On October 6th, Blood Harvest Records will release three brand-new cassette tapes: Cosmic Void Ritual’s The Excreted Remains of the Sabatier System, Draghkar’s World Unraveled, and Ensepulcher’s No Sanctity in Death. More info follows below.
The work of one Unknown Entity, Cosmic Void Ritual is pure ’90s death metal insanity, seeking the outer reaches of the genre by combining labyrinthine songwriting with levitational atmosphere; imagine Demlich crossed with Timeghoul, if you will. So far, Cosmic Void Ritual has recorded two two-track demos – one which was an extremely limited cassette, the other exclusively on Bandcamp – and now Blood Harvest combines them onto one tape entitled The Excreted Remains of the Sabatier System. If the title alone didn’t say enough, then surely titles like “Entrail Star Formation (Planetary Extinction Phase III)” and “Mists of Intoxicating Conquest (The Demise of Entire Universes – Moon IV)” should!
Cover and tracklisting are as follows:
Tracklisting for Cosmic Void Ritual’s The Excreted Remains of the Sabatier System
1. Leaking Alien Sacrelige (Surgical Entropy Pt I)
2. The Fall…Relic Death Spells (Lifeless Post-Surgical Being Pt II)
3. Entrail Star Formation (Planetary Extinction Phase III)
4. Mists of Intoxicating Conquest (The Demise of Entire Universes – Moon IV)
Draghkar’s debut recording, World Unraveled, was originally released earlier this year, but only digitally. Murky and miasmic, this California duo expertly craft death metal with a most doomed-out splendor. The way each of the three songs comprising World Unraveled surge and slither, wend and wind, is warped and always unsettling – and always surprising; literally, this sounds like its title. Completed by a grungy ‘n’ gangrenous recording, Draghkar make quite an opening statement!
Cover and tracklisting are as follows:
Tracklisting for Draghkar’s World Unraveled
1. Wings Over Malkier
2. Cowering In The Town Of Blinded Eyes
3. World Unraveled
Ensepulcher’s debut recording, No Sanctity in Death, was originally released earlier this year on cassette, but in an extremely limited edition. Ensepulcher may be a relatively new entity, but this California duo collectively have deep roots in their state’s death metal scene, with both members concurrently doing time in Fiend. With such a grounding, it’s no surprise that No Sanctity in Death does exactly what it says: filthy and galloping DEATH METAL done the ancient Swedish way, and with ghastly ‘n’ guttural vocals to boot.
Cover and tracklisting are as follows:
Tracklisting for Ensepulcher’s No Sanctity in Death
1. Intro/No Sanctity in Death
2. Perishing in Morbidity
3. Death and Decay
4. Funeral Cessation
Unholy Prophecies sets October 28th as the international release date for Sacroscum’s highly anticipated debut album, Drugs & Death. Ever aptly titled, Drugs & Death is a scourge upon one’s sanity and sanctity, a black-hole blight that swallows you whole. Sacroscum aren’t fucking around.
Sacroscum was formed in 2015 by J. and SS. After playing music together for a long time and trying to create something unique, the duo mixed influences of Darkthrone, early Celtic Frost, Discharge, Skitsystem, Inquisition, and everything they thought would be fitting. Combined with utterly hateful lyrics and a healthy disdain for most of you, Sacroscum was born.
Thus armed, Sacroscum soon transcended musical means and become a philosophy for the two, which can be broken down thusly:
SACROSCUM can be music.
SACROSCUM can be a mirror.
SACROSCUM can be a judge.
SACROSCUM can be a knife.
SACROSCUM can be whatever you want.
But, ultimately, SACROSCUM is whatever the fuck we want it to be.
After some recording sessions in their rehearsal room, they created eight pieces of musick which were then released under the title of Stillbirth, courtesy of Unholy Prophecies in 2016, on cassette tape. Everything “do it yourself” from beginning to end, Stillbirth came from raw, primal aggression, setting down Sacroscum’s foundation for death, dedication, disgust, and what lies beyond all these. But now, with the imminent release of their debut album, Drugs & Death, Sacroscum are primed for their most bountiful ejaculation of filth and hatred – the fullness of their cumming, as it were. Recorded at the band’s rehearsal studio and mixed and mastered by Fabi Krapp at Ruins Rust Studios in southern Germany, Drugs & Death is yet another staunchly DIY affair, but this time, the band have dialed in their most destructive material to date, simply taking what once was, adding some unexpected elements and making it what once will always be: truly, DRUGS & DEATH.
Nine anti-anthems, 41 minutes of foulness, Sacroscum never stop the madness, and heartily encourage you to finally drink yourself to death but with a smile on your face. “Do it…”
Check out “Waste, Horror & Degradation,” the first dosage of Drugs & Death
Cover and tracklisting are as follows:
Tracklisting for Sacroscum’s Drugs & Death
2. Drugs & Death
3. Autoerotic Thanatophilia
6. Waste, Horror & Degradation
7. Skin Canvas
8. Downwards Spiral
MORE INFO: www.facebook.com/sacroscum666
Invictus Productions sets September 29th as the international release date for Antiversum’s highly anticipated debut album, Cosmos Comendti. Formed in 2010 by dedicated and experienced musicians in the Swiss metal scene, Antiversum is a nihilistic entity which creates a disturbing and storming amalgamation of black, doom, and death metal, manifesting the end of the universe and the dawn of nothingness in audial waves. They began that journey into the void in the spring of 2015, when Invictus released the band’s debut demo, Total Vacuum, to international acclaim. As a title, Total Vacuum indeed served as the foundation on which Antiversum would create their idiosyncratic vortex of violence.
However, as mighty as Total Vacuum was (and still is), now arrives Cosmos Comendti to give a more vast ‘n’ virulent vision of that vortex. While the four tracks comprising Total Vacuum were towering in their own right, they are dwarfed by the four tracks that comprise the 38-minute Cosmos Comendti. Here, Antiversum stretch the spaces in between the void further, lurking within with a menace that’s truly unsettling. As such, compositions seemingly surge and then disintegrate at will – and yet, the quintet wield an iron will toward every nuance, every texture, every single detail. It’s a swarming swell of sound, one that could be deemed “cavernous” or “sepulchral” and other buzzwords in popular underground parlance, but the differentiating factor to Antiversum in general and Cosmos Comendti in particular is that there’s a clearly articulated, deathly focused finesse to everything that happens; nothing is left to chance nor masked in absurd levels of reverb. Further, this swell cannot be conveniently slotted as strictly “death metal” or “black metal” or “doom”: it simply IS.
Hark! For the cosmos-devouring debut album of Antiversum is at hand, and this anti-world is hereby titled Cosmos Comendti! Hear its first emanation from the void
Cover and tracklisting are as follows:
Tracklisting for Antiversum’s Cosmos Comedenti
2. Creatio e Chao orta est
3. Cosmos Comedenti
4. Nihil ad Probandum
Today, dark heavy metal band VENOMOUS MAXIMUS stream the entirety of their highly anticipated new album, No Warning. Recorded at Portland, Oregon’s Falcon Studios and produced by Toxic Holocaust’s Joel Grind (Sunn 0))), Midnight), the LP is the follow-up to the band’s celebrated sophomore album, Firewalker, praised by Invisible Oranges as a record that “strikes the John Carpenter creepy-cool balance.” Set for international release today via Shadow Kingdom Records, hear VENOMOUS MAXIMUS’ No Warning in its entirety.
“‘Our new LP, No Warning points a magnifying glass directly towards this band’s biggest strengths,” comments VENOMOUS MAXIMUS vocalist / guitarist Gregg Higgins. “The guts of these songs were formed during many weeks on the road with our friends in High on Fire and Pallbearer are a razor-sharp representation of what this band does best. Prepare for riff after riff on top of riffs.”
The 2015 release of Firewalker thrust VENOMOUS MAXIMUS into the higher reaches of the international hard-and-heavy music scene. Upon its issue, the record was hailed as “music of contrasts and conflict” by the Houston Press, while MetalSucks proclaimed that the group rocked “like a super-metal David Bowie.” NPR named the band as one of its artists to discover at SXSW, and the quartet followed the release of the LP with the aforementioned U.S. tour alongside High on Fire and Pallbearer.
Now, with No Warning, VENOMOUS MAXIMUS delivers an arsenal of the attributes that have earned the band three-peat title honors as Houston’s Best Metal Band: heaving heaviness, uncanny catchiness, haunting melodicism, and red-blooded swagger. While some have looked to tag the band’s high-powered sound as “occult rock,” the album hosts a clutch of anthems that prove powerful songwriting wins out over stylistic classification every time. Two years in the making, No Warning is a fiery collection of songs that solidifies VENOMOUS MAXIMUS’ place as pacesetters of today’s heavy music landscape and the embodiment of American style doom rock
3.) Pray for Me
4.) Return of the Witch
5.) All of My Dreams
7.) No Warning
8.) Blood for Blood
10.) Sea of Sleep
In addition to Gregg Higgins, VENOMOUS MAXIMUS features Christian Larson (guitar),Trevi Biles (bass) and Bongo (drums).
Invictus Productions sets September 15th as the international release date for the brand-new mini-album of Chile’s Oraculum, Always Higher. The Oraculum brethren incubate the raging pyre within the self, as a visionary element of utter omnipotence and unbreakable will. Designers of their own fiery path, never to be crossed, neither reached by traitors or prisoners of their ego. “Our blood is living fire feeding from your shame, scenting your trepidation with ease…”
Ever aptly titled, Always Higher is a true statement of intent, following Oraclum’s critically acclaimed Sorcery of the Damned EP, released by Invictus in 2014. Always Higher stands a fierce manifestation of the primeval evil in man, bringing the principle of the conqueror as the true holder of wisdom, power, and conviction. Serving as an essential pillar in a world where the lack of spirit fools the sheep with hollow intentions and nothing valuable transcends, Oraculum hereby transcend their humble beginnings and assert their own intractable identity, unshackling themselves from influence but never forgetting the deepest truths death metal has taught them all these years. It is the full bounty of the ancient Metal of Death, fully steeped in metal AND death, maximized through sheer spirit and will. Blood and fire, Always Higher…
“Let the death metal hierarchy overwhelm the weak. We bow to none!” Bow before Oraculum’s death metal hierarchy with the new track “Lex Talionis”
Cover and tracklisting are as follows:
Tracklisting for Oraculum’s Always Higher
2. Lex Talionis
3. Semper Excelsius
Texan black/death cult Nexul stream a new song Hexecration from their massively anticipated debut album, Paradigm of Chaos. Set for international release on July 28th via Hells Headbangers check it here:
Nexul are a part of the Ordo Satanae Imperium collective – which includes fellow Hells Headbangers cults Nyogthaeblisz and Hellvetron, with whom Nexul share members – and one of the most exciting developments in American black/death metal in recent years. Together, this trio of bands explore death’s deepest mysteries and provide sonic/lyrical keys to the Beyond. Of them, Nexul are the newest, making their recorded debut with the Nexulzifer demo in 2013, which Hells Headbangers released on both 7″ vinyl and cassette tape. Across three songs and a dozen minutes, Nexulzifer portrayed a potent vision of Luciferian death metal magick – heaving, hideous, and molten to the touch – and formed the foundation on which Nexul built their next illuminating vision.
And now, that illumination arrives with Paradigm of Chaos. Compared to the more basic, bestial-intensive Nexulzifer, the Nexul of Paradigm of Chaos is one that walks the threshold between all-consuming chaos and sheer insanity, between ravaging death magick and the ethereal vibrations both above and especially below: both heeding the boundless powers which drive them while disregarding/disrespecting any notions of “tradition.” As the band explains, “This Paradigm of Chaos was conceived over three years, during which time we plunged into entropy and strife, either through our own making or tribulation from external forces. What has emerged is a corporeal/ethereal mirror, a destructive pattern woven of audial lunacy and spiritual fervour towards the Great Dragon that is called LEVIATHAN.”
In a relatively short amount of time, Nexul have become masters of wielding sound as a veritable weapon; here, on Paradigm of Chaos, it is literally overwhelming and tangibly MASSIVE to behold. But within that ghastly, gibbering maw of oblivion lays nuance and dynamics: this is more than just senseless noise, and certainly more than rote “brutality” for its own sake. It is verily the death rattle of the soul, and those reverberations ring infinitely – and forebodingly – across a canvas which is even more heaving, even more hideous, and untouchably molten. There are layers upon layers upon layers to this Paradigm of Chaos, and the corridors down which one can wander are seemingly infinite. Rarely has black/death metal been this unremittingly violent whilst keenly subtle.
Tracklisting for Nexul’s Paradigm of Chaos
1. Accursed Abyss
3. Wrathful Chaos
4. Dark God of Paradox and Eternal
5. Leviathan Unbound
6. Chaosipher Tower
7. Serpent of Acosmic Darkness
8. Paradigm of Chaos
9. Bringer of Pandimentional Disrupt
10. Lord of the Bottomless Seas
11. Drowning Sephiroth
12. Leviathan outro
“Here set we up a curse-pole, and this curse we turn onto יהוה and שְׁכִינָה. This curse we turn unto all slaves of the flesh that they will wither and dissipate as cancer eats the body until the Crown is dissolved and Naught is left save for vultures to rend.” – Ν.Brairava, under the influence of madness for NEXUL
A year after the critically acclaimed full length “Absence”, Swedish Symphonic DSBM act MIST OF MISERY is going to disclose two new chapters, and the first chapter — a mini album entitled as “Shackles of Life” — is going to be released via Black Lion Records.
After their critically acclaimed sophomore full length “Absence”, released back in 2016, Mist of Misery is returning with their long anticipated mini album “Shackles Of Life” the first of the two chapters to be opened. The symphonic/DSBM band from Stockholm started their journey back in 2010, March, and so far have released two full lengths and two EP releases. Currently, the band is working as a quartet.
First chapter of their dual mini albums, “Shackles of Life” features some of the most gloomy and utter beautiful crafted work in a long time. its simply one of those releases that rarely comes out, If you’ve enjoyed Absence then this will be a step above.
This EP also marks the sad departure of Erik Molnar’s history in Mist of misery, he took this decision because of being busy with recording and writing for the new Hyperion album. Erik will of course still linger around for this mini release to watch as everyone absorbs it.
“Broken Chains”, the third track from the mini album, is having a haunting beauty within its mournful atmosphere, filled with the serene arrangements of synths, endless melodic guitar harmonies and stirring melancholic vocals
The mini album was mixed by Mortuz Denatuz and mastered by Ronnie Björnström of Defitory and EAP Mix Room…known for working with bands like Bodyfarm, Aeon, Cut up,
Artwork was done by talented Russian artist Alex Tartsus.
Track – List:
01. Shackles Of Life
02. Placid Drowning
03. Broken Chains
04. A Dreamless Void (Euthanasia Part 2)
06. Opening Chapter To A Solitary Confinement
07. Closing Chapter
Hells Headbangers sets October 13th as the international release date for Cadaveric Incubator’s highly anticipated debut album, Sermons of the Devouring Dead, on CD and vinyl LP formats.
Comprising veterans of the Finnish underground, Cadaveric Incubator are a power-trio whose sole purpose is to bury the listener under miles of garbage and grime, sewage and sickness. Their long-gestating full-length debut, Sermons of the Devouring Dead comprises a dozen tracks of utterly ugly, morally bereft DEATH METAL of a most classic vintage – and authentically so. Forget about eras or scenes or geography; this is death metal for death metal maniacs, by death metal maniacs.
Cadaveric Incubator was formed in 2005 by Necroterror (bass/vocals) and Humiliator (guitar/vocals) with the help of various drummers who came and went during the band’s first incarnation, which lasted around two years. The aim was to create old-school disgusting sounds influenced by early Carcass, Repulsion, Autopsy, early Xysma, Mortician, Blood, the early Mexican Disgorge, and such. No fun and no political garbage usually associated with the more grinding side of things – just raw, filthy brutality and total death! But after two demos – only the first one, Resurgence of Morbidity, was released – and countless live shows, the band split up in early 2007 due to personal problems between members.
Seven years later, in 2014, Necroterror resurrected Cadaveric Incubator by teaming up with his old comrade Pentele, who he had known from the early ’90s scene – back in the deep Finnish backwoods when Necroterror played in his first-ever death metal band, Excrement, and Pentele was drumming for Carnifex and Festerday in the same area. Original founding member Humiliator was asked to join, as well, and the new demo Unburied Abominations was recorded. After several brutal live shows and a demos compilation on Terror from Hell Records, the band finally recorded 12 tracks in early 2016 for their debut album, Sermons of the Devouring Dead.
Now armed with the help of fetid fans Hells Headbangers, Cadaveric Incubator are set to smother the underground in all sorts of uncleanliness! Just a cursory read of the album’s song titles should spell in no uncertain terms exactly what kind of timeless filth there is to bathe in: “Swarming Decay,” “Horrific Festering Plagues,” “Gravestench Asphyxiation,” “Unburied Abominations,” and the telltale “Conceived in Filth,” among others. Heed these Sermons of the Devouring Dead and get swamped in gore!
The first fling of filth can be heard with the previously-revealed track “Gravestench Asphyxiation”
Cover and tracklisting are as follows:
Tracklisting for Cadaveric Incubator’s Sermons of the Devouring Dead
1. Gravestench Asphyxiation
2. Hideous Premonition
3. Cadaveric Incubator
4. The Covenant of Gore
5. Cold in Casket
6. Rite of Eibon
8. Swarming Decay
9. Unburied Abominations
10. Conceived in Filth
11. The Undead Fiend
12. Horrific Festering Plagues
Today, Iron Bonehead Productions sets September 29th as the international release date for Worm’s debut album, Evocation of the Black Marsh, on vinyl LP and cassette tape formats.
Hailing from the swampy recesses of Florida, the American Worm is the work of one mysterious Fantomslaughter. To date, he’s done two rare demos, The Deep Dark Earth Underlines All (2014) and Nights in Hell (2016), but now as a duo alongside one Equimanthorn, Worm present the fullest distillation of their foul ‘n’ fetid aesthetic in Evocation of the Black Marsh.
Ever aptly titled, Evocation of the Black Marsh comprises eight hymns to the spiritual swamp lurking in every listener. With titles like “Evil in the Mire,” “Altar of Black Sludge,” and especially “The Slime Weeps” and “Swamp Ghoul,” it would be fair to assume that Worm would worship at the altar of Varathron’s classic His Majesty at the Swamp. However, while faint traces of those Greek gods can be detected, across the 42-minute LP is a clanging, blown-out appropriation of early Goatlord and Mortuary Drape, but strewn with a screws-loose personality that hails unorthodoxy endlessly. It’s a harsh and unsettling listener, but done with the authenticity and purity of black metal’s earliest, pre-tabloid days – and where else would something harsh and unsettling end but at the swamp? Submerge into the slime and prepare for a true Evocation of the Black Marsh.
Cover and tracklisting are as follows:
Tracklisting for Worm (USA)’s Evocation of the Black Marsh
1. Altar Of Black Sludge
2. Winged Beast Of The Phantom Crypt
4. Evil In The Mire
5. Evocation Of The Black Marsh
6. Swamp Ghoul
7. Rotting Semblance
8. The Slime Weeps
After a lot of back and forth – I finally had a chance to talk to the guys in Loss this week – in case you do not know these guys pretty much made the “doom album of the year” with “Horizonless” now go read this interview and learn something new
* First off guys congrats on the new album , what was it like to work with Billy Anderson?
Tim Lewis- Thank you and I can say with Billy you will witness a lot of caffeine consumption.
That mixed along-side of making a slow record actually turned out incredibly well. Overall, we knew we were writing a more dynamic record this time around and Billy helped accentuate various dynamic moments throughout the record. He allowed our creative flow to take the reins, to be honest. It was by far the most productive and sane experience for us in the studio. He is a great producer to work alongside of and has a “one liner” for every sentence spoken in the room.
Billy took one look at the gear list and was sold on moving
* How did Billy take to Nashville – if I am not mistaken doesn’t he have his own studio in the Pacific Northwest? What was the decision on bringing him there as opposed to you guys recording at his home base?
TL- Yes, Billy’s studio is located in Portland, OR.
We recorded the album at Welcome to 1979 here in Nashville and the name says it all when it comes to the gear at the studio. Billy took one look at the gear list and was sold on moving forward with doing the album here.
* Billy is known for recording bands live – is this how you guys prefer to record or is it something you guys were totally comfortable with?
John Anderson- All of our songs are written, arranged, and repeatedly performed in our
rehearsal space live, so recording them live is a natural step. That said, hearing everybody that’s standing around you in headphones, while their amps are isolated in various locations throughout the building, can take some adjustment, but we’d done it before.
The live scene has exploded here lately
* Nashville isn’t really known for its metal scene – is there even one there these days?
JA- Nashville, as a whole, is growing at an alarming rate these days, so every scene is growing right now, along with the population. We’ve become the “It City,” according to various publications, so the live scene has exploded here lately, with almost too many options on a daily basis. And, yes, that has brought us some metal shows and tours that would never have happened here five years ago.
* The band has been going for about 12-13 years now right? What’s the trick for longevity? Especially when most bands don’t last 5 years?
TL- First I would say it’s not a trick at all. It’s honoring what this band stands for. We have
always said that “if any member of LOSS were to leave for whatever reason, LOSS would be finished”. The course in which we compose and arrange these songs helps reflect the musical aesthetic of our very different personalities. We are true to what LOSS is. LOSS is four men telling various truths of what we see in ourselves and the world around us.
We feel free to ignore the rules
and allow the songs to take sharp turns
* It’s actually really hard to play so slow and still be interesting – what’s the secret to doing so?
JA- Dynamics are the key to remaining interesting, for us. Rather than adhere to any prescribed formula for what “this type of music” is supposed to sound like, we feel free to ignore the rules and allow the songs to take sharp turns, if that feels right to us. We’re actually not slow all the time, which I think helps us to stand out, or at least not bore ourselves. There is also an emphasis on melody in this band. There has to be feeling behind the slow passages, or they will lack atmosphere.
* You guys singing a lot on death and dying? What’s the closest you have come to death so far?
TL – For myself I have had my life threatened by disease and have moved forward from it, for now. Most of us in life have all had close calls or threats. How one chooses to acknowledge the weight of what death truly is, in my opinion, can define whether the mental wielding of death is actually a proven truth or simply an illusion.
* What’s was the doom band that really turned you on to the Genre? I remember buying Cathedral’s Forest of Equilibrium, so slow and so crushing. That did it for me
TL- For myself and everyone in LOSS, Black Sabbath will always be such a huge influence on the feel of what later grew into the doom genre but, the first record that I bought that really opened me up to the specific genre of “doom metal” was when I purchased Candlemass’ Nightfall on cassette at the ripe age of 16. So many people at that time hated the record because it wasn’t speed or thrash metal and I was absolutely obsessed with it. It was like listening to magic.
JA- For me, I would cite My Dying Bride as the band that first sparked my interest.
* I would imagine the “talent pool” for doom metal musicians in Nashville compared to Country musicians – how did you guys find each other?
TL – I had moved to Nashville from Dallas and met Mike through the underground metal radio show he had at the time. He was already friends with John and Jay. Mike, John and myself started discussing the possibility of a band and developing its structure through our past and current struggles. After less than a week of discussing it, they introduced me to Jay for the first time as well as asking his interest in forming this doomed assembly.
If you’re going to visit Nashville, don’t go to Broadway or 2nd Avenue
* Do you guys play much locally? Last time I was in Nashville it was a Tuesday night and all the bars downtown had world class bands playing in every bar but they were all country! Is it hard to get gigs locally?
JA- We prefer not to wear out our welcome with local shows. Playing locally every weekend, or even every month, sets a lot of bands up for diminishing returns. People get burned out, they take your appearances for granted, or they start to feel like it’s more of an obligation than an event. By all means, if your crowds keep growing, go for it, but with us, we play a very specific kind of music, made for a very specific mood. We don’t make a very good weekend party band. And, if you’re going to visit Nashville, don’t go to Broadway or 2nd Avenue unless you want to see country bands. That area is paid-for and marketed-to the tourists, who you can easily identify by their cowboy hats.
* Speaking to locals in Nashville, they said the city is rapidly transforming with so many people relocating there from all over the country. Can you see Loss staying in Nashville or has the band ever talked about relocating?
TL – I love to travel and explore so I would never say “never.”
Either to a major city or somewhere more remote?
TL – Remote
You couldn’t help but feel
everything in that room
* You guys are not one of these bands that lives on the road – but what’s been your favorite gig played to date and why?
TL- I would say in Berlin with Worship. That gig was insane and so many great people and the overall gut nature to it. Mike and Daniel (Doommonger) doing vocals together was sick.
JA- Yes, that final show of our European tour (in Berlin) sticks out for me as well, and it goes to show that the best concerts are not always the ones in the biggest venues. Everything was right in our face that night, and the place was crowded with maniacs. You couldn’t help but feel everything in that room, like there was no barrier between band and audience. That said, our show a few years ago at Maryland Death Fest was also amazing, to look out on such a vast ocean of faces.
* What more can we expect from you guys in 2017?
JA- Holy Mountain is about to issue some new shirts for us, which will be available in their web store soon. Profound Lore did a really cool longsleeve of the album artwork, and to answer a popular question, yes, there will be a short sleeve version of that same design, as well as some others that have yet to be revealed. We currently have some shows lined up for the fall, and we’re working on what will happen after that.