New Band To Burn One To: Lords of Mace

A nice huge slice of heavy Southern bluesy stoner riffery comes this way courtesy of Winston/Salem five-piece rockers Lords Of Mace, with a sound to coat every whiskey soaked headbanging groove with that extra hint of raw power. The band have just released their self-titled EP, five tracks of groove-laden riffs and gruff vocals to slam your fist to and long for the sunset at the roadside bar on the way to hell. The band join a stellar list of contemporaries such as Corrosion of Conformity, Geezer, and The Midnight Ghost Train with a thick heavy sound we think you’re going to want to get yourself in amongst!

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Song of the Day-Solaire-"The Stones"

"The Stones " is taken off of the band's debut full-length release "Magic Witch Bomb" released on September 26, 2015. Judging by the vocals, this band sounds so young, damn. Don't let that deter you from listening to this 3-piece from Clemson, SC. These dudes know how to rock! This song drifts along with free-spirit riffing, a slow southern groove and passionate guitar playing. Awesome! For more information, please check out the following links: Facebook | Bandcamp

EP Review: Zep Tepi by Void King

Heavy Southern-Sludge-Rock’n’Roll-Riffs are the words to give many of us metaphorical boners out there across Heavy Planet, and with the songs brutally deployed by Indianapolis’ Void King on their debut EP Zep Tepi, the headbangs and fist pumps are an equally joyous natural reaction to some killer doomy riffs.

Often displaying elements of slow drudging metal mixed around country-tinged southern rock, the hairy s.o.bs pull you slowly in with Jason Kindred’s whiskey soaked vocals before the heavy riffs lay their siege to the side of your skull in opening track ‘Release The Hawks’ as the song fritters between standard driving Rock’n’Roll jumps, to metal-like riffs, to downcast sludging, all the while shadowed by bluesy vocals inviting you in. The chugging percussion on ‘Raise The Flags On Fire’ carry the song on a juggernaut of suffocating riffs before the standout ‘DFI (That Was Not An Owl)’ finishes the EP off in style with a gloriously doom-esqe riff building into an onslaught of balls-to-the-wall heavy-ass Rock’n’Roll floors you with its finishing techniques.

Zep Tepi is over far too quick, but what else can you expect at three songs? But it has served to whet our appetites for a debut record of what will surely be of epic proportions from these guys in the hopefully not too distant future. Until then, overkill yourselves on these tracks of Southern heaviness.

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Quick Hit: Floraburn

Floraburn

A super group of sorts, this band from Lexington, KY consists of members from Supafuzz, G-Funk Allstars, Asylum on the Hill, The Oxford Farm Report, and Groovezilla. Their new single "Red Shield" is what caught my ear. It has a very retro Sabbathy-feel but with a sinister southern twist. The band also released a 3-song EP called "Dirt Singles" which elaborates on the southern stoner rock groove. They step outside the box a little with their QOTSA-inspired ditty "Bastards". Keep an ear out for this band. Hopefully we get a full-length some time soon.

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Sunday Cinema: Slow Southern Steel

Half the bands I love stomp south of the Mason-Dixon line. For all the dribbling of these exhaustive Sunday Sludge posts, I've spent the last few years never succinctly outlining exactly WHY these sounds are distinctly Southern, likely due to geography's shortcomings. The grit and groove of Southern metal is unique, powerful, and impossible to stuff into a box of labels or expectations. Sure, Portland has its place. The Southwest is buzzing with anger and fuzz. Greece, Hungary, and Denmark have all bred incredible sludge acts tattooing the genre's landscape. But let's be fuckin' serious: Sludge metal owes everything to the American Southeast (Texas, we'll let you in, too).

Rwake's Chris Terry has (sort of) finally unveiled Slow Southern Steel, a documentary wholly devoted to a dissection of Southern metal. What sets apart Southern sludge metal? What influenced acts like EYEHATEGOD and Jucifer? And what's with the fuckin' flag of the Confederate States? You'd be surprised. Loaded with booze, beards, and an alarmingly warm dose of unmatched brotherhood, this documentary highlights an under-appreciated musical niche via candid interviews, blunt assertions, and no shortage of flattening live stage footage. If you weren't raised in the South, you won't sound like the South. And they'll know it.

Strong family ties, nostalgia, religion, and unending uphill battles are just a few of Slow Southern Steel's triumphant reveals. This "dirt circuit" survives on familial bonds and realistic expectations. Word o' mouth is more important than social media, and there's no shame in sharing a disco-based rebellion. Beautifully-realized gravel road imagery complements the sounds, the stories, and the impact of a scene so ripe with mutual respect and appreciation that it's damn-near overwhelming. This film perfectly explains the things I can't. I'm just a dude who loves Acid Bath. But this is a film that helps me understand why.


For fans of: Rwake, EYEHATEGOD, Acid Bath, Buzzov-en, Dark Castle, Hank III, Dixie Witch, Down, HAARP, COC, Arson Anthem, Black Tusk, Kylesa, Deadbird, Seahag, Beaten Back to Pure, Alabama Thunderpussy, (the) Melvins, Music Hates You, Outlaw Order, Mastodon, Goatwhore, Soilent Green, Lamb of God, Sourvein, Assjack, Weedeater, ANTiSEEN, Hawg Jaw, Crowbar, Hail! Hornet, Zoroaster, A Hanging, and countless fucking other bands you already love.

Pair with: Pabst Blue Ribbon tallboys, one after another

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New Band To Burn One To: FALL OF AN EMPIRE

HEAVY PLANET PRESENTS...FALL OF AN EMPIRE!

"Heavy, foot-stomping groove is what you will encounter when listening to South Carolina's "Fall of an Empire". Actually, what this band does to a groove would be a vast understatement. This is groove that reaches down into your soul and then reaches into your soul's soul. The band released their debut album "Songs of Steel and Sorrow" in January and this gem is peppered with spirited riffing, soulful and heartfelt vocal prowess and a southern metal flair. The backbone is held together by a solid rhythm section consisting of flowing bass lines and thunderous drum fills. Highlights include the bone-rattling opener "Vagrant Blues", the slowed-down passion-filled "War Lord" and the booze-driven swagger of album closer "Becoming the Druid". Awesome vocals, killer riffing and an undeniable groove. Go get some!"

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Zac's "Double Dose": ALTARUS / Inter Arma

 

ALTARUS: As Above, So Below 

This week's Double Dose bands have a few things in common: A. They both have Latin themed names. B. Their compositions run approximately one hour in length. And finally, C. they are both loud enough to wake the sleeping dead. ALTARUS, our first shot, are a Canadian trio of metal'rs adepts in doom and what happens when its tampered with. Forming as a live band in late 2009 ALTARUS have seen many line-up changes. Since that definitive date the band has fossilized as the leviathan three-piece you hear today on debut As Above, So Below. ALTARUS channel a tectonic sized immensity through crushing doom RIFFS. The three-some don't simply stop at doom though, implementing a chuggin' sensation through their guitars and some artsy, Danny Carey, Tool-esque timing ALTARUS unleash a mountain of sound-waves sure to pulverize the measly flesh that surrounds your psyche. Need a wake up call? Spin Unleash Leviathan or check out ALTARUS's latest propaganda below, a video for Lazarus.  Don't bother making yourself comfortable though, because these monstrous waves, whether sonic or visual, are sure to leave you in spiritual turmoil.

ALTARUS - LAZARUS

Members: 

J.P. Contois - Drums 

Karol Orzechowski - Bass // Vocals 

Tyler Martin - Guitar // Vocals

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Inter Arma: Sky Burial 

Sometimes the inter-breeding of genres we so called writers use to describe the sounds of rock and metal can get a little out of control. There are bands out there mating styles so extremely diverse in the name of progress that they are losing their souls and the very soul of their creation, a.k.a. the music itself. Well, today is going to be one of those days that I, the poor excuse for a writer that I am, have to string together an endless amount of genres and descriptions to attempt to explain this not so typical archetype... except here our example have done something many musicians pursue and rarely accomplished. That example, Inter Arma have created a new sound from many old sounds, which brings the past forty to fifty years of heavy music full circle.  In the end this leaves me describing Inter Arma's sound as authentic heavy metal. So, enough of my rambling and ranting... let's get to what we came here for... the tunes!

Inter Arma is a Richmond, Virginia based five piece who with the precision, strength, and patience of an artisan stone mason have assembled together a bedrock of doom, psychedelia, and sludge with southern rock, acoustic, and black metal. As much of a mind-job and cluster that sounds as you read it Inter Arma, with a little courage and a strapping intelligence, have composed the mess fluidly and entitled it Sky Burial. Sky Burial is enormous and running over sixty minutes will definitely put a dent in your time today. So, you might as well pick up a case of your favorite brew (might I suggest the Sierra Nevada Porter). That's okay though, the alcohol will help you float along with Inter Arma's cloudy atmosphere. The progressive mentality of combining the likes of doom and sludge with black metal and finally acoustic are brought to your attention within the first fifteen minutes, which is really only two songs. Causing convulsions and an immediate back flip, I thought, "Did they just do that?" and with a psychotic grin answered myself, "Yes, yes they did!" in sheer reverence. My favorite track The Long Road Home is a lengthy psychedelic-acoustic piece that is constructed further with electric guitars lacing in and out of the brilliant percussion, all very 70's Pink Floyd feeling. The final two to three minutes become intense, where black metal characteristics dominate the sound. The drumming becomes blast beat-like taking the precedent position over the guitars and vocals, only this percussion is not like the blind chaos I tend to hear in blast beats. This is more like a functional and calculated freight train with some serious cargo. T.J. [Childers] drumming and percussion are phenomenal. Period. Throughout Sky Burial this particular instrument is the mortar that adheres the intriguing vocals, guitars, and bass together in a cohesive chemistry. Sky Burial is out now and can be streamed at bandcamp and ordered from Relapse Records.

Members: 

Joe Kerkes - Bass 

Mike Paparo - Vocals 

Steven Russell - Guitars 

T.J. Childers - Drums 

Trey Dalton - Guitars

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Sunday Sludge: Lowbau - "A Darker Shade of Blues"

Nobody takes a sick day when they're sick. When the asshole across from your cubicle is absent from work, bet your right arm he's gonna show up the next day with a rehearsed response to "how ya feelin'?" Nights get rowdy, the town slut won't leave your porch without assuring "I never do this," and your childhood buds hate their lives so much that they'll buy you that superfluous shot just to avoid being alone at 2:00am. Look, dude... I was young once, too. Sometimes it's hard to keep up, and sometimes you can't face your day because you lost your ass last night.

I've got these Sundays reserved for a fuckin' reason. If I tried pulling this shit on Tuesdays I'd have a real hard time keeping up with my own bullshit excuses. I play both victim and offender, but it's certainly a struggle I created. If it's one pint beyond a doctor's orders, I'll manage coffee and a fresh breath. But I don't know how I'm gonna handle Vienna's Lowbau. All the southern-sludge memories are rockin' my frame this morning, and A Darker Shade of Blues is painting my reality a new shade of stunned.

Contrasting influences play a role on this thirteen-track sludge rattler, but bringing them to alliance is Lowbau's blue ribbon. The meld of C.O.C., Pantera, and Alabama Thunderpussy angles and vibrant narrations will leave a tapestry of brazen imagery that few bands can authenticate. At times somber in the south, others thick in rusty fog, A Darker Shade of Blues threw itself onto the hood of my car and glared me in the eye. I don't care what you believe or what you question, Lowbau crafted a litany of both queries and responses, here offering both for the picking.

Opening on the crisp acoustic strums of 13, A Darker Shade of Blues is pregnant with promise. The instrumental opener is distant and sullen, but the sliding shifts and low bass thumbs press forward and soothe enough to quell any doubt. The steel toed double-kick of The Prosecution Rests... green-lights a coked-out aggression that trips most bands. Groove and pull-back are a clear Pantera nod, but Lowbau breed their own buzz-saw beauty. The blistered brutality is met with a furrowed brow, unlocking the riff and pacing a slow sludge that echoes with swinging-cock solos. The closing stomp-stagger showcases a power; let's call this an opus of opiates, because this southern sludge is daunting.

A Million Years of Rain just might be the fucking best song you'll hear this year. Southern slides and tripping basslines stroll through the dark drop of sludge blackness as if they've been there before. What's placid and pensive grows worn and thick. Everything works here, staggering toward a denouement loaded with everything that's fucking incredible about this band (massive riffs, leathered vocals, guitar proficiency, and low-mud basslines) striking an undeniable harmonic(a) balance.

For all of Lowbau's dick-thrust guitar, they offset the nut-pats with crunching groove, hitting hard on every facet of Modern Day Alchemist. Rhythms shadow the lyrical nastiness, grinding with distorted pullback and relatively tasty crunch for themes so gnarly. The buzzing, festering Grounded is equally as choppy, pulsing with a "teenage spirit" you left in a bottle behind your high school's bus garage. The track is low, intermittent, and dripping with just a whisper of insanity. So nobody really notices when punchy trench-warfare is carried out on a ticker-tape tapestry of guitar jizz.

Oh, and sketchy subject matter is hardly taboo for this quintet. Consider the living-room stomp of Alcoholic, for example. The dixie-bounce hits heavy as fuck with low bass as a twice-baked stop/start dynamic dominates, but a drunk's lack of attention to detail takes center stage here. The changing paces are slick, sure... but you're focused on finding your lighter and swearing at your neighbor about exactly where the property line sits. When are you gonna get your act together? Nanny stutters with slow-bled abrasions, slurring and swaying as you stare at the babysitter's tits. Don't worry, the smile is lost halfway through when you realize this creep ain't kiddin'. There's a Tool-ish Intermission before the return of bass bounce and low-drawn dirty blues.

Slugging away at ticking minutes, The Theft of Time is so thick with butcher-block chops (led by Brea's drums) that it'd be easy to miss the chorus, the buckets of drenched guitar, and the incredible vocals scratched with bruised hands. The buzzsaws manage to dam up a bit, but Jesus, this southern-sludge grind swings a sledge at jagged rocks and comes out ahead.

There's a lot o' music here. Gnaw more than sixty minutes with the first twelve tracks and you'll doubt you've got the steam for a nine-minute closer. Shit, the loose-doom fuzz of the disc's title track is a strong snag of sooty, soggy sludge decay. Plug toward revolutionary snares all you wants, but southern-rock emerges. Rhythms clip slow as dust and tar marry to jam your lower lip with a buzz you won't get from Beech-Nut. Progressing toward an exhausting melange of sticky rhythms and double-kicks is just where Lowbau promised to end their night. Blues return on the back of hovering atmospheres and boggy diamond-point acoustic plucks, but you've already made up your mind.

I love a beer or two with my Sunday Sludge, but this is too much. Lowbau flew under my radar for too long and decided 72-plus minutes of my life needed what they were offering. They were right, but I'm too muddled to fish at this point. Shredded sentiments, primitive/distant drums, and a fuckload o' groove should carry Lowbau beyond their thick-misted influences. This depth, these vocal walls, and the echoes of the southern timber are incredibly enticing. Don't worry about tomorrow.

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Sunday Sludge: Your Highness - Blue Devils (EP)

Well, put tits on an album cover and you'll fool anyone. Throw wings on the girl and it's hard to argue. But I'd better not find disappointment when I crack the plastic. It worked when I was a sprung teenager and went half-mast every time I played Ween's Chocolate and Cheese or QOTSA's self-titled. Tits or slates, those were incredible, formative albums that helped mold me into the sensitive, respectful stoner-sludge misanthrope that today slouches before you. But poseurs like Atreyu and Saving Abel have picked up on the seductive draw of shadowed skin and used it to scam both squirrel and tickets. So I don't dare go all Lita Ford and let my dick make a purchase.

Belgium's Your Highness stunned sludge-slingers in 2011 with their three-track Cults n' Cunts, a blues-metal barrage of stoner-sludge groove. Here on Blue Devils, they don't rely on trickery or sex (fun cover, though) to sell their sound, they simply pluck muddy southern dive-bar fist pumps and an aggressive sludge swamp sting akin to Alabama Thunderpussy and Grizzly. What results is three fucking killer tracks searing your flesh and banging your head.

Down-tuned, deep fried, and more than a tad despondent, Low Country Exiles sets off stickin' a fuzzy finger straight into the mist. Vocals scrape to make sense of a barren wasteland, faced with the death of what was once promising. As thick as it is, Your Highness have no trouble kicking into high gear, intermittent with fur and oozing at the corners with sticky sweetness. Steady drum puddles somehow manage to keep pace with a bass thread stapled to stoner guitar chops. Stop licking your sutures, pooch.

Follow that up with Wrack and Ruin and you've got a shared torment. Slow-grooved and violent, this retributive slab brims and buzzes with the confidence that comes from thickened skin. The sand-blasting of coiled angst is absolutely delicious, lighting a match under rhythms as guitars hover and slice through everything in sight. The murky solos and drowning hope formulate a bouncing confederate sludge that might help you forget about the dead hooker under the mattress.

If eighteen minutes doesn't sound like it'd suffice, just trust me. The title-track closer may wave a white flag, but it also might be your enemy's final gasp of deception. Here a scratchy, bluesy slide geetar swells into a dense thicket of endless, thorny jabs. Laid-back? Maybe. But Your Highness are never off their guard. Drenched in fuzz and chasing gnarled gravel with sloshed whiskey, the band breaks midway to stomp toward the creek and bury their secrets. The screech to a halt breeds a Warren Haynes slide step before exploding into a wet Appalachia moonshine toast of sweat and soil. Goddamn, how'd we get here? And how long can we stay?

My buddy Zac lit up my day when he introduced this EP. And now, little man, I pass this on to you. There's so much stoner-sludge goodness resonating from these three tracks that I doubt you'll notice the tits. What you will notice, over time, is a drift in your attention to hygiene, day-to-day tasks, and interpersonal relationships. It's easy to see how eighteen minutes can evolve into several days, given your inability to stop the bleeding. Your Highness don't rely on gimmicks, they just sludge-n-roll with the snarl of an old dog trotting for scraps. When the skin starts to sag, Blue Devils is still gonna have plenty o' bite.

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New Band To Burn One To: GANESHA

HEAVY PLANET presents...GANESHA!

BAND BIO:

"Ganesha is a Spanish stoner-metal band formed in the begining of 2012 by Andrés Utrillas (Bass) and Hèctor Flix (Guit/Voc) then Damián Alfambra was introduced to play the drums. After a few shows we began to record our first EP "Capicorla EP" with seven songs between the sludge metal a la High on Fire and the Hard Vintage Blues from Black Sabbath with a bit of the mud from Louisiana swamps. In the middle of 2012 Damián left the band and Vassilis Pantazis took his place on the drums. Finally in the first month of 2013 Joao Neto began to play the bass in substitution of Andrés."

THOUGHTS:

"Straight out of the swamps of Barcelona, Spain...well not quite, but this three-headed power beast lays down some pretty murky southern sludge metal grooves on their latest EP Capicorla. The "EP" consists of seven short and sweet tracks which will absolutely kick your ass! Huge riffs burst amongst the guitars glorious crunch while the gritty and nasally vocalist barks the lyrics. The songs soar with melody and the impecible groove penetrates your soul. Highlighting the EP are the infectious swamp stomp "Henry Lee Von Luxx, The Sasquatch", spaghetti-western brooding of "Crossroads" and the evil doings of "Satan's Dice". 

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Nuclear Dog's Atomic Split: Jaw Horse - "Cancer Creek" / Enchantress - "Visualize"

Today I'm doing something I've not done before. I am taking inspiration from my Heavy Planet compatriot Zac, who was already the inspiration for the Atomic Split with his excellent weekly feature Zac's Double Dose. Both 'Double Dose' and 'Atomic Split' bring to you 2 albums in one review because quite frankly and quite awesomely there is a LOT of great new music out there which compels us to give our best shot in bringing it all to you. Today's Atomic Split features bands that were originally featured on Double Dose, bands that have now released full length albums of music that fulfill the promise Zac uncovered in his original reviews. And by fulfilling promise I ain't just whistlin' dixie, as my grandmother used to say, these bands are kick ass quality, delivering noteworthy and memorable music beyond typical stoner or metal fare. So, if you recall your first go around via Zac's Double Dose of either or both of these fine bands, you are now primed to experience sensory overload, and who doesn't love that!
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JAW HORSE - "CANCER CREEK"

Originally featured on Heavy Planet nearly a year ago in March, 2012 with a 3 song demo, Jaw Horse have now delivered a full 12 track album, "Cancer Creek", that is without a doubt a righteous dozen of fine rock and roll revelations. Jaw Horse employ a frenetic, energetic tempo to a blues fueled, swamp gas blend of nitro and blissful exertion. You might just end up sweating at the end of a song, and certainly by the end of the album, after romping through the paces set by the energy and power demonstrated all around, by all the members working like a well oiled, top fuel dragster spinning powerfully, resoundingly, inexorably toward a place that simply marks the end of the fun.

Jaw Horse are -

Kramer on guitar
Adam on guitar
Pugh on drums
Jovi on vocals

While they hail from central Pennsylvania their sound is more closely associated with southern climes given their penchant for blues infused heavy rock and vocals as deep fried and resonant as a fast moving thunder storm unleashing fury and might unexpectedly, horribly, and pitilessly across an unsuspecting landscape. Guitars are simply incredible on these songs, beyond comprehension. They seem to have taken the very best of blues rock, electrified, fuzzified, and amplified and kicked it all up a level, perhaps not breaking the paradigm, but managing to add to its definition.

There is only pleasure in listening to any of the twelve tracks on "Cancer Creek". The second track, "Don't Call it Holy" is memorable in a stoner blues foray of power and pleasure as Jovi's vocals provide the focal point upon which the song's excellent melody is played out in power and passion where guitars scorch and burn and drums are vigorous and unyielding in execution.

"Go Man Go" draws immediately upon early boogie rock while embellishing it with updated amplification and well placed distortion, making for a fun and memorable turn of nostalgic rock with a powerful modern imprint.

"Hang in There", while not quite as melodic as "Don't Call it Holy" instead provides a platform for a powerful, memorable romp just beyond the opening stanzas in which the engine of Jaw Creek's top fuel dragster guitars gets kick started, pumped full of nitro, and unleashed in an unfettered onslaught of guitar brutality.

Perhaps the signature song is "Mother Mary", a pacy, heart pounding tale that moves through different tempos while relaying a tale presumably of whoa which is accentuated perfectly by Jovi's ability to present a powerful, in your face presence without ever detracting from the equally powerful guitars.

A beautifully rendered and haunting blues romp, "Wrong Side of the River", closes out the album, with deep fuzzy guitars, bright insistent guitars, and chained lightning guitars of brilliance and joy.

All in all this is an album of pure enjoyment, where elements of stoner rock, blues rock, retro rock, and southern rock are combined with an exceptional amount of talent and a fierceness in the joy they take in playing their music.

((( facebook || bandcamp || reverbnation )))




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ENCHANTRESS - "VISUALIZE"

Enchantress was featured on Double Dose back in November of 2011 when they had released an EP entitled "Volume 1: The First Few". Today we are featuring their first full length endeavor, "Visualize", seven songs that can quite confidently be classified as unique among stoner/doom/psych music.

Hailing from Toronto this trio play a stripped and bare brand of rock, exposing all the wonderful and jagged edges of their music that gets smoothed over by razor sharp vocals of exquisite clarity and range.

The guitars are a total fuzzfest of distortion and tribal rhythm, fun and endearing in tempo and delivery.

The opening for the album is "Blue Moon Rise(Visualize)" where we are introduced immediately to beautiful stoner guitars that set the tone for the type of ride "Visualize" as an album will be. Once the vocals come in the setting is complete as we get initiated to the unique vocal execution of Enchantress' lead singer, something quite rare and enjoyable.

"Rain Maker" picks up the tempo a bit, but is quite similar to the opening track, which in this case is not a detriment but a further chance to be immersed fully into a trancelike state sparked by the unique vocal/fuzz combination Enchantress deliver.

"Elder Tree" is a slowly boiling volcano of white hot guitar magma, tempered by the tempo, and the strategically placed vocals.

"Locomotive" is the crown jewel of a stellar album, one with no weak points, but with a definite and shiny example of Enchantress' potential in this song. The melody is deliberate and steady, again punctuated by the strategic vocal delivery, pushing beyond heretofore established boundaries, mesmerizing in its eloquence and uniqueness, while cleverly offsetting the main thrust of the song.

"Frozen Sky" kicks up the wattage a bit from its predecessors, demonstrating a snappier tempo, an increase in distortion and power, and utilizing a falsetto like vocal delivery wrapped tightly in fuzzy riffs and white hot solos.

Just as power increased on the penultimate song, it once again ratchets up a degree on the closer, "Buck Thorn Queen", with falsetto once again claiming a stake in execution and delivery, but not exclusively, as a duet unfolds, tempering the vocals, and enriching the overall quality.

"Visualize" is quite unique, compelling, and mesmerizing, blending a raw and fuzzy stoner sound with singular vocals not typically associated with this style of doom or psychedelic rock, all of which makes for a rich tapestry of sound and quality.

((( facebook ||| bandcamp )))