Review: Black Rainbows - Cosmic Ritual Supertrip

It feels to me as though Black Rainbows have been around for forever, and as time moves on they seem to get more and more productive with new records and touring, and the more they do it, the better they get. Stellar Prophecy and Pandaemonium raised the bar for the band and the subsequent live shows blew me away every time I witnessed them. With the constant touring, successful side projects and record label, I wonder how they get time to sit down and craft out more killer songs at such a pace, but here we are, Cosmic Ritual Supertrip.

It takes about 20 seconds before At Midnight You Cry kicks in, and kicks in it does. The song has all the structure of a Black Sabbath track with the open ended riffs to the full on rockin’ ones, but that fuzz n’ roll sound that is quite unique to Black Rainbows is all over it. The vocals fit perfectly round the hook of the riff that steam rollers itself through just under three minutes and doesn’t let up. Defiantly a song that will open a show and get the crowd going.

Universal Phase slows it down a bit with a big stomping monolithic-like riff that roles across the plains. Add in some Sci-Fi film quotes in the background and the track conjures up the images of the Earth under attack. The vocals are more hypnotic this time and Gabriele has this great ability to let his voice drift away at the end of a line, adding to the magic. As the song speeds up, the cymbals keep crashing, the guitars keep buzzing and the song finishes as powerful as it started.

You can see why Radio 666 was used as a single/promo video as it has that laid back California vibe to it. Starting off with the strumming guitars and cleaner vocals that have me thinking of 60’s/70’s psychedelia in the way that Monster Magnet always excel at, it creates that easy going feel to it. Whenever I think of Black Rainbows its always bad ass motorbikes, but this time they’ve swapped that for an open top Chevy or Mustang, and the riff hook roll’s on and on likes it’s tearing up the asphalt. I really dig the retro sound here.

You cannot but feel the 70’s groove of Isolation. Opening with a blue’s riff that gets the head nodding instantly, the lead guitar work over the riff is something rather special. After this the track tempo builds and builds with soaring vocals and some water tight percussion and half way through the song just opens up, jams along and doesn’t stop.

Hypnotized By The Solenoid keeps the fuzz but drifts into a warmer trippy psychedelic world. Drifting in with a hypnotic vibe, there’s lots of 60’s coloured lights that drift into Pink Floyd and Hawkwind territory, but still sound distinctly Black Rainbows. Gabriele’s vocals soar throughout, really making this one of the stand out tracks and the awesome solo at the end takes you high in to the sky.

The Great Design is a 2 minute trip through the mind and in to your sub-conscious, building a trippy atmosphere behind a mesmerizing guitar that walks you in to the light. 

Master Rocket Power Blast pulls you straight back from the sub-conscious with a full force assault of big fuzzy guitars. It’s loud, straight to the point and rocks with a slightly punk edge to it. 

Snowball has a huge groove that swings back and forth, soaring vocals, crashing cymbals and lots of guitar soloing and blues work.

Glittereyzed pulls away from the fuzz and creates an atmosphere built up on the strumming guitar work and rolls along with a hypnotic rhythm to it before everything turns to 11 and the song explodes. This is Black Rainbows showing many a band how to do stoner rock.

Sacred Graal closes out the album with more full force stoner rock that many bands only wish they could play. Again, Gabriele’s vocals are absolutely superb.

Now if you have the special edition record or digital version, your journey doesn’t end here, as you have 2 bonus tracks, starting with Searching For Satellites Part I & II, a mystical up-tempo acoustic trip that must have been created whilst sat round a fire under the stars of the night sky. Add in some sci-fi effects in the background and maybe we aren’t alone in the universe.

Fire Breather starts with the line “If you see this big bird, it’s the sign that you’re going to die real soon” which could be very true with the way the world is right now. Lyrics aside, Fire Breather is another rocker of a song that motors down the highway and out in to the desert sun.

Cosmic Ritual Supertrip is quite a ride and Black Rainbows are again on top of their game. The huge fuzzy songs get fuzzier and the psychedelic outings become more trippier. With various special edition versions provided by Heavy Psych Sounds, you know what to do.

Website – Bandcamp – Heavy Psych Sounds 

Review: ElonMusk - …As Your Wanderer Taps At The Invisible Gate

Nothing sparks my interest in music more than the sentence “new album that consists of one 37+ minute song” and it’s a journey in to space that not even the Space X entrepreneur could wrap his brain around.

Previous offerings from the Nashville 3-piece ElonMusk have clocked in at 9 and 16 minutes but this truly is a trip into the minds of a band that are taking you to realms beyond.

Everything starts feeling high up amongst the clouds as the guitar strums and the slow drum rhythms hypnotically hold you out there. There’s some keyboards moving in and out of the mix and the guitar begins to take flight and walk in to the distance reminding me in parts of Sons of Alpha Centauri and Yawning Man. At around 6 minutes the guitars really kick in and you feel the deep space like stomping groove as the instruments bend together slowly over the outer space keyboard effects. Add some soaring guitars to the mix and you can picture the kaleidoscopes of light in your mind as though they were playing right in front of you.

The eerie keyboards continue on as the guitar and bass output gets fuzzier, the elevated guitar work takes on another level and sounds huge, and they all intertwine for quite some time. The soaring guitars over the hypnotic drone like wall of fuzz is reminiscent of Electric Moon and Black Moon Circle, and how they take you from there to an almost dreamy landscape of what sounds like the sounds behind the atmosphere.

From here on you need to close your eyes and enjoy the trip as you take a heavy psych ride through the planets of space rock, accompanied by Ryan Westover (Bass/Synth), Frank Hand (guitar) and Kate Haldrup (Drums).

To add to the mind trip of an experience, an accompanying video has been produced by Stan Brakhage/Terrence Malick Films that lasts the full 37:35.

I highly recommend that you check out ElonMusk as they really have something special in the making here. …As Your Wanderer Taps At The Invisible Gate is available from the band on CD and cassette and I’ve just read that there will be some vinyl action soon from Worst Bassist Records.

Bandcamp – Facebook

Review: Mt. Mountain – Tassels 7”

I was late to the party with the Australian Psych scene but have had some fun making the time up discovering a long line of killer bands since, with one of these being Mt. Mountain. They first hooked me in with Golden Rise and I’ve been a fan ever since and discovering that a limited 7” with 2 new tracks was imminent, being the predecessor for a new full length to be released this year. 

Knowing that the first batch of the 500 copies went on pre-sale at 7am UK time, the alarm was set just in case, and I’m glad it was as minutes after I had ordered my copy it was already sold out.

Reviewing this, I haven’t got the item in my hands yet, though it looks like a rather special package from the pictures. So thanks to Bandcamp, here we go.

Tassels starts upbeat with levels of guitars and keyboard creating an ever growing soundscape that slowly twist away in the back of your mind. Like on previous records, the vocals quite subtly sit behind the music with a warm near-hypnotic feel to them. The first half of Tassels hangs off a cool psychedelic guitar hook backed with lots of cymbals, before the song bends itself into dreamy hypnotic territory with the organs and synth and the next few minutes are like a magic carpet ride into the unknown. Tassels is the sort of song that could play out for 30 or 40 minutes live.

Deluge is much more of a laid back track like a slow and magic trip into your sub-conscious. The warm dreamy mystical guitar lines walk you out towards the light backed up with hand played drum beats and it is pure magic. You can lie back, close your eyes and feel yourself drifting away, it really is that good. My only complaint is that as quick as it starts, your journey is already over.

This has really wet my appetite for what Mt. Mountain will be bringing us later in the year. I am not sure if the band or Six Tonnes De Chair Records have any copies left, but you need to be getting this from your usual digital platforms.

Mt. Mountain - Six Tonnes De Chair Records 

Review: Old Man Lizard / Big Pig – Split 7”

A couple of weeks ago the news of this split 7” unexpectedly appeared with two bands that I wouldn’t have paired together, but that’s the good thing about records like this.

Old Man Lizard’s track Queazy Like Sunday Morning is an absolute stormer from the moment it kicks off. There’s a twisted fuzzy feel to the guitar that buzzes along and hooks you straight in. There’s a mix of Sabbath and Kyuss with a definite English twist to it. After a couple of well received records, this feels like a step away from their more doomy miserable sounding slabs of metal and more like the band doing a stoner rock anthem. If this is the direction the band are going or not, the track is one of the best I have heard from them. The recording and production is another step up and the vocals, though still sounding strained (not in a bad way) really command themselves throughout the song. It’s like Old Man Lizard doing their Fu Manchu thing.

Flip the 7” and we leave England for California for the track Sweaty Palms by Big Pig. Knowing the Lalli family and Fatso Jetson connection, then you won’t be disappointed with this. It grooves with that desert feel to it, not to fast, not to slow and has that slightly darker twist to it the way the Melvins perfected. Sweaty Palms has a strong fuzzy feel to the song that stomps along, but all the little extras like the laid back grooving guitar that slips in through the background early on or the soaring solo that feels like it’s not a solo, add to what the two piece machine bang out here. I also have to mention how good the male/female vocal harmonies are throughout the song. Let’s hope they recorded more new songs at the same time.

The 7” is part of a limited split series by Wasted State Records so if I was you I would be ordering now before they’re gone for good.

Wasted State Records – Old Man Lizard – Big Pig  

Interview: Astrodome

One of Portugal’s finest heavy psych export’s Astrodome have been quiet of late. Hopefully it’s a sign that the instrumentalists are hidden away some place, jamming out new music. Let’s find out…..

Q. So how is the Covid-19 lockdown and social isolation working for Astrodome and you as individuals? What restrictions are holding you back right now?

It's been a tough time for everybody. As a band, we had to stop jamming and rehearsing like we normally do and started adopting some other ways of being productive. We also had a show cancelled in our hometown that we were really excited about, since the last time we played there was quite some time ago! As individuals, since we are not full time musicians, we try to work from home as much as we can.

Q. Astrodome have been quiet over the last few months. Does this mean that you are in the studio or in the writing process for album number three?

That's right, we are mostly focused on the writing process of the next album, for this album we decided to not rush things and take our time, maybe for a next year release, we hope...

Q. How do the 4 members go about writing songs? Do you all come to the table with ideas or do you just jam it out for hours, feel the flow and let the music write itself?

We don't have a particular way of writing songs. In the beginning, we definitely used a lot the classic "jam and let's see what happens" formula, but that way of making music can sometimes lead to monotony and repetition, and we are trying to not fall in the mistake of releasing the same album over and over again. As we get more maturity and responsibility as a band, we think it's important to start adopting some other ways of thinking and composing, so, it's not impossible that if someone brings an awesome and fully structured song to the rehearsal or if the drummer creates a cool guitar riff, it won't end up being an Astrodome song! There's no rules...

Q. Do you have “Jam Room” so that you can get the right vibe when recording?

We do have a rehearsing space or if you wanna call it, a jam room. It doesn't have the most inspiring vibe ever since it's located in a basement but it gets the job done... we guess! (haha)

Q. It has been well documented with the mess your previous record label left you with at the release point for Astrodome II. Did you ever get all the legal stuff sorted? And on a better note, do you think we will ever see the record available to buy as it deserves a proper release. 

Oh man! That still haunt us to this day! We have sorted most of the stuff, except for the streaming platforms like Spotify and Apple Music, we still couldn't get control over that unfortunately. We also still get contacted by people who are not aware of the problem and think that we scammed them. Nightmare...

About the record, we would like to release a new edition of it and the previous one also, maybe at the same time we release of our third album? Maybe sooner? Let's see!

Q. Can you tell us a bit about the cool artwork for “II”?

We started working with talented artist Clara Pessanha on the cover artwork, discussing references for illustration style even before finishing the album. In a certain way at some point the music, artwork and the concept of the album were mutually developed, and they're deeply related with each other.

It represents something like how our perspective on things changes as we move through space and time. We see a mirage of the Sun, which we forget as we get into the landscape. As we move forward, we realize the Sun is there and it is real, so we celebrate it. On the back cover it turns out that, although it is there, the Sun doesn’t hold itself as we thought, and there is a titan raising it. It has to do with subjects of curiosity and illusion, scepticism, belief, devotion, ending with deception, the final surprise revealing that the truth is different from everything we thought before. This is related to what happens throughout the music, like its tonality, or root note changes.

Q. “II” was released, like the first album, on cassette. You must be a fan of the format and enjoy seeing it make a small comeback?

Actually, those releases were just something that happened naturally. We have a friend, Jonas that had just started a small label and booking agency called Ya Ya Yeah! and he wanted to start releasing some bands that he likes on cassette, so he just asked if we wanted to be the first band and "test the waters". We guess that tape and analogue stuff is one of those "fetishes" that every band must have, and a cassette is an awesome piece of memorabilia you can get from a band, so it was a cool thing to do!

Q. Have other labels approached you to re-release “II” or release a new record?

When we announced all those problems with our ex-label, we got contacted by a couple of labels who shared their interest in working with us but none of them actually said something definitive, we also didn't want to rush things and end up being in a bad situation again so we decided to let the things cool down for a while and think about all the possibilities sometime later when we have our next album... 

Q. Can you ever see Astrodome having vocals on a new track or a song that has a verse/chorus verse/chorus structure to it?

We can't say we don’t see that as a possibility. We try to impose ourselves less and less on what we can or should do, and we let things evolve in ways that are not necessarily the same as what we've done so far. We work on every new track based on an idea that is being built, and the structure develops accordingly. Someday an idea may justify having vocals, or having verse / chorus verse / chorus structure, or both. We don't have anything against that kind of structure.

Q. I haven’t had the pleasure of experiencing Astrodome in the live setting yet, what would I expect from one of your shows?

We think our live shows are a completely different thing from our studio albums, at least we try to make it that way and honestly that is the exciting part of seeing a live concert from a band that you like. When we have the right conditions, we try to set up a mood that makes it more like an experience rather than a musical concert, we use lights, drones and sound effects for an uninterrupted show. Hope we can meet you at one of our concerts in the future! 

Q. Once the world starts to get back to normal, will Astrodome be hitting the road again to tour?

Unfortunately we are not full time musicians so we have to carefully manage our time between our jobs, making music, playing live and taking care of the band’s "office" side. Playing live and doing a good show requires a lot of practice and planning and we agreed that while working on the new album, we would play less shows and that's what we are trying to do. We are really focused on making a good album. We might still play here and there but we don't think we will hit the road very soon for another big tour.

Q. With festivals like Sonic Blast hosting some awesome line-ups over the last few years, the psych/stoner music scene in Portugal looks to be getting bigger. What other Portuguese bands should we all be checking out?

Sonic Blast is our favorite festival to play and to be as a fan, and it definitely helped the "scene" getting stronger and we even risk to say that it influenced many new bands being created! About the bands suggestion, it's going to be hard to list them all because there's a lot of amazing stuff happening in the heavy and psych scene, and we are friends with almost everyone! We recommend the "classic" ones like Black Bombaim, 10000 Russos, Solar Corona, Stone Dead, Kilimanjaro, Big Red Panda, Black Wizards, and some of the newer stuff like Jesus the Snake, Fuzzil… There's a lot happening and we could stay here for days listing them all, and that's great!

Bandcamp – Facebook – Instagram  

Review: Electric Moon – Mind Explosion & Theory of Mind Reissues

Electric Moon have a treasure trove of recorded masterpieces from over the years, with many of them being released on limited vinyl and CD runs that are never available for long, so it’s good to see that some are starting to come back in to print again. Komet Lulu’s label Worst Bassist Records inaugural release was a re-issue of Cellar Overdose, and amongst a few other quality releases, she has now repressed Mind Explosion and Theory of Mind on vinyl. Two cosmic trips out into the unknown reaches of the universe that no matter how many times I listen to them, never sound the same twice.

You may already have the originals, or have read reviews from when they originally came out, but I thought, even after many previous listens, I’d put on the headphones and write a bit about the experience again, provided by the three cosmonauts, Dave “Sula Bassana” Schmidt, Komet Lulu and Marcus Schnitzler.

Mind Explosion was recorded in Feldkirch, Austria in September 2013, and kicks off with Trip to the Moon which slowly begins to build with a percussion mixed with space like effects, elevating you above the atmosphere and out in to the cold night sky. The repetition of the drums gets louder and louder and the cymbals crash at a more furious pace and the effects start twisting at you as the soaring guitars interject themselves into the mix and place you in that cosmic nod state and hold you there for several more minutes. I’m guessing that at around the 13 minute mark is when they have reached the moon as the track levels off and all three instruments play together with a more reflective vibe to them before the underlying hypnotic beat falls back into place for your return to Earth, that starts heavy and abrasive before concluding atmospherically into the night.

Kaleidoscopepeephole feels like several soundscapes layered over one another, like the constant repetitive change of a kaleidoscope. Like a 22 minute cosmic jam, they create a sound that has been captured perfectly in the live setting. Throughout, it twist and turns from a more laid back vibe to a near freak out at times to that heavy space like psych that all three members have more than mastered.

As The Picture takes off you can pick out the noises of the audience in the background that gives you that proper “at a gig” feel to the recording. Musically this feels like the heaviest of the 4 tracks, like a big epic space rock jam that doesn’t let up for the full 17 minutes. The ever present hypnotic and sometimes drone like percussion drives it at pace, with a whirlwind of guitar effects fed into the mix so that you know this is Electric Moon.

Title track Mind Explosion starts with a lot more keyboard effects which feel more mind-warp and robotic that the usual sounds of outer space. They slide nicely into the rhythm of the track that feels slightly different to the rest as the guitar loses its big intensity and has more of a raw early Pink Floyd and definitely a lot more trippy. Like any good album though, the last 5 minutes build everything to a huge crescendo with all instruments blazing before that final comedown, something the band are so good at writing and performing.

Theory of Mind was recorded at the Kosmodrom in Heidelberg, Germany in February 2014, with Hypnotika starting distant and dreamlike, almost as though you are floating through a place beyond the stars. The keyboard effects and synth noises have an almost sinister feel to them as though something is approaching from the heavens, not knowing if it is good or evil. The bassline starts to take hold of you and the rolling of drums and crashing of cymbals intensifies with the soaring space rock guitar lines pull everything from left to right, then back again in an almost “at sea” swaying motion. As the trip continues I still get the feeling that however heavy and psychedelic it feels, the atmosphere created has a more dangerous “edge of your seat” serious feel to it. I don’t remember feeling this last time a listened to it, but that’s the magic of what Electric Moon can do to you.

The track Theory of Mind is something rather special. It starts slowly with a warm inviting feel to it with some almost hypnotic wah-wah guitar. I’m sure I read a review when it first came out saying they could picture hippies dancing in a field near Glastonbury at this point, and yes, I can see what they meant. As the flow of the track takes off and the guitar takes you up there to some place special, you can see and feel the warm colours melt into each other, time and time again. The bass and drum work is inch perfect as they hold you as you walk the warm psychedelic path into the summer’s night. At around 12 minutes the bass really kicks in and the freak out explodes as wave after wave of soaring guitars push you aside before one last final sonic blast.

A slightly shorter version of The Picture (mentioned earlier) has a more abrasive and sonic feel to it this time round, and fits right into the vibe of the record due to the huge expansiveness of its sound.

Aerosoul finishes everything off with a more atmospheric vibe to the trip. The sparse opening teases you with distant keyboards and effects as though you are alone on a distant planet a long way from Earth. Behind the guitars and feedback, both drums and bass create another drone like soundscape that keeps your head nodding in time. There’s a lot more feedback used as the track moves on to create more sonic effects to compliment the overall feel of Aerosoul and its near trance like state.

It’s always a pleasure writing about Electric Moon as like I have said previously, no matter how many times I listen to their numerous recordings, nothing ever sounds the same twice. I would be hard pressed to pick a favourite between these two records, so you’ll have to make sure you own them both to decide.

Both the band and label have done another special job in re-releasing both albums and Lulu’s brilliant artwork on both truly carries the vibe of each record. If you want them, then don’t hang around as both are on limited run with cover matching colored vinyl.

Luckily between Worst Bassist Records and Sulatron Records, there should be more Electric Moon on the horizon soon.

Worst Bassist Records – Electric Moon

Hetouht – "Planet B" Review and Interview

Hot on the heels of the Kinetic EP earlier this year, Hetouht appear with two new tracks already.

XXXX starts big and fuzzy then kicks in to thick driving stoner rock. Its upbeat and the guitar drives all over before it soars in and out and never really lets up for the next 3 minutes. For two members they make one of hell of a fuzzy racket that could be the soundtrack here to a good desert car chase.

Planet B kicks off with a killer guitar riff with a darker side to it that pulls you away into the big fuzzy planes populated by the likes of Dozer and Lowrider. Lots of big drum work, crashing cymbals and wah-wah guitars. The song sounds huge as it rolls through a big open space before the ongoing riff builds and builds to massive proportions. The back end of the track starts to drift in a few different directions, which can only mean an even more pic jammed version of it live. They’ve even complimented this awesome track with a promo video.

Following on from this, the band where kind enough to answer a few questions about life at the moment.....

Q. So how is lockdown and social isolation working for Hetouht and the people of Belgium? Have you had to spend time in complete isolation?

We have been isolated for 6 weeks until today and we should get some news soon. It means that we can’t play together or see each other since the quarantine. We have kept in contact through social media as well and try to make this particular situation is easy as possible with all the changes in our habits and freedom.

Q. For anyone who is unaware of Hetout, can you tell us a bit about how the band have evolved from the beginning?

A few years ago we played in different bands in the same rehearsal rooms place and heard, with interest, each other’s playing through the doors. Shortly after we played with the same band "Molk" (Sludge/Stoner). After one of our rehearsals, we decided that we wanted to play more jamming and try something else. We were immediately amazed to see how fast and creative we were together and we decided to try and to start with a new band. So, from the beginning we recorded everything, rehearsals and shows, we bought everything to be able to record good decent quality demos with the great help of our sound engineer Gabriel Hanquet (Opack Records) who has followed us since the beginning.

Q. You have just dropped a new two track single “Planet B”, tell us about both songs and the journey you took to release it?

Well actually, as usual we recorded a full session before the quarantine, and only kept these two songs because they were more effective. We always try to play something different. So, we just had to wait for Gabriel to mix and master the songs. In the meantime, as we are locked in quarantine, we still wanted to share it and made the video as a bit of fun. To go with the story, we remember that late on that evening, “XXXX” seems to be lost and not saved on the PC and during the breaks we had listened to, among others, Mos Generator (Shadowlands album and Isaak split), Desert Sessions (Vol 5/6), Lowrider (Refraction) and discovered Holy Monitor (II). 

Q. And tell us about the official “Planet B” video?

Considering the situation, we wanted to shoot something a bit funny, with what we realised we had available. With our taste, we thought of something that reminded us of Red Fang or Black Flag music videos, the kind of videos we like. But in fact, this is what we do when we write our songs in the studio! Have a beer, a smoke, and as time passes between the recording and the final mix we usually forget a bit what we played. So the video sort of puts us in the same place as our fans. 

Q. What’s the song writing process for Hetouht? Do you plan songs or do you just create from your improvised jams?

It's always been improvised jams since the beginning. The important thing to know about us is that we are very influenced by everything around us. When we play in our rehearsal room sometimes we just plug in the amps. Sometimes we play for 5 hours straight or sometimes we only play for 2 hours because we're not in the mood but that doesn’t happen very often. For example if we are alone in the warehouse where we practice, it's easier to dive into ourselves and what we do without having some cover bands playing near us. When playing gigs, it's a bit different but basically anything happens and will influence our show.

Q. Hetouht has a unique way of releasing music. Sometimes it’s an EP or a single on Bandcamp then next it’s new songs or a jam on YouTube. Do you plan how and when you release new music, or does it just evolve and you want to get it out to people before you’re on to the next idea?

Our main idea is to try to record everything we play, because after playing this or that, it could be doomed to be played only once. We take time to reflect on our selections and it also depends on the situation at the time, like how we are living at the moment or any recording problems. With these kind of things, so we just go with the flow.

Q. Do you see the next few releases being singles and EP’s or is there another full length album in the making? 

We would love to make a full length album definitely, so yeah, maybe we'll think about releasing one in 2020, but in the meantime we'll keep it this way and we'll see where it take us. We have got a lot of ideas for the next record.

Q. Are there any plans to release new or previous material physically, on vinyl, CD or cassette? 

That is something we talk about a lot, we really need some physical products, and to find a way to finance them and make good quality interesting products and a decent quantity of them. About the cassettes, we had a few of them made which was really fun, made out of real beer cans, we probably should do that again. This quarantine and isolation has given us the motivation to get back on track and to go further, so stay in touch and watch out.

Q. Tell us about the Hetouht live experience and what people can expect?

Every show is different, if we play for 30 minutes or 2 hours, people can expect some good fun on stage with both heavy riffs and the quiet parts trying to put peoples and ourselves into an another state of mind and push all of us through to introspection in a special kind of way. We also often use projections, incense and other things that touch the crowd’s senses.

Q. Finally, what’s next for Hetouht? What does the rest of 2020 hold for the band?

It really depends on the current situation, about shows, and the rest, but the goal is to keep going further. All we know is that when the nearest possible time comes, we will have good new music for people, some merchandise for the fans and we will keep improvising for all of this. Thanks again.

YouTube – Bandcamp - Facebook