Taken altogether, the vacillation between violence and misery is compelling
“Neon Crosses” DD//LP track listing:
1). Sacrosanct
2). Halogen
3). Tar
4). Razor Nest
The Review:
It’s not that I would nail myself to the masochist mast, but I have to admit there is something ritualistically cleansing about laying down in a dark room, depriving all senses except hearing, and shattering that peaceful seclusion with a high volume deluge of grisly, bone-biting aural violence. Despite the horrific grime one is subjected to, the effect is one of paradoxical cleanliness and peace. But for the ritual to work it must be pure; nothing watered down into a thin, homeopathic tincture; it must be something viscous and foul-tasting that lets you know that you’ve been medicined, a spiking that lets you know you’ve been spoken to. If you need this treatment as much as I do, then “Neon Crosses” is your draught.
This is Leechfeast’s first full-length for five years (their second overall), and their first release since the split with New Zealand's now defunct grime lords Meth Drinkerback in 2015. Perhaps significantly, this is the first recording since Hans Wubs took over the sticks from Marko Šajn in an otherwise remarkably consistent line-up since their nascence in 2010.
As the title suggests, it cuts an urban path. For Slovenia’s Leechfeast, the children of the night are not wolves, but other predators skulking between the streetlights. They represent the mould growing in the gutters, the weeds pushing through the concrete, blackened foil in the alleys and the screams of victims slapping back off wet brick, steel and glass.
At first harken, I quickly understand why comparisons have been drawn between “Neon Crosses” and the excoriating sounds of Coughand Moss, but it is no carbon copy. Instead, the band manage to steer their sound safely across the ever busier shipping lanes of modern doom, deftly avoiding collision with the other lumbering tankers which seem to be riding in each other’s wakes.
An example of this subtle divergence comes on the second track, ‘Halogen’. Its linchpin riff is like someone heartlessly slinging on a string of Reggie Dixon numbers when you're too goofed to intervene, leaving you to be waltzed through to some dreadful other dimension.
Highlight song, ‘Razor Nest,’ well positioned at the end of the record, opens with gloomily melodic, reverb-washed singing, drawing parallels with 40 Watt Sun, except with all the hope for tomorrow extinguished. Then despair gives way to anger once more and the vocals lash out again, the guitars moving from minors to chromatics, the whole peppered with samples from what sounds to be space age American public information films. The effect is that of a broken emergency broadcast system piping messages exhorting calm which echo through the empty streets of a post-neutron bombed world.
At no point does “Neon Crosses” feel protracted, each of the eight to ten minute tracks is extremely well judged; the bars allotted to the changing riffs and motifs is perfect and the sound achieved in the studio and in post-production is crisp, capturing some of that high-end fizz that gives character to otherwise bass rich guitar tone and slow skin pummeling.
The record invokes that horrid yet splendid feeling of your flesh being torn from you in long, misshapen strips, and then dresses the wounds in melancholic, chant-like singing and single picked guitar lines more apt to surrendering to the darkness than exalting it. Taken altogether, the vacillation between violence and misery is compelling. Would definitely recommend for your next isolation tank session
Within six months of forming back in 2013, TarLung had recorded their debut release, seven tracks of fuzzy self-confessed Eyehategod and Church of Misery worship. Yet it took until late last year before the next instalment of tectonic shamanism and their “Void”EP, emerged. Now, after the release of their full-length “Beyond the Black Pyramid”, with a sound so fat it is in danger of not being able to squeeze through your speakers, I threw some questions at Marian, Rotten and Five about what they had been up to in the interim.
Marian [drums]: [The debut] was received very positively, so we just continued with writing stuff, playing shows, and testing the new material in the live setting. It happened quite organically that the tunes got longer, darker and more refined, while of course maintaining the love for the gritty, fuzzy and noisy approach. So we found ourselves with an extensive bunch of material a year or so after the first release and thought “an in between EP might be in order, but a new full length album is basically there as well…” So in the end we decided to go for one recording session for both EP and new album. And we knew there was a bunch of material, but indeed it was more than 90 minutes in total, which came as a surprise in the end… but we had kept adding parts and going slower, so that just sort of happened! But yeah, the separation into “Void” tracks being closer to the desert biker blues of the debut and “Beyond the Black Pyramid” consisting of the lengthier, bleaker and more monumental tunes was settled before going into recording.
Rotten [guitars]: In fact we ended up with 20 minutes more than we anticipated before entering the studio.
The sound on “Void” and “Beyond...” feelunified, and distinct from the debut. How did that sound come about? Was it organic? Do you feel Lukas Haidinger captured your sound well? Did the recording process go smoothly?
Rotten: Well, we recorded both releases in a three-day session, so that might give the more unified feel. The decision to hit the Deep Deep Pressure studio again was an easy one for us as Lukas is a good friend and he recorded our debut as well. He understands what sound we are going after, as he is active in numerous bands including the Austrian sludge outfit Underground Groove Front (check them out, they are awesome!). Thanks to Lukas' great work, he was able to record all our songs live and in three or less takes per song. Recording with him is smooth and doesn't feel like hard work at all. There was always a relaxed atmosphere in the studio, despite the burning hot weather, and we are very happy how he captured our sound. This time we also used different amps than the first time, mainly an Orange Rockerverb MK I and an old Laney AOR– these got the job done alongside cool fuzz and effect pedals to spice things up.
Marian:Yeah, it was a great recording experience, but a full day of live tracking drums in the midsummer heat in a rooftop studio was indeed quite demanding… I was holding up somehow during playing, but after each take I got quite close to passing out, drenched in sweat. Mmmh, I must have smelled really good!
Five [bass]: Working with Lukas is definitely a pleasure. It's like recording in your own living room, but a lot hotter and louder. Lukas is also hugely technically adept in what he is doing; he knows his recording stuff. We pretty much just said how we would like to sound and that it should capture our on-stage performances – that was enough for him to create a blueprint for our sound on the album.
“Beyond...” really feels like a full-length. There seems to be a trend now of albums being shorter. I wonder if that is to accommodate vinyl's time limitations now that more bands have gone back to offering that format. What are your thoughts on that? Do you feel bands should be offering more from their releases? What do you hope to offer your audience when you set out to craft, record and release?
Marian:Yeah, actually we would have loved to put out “Beyond the Black Pyramid”on vinyl! Of course there is some sort of hipster hype about that format, but I personally love to spin some wax; it’s just a more intimate way to pay respect to your favourite artists. Alas, with 66 minutes running time, “Beyond the Black Pyramid” would have had to be a double LP, so in the end the cost factor was too off-putting for us. So it came to be good old CD format and bandcamp, and Black Bow Records did the digital release on other platforms like iTunes and Amazon for us – courtesy of Jon Davis of the mighty Conan. Thanks, man!
But maybe, if there is the demand, we still could get this record onto wax. Still would very much like to do it!
But about the running time: as mentioned before, it wasn’t really a conscious decision, it just happened… and we had to roll with it! There are great albums around the half hour mark which feel complete as they are, but others just need the long running time… Sleep’s “Jerusalem”, Neurosis’ “Times of Grace”, Electric Wizard’s “Dopethrone”… so while not wanting to compare us with those giants of heavy music, we hope that “Beyond the Black Pyramid”feels like a long, exhausting march through the searing desert, full of hallucinatory demons and visions of doom, which is just as long as it needs to be!
Rotten:If there is a big enough demand for a “Beyond...” vinyl we might give you one in the future, maybe with a preorder of some sort. Also the whole artwork Alex Eckman-Lawn did for us is intended to be used for a vinyl release.
Five:As Marian said, there are shorter and there are longer records, really depends on the music and the artist. While writing, for example, ‘The Prime of Your Existence’, I was well aware that this is now a >10 minute song. If I would get bored playing that song again and again, for example in band rehearsals, then there is something wrong with it. Cut it, make a riff shorter, whatever. But so far I did not have this feeling yet on any of the longer songs of the album. I can still get into a delirium-like state while playing the longer riffs, and that's really important to keep up your excitement. I hope it stays that way.
From the debut there were always elements of a kind of melodic doom, but how much do you think “Beyond...” now leans towards minor melodies rather than bluesy licks to communicate its bleak bitterness?
Marian:I like to believe it was an organic transition, TarLungstill sound like TarLung, but we have definitely shifted a bit from the NOLA style ‘slow man’s blues-punk’ towards a somewhat darker approach. I also think this matches the stories the songs tell, but apart from a few more ‘fun’ tracks like ‘Space Caravan’ the darkness has already been there on our debut: It was not so much ‘Drinking and smoking are fun!’, but more ‘Drinking and smoking might be fun, but you will fucking die.’ The same goes for the themes of apathy, misery and depression – but they emerged more clearly in the image of the Black Pyramid, which is of course a Lovecraftian motif, but at least for me also a strong symbol for personal struggle… but it is about going “Beyond the Black Pyramid”, not about wallowing in constant self pity, but about trying to overcome the misery, while maintaining that life will always contain its fair share of gloom.
Rotten:The whole lyrics of the song “Beyond The Black Pyramid” are also loosely based on different Lovecraft stories. For me the change was something that came naturally and wasn't intentional at all. I guess we just got more pissed off, or got a more disillusioned look on life as we got older.
Five:The debut album was, in general, a lot simpler. The rhythms are faster, there are much more accessible melodies, and the songs are much shorter. The tracks on the debut album were mostly pretty old ideas, from even before TarLung really existed. Between the birth of TarLung and the creation of “Beyond the Black Pyramid” we had a lot of time to grow as musicians. Speaking for myself, I have gained a lot of experience playing the guitar and using my vocals. Meaning that as you get better as a musician, you can use your tools in different ways than you would have ever expected. The message of our music pretty much stays the same, but the language on how we communicate that message changed a bit. Maybe we'll speak a completely different musical-language on our next record. Who knows.
What have your adventures outside Austria been like? Do you find playing shows further afield easy for you or a challenge? Have you noticed a difference in how you are received in different places?
Rotten:So far we only had the chance to play in Germany. I think our music is received quite well in most places and the audience always treated us well. We had to take trains for most gigs outside of Vienna as none of us owns a car right now. It might not be the easiest way to do shows but our love for playing loud music for a crowd is bigger than the challenge of public transportation. But I'm sure we will be able to hit the road with a van sometime in the future to play more shows and hopefully visit more countries and meet many more people.
Marian:Würzburg was great both times, never seen an audience so drunk and wild! Cheers and thanks to Tommy Hellfighter, our good friend and supporter. And yeah, shout out to promoters all over Europe and the world: We want to play your miserable hellhole, get in touch, we want to make it happen!
Do you think stoner rock and sludge can exist without the influence of drugs? How much of TarLung's aesthetic is drugs based? Do drugs make for more creative work, or do they limit thinking and musical expression?
Rotten:For me drugs (including legal ones like alcohol or tobacco) aren't an important part of my life, and I think you don't need a mind altering substance to enjoy or write good music. I don't even get drunk before hitting the stage, maybe one or two beers but that's it for me. After the show I more than once got pretty shitfaced and we all had our fair share of partying so far.
Marian:Drugs are definitely a big and important part in underground music, a symbol for not wanting to be confined by the rules of the mainstream society, for separating yourself. But it really depends then – drug culture can become sort of conservative and restricting in its own way. So as much as I love Electric Wizard, Sleep and the likes: You are not automatically making great music just because you are stoned, and you don’t necessarily need to be stoned to enjoy “Jerusalem” or “Dopethrone”. TarLung is about a reality that is there, people doing what they do, partying and suffering. Not condemning it, but not glorifying it, either. In the end, what remains from all the highs is a bunch of tar in your lungs. That is the way of the world. A strange place to be, a strange life to live… but definitely better if you got some really heavy tunes to accompany your existence!
Five:I don't think that drugs are needed in any situation, especially for something creative like music, to really enjoy it. If I can only deeply listen to a particular record under the influence, then the record is probably not that good. Drugs may alter the experience of art, but I personally enjoy, for example, Doom Metal or a good book just as much without any mind altering substances. I never understood bands who openly celebrate or promote drug use on stage. I don't actually mind it, as it's really none of my business what they do on stage, but this kind of music can be much more than just a drug induced fever dream. Having a few beers before stage time to get into a relaxed mood, and maybe one more beer on the stage to keep the throat moistened, is enough for me. After we've done our set, there's usually enough time left to really start partying.
I personally have never gotten intentionally "high" to write songs. In fact, I think I've never written any song under the influence of drugs. I like to focus on what I'm currently doing – if I'm sitting down to write a song or some riffs, I'm doing exactly that. Our band rehearsals are also usually very straight-forward: a few hours of focused music playing and song inventing. This seems to work quite well for us. This doesn't mean that drugs are generally bad for doing creative stuff. Of course not. But for me personally it doesn't really go together. Better keep the fun stuff for after the work is done. All work and no play makes Jack a dull boy, as we all know.
At a time when sludge fans are being sold their favourite tipple heavily cut and in short measure, Demonsmoke are the real deal and “Morphine Moonshine”, their first full-length, is an accomplished debut.
It draws directly and joyously from an esteemed musical heritage that takes in early Sourvein and the first two Eyehategod LPs, and draws alongside the sounds of Weedeaterand Dopethrone. And like those heavyweights, Demonsmoke are steeped in hard living.
“We're from the slums of the [San Joaquin-Sacramento River] Delta,” explains drummer Mitch Groseclose,alluding to another Delta notorious for paradoxically serious partying and swollen grooves. “We just try to recreate the attitude of where we live.”
Demonsmoke grew up together in Antioch, California, mostly meeting in the local high school apart from bass player Boug Groseclosewho is Mitch’suncle. Eight years after high school, Mitch met guitarist Vinny Messina again at a party and soon after they began jamming together. Nothing was to come of that, but after the abrupt end of the band Mitch and vocalist Cam Salas were both part of, the way was paved for the three to come together, Mitch then bringing in Boug to complete the rhythm section.
“We love heavy shit and having a good time,”says Mitch. “We decided to start a band that sounds like the music we all love to listen to.”
Woozy, iron heavy guitarwork punching through feedback, lo-fi film samples lifted from Mitch'slarge VHS collection (notably Gummo, The Wild Angels, Apocalypse Nowand GG Allin), and overlaid with reverb-sodden bong-gurgle vocals. There is no ambiguity as to the kinds of record collections that inspired the creation of “Morphine Moonshine”.The sound is unashamedly classic sludge, and the band are keen to point out the help they had in creating it from Greg Wilkinsonat Earhammer Studios, Oakland.
“Recording the album was an amazing experience”says Mitch. “[He] really knows his shit! We showed him the demo, recorded by Nick Massonat Blue Rock Studios two years earlier, and he was down to record the full length. We were super excited and all ears when we showed up in the studio. Gregmade sure all of our gear sounded tits before we even put a microphone to them. Our vision of the album came out better than we could have hoped. Crispy, crunchy, fuzzy as hell, but you could still hear everything clearly. Gregis a super nice, down-to-earth guy and knows his shit about more than just recording. He dropped tons of wisdom on us and the whole experience was enjoyable as hell.”
Beyond the music, the record also adheres closely to sludge traditions thematically. The band name, album’s title and artwork, as well as individual song titles like 'Set in Stoned’ and album highlight 'Junkie’, signal the group's subcultural position unabashed.
“Wouldn't be stoner rock without some stoners in the group!” says Cam.
Now that Proposition 64 has passed making the sale of recreational marijuana legal in California, surely life has never been so good for stoners.
“We're not political in our music, but personally I think legalization is a double edged situation,”Cammuses. “On one hand I’m glad to see more acceptance of weed, but on the other hand big business is going to try and get involved and I don't want it to get all commercialized.”
Mitchis also unsure about what the new legislation means. “Weed has always been my drug of choice. I grew up with ADHD and all those fucking speed pills, so smoking pot seemed like the natural medicine to me. I've had my medical card for nine years now and really enjoy the system. Prop 64 wasn't necessary, I think, because things were already set up if you wanted them to be.
“I've tried almost all drugs,”Mitchcontinues. “I had a big psychedelic phase. Mushrooms, LSD, DMT, 2C-I. I loved opening up my mind. Now I mostly just stick to weed and hash. I'm a big-time dabber!” he laughs.
While not all the band indulges, Mitch isn't the only member to have broader tastes in this regard.
“Well I used to pretty much do whatever I could get my hands on,”Vinny admits. “Went from smoking weed, droppin’ acid and eating shrooms to doin’ coke and oxy. Got into a lot of trouble with crank there for a little while, but now all I really do is drink. Got me a class A and I'm drivin’ big rigs now so I can't fuck up and come up dirty, ya know?”
Listening to “Morphine Moonshine” it's hard to imagine any of the band notcoming up dirty. This record would impart a hazy high to even the most hard-bitten prohibitionist who ventured to listen to it and is a tonic for any hangover. It's as if the thing was crafted with an alternative harm reduction motto in mind: Crush. Dab. Weight.
the sound is relatable and as tender as a fingernail wrenched from its bed. It drifts between aching sadness and violent bouts of self-disgust. This stratum of emotional, chemical and physical self-destruction is the calling card of genuine, heartfelt sludge, and “Without Condolence” is definite rap on the door.
“Without Condolence” CS//CD//DD track listing:
1). No Sovereignty
2). The Tearing Down
3). Synthetic Edens in a Crippled Will
4). I Yield My Prayers
5). Eroding Ethos
6). Lower Tiers of Life
The Review:
I missed the release of “Without Condolence”at the end of last year. Cowardice is not a name I have seen about too much, either, but it should be. Somewhere between the despairing chug of Arizona’s gone-but-not-forgotten Wellingtonand the searing angst of His Hero Is Gone, this debut is the collective effort of some New Jersey scene regulars. It was recorded last summer and it moves like a soot crusted diesel-electric freight train leaking oil and coughing a dark brown carcinogenic fume.
The drumming is a thing of beauty. It slinks and slouches; explodes, shimmers and tinkles. The vocals have that clawing desperation that perfectly exploits the emotional weight of the music which sways between melancholic, gritty, picked melodies and fully blown out chords as evil as pitch-shifted black metal. The whole tone of the album is so well judged that the acoustic number sandwiched in the centre doesn’t feel like a break from it but rather it attacks the target from a fresh vantage.
The overall recording reminds me of those classic 90s underground bands and I absolutely adore it. It sounds like it was taped off a friend’s record player and has a scratchy quality like the back of your throat right before a heavy cold. This record is as grimy as it gets, but in the moments when the guitar is cleaner, peeling back the layers to reveal the bedrock of reverb, guitar buzz and snare rattle, I get an intoxicating whiff of a becalmed Dystopia, which is a perfect invocation for any sludge band.
This isn’t the NOLA sludge sound we rightly love. This apple falls on the other side of the tree. The melodies are not so indebted to delta blues. Nor would I say they are forbidding in the way you would expect doom to be. Instead the sound is relatable and as tender as a fingernail wrenched from its bed. It drifts between aching sadness and violent bouts of self-disgust. This stratum of emotional, chemical and physical self-destruction is the calling card of genuine, heartfelt sludge, and “Without Condolence” is definite rap on the door.
“Without Condolence”is available on all formats here
There is a Riff. It’s of the swampy kind that jacks directly into what remains functional of your richly barbecued, southern fried central nervous system. It appears about three minutes into the record’s opening song, ‘Veiled Aggressor,’ but you’d be doing it a disservice to skip ahead. The angry hardcore hammering of the first minutes leads into it perfectly, and is more than a vehicle to get you there; it’s a foot stomper of its own. Little wonder that this was the track used to signal Witchapter’s arrival.
The band’s debut release is the latest thing on Black Bow Records menu. So fresh, in fact, their first official outing was only a couple of weeks ago when they opened for Italy’s blackened warlocks Hierophant in a rather badly attended basement beneath a bar on the Margatecoast. Having played their three extant songs (choosing a set order that took ‘Veiled Aggressor’ from the top and dropped it in to close) which clock in a little over the 20 minute mark all told, I couldn’t help but wonder in what order these songs were written.
The second track (by EP reckoning, not live), ‘Through Smoke and Sulphur,’ continues to bring us more bile from the bayou. The opening bass shakes the eardrum like having a cheetah purr in your ear (to check that for yourself, hunt down Chris Watson’s field recordings), the guitar quiet but clear much further up the stave before it cuts loose with a riff and tone like SonHouse setting about a 40 foot pipe organ plumbed into a saw mill.
But it’s the third and final track that seems at odds. It fills a space roughly that of the other two combined and moves away from swamplands to somewhere more sombre. A wind ravaged moor, perhaps. Live, comparisons with Griefwere made, but listening to the record that’s not quite right. As a rule of thumb I would say it leans more in that direction: sombre, pulsating melody that falls off the pentatonic path and deep growling. But unlike the other songs here it fails to distinguish itself amongst the merry rabble of competent doom now happening.
And this is where questions of writing order come in. Is the close of this EP indicative of what’s to come from Witchapter, or was it simply born of an early doomfluenced jam and it is really the hellish swamp metal that will define their future? I am looking forward to finding out.
This is not doom. Even less is it sludge. The influence of those genres can be felt, but to understand Ohhms under those terms is misleading.
Three years on since Ohhms' first appearance outside the rehearsal room, it is still unclear who first applied these labels to the band, though there's no doubt that these are labels the group have done nothing to eschew. Speaking outside Camden's Black Heart in 2014 before their second ever gig, the deal with Holy Roarnot yet in the bag, vocalist Paul had admitted as much. "To be quite honest I would be happy to be lumped in with the doom thing just because it's different and there [are] elements of doom in [our music]," he had said. And yet, out of the then 30 minute set they had, only eight minutes were described by Paul as doom. He'd timed it. So what are they? "Classic rock, if anything," he'd said then.
'The Fool' is the band's third release and the first that they consider to be a full-length, and the description 'classic rock' still sounds fairer than what is more usually thrown at them. There are definite hints of Pink Floyd’smore reflective moments, along with some guitar work that would not upset the 80s hard rock applecart. Though there is more going on here, and not just Dan working his way through his extensive pedal board of boutique guitar effects, or indeed anything particularly progladytic. Where Ohhms skirt the sludgey-doomy influence, it is filtered through post-something-or-other and is akin to grunge.
There they are in good company; though rather different, Germany’s Aleph Null also came in on a stoner tip but sound like the debt is actually made out in the name of grunge and psych rock, and that is no bad thing. To anyone who has been following Ohhmsthese last few years, this record will feel a very natural and subtle mutation. Paul still has his self-professed “singy and shouty, never screamy”vocals pushed through echo. Not psych rock meltiness, but a big room-feel. Chainy’s restless and nomadic bass still wanders widely in search of home. Max still offers a lyrical range of punctuation and backbone, though has stepped it up on the faster moments in “The Fool”. But despite the ready familiarity of the sound, the word that fell from my lips as the first listen came to a close was “surprising.”
One of the most striking things about this album is not the penultimate track, 'The Lovers,' (which, on first hearing, you would be forgiven for thinking a song penned by Phil Collins for a Disney soundtrack had somehow snuck its way in -- that may read as though it is intended to be a slur. It isn't.) Rather, it is most striking for its echoes of the band four fifths of Ohhms emerged from: The Babies Three.
Before taking on this review I had decided not to wake the dead; to allow Ohhmsto be judged independently of that past. But not only do some of the guitar lines seem to recall that heritage, but the lyrics to the album’s closer, ‘The Hierophant,’ are lifted wholesale from File UnderRetaliation’s ‘Rotten Apples’. As the lyric says: “Recurring themes throughout my life.”
The original mission statement may have been Swans circa “1984”, but it was never quite to be. Instead there’s something more organic. Ohhmsshoot new blooms from deep roots, laying out their generational history as they evolve as musicians.
What is it with the sea and some of doom’s more sombre bands? The rich nautical repertoire of songs about the hauntings of dead sailors, ghost ships and ungainly, ill-omened seabirds notwithstanding, the Big Water has proved an irresistible draw for many bands. Indeed, there appears to be three themes prevalent in doom right now: the sea, the occult and H.P. Lovecraft, and the greatest of these is Lovecraft (go on, argue for the occult; I’m listening).
Written over three months and recorded live in a few hours, albeit with two different vocal sessions, Greenhorn’s “The Narrator” evokes the sea through a petroleum-jelly-soft Lovecraftian lens. Not to say this track lacks throat, rather that it balances gnarled guitar tones that roil and gurgle with the allure and seduction of ethereal Siren calls rendered in beautiful-if-creepy sung harmonies. The rich vintage glow swathed about both guitar and bass in the solos satisfies like muscovado sugar, bringing melody to the fore of the song’s nigh twenty minute span.
And this is why it is so well paired with Urchin’s “Meteor Blade.” We are back down to the forbidding water’s edge, but more than that, we have a vintage feel and a haunting, darkling melody carefully stitched onto something primal and untamed. The vintage here is different, however, calling back cassette tapes left to go brittle on a sunbleached dashboard and the hazy reverb of the 90s alternative scene. Indeed, halfway through the song a delicate, woozy melody leverages a fair slab of pathos before breaking out once again in wails of agony.
Altogether a well-matched release allowing both acts to shine their own eerie lights, and with plenty of aggro, but with the emotional variation and nostalgic tones selling it.
“Greenhorn/Urchin”is available for download here (Greenhorn) and here (Urchin)
Hi, you wanna know about us?
