Day two. Normally this is time for hubristic gibberish about how easy the QR will be, the overconfidence of one whose trees rarely appear as forests. But we persist anyhow, and today looks pretty good from where I’m sitting now, so despite the ‘Day 2 on a Monday’ weirdness, which I’m pretty sure makes no one other than myself even raise an eyebrow, things are rolling and one hopes will continue to be fluid. I wouldn’t say Day 1 came together easily, since it took me like two and a half days to get done, but neither was out unpleasant. Hoping for more of the same here, plus efficiency.

Quarterly Review #11-20:

Queens of the Stone Age, Alive in the Catacombs

Something of an identity crisis in Queens of the Stone Age perhaps that sees the long-running highest commercial export of desert rock shift from the cloying pop of their last two albums to a comparatively stripped down live recording in — you guessed it — catacombs, where apparently the acoustics are pretty sweet. Anybody remember when Tenacious D went into ‘the cave’ on the Tribute EP? No? Didn’t think so. Frontman Josh Homme, who carries the minimal arrangements on vocals largely with ease, and his ever-ace band filmed the whole thing; it’s all sepia, all very artsy, and they do “Kalopsia” and dip back 20 years to finish with “I Never Came” after “Suture Up Your Future,” which is the second inclusion by then from 2007’s Era Vulgaris. All told it’s five songs and 27 minutes, and whether you hear it as a cringe hyperindulgence of unaware self-parody or as an expression of human artistry in organic form surrounded by memento mori probably depends on how deep you run with the band. But they’re not hurting anybody either way.

Queens of the Stone Age website

Matador Records website

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Breath, Brahman

Between recording and then remixing/remastering their 2021 debut Primeval Transmissions (review here) and signing to Argonauta Records, Portland meditative duo Breath, comprised of Ian Caton and Steven O’Kelly, expanded the lineup with Lauren Hatch on keys and their second album, Brahman, brings Rob Wrong (Witch Mountain) into the fold on guitar as well as helming the recording. The sense across the eight songs/42 minutes is still of exploring the reaches of consciousness, very post-Om in the foundational basslines and dry vocals, but having Wrong rip out a solo in each break of “Awen” sure doesn’t hurt, and hearing the full band come together around the culmination of “Hy-Brasil,” keys, guitar, bass, drums all-in tonally, is emblematic of their expanding horizons. As for those, “Sages” pushes toward its own vision of psych rock in conversation with the opener, and “Cedars of Lebanon” demonstrates malleability and balance that one hopes portend more to come as the band continues to grow and gel.

Breath Linktr.ee

Argonauta Records website

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Johan Langquist The Castle, Johan Langquist The Castle

Kind of an awkward moniker grammatically for the solo-band fronted by original/once-again/maybe-erstwhile Candlemass vocalist Johan Langquist. Is it possessive? Is he The Castle? I don’t quite understand, but from the operatic complement of Emelie Lindquist‘s backing vocals on opener “Eye of Death” through the litany of compiled singles Johan Langquist The Castle dropped over the course of 2024, there’s no mistaking the classic nature of the doom. “Castle of My Dreams” flows keyboardier on balance, while “Where Are the Heroes” gives riffers shelter in its chug, while “Raw Energy” and “Revolution” toy with the balance between the two sides, with “Freedom” as a classic-metal epic and “Bird of Sadness” as the comedown epilogue. Langquist, absent decades between fronting the first Candlemass LP in 1986 and rejoining the band circa 2011, would seem to be making up for lost time, and the ideas he’s exploring here warrant the investigation. I’m curious where this leads, which I think I’m supposed to be, so right on.

Johan Langquist The Castle on Instagram

I Hate Records website

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Maliciouz, Tortoise

From Joshua Tree, California, Maliciouz is the solo-outfit of Michael Muckow, who handles guitar, bass and drums for the molasses-thick instrumentalist proceedings. Tortoise arrives beating you over the head with its tone and metaphor alike; eight songs and 58 minutes of lumbering density wrought with dug-in purpose, harnessing heaviness-of-place as riffs and often melancholic drone metal crash. It’s an art project, but without pretense of being anything other than it is, and Muckow — who makes a point of noting his age (67) in the press material — composes for flow and immersion as each slow march gives way to the next, culminating in the semi-acoustic “The End,” which is no less on-the-nose than calling the album Tortoise to start with. No grand reflections, no sweeping statement. Tortoise lets the riffs do the talking and they say plenty about the grit and expanse Muckow is trying to conjure. Be careful out there. He makes it easy to get lost.

Maliciouz on Bandcamp

Maliciouz on Instagram

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Steve Von Till, Alone in a World of Wounds

The former co-guitarist/vocalist of Neurosis has come a long way since his guy-and-guitar beginnings as a solo artist, and Alone in a World of Wounds reaps the textural fruit of Steve Von Till‘s willful artistic progression in a piece like the leadoff “The Corpse Road” or “Distance,” which caps side A fluidly with the only use of drums on the record, reminiscent of The Keening‘s awareness of sonic weight and atmospheric sidestep. The cello, synth and field recordings build out what would be minimalist arrangements without them and remain early-morning quiet, the piano on the spoken-word-topped “The Dawning of the Day (Insomnia)” and flirtations with lushness on “Horizons Undone” softly shaping the album’s world with the electronics of “Old Bent Pine” ahead of the guitar-based “River of No Return,” which closes with what feels like an updated take on Von Till‘s earlier woodsfolk craft, reminding that ‘heavy’ is just as much existential as it is aural.

Steve Von Till website

Neurot Recordings store

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Mrs Frighthouse, Solitude Over Control

Solitude Over Control is as much a confrontation as an album, and that’s very clearly the intention behind Glasgow’s Mrs Frighthouse for their Lay Bare-issued debut LP, Solitude Over Control. Its 11 songs foster a bleak gamut of industrial sounds, portraying dark and inflicted sexual violence as part of the band’s expression. Slaying rapists, then, and fair enough. Intertwining layers of vocals and experimentalist pieces like “Seagulls (Part 1)” give an avant-garde air to the crush of “DIY Exorcism” and the lurching, abrasive finish of “White Plaster Roses,” soprano vocals and electronic noise externalizing the unsettled in a way that can only really be thought of as ‘extreme’ in a musical sense. “My body has never been mine,” confess the lyrics of “Our Culture Without Autonomy” with horror-style keyboard behind them; there’s a show being put on here, but it’s visceral just the same, and the later “My Body is a Crime Scene” turns the accusation direct: “My body is a crime scene/He did this to me/My body is a crime scene/You did this to me” in a moment that lands powerfully unless you’re a fucking sociopath.

Mrs Frighthouse Linktr.ee

Lay Bare Recordings website

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Droid & I Am Low, Eroded Forms/Inertia

A joint release between Majestic Mountain and Copper Feast Records, Eroded Forms/Inertia presents as a double-EP split release between Melbourne, Australia, melodic heavy post-metallic rockers Droid, who dare toward aggression on “Reverence” and the sludgier shouts of “Ruin” after leading off with “Khaki” without giving away the plot such that the blastbeats of “Resonance” still hit as a surprise, and Sweden’s I Am Low, who answer the fullness of tone with careening on “Sweet M16” before the grunge melody of “Greed” makes that song a highlight, “Waves” flows with less emotional baggage and a subtle hook, and “Inertia” wraps as a landing point with duly vibrant crash. Grunge and a hairy kind of fuzz are shared between the bands, but each has their own purpose. I don’t know if it’s a release of convenience to make it a split, but it makes for an engaging showcase, and if you’ve never come across either of them, the best arguments for digging in are right there in the songs.

Droid Linktr.ee

I Am Low on Bandcamp

Copper Feast Records website

Majestic Mountain Records store

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Tar Pit, Scrying the Angel Gate

Portland five-piece doomly flamekeepers Tar Pit begin their second full-length (on Transylvanian) with the 10-minute three-parter “Dagon, Dark Lord Dwelling Beneath,” the longest inclusion (immediate points) at 10:15 and bookended with the title-cut at the record’s end. Between, from the more rocking aspects of “Coven Vespers” to the downtrodden roll of “Blessed King of Longing,” the five-piece remind of doom at the turn of the century, when ‘traditionalism’ in doom metal was something of a defiance against modernity instead of an aesthetic unto itself. More than 20 years, The Gates of Slumber, Reverend Bizarre, and what was then the Church of True Doom would seem to have evolved into Tar Pit‘s Eldritch Doom Syndicate, and that’s nothing to complain about as “Blue Light Cemetery” accounts for Candlemass and Cathedral after the dim-blues of “Jubilee” secures the band’s place in the heavy morose. If you were just getting into doom, this kind of thing might make you want to start a band, and yes, that’s a compliment.

Tar Pit website

Transylvanian Recordings on Bandcamp

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GRGL, Horror-Bloated Ouroboros

Dirt-coated riffing leads the way on GRGL‘s Horror-Bloated Ouroboros six-song EP, as Jake‘s guitar, Hal‘s bass and Nick‘s drumming in the first-names-only Salt Lake City trio align around a chug in the opening “Horror-Bloated Ouroboros (An Overview),” that, despite the dry-throated barks that top it, remains among the more accessible moments of the churning sludge-doom outfit’s 23-minute outing. To wit, “Born Again” and the even more gurgley (hey wait a minute!) “My Skeleton” takes roughly the same elemental formula and slows it the frick down, thereby becoming immediately more tortured. The overarching impression is unipolar — raw, heavy, miserable — and the vocals are part of that, but the dynamic between those first two songs is answered for in the uptick of pace that arrives with “My Pie Hole” and the angularity of the shorter instrumental “Absorption/Secretion,” while the plodding reprise “Born Again (Again)” closes so as to make sure everybody ultimately gets where they need to be, i.e., hammered into the ground. Eat dust shit sludge. Hard to get away from thinking of this as the true sound of our times. Maybe it’s the title.

GRGL on Bandcamp

GRGL on Instagram

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Grusom, III

It’s a clear and classic style across Grusom‘s aptly-titled third album, III, which arrives some seven years after they were last heard from with 2018’s II (review here), the band who’ve become a low-key staple of the Kozmik Artifactz roster demonstrating in no uncertain terms what’s gotten them there. Vintage-heavy heads will find plenty to dig in the organ-laced flow of “Shadow Crawler,” “Hell Maker,” the later “Fatal Romance” and the more open finale “Mortal Desire,” and while “Le Voyage” has many of the same aspects at work, it shows the Danish six-piece as flexible enough in their approach to convey a range of emotions, ditto the wistful Graveyard-y “Memories” and the interlude “Euphoria,” making sure that among the places III might take a given listener, there’s nothing to remove them from the procession carried along by the band.

Grusom website

Kozmik Artifactz store

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Good morning from the kitchen table. It’s a couple minutes before 4AM as I get this post started. I’ve got my coffee, my iced tea in the same cup I’ve been using for the last three days, and I’m ready to roll through the next 10 records in this massive, frankly silly, Quarterly Review. Yesterday went well enough and I’m three days into the total 10 and I don’t feel like my head is going to explode, so I’ll just say so far so good.

As ever, there’s a lot to get through, so I won’t delay. I hope you find something here you dig. I certainly have.

Quarterly Review #21-30:

Sandrider, Armada

Armada is the third full-length from Seattle noiseblasters Sandrider, and at this point I’m starting to wonder what it’s going to take for this band to get their due. Produced by Matt Bayles and released through Good to Die Records, the album is an absolute monster front to back. Scathing. Beastly. And yet the songs have character. It’s the trio’s first outing since 2015’s split with Kinski (review here) and follows 2013’s Godhead (review here) and 2011’s self-titled debut (review here) in melding the band’s West Coast noise superiority with a sense of melody and depth as the trio of guitarist/vocalist Jon Weisnewski, bassist/vocalist Jesse Roberts, and omegadrummer Nat Damm course and wind their way through intense but varied material. “Banger” has been tapped for its grunge influence. Eh. Maybe in the riff, but who cares when there’s so much more going on with it? “Brambles” is out and out brutal but still has a hook, and cuts like “Industry” and the closing “Dogwater” remind of just how skilled Sandrider are at making that brutality fun. If the record was six minutes long and just had “Hollowed” on it, you’d still call it a win.

Sandrider on Thee Facebooks

Good to Die Records website

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Witchkiss, The Austere Curtains of Our Eyes

Goodness gracious. Cavernous echo accompanies the roars of guitarist Scott Prater that are offset by the more subdued melodies of drummer Amber Burns, but even in the most spacious reaches of 11-minute second cut “Blind Faith,” Witchkiss are fucking massive-sounding. Their debut album, The Austere Curtains of Our Eyes, presents an especially crushing take on ritualistic volume, sounding its catharsis in a song like “Spirits of the Dirt” and sounding natural as it trades between a rolling assault and the atmospheres of its quieter moments. With the departure since the recording of bassist Anthony DiBlasi, the New York-based outfit will invariably shift in dynamic somewhat coming out of this record, but with such an obvious clarity of mission, I honestly doubt their core approach will change all that much. A band doesn’t make a record like this without direct intention. They may evolve, and one hopes they do just because one always hopes for that, but this isn’t a band feeling their way through their first record. This is a band who know exactly the kind of ferocity they want to conjure, and who conjure it without regret.

Witchkiss on Thee Facebooks

Witchkiss on Bandcamp

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Satta Caveira, MMI

Argentinian instrumentalist trio Satta Caveira make a point of saying they recorded MMI, their second or third album depending on what you count, live in their home studio without edits or overdubs, click tracks or anything else. Clearly the intention then is to capture the raw spirit of the material as it’s happening. The eight songs that make up the unmanageable 62-minute listen of MMI — to be fair, 14 of those minutes are opener “Kundalini” and 23 are the sludge-into-jam-into-sludge riffer “T.H.C.” — are accordingly raw, but that in itself becomes a component of their aesthetic. Whether it’s the volume swell that seems to consume “Don Santos” in its second half, the funk of closer “Afrovoid” or the drift in “Kalifornia,” Satta Caveira manage to hone a sense of range amid all the naturalism, and with the gritty and more aggressive riffing of the title-track and the rush of the penultimate “Router,” their sound might actually work with a more elaborate production, but they’ve got a thing, it works well, and I’m not inclined to argue.

Satta Caveira on Thee Facebooks

Satta Caveira on Bandcamp

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Apollo80, Lizard! Lizard! Lizard!

Vocalized only by spoken samples of astronauts, the thrice-exclamatory Lizard! Lizard! Lizard! is the debut EP from Perth, Australia, three-piece Apollo80, who are given mostly to exploring an outpouring of heavy molten vibes but still able to hone a bit of cacophony following the “godspeed, John Glenn” sample in second cut “FFH.” There are four songs on the 26-minute offering, and its spaciousness is brought to earth somewhat by the dirt in which the guitar and bass tones are caked, but it’s more the red dust of Mars than anything one might find kicking around a Terran desert. Unsurprisingly, the high point of the outing is the 10:46 title-track, where guitarist Luke, bassist Brano and drummer Shane push farthest into the cosmos — though that’s debatable with the interstellar drone of closer “Good Night” — but even in the impact of “Apollo” at the outset, there’s a feeling of low-oxygen in the atmosphere, and if you get lightheaded, that’s exactly how it’s supposed to be.

Apollo80 on Thee Facebooks

Apollo80 on Bandcamp

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The Great Unwilling, EP

The prevailing influence throughout the untitled debut EP from Minnesota’s The Great Unwilling is Queens of the Stone Age, but listening to the layer of wah intertwine with the solo on “Sanguine,” there’s more to their approach than just that, however dreamy the vocal melodies from guitarist Jesse Hoheisel might be. Hoheisel, bassist Joe Ulvi and Mark Messina present a clean four tracks and 20 minutes on their first outing, and for having been together for about 18 months, their songwriting seems to have a firm grasp on what they want to do. “If 3 was 7” rolls along at a heavy clip into an effectively drifting midsection and second half jam before returning to the initial riff, while “Current” leads off with a particularly Hommeian construction, and soon gives way to the flowing pace and apparent lyrical references of the aforementioned “Sanguine.” They finish with the dirtier tonality of “Apostasy” and cap with no more pretense than they started, bringing the short release to a close with a chorus that seems to finish with more to say. No doubt they’ll get there.

The Great Unwilling on Thee Facebooks

The Great Unwilling on Bandcamp

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Grusom, II

A prominent current of organ alongside the guitars gives Grusom‘s aptly-titled second album on Kozmik Artifactz, II, a willfully classic feel, and even the lyrics of “Peace of Mind” play into that with the opening lines, “I always said I was born too late/This future is not for me,” but the presentation from the Svendborg six-piece isn’t actually all that retro-fied. Rather, the two guitars and organ work in tandem to showcase a modern take on those classic ideas, as the back and forth conversation between them in the extended jam of “Skeletons” demonstrates, and with a steady rhythmic foundation and soulful vocals overtop, Grusom‘s craft doesn’t need the superficial trappings of a ’70s influence to convey those roots in their sound. Songs like “Dead End Valley” and “Embers” have a bloozy swing as they head toward the melancholy closer “Cursed from Birth,” but even there, the proceedings are light on pretense and the atmosphere is more concerned with a natural vibe rather than pretending it’s half a century ago.

Grusom on Thee Facebooks

Kozmik Artifactz website

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Träden, Träden

Having originated as Träd Gräs och Stenar, the group now known as Träden is the product of a psychedelic legacy spanning generations. Founder Jakob Sjöholm has joined forces with Hanna Östergren of Hills, Reine Fiske of Dungen and Sigge Krantz of Archimedes Badkar to create a kind of supergroup of serenity, and their self-titled is blissful enough not only to life up to Träd Gräs och Stenar‘s cult status, but to capture one of its own. It’s gorgeous. Presumably the painting used on the cover is the cabin where it was recorded, and its eight tracks — sometimes mellow, sometimes more weighted, always hypnotic — are a naturalist blueprint that only make the world a better place. That sounds ridiculous, I know. But the truth is that for all the terrible, horrifying shit humanity does on a daily basis, to know that there are people on the planet making music like this with such a genuine spirit behind it is enough to instill a bit of hope for the species. This is what it’s all about. I couldn’t even make it through the Bandcamp stream without buying the CD. That never happens.

Träden on Thee Facebooks

Träden on Bandcamp

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Orthodox, Krèas

Last year, Spanish experimentalists Orthodox released Supreme and turned their free-jazz meets low-doom into a 36-minute fracas of happening-right-now creativity. Krèas, a lone, 27-minute track with the core duo of bassist Marco Serrato and drummer Borja Díaz joined by saxophonist Achilleas Polychronidis, was recorded in the same session but somehow seems even more freaked-out. I mean, it’s gone. Gone to a degree that even the hepcats who claim to appreciate free-jazz on anything more than a theoretical level (that is, those who actually listen to it) will have their hair blown back. The rest of the universe? Well, they’ll probably continue on, blissfully unaware that Orthodox are out there smashing comets together like they are, but wow. Challenging the listener is one thing. Krèas is the stuff of dissertations. One only hopes Orthodox aren’t holding their breath waiting for humanity to catch up to what they’re doing, because, yeah, it’s gonna be a while.

Orthodox on Thee Facebooks

Alone Records webstore

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Disrule, Sleep in Your Honour

Danish bruisers Disrule run a brash gamut with their second album, Sleep in Your Honour (on Seeing Red). Leading off with the earworm hook of the title-track (premiered here), the album puts a charge into C.O.C.-style riffing and classic heavy rock, but shades of Clutch-y funk in “Going Wrong” and a lumbering bottom end in “Occult Razor” assure there’s no single angle from which they strike. “(Gotta Get Me Some) Control” elicits a blues-via-Sabbath vibe, but the drums seem to make sure Disrule are never really at rest, and so there’s a strong sense of momentum throughout the eight-song/29-minute EP, perhaps best emphasized by two-minute second cut “Death on My Mind,” which seems to throw elbows as it sprints past, though even shouted-chorus closer “Enter the Void” has an infectious energy about it. If you think something can’t be heavy and move, Disrule have a shove with your name on it.

Disrule on Thee Facebooks

Seeing Red Records on Bandcamp

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Ozymandias, Cake!

First clue that all is not what it seems? The artwork. Definitely not a picture of cake on the cover of Ozymandias‘ debut album, Cake!, and accordingly, things don’t take long before they get too weird. “Jelly Beans” hits on harshest Nirvana — before it goes into blastbeats. “Mason Jar” scathes out organ-laced doom and vicious screaming, before “Hangman” gets all danceable like “All Pigs Must Die” earlier in the record. The wacky quotient is high, and the keyboards do a lot to add to that, but one can’t really call “Doom I – The Daisies” or the later “Doom II – The Lilies” anything but progressive in the Devin Townsend-shenanigans-metal sense of the word, and as wild as some stretches of Cake! are, the trio from Linz, Austria, are never out of control, and they never give a sense that what they’re doing is an accident. They’re just working on their own stylistic level, and to a degree that’s almost scary considering it’s their first record. I won’t claim to know where they might be headed, but it seems likely they have a plan.

Ozymandias on Thee Facebooks

StoneFree Records website

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Danish heavy rockers Grusom have announced an Aug. 31 release for their aptly-titled sophomore outing, Grusom II, which like its 2015 predecessor (discussed here), will be issued via Kozmik Artifactz. The six-piece once again worked with producer Jacob Bredahl (Hatesphere, Allhelluja, etc.), and they’re streaming the new single “Peace of Mind” in advance of the album. As you can hear at the bottom of this post, it’s an organ-laced classic rocker, and that very much sets the vibe for the rest of the record in that it doesn’t necessarily seem like Grusom are shooting for vintage production, presentation, etc., and yet it’s abundantly clear where their heart lies when it comes to influences in heavy rock.

The PR wire sent album details, which you’ll find below:

GRUSOM ready with sophomore album!

GRUSOM have attracted a tremendous awareness, which exceeds far beyond the Danish border. With a combination of heavy metal, stoner and acid rock, based on the gloomy parts of psych and heavy rock, these boys, naturally and honestly, meet their audience with an open heart.

Through their dark lyrics, GRUSOM create a universe of sound, where life and death is explored through gloomy tales. The dueling guitars, smoothness of the organ and the accomplished musical execution, will create the setting for your mind to wander.

GRUSOM gained huge interest, over a short period of time, with their self-released, award winning, debut album ‘Grusom’ and several riveting concerts at festivals such as Copenhell, Metal Magic Festival and Tinderbox, etc.

Their highly acclaimed and award winning debut ‘Grusom’ paved the way, and now it echoes once again the small island of Funen, Denmark. GRUSOM have once again collaborated with Jacob Bredahl (LIVLØS, Disrule, The Silent Low) at Dead Rat Studio, on the forthcoming album entitled ‘Grusom II’.

The sophomore album will be released through Kozmik Artifacts on August 31st 2018.

Tracklisting:
1. Beyond This Land 4:15
2. Peace of Mind 5:33
3. Skeletons 7:57
4. Vågn Op 5:28
5. Embers 6:29
6. Dead End Valley 5:53
7. Cursed From Birth 5:42

Grusom is:
Nicolaj Hoffmann Jul – vocal
Jakob Kaae – drums
Dennis Warburg – guitar
Thomas Ulrik – guitar
Søren Olesen – bass
Peter Pørtner – Keys

https://www.facebook.com/grusomband/
https://grusom.bandcamp.com/

Grusom, “Peace of Mind”

Danish six-piece outfit Grusom released their three-song demo last October, and by November, they were in talks with Kozmik Artifactz, who it has been announced will be handling the release of the band’s forthcoming full-length debut this July. The band’s blues-rocking style, marked out by dual guitars, standalone vocals and keys, is fitting in the progression past pure retroism that seems to be emerging throughout Europe, heavy ’70s influences being put in a more modern context, but one will still recognize some hallmarks in the single “The Journey,” for which Grusom have just released a new video.

A brooding sense of regret pervades the song — it’s not by any means upbeat or a brash, boozy single — but the pickup in the second half demonstrates the kind of flow Grusom have on offer and bodes well for what might come with the first album. The announcement came via the PR wire:

Denmark’s finest GRUSOM are signing with Kozmik Artifactz

Debut album release summer 2015

Just one month after releasing their demo on Bandcamp, Grusom signed with the German record label “Kozmik Artifactz.” Jacob Bredahl from Dead Rat Studio did the recording of their debut album. Grusom wanted to keep the feel of the actual recording as true and authentic as possible. Jacob caught Grusom’s sound and soul by recording all music in one room at the same time. Grusom’s debut album is expected to hit the street and shelves sometime during July 2015 (vinyl, cd and digital).

The first single from the album called “The Journey” is to be released the 16th. of March 2015. “The Journey” was partially written and arranged while recording in Dead Rat Studio. “The Journey” can be found digital on iTunes and several other online platforms including Grusom’s official bandcamp site.

The musicvideo was shot by Grusom’s personal photographer Andreas Bastiansen – you can watch it here:
https://www.youtube.com/watch?v=JSzdBlvnURA

http://kozmik-artifactz.com/artist/grusom/
https://www.facebook.com/grusomband
http://grusom.bandcamp.com/
https://twitter.com/grusomband

Grusom, “The Journey” official video