Richmond, Virgina’s Windhand released their self-titled full-length debut in 2012 and have become doom metal heavyweights since then.
You might think it’s an EP at first, since it only have five tracks, but the last two are each over ten minutes long. There are more heavy riffs and growling menace on this record than there are in a den of angry bears.
Starting with “Black Candles,” the double-whammy of guitarists Asechiah Bodgan and lead guitarist and producer Garrett Morris hits you out of the cemetery gate and Dorthia Cottrell‘s spooky vocals must have caused chills in 2012 because they still do now.
“Libusen” starts with the sound of a thunderstorm, and it’s peaceful at first, and then Nathan Hilbish‘s bass and Ryan Wolfe‘s drums hit like sledgehammers. Cottrell sounds like she’s singing from, or possibly toward, a portal to another dimension that Morris’ guitar solo has apparently opened.
“Heap Wolves,” the shortest song on the album at a little under five minutes, wastes no time in hitting hard and heavy for its run time. Cottrell’s vocals are often hard to decipher, but that’s often the point. They become another instrument, a chant, a spell, a hypnosis.
“Summon the Moon” starts off slow and menacing, like something awakening under a swamp. Hilbish’s bass is the low rumble of a yawning beast until it turns into a hungry roar. Cottrell’s hypnotic voice becomes one of ancient, seething rage while Wolfe uses big hits with simple cymbal hits to create a slightly unsettling effect.
You can help but crank “Winter Sun.” It’s perfect for putting on a suit of magic armor, casting a spell to commune with spirits, and digging an ancient book out of a collapsed tomb inhabited by a wraith. The fuzzy snarl throughout makes you feel ready for battle rather than dreading the dark forces plotting your demise.
It’s a powerful debut and Windhand has since taken the metal world by storm. I’ve been to multiple shows where they’re not playing and people are talking about them. This is a great place to start if you’re still new to them.
There are records and there are records that change the game. The Damned‘s debut album Damned Damned Damned is one such record. People hadn’t heard anything quite like it before 1977. This album made people sit up and pay attention.
Comedian Craig Ferguson once described punk rock as “sounding like a fight…and that made me feel happy,” just before he introduced The Damned on his show in 2008 to play the album’s opener “Neat Neat Neat.” It’s a great description because the song instantly ignites a fire wherever and whenever it’s played. “Fan Club” has a swaggering danger to it. Rat Scabies‘ crashing cymbals on “I Fall” sound like a thousand breaking windows.
On “Born to Kill,” Brian James‘ guitar roars and soars at the same time. “There’s a brand new kid in town,” Dave Vanian declares on “Stab Your Back.” He was right because The Damned’s frontman inspired thousands to come after him. “Feel the Pain” dips its toes into psychedelia.
“New Rose” was the second A-side of the split single with “Neat Neat Neat,” and it’s another punk classic full of pent-up anger (“A got a rage inside of me, hormones, and frantic energy (“A got a feeling inside of me. It’s kinda strange, like a stormy sea. I don’t know why, I don’t know why. I guess these things just gotta be.”). James’ guitars on it trade shredding and growling throughout it.
No Damned album review would be proper without mentioning Captain Sensible, who played bass on this record before later switching to lead guitar. Sensible’s bass line on “Fish” is full of heavy fuzz that hits you like a mackerel upside the head. “See Her Tonite” is another rager, burning down everything around it. Scabies’ drums on it are just bonkers.
Sensible continues the heavy bass thuds on “1 of the 2,” and Scabies throws in so many wild fills that you lose track of them. “So Messed Up” absolutely crushes, barley giving you time to get ready even with Vanian’s three-count to start the song. The album ends with their cover of The Stooges‘ “I Feel Alright,” which somehow matches the original’s intensity and ups the madness.
Meat and Bone was the first album in eight years by The Jon Spencer Blues Explosion when it was released in 2017. The trio (Jon Spencer – guitar and lead vocals, Judah Bauer – guitar, Russell Simins – drums) had worked on various side projects here and there and thankfully returned for another wild ride.
Opener “Black Mold” drops you right back into that solid grove the JSBX can only seem to pull off – chaotic yet tight at the same time. You can tell that they felt like they wanted to make up for “lost” time and unleash plenty of power in just three minutes or so.
“Are you ready for your new career?” Spencer asks at the beginning of “Bag of Bones,” prompting us to wonder if we need to tip over our desks and cubicles and strut around like the rock stars we are instead of the tired, locked-in-the-past worker bees we’ve become. “Boot Cut” has a great, gritty grind all the way through it.
“Get Your Pants Off” is a wild, wicked track about wanton women doing naughty things. The bass tone on “Ice Cream Killer” is as cool as its namesake. “Stranger Baby” has Spencer and his mates screaming the chorus and growling the verses. “Bottle Baby” has some of Simins’ wildest drumming. He seems to switch tempos every thirty seconds and yet he’s in the groove all the time.
“Danger” is a vicious rocker, and “Black Thoughts” has so much guitar fire in it that I’m not sure if Spencer or Bauer is putting out the most volume. “Unclear” is a fast, fuzzy cut, and “Bear Trap” snaps hard and has a heavy, swaggering menace to it. Spencer’s vocals are often distorted almost to the point of becoming just weird sounds, which is often the point.
I love that the album ends with an instrumental, “Zimgar,” showcasing the band’s wild and sometimes weird sounds. The JSBX returned from an eight-year hiatus and showed they hadn’t lost a thing. It’s almost like they went into cryogenic hibernation, shook off the frost, and walked into the studio and proceeded to melt everything around them.
I first learned of the French psych-rock giants The Limiñanas when they teamed up with Anton Newcombe of The Brian Jonestown Massacre to form L’Épée and put out an outstanding record, Diabolique, in 2019. I had no idea that the band had been around since at least 2010. I’d been looking for some of their music for a while in physical form, and ended up finding their two-CD collection, Electrified, in a record store in Edinburg, Scotland.
Starting with “Migas 2000,” Lionel Limiñana‘s fuzzy guitar riffs grab your attention right away and have you dancing like you’re an extra on Shindig. Marie Limińana‘s drums on “I’m Dead” pound out a hip-shaking beat you can’t ignore and (former Les Bellas bandmate) Nadége Figueroa‘s playful vocals about death are just delightful. “Je Ne Suis Pas Très Drogue” (“I Am Not Very into Drugs / Very High”) is so trippy that you think they’re probably lying. Lionel’s guitar sounds like a buzzsaw on “Down Underground,” and Mu‘s guest vocals on “Je Suis une Go-Go Girl” hypnotize you straight away.
Lionel sings lead on “La Fille de la Ligne 15” (“The Woman on Line 15”), in which he laments about seeing her each day and wondering who she is and if he has enough bravery to finally speak with her. The looping synths on “Je M’en Vais” (“I Am Leaving”) combine with a bouzouki to transport your brain out of your head.
“Wind is blowing, black cloud approaching. I remember nothing when I think of you,” Figueroa sings on the sultry and slightly snarky “Salvation.” The band poke fun at themselves and one of their biggest genre influences on “Votre Coté Yéyé M’emmerde” (“Your Yéyé Annoys Me”). Marie’s vocals on “Cold Was the Ground” are breathy, sexy, and, of course, sad as she sings about missing her lover as one of them is on the other side of the veil. Lionel’s bass groove on “My Black Sabbath” is super-slick. I love that they have a song (and instrumental, no less) called “Carnival of Souls,” and that it’s full of weird organ riffs by Pascal Comelade – which you know makes perfect sense if you’re a fan of the film of the same name. The slow, quiet groove of “El Beach” will have you playing it every time you come back from a late night swim. “Prisunic” takes us down to the “Dime Store” and encourages us to hang out with all the weirdos there. “Dahlia Rouge” starts off with a low motorcycle rumble and then bounces into a playful yé-yé tune.
The last three tracks on disc one (Yes, all of the above-mentioned songs are just on one CD) are all team-ups. The first, “Garden of Love,” features none other than Joy Division and New Order bassist Peter Hook, whose trademark crisp bass lines are all over the track. “Istanbul Is Sleepy” has The Brian Jonestown Massacre‘s Anton Newcombe on lead vocals and guitar for a powerful psych-track with a great beat from Marie. Mr. Hook returns on the last track of Disc One – “The Gift.” It’s a lovely track with slight goth and shoegaze touches.
The team-ups continue through most of Disc Two, starting with French actress, model, and signer Emmanuelle Seigner (who would later go on to form L’Épée with them and Newcombe) on the groovy and slightly gritty “Shadow People.” “Dimanche” (“Sunday”) with French actor and singer Bertrand Belin is hypnotizing and somewhat sinister. Speaking of French singers and musicians, French 1980s synthpop star Étienne Daho joins them on “Blood Circle,” singing in English about a tale of what appears to be murder or a tragic accident. Spanish siren / vixen Nuria contributes sexy vocals to “Calentita” (“Warm”), which, as far as I can tell, is about getting high and seeing funky phantoms.
French DJ Laurent Garnier adds house beats to Mr. and Mrs. Limiñana’s spooky pych jams to great effect on “Saul.” “USA Motorbike” (with film composer David Menke) is a great psych-instrumental. I’d take a whole record of stuff like that. Areski Belkacem has been making music and comedy since at least the late 1960s, and here he is co-creating trippy psych-jams on “La Musique.”
“Les Hommes et les Ombres” (“The Men and the Shadows”) is a cool Ennio Morricone-influenced instrumental with neat guitar work, and the following instrumental, “Domino,” (with Golden Bug) throbs with synth-bass and industrial hisses for a wild contrast between the two tracks. A third instrumental track, “Pulsing,” reunites The Limiñanas with David Menke for a growling, snarling, guitar-driven instrumental that has fuzz chords mingling with weird synths and sci-fi sounds.
The last seven tracks are all from the first group Mr. and Mrs. Limiñana were in – Les Bellas – a psych-rock group they had along with guitarist Giom Picard and vocalist / trumpeter Figuerola that was active from about 2003 to 2007. The tracks are a great addition here. “Hey I’m Going Down” sounds like it could’ve been a lost Dum Dum Girls track with it’s fierce beats and 60s garage rock guitars. “She’s on My Track” is a perfect slice of 60s girl group vocals and wall of sound fuzz. “A Dream That Sleeps” mixes rock and surf guitar with heavy organ riffs and Figuerola’s trumpet taking on a great solo.
The title track of this collection comes from a Les Bellas song, and it has a snappy post-punk edge to it that punches hard. Marie Limiñana’s beats on “You Got My Soul” roll back and forth between subtle and smashing. “Drown” mixes sexy vocals with psych-guitar riffs, Spanish trumpet blares, and almost Styx-like synths. The collection ends with the title track from Les Bellas’ lone album, “Belladellic,” a playful, fuzzy yé-yé track that reminds me of a cute kitten playing with you one moment and shredding your hand the next,
It’s a fun collection of rock that will instantly make you feel cooler and make people ask, “Where did you find this?” when you play it.
First, how cool is that cover? I could create a full Dungeons and Dragons adventure based on that. I’m thinking it’s the palace of a Storm Giant or a Cloud Giant, possibly protected by a Sphinx and having a portal to the Astral Plane inside it. I mean, what else could that glowing circle inside it be?
Islands in the Sky by Death Valley Girls turns out to be an album about self-healing, ascension to higher states of consciousness (or, perhaps, centering oneself to the present), and preparing for possible future incarnations of ourselves in this reality or another – such as the one on the cover.
Starting with “California Mountain Shake” (which could reference a few different things in its title), the album starts with moaning chants and haunting organ from Bonnie Bloomgarden as Larry Schemel‘s guitar subtly moves around you like a wise old serpent. “Magic Powers” put bassist Sammy Westervelt on lead vocals singing about realizing through enlightenment that she, and all of us, have untapped power waiting to be rediscovered.
The beat of the title track, thanks to Rikki Styxx and guest percussionist Mark Rains, instantly gets your body moving in a happy groove while Bloomgarden encourages us to leave worry behind and pick up joy. “Sunday” is a fun, almost go-go club rocker.
“What are the odds that we live in a simulated world, and I’m a simulated girl?” Bloomgarden asks on “What Are the Odds?” as she and Schemel trade guitar licks and Styxx puts down some of the heaviest beats of the album. The odds, by the way, seem about even, as we all create our own reality.
The second side of the album starts with the transcendent “Journey to Dog Star,” and by this time I’m long overdue to mention the contributions of Gabe Flores on saxophone throughout the album. His psych-jazz honks blend perfectly with Schemel’s trippy guitar work on not only this track, but on all the songs featuring him on the record.
“Say It Too” has some desert rock and even slight surf touches throughout it, and some of Bloomgarden’s loveliest vocals on the album. “Watch the Sky” could be a warning about UFO’s (watch the original The Thing from Another World) or a song about watching clouds go by and using that as inspiration to clear one’s mind. Either way, it’s a lot of good, fuzzy rock.
Bloomgarden tells us that life can be so much more than the drudgery in which we often trap ourselves on “When I’m Free,” and on “All That Is Not of Me,” she encourages us to let go of our trappings, excesses, and self-imposed limits (“All that is not of me washes away from me.”) while Schemel’s guitar work goes into near-shoegaze territory and Westervelt’s bass keeps the song locked into a sweet groove.
Closing with “It’s All Really Kind of Amazing” is a perfect way to end such an uplifting album. Lyrics like “Wake up it’s time to be all the things you dream.” sum up Islands in the Sky with perfect energy.
As good as this album was in 2023, it’s even better and more important now in 2024 as we head toward a Presidential election featuring two choices that most of us aren’t thrilled about and people are unsure and nervous about what’s to come. Don’t worry about what’s to come, focus on now. Don’t worry about now, but be present with it. The future, when it gets here, will be now. We’re already living in the future. We can fix it now. Death Valley Girls have been telling us this before Islands in the Sky, but this album can be a great entry point for their mystical, metaphysical, marvelous sound and message.
I first stumbled upon Psychlona at Las Vegas’ Psycho Music Festival a couple years ago when they were playing on a small stage inside the Mandalay Bay Casino. This quartet from Bradford, UK put down some of the best desert / stoner rock my late wife and I heard all weekend.
They continued the trend on their 2022 album, Palo Verde. Starting with the appropriately titled “Gasoline,” the album blazes fire right out of the gate with roaring guitars and hammering drums best-suited for slamming the accelerator of your muscle car to the floor. “1975” chugs as hard as any psych or heavy rock record you’ll hear from that decade, with outstanding guitar work throughout it. The guitar solo on “Rainbird” makes you stop in your tracks.
It’s only fitting that the doomiest track on the record is titled “Meet Your Devil.” The bass riffs on it are as menacing as Cerberus’ triple-growl. The addition of keyboards / organ on “Purple River” is a great touch and shows how Psychlona can fully embrace psychedelic rock whenever they want.
“Jetplane” has this slight punk edge to it that I love. It’s the chugging, relentless guitar riffs and surf rock-tinged guitar solo in it. “La Tolvanera” (“The Dust Cloud”) drifts one moment and then sand-blasts your face and eardrums the next. “Are you ready to blow?” they ask on “Warped?” Blow what, exactly? Weed? “Blow this place?” This reality? All three? I mean they offer to “Take you outta your mind, outta your head.”, and the powerful riffs only help knock you into another mind-state for a good seven minutes.
One of the biggest surprises for me of 2023 was that stoner metal giants Acid King released a new album – Beyond Vision. Shame on me for taking so long to get to it, because it’s a fine piece of work (and their first since 2015, no less).
The opening drone of “One Light Second Away” is perfect for the album’s cover image of some kind of heavenly cosmic tunnel / path leading to either an all-seeing eye or another reality we can’t yet comprehend. The instruments are subtle, even as they build in power, not overwhelming you right out of the gate. They’re still guiding you along this swirling tunnel of nebulae, planets, monoliths, stars, and lightning.
We’re floating in the astral plane by the time we drift into “Mind’s Eye.” It hits hard in all the ways you want a stoner metal track to hit – crashing drums, deep Earth-heavy bass, wasp’s nest-buzz-menace guitar, and ghost-like vocals. “Transmissions from the sky, from someone left behind. Was it just a sign?” guitarist Lori S. sings on “90 Seconds,” a song of cosmic messages that sounds as ominous as its warnings.
“Electro Magnetic” starts like a giant robot powering up from sleep mode, shaking off cobwebs and dust, and arming its missiles and electro-magnetic power sword for battle in some kind of desolate wasteland. The short “Destination Psych” merges / melts right into the title track, which has Bil Bowman‘s drums landing like mortar shells and Rafa Martinez‘s bass chugging like hydraulic fluid through that giant robot’s metallic veins. The closer, “Color Trails,” is the sound of the giant monster rumbling across the land as the giant robot comes to meet it, missiles streaking across the sky, trees uprooted with each step from both, roars louder than thunder, robed monks watching a prophecy come true from a safe distance.
I love that most of Beyond Vision is instrumental. You can tune in and drop in rather than out. This album drops you into something beyond your current space.
Keep your mind open.
[Make the subscription box your next destination.]
No one knew in early 2023 that Desire Pathway would be Screaming Females‘ final full-length album. The band decided to call it quits late last year and have since only released one five-song EP (Clover). I haven’t read or heard any official reasons for the band’s dissolution, but it seems to be an amicable decision from a band who’d been one of the champions of the DIY method since their inception. Desire Pathway‘s title might have been a clue to what the band was thinking, as perhaps they each desired a different path to walk for a while. The cover art by guitarist and singer Marissa Paternoster depicts a city jammed with buildings and teeming with activity while open paths (or perhaps rivers) divide the city into sections and offer peaceful escapes from the chaos around them. Perhaps that’s what she, Mike Abbate (bass) and Jarrett Dougherty (drums) wanted – a nice path to walk so they could get away from the chaos of being one of the hardest working touring bands in the U.S.
Starting with the slow build of what sounds like a synthesizer found in a thrift store, “Brass Bell” kicks off Desire Pathway with growling energy that comes at you like an overstimulated orange cat. “I’m living in a brass bell. It’s too loud!” Paternoster sings, again a possible clue to the pressure / grind the band was feeling back then. “Desert Train” races by you like its namesake as Paternoster sings, “I know this feeling, tied to the road. I’ll get high ’til I explode.” and puts down one of her signature ripping solos. On “Let You Go,” she sings, “If I could explain it, how black turns into blue. Now the stage is empty and I am, too.” The signs are right there that she was tired. She and her bandmates weren’t tired of jamming, however, as all of three of them click well on the track. Dougherty’s drumming is especially crisp on it.
“Beyond the Void” is a beautiful love song, the kind Screaming Females do so well – singing about the blissful and sometime frightening parts of love while putting down solid rock licks and bright bursts of sound. “Mourning Dove” is a good example of their “sad” love songs, as Paternoster knows her lover is going to leave soon and there’s nothing she can do about it.
“It’s All Said and Done” has lyrics back to their punk roots as they take a swing at government overreach (“No one’s safe. The state will surround you. When they come, here’s what they’ll say: Trust in the dream, don’t deny. Time says it can be yours.”). Paternoster’s guitar work on “Ornament” is so deft that you almost miss it. It seems subtle at first, but you realize how skillful it is when you listen close.
On “So Low,” Paternoster practically begs a lover to not reject her. It’s a modern day blues song without a single blues lick in it. “Let Me into Your Heart” is in a similar vein, but with heavier hits from Abbate’s chugging bass and Paternoster’s lyrics reflecting how her lover bears some responsibility in all of this for a lack of willingness to fully embrace her (“I know the mess I made, admit that I’m afraid. You’ll never let me into your heart.”).
The album closes with “Titan,” which contains what might be the biggest clue to the band’s decision to give it a rest in the first verse: “You smoked beside the stage, with the can in your hand, then you said to me, I’m tired. Please make it true and do what I, I have asked of you.” She and her bandmates weren’t the only ones who needed a break, so did their families and lovers. So, they end the album with a sizzling, growling, heavy-hitter that has some of Abbate and Dougherty’s best rhythm work on the record.
Desire Pathway was a good one to leave on the path for us fans. Screaming Females never put out a bad record. You can start anywhere in their catalog and be amazed. I hope their new paths lead to great(er) things.
Keep your mind open.
[I desire that you take the pathway to the subscription box.]
As if bossa nova queen Astrud Gilberto‘s lovely voice isn’t enough motivation for you to pick up her 1972 album, Now, then consider that she teamed up with a stunning array of musicians on the record (as she tended to do) from Brazil and the U.S. Gilberto self-produced the record and enlisted Eumar Deodato for arrangements.
Starting with the playful “Zigy Zigy Za,” Now begins with funky jazz drums from Billy Cobham and fun organ solos from Mike Longo. “Make Love to Me” is an English-vocal ballad with a sound to it that reminds me of soft-lit late night live TV broadcasts from 1972. Longo’s piano on “Baião” could almost fit in a rock song and reminds me a bit of the kind of stuff Ben Folds plays nowadays. Gilberto has fun with the track, as it just seems to be her, Longo, Cobham, and Deodato (on acoustic guitar) having a laugh with a fun track.
“Sunday was a fun day I spent with you,” Gilberto sings on “Touching You,” another sweet ballad to her lover…but he’s not real. She can only dream about him. “Gingele” mixes groovy bossa nova with a touch of lounge-disco into a funky brew. “Take It Easy My Brother Charlie” mixes English and Portuguese lyrics and is one of the standout tracks on the record. The flow of it is infectious and gets you moving and smiling. You instantly agree with Gilberto that things will get better and not to fret about things that are fleeting.
“Where Have You Been?” is a sad tale of loneliness from Gilberto that will hit you hard if you’ve been through a heart-breaking loss. The string arrangements on it are a nice touch. The swinging beats of Cobham’s drums on “General da Banda” are sharp as a hatchet. “I have crossed a thousand bridges in search of something real,” Gilberto sings on “Bridges” – a song about her many travels around the world and how bridge, literal and figurative, has lead to or from some significant moment in her life. The album concludes with “Daybreak” and Gilberto singing “I’m walking out on yesterday.” She encourages us to go forward, to live in the now and not in a past that was gone the moment it happened.
It’s, as always, lovely sweet stuff from Gilberto. She doesn’t miss.
Failure‘s debut album, Comfort, does something right away that the band loves doing – making you uncomfortable. This is often done through cryptic lyrics that challenge one’s thoughts on reality and fantasy, technology and humanity, or love and despair…all with crushing shoegaze riffs and masterful production. Comfort gets you unsettled right out of the gate with the album’s cover. Who is that girl? Is that a shadow of a cow behind her? Or a minotaur? Is it supposed to be her shadow? I don’t know, and the album’s songs don’t give a hint either…which is part of the fun, really.
“Submission” might be about sex, but I think it’s more about how easy it is to get trapped in the rat race (“They work hard and they sell things. We like that, ’cause there’s no choice.”). Failure waste no time in pummeling you with thick bass (courtesy of Greg Edwards) on the track, and then Robert Gauss pummels you further on “Macaque” – which is literally about a monkey lead singer Ken Andrews saw in a Los Angeles zoo that provided him with a Zen-like moment of enlightenment. Andrews’ guitar on “Something” swells and builds like river water casually drifting along one moment and then turning into a racing current below the surface the next.
“Screen Man” has a sense of menace throughout it, which is appropriate since it’s about a man on Andrews’ TV screen who freaks the hell out of him (“This man’s eyes are serious. He’s the man in my screen. I cannot let him frighten me.”). Andrews’ guitar is like lightning you see on the horizon (And the solo? Holy crap.), whereas Edwards’ bass is distant thunder, and Gauss’ drums are the wind that keeps building as the clouds get closer.
On “Swallow,” producer Steve Albini hung a microphone from the ceiling and swung it like a pendulum to record Andrews’ vocals during the first verse, causing a weird panning effect and being a neat example of the kind of stuff Failure love experimenting with in a studio setting. “Muffled Snaps” continues some of this experimentation with Gauss’ drums taking on odd sounds and Andrews’ guitar nearly sounding broken until the song bursts forth like dragster. The lyrics reference physical violence, and it seems to be a song about boxing…or at least fighting. It certainly hits like a boxing match.
Gauss’ drums on “Kindred” are sharp, hitting hard in all the right places. “Pro-Catastrophe” is a whopper, with Andrews flat-out telling people he’s looking forward to an apocalypse and watching chaos unfold around him. Little did he know, that in 2020…Edwards goes nuts on a fretless bass throughout it, often making your head spin with the licks he puts down on it.
“Princess” is sort of a love song, as Andrews sings praises to his lady pal (“I’m always pleased that you don’t say no.”). It’s a burner that’s over before you catch your breath. The album ends with “Salt Wound,” a song about one of Failure’s favorite subjects – relationships going awry. The trio unleash a sound that reflect Andrews’ confusion about why his girl is leaving him and the nervousness that comes with a future alone. Edwards’ bass pounds in your brain, Andrews’ guitar dissolves into a jumbled rage, and Gauss’ drums are a pounding heartbeat ready to burst.
Comfort heralded great things to come for Failure. It’s a great place to start if you’re new to them. Hearing how they evolved from this is a neat journey, and the remaster of the album done by the band in 2023 is sharp.
Keep your mind open.
[It would be a comfort to me if you subscribed today.]
