Drums – Ryan Aubin (Sons of Otis)
Guitars – Greg Dawson (Sons of Otis)
Guitars – Chris Hughes (Moneen)
Vocals – Doug McLarty (Jaww)
Bass – Cory McCallum (Five Knuckle Chuckle)
I just finished listening to “Temple” by a band from Canada’s Greater Toronto Area called OLDE. “Temple” by OLDE is the band’s 3rd album. With a focus on crushing riffs that has left me with ringing ears and a spinning head, I had to recover a bit before I started writing this review. Formed by guitarist/producer Greg Dawson who was inspired by a recording session with long-time stoner metal stalwarts and bandmate in Sons of Otis as well as friends in Moneen, Jaww and Five Knuckle Chuckle, Dawson (Cunter, Grift, BWC Studios) handpicked and assembled OLDE.
I loved what I heard on “Temple” but I wanted to hear what OLDE’s past work sounded like to get a better feel for the band. So I cued up their 1st 2 albums as well as “Temple,” turned out the lights, put my headphones on and had myself a musical feast. What I liked most about the music in general is how the band focuses on crushing heaviness and the almighty power of the riff with bellicose vocals and sludgy bass and heavy handed riffing .
Yet the music isn’t just a bunch heavy riff and growling vocals. Just like OLDE’s previous albums – “Shallow Graves” and “I”, “Temple” has tons of meat to it. Besides the amazing guest solo on ‘Castaway’ done by Joshua Wilkinson, and the stunt guitar work of Ryan Aubin on ‘Maelstrom,’ “Temple” is full of intense leads and hooks. Some of my favorites are ‘Subterfuge’ and ‘Now I See You’ which both have some killer riffs with drums by Ryan Aubin that sound positively tribal. The album’s title track “Temple” is an ominous bass heavy doom masterpiece that highlights the vocals of Doug McLarty.
This album will leave you feeling like you’ve been in the mosh pit with Sasquatch (The animal) as you listen to OLDE tell the world “it’s collectively full of shit.”
“Temple” was recorded mixed, mastered, and produced by Sons of Otis, guitarist/producer Greg Dawson at BEC Studio with album art by Joshua Wilkinson. The album also features a guest solo on ‘Castaway’ by Simon Talevski and a stunt solo on ‘Maelstrom’ by Ryan Aubin. “Temple” can be purchased as a Limited Vinyl LP on Bandcamp through STB Records, Limited Edition Cassette via Medusa Crush Recordings and in digital format on OLDE’s Bandcamp page.
Kozmik Artifactz Records (Europe) and STB Records (US) on June 9th – Vinyl // CD
DD – releases May 19, 2017
Reviewed by Ric “Suisyko” Dorr
Formed – Fall of 2010
Hometown – Kingston, NY
Current Lineup – Richie (b) / Charles (d) / Pat (g+v)
Previous Releases –
“Electrically Recorded Handmade Heavy Blues” (2013) / “Live Full Tilt Boogie” (July 2014) / “Gage” (Sept 2014) / “Long Dull Knife” – digital single (2015) / “S/T” (2016)
REVIEW: Self described as “Cosmic Stoner Blues” comprised of “Heavy Psychedelic Riff Rock”, this three piece powerhouse is about to blow your mind and speakers in one fell swoop with this latest release of five separate compositions that stand alone and even better as a complete package. For the next 39 minutes of smoke filled vocal lamentations with a guitar slide so smooth, you can hear the blue in the glass as the bottom end rumble gives you that ‘body’ to close your eyes and roll along with each moment, taken along with all of the leading pace of this heavy-hit drumline that has enough perfectly timed fills to satiate the most veracious headbanger.
Jumping out of the gate with a SLAMMING cover of NAZARETH favorite ‘Hair Of The Dog’, GEEZER let us know they are in fine form and ready to kill with this record. Even the lead break is done in true GEEZER fashion foregoing the talk-box for more subtle phrasing and phase shifting to traverse the even darker zone to the anthemic end chorus with a full on power chord finish before the soft, slow fade into ‘Stressknots’ with a low end rumble packed with power punch until a pause…”Big apple sky dreams, make way for lesser things…” and the tone is set for the remainder of what represents the finest work so far with a sense of power and precision brought to the table to delight the faithful and pummel the unknowing with a mastery that has been gained by time spent perfecting their craft.
The slow spaced-out fade in of title track ‘Psychoriffadelia’ belies the crushing intent that hits HARD at just under two minutes when the slow-flow tempo takes hold over the SIK-solo laden body of this song.
For 10+ minutes the most delectable notes cascade over each other in the languishing flow of stoner bliss, all the way through the ending that slides effortlessly into ‘Red Hook’ with that smooth as glass transitional repeating note that lends itself right into the melody before that beautiful slide comes back accenting the flavors melting together in your mind. Soft, plush and warming in delivery, this is sand as the summation of a lifetime, in that haunting, delay strewn delivery “I don’t wanna leave, the time ain’t right, got nothing left to put up a fight…”, you feel that grip in your chest and it is perfection. From the endless fade out to the power-keyed fade in of ‘Dirty Penny’ the final shifting of gears is here and there is so much fuzzed-out wah-pedaled thickness in your face as that blues-body is filled with the might of power that these three slather on from head to toe and beyond as “Dirty Penny gets it right every time…”
The production of this in arrangements, clarity of each mix, stepped up production values and even the running order is amazing and allows ‘Psychoriffadelia’ to shine as the diamondin GEEZER’s catalog to this point. BUY THIS RECORD the second you can, share it with everybody and go out and support them LIVE if you get the chance…and keep it LOUD!!
Outlaw Nation Joint Interview: An Interview with PAT HARRINGTON from GEEZER
My good friend Matthew from Taste Nation thought it was time to do another joint interview. We thought who could we ask this time. The answer was pretty simple when we listened to GEEZER’s incredible new self-titled album.
This is an album that impressed Matthew and myself straight away. We were blown away by the different sound and dynamics that Geezer have included on their new album. We both agree that this is one of the best Stoner Rock albums of the year and we had to find out more about the making of the album.
I’m happy to say that the Diamond Geezer himself – The Electric Beard Of Doom aka Pat Harrington (Guitars/Vocals) has kindly agreed to do this interview. It’s always a blast catching up with Pat. I’ve had the pleasure to interview him previously and he’s always a great person to interview and this is no different. Well apart from doing a joint interview with Matthew.
Anyway. I’ve gone on long enough. Lets see what Pat has to say….
OOTS – Hi Pat. Thanks for doing this joint interview. Congrats on the new album. You already know my thoughts on this. How are things with you today.
Pat (PH):Excellent, thank you! Thanks especially for your great review! It actually took us rather off guard.
TN – A huge Congrats on this beast of an album. Bands would be jealous to release a “Best Of” album of this caliber. Super tight percussion that keeps the album progressing seamlessly, thunderous bass-lines that provide massive Groove that one’s head bobbing. The aforementioned allows for the fine (and diverse) guitar work to roam and offer the listener something fresh and new from start to finish……………Again, Congrats!!
PH: Thanks! Again, very kind words. It’s only been a week or so since it’s been released to the press, but we’re already pretty shocked about how well the album is being received. TN – After that diatribe, what was your recording process like? Was it spread out over days, weeks, months…….?
PH: It was a quick process actually. We did all the basics over the course of two days, then I took a couple of days to do some guitar overdubs at home. Vocals were recorded shortly after that. We’ve been basically finished since late March, so it’s great to FINALLY have the album see the light of day. Even though we still have to wait another month or so for it to be released publicly… sheesh!
OOTS – Did you do anything differently when recording this album compared to your other records. Was this an easy album to record for. PH: It was very easy. We recorded with our long time engineer/mixer, Matthew Cullen (who also recorded and mixed the new Shadow Witch album) and we did it at a friend’s studio, The Isokon in Woodstock, NY. It was the first time we recorded there and it was a fantastic experience, good vibes all around. Because of the way the studio is set up, we were able to get much more separation between all the instruments and therefore, we were able to manipulate them more freely.
This is also the first album to include Richie on bass. He is a completely different kind of player than Freddy (our original bass player) and our sound and approach to songwriting changed because of that. The other difference is, for really the first time, these songs were developed over the course of a year and were road tested pretty heavily, so we all had a solid grip on what we were going to do in the studio. Which is, with the exception of our first album, pretty unusual for us.
TN – Did you “test” the new tracks at live shows to ‘Gage’ people’s response?
PH: We did. We played more shows last year than we’d ever done before. We also focused on developing the new material so we were really able to figure out what worked, what didn’t, etc. With the exception of “Dust”, every song on the album had been played numerous times live. The bonus track on the CD, “Stoney Pony” is actually a re-working of our song “Pony”, which was on the first album. So that one’s been around for years.
OOTS – The album is being released on STB Records and Ripple Music. Perhaps two of the best independent record labels currently out there. Did you guys have offers from other labels. Or was their no hesitation in signing for anybody else.
PH: They”re both amazing labels to work with, so we didn’t even consider anyone else. I mean, Ripple has become a force of nature over the last few years and nobody does vinyl better than STB. In addition, everything we’ve done up to this point has been building up to this album. We wanted to make sure both labels were involved, so we can all enjoy it together.
OOTS – Can you give any details on the Vinyl release from STB Records. What kind of editions will be released and did you have any involvement with the final design. Or was this left down to Steve STB.
PH: As usual, the STB release will be complete with their now legendary Die Hard and OBI versions as well as a Standard and World Wide distro versions. We went a little long with this one so it’s actually going to be a 3 sided double album which will include a bonus track that won’t be available anywhere else. Josh Wilkinson from The Company Design did all the artwork and layout. Steve and I contributed to the ideas, but Josh took the lead in putting the package together.
In addition, and I’m letting the cat out of the bag here, the Die Hard version will include a separate live album which consists of one 33 minute instrumental (and mostly improvised) track called “A Flagrant Disregard For Happiness”.
This was recorded back in April at a venue called BSP here in Kingston at this years Hudson Valley Psych Fest. The show included It’s Not Night: It’s Space (who curates the show), Ecstatic Vision and Turco’s other project, Ultraam. Due to these circumstances, we wanted to do something different and Turco was the one who really set the thing in motion. As the ideas developed, he decided that he wanted to play baritone guitar for this, so we got our friend Dan Goodwin (who owns The Isokon) to sit behind the drums.
It was basically a one time thing and came out beautifully. It’s unlike anything we’ve ever done before and we’re extremely excited for people to hear it. Much more information about this will start to trickle out in the coming weeks.
TN – Pat, you’re one Hell of a Storyteller!! To quote you in ‘Superjam Maximus’, “We lay it down with the Thickness…..” I couldn’t agree more. A major component of the thickness, is the effective use of your trademark Raspy, Tom Waite’s like vocals and the subject matters you sing about keeps the listener engaged and 51+ minutes fly by. Do you have a set writing process? Do you write the music and then do the lyrics follow?
PH: Thank you! The vocals almost always come after the music. I consider myself a guitarist first, so my writing process is very centered around that perspective. Usually the mood of the song will dictate the melodies (if you can call them that) and lyrics. Many times lyrics will spring up from a single phrase or word association. Sometimes I don’t even know what the song is about until after it’s done. OOTS – Was this one of the hardest albums you ever written or recorded.
PH: Not at all. These songs were almost always born out of jams, we were all standing in the same room when we recorded them and we usually only had to do two or three takes to get them down. With the exception of a punch or two, “Sun Gods” was actually done in one take. That being said, we definitely put a lot of time and effort into developing these songs. By the time we got down to recording them, we pretty much knew them inside and out.
TN – The album crossovers and melds many genres from Space & neo-Psychedelia to guitar heavy, riff Rock. How would you classify the album’s sound? What your opinion of all the genre and sub-genres that exist and your thoughts on what defines an a song or album as Stoner Rock? Your thoughts on the use of the Stoner Rock designation which many describe your album as?
PH: Honestly, I don’t get too hung up on genre labels, it’s way too exhausting. I just dig heavy, trippy, groovy shit. It’s what I like, it’s what I’m good at and I’m too old to care at this point. As a band, every album has been different simply because we like to be creative and try different things. That’s what makes the whole thing fun. I will say, however, that early on in the song writing process, when it was clear that things were yet again going in a different direction, there was a moment where we took on the mantra of “Fuck it”. Let’s just do what we want.
OOTS – Was that an easy decision to make to release something different. Did you think you would alienate your fans with this new sound.
PH: Yes it was, but honestly, I don’t see it really as that different. To me it’s just an extension of ideas that we’ve touched on before. I still think of the band as a heavy blues band at our core. A lot of the bands I grew up on (Sabbath, The Beatles, Led Zeppelin, Pink Floyd, etc…), they all changed as time went on. That is one of the things that is so exciting to me about the “Heavy Rock Underground”. No one is dictating to us who to be or what to do, nobody is harassing us for a “radio hit” (whatever that is).
As far as the labels go, they’ve never second guessed anything we’ve sent them. We’ve had the time and space to take a journey with our music, just like bands used to do back in the 60’s and early 70’s. As someone who’s had some varying success in the “mainstream”, I can tell you personally that there is nothing worse than trying to write a radio hit or writing music to fit a certain mold. I like to write different kinds of songs and let them stand on their own. The fact that so many people are responding positively to what we’re doing? That’s just validation that we’re on the right track.
TN – What contemporary Bands do you like? Do you have any guilty pleasures like Foo Fighters or Debbie Gibson that you would like to share with us? PH: I’m weird, I go through many musical phases. I tend to focus on a certain band or genre for extensive amounts of time, almost like I’m studying it. There was a time during ’08-’09 where I literally only listened to the Melvins for about a year. After that, I spent about 3 years listening to and learning how to play old school blues (Charley Patton, Son House, Blind Willie Johnson, etc.). Eventually these influences get incorporated into the way I play guitar and the way I think about music. Nowadays, especially because of my involvement with the Electric Beard Of Doom podcast, I listen to a lot of the heavy underground stuff. For me, it just feels like home (for now).
Some of the current bands that are inspiring to me are Wo Fat, King Buffalo, Egypt, Sinister Haze, Sons Of Otis, Acid King… I could go on and on and I know I’m forgetting some. The new Brant Bjork album is friggin outstanding! He’s a great example of someone who just does what he pleases and it all kicks ass. One of the coolest cats on the planet!
Guilty pleasures? I dunno… Like I said, I dig heavy, trippy shit. I did a stretch as a Deadhead back in the late 80’s/early 90’s. That was my backlash against metal, I guess. But, that is also where I learned how to improvise. I used to play along to live Dead albums all the time, just learning the fretboard. That stuff is still with me today. I’ve been on a big ZZ Top kick lately. The real early stuff… I know, shocker! OOTS – Pat you’re always busy with your excellent show – Electric Beard Of Doom. Is that a hard process for you to be involved with along with your commitment to Geezer.
PH: The Beard is a labor of love. I’m about to close out my 4th year doing it and it’s more popular than ever! For that, I am very grateful. It can get tough sometimes because there are only so many hours in a day. I’ve been known to take a few weeks, even months off at a time from doing the podcast. Many times this is because I’m busy with Geezer or other things. It’s all about balance and keeping it fresh and exciting. I still dig the creative process of making the show, but it can be very time consuming. As long as people keep listening, I’m gonna keep doing it.
OOTS – Do Richie and Turco have any other commitments outside of Geezer. Any other bands.
PH: Turco is involved in a few other projects. He has a band called Chron Turbine, which lately has become more of a one man kind of thing. He actually just released a tape through Peterwalkee Records called “II”, I highly recommend you check it out.
As I mentioned before, he is also involved in a project called Ultraam, which also includes Matthew Cullen (who by the way, did that crazy guitar solo at the end of “Sun Gods”). He’s an incredible guitar player and musician. Dan Goodwin is also involved. They do purely improvisational pieces that gravitate between kraut rock/free noise and any other number of genres depending on what day it is. They’re more of a collective than a band and are truly amazing to watch. Richie and I are both just banging away with Geezer at the moment.
TN – Will the Geezer be hitting the road on an extensive tour to support the album or have multiple, shorter outings? For selfish reason, will you be coming to Southern California to play??
PH: Extensive touring is not really in the cards for us for various reasons. That being said, we are really gunning for Europe in 2017. We’ve been working with Total Volume Booking on putting something together and hopefully we’ll hit some of the festivals next year. There is some talk about doing more stuff in the US, I guess we’ll see how things play out with the album. If there is enough of a demand, we’ll try and do as much as we can.
TN – Thanks again for your time and congrats on a Ripper of an Album. It will surely be on people’s End of the Year lists. Cheers!!
PH: Thanks so much for your interest in the band and your very kind words about the new album! You guys put together a very enjoyable interview.
OOTS – Yeah I concur with Matthew. It’s a brilliant album. I wish you every success with it.
PH: Steve, it’s always an honor and a privilege to talk to you. Thanks again!
Written by Steve Howe, Matthew Thomas and Pat Harrington
I want to thank Pat for taking the time to talking to both Matthew and myself. Thanks to Richard at Sheltered Life PR for arranging this interview.
Geezer will be released on CD/DD via Ripple Music and Vinyl via STB Records from November 18th 2016.
Outlaws Nation Joint Interview: An Interview with YEAR OF THE COBRA
Year Of The Cobra are about to release their colossal debut album …In The Shadows Below. The band which is comprised of married Drum and Bass riffsters – Amy Tung-Barrysmith (Bassist/Vox) and Jon Barrysmith (Drums) have created a delicately played and loud as hell debut album. It’s an album that strikes the perfect balance between heavy Doom sounds with a pounding Sludgy/Stoner based groove.
Year Of The Cobra have been making a name for themselves over the last 18 months or so. They already have a fearsome live reputation and have already released a split single with Mos Generator. Signed to ace record label STB Records who will be releasing their debut album on October 29th 2016, Year Of The Cobra are going to become one of your favourite bands.
I asked my good pal Matthew Thomas over at Taste Nation LLC if he wanted to do one of our joint interviews that we’ve been doing recently. He agreed and this is the result as Year Of The Cobra have agreed to do another Outlaws Nation Joint Interview…..
OOTS/TN – Hi Amy, Jon. Thanks for doing this joint interview. Congrats on the new album. How are things with you both today.
YOTC – We’re doing great! Thank you. Excited about the album release. It’s been a busy week for sure!
OOTS – Can you tell our readers how the band came together. Or why you decided to form the band.
YOTC – We met on Halloween 2007 at a club called the King King in LA. We were playing in separate bands at the time and didn’t really talk much at that show. It wasn’t until the second or third show we played together before we became friends. We actually didn’t start writing music together until 2014, after moving to Seattle. We didn’t really know anyone in the music scene at the time, so we just started writing songs. Luckily, we both wanted to write the same style of music. For the most part, it was easy.
OOTS – Why did you choose the name Year Of The Cobra for your band. Any specific meaning.
YOTC – It took quite a while to find the right name. We had long lists that covered many pieces of paper before we decided on Year of the Cobra. It was actually supposed to be a temporary name, but it stuck and we’re glad it did.
TN – We are here to talk about your new album. What was your recording process like? Was it spread out over days, weeks, months…….?
YOTC – We booked 10 days with Billy Anderson to track everything. Billy did a few mixes for us remotely after tracking, but we went back for the final mixes to make sure it was exactly what we wanted. All in all, it took about 3 months from the initial tracking to the final masters. The recording process itself was amazing. The studio, Hallowed Halls, was magnificent and working with Billy was life altering. He’s a genius. We consider him a third member of our band now.
OOTS – How did you manage to hook-up with the legend that is Billy Anderson to Produce the album. Especially for your debut album. What was it like working with Billy. Did he provide any helpful advice when you were recording the new album.
YOTC – Billy was at the top of our list for many reasons. He was the first and only one we reach out to and he really liked the EP. The first time he came to watch us play, we were scared shitless, to say the least. After working with him, we’re still scared shitless, haha, but we’re all good friends now and we have the utmost respect for him. His ear, his ideas, his knowledge, is beyond anything we’ve seen or experienced before. He just knew exactly what we were going for, without ever having to tell him. It was amazing.
TN – What does Billy bring to the Year Of The Cobra sound.
YOTC – One of the first things Billy said to us when we first met him was that he knew how to make it sound big, without making it sound like we added a ton of tracks, and that’s exactly what he did. Billy brought a bin full of pedals that we tried in every configuration until we found the exact tone. We’re sure no one noticed, but right after the recording, Amy’s pedal board got much larger.
TN – Did you “test” the new tracks at live shows to see what people’s response to the new material.
YOTC – Absolutely. We always test out songs live first. It’s one thing to play it in the studio, but you won’t know how it works until you see how a crowd reacts.
OOTS – The album is being released on STB Records. Perhaps one of the best independent record labels currently out there. Did you guys have offers from other labels. Or was their no hesitation in signing for anybody else.
YOTC – STB was actually the only label we contacted directly. Jon sent an email when we released the EP to say that we were a brand new band and that we wanted to be on Steve’s (STB) radar. Steve wrote back the next day and said that he liked our debut EP, and in his own words said, “you are definitely on my radar”. From there, we started some cool and casual conversations via email and bonded over our punk and hardcore roots and our DIY ideals. Within that week, we signed with STB. The STB Family is real. We’re so stoked to be a part of this movement. It’s home.
OOTS – Did you have any involvement with the final design of the Vinyls or Cassettes. Or was this left down to Steve STB.
YOTC – We definitely had involvement. Steve wouldn’t have it any other way. Before we even recorded, right when first signed with Steve, he was chatting with us separately just to figure out who we were as people and our take on the band. It’s important to him to make sure the band is represented properly, not in the image that he wants, but in the image that the band wants. He’s the real deal, all heart.
TN – The album crossovers and melds many genres from Doom, Stoner, Psych, and Sludge. How would you classify the album’s sound? Your thoughts on the use of the Doom/Stoner Rock designation which many describe your album as?
YOTC – The album does have many crossovers. We intended it to be slightly diverse, to shake things up a bit. Our main shared background is hardcore punk, but as individuals, our musical tastes span the spectrum which helps when we’re writing music. We’re willing to move in whatever direction the song takes us.
TN – What contemporary Bands do you like? Do you have any guilty pleasures that you would like to share with us?
YOTC – That’s a good one….. I don’t think anyone should have a “guilty pleasure”. Music is music, you like what you like. Don’t give a shit what people think and don’t be ashamed. We could go on forever about current bands we love. We play out a lot and have toured quite a bit this past year and are always in awe of the talent that we’re surrounded by, not to mention the cool people we meet.
TN – Will you be hitting the road on an extensive tour to support the album or have multiple, shorter outings? For my own selfish reason, will you be coming to Southern California to play??
YOTC – We have some short tours planned in the near future. A west coast tour the end of this year (2016) with Mos Generator and Castle, and Europe in March and again in April/May. So far, no plans to play LA, but it is on our list. We’ll definitely do a full US tour for summer of 2017 again like we did this year.
OOTS – How hard is it for you to tour and perform with Year Of The Cobra especially with your young family. Are your kids proud and happy of their “Rockstar Parents”.
YOTC – Our family is always our first concern, but to have a happy family, we both feel it is important for us to focus on things that fulfil us as well. We’re just both lucky (and unlucky) that we want to do the same thing. We believe it’s important for us to show our kids that we’re willing to work hard on something that we believe in and hopefully, they find the same drive in whatever fulfils them.
TN – You’ve only been going as a band for about 20 months or so. Has is it surprised you the responses you’ve received for your music from the Doom/Stoner Metal community. Looking back then did you ever think you would be releasing your debut album.
YOTC – We started the band because we just wanted to play music we both loved and somehow, we found a crowd that happens to like it too. Whatever happens, we will always write and play music. Hopefully, it will be music that resonates with others as much as it does with us.
OOTS – Who designed the awesome artwork for the album. How much input did you have into the final design of the artwork.
YOTC – The artwork for the album was designed by our good friend, Esther Heckman. She is one of the most amazing artists we have ever met. She doesn’t normally do album art, but we sent her one song off the album as inspiration (Electric Warrior) and gave her no direction. Everything after that was her own creation.
OOTS – For a Drum/Bass Duo. You have quite a loud sound compared to other Drum/Bass duos. How do you create this sound. Do you use an advanced setup or basic setup when recording and playing live.
YOTC – It was important for us to sound big because being a duo is very limiting. Amy’s setup is very fluid. She can find a setup that works for the moment, but is constantly on the lookout for something that can help advance it. Splitting the bass tones was a no brainer, but finding the right amp/cabinet and pedal combination was much harder. It is always in flux.
OOTS/TN – We both wish you every success with it. As it’s a fantastic album that will no doubt receive a ton of praise when it’s fully released. Do you have anything to say to your fans before we go.
YOTC – We just want to thank everyone. We’re so appreciative of the response we’ve received so far. We have put so much heart into this project, it’s nice to see that other people like it as well. Many thanks to you, Steve and Matthew, for the killer review and for doing this interview.
Words by Steve Howe, Matthew Thomas and Year Of The Cobra
Thanks to Amy and Jon for taking the time out talking to Matthew and myself. …In The Shadows Below will be available to buy on Cassette/CD/DD/Vinyl via STB Records from October 29th 2016.