Huata play a truly haunting and spell-binding blend of retro sounding doom mixed with an amazing occult psych based ambience. Astonishingly their first record, “Atavist of Mann”, was released more than 6 years ago now and during a tumultuous period for the band, they have come through the other side stronger and better than ever. Now a two piece, Huata are the verge of releasing their most celebrated compositions on new record “Lux Initiatrux Terrae” set for release via French label Music Fear Satan on November 23rd
The beast that is Huata has finally awaken and they are back with a renewed sense of vigour, armed with an album that is epic in scale in every sense of the word, big riffs, bigger melodies and bathed in both light and darkness, “Lux Initiatrux Terrae” is one of the stand out records of 2018. Spread over one hour, Huatawith captivate, enthral and mesmerize the listener, with their utterly stunning and beguiling new record which will remind you of ANCESTORS, YOB and RAMESSES. An impressive record? Check out the opening track “The Mystical Beast of Revelations” and judge for yourself. Preorders are available HERE. Now sit back and prepare to watch your speakers die.
Having been previously unfamiliar with French occult doom quartet The Necromancers , it came as somewhat of surprise that the band are set to release their second full length, a mere 12 months after their debut. No small feat by today’s standards.
Back in the day, when Sabbathwas known to few, but on the cusp of greatness, legendary acts such as Sabbath, would bang out an album a year, tour it, get back in the studio and 12 months later, another record would be released. To be able do this with regularity it one thing, but to consistently produce strong material is perhaps the exception to the rule. What am I trying to say then? Well for one The Necromancersareclearly dedicated hard working band, but perhaps more significantly, having reviewed their previous album, they’re able to produce consistently kick ass albums and when we got the call to premiere a track, I couldn’t have been more stoked.
Although this French quartet's second album still features the lumbering doom and cultish heavy rock they are known for, it is clear on new album “Of Blood And Wine”they appear to have dug deeper within themselves as song writing and in turn they have produced a record of great depth and quality. So without further ado check out the track “Secular Lord” below as well as small quote from the band about the track. Recorded at Nomad Studio, “Of Blood And Wine” must be like the 100th record Ripple Music will have released this year, but all kidding aside, the record will available via this distinguished label on October 5th 2018 on all formats.
“Secular Lord” talks about Vlad 'The Empalor' Tepes. He is the historical character who inspired Bram Stoker for Dracula. We chose to talk about the legend and the myth here. We think it’s another song exploration for us, having that kind of voices and guitars sounds. Feels great for a first single!
Like the morning star it praises, Ancient VVisdom is more deceptive than you realize. It heralds that section of the genre that is far darker than even the loudest bands while doing a style you don't recognize is nearly this cursed. "33" is going to live on for quite some time.
“33” CD//DD//LP track listing
1. Ascending Eternally
2. Light of Lucifer
3. In the Name of Satan
4. True Will
5. The Infernal One
6. Summoning Eternal Light
7. Rise Fallen Angel
8. 33
9. The Great Beast
10. Lux
11. Dispelling Darkness
The Review:
Metal music has since its dawn been preoccupied with the visage of Beelzebub. Whether it was Ozzy Osbourne conjuring the idea of Satan's love in "N.I.B." or mainstream heavy rock like Ghost calling out to the "old one, master," Satan has been that ultimate taboo in music. For metal, the Devil has also been the totem of rejecting all convention. And though there have been many incursions into popular culture, it would seem metal music's fixation with the sinister and demons may always be part.
So when a recording comes across that embodies some of that dark spirit, it almost feels like splitting hairs to argue how it qualifies as metal. In Ancient VVisdom's case, it indubitably does.
The Austin-based trio formed in 2009 and have three releases – 2011's "A Godlike Inferno”, 2013's "Deathlike" and 2014's "Sacrificial" – as well as a rather infamous 2010 split disc with incarcerated mass murderer Charles Mansonon their resume. Its first full length in three years, "33," is alternately inspired by a variety of meanings for the number, including the birth year that Jesus Christ was crucified. The horrific vibe never quite goes away from there.
If you have not heard the group prior, Ancient VVisdom is metal in the first-wave death rock or the folkloric styles you may recall rose to prominence in metal in the early 2000s. "33" is thus largely rooted in acoustic music, without drum and sparing electric guitar. The focus of Ancient VVisdom is Nathan Opposition, vocalist and songwriter. He's crucial, because Ancient VVisdomis nothing if not a lyrical act whose songs and stories are its reason for being.
To be clear, Ancient VVisdom has magnificent instrumentation. Whether it is the guitar, synths or hints of percussion, the minimal nature of "33" means all of it has to count even more than the average band. However, Ancient VVisdom's Satanic verses drive the music for the most part. Indeed Nathan Opposition's vocals set up much of the art that is here. "Ascending Eternally"opens like a hymn, while "Light of Lucifer" begins the release smoothly out of that hymn into a chord that you might hear around the fire at a church's summer camp. However, this is no revival.
Songs like "Summoning Eternal Light"and "The Great Beast"musically deliver the crunch you might more expect from metal, whereas "Rise Fallen Angel" is Ancient VVisdom's closest foray into heavy rock. These selections and a handful of others are not ultraviolent songs. They're musically savvy, but as with other cuts, the imagery of the occult, Lucifer and the great unknown are the true canvas.
Like the morning star it praises, Ancient VVisdom is more deceptive than you realize. It heralds that section of the genre that is far darker than even the loudest bands while doing a style you don't recognize is nearly this cursed. "33" is going to live on for quite some time.
"33" is available digitally here, CD here and eventually on vinyl here
Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and the Deadbeats' bold vision
"Vol. 1” CD//DD//LP track listing
1. Crystal Spiders
2. WitchesGarden
3. Dead Eyes of London
4. Lonely and Strange
5. Vampire Circus
6. Do What Your Love Tells You
7. I Don’t Know
8. Wind Up Toys
The Review:
Psychedelic band Uncle Acid and the Deadbeats has gained somewhat of a cult status over the years. However, it is the best kind of cult status imaginable. The group has at once achieved notoriety while not gaining a level of household name currency. Such presence is a sweet spot for musicians: people know you, but not their moms, and not being played at the mall is absolutely not for lack of skills. Uncle Acid and the Deadbeats' style of stoner rock with old-school heavy metal burnish has flashes of panache that bands like Electric Wizard have in abundance. Over its releases, the Kevin Starrs-fronted group has supplemented that with pulpy themes in its music and as such their music is truly fun to listen to, and the band's music has received well-deserved acclaim for it.
If you have been following Uncle Acid over its young career – from 2011's “Blood Lust”, 2013’s “Mind Control” or “The Night Creeper”, the 2015 entry – chances are the group hooked you with its fuzzed out freaky tales that always came across as more Dusk to Dawn than Leatherface. It is a catchy and creative mix that draws comparisons to some of the genre's all-stars, not to mention progressive acts like Pink Floyd. Among the stories that have circulated was how the celebrated band's story began on a 2010 debut, which originally made the rounds via CD-R. However, that recording has been elusive to most fans, save Youtube downloads and live shows. That is, until its longtime label, Rise Above Records, stepped in to reissue the out-of-print first recording.
With "Vol. 1," fans of Uncle Acid and the Deadbeats finally get a glimpse at the band's formative work. Perhaps it is no surprise that it is not the best the crew has performed, but it is among the most original.
"Crystal Spiders" begins the album, and it is filled with the energetic guitar work and the sticky rhythms you know of Uncle Acid and the Deadbeats. The back story to "Vol. 1" is that it is truly a do-it-yourself endeavor. It was reportedly self-recorded. This hardscrabble tale proves readily apparent as you tune in for the duration. A little too much volume and some loose production are evident. With "WitchesGarden," the vocals are a bit more washed out by the rest of the arrangement than usual. However, it, just as with the next song "Dead Eyes of London," is a priceless look at a performer building a sound it is today loved for making. Its cornerstones – that classic rock 'n' roll feel, a lyricism that weaves a mystical tale into the music – are gestating on its debut. On "Lonely and Strange," the bass and drums take a more prominent role, just like they do in later releases and are a hallmark of this vibe. Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and the Deadbeats' bold vision.
Starrs has been quoted as saying he wanted to oversee remixing and ensuring the new record met the standard he expected for fans. He does an admirable job in touching up the base material. "Do What Your Love Tells You" in the original telling, available online, gets its retro doom amped up on "Vol. 1." Similarly, the closer, "Wind Up Toys," is markedly improved from the original.
If you are a fan and caught "Vol. 1" online, the reissue is a treat you will not want to miss. And if you are curious about this burgeoning UK phenomenon, "Vol. 1" may help you understand how it all began.
Don't wonder. Go listen. Mindkult's alchemy is in blending in forces that probably would not otherwise really work well together, to beget a release that is one of the most prepossessing in the genre, reshaping what we consider tradtional doom in spectacular ways.
"Lucifer's Dream" CD//DD track listing
1. Drink My Blood
2. Nightmares
3. Behold the Wraith
4. Infernals
5. Howling Witch
6. Lucifer's Dream
The Review:
How many of us think about The Cure on a daily basis? Now, for those of a certain age, you may ponder the 1980s new wave trailblazers more than someone born in the mid-1990s. However, safe to say even then considerations of the Robert Smith-fronted group are rare occasions. However, The Cure has been a bigger influence in varied genres of popular music than you might at first know. Relevant to metal, extreme music and Mindkult is the shadow The Cure casts over gothic, post-punk and shoegaze. In the early 1980s, The Cure helped forge the sound and look. Today, Mindkult uplifts that downtrodden tradition in a way that reshapes doom in spectacular ways.
Mindkult is a one-person performance piece that conveys some of the classic sensibility as well as a new philosophy to doom and stoner rock. "Lucifer's Dream" comes on the heels of Mindkult's debut EP "Witch's Oath." That release scored positive reviews for its genre-bending nonchalance. Psychedelic jams slammed into a doom ethos and haunted lyrics. With its return, Mindkult offers this surprisingly irresistible slosh, and more.
The recording begins with "Drink My Blood," which is a largely instrumental (the first three of eight minutes have no vocal) blues-infused rocker. "Nightmares" is the shortest track, and follows the opener's rhythm with a churning doom energy not unlike mid-golden era Black Sabbath. It is the sort of song you might share to get a friend into Mindkult; it is catchy, with strong songwriting and thick grooves. "Behind the Wraith" is another cut you might introduce new listeners to Mindkult with. There are a ton of excellent metal inspirations herein, and yet Mindkult makes the air all its own.
But back to The Cure. There will always be a strand or two of goth in doom. Truly hard to say how that necessarily came to be. One might be able to trace it back to the emergence of the post-punk movement, where early metal found some adherents, and a unique subculture that arguably impacted death metal and some extreme music subgenres. Nevertheless, the musical tempo is unmistakable. Mindkult flashes more shoegaze, which has its own history with post-punk or goth, and it towers over the interpretations you may hear elsewhere. "Infernals" and "Howling Witch" are the zenith of this avenue. The arrangement is just right, and while the vocals across this release are superlative, there is a charisma in these songs that is magnetic.
The title track ends the six-song trip, and it touches on both effects of shoegaze and doom. You might read that suggestion and wonder how it works. Don't wonder. Go listen. Mindkult's alchemy is in blending in forces that probably would not otherwise really work well together, to beget a release that is one of the most prepossessing in the genre.
Emerging underground doom specialists Twin Earth Records will release “Spectral Ascent” by Spanish psych/doom trio KABBALAH on July 7th 2017. The band’s mysterious and fascinating sound contains flashes of occult rock, 70s retro and classic psychedelia drawing comparisons to such luminaries of scene from past and present such as BloodCeremony, Coven, Deep Purple, indeed with such a talented line up armed with such a brilliant record, it likely this Spanish Trio will not only erase our post Brexit blues but see the band emerge as one of the forerunners on the scene. Don’t take our word for it; judge for yourselves as we present “Spectral Ascent” in full for your listening pleasure. Twin Earth Records are taking preorders now and are available here.
'Magick Rites and Spells' is a fresh, authentic display of classic occult rock being performed in the present day. It's a blessing to see a band who are truly absorbed in this genre, leading the way for all modern day occultists to follow. It's a very well-balanced mix of old, new and cover songs and an incredible follow-up to the masterpiece that was 'The Vision'. This band are only getting started and I'm truly excited to see what the future holds for Virginia and the guys.
“Magick Rites and Spells” CD//DD//LP track listing:
1. Come a little closer (Exclusive to this release) 2. Godzilla (Blue OysterCult cover, Exclusive to this release) 3. Set me free (Re-recording, Exclusive to this release) 4. Wicked dream (Re-recording, Exclusive to this release) 5. The dark Lord (Originally performed by Sam Gopal, with Lemmy) 6. Angela (taken from the “Black Magic Man” EP) 7. Lying on iron (taken from the “Black Magic Man” EP) 8. Black magic man (taken from the “Black Magic Man” EP) 9. Slave of grief (taken from the “Black Magic Man” EP)
The Review:
Psychedelic Witchcrafthave just brought out their latest album 'Magick Rites and Spells'. This band certainly know how to churn out songs as their last album, the critically acclaimed 'The Vision' only came out back in April, 2016.
We dive into the mystical land of the occult with 9 tracks comprising of 3 brand new tracks, 2 covers and 4 tracks from the “Black Magic Man” EP, released back in 2015.
Track 1, 'Come a Little Closer', starts the album off with some elegant, flowing guitar sounds before the main riff begins and Virginia Monti takes control, doing what she does best. Such a powerful voice which can also be toned down for those hypnotic lyrics, entrancing you as the song goes on. There's some great lead guitar work in this track too, providing just enough of a taste without overcompensating. It's a very enticing opening track and a great start to a superb album.
Track 2 is a cover of 'Godzilla' by Blue Oyster Cult. This is the first time I’ve heard a female sing this song and it sounds absolutely fantastic. I saw Blue Oyster Cult a few months back and they played this song but to be perfectly honest, Psychedelic Witchcraft do a better job than B.O.C did live. It's also very refreshing seeing a couple covers. A lot of bands have strayed away from covering songs in recent years but when you can add your own signature touch, like these guys have, then by all means, cover that shit!
Track 3, 'Set Me Free', is a true piece of Sabbathian occult rock. Everything blends incredibly well and there's still a lot of breathing room with the guitar and bass tones so it's not total overkill. Virginia's vocals soar over the top of some very tight riffage before a great breakdown with just drums and bass involved. This leads way to another ripping solo from Jacopo Fallai as the track comes to a close.
'Wicked Dream'is the 4th track on the album and the last of the brand new, original material that is exclusive to this release. These guys create such a dark, gloomy vibe to rock and roll but it works a treat and the visual imagery and lyrical themes all work as a cohesive unit.
'The Dark Lord'is another cover of the famous Sam Gopal song that featured Lemmyon lead vocals. It is in itself a fucking incredible song and it's so great to see recognition of it and Psychedelic Witchcraft do a superb job at doing it justice. As much as I love original material, I'd love to see these guys do a full cover album just to see what they would pick and see how Virginia can lend her voice to pretty much anything and do a fantastic job.
Track 6'Angela' is the first track taken from the “Black Magic Man” EP from 2015. This time round it sounds much more polished and it's great to see their older stuff rearing its head again. Psychedelic Witchcraft defined their style early on and they still stay true to the Coven-esque style of occult rock. There are also more current influences such as Blood Ceremony or Ruby the Hatchet who play very similar styles of music but I think Psychedelic Witchcraft are the most authentic occult-styled band.
Track 7 'Lying on Iron' is another track from the “Black Magic Man” EP. It is a beautiful, yet haunting piece of music and one of the more mellow tracks on the album. The musicianship in this band is of a very high standard and the fusion of guitar, bass and percussion is extremely affective in creating this sound. The guitar solo uses a Jimi Hendrix'Little Wing' sounding tone and works fantastically with the backing music. There are a million ways to describe how good Virginia's vocals are and yet again, she delivers an impeccable performance.
Track 8 'Black Magic Man' is the title track from the EP of the same name. This was one of the first Psychedelic Witchcraft songs I heard and got me into listening to them. It definitely sounds a lot fuller this time round and reminded me why I love this band. Parts of this song remind me of early 90s desert rock but tainted with a hint of darkness.
The final track on the album 'Slave of Grief' is also re-released from their debut EP. It has a very simple chord progression which is perfect for letting Virginiagrab your attention with her lyrics and vocals. It slowly chugs along and opens up around the 3 min mark with another ripping, fuzzed out guitar solo. Some of the tones on this album are very thick and fuzzy and some are clean and appropriate to the style of each song. This one is steeped in that classic vintage fuzz tone. The drums are absolutely on fire towards the end of this track and it all culminates in a witch's cauldron of musical brilliance as the track fades out.
'Magick Rites and Spells'is a fresh, authentic display of classic occult rock being performed in the present day. It's a blessing to see a band who are truly absorbed in this genre, leading the way for all modern day occultists to follow. It's a very well-balanced mix of old, new and cover songs and an incredible follow-up to the masterpiece that was 'The Vision'. This band are only getting started and I'm truly excited to see what the future holds for Virginia and the guys.
Album Type: Full Length Date Released: 17/02/2017 Label: Prophecy Productions
It is rare that an album is able to make one completely forget about their real world surroundings and bring them somewhere else entirely.“Here Now, There Then” is an otherworldly brew of eeriness, effective hooks and nefarious rock and roll.It is the soundtrack of a lost soul stumbling upon something evil and long forgotten, only to find it wide awake and waiting.
“Here Now, There Then” CD//DD//LP track listing:
1. Vantablack 2. Golden Serpents 3. Words On Paper 4. In Her Darkest Hour 5. Oweynagat 6. The Alpha 7. The Death Of Love 8. She Goat
The Review:
It is rare that an album is able to make one completely forget about their real world surroundings and bring them somewhere else entirely. On “Here Now, There Then”, that somewhere else is ancient, otherworldly, mystic and evil. Gloomy guitar chimes are interwoven with Ryanne van Dorst’s haunting vocals and a cryptic atmosphere. “Here Now, There Then”is the soundtrack of a lost soul stumbling upon something evil and long forgotten, only to find it wide awake and waiting.
The creators of this somewhere else are Dutch dark rock quintetDOOL.Given the natural ease with whichDOOLadminister their wicked mysticism, it might seem surprising at first that “Here Now, There Then”is actually the group’s first album. ButDOOL’sobvious experience is explained, as their line-up boast membership in the occultrock outfitThe Devil’s Blood, as well as the bandsGoldandThe New Media.
DOOL’s sound is in a similar vein to that ofThe Devil’s Blood(which featured bothDOOLbassist Job van de Zande and drummer Micha Haring), and fans ofThe Devil’s Bloodare sure to be satisfied with their rhythm section’s new project. Both groups have a knack for crafting dreary but ridiculously catchy hooks, filled with arcane lyricism and bubble with witchy personality. But despite retaining many of the most lovable qualities oftheir former band, on “Here Now, There Then”,DOOLdemonstrate they are very much their own band.
“Here Now, There Then”is packed full of headbangable guitar riffing, driving rhythms and nods to classic metal and doom that were not prevalent in the generally softer recordings byThe Devil’s Blood. Although a rock band first,DOOLare not afraid to wander over the line where dark psychedelia gives way to heavy metal, as evidenced by tracks such as “The Alpha”,“Words On Paper” and “She-Goat”. Conversely,DOOLalsodemonstrate their ability to craft mellower sounds throughout the album, most notably on “The Death Of Love”. The standout track on the album is perhaps its second song, “Golden Serpents”. Striking the perfect balance betweenDOOL’ssofter moments and their penchant for sinister heaviness, “Golden Serpents” features superbly crafted melodies, ghostly tones, powerful dynamics and general themes of the occult in abundance.The blend of hooks and evil found on “Golden Serpents” will likely appeal to fans of Swedish breakout starsGhost, and for good reason.
“Here Now, There Then”is an otherworldly brew of eeriness, effective hooks and nefarious rock and roll.
“Here Now, There Then” is available preorder/buyhere
By: Bobo Coen Album Type: EP Date Released: 16/09/2016 Label: Loma Vista Recordings
At times both bombastic and over the top, rocking and rampantly commercial, this EP is a complete vindication of everything that Ghost stand for.
“Popestar” CD//DD//LP track listing:
1). Square Hammer 2). Nocturnal Me (Echo & the Bunnymen) 3). I Believe (Simian Mobile Disco) 4). Missionary Man (Eurythmics) 5). Bible (Imperiet)
The Review:
Let’s get this out of the way. There are defiantly bands that wrongly or rightly, divide opinion. Ghostare very high up that list. Maybe it’s the naked ambition to become hugely successful, maybe it’s the image which could be called gimmicky or that they are just not heavy enough. Possibly all are true, but either way love them or loathe them, there is no ignoring them.
Their latest release called “Popestar” is a second (almost) covers EP. Their last one“If You Have Ghost” was very well received, so can they pull of same trick twice? The answer is a resounding yes. Ghost do not go for the usual Sabbath, Metallica, Maidencovers, instead and as always Ghost do the unexpected and deliver a set that shows an influence beyond a classic rock record collection. With the exception of one track I’m unfamiliar with the originals and that for me is always a plus point.
It starts off with a brand new Ghost song “Square Hammer”. A keyboard riff plays before crunchy guitars kick into a medium paced stomp. Papa Emeritus III’s vocals gift this song with a simply beautiful melody. A towering chorus that is as catchy as is expected underlines the Ghostmission statement. In other words, a chorus to be sang by the masses in stadiums worldwide, which it more than likely will be. A pre-thrash 80’s style guitar solo carries the song back to that huge chorus, which in turn wraps up the song. Everything their fans love about them is delivered in less than four minutes.
The next track “Nocturnal Me” is an Echo and the Bunnymen song. Although familiar with the name I don’t know this song at all. After a wavering keyboard intro, a waltz time riff kicks in. A double tracked vocal delivers a lyric that could have come from a Viking metal album. “In an ice-capped fire/of burning wood/in our world of wire/ignite our dreams of starry skies”.Ghost however gives it a flavour of gothic splendour before a keyboard driven, almost spoken word chorus. This motif is repeated in the third verse before biting guitars kick the song goes up a gear. Military style drumming brings us to a bigger chorus. The song finishes with the keyboard driven waltz time riff replacing the guitars. A dramatic song that feels short at just over five minutes.
The next track “I Believe” is by Simian Mobile Disco, whom I have never heard off. I assume it is a dance act which is something Ghostdid on their last EP covering “Army of Lovers”. It starts off with phased keyboards, a dance music reference point. An electronic sounding string riff introduces melody of song before a laidback vocal takes a casual preamble into action. Ghost gets straight down to the bones of song. Don’t bore us; get to the chorus seems to be point here. There doesn’t appear to be any guitars on this track at all. It is covered in washes of atmospheric keyboards and its saving grace, an unsurprisingly beautiful vocal by Papa Emeritus III. Although this can in no way be described as rock music it does the same job as the Disturbed cover of “Sounds of Silence”. It highlights the vocal powers of the front man and is a nice change in pace from previous songs.
Track four is perhaps the best known song on the EP. I’m sure most people know “Missionary Man” by Eurythmics. It starts with vocals underpinned by a keyboard, before kicking into a crunchy stomp. The guitars are dialled up high giving a nice contrast to the last song. When the chorus crashes in, it has added female backing vocals which rather than diminishing power, it elevates the chorus and lyrical content, taking this Ghosttreatment of the song to an even more epic scale. This is Ghost at their most rocking with nasty guitars and a lyric that is snarled with venomous intent. A huge keyboard riff pushes the song along until a blues drenched harmonia solo, which is backed by gospel type female vocals and staccato guitars. It builds to wild abandon before stepping of the gas to let the verse kick in again with double tracked vocals. A final pause as the hammondorgan starts building it up for the inevitable finale of repeated chorus. In the same way Marlon Manson made “Tainted Love” his song. Ghosthave claimed “Missionary Man”.
The final track “Bible” is by a Swedish band called Imperietand because I am not familiar with this track or band, it is easy to approach it with fresh ears. Epic is a word used a lot to describe Ghost’s vocals, but it is very fitting description here, because this track starts off with one. It kicks straight into a chorus filled with pomp and grandeur which finds Ghostat their most bombastic and commercial. Pomptastic anyone? In less skilled hands this song could easily come across as mawkish and sugary rather than life affirming, fortunately, this band know exactly how to walk that tightrope and do it with a subtle dexterity. Understated drumming allows the lyric and music to soar. It is almost all chorus and key change to the finish line till an ominous spoken word passage in conjunction with almost reverent finale brings it to conclusion.
Overall Ghostdeliver one new song and four covers and stamp their identity all over it. At times both bombastic and over the top, rocking and rampantly commercial, at least four of tracks here you will dig their way into Ghost‘s live set and stay there for many a year. For fans of this band it delivers exactly what you expect and surprises as well, which no matter what you feel about this band must be admitted is a very neat trick. A complete vindication of everything that Ghoststand for.
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