Juan Pablo Lucco Borlera: Bajo
Mauricio Condon: Guitarra
José Landín: Batería
Tracklist: Cabalgan Los Cielos (7:39) Ouroboros (5:16) Stolas (8:42) Eclipsum (4:36) La Piedra Que Sujeta El Sol (5:45) Nuboj (7:26)
IAH – Self Titled EP Demo
Post-Metal, especially Instrumental Post-Metal, is somewhat akin to walking a tightrope: if executed correctly, it can be a true wonder to behold. However, even the slightest misstep can spell disaster for the artist in question. One of the latest acts to walk this tightrope is Argentina’s IAH.
Post-Metal’s largest pitfall is that it can be a very difficult genre to perform while maintaining the interest of the listener. All too commonly, the music is tuned out, eventually being delegated to being “background music” after the listener sets their attention to something more gripping. Fortunately, IAH does an excellent job of making sure their music remains interesting in their debut album, adeptly shifting the feel of their music at the exact instant that the musical idea of the time would wear its welcome.
This album often feels like 3 friends jamming in their garage, and that is absolutely a good thing. An air of familiarity and camaraderie permeates this release- it lacks the disconnect between the listener and the artist that so many larger releases have. It really feels like IAH are sharing something with you and that you are simply hanging out with them, and this feeling definitely pans out in their favor.
The sections of this album that yield the biggest and best impact are when the band really lets loose: IAH feels, far and away, most comfortable when their amps are turned up to eleven, the overdrive is blaring, the guitar is detuned, and the drummer is holding nothing back. Approximately halfway through album opener “Cabalgan Los Cielos” the fuzz guitar is taken beyond the point of no return and the song opens up into an outright tremendous stomp that characterizes the band at their best: Loud, heavy, and downright punishing. This sensation is taken to its maximum in the first half of album high point “Eclipsum”, a showcase of world class riffs full of fuzz, wah, and bass chords.
Spacey, Post-metal is at its finest when the band lets loose, just as outer space is at its most interesting when one takes a look at the crushing gravitational forces of stars, supernovas, and black holes, and IAH is a band that certainly seems to be perfectly aware of this. Despite being rather new to the scene, IAH weaves a work that deserves plenty of attention in the metal crowd, and if there is any justice in this great big universe, these masters of musical intuition will receive that attention.
The Word as Law – Limited & Black Vinyl // CD // DD
Neurot Recordings – Released – August 25 2017
Reviewed by Mike Hackenschmidt
Line Up: Scott Kelly / Lead vocals, Guitar Steve Von Till / Backing vocals, Guitar Dave Edwardson / Backing vocals, Bass Jason Roeder / Drums Noah Landis / Keyboards (Noah did not perform on The Word is Law)
Just this weekend, Neurosis has re-released their 2nd album, “The Word as Law”, originally released June 1st, 1990 through Lookout! Records. The album has been out of print since the 90’s so fans who didn’t get the chance to buy it up 20+ years ago should be chomping at the bit to sink their teeth into this classic. Since 1990 a lot has happened to Neurosis including a major change in sound which includes the addition of a keyboardist. One fact that’s worthy of note; “The Word as Law” was released in 1990 with 8 tracks. It was re-released with 7 additional bonus tracks in 1991 with Simon McIllroy on Keys. This 2017 re-release exclusively contains the 8 original tracks, remastered. No keys.
The 2017 re-release also has new cover art. It’s simple and elegant. The main image to the bottom right, rule of thirds applied, shows a framed mouth, tongue outstretched and pierced with a nail. To this old metal head, the purplish background looks like battle-worn leather. The image is completed with the band logo in the top left corner.
The album opens with 4 slow, gentle strums of an electric guitar followed by a quick riff and into ‘Double-Edged Sword.’ Neurosis is currently labelled as Avant-Garde metal and early influencers of post-metal but in the early 90’s they had a much different sound. Their website indicates their early albums are a product of their punk roots. Wikipedia talks about them starting out playing hardcore. I honestly don’t know a whole lot about punk and hardcore, but yeah, I can hear the punk. However, when this old metal head listened to ‘Double-Edged Sword’ for the first time I also heard heavy influence from a very certain other California band. Fair warning: if you’re a fan of punk and hardcore, this might piss you off. I will concede that maybe this band didn’t influence Neurosis, maybe they just share the same influences, being from the same area. In fact, the band I hear influencing Neurosis has identified as former, skate-board-riding punks. The band I’m referring to is none other than thrash legends, Slayer.
Scott Kelly sounds remarkably like Tom Araya on this album. Many of the guitar breakdowns and lead breaks reek of Kerry King BUT with a punk flair. Considering their influence in sludge, it really shouldn’t be too unrealistic to believe Neurosis have some metal roots. The 90’s were a very strange time in heavy music. Many, many bands started off with a particular sound and then went off in a completely different direction, Neurosis included. As a metal head teen in the 90’s, I read a lot of metal zines where I often encountered the term “Slayer Babies.” At the time, Slayer was claiming that too many new bands were copying their sound. I’m sitting here wondering if that was truly the case, or maybe hard music had just reached a point where there wasn’t much variety. Maybe the term Slayer Babies was really the industry crying out for something new and fresh and exciting which Neurosis delivered as early as their next album, “Souls at Zero”. But it’s not 1990 anymore so let’s not kid ourselves, sounding like Slayer-does-punk isn’t a terrible thing. In fact, I rather like it.
Track 4, ‘To What End?’ is more what I expect traditional hardcore to be. The vocals are screamed (still sounds like Araya) in a different manner. The distortion is more hardcore. Lyrically, the whole album is more punk than metal. I particularly enjoy ‘Tomorrow’s Reality’ lyrics and my comparison to Slayer completely breaks down for this track where I could compare them more to Macabre than anything else. I’m not sure whose backing vocals resemble Nefarious but damn, that’s a tough sound to generate. My throat hurts just thinking about it.
The album closes with ‘Blisters’ which gives us a hint of the sludge to come. It’s slow, thick to start and bass-y. It’s almost as if they knew where they were going next and saved this track for last as a hint for the listener.
Neurosis Lineup during “The Word As Law” Era!!
All-in-all, the re-release of “The Word as Law” should be viewed as a second chance, of sorts. Neurosis fans of new should rejoice at a rare chance to pick up an album off their back catalog that might not have been readily available in recent years. Fans of hard music who aren’t familiar with Neurosis get the opportunity to experience the band starting from their early work. And fuck, Neurosis get another shot at making a few well deserved bucks off their early work. For a band who have been at it for decades, it’s crazy when you realize that these guys still have day jobs. So let’s get out and support them.
Dale Crover – Drums
Trevor Dunn – Bass
Buzz Osborne – Vocals and Lyrics on Tracks 1 and 4
Toshi Kasai – Vocals, Fx and Guitar on Track 4
AAL – Guitars, Vocals
EHA – Guitars, Lead Vocals
Artwork and Design by laolab
Photos by Mata
All tracks Low Flying Hawks
Doom fans this is Terry “the Ancient One” and I want tell you about an upcoming release from Magnetic Eye Records called Genkaku(Japanese for “hallucination”) by a band called LowFlyingHawks. A follow up to their acclaimed 2016 album Kōfuku the band latest album “Genkaku” will once again feature Melvins drummer Dale Crover and bassist Trevor Dunn (Mr Bungle) alongside the dynamic instrumental duo of doom AAL and EHA. Genkaku also features Melvins frontman King Buzzo who lends his vocals on two of the albums tracks.
After listening to LowFlyingHawks first album “Kōfuku” and then the early release of their album “Genkaku” I feel I can say they lived up to their boasts that Genkaku would be a doomier // riffier album full of tectonic guitar dirges and simmering intensity. While listening to their latest album I could feel the darkness. The feeling it gave me was rather like the chills I got watching the Japanese supernatural horror movie TheRingu(The original version of the the Ring). This is one of those doom albums you sit in a dark room and listen in it’s entirety to get its full effect. All the tracks on this album are out of this world my favorites are ‘Virgin Witch,’ ‘Space Wizard’ and ‘Sinister Waves.’
Genkaku is available for Pre-Order, the Digital Album will be released on August 25th, 2017 and is also available in Vinyl and CD Digi-pack. Genkaku was produced, recorded, and mixed by Toshi Kasai (The Melvins, Big Business), and mastered by James Plotkin (Electric Wizard, Moon Duo). If you like post-metal doom, shoegaze and Agalloch this will fit into your collection quite nicely.
“Genkaku” is sure to be a best-of-2017 contender. Pre-order Genkaku below and get ready to be fucking floored.
Version Studio Records – released November 12, 2007
Reviewed by Terry “The Ancient One” Cuyler
Hey tasters it’s Terry the Ancient One. When this album called The Burden of Ballast was dropped into my inbox and I was asked if I could have it done today I said sure. Ah but I was not told how difficult it was to learn about the band as there are few details about them readily available. But I am like Sherlock freakin’ Holmes. Formally known as Lingua, a rock band out of Stockholm, Sweden band members Misha-vocals//guitars, Thomas-guitar//vocals, Anders-bass, Patrik-drums formed Come Sleep as a way of addressing their darker thoughts that would not fit in the music of Lingua and released the Demo “The Skull of Ahab” as Come Sleep. Then in November 2007 Come Sleep released “The Burden of Ballast” on Version Studio Records.
The details about Come Sleep were scarce. I couldn’t even find the names of the members on the Encyclopedia Metallum (though I did find the lyrics) and had to start searching discogs. This added to the bands mystique. As I sat down listening to sweeping guitar leads and dark post metal melodies I kind of felt like I was delving into forbidden lore. My favorites from “The Burden of Ballast” are ‘To This Day; Not A Sound’ and ‘By The Unknown.’ We have kindly included the lyrics for the aforementioned 2 tracks.
While this album may be 10 years old it has a timeless sound and will make a great addition to any music collector’s library. You can buy both the digital download for a steal on Bandcamp at €6 EUR or more for the digital format and €8 EUR or more for the CD. If you like band like Agalloch, The Flight Of Sleipnir, Torrens Conscientium, or Pink Floyd, and Atmospheric doom or post metal you WILL like this.
Finnish alternative metal quintet SKEIN released a first single ‘BOUND’ from their upcoming second album named ‘DEADWEIGHT’
Assembled with the invaluable help of producer Tuomas Kokko (Ghost Brigade, Swallow the Sun etc.), the album moves dynamically across different soundscapes, reaching from crushingly heavy guitar riffs to more ethereal , atmospheric parts.
Unlike their debut album ‘Of Wings Unfolding’, which was a concept album with a strong narrative and a story-line (strengthened by a novel published alongside the physical copy) the songs on ‘Deadweight’ stand on their own. Delivered with both screaming and clean vocals, the songs explore issues from misuse of power and societal responsibility to basic human characteristics, with very personal experiences. Due the rawness and personal approach, the album is the strongest emotional outburst of Skein’s career.
The new album seems more genre bending, melding slower Post Rock elements to faster tempo Heavy Emotional Hardcore done with beautiful dexterity. Pre-order links are below along with links to the SKEIN’s various outlets as well. This is a band to keep an eye on as their future is very bright!!
Sami Silvennoinen – vocals
Jarno Ojala – guitar
Hiski Marstio – guitar
Kari Ruissalo – drums
Juha Höyssä – bass
Music video by Mikko Henrik Huotari
Actress: Merja Koski-Sipilä
Music by Skein
Lyrics by Juha Höyssä
Produced by Tuomas Kokko
Recorded and mixed at Electric Fox Studios by Tuomas Kokko
Background vocals by Iina Kyttänen and Iina Souru
Mastered by Svante Forsbäck at Chartmakers
Tombs are back. Founded in Brooklyn in 2007. Through 3 full lengths, and a plethora of lineup changes, mastermind Mike Hill stood firm, stood tall, and stood fast. Tombs consists of the aforementioned Hill-guitar/vocals, Evan Void-guitar, Ben Brand-bass, Charlie Schmid-drums, and rounded out by Fade Kainer-synths. Tombs are desolate, they are devoid, and live to destroy. Tombs are dark and dank. Tombs are toxic chemicals bubbling in a devoid nuclear wasteland. Picture a dark industrial warehouse, if you will…black metal is the floor. It is what Tombs and Hill stand on. Black metal is the core, the base. The walls consist of death metal, hardcore, sludge, and post punk. The ceiling being the bleak atmosphere and soul crushing noise and ambiance.
‘Black Sun Horizon’ begins the record in full on black metal mode. Blasting darkness into your brain. Tremolo riffing with luscious melodies of evil. Tearing and ripping at your heart, Hill and Tombs flow seamlessly between black and death alongside vocals of extreme and hateful passion.
‘Cold’ is a slower paced sludge dirge with a swing that ebbs and flows. ‘Old Wounds’ pummels you with emotional extremity. An empty feeling of nothingness as we get the first introduction of post punk on ‘The Grand Annihilation.’ With great effect I might add.
‘November Wolves’ is my favorite track off of the record. It begins with a sick ass core stomp, that leads directly into a death metal march. Riffs chugging like a freight train. Groove as thick as thieves. This jam is reminiscent of ‘Age of Nero’ era Satyricon. Killer song.
‘Underneath’ brings in the post punk vocals that bring to mind Bauhaus, or Joy Division with crusty post black metal destruction underneath. You would think this, an odd combination, but it really works.
‘Way of the Storm,’ ‘Shadows at the End of the World,’ and ‘Walk with Me in Nightmares,’ carry on the twisting, turning, genre bending filth. Switching seamlessly and pulling from no less than five subgenres. Few bands can pull this off. Especially without being choppy or pretentious.
‘Saturnalia,’ and the epic closer ‘Temple of Mars’ wrap this stellar album up with Hill and Tombs pressing their boots firmly down on your throat. Its kill or be killed…and these guys ain’t dying.
In closing, on their Metal Blade debut, Tombs exerts more flavor and texture. All different kinds, and they are all disgusting and wretched. Hill’s screams of disillusionment. Guitars sharp as razor wire and drums that crush faces. Tombs are intense with absolutely no let up. Hill has written his best record yet in ‘The Grand Annihilation.’ Same ole Tombs, just more varied, and with a laser focus. If you feel like implementing some headbanging in your life, this is the perfect band and the perfect record to do so.
Members – Maximillian Herbst /guitar, Robert Pelka / guitar, Rafał Szmidt / bass, Jacek Łaziuk / drums
Previous Release – “S/T” EP (2012)
Five years in coming, this second release from Warsaw, Poland based THE SKY IS represents the culmination of time passed between Maximillian and Robert, honing and sharpening and perfecting every moment of the ‘next’. To follow that EP with something even better was the only option. Bring in new blood with Rafal and Jacek and what we end up with is nothing short of a resounding FUCK YES!!
From the tribal intro for the first two measures to the fade in/out guitar droning to the bottom end that has that tooth- filling rattle, and a dark-grin crosses your face before you know it as your heart swells in unison with ‘Entangled’ and you are caught in the pure power that is swirling back and forth between your ears in a feeling of envelopment that fits perfectly. Not even CLOSE to what I was expecting from the last I had heard and I could not be more impressed. The singleness of each guitar is the absolute compliment to the other, one on each side of the mix.
‘Kudzu’ opens with a slower, softer touch, almost making me think of the Southern US where I live, and in less than a minute, it gets dark and heavy again, in a fashion that the legendary plant of the same name is purported to ‘take over’ where ever it grows, much as the never ending time-shift and master-fills do here. ‘Currents’ is like a prancing horse in tempo and pause and the echoing lilts of six-strings in unison flow through your very veins as your eyes close to revel in the sensation of that ride. It’s like liquid from nowhere and everywhere at once until the tempo shifts and the bass line gets fast and there is nothing to do but move, back and forth, in joyous anticipation as the frenzy builds and the fills take back over at a dominating pace.
‘Depths’ is a slow-fade in, jazz-flavored tempo and with a wash cymbal the bass line is weaving another tapestry of intricacy as each guitar circles overhead to swoop down and circle you before off to another direction again in synchronicity perfection. ‘Arctica’ is a quick sonic fade-in until the slow doom heavy bottom end and those ultra low power chords are met again with the mastery that this song and every other one on this record shows to be in full force. Each note is a word never heard yet is heard as clear as crystal in a new snow’s sunshine.
More than just the change in studio and production team from the EP, this album reminds us all that some of the very best is the stuff we have had to wait for as the minds-behind get it ‘just right’ before serving and this one is an absolute MUST-HAVE. Get it yesterday, force-feed this one to every pair of ears you come across and support them if you get the chance to witness them anywhere close… keep it LOUD!!
WELLS VALLEY The Orphic EP – DD//Vinyl Chaosphere Recordings/Raging Planet/Bleak Recordings Released – April 26th, 2017 Reviewed By: Pat ‘Riot’ Whitaker
Hmmm…where does one even begin to describe the aural output of Lisbon, Portugal’s Wells Valley? Take prevalent components of psychedelia, sludge, atmospheric doom, progressive Post-Rock and say, experimental black metal, and you will begin to glimpse what’s going on here. The trio of guitarist/vocalist Filipe Correia, bassist Pedro Lopes and drummer Mau, aka Wells Valley, have just released their 3-song EP ‘The Orphic‘. On the EP the guys provide two powerful originals along with an equally exertive cover for some truly avant-garde sonicdelia.
The pair of originals, ‘Annunciation‘ and ‘Ophanim‘, are deep descents into the darkest recesses of atmosphoria. The first is a spiraling, at times hypnotic twisting of near trance-inducing rhythms and frenetic drumming. Intensities build and then dissipate amid a seeming hive of periodically buzzing guitars, all while acidic, harsh vocals dance upon the music beneath them. Second track, ‘Ophanim‘, begins with some piercing feedback before exploding into a flurry of activity. Guttural vocals bellow and then give way to dizzying deluges of tribal-like drumming before everything goes all heady and lysergic. Even that eventually yields to some potent, crushing aggro-doom music and post-hardcore type vocals.
The first two songs cannot prepare you for what lies ahead with track three, a mind-melting adaptation of Pink Floyd’s ‘Set The Controls For The Heart Of The Sun‘. Transcendental verses unfurl with sedately calm, somewhat minimalist vibes but ’tis merely the calm before the storm. The choruses erupt with barrages of musical abrasiveness and totally unhinged vocals, along with some fiery guitar work. By the time the song begins to wind down you feel the despair grip your very soul, keeping you strapped in place and bound for the imminent destruction at the core of the solar inferno ahead.
Born in 2008. Hometown – Florence, Italy. Band members listed as FRANCE – GABO – LORE
GENRE – Post Metal / Sludge / Noise / Psychedelic / Doom
A band that says they hate turning down the volume, hates genres and hates biographies; so we can throw those topics out the window then with this review.
“Bury My Innocence” appears to be the fourth release from NUDIST, beginning with the 2010 “S/T” release, followed by 2014’s “Appetizer For Monsters” and 2015’s “See The Light Beyond The Spiral” bringing us to now.
Five songs included and NUDIST seems to get more brutal with each release, this being no exception. ‘Strengthless’ and the title track ‘Bury My Innocence’ are both full speed, full attitude shredders the like of which NUDIST has made their standard and these are gems of just that ferocity, wherein ‘Bloody Waters’ brings a slower if not more even-handed back-beat that is as heavy as ever, but gives this track an almost MUDVAYNE/HELL YEAH sort of taste and feel and is a welcome new flavor for these guys. ‘Dead Leaves’ rips it up out of the gate at full gallop before stopping it up a minute and a half in with a grinding staggered beat that is almost dizzying until kicking back into the ultra-heavy slamming again that rolls right into the guitar chords that follow every beat out of until the last lingering chord drops off into the slow fade in of ‘Drift’ that carries on for over the first minute before the drum line strikes up the pace and then the bass begins it’s thundering and lumbering until that vocal growl takes its place in this closer that serves and the perfect wrap-up to this 26 minute offering that has just been released. This band deserves to be experienced LIVE to get the full effect. Do yourself a favor and buy the record, go see and support live and share this one with anybody you know that may dig it as much as we do!!
I’d never heard of OHHMS prior to Taste Nation owner Matthew Thomas fast-tracking a copy of their debut album into my grubby little hands one fateful afternoon. He told me it was one of the better releases he’d heard this year, and I’d tend to agree. It’s quite ambitious and unique for a debut, though it’s worth noting that the band already has two EP’s under their belt. This Kent UK four piece formed in 2014 and has been going strong since, as evidenced by the remarkable collection of sounds that they’ve managed to mangle together on The Fool. They market themselves as a “doom” band, though once again, don’t believe the hype. They’ve got some doomy parts, and there’s a whole mess of other styles thrown into the proverbial blender as well. I know that doom is hip and all with the kids these days, though it may befit OHHMS to come up with a stylistic description that’s more in line with their complex sound.
I’m often critical of occultism in music, as it’s usually mindless and shallow, just kind of tucked into the fold for coolness’s sake and little else, or adopted for image and/or artistic purposes. In metal circles, the appropriation of the occult is usually poorly understood. Take Ronnie Jame Dio for example. I’m not one to speak ill of the dead, and the influence of his life and music are undeniable, but let’s get real here. The dude did not “invent” throwing the horns. I’ve heard this from many metalheads, and it shows a real lack of understanding. Firstly, Coven did it well before him, and Dio openly admitted that he didn’t think that he was the first to use it, contending instead that he had popularized it. Secondly, it goes back to a Thelemic tradition (among other traditions as well), the usage of the Hand Of Glory in ritual magic, which was often the severed hand of a dead person, with the fingers set in that posture. Thirdly, it actually bothers me when I see a room full of people throwing the horns, as I’m usually pretty certain that not one of them even understands the most basic Satanic symbolism of the gesture: it denies the Three (the Holy Trinity) and affirms the Two (figure that part out for yourself). It’s had other meanings and usages in other cultures, though that’s a book unto itself and I’ve gone on enough of a tangent for today.
The point I was attempting to make was that metal’s ongoing flirtation with the occult is a largely superficial one that rarely leads to any real relationship. OHHMS have actually done a pretty stellar job of incorporating a magical concept into their music, namely the Tarot. After the brief acoustic intro, appropriately titled “Shuffle, Cut and Reveal”, the next five songs are all named after a card from the Tarot deck. The Fool itself is of course the most complicated of the Tarot trump cards, as evidenced by Aleister Crowley’s treatise of the subject in The Book Of Thoth. While the other trump cards get a page or two explanation of their meaning and symbolism, Crowley devotes a full chapter, 24 pages to The Fool. Once again, I’m not going to get into it here, read the book. No more tangents! What’s impressive is that OHHMS turn each of the cards in their spread into a political allegory, which is a damned clever concept if I do say so myself. There’s a definite punk/hardcore element to the band’s lyrics and overall energy, an existential angst and ardent challenge in the face of societal norms, and that buffers out the sterility often found in technical/progressive metal. OHHMS’ progressive strengths lie more in their ability to transcend genre than to dazzle us with mere technique.
I mentioned earlier that I really don’t think that they’re doing themselves any favors by marketing themselves as a doom band. I guess it’s as good a starting point as any, and gives some description of their music, as they have some pretty slow, vicious riffs at times. It’s just that there’s so much going on within the course of one song: from slow, lush, ambient sections, to floating shoegaze influenced transcendental passages, to parts culled right from the post-metal playbook, to more harsh, chaotic, abrasive sections. I like a band that covers a lot of ground, that makes me feel like I’m taking a voyage when I listen to their songs or albums. Well, with OHHMS, it’s the whole freakin’ Iliad and Odyssey. They exemplify this little pet concept of mine; no matter where a song starts, there’s no telling where it’s going to end up, or where OHHMS will switch gears, varying the tempo, dynamics, or overall vibe of a song. There’s no better place that they illustrate this approach than on the albums 22 minute epic closer, “The Hierophant.”
The six songs, counting the aforementioned intro, clock in at just around an hour, and you’d better believe that extended tracks like “The Hanged Man” and “The Hierophant” gives these sonic adventurers plenty of room to explore the outer and inner depths of their musical psyches. Even witin the context of the album’s shorter songs, “The Magician”, “The World” and “The Lovers”, they find plenty of room to meander and experiment. None of the songs sound all that much alike – it’s obvious that it’s the same band playing, though the sonic writing, textures and riffs vary widely and show vast differences from song to song. “The Lovers” in particular stands out, with its more mellow tone of longing and desire, punctuated by the usage of female vocals and the same immediacy that accompanies all the other tracks. “The World” is the shortest track and perhaps the most punk influenced, still finds plenty of time to wander into different stylistic realms.
Speaking of influences, I usually like to name drop some bands in that department, though that’s going to be pretty tough in this case. Sections remind me of Unearthly Trance’s unholy union of doom, black metal, and hardcore, though even that comparison falls well short when you factor in the just all the ground OHHMS trample over within the full campaign of the album. It’s worth noting that I also would consider Unearthly Trance a band that deals with occult themes in a very deep and meaningful manner, so maybe I’m not that far off after all. Regardless of what you want to call it, this is one of the better debuts that I’ve heard in recent years, just really next level shit, and it’s one of the best albums I’ve heard so far in 2017. There ability to craft a concept album that has such a far reaching scope and yet distills the essential ethos of their music in form, lyric and aesthetic is an astounding accomplishment for such a young band. Take that for what you will, and run with it. I already can’t wait to see what these cats come up with next….