Wytch Hazel – III: Pentecost / 95%

 

Humble and heavy

Wytch Hazel from Lancaster, England makes me want to start going to church for one of the first time since christmas 1995. I argued that I wanted to stay home to build the Lego pirate ship I got but my grand-mother insisted. I only did my catholic confirmation because it was expected of me and I got a shitload of Star Wars episode I toys but damn, those boys almost make me wish I still had faith. I’ve never liked preachy religious metal and mostly stayed away from anything Christian metal related but there’s something special with Wytch Hazel. I also rarely like happy stuff so that’s like two strikes against them already. Turns out they’re one of the best bands in the world right now.

I’ve been a big fan since their second album, the aptly titled II: Sojourn, an album I’d easily place in my top twenty of the last decade. It’s just astounding that their third album is at least just as good. They succeed at continuing their signature sound but with a few tweaks that makes this album a pure banger. Their blend of NWOBHM inspired heavy metal, heartfelt English folk rock, hard rock and pop is just so catchy and memorable, it hurts. They’re able to put Jethro Tull, Deep Purple, UFO, Fairport Convention and Judas Priest in the same meatpie and make it taste wonderfully by adding their own spices. Maybe they found the dried remains of Jesus and they’ve been sniffing that since 2011? Their main strength is how they’re so good at grabbing you while never letting you go, their songs are almost aggressive in the way they reel you in and writing such efficient earworms isn’t easy. One of the complaints people had concerning Sojourn was that the album had too many ballads (I didn’t mind much) but it’s not the same here. The album is tight and flows nicely and only has “The Crown” with its beautiful acoustic guitars as its true ballad. With that said, there's soft, romantic moments scattered throughout the album such as on “Reap the Harvest” with its “death is comiiiiiing” (appropriate for our current plague) chorus or the instrumental beauty of the interlude “Sonata”. It’s a forty-ish minutes album but it’s one you’ll replay until you sing their simple but potent lyrics all day long.

Pentecost also showcases their best and heaviest production to date. The guitars are heavier than on their sophomore too, they increased the heavy metalness in their sound to great results. There’s some dope solos like on “Spirit and Fire”. It’s played big, it’s entertaining and just fiery. Colin Hendra has a distinctive voice and he’s not pushing it too much, it’s quintessential English and there’s not a bad vocal line on the whole album. Wytch Hazel are great musicians who could easily overplay and enter progressive territories but they keep things subtle but grandiose, that’s probably their biggest strength. They have the ability to restrain themselves while at the same time going all out. Still, it was nice to hear some mellotrons here and there (“I Am Redeemed”), it gave the band a fuller sound.

A song like “I Will Not” (perhaps my favourite on the album) is immediate and outstanding while the album wastes no time and gives us the riffs right when “He is the Fight” starts. The band gives us a few moments to breathe but ultimately, it’s a full experience without any faults and failures.

Even if I’ve always been somewhat uncomfortable with their Christian themes, they use them with such panache that I now have no problems with the band. I think it helps that it’s rooted in medieval themes, it feels antiquated in a good way and doesn’t remind me of the woes religions caused and are causing today. It’s an album full of feelsy melodies and it’s great for the time we’re in right now. It’s humble, hardworkin’ and just plain excellent.

Bandcamp

Local Sounds: Volume 6.0

To celebrate the end of my spring break, here's two reviews of  some very interesting local bands and one observation about a young Québec rock classic.

Le Winston Band – Rembobine (2015)

Discovered once again with the help of the guys of Poulet Neige, this sextet plays an explosive form of folkloric music with a fun and interesting modern vibe. Inspired by Quebec trad music, there's also a strong Cajun side to 'em and it almost makes you regret the fact that Louisiana is American now. Armed with violins, accordion, Zydeco, lap and pedal steel, the band also incorporates the traditional rock instruments like the electric guitars and bass to insert a fresh breeze. Despite the young age of the members, authenticity is important for them and they totally achieved their goal. The vocals are nasally and recalls the 60s Quebec country legends that my grand father always liked.

Great album for those who think folk music is a dead genre, not trying to make their sound more accessible like Les Cowboys Fringants did. Le Winston Band are like an reinvented, version of the old Québec/French Canadian folk television show Soirée Canadienne and it's worth your time if you like the genre.

Bandcamp/PWYC

Vapeur – L'effort (2016)

A new project formed by 4 young musicians from Montréal, they share 3 members with Le Winston Band including Andrew Duquette-Boyte (guitar, vocals here, also in metal band Tribunal that I've reviewed some years ago) but it's a completely different beast. It's francophone rock with a strong emphasis on fast paced guitar riffs giving a dance rock feel to the songs. It reminds me of the early garage rock revival instigated by The Strokes or the dance indie of Franz Ferdinand. The 3 songs are well produced, the guitars are incisive and lovely as well, there's an urgency to their music and the flexible and airy production is really adequate. While the music is pretty damn good, the lyrics of Andrew were the clear highlights for me, they're intelligent without being pretentious.

À la vitesse sonore la vérité gravite autour . Tel un cercle de vautours vantera l'oreille d'un sourd 

It's international (in the best way possible) high caliber rock but there's still an interesting late 80s, early 90s Québec rock influence. A promising first offering from Vapeur, I hope that they'll play live soon!

Bandcamp/PWYC

Malajube – Trompe l'oeil (2006)

10 years anniversary observation

In my eyes and the eyes of many, this album is one of the most important Quebec rock records of recent times. I was 16 years old when it was released and it was an essential component of my musical diet back in the day and I've been revisiting it recently to celebrate its 10 years anniversary and it hasn't aged a day and I doubt it will ever become outdated. Anyhow, it made me realize how fast time flies, I still remember playing it to my dad in the car when I got the CD, it was a bit too insane for him!

The variety of Malajube's sophomore album (after the excellent Le compte complet released 2 years prior to this one) is astounding. From metallic rock like “Le crabe” to the poppy hit of “Montréal -40 C” with its glorious synths and the guest vocals of Pierre Lapointe, the ethereal and dramatic “Étienne d'août” or the contribution of local hip hop heroes Loco Locass on “La russe”, they do almost everything and they do it extremely well.

The vocals of Julien Mineau always made sure that the band never really became totally mainstream, like their lyrics (all about illnesses and the likes), they're peculiar and the fact that they're often buried under the instruments managed to get non-francophone medias interested in the bands despite the language barrier (Pitchfork wrote a positive review for the album as an example).

Malajube are now sadly split up or inactive, their 2 albums after Trompe l'oeil were good but they never managed to reach the same level of quality and groundbreaking emotional experimentation they did here. Mineau has a new more symphonic project called Fontarabie and they're also worth checking out.

Just like Karkwa's Les tremblements s'immobilisent, this album was highly influential on the Québec music scene and will be for years to come.

Northwinds/Marble Chariot Split 10 inches (2015) / 85%

The Baguette Doom Series pt. XIV: 10 inches of doom

For this edition of the Baguette series, I have an interesting split to tackle. The 10” features two of the previously reviewed bands of this series, on one side we have the newcomers of Marble Chariot and on the other, we have the veterans of Northwinds. The two French artists both evolve in the traditional doom metal genres but there's still some differences to be found in their respective approaches.

Side A – Northwinds – Witchcoven

Wizards in black, with dark wings on their back

Witchcoven, mortals are living in fear

The Parisian quartet's song is a strong slab of folky doom. The eight minutes number starts with a soft flute intro with a lovely acoustic guitar and the soft vocals of drummer Sylvain Auvé. I think his voice, while heavily accented in English, was always a good fit for the band as it can adapt to both the softer or the heavier side of their music. After the calm introduction, the wind starts blowing and this music is intertwined with crows singing their prayers, you can feel the metal approaching and the riffs are starting to appear. Northwinds are masters (of Magic? Read my review for their 2001 album here) at combining progressive rock, folk à la Jethro Tull and old school doom metal and this song is no exception. It rocks hard but still has many prog elements like this ethereal piano. The song ends with a blistering classic metal solo and some synths demonstrating that they once again offered a varied trip with the length of one song.

Side B: Marble Chariot – Darkness Descends

There's nothing else but shattered dreams

Imploring eyes questioning me

Sharing its name with the seminal classic of Dark Angel, this track from the trio of Bordeaux improves the sound found on their first extended play (and sole release before this split). They play a totally sad and crushing version of trad doom mostly inspired by the slow, bass heavy formula of Reverend Bizarre (one of the main influences in trad doom these days and that's fine with me). Sébastien Fanton's vocals are stronger and possess a clearer sense of operatic might than before, he simply got better in my opinion. There's also some harsh background vocals included here and it gives a somewhat darker tone to the track. Another thing the band improved is their pacing issues, “The Burden is So Heavy” had two ten plus minutes and they were dragging a little too much and had some uninteresting parts, “Darkness Descends” is a long song but the riffs, the solos and everything else are all better. Their doom is honest, well written and despite the simplistic nature of their identity, it's subtle and rewarding. I think this is proving that the band is ready to finally unleash a full length album. They have the adequate production, the huge bass tone and the miserable lyrics, come on guys, I'm waiting!

I'm a bit sad both songs are in English but doom tries to unleash its despair to every living souls on Earth and the tongue of Shakespeare is the way to go. Nevertheless, it would had been fun to hear more French doom in French, you know. Outside of this linguistic matter, it's a strong split with two very good tracks. They fit very well together even though Northwinds is usually much more serene and almost joyful at times while their companion here are totally about loving misery and despair. This split is showcasing a band at the peak of their art with Northwinds and one that's becoming pretty damn good at theirs with Marble Chariot.

Thanks to Marble Chariot for the vinyl.

Buy it here

Valknacht - Le Sacrifice d'Ymir (2014) / 50%

Le sacrifice de l'originalité

The third album from these Quebecois explore a sort of highly melodic black metal and the quintet has all the right elements in place to tour all over America with Finntroll or Eluveitie but not much to distinguish themselves in the modern, saccharine extreme metal world.

The eight songs album is cluttered with overlong numbers like the title track or “Bataille de Maldon”, they're well written, very well produced but nonetheless they're pretty damn boring to me. Even if they're like ten minutes, it doesn't have this epic feel, it simply seems to be prolonged compositions that don't need to be that long unlike atmospheric masters like Moonsorrow. There's so many stuff in every songs that it feels bloated, they were trying to be so epic by incorporating so many riffs, leads and symphonic/folk/pagan elements that they just overcooked the meat and potatoes.

I simply can't stand that sort of overbearing keyboard presence in metal, it feels synthetic and often serves as a way to hide your bad songwriting skills, not that Valknacht are that bad, they're nowhere near the uber mediocrity of Fleshgod Apocalypse since they do have riffs, not very good one admittedly but they go somewhere. The band as its core is still pretty much a black metal one but for whatever reasons, they felt the need to include this symphonic shell around them and I think that's awful.

The folk elements like the flutes have this forced feeling, it's not natural and it made me aware of something I'll call cultural appropriation. The Quebec scene is known for its distinct identity, be it the traditional folk elements of Brume d'Automne or Forteresse or the snowy atmosphere of Neige et Noirceur. These bands have a clear originality maybe often due to their patriotic political agenda.

Being apolitical is no reason for not trying to find your path though. Valknacht is a poor man Nokturnal Mortum (The Voice of Steel era) or Equilibrium, they lack subtlety, cohesion and they just do... too much. They have neither the talent and intricate darkness of Csjethe or the honest folk melodic black of Hiverna who can totally compose interesting songs mixing folkloric violin and black metal. Le Sacrifice d'Ymir even if it's in French (a non issue here) is based entirely on European concepts, mainly Norse mythology of course and while these themes are usually interesting, it's clearly a choice I'm not that comfortable with. It's like putting a bunch of metal friendly lyrical themes in a hat and choosing one randomly, maybe the next album will be about Egypt or Chinese folklore! This sort of cultural appropriation can be done gracefully but it's always sort of icky for me, there's this fear of being labelled a nationalist if you write about your own heritage and that's kind of bullshit. Let the innumerable Norwegian and Swedish bands sing about their history, they do it well.

That's just me, maybe I'm simply bickering because I think their music simply blows and they should cut some unnecessary stuff from it. The black metal core is decent, albeit generic, it's just the chocolate surrounding that doesn't appeal to me. But if you like manure on your extreme metal like Wintersun's Time I, be sure to check this band. Even the Kris Verwimp cover art is uninspired! Most of the black metal bands from Québec are interesting, this one simply isn't.

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Northwinds - Masters of Magic (2001) | 89%

Baguette doom series part II : Le Vent de Paris

 

One of the earliest doom metal bands from France, Northwinds is one of the hidden jewels waiting to be discovered by the metal universe. Known by the aficionados of the genre, they deserve more recognition from a wider audience and I think it's only a matter of time since they play (and always have) something quite trendy these days. They indeed play some kind of doom intertwined with 70s dark hard rock, some psychedelia and even folk music.

Formed in the late 1980s, the band remained a demo band for more than 10 years until the release of their excellent debut “Great God Pan” and their sophomore “Masters of Magic” was released in 2001. It's perhaps my favorite of their discography and that's why I decided to review it. Compared to their 3 other albums (they're not a very productive band unfortunately), it doesn't have cover songs in it. While I appreciate the nod to the influences here and there, having 2 on the same album like on their latest “Winter” is hardly justified. It's okay when it's a bonus track but eh, I want to hear some original music, not a Saint Vitus cover even though half of “Clear Windowpane” was in French. But that's on another album and I'm complaining for nothing, this album is original goodness from the first second to the last!

One noticeable thing is the fact both the introduction and the conclusion to the album were composed and played by Steve Sylvester, the front man of Italian cult band Death SS. They're short atmospheric ethereal numbers full of organs and mesmerizing whispered vocals. It was quality bread for an awesome and consistent sandwich. It can take a while to eat though, it's slow and magical (hehehe, yeah...). The songs are all pretty lengthy but the epic track “Entre chien et loup” is the peak with its 15 minutes. I really really like when the band sings in French, it's very special and I think the whole album should had been in Molière's beautiful language. There's also the romantic track about the Arthurian legends “Broceliande”, the name of the mythical forest in the stories of Merlin and company.

The band has Sabbathy doom parts with thick bass licks and rich heavy riffs recalling the pristine early releases of the Englishmen but they're far from being a conservative doom band like many others, not that I think there's anything wrong in keeping it traditional something made obvious by many of my reviews. Northwinds is indeed including a large amount of classic progressive rock and folk rock influences. In the utmost old school tradition too, nothing of this neo prog style with 30 minutes rude keytar solos. There's the aerial feel of Pink Floyd and the medieval romanticism of Jethro Tull thrown for good measure. Not the heaviest representative of the French doom scene but certainly one of the more interesting.

If slow proggy doom numbers is your thing, Northwinds' sophomore will be a treat for you, if you prefer your doom hard rockin' and with a beer smell, check out Children of Doom (to be reviewed!), there's everything you need in the French Doom scene, mon frère!

Northwinds on Facebook 

Àrsaidh – Roots (2013) | 93%

William Wallace would be proud.

"Evoking ancestral wisdom, I stand hypnotised"
The man behind Askival, after a short inclusion in Alcest wannabees Falloch, came back to his roots (pun intended) with this album. My expectations were high when I learned that Andy Marshall had a new project and it wasn't post rock/shoegaze. When I saw the gorgeous cover art decorated by the logo full of trees, I was hoping for the best and boy, I wasn't disappointed. The scenery on the album art is, well you can see it, but the snowy peaks and the dark sky reminds me of both the remote places in Scotland and a surreal, almost martian setting. Painting an accurate portrait of the sound, the art reflects the sadness found in the music. Expect great things because Roots is an amazing record and the best thing the atmospheric folk/black genre has to offer in 2013.

The album, a 50 minutes journey to Scotland's countryside, is composed of 3 very lengthy numbers and a short 2 minutes interlude. The long songs are giving the musician the time to let grow the trees he threw seeds for. There's gorgeous and expanded atmospheric parts with folkloric instruments that can really live on their own without the need for a lot of vocals. Indeed, the focal point of Àrsaidh is the flow of the music, the sixteen, thirteen and seventeen minutes songs are long and soothing rivers that you cross on the raft you found on a riverbank. You definitely have the required time to admire the River Tweed without having to fear the mouth of the wild North Sea. Hell, the first title track has no vocals for the first 6 minutes and it doesn't freaking matter with Àrsaidh. Maybe for the more impatient people, the task will be arduous but the whole release is truly rewarding when you take the time to enjoy the album. It works as background music too (I like to study with music and I'll be able to with this project) and it's never boring. The amount of craft in the songwriting is without a doubt the highlight of Roots and for a solo band that's definitely impressing.

Roots, while having a copious amount of atmospheric tendencies and even a post rock baggage, really has a worthy amount of black metal influences. Probably not enough for the pure warriors resting in their Norwegian fjords though. But for someone such as myself who enjoys bands like Winterfylleth or Agalloch, I can enjoy a varied album like Roots without any corpse paint issues. The atmospheric/post is to me, the cement which holds this album together, it gives a much needed bond between the folk instruments and the metal elements. I rarely heard such a talented blend of sounds, it's subtle and done tastefully while never crossing the Cheese Kingdom. That's certainly good for Scottish metal, I'm sure they prefer to be represented by Àrsaidh than these silly pirates in Alestorm. There's a lot of bagpipes, acoustic guitars, violin and keyboards but it's all so cohesive and integrated in a well thought formula that even if you're not fond of folk metal, you'll have no problem with the album.

Although I think there's a shortage of riffs to be found, it doesn't mean that it's not enjoyable. The music is slow and mournful and are relying on repetition to move the listeners and it works very well. There's melodic simple leads such as the one in Roots and it gives a grand epic feel to the music evoking at times the atmosphere you can find in a band like Summoning. The vocals are pretty damn good too, there's no full on clean eruptions and they're not that present but when they are, it's awesome. Andy is using an harsh throaty voice and it fits the post metal side of the band because it's somewhat near the way atmospheric sludge bands are singing. There's some clean chanting such as the start of the second track Carved in Stone, one of my complaints is that I wanted more of these epic vocals as I'm an huge sucker for these and Primordial fan but it's still a mild criticism. It doesn't detained my enjoyment as it's really an amazing album and it's establishing Andy Marshall as the de facto king of Scottish metal or at least I would support him as I would also support the national referendum in Scotland in 2014. 

Talking of Scotland's national question, the lyrical approach of Àrsaidh is similar to the one of many English bands, it's mainly about the Celtic cultural heritage and it's written in a sorrowful way. Taking inspiration from classic poetry, the lyrics are subtle and reflects the dramatic history of this northern region of the United Kingdom. Furthermore, I can notice the similarity between Québec and the sake of Scotland. Both in the black metal's lyrical research and the history of assimilation, conquest and divide. And this only adds to my appreciation of Roots. While I'm transported into a land of mountain and rivers, I feel my feeling of belonging to the universe increased. While I'm not quite a nationalist for the sake of it and I'm often divided between the archaic concept of nation and human rights and freedom, I like this approach and I know where he's going with it.

"We are sorrow's children /Torn from Alba's womb /A reflection of fallen martyrs The lifeblood of this land "

A superb production is decorating the long and excellent dirges. Àrsaidh is a good (well, no excellent) compromise in the atmospheric black metal scene. It's more epic than Fen, more folky than Winterfylleth and better, less cheesy than Wodensthrone. If you're looking for a fast paced album full of catchy anthems, look elsewhere. This album is pure sorrow and it's a perfect mastery of a folky yet dark atmosphere. One of the jewels of 2013, that's for sure.


Like Àrsaidh on Facebook
Listen to the title track
Buy the album on Bandcamp

Review: Leeches of Lore - Frenzy, Ecstasy: Oh my! Spaghetti with meatballs! Eat that, cowboy! - 98%

Imagine for a moment we do find something interesting on Mars, hopefully it would be proof of the existence of life, maybe a settlement? Let's enter this hypothetical city, let's walk in the midst of its red sand streets, what do you see? A cantina? YES, let's have a drink shall we? The cantina is dark but inviting, Ennio Morricone is drinking a glass of Italian red wine at the bar, he's talking to a trashy cowboy with an accoustic guitar strapped to his back, the later seems pretty drunk and inclined to a fist fight, you ignore them and continue. In the pale light of the bar, a long hair stoner is playing a game of pool with a more clean cut metalhead, it's a rough game but at the same time, it's cohesive. The psychedelic scent coming from the stoner is making you dizzy, you don't know exactly why you like this place, but it's captivating, you try to move, but someone is grasping your leg, instinctively, you kick the danger in the face only to see that it was a dead drunk thrasher, he's now bleeding on the floor and the remaining people in the bar are looking at you suspiciously, you actually missed the show, damn you. Suddenly, there's a scream coming from the bathrooms, along with the metalheads, you investigate the scene. « Ah, it's simply our zombie, Jon Lord, he scared the waitress again, no worries» says the stoner. The stage is freshly empty, the air smells like tobacco and tequila mixed with German sausages, you're suddenly very confused and you decide to go outside to get some air. Unfortunately, the warm sun of mars is making you sweaty and sick, you fall on the sand, subjugated, but happy, you close your eyes.You hear that the Martian cowboys are fighting, lasers are burning on the walls, is it the siege of Cydonia ? You'll never know. You wake up in your bed, your headphones are on the floor but your jaw is surprisingly in place, but there's a sparkle in your eyes.

That's the emotions and thoughts I got when I first heard this album, and no, I'm not taking drugs, not often anyway. I simply don't have the words to describe this masterpiece, I think they simply don't exist yet. Maybe the rover Curiosity will find them for me because this band is totally out of this world. Let's come back to our planet, let's pretend the dudes from Leeches of Lore are still living in their native New Mexico and hanging out in a similar bar. Frenzy, Ecstasy is the third album from this very strange, original and powered by kryptonite trio. If you took the time to read my short story ahead, you got an approximative understanding of this band. With influences ranging from country, flamenco, spaghetti western, noise, indie, experimental, avant garde, progressive and psychedelic, well name a genre, it's probably there. All this within a solid core of speed/thrash/heavy metal. Leeches of Lore are the most original and ground breaking unit I ever heard. Encompassing so many things I like without randomness and confusedness, it's a very well balanced record and at only 37 minutes, you have no time to get tipsy, you barely have the time to understand everything, you need a second, a third, a fourth listens, and you'll still oblivious to the intricate songwriting. The name of the first song sets the bar quite high for some funny silliness, it's named "Afghanistan Banana Stand", but let's not decline the invitation, this is not a humoristic band, this is a modern version of Rush if they got lost in the Mexican desert, met the guys of Sleep, smoked weed for a couple of years while watching old westerns on a black and white television. All this on a porch full of dwelling geckos. 

The band consists of 3 extremely talented musicians, Steve Hammond handling the vocals & guitars, Andy Lutz on the drums and Noah Wulters playing the organ, bass and piano. Three musicians in a perfect chemistry, creating a penetrating sonic orgasm which is grasping your living heart in its invisible allure. The keyboards, just like 80s Rush, are quite prevalent in their sound, but it's not modern sympho pseudo snoozefest metal, they are played on old school rhodes piano, hence you should expect a very natural sound, just listen to the parts on "Reverse, Cowgirl". It's dense, captivating and it has the shadow of 70s progressive rock to look upon. After this cool song, we have a slow dirge full of Morricone influences, the trumpets are blazing their glorious despair upon us, mere listeners. These influences can be found in the best and longest track on the album, the second song "L'evoluzione dei Microbi", an eight minutes magnum opus of incredible variety. The begining is quite slow, it's an emotional reminder of a Leone movie. It's slowly building a crescendo culminating with some epic doomy metallic riffs, fast paced drums and soaring clean vocals and it ends with an experimental and noisy conclusion. Quite a ride, it's a good summary of the album in fact. 

There's also some real thrashy moments, like "Savory Marshmallow" with cool high harsh vocals, heavy riffs and epic vocal lines. But overall, what's dominating this album is the country and spaghetti western influence mixed with their already awesome metal sound, hell, the trumpets are credited to Pancho and Nefty, an obvious reference to the classic song "Pancho & Lefty" of Townes Van Zandt, a folk and country legend. Really, I don't think I heard a similar band, they're doing what they want with no contraints , being an independant band is probably a plus for them. Unfortunately, they're going on a hiatus, one of the member is going to Mexico for a while, I can't hardly see how they can be more influenced by this culture than on this record witout losing the other metallic and rock influences, but we'll see. I'll wait patiently for a new release and my expectations are quite high after this masterpiece.

I don't think I can continue praising this album, like their 2 previous releases, Attack the Future and Leeches of Lore, it's really strange but mesmering music with a knack for visual odysseys. Their album art is a good proof of this, take a look at the very poetic cover of Frenzy, Ecstasy , it's not capturing the sound like the two previous albums though (their second album could easily be a NES game artwork), but it's describing a very beatiful content with many surprises. This band like Voivod is for a vivid generation of weird listeners, there's no boundaries to their music.

The spaghetti is metal, already full of butter, add these tasty Italian meatball sauce, this western seasoning and let it melt in your mouth. This is Leeches of Lore, welcome to Mars, enjoy your stay. Soak your face in their magical tomato sauce and ride your horse till there's no more bad thoughts in your mind..



Tony's notes : the mp3 album is available for 6 bucks on their bandcamp. Help them buy some more spaghetti sauce.


http://leechesoflore.bandcamp.com/