
Artwork by RF Pangborn
Layout by Taylor D. Waring

Tour Dates:
11/5/21 – Moscow, ID | The Plant w/ Oakflesh
11/6/21 – TBD
11/7/21 – Eureka, CA | Siren’s Song w/ Fhog
11/8/21 – Sacramento, CA | Cafe Colonial w/ TBD
11/9/21 – Pacifica, CA | Winter’s Tavern w/ Wizzerd
11/10/21 – Santa Cruz, CA | Blue Lagoon w/ Y-axes & Supernaut
11/11/21 – Reno, NV | Dead Ringer Analog Bar w/ Ozymandias
11/12/21 – Salt Lake City, UT | Aces High w/ Pinewalker
11/13/21 – Boise, ID | The Corral w/ Ghorot

https://www.facebook.com/MerlockSpokane/
https://www.instagram.com/merlocklives/
https://merlock.bandcamp.com/
https://www.merlocklives.com/

Merlock, You Cannot Be Saved performance video