Lay's Wavy Cheddar & Sour Cream Snack Review

So I went to my local grocery store earlier this week and to my total surprise, the family size bags of Lays were on sale for 3 for 8 bucks (8 Canadian dollars, that's like 6 USD or 130 Mexican Pesos, man) so I bought the new BBQ less salty (BLUE BAG), the safe but always original bacon Lays and this new wavy cheddar and sour cream flavour. I sat on the couch at around 10 pm and I slapped the whole bag while watching the new Eric Andre special on Netflix. I ate two small millefeuille before trashing the bag so I wasn't even that hungry. Anywayyyyyyyyyyyyy.

Packaging: Orange bag, cheddar colored. The bag shows the wavy texture of the chips, a block of cheddar and a small bowl of sour cream (I'd eat that shit with a spoon if I didn't restrain myself, it's like tzatziki sauce, spread that on my chest, please). Lay's always does a good but subtle job for their graphic design.

Texture: Pretty different than the widely known Ruffles, their biggest competitor. The Wavy Lay's are somewhat bigger chips and they're cut differently. Easy to eat and it has a textured feel on the tongue.

Taste: The most important part, eh? They're pretty good! They're super creamy chips with the right amount of zing zing as far as cheese chips goes. Not as complex as the Miss Vickies sour creams chips (top tier, let's be honest here) but they're frankly pretty decent and easy to devour in one, easy sitting. I tried a lot of cheese chips as I'd kill for cheese and the Lay's are a solid albeit a bit safe choice. Not disappointing.

8.5/10

Shezmu - À Travers Les Lambeaux (2020)

Controlled Chaos

The first proper album for Shezmu after a bunch of extended plays and demos, À travers les lambeaux (could be translated to “through the shreds”) is a blistering piece of occult death metal that will help you get through this summer if your main vice is listening to hellishly dark music. Their first release as a three piece since the arrival of Yannick as a full time bassist, the short but sweet album doesn’t mess around with any aspects of their identity.

With their inspirations fully assimilated and ready to torn apart the competition, Shezmu delivers a well written and intelligent record full of twists and turns. Without playing a fully epic blend of metals similar to what bands like Sarpanitum or Necros Christos do, the Montreal band prefers to focus on pure death metal while incorporating some slightly foreign touches. The vocals of axeman and band leader Olivier (also in a wide array of other cool bands like Palmistry, Complot! or Moulin Banal) are deep, thunderous but also tortured clean screams reminiscent of Bolzer. It’s not a technical band, the focus is on riffs and riffs alone, there’s no unnecessary wank, it’s just riff worship and that’s totally fine with me. They’re mixing this sort of subtle antique feel with the evil energy of Incantation and it works. Not totally unlike Dead Congregation did.

The interlude “La rage” divides the album in two with a middle-eastern feel similar to the grandiose instrumental compositions found on Melechesh’s “The Epigenesis” and it was a welcomed respite since Shezmu are so fucking intense. There’s some shorter numbers like “Les secrets des ziggourats” and it brings forth a quasi blackened grind element to the fast compositions. Still, the bulk of the album is the two bread slices around it, its two longer compositions located at the start and at the end. They allow themselves to slow down and pummel you with “Lex Talionis”. At the edge of cavernous death metal, Shezmu’s guitars are pretty clear as far as death metal is concerned. The opener and title track has those hypnotic riffs that almost gives me the same effect (good) stoner metal has on me. This is perhaps their biggest strength, this sort of thundering but controlled chaos handled through efficient but minimalist musicianship is just so good. Shezmu are the cream of the crop for Québec death metal alongside Outre Tombe. Let’s see if Sedimentum can beat ‘em with their upcoming debut album.

Bandcamp

Basic Instinct – Late Bloom (2020) / 75%

From Coast to Coast: West


A duo of reviews featuring recent bands featuring women from the two coasts of Canada.

If you’re frustrated that Chelsea Wolfe still hasn’t released a “damn this is definitely metal through and through” album, this Canadian duo from British Colombia could satisfy your urges. On the twenty-three minutes extended play, the duo composed of Joy (drums) and Carly (guitars, vocals) explores heaviness through psychedelia and alternates between soft and heavy introspection.

The core of the duo’s music is some sort of heavy sludge/doom/stoner with dynamic drums and fairly catchy yet simple guitar riffs. The drumming of Joy has this martial quality in the droney sludge of opener “Feast”, she’s really good and precise and makes the duo sound fuller. That same track also has some blackened elements in both the tremolos and the guitars. We’re in Cascadian territory after all, the specter of Wolves in the Throne Room is always close by. The presence of Carly’s harsh vocals alongside her clean ethereal ones are giving that soft versus heavy dichotomy and it could recall SubRosa (rest in peace) and their penchant for emotional mood swings through songs. 

With that said, the clean chanting on the second track is the highlight of the EP for me, it gives some sort of quasi medieval feel to the modern ugliness of sludge. The singer is really damn good and she brings forth a lot of different auras through the diverse range of her vocals. From stoner intonations (“Prey”) to psych sludge or crust (the short execution of “Payne’s Grey”). The compositions are also diverse, ranging from hypnotic but short and sweet sludge bursting into more extreme territories. I think they could let the songs breathe more though, some of the most expansive tracks could benefit from being longer, maybe a tad slower too. “Water”, the closer could had been twice the length in my opinion...but yes, I always like river-esque numbers.

The six songs release demonstrates that the young project is made up of two women able to accomplish the sound they wanted, it’s dynamic, it has the DIY approach I like so much in metal and has fairly strong songwriting. Based on the limited information I’ve gathered about them, half of the project moved away from their initial area so I hope this doesn’t mean the end for Basic Instinct as they’re pretty damn interesting.

Bandcamp

HÄG – HÄG (2020) / 80%

From Coast to Coast: East

A duo of reviews featuring recent bands featuring women from the two coasts of Canada. 

Fifteen years after Witchcraft’s debut album or twelve after Jex Thoth’s self titled opus, the fad for occult doom/rock is mostly back to its vegetative state but there’s a few bands still going strong like Castle or Demon Head. Now introducing Häg, they’re no mere copycats but they arrived a bit too late to make it big in that particular scene. 

Well regardless of the ordeal that time offers us all, doom metal is getting more and more diverse now and many groups found their niche and some mass appeal. Let’s see if those Canadians can distinguish themselves!

I was pleasantly surprised by the debut album from this Newfoundland quintet, it’s super interesting and showcases a wide range of influences in its approach. The fact that all those musicians are in no other (MA approved) bands is also a bit surprising as they sound like an experienced bunch. Their self titled album is compact and presents itself nicely, it’s professional, it sounds great and doesn’t sound overly retro in a painful and unnecessary way. Their mid-paced riff centric doom metal isn’t traditional and borrows elements usually uncommon to the genre. The opening track “Summon The Earth To Lay Claim Back The Soil” has a part reminiscent of Yes or Rush with its noodly bass and syncopated guitar bits. The guitars of Hefferman and Wicks are rich and varied with an arsenal of riffs and solos from diverse origins. There’s hints of modern progressive rock Opeth (“At the End of the Ambush”) or the atmospheric rock of Anathema (“Slow Ghosts”) and those influences are for the most part well incorporated into their sound. They have some few deathrock tendencies too such as “Your Skin” akin to The Devil’s Blood. There’s definite heavy doom moments though like the crunching conclusion of “Funeral” and there’s a few stoner, more Uncle Acid parts too. The band says that they have “blackened” elements but yeah, nah. Occult though? Sure! They’re able to develop potent grim but catchy atmospheres throughout the record.

The vocals of Clair Hipditch are superb, she sounds like a cultist at an exquisite murder/feast who’s also into jazz, blues and classic rock. She gave me the same feels Uta Plotkin used to when she was the front woman of Witch Mountain. She’s just a powerhouse that fits in a metal band while not being intrinsically metal herself. Solid musicianship, blistering vocals and a comprehensive approach to all things doom is what makes this one of the best debuts of the year.

Bandcamp

Yronoxit – Of World of Nightmare (2020) / 78%

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The solo project of American musician Reuben Storey known for his contributions to both Christian Mistress (drums) and Quayde LaHüe (bass), Yronoxit (great yet confusing name) released two extended plays during the quarantined month of April 2020. Of World of Nightmare is the first one and damn, it feels like it’s heavy metal from a parallel universe.

The title track opens with some spooky effects and B horror movie evil grinning before we get some King Diamond-ish laughter and some oddly catchy riffs. The vocals of Storey are pretty particular, midway through whiny vampire and evil sorcerer. I love voluntarily bad vocals in trad metal so I’m totally on board with his approach, he sounds he’s gonna fight adventurers with bad effects similar to those from the 90s series of The Adventures of Sinbad on the intentionally mispelled “Draqula” with its thunderous yet silly guitar lead.

I’m perhaps on my own here but I think this sounds like the true metal madness that Jussi Lehtisalo created on Krypt Axeripper, Motorspandex or Tractor Pulling (the Realm has covered those in the past) as it’s idiosyncratic heavy metal played with a familiar approach in mind. If you’re not familiar, I highly recommend ‘em. It’s also a good argument when you’re arguing that Finland is weird.

The three four-ish minutes tracks have slow but intense riffs, it’s evocative heavy metal without pretentiousness, trendiness and unnecessary technicality. It’s pretty lo-fi and has this DIY aesthetic I dig a lot. “They Wear the Shroud” has memorable bass lines and sounds like Powerslave worship made in a strange world where everyone speaks like they inhaled helium through a defibrillator.

Quite different from his main projects, Yronoxit is peculiar without the need to rely on modern avant-garde elements and that’s something hard to accomplish nowadays.

Bandcamp

Acerus – The Tertiary Rite (2020) / 89%

Potent Metal Assimilation

Daniel Corchado is one of metal’s finest gems. The Mexican native can’t literally do no wrong (okay, I haven’t heard his ambient doom project Magnum Itiner Interius but I’m sure it’s decent) and Acerus’ newest album simply proves that he hasn’t lost any of his mightiness.

Before you continue reading that review, I need to ask you some questions. 1) do you like riffs? 2) If yes, do you like heavy riffs? 3) do you prefer those heavy riffs to be excellent? If you answered “yes” to all questions, you can now proceed. The gates are opened. The posers were kicked out from the temple of good metal taste.

Acerus’ first album since 2016 The Clock of Mortality is a barrage of condensed fiery metal with a compressed plethora of influences infused into one potent expansive but tight record. Combining intricate odds to progressive metal, epic metal and even thrash or death metal, the album has this mythological feel somewhat akin in spirit more than sound to what Symphony X did at the peak of their career (Divine Wings of Tragedy, The Odyssey or V: The New Mythology Suite). There’s this definite aura of Greek and Roman historical as far as themes go. I’m a big fan of that stuff (see Primordial’s To the Nameless Dead or Macabre Omen) and it’s nice to see those topics being explored in this hybrid style Acerus plays.

The riffs and leads of Corchado and his younger spire Ed Escamilla (from thrashers Reign) are what drives this album. From the slow mournful ones of “The Sinister Sea” and its odd epic doom overture to the blackened feel of “The Fight with Destiny” or the power/thrash might of “The Immersion”, it’s a varied album in terms of riff origin but not so much in terms of moods. It’s fairly samey without repetitive. The eight songs are getting a bit blurry with each-others but I think this helps create a sense of unity for the album and I always prefer that over individual songs. The clean but vigorous vocals of newcomer of Esteban Julian Pena are pretty legit, he has good pipes and adds to the heavy/power atmosphere of The Tertiary Rite. I do think he gets outshined by the true power of the riffs at times though but he adds a Greek epic metal flair to the album.

Their metal sound is quite unique, it never fully goes into progressive metal territories and explores a bunch of other disparate sonic islands. You can hear that Corchado is a metal connoisseur and a veteran as his influences are fully assimilated and integrated within his compositions. It’s distinctive without being overly over the top or weird. It’s for sure one of the finest albums released in 2020.

Bandcamp

Emblem & Ezra Brooks – Visisons of Power split (2019) / 85%

The Confederation of Canadian Arcane Heavy Metal

Two of Canada’s best kept heavy metal secrets united their forces to release this split and it’s a wonderful slap of fun. Both bands are offering one new track and one cover each on that limited tape released by their chums of Chicago’s Hoove Child Records or on digital if you prefer to use modern technology.

Ezra Brooks (a brand of Whiskey) is Shawn Vincent’s solo project. The musician from Calgary is currently known for being the founder and one of the creative brains of Toronto’s epic heavy/doom darlings Smoulder but before the release of their acclaimed debut full length, Vincent released the excellent demo/extended play Target (that the Magickal Realm covered). On Ezra Brooks, his vision of arcane heavy metal can be fully established as he’s the sole man in charge. His contribution here is “The Road to Allinam” and that’s a fantasy (his own world, if I’m not mistaken) heavy epic with strong riffs and a legit bass section in the middle. There’s also a lovely guest solo of Manacle’s Inti Parades as well. The track feels like a normal length one pushed to eight minutes, it works well as I didn’t felt it was overlong at all. There’s no real breaks in the riffage. Shawn isn’t a singer and he knows it so the vocals are pushed back to the background but I love how it gives the band an aura of ancient mysticism. The cover he did is Rotting Christ’s Dive the Deepest Abyss from their classic album Thy Mighty Contract and the epic Greek faster track was a good choice for his style. It brings a slight blackened edge to his side of the split.

Emblem (from Newfoundland) released one of the best heavy metal albums of 2017 with their debut self titled record and then released an explosive track on the Trapped Under Ice compilation (get this if you haven’t yet, it’s incredible), they offer us some more meat while we wait for a followup album. “Silver Springs” is a track about the fountain of youth and it has this truly epic approach with strong vocals from main man Harry Clarke reminiscent of the late Michael Grant (Crescent Shield) with their rough but evocative power. It’s a track full of quality leads and captivating melodies pushed forward by the talented twin guitars of Drew Knees and John Cooper. Emblem are pretty unique and forward thinking for a heavy metal band, maybe it’s due to Newfoundland’s geographical isolation. Their cover here is “Black Wing”, from cult Montréal band Thunder Rider. Pretty much Quebec’s sole answer to Manilla Road. It was cool to see Emblem play this cover live with one or two members of the covered band in attendance. It's a subtle song with clean guitars and an enjoyable tin whistle attack at the end.

The twenty minutes tape does a good job showcasing two of our best bands. They evolve in the same epic heavy metal vacuum but are also entirely different in their own ways. Essential Canadian metal, for sure. I’m very stoked to hear what those two bands can do.

Ezra Brooks on Bandcamp
Emblem on Bandcamp

Mörkt Moln - The Culling of a Great Flame (2019) / 83%

BURN IN HELL!

Mörkt Moln (dark clouds) from Gothenburg certainly don’t play melodic death metal and I’m relatively happy they don’t. The Swedish trio delves into proto black metal and inserts dynamic hardcore, goth and punk elements to their first wave black metal sound instead.

Inspired by both Amebix and Darkthrone (who were also influenced by Amebix in their own right), the eight songs record is a definite love letter to a time where metal and punk lines were blurred and where black metal was yet in its formative infancy. While I feel the lines are being quite blurry again nowadays with powerviolence, death metal and crust being thrown in a mixer together this is another type of affair.

Interlude: I’m a big snacks guy so this review was written while eating some carrot cake Oreos. While they were able to recreate the taste of a carrot cake, the white icing is a bit too sugary. It’s a welcome distraction from the normal black and white ones just like this band is a welcome change from your run of the mill Satanic black metal. The special Easter Oreo was a bit better though.

Back to our normal programming, their music is dark (see their name) and it’s composed of pretty mid-paced bangers with some longer tracks like opener “Air Burial”, the Conan themed “Cimmerian Heat” or the Mesopotamian historical eight minutes closer “Shar Kishati”. Their production is kept fairly natural and that’s certainly perfect for their sound. If you’re a fan of Darkthrone’s later efforts, it’s a similar approach. If you’re not, it’s time go hike in the Scandinavian forests and never come back! Mixing groovy, riff heavy black/punk with some doom metal (the end of that Conan song crushes) to great success, it reminds me of the hateful but tongue in cheek of The Cult is Alive but slowed down a notch. The vocals are raw, gravely and in a spot between harsh and clean, it fits their proto extreme metal vibe well. There’s also obvious black(er) moments such as “Corruptors of Youth” with its evil classic black metal church bell intro and heavy metal goodness such as the Lord of the Rings’ inspired “Dol Guldur”. It’s not technical music either, it’s even fairly loose and almost volontarily sloppy and that’s how I love it, to be honest.

All in all, Mörkt Moln are apt at mixing old school black metal with a DIY aesthetic and approach. They’re a less and more band but with a lot of ideas and big balls.

Bandcamp

Circle - Terminal (2017) / 97%

NWOFHM #15
That’s a good Tom Hanks movie too, I guess.


NWOFHM is a term coined by Jussi Lehtisalo, the leader of the psych/experimental rock bands Circle and Pharaoh Overlord. It’s to pay homage to the NWOBHM term while namedropping his country, Finland. 

Lehtisalo created a bunch of projects to create that self sufficient scene. Those include Motorspandex, Krypt Axeripper, Tractor Pulling which all released only one recording but also projects like Steel Mammoth or Arkhamin Kirjasto that have a more extensive discography. All those aforementioned bands were covered by yours truly and the NWOFHM review series is never quite dead.

Circle are one of the best rock bands in the world and Terminal, their latest album in an almost three decades career is just another monumental album dedicated to the gods of riffs. Perhaps not one of their heaviest albums (excluding Incarnation where they basically asked another band to record a doom/death Circle album), it’s definitely one of the most riff focused record of their extensive discography. Their first album released on the American and Sunn O))) owned label Southern Lord Records, Terminal is intense, catchy and totally insane psychedelic prog krautrock. Their three guitarists formation just obliterates and gives ‘em a fully realized and rich sound to go with Jussi Lehtisalo’s seminal bass playing and leadership.

What’s totally crazy about Terminal is the vocals, they’re three dudes handling ‘em and they’re all mad insane. There’s screaming (see the twelve minutes opener “Rakkauta El Dente”) that wouldn’t be out of place in a sort of Motorized heavy/black/thrash band, there’s those totally over the top cleans with what I can only assume is weird stuff in Finnish and, while there’s more, there’s some ominous whispering. That’s just for the first song too...There’s group chanting as the introduction of “Saxo” and it’s like cultists leading you to a strange barn or something. It’s just to watch hockey (damn, Sebastian Aho is great) drink beer and get into the sauna (fully naked, of course), nothing wicked. The cleans become those sort of operatic vocals full of punk folk energy fuel and it’s abrasive but charming.

The focus on focusing on repeating riffs is something common in Krautrock or Neu styled prog and it’s something Circle does extremely well. It’s hypnotic, trance-like and it moves you to the allegedly real country of Finland where collecting different sorts of mustard is seen as a serious hobby and why wouldn’t it be? What I love about the Pori based band is their inability to take themselves too seriously, with that in mind they’re able to be as unhinged as their ideas ask for and while their music could be considered complex or smart, there’s no snootiness or over intellectualism in their compositions and attitude. They’re the type of bands that alternates between more experimental, long formed compositions bordering on drone and rockier ones. Albums like Tulikoira explored a punkier side of the band while Sunrise went all out on proto heavy metal, Terminal borderlines on metal at times but it has a pretty distinctive and varied sound throughout its fairly compact duration.

The extended instrumental moments are also moving and tremendous and not numerous enough to bore you. They take their time to introduce their songs with panache and let the keys and riffs flow. Circle is like what I like about music. It’s loud, it’s bigger than life and it has a lot of striking and memorable riffs. It’s never easy and it’s always intriguing. With some hindsight, Terminal was my favorite album of 2017 as I like how it’s dumb but smart, weird but with a sense of familiarity and heavy and groovy but never without purpose.

Aktor - Placebo (2020) / 83%

NWOFHM #14: Yummy Pills

Contextualization:
NWOFHM is a term coined by Jussi Lehtisalo, the leader of the psych/experimental rock bands Circle and Pharaoh Overlord. It’s to pay homage to the NWOBHM term while namedropping his country, Finland.

Lehtisalo created a bunch of projects to create that self sufficient scene. Those include Motorspandex, Krypt Axeripper, Tractor Pulling which all released only one recording but also projects like Steel Mammoth or Arkhamin Kirjasto that have a more extensive discography. All those aforementioned bands were covered by yours truly and the NWOFHM review series is never quite dead.

Chris Black and Jussi Lehtisalo seems to be an odd pairing but they’re two really odd musicians so it just seemed natural. The American is of course famous for High Spirits, Dawnbringer, Pharoah (not overlord) and a plethora of other stuff while Lehtisalo does everything imaginable musically. I really loved Aktor’s debut single released back in 2013 (NWOFHM #6 actually) but I didn’t give their debut full length Paranoia enough spins to truly enjoy it. Looking back, I think it was released during my last year of university and I was perhaps too busy to care... It’s 2020 now and I’m not busy enough right now as it’s the pandemic and I’m stuck alone at home wearing a kimono with birds on it while my cat constantly complains about life. I was ready to rediscover the weirdness of Aktor.

Aktor are weird in a way that’s both familiar and iconoclastic. Mixing hard hittin’ heavy/hard rock riffs with a huge backdrop of 1980s pop influences ranging from new wave to electronica, they sound timeless but created in a vacuum where many musical styles from different eras coexist during the same era. Combine the attractive and catchy riffs of Blue Öyster Cult but played heavier with a large dosage of The Cars or Devo and perhaps many eras of Rush melted together and you’re somewhat near their sound.

It could also be a Judas Priest mid 80s album made by aliens who actually had no idea what to do and were told to add keyboards and David Bowie influences by an elder brain on antidepressant pills.

From another sea
In another symphony
It's all the same eternity
On another night
Underneath an endless sky
Until we meet the ghost of time

In a sense, it really is a mix of Black and Lehtisalo. Black is as intense and catchy as he is on High Spirits but sings about weirder shit. I’ve heard people call him an acquired taste and I guess I can hear why but I always liked his nonchalant but charismatic delivery. He’s combined with the weird riffs of Lehtisalo, the Finn veteran has a wide arsenal at his disposal and I liked how he alternates between super heavy metal riffs and some approachable rock ones. The compositions are often pretty fast (like opener “Bad Mirror”) and even when they’re mid-paced, they’re dynamic and full sounding. After some numerous spins, I’ve noticed how good the bass is on this record (check “Get Me Outta Here”), it’s not too loud and is in the background often but it highlights the grooves found on Placebo very well. I'd say the fight between the raw guitars and the spacey synths is the real highlight of the record though.

Aktor aren’t for everyone as it’s something I’ll dare call experimental heavy metal but I’ve been exploring Jussi Lehtisalo’s bizarre metal offerings for close to a decade now and it always speaks to me. I hope it could speak to y’all too.

Kybalion - Poisoned Ash (2020)

Primal Australian Pummeling 

The first release by Kybalion, a one man band created by the only man I know in Western Australia is a strong slab of pummeling metal with a diverse but fully integrated source of influences. Knowing what Caspian Yurisich, a father of two from Bunbury, likes, I wasn’t really surprised to see what he did here but I wasn’t expecting it to be that heavy. Caspian is known for his love for drone but he’s a peculiar dude into a lot of things.

Poisoned Ash is a four songs EP mixing the slow hard hitting riffs of doom/death with the hypnotic feel of drone/doom and it’s impressive in its minimalism. It’s stripped down heavy doom to its roots, a big machine made to crush you but also make you feel things deep inside. The drums are programmed and I never really had a problem with that unlike some purists, they sound good and add a cold, almost mechanical feel to the project. It’s a dichotomy when compared to the warm bass and the expressive riffs. Yurisich doesn’t really use lead guitars and there’s, frankly, no need to have any solos whatsoever here. The last track, the nine minutes epic “Absinthe Tide” uses melodica to conclude the album to great effects instead, it’s peculiar and original. That song also includes some melancholic or atmospheric doom elements that wouldn’t be out of place on a My Dying Bride album. “Background Man” also has a really noise/drone conclusion and it fits the manically repetitive riff well. It alternates between fast paced and crushingly slow but it’s always cohesive and well written.

Yurisich’s vocals aren’t really good but he was smart enough to throw them to the background, they sound like they’re in a really hot cave down in the deserted, savage lands of western Australia where the only thing close to being alive you can find is a snoring koala high on eucalyptus leaves (I know that’s not true but please don’t ruin my jokes for me.) His vocals are far away harsh chanting, not too dissimilar from the heaviest stoner/doom bands around in terms of intonation. Not super competent but they’re not something detrimental to my enjoyment of the album, quite the opposite. They add to the primeval or primal atmosphere of the project.

All in all, Kybalion is a breath of fresh air as far as doom/death is concerned. I can’t really think of a band that sounds like them to be honest and that’s a good thing for 2020. Take Jesu and maybe Earth, throw some primitive caveman riffs that are dumbed down purposely and you almost get their sound. Recommended for adventurous doomed explorers.

Bandcamp