Mos Generator Stream The Lantern in Full; Out Friday

Posted in audiObelisk, Reviews on February 25th, 2021 by JJ Koczan

mos generator circa 2007

Mos Generator are set to oversee a physical release of The Lantern this Friday through Argonauta Records. It’s kind of an oddball release, but these are oddball times, and melody soothes chaos, so bear with it. The Lantern, by my pitiful understanding of such things, is a remix/master of songs the Port Orchard, Washington, power trio released in 2007 on a 10″. At the time, it wasn’t The Lantern; it was Tales From the Vault. Seems pretty straightforward.

Now, where this gets confusing is that Mos Generator last year embarked on what founding guitarist/vocalist Tony Reed called ‘The Plundering of the Vaults,’ continuing a long-running pattern of adding to their massive discography by digging through old tapes, hard drives, whathaveyou. So, “tales” vs. “plundering,” but let’s assume it’s the same vaults in question. Reed also put out the religiously-themed “In the Upper Room” as a digital single last summer in varyingly mixed fashion, from the layered final version to completely instrumental. The Lantern, brings that track together with the harmonized leadoff “Dyin’ Blues,” as well as the centerpiece title-track — a mos generator the lanternforward boogie into a Floydian midsection en route to a showoff solo and rousing finish — the more classic-metal-tinged “Nightwolf” (sounds like Dio to me, right up to the fadeout) and the back and forth finale, “O’Cataa,” which shifts between softer harmony vocals and heavier rollout, patient and fluid all the while.

Mos Generator at the time was Reed, bassist Scooter Haslip and drummer Shawn Johnson, and if the Zdzislaw Beksinski cover art to The Lantern isn’t its own excuse for being — and it absolutely is — the release at just 22 minutes offers what might be a surprisingly relevant preview of the progressive mindset that the band has followed in more recent years. They’re due a new full-length sometime soon, but the quality and presentation of The Lantern makes it less just a fan-piece than it might otherwise be. With the basic tracks recorded mostly live over just a couple days, there’s an energy throughout that only adds to the flow between one song and the next. It won’t take up much of your day in the actual listening, but you should be prepared to have a song or two from it stuck in your head considerably longer.

Either way, as someone who didn’t hear Tales From the Vault when it came out, I’m more than happy to dig into these remixed tracks. Since the EP is premiering in full below, followed by some comment from Reed, I can only hope you feel the same.

Please enjoy:

Mos Generator, The Lantern official premiere

Tony Reed on The Lantern:

The Lantern was originally released in May of 2007 as a 10” picture disc called “Tales from the Vault”. That first pressing sold out quick and has remained unavailable on vinyl for the past 10 years at least. I’ve been wanting a re-issue of it for a few years now so it’s great to finally be getting to it. This re-issue has a new title, new mix, and new artwork. why? Because the original release was rushed out in every way. This is a chance to give it the attention it deserves on a vinyl format that that has much better sound quality than a picture disc. The new artwork, by the late Polish artist Zdzislaw Beksinski, represents the religious nature of many of the lyrics, as does the new title. The new mix retains the energy of how it was originally recorded and mixed but with a new focus and punch. Our approach to recording and songwriting for these sessions was a successful experiment and I’m stoked that the results are being let loose into the world again.

“The Lantern” will be coming out as a limited Vinyl edition only, on February 26th 2021 via Argonauta Records, the pre-sale has started at THIS LOCATION!

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Snail Sign to Argonauta Records; Fractal Altar Due This Spring

Posted in Whathaveyou on January 14th, 2021 by JJ Koczan

West Coast fuzz heavies Snail will release their new album, Fractal Altar, through Argonauta Records. The announcement and pickup comes after the Spring 2020 unveiling of the single “Nothing Left for You” (posted here), which will also feature as the second cut on the eight-song long-player. The Los Angeles and Washington-based trio’s last full-length was 2015’s Feral (review here), so they’re well enough due an album, particularly as they’re approaching the 30th anniversary of their originally getting together in 1992 — their self-titled debut (review here) came out in ’93, the All Channels are Open EP (review here) followed in ’94 and then they disbanded until 2009’s Blood (review here; discussed here) — and as a fan of their work across the board, news of a fifth full-length is only welcome as far as I’m concerned.

Spring release, so maybe April? May? Whenever it arrives, it will be greeted as a fuzzy liberator.

From the PR wire:

snail

SNAIL Signs Worldwide Deal With Argonauta Records! New album “Fractal Altar” due out in Spring 2021!

Six years since their last album, heavy psych prophets SNAIL have announced the worldwide signing with Argonauta Records for the release of a new and hotly-anticipated full-length studio album!

Entitled “Fractal Altar” and slated for a release in the Spring of 2021, SNAIL’s forthcoming, fifth record picks up where their last LP “Feral” left off — heavy, fuzzy melodic tunes with floating harmonies and lyrics that explore both inner and outer space. But this time, the band comes recharged and rejuvenated, enthusiastically triumphing over their dark side and reveling in their power trio roots.

Six years in gestation, recording for “Fractal Altar” led all three original SNAIL members Marty Dodson, Mark Johnson and Matt Lynch to convene the brotherhood to record their new album at All Welcome Records in Inglewood, CA. Since the members are spread out all over the West Coast ranging from Seattle to Los Angeles and San Diego, the proceedings took on the air of an astrological event. SNAIL in the studio is a celebration of both sonics and friendship, and after 30 years of playing together, it didn’t take long to lock in and feel the synergy ignite.

During the last year, the masters of heavy slowness have already shared a sneak peak of the fruits of their labors, but showcasing faster driving rhythms and Stooges-style leads with the track “Nothing Left for You”.

“We are very excited to be working with Argonauta and feel honored to be a part of their amazing roster of talent.” SNAIL comments. “Their enthusiasm and dedication to realizing our vision for this release means so much to us and we can’t wait to deliver this new record to our fans all over the world.”

Dropping the needle on the LP’s opening track “Mission from God”, the listener gets a nod to the Blues Brothers, while the song turns the line on its head with a hard rocking tune about going “far out” to bring back the psych knowledge for the less experienced masses. After ranging from poppy jangle to fuzzy singalongs and Camaro rocking proto-metal, the record closes with the album’s title song, “Fractal Altar”, a nine minute sludge behemoth that will leave listeners renewed and satisfied that they sat down to commune with the elders.

Welcome back the kings of fuzz, and stay tuned for many more details and new tracks to follow in the weeks ahead!

Snail is:
Matt Lynch (Bass/Vocals)
Marty Dodson (Drums)
Mark Johnson (Lead Vocals/Guitar)

www.snailhq.com
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Snail, Nothing Left for You / Fearless (2020)

Snail, “Nothing Left for You” official video

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The Obelisk Presents: THE BEST OF 2020

Posted in Features on December 31st, 2020 by JJ Koczan

london-news-etching-1854-newcastle-upon-tyne

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.

One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.

In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.

I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.

Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.

ukmedsnorx.com/zopiclone
ukmedsnorx.com/zolpidem

Okay:

The Top 50 Albums of 2020

#50-31

50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing

Notes: To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

Released by Ripple Music. Reviewed May 5.

There was no shortage of anticipation for what L.A. cultists High Priestess would do to follow their 2018 self-titled debut (review here), and the three-piece did not disappoint, instead gave a ritual mass that included the 17-minute concept piece “Invocation” alongside infectious and ethereal melodies like “The Hourglass.” And now that the circle’s been cast? Seems like they can do anything.

29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

Released by Svart Records. Reviewed Oct. 12.

High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Polymoon. If you haven’t yet heard Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by Totem Cat Records. Reviewed Sept. 30.

Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another Sons of Otis. Be thankful for everything you get from them.

27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

Released by Projection Records. Reviewed May 25.

Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Craig Williamson‘s voice itself — the ingredients for Lamp of the Universe‘s Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.

23. REZN, Chaotic Divine

rezn chaotic divine

Released by Off the Record Label. Reviewed Oct. 15.

I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.

17. Slift, Ummon

slift ummon

Released by Stolen Body and Vicious Circle Records. Reviewed March 26.

Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.

14. All Souls, Songs for the End of the World

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (RoadsawSasquatch, etc.) adding space and melody to the crunching, driving grooves.

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.

8. Elder, Omens

elder omens

Released by Armageddon Shop and Stickman Records. Reviewed April 27.

Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar Bjørnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver Sandøy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.

3a. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten and Ripple Music. Reviewed Dec. 3, 2019.

Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.

3. All Them Witches, Nothing as the Ideal

All-Them-Witches-Nothing-as-the-Ideal

Released by New West Records. Reviewed Sept. 3.

This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habits was not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.

The Top 50 Albums of 2020: Honorable Mention

Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.

Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, Ellengæst
Cruthu, Athrú Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of Silvåkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality

By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.

Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of the Vile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of Silvåkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog

Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?

In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.

And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal

Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.

Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.

So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn

Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.

You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.

There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.

Looking Ahead to 2021

A list of bands. Some confirmed releases, some not. Here goes:

Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, Lantlôs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.

Thank You

You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.

Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.

More to come.

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Quarterly Review: Emma Ruth Rundle & Thou, Spaceslug, Malsten, Sun Crow, Honeybadger, Monte Luna, Hombrehumano, Veljet, Witchrider, Devil Worshipper

Posted in Reviews on December 28th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.

Quarterly Review #51-60:

Emma Ruth Rundle & Thou, May Our Chambers Be Full

emma ruth rundle thou may our chambers be full

Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.

Emma Ruth Rundle on Thee Facebooks

Thou on Instagram

Sacred Bones Records website

 

Spaceslug, Leftovers

spaceslug leftovers

Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

 

Malsten, The Haunting of Silvåkra Mill

malsten The Haunting of Silvakra Mill

Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of Silvåkra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of Silvåkra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.

Malsten on Thee Facebooks

Interstellar Smoke Records webstore

 

Sun Crow, Quest for Oblivion

Sun Crow Quest for Oblivion

A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.

Sun Crow on Thee Facebooks

Sun Crow on Bandcamp

 

Honeybadger, Pleasure Delayer

honeybadger pleasure delayer

It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.

Honeybadger on Thee Facebooks

Honeybadger on Bandcamp

 

Monte Luna, Mind Control Broadcast

monte luna mind control broadcast

Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.

Monte Luna on Thee Facebooks

Monte Luna BigCartel store

 

Hombrehumano, Crepuscular

hombrehumano crepuscular

As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo más de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.

Hombrehumano on Thee Facebooks

Hombrehumano on Bandcamp

 

Veljet, Viva El Diablo

veljet viva el diablo

Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El Día de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.

Veljet on Thee Facebooks

The Swamp Records website

 

Witchrider, Electrical Storm

witchrider electrical storm

Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.

Witchrider on Thee Facebooks

Fuzzorama Records website

 

Devil Worshipper, 3

devil worshipper 3

Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.

Devil Worshipper on Thee Facebooks

Puppy Mill Recordings on Bandcamp

 

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Grim Earth Sign to Desert Records

Posted in Whathaveyou on November 30th, 2020 by JJ Koczan

Olympia, Washington, sludgers Grim Earth posted in October they were looking for a new second guitarist, so I don’t know if the lineup listed below with Eaon Forgash alongside guitarist/vocalist Craig Moore is current or what, but that was the version of the band that put out last year’s Stash of the Damned three-song pummeler anyhow, and well, that certainly gets the point across, whatever personnel changes may have taken place since its issue.

How about Desert Records going on a bit of a tear lately, hmm? Wasn’t even a week ago I posted word that the Albuquerque-based imprint had picked up Phog, and now here we are again. Label honcho Brad Frye (also of Red Mesa) better be careful or he might just turn into the American Argonauta. Which now that I think about it wouldn’t be a bad thing at all.

Info cobbled together from various social-type sources, slightly edited:

grim earth

Grim Earth – Desert Records

Welcome Grim Earth to Desert Records! We are happy they’re joining the DR family!

Grim Earth is a sludge metal band out of Olympia, Washington. They formed, as so many other bands do, out of the ashes of previous projects. Longstanding musical partnerships come together within the band as they seek to craft the heaviest riffs known to man. Grim Earth seeks to fuse the influences of legends like Iron Monkey or High on Fire. However, they aren’t afraid to experiment with touches of Nails or even Autopsy making their way into the sound. And so, years of DIY metal have percolated into a twisted whole.

We are re-releasing their most recent EP “Stash of the Damned”. It is available for NYP here: grimearth.bandcamp.com/album/stash-of-the-damned-ep

After initially coming together in 2017 and recording a demo, it wasn’t until 2019 that the band started to put together a more serious lineup committed to touring and recording. Their hodgepodge of backgrounds, ranging from stoner rock to hardcore by way of underground death metal means that the band has a distinct take on the genre. Simultaneously, the fact that drummer Austin Peterson and frontman Craig Moore have been playing together for half a decade means that the band has gelled on a level that borders on the spiritual. It also means that relative newcomers Elmer Saez (bass) and Eaon (guitars) have been able to immediately find their roles in this unique sonic texture.

After releasing the Stash Of The Damned in the fall of 2019 the band has started to prepare for their next phase. With new music constantly being written, Grim Earth have the bitter determination it takes to bring their band to the next level. Sludge metal fans of the world stand back – the riff worshippers in Grim Earth are ready to take your head.

Grim Earth are:
Craig Moore – Vocals and Guitar
Elmer Saez – Vocals and Bass
Eaon Forgash – Guitar
Austin Peterson – Drums

https://www.facebook.com/Grimearthofficial/
https://www.instagram.com/grimearthofficial/
https://grimearth.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Grim Earth, Stash of the Damned (2020)

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Tony Reed Posts “Funeral Suit” Video

Posted in Bootleg Theater on November 25th, 2020 by JJ Koczan

tony reed

The enviably prolific Tony Reed issued his solo acoustic debut, Funeral Suit (review here), earlier this month as the second installment of Ripple Music‘s ongoing ‘Blood and Strings’ series. It is just one of several Reed-related offerings to surface this year, but among the albums and whatnot from the goth-tinged Constance Tomb and his main band, Mos Generator, the mostly-unplugged of course stands out both by eschewing the heavy riffs and driving classic heavy grooves that Reed‘s known for, and for instead allowing him to begin a new exploration as a songwriter.

Mos Generator has only grown more progressive over the last couple albums, and Reed follows that trail onto Funeral Suit as well, as can be readily heard in the lush melodies and diversity of arrangements throughout as Reed layers his vocals, self-harmonizes, and switches between various guitars, keyboards/synthesizers and piano. The title-track, unassuming in its central strum, still bears the clarity of Reed‘s own production, and brings a wistful Mellotron progression to its midsection, integrating it fluidly with the acoustic guitar that surrounds. I’m not sure one would be correct to call it straightforward, but it’s one of Funeral Suit‘s more intimate stretches, and the video works in kind, with Reed presenting the track close on the camera in emphasis of the personal nature of the expression.

The stream of Funeral Suit is at the bottom of this post, and Reed‘s “Funeral Suit” clip follows here.

Please enjoy:

Tony Reed, “Funeral Suit” official video

Seattle songwriter and producer TONY REED (also frontman of Mos Generator) debuts an intimate monochrome video for the title track of his solo acoustic album ‘Funeral Suit’, available now on Ripple Music as part of their ‘Blood And Strings: The Ripple Acoustic’ series.

TONY REED is known for being the driving force behind Seattle’s heavy rock trio Mos Generator, as well as one of the most prolific songwriters and respected producers of the American underground rock scene. While he released his solo debut with ‘The Lost Chronicles Of Heavy Rock Vol. 1’ in 2018, never had he found the right occasion to sit down, grab a guitar and lay himself bare as freely and soulfully as he does on his acoustic debut ‘Funeral Suit’. With ‘Funeral Suit’, Tony Reed delivers his most personal work to date, pushing the experience further than the standard “man with a guitar” approach. Whether it’s the delicate arrangements, soulful vocal harmonies or piano-based escapades, this is a dense and multifaceted folk rock album with a strong progressive edge that will resonate with any listener.

Tony Reed, Funeral Suit (2020)

Tony Reed on Bandcamp

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Mos Generator on Thee Facebooks

Mos Generator on Instagram

Mos Generator on Bandcamp

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Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

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Mos Generator to Reissue The Lantern Feb. 26; Preorders Available

Posted in Whathaveyou on November 10th, 2020 by JJ Koczan

Don’t get me wrong, I’d probably be posting about a Mos Generator reissue/reworking/whatever-you-want-to-call-it anyway, because, well, it’s been like three days and I’ll admit I was starting to jones for some Tony Reed news, but look at that cover art. Man, that rules. I’m pretty sure the stuff on The Lantern — though it’s been remixed and so on — showed up on Destroy! The Mos Generator as well as on Tales From the Vault, but whatever. For the cover alone I’m happy to give this one some space. I don’t even want it on a poster. I want it on a tapestry. I want it on a throw blanket. A window treatment. Something.

You’ll note that The Lantern continues the collab between Mos Generator and Argonauta Records, which released the band’s split with Di’Aul already this year. One doubts this will be the last either. And if you missed it, Reed‘s solo record came out last week and is one of my favorite records of 2020. So there.

From the PR wire:

mos generator the lantern

MOS GENERATOR, To Reissue Finest Song Collection “The Lantern”!

Release date February 26.
Available as: 300 copies LTD GOLDEN BLUE VINYL + INSERT!

Tony Reed’s Mos Generator, who formed in 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between its three members, all of which are long time veterans of road & studio, inspired the heavy music scene since decades.

The need to strip down to the basics of hard rock was apparent from their start and continues to be the foundation for all the bands recent material. Mos Generator have released 9 full length studio albums, a retrospective album, 2 live albums and a plethora of split 7″ and 12” singles on such labels as Listenable, Roadburn, Small Stone, Ripple, Nasoni, Lay Bare, Hevi Sike, H42, Devil‘s Child, Kozmik Artifactz, Heavy Psych Sounds or just recently, their critically acclaimed split LP with Sludge maniacs Di’Aul via Argonauta Records.

Touring has been just as important to the profile of the band as making records has. Over the years Mos Generator has shared the stage with many great heavy rock bands across Europe and North America including extensive tours with Saint Vitus, FU Manchu, Elder, Spirit Caravan and Atomic Bitchwax. They have also played prestigious festivals throughout Europe including 2 appearances at Hellfest in France, opening up a whole new fan base to the Mos Generator sound.

After 20 years of making music the band shows no sign of slowing down. Now, the band has announced to reissue a finest collection of songs, taken from Mos Generator’s pathbreaking 2007-album, “Tales from the Vault”! Re-mastered and with its blistering new mix, “The Lantern” sounds like a different album and as you have never heard the band before, this exciting collection of tracks will be a definite must-have in every Mos Generator, heavy rock and doom metal record collection. “The Lantern” will be coming out as a limited Vinyl edition only, on February 26th 2021 via Argonauta Records, the pre-sale has just started at THIS LOCATION!

“The Lantern is a collection of songs that were originally released in 2007 on a 10” picture disc as Tales from The Vault.” Says band mastermind, Tony Reed. “The original album has been long out of print so it’s great to be re-releasing these tracks with new mixes and new artwork. The recording sessions, from June 2006, took place in our rehearsal room and capture us live playing brand new songs. A few of them were arranged only a day or two before the sessions started. I think this element makes the songs sound reckless and raw. There is an atmosphere on this record that doesn’t exist on any other Mos Generator release.”

Album Tracklist:
01. Dyin’ Blues
02. In The Upper Room
03. The Lantern
04. Nightwolf
05. O’Cataa

www.facebook.com/MosGenerator
www.mosgenerator.bandcamp.com
www.argonautarecords.com

Mos Generator, “Dyin’ Blues”

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Quarterly Review: The Pilgrim, Polymoon, Doctors of Space, Merlock, Sun Dial, Saturn’s Husk, Diggeth, Horizon, Limousine Beach, The Crooked Whispers

Posted in Reviews on October 12th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well, the weekend’s over and it’s time to wrap up the Quarterly Review. Rest assured, I wrote the following during my copious weekend leisure time, resting on the side of a heated Olympic-size pool with a beverage nearby. It definitely wasn’t four in the morning on a Sunday or anything. If I haven’t gotten the point across yet, I hope you’ve found something amid this massive swath of records that has resonated with you. By way of a cheap plug, I’ll be featuring audio from a lot of these bands on the Gimme Metal show this Friday, 5PM Eastern, if you’re up for tuning in.

Either way, thanks for reading and for being a part of the whole thing. Let’s wrap it up.

Quarterly Review #51-60:

The Pilgrim, …From the Earth to the Sky and Back

the pilgrim from the earth to the sky and back

Lest he be accused of laziness, Gabriele Fiori — also of Black Rainbows, Killer Boogie and the head of the Heavy Psych Sounds label, booking agency and festival series — made his solo debut as The Pilgrim with Spring 2019’s Walking into the Forest (review here). Joined by Black Rainbows drummer Filippo Ragazzoni, Fiori ups the scale of the journey with the second The Pilgrim LP, …From the Earth to the Sky and Back. Richer in arrangement, bolder in craft and more confident in performance, the album runs 14 songs and 50 minutes still largely based around an acoustic acid rock foundation, but with a song like “Riding the Horse” tapping ’70s singer-songwriter vibes while “Cuba” touches on Latin percussion and guitar and “Space and Time” journeying out near the record’s end with waves of synthesizer, it seems The Pilgrim isn’t so willing to be pigeonholed. So much the better.

The Pilgrim on Thee Facebooks

Heavy Psych Sounds website

 

Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

There is an undercurrent of extremity to the debut release from Polymoon, who hail from the psychedelic hotbed that is Tampere, Finland. The six-song/42-minute Caterpillars of Creation turns in opener “Silver Mt.” to fervent guitar push or from freaked-out cosmic prog into drifting post-universe exploration, setting the stage for the dynamic that unfolds throughout. The wash early in the second half of “Lazaward” is glorious, and it’s not the first or the last time Polymoon go to that adrenaline-pumping well, but the serenity that caps that song and seems to continue into “Malamalama” in closing side A is no less effective. “Helicaling” mounts tension in its early drumming but finally releases it later, and “Neitherworld” gives Caterpillars of Creation‘s most fervent thrust while closer “Metempsychosis” rounds out with a fitting sense of dissipation. As a first album/first release, it is particularly stunning, and to make it as plain as possible, I will think less of any list of 2020’s best debut albums that leaves out Polymoon.

Polymoon on Thee Facebooks

Svart Records website

 

Doctors of Space, First Treatment

doctors of space first treatment

The two-piece comprised of Martin Weaver (ex-Wicked Lady) and synthesist Scott “Dr. Space” Heller (Øresund Space Collective, Black Moon Circle, etc.) position First Treatment as their proper studio debut, and it certainly hits its marks in galaxial adventuring well enough to qualify as such, but the duo have been on a creative splurge throughout this year — even in lockdown — and so the six songs here are also born out of the work they’ve been doing since releasing their debut single “Ghouls ‘n’ Shit” (video premiere here) late last year. The album launches with “Journey to Enceladus,” which boasts drum programming by Weaver and though one of the movements in the 21-minute “Into the Oort Cloud” is based around beats, the bulk of First Treatment is purely a work of guitar and synth, and it basks in the freedom that being so untethered inherently brings. Running an hour long, it’s improvisational nature isn’t going to be for everyone, but Heller and Weaver make a strong argument that maybe it should be.

Doctors of Space on Thee Facebooks

Space Rock Productions website

 

Merlock, That Which Speaks

merlock that which speaks

Who’s ready for a New Wave of PNW Fuckery? That’s right folks, the NWOPNWF has arrived and it’s Spokane, Washington’s Merlock leading the sometimes-awfully-punk-sometimes-awfully-metal-but-somehow-also-always-sludge charge. Aggressive and damning in lyrics, swapping between raw screams, grows, shouts and cleaner vocals and unhinged in terms of its genre loyalties, That Which Speaks seems to find the “melt faces” setting wherever it goes, and though there’s a sense of the four-piece feeling out what works best for them stylistically, the sometimes frantic, sometimes willfully awkward transitions — as in second cut “Prolapse” — serve the overall purpose of undercutting predictability. Eight-minute opener/longest track (immediate points) “Idolon” stomps and shoves and gnashes and nasties its way through, and that’s the modus across what follows, though the scream-along headbanger “Vessel” somehow seems even rawer, and though it ends by floating into oblivion, the start of “Condemnation” heavy fuckin’ metal to me. You never know quite where Merlock are going to hit next, and that’s the joy of the thing. May they remain so cacophonous.

Merlock on Thee Facebooks

Merlock on Bandcamp

 

Sun Dial, Mind Control: The Ultimate Edition

sun dial mind control

Long-running UK psychedelic rockers Sun Dial — led by founding guitarist/vocalist Gary Ramon — released Mind Control in 2012. Sulatron Records picked it up in 2015, and now, five years after that, the same label presents Mind Control: The Ultimate Edition, a 2CD version of the original LP-plus-bonus-tracks reissue that brings the total runtime of the release to a well-beyond-manageable 98 minutes of lysergic experimentation. A full 20 tracks are included in the comprehensive-feeling offering, and from early mixes to alternative takes and lost tracks, and if this isn’t the ‘ultimate’ version of Mind Control, I’m not sure what could be, notwithstanding a complete-studio-sessions box set. Perhaps as a step toward that, Mind Control: The Ultimate Edition gives an in-depth look at a vastly underappreciated outfit and is obviously put together as much for the label as by it. That is to say, you don’t put out a reissue like this unless you really love the original record, and if Sulatron loving a record isn’t enough endorsement for you, please turn in your mushrooms on your way out the door.

Sun Dial on Thee Facebooks

Sulatron Records webstore

 

Saturn’s Husk, The Conduit

Saturns Husk The Conduit

Immersion is the goal of Saturn’s Husk‘s third long-player, The Conduit, and the Riga, Latvia, instrumentalist trio accomplish it quickly with the fluid riffs that emerge from the drone-based intro “Death of Imaginary Lights” and the subsequent 10-minute opener “Black Nebula.” At nine songs and 63 minutes, the album is consuming through the welcome nodder “The Heavenly Ape,” the especially-doomed “The Ritual” and the more mellow-float centerpiece “Spectral Haze,” while “Mycelium Messiah” brings more straight-ahead fuzz (for a time) and drones on either side surround the 10:35 “Sand Barrows,” the latter serving as the finale “A Shattered Visage” quoting Percy Bysshe Shelley and the former “City of the Djinn” running just a minute-plus but still doing enough to reset the brain from where “Mycelium Messiah” left it. Almost functioning as two albums side-by-side with “Spectral Haze” as the dividing point, The Conduit indeed seems to join various sides together, with a depth to coincide that invites the listener to explore along with it.

Saturn’s Husk on Thee Facebooks

Saturn’s Husk on Bandcamp

 

Diggeth, Gringos Galacticos

diggeth gringos galacticos

Landing a punch of classic metal to go along with its heavy-bottomed groove, Diggeth‘s Gringos Galacticos — one supposes the title ‘Spacecrackers’ was taken — was released by the Dutch trio in 2019 and receives a US limited vinyl edition thanks to Qumran Records. One finds some similar guitar heroics to those of Astrosoniq‘s more straightforward moments, but Diggeth‘s focus remains on hookmaking for the duration, offering hints of twang and acoustics in “In the Wake of Giants” and tipping a hat southwestward in “Three Gringos,” but “Straight-Shooter” is willfully breaks out its inner Hetfield and even as the penultimate “Unshackled” departs for a quieter break, it makes its way back in time for the big finish chorus, adding just a touch of Candlemass grandiosity for good measure before the harmonica-laced closing title-track rounds out with its dynamic spacey weirdness, the name of the album repeating itself in an answer to the Stephen Hawking sample that started the voyage on its way.

Diggeth on Thee Facebooks

Qumran Records website

 

Horizon, The White Planet Patrol

horizon the white planet patrol

Cursed Tongue Records has the vinyl here, and Three Moons the tape, and the CD will arrive through Aladeriva Records, La Rubia Producciones, Aneurisma Records, Surnia Records and Violence in the Veins — so yes, Horizon‘s third album, The White Planet Patrol is well backed. Fair enough for the Kyuss-via-BlackRainbows vibes of “End of Utopia” or the initial charge and flow of “The Backyard” that sets the Alicante, Spain, trio on their way. “King Serpent” and “Death & Teddies” bring well-crafted fuzz to bear, and “Blind World” effectively layers vocals in its chorus to coincide, but the more laid back roll of the title-cut is an unmistakable highlight. Shades of mid-paced Nebula surface in “Meet the Forest” later on, but Horizon are part of a tradition of heavy bands in Alicante and they know it. The smoothness of their tone and delivery speaks volumes on its own in that regard, never mind the actual songwriting, which also leaves nothing to be desired.

Horizon on Thee Facebooks

Cursed Tongue Records webstore

 

Limousine Beach, Stealin’ Wine + 2

Limousine Beach Stealin Wine

Debut EP from Limousine Beach out of Pittsburgh, and if the three guitars involved don’t push it over the top, certainly the vocal harmonies get that particular job done. You got six minutes for three songs? Yeah, obviously. They scorch through “Tiny Hunter” to close out, but it’s in the leadoff title-track that Stealin’ Wine + 2 sees the Dave Wheeler-fronted outfit land its most outrageous chorus, just before they go on to find a middle-ground between KISS and Thin Lizzy on “Hear You Calling.” The harmonies open and are striking from the outset, but it’s in how they’re arranged around the standalone parts from Wheeler (also Outsideinside, ex-Carousel) that the outfit’s truest potential is shown. Issued through Tee Pee Records, Stealin’ Wine + 2 is the kind of thing you’d pick up at a show in a normal year and then feel way ahead of everyone else when the LP finally hits. Not a normal year, obviously, but Limousine Beach are serving due notice just the same. In six minutes, no less.

Limousine Beach on Thee Facebooks

Tee Pee Records website

 

The Crooked Whispers, Satanic Melodies

the crooked whispers satanic melodies

I’m sure a lot of records show up at Satan’s door with notes, like, “Dear sir, please find the enclosed submitted for your approval,” but it’s not hard to imagine Beelzebub himself getting down with the filth-coated sludge and rolling doom unfurled across The Crooked Whispers‘ debut offering, Satanic Melodies, marked by hateful, near-blackened screams from Anthony Gaglia and the plodding riffs of Chad Davis (Hour of 13, et al). The title-track is longest at 8:23 and in addition to featuring Ignacio De Tommaso‘s right-on bass tone in its midsection, it plays out early like Weedeater sold their collective soul, and drifts out where earlier pieces “Sacrifice” and “Evil Tribute” and “Profane Pleasure” held their roll for the duration. Stretches of clean-vocal cultistry add to the doomier aspects, but The Crooked Whispers seem to care way less about genre than they do about worshiping the devil, and that unshakable faith behind them, the rest seems to fall into place in accordingly biting fashion.

The Crooked Whispers on Thee Facebooks

The Crooked Whispers on Bandcamp

 

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