ALBUM REVIEW: Memoriam, "Rise To Power"

By: Richard Maw
 
Album Type: Full Length
Date Released: 3/2/2023
Label: Reaper Entertainment

 
“Rise to Power” CD//DD//LP track listing:
 
1. Never Forget, Never Again (6 Million Dead)
2. Total War
3. I Am the Enemy
4. The Conflict is Within
5. Annihilation’s Dawn
6. All is Lost
7. Rise to Power
8. This Pain
 
The Review:

Memoriam return to further cement their status as a British death metal institution. The band’s work rate is very impressive. “For The Fallen” still seems like a recent album for me, but it is now several releases ago- and dropped in 2017!
 
So, eight tracks all around the five minute or so mark. This is heavy, slow in places, no blasts, plenty of grooves…. Well, you know what to expect really- it’s not Bolt Thrower but it is of the same bloodline. That’s probably the best way I can explain this. What I can say is that it is slower and more melancholy than the first three albums.
 
There is an almost gothic sensibility to some of the sounds here- “I am The Enemy” being a fine case in point. In fact, I might even go as far as to say that a lot here is perhaps even death doom! A long forgotten genre, hardly mentioned anymore; but loved by many of a certain age. Check out “The Conflict Is Within” for some deathly and doomy splendour.
 
When the band put the kick pedals to the metal, as they do on “Annihilations Dawn”, it has a great effect. It’s neck snapping stuff, in the vein of, well, you know who. “All Is Lost” is slower but equally heavy with some nice syncopated ride work to complement the off kilter riffing. As the album progresses through the title track, it settles into a pattern- fairly maudlin riffs and leads, melancholy and doomy vibes, combined with the bursts of bullish firepower.
 
The album delivers one epic in This Pain and it features some acoustic work to start and then kicks off. While this is slower and more doomy than the previous albums, this is still recognisably Memoriam and recognisably of the members’ alma maters. Overall, it’s another solid and battle-hardened record and another credible entry into the band’s canon (cannon?!). Cool artwork, too. If you wanted to check the band out, start here. If you are a long-time follower, you won’t be disappointed. Business as usual, then!

“Rise To Power” is available HERE

 

Band info: official || facebook

REVIEW: Born A Ghost, "“Stairway To An Empty Room” [EP]

By: Richard Maw
 
Album Type: EP
Date Released: 02/01/2023
Label: Independent

 
“Stairway To An Empty Room” DD track listing:
 
1). 43
2). Halls of Disrepair
3). Stairway To An Empty Room
4). When The Last Light Fades
 
The Review:
 
Twenty minutes of death doom with some post metal thrown in. That’s what you get here. But you also get more; there are synths (I assume?) and droning guitars. These guys are out of Tacoma, Washington and sound very bleak indeed. Their bio lists Cult of Luna and Neurosis as reference points, but I can certainly here some early Paradise Lost in here too- at least in terms of the bleakness and the kind of slow dm vibe.
 
This is, it almost goes without saying, very heavy stuff. Opener “43” is dynamic and dark- impossibly so, at times. “Halls of Disrepair” is just as weighty. The band have captured a pretty cool sound- a fair amount of dynamic twists and turns and layering of guitars. The experimental soundscape vibe is certainly Neurosis-esque and most welcome.
 
This EP rounds out with the title track and “As The Last Light Fades”. Again, both are in keeping with the blueprint established in the first half. This EP is weighty, full of despair and very, very good. If you like any of the bands mentioned here, definitely check this out.
 
“Stairway To An Empty Room” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Yarrow, "We Made What God Could Not"

By: Josh McIntyre

Album Type: Full Length

Date Released: 01/05/2020

Label: Independent

“We Made What God Could Not” CS//DD track listing:

1). 活け造り

2). Old Shadows

3). In Shade, I Expire

4). Oceans of Rot

The Review:

Doom metal in general is a tricky subgenre to play in. It takes real talent and taste to keep it interesting, especially when tracks reach the ten minute mark. Yarrow, with their second full length, have proven themselves one of the better bands at it. The Bay Area band has an excellent sense of how to make their songs flow, even when they feature the same riff idea stretched out. They know how to layer parts on top and beneath each other so that instead of stagnation we feel more like riders on a river at the mercy of the water’s course.

We can call this death-doom though it is a bit sludgier than most (death-sludge?). The tone overall is just utterly bleak. In fact this is one of the most miserable sounding albums I’ve heard in 2020 so far. Everything sounds HUGE and the guitars just bleed filth. The addition of keys and swirling noise in certain sections is especially spectacular in adding to the atmosphere. There’s even an acoustic guitar that breaks through over distorted doom, reminding me of Corrupted’s later material. Beyond that, all three members take turns on vocal duties giving us multiple voices full of agony. Whereas other bands hop along genre lines to keep interest, Yarrow more or less stays within the same musical plane while doing all they can to move the parts around. 

Yes, Yarrow also dives into more uptempo death metal sections as is typical for death-doom but they do it much more tastefully than most. The songs still make sense as they transition instead of sounding like they just copy/pasted an OSDM riff into a slow song. Besides being suffocating, these riffs are just killer and far from generic. 

This is without a doubt a must listen to fans of the slow and heavy, especially if they like a bit of misery. Yarrow comes across as a mix of traditional death-doom like Disembowelment with sludgier bands like Body Void and Monarch. Tonally, I don’t think this album could have sounded anymore perfect for what it wants to achieve. It’s seriously perfect, mix and everything. It is a huge improvement over their debut, which already made me a fan when I discovered them last year. This might end up being one of my favorite heavy albums of the year, so far a little known gem that deserves every bit of attention that it receives. 

“We Made What God Could Not” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Paradise Lost, "Obsidian"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 15/05/2020

Label: Nuclear Blast

“Obsidian” CD//DD//LP track listing:

01. "Darker Thoughts"
02. "Fall From Grace"
03. "Ghosts"
04. "The Devil Embraced"
05. "Forsaken"
06. "Serenity"
07. "Ending Days"
08. "Hope Dies Young"
09. "Ravenghast"

The Review:

Death/Doom is a genre that at times, can feel contrived; leaning too heavily towards either side of its genre spectrum, sacrificing nuance that gives it an identity. Amidst the mediocrity however, one band has constantly set the standard for craftsmanship, and that band, is Paradise Lost. Often emulated, but never duplicated, Paradise Lost has cemented themselves as one of the most iconic bands of the extreme metal subgenre. Blending depressive and melancholic themes, with crashing furry, every album is a roller coaster of emotion, evoking chills without compromising the epicness of even their most brutal peers.

Recognized as one of the mythical Peaceville Three, Paradise Lost formed in 1988 before signing with Peaceville Records, alongside juggernauts My Dying Bride and Anathema. Credited with inspiring bands from Amorphis, to HIM, and Cradle of Filth, their influence reaches far past the confines of a singular music subgenre, and instead has left its impact on anyone who has been fortunate enough to experience it. Gothic and disparaging in their sensibilities, Paradise Lost are as influential now as ever, and “Obsidian” expands their scope to a much wider audience.

Yes, it’s still heavy, and yes, it still features the primal growl of front man Nick Holmes, but where in the past there might’ve been moments of crunchy riffs, they have chosen to fill the space with sweeping guitar solos, more clean singing, and heavy, pulse racing hooks, accented with a ringing and mournful key track. As veterans of their craft, Paradise Lost are no longer discovering themselves, but are instead working to expertly execute their art with focused precision. It makes sense, as the band has had one of the most stable line-ups in amidst long standing bands, featuring vocalist Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, and bassist Steve Edmondson, the band has only ever changed drummers on a few occasions. 

Stand out tracks “Darker Thoughts” and “Ending Days” showcase the band’s Goth Metal tendencies. Opening with industrial style instrumentals or acoustics respectively, the macabre spirit of their content is put on display, painting a depressive vision with sound. There is such a diverse approach to composition throughout the album, one could easily spend an entire blog post waxing poetic over the sheer artistry, but that would be a disservice to the sonic experience. This is an album that will easily find a place amongst most year end list, and deservedly so.

Whether you are familiar with Paradise Lost or not (how could you not be?), “Obsidian” is a metal release worthy of the accolades it is sure to receive. It can be enjoyed by fans of various genres of metal, and still be appreciated for its technical execution, and heaviness. More importantly, this album is more Paradise Lost, and who wouldn’t want that!? Expect people to talk about “Obsidian” for months to come, as their influence spreads further, with a dark and beautiful opus.

“Obsidian” is available HERE

Band info: facebook

ALBUM REVIEW: On Thorns I Lay, "Threnos"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 21/02/2020

Label: Lifeforce Records

“Threnos” CD//DD//LP track listing:

1). The Song of Sirens

2). Ouranio Deos

3). Cosmic Silence

4). Erynies

5). Misos

6). Threnos

7). Odysseia

The Review:

Self-proclaimed "Pure Depressive Metal" pioneers On Thorns I Lay return once again, following up 2018's "Aegean Sorrow" with their latest album, "Threnos".

Their ninth studio release features a familiar blend of flourishing string instrumentals, coral vocals, and piano interludes. On Thorns I Lay continues their journey of experimentation and introspection, refining techniques they've evolved since their inception in 1992.

Like many of the band's peers who influenced their style, On Thorns I Lay have undergone stylist changes, diversifying the original sound found on their debut album "Sound of Beautiful Experience" in 1995. Following a similar pattern of growth, On Thorns I Lay evolved with the genre; transitioning through extreme metal subgenres like Death/Doom, Melodic Death Metal, and even Blackened Doom Metal, bringing it all forward into their latest projects.

While Veterans of the industry, many listeners are only now discovering this band, and it's due in part to the sheer quality of their last few releases; "Threnos" is no exception. Reminiscent of the Peaceville Three, there is a diverse canvas of sound present in their music, adding a Hard Rock Goth approach to their brand of Metal, while sowing a thread of melodic sensibilities throughout each track. More importantly, their musicianship continues to improve, offering not only a high-quality production, but intuitive composition as well.

Riffage on the song "Misos" brings the hard rock element into the spotlight with catchy rhythms and hooks; a refreshing nuance in what is generally a very droning genre. Title track "Thenos" on the other hand, portrays a more Death Metal sensibility, focusing on throaty growls and pounding rhythm sections, that give way to the melodic nature seen throughout other songs on the album. Even though it starts off strong, it's the latter part of the release that really shines. Each track is tailored to create a sensation of grandeur, sweeping the listener away in the turbulent roil, before it crashes into the finale of weeping guitar solos, and acoustic interludes of "Oddysseia". 

On Thorns I Lay have an extensive history, but thankfully, now is absolutely the best time to get familiar with their works. "Aegean Sorrow" found itself on many Year End Lists in 2018, and with this being the most refined their music has been yet, it isn't a far stretch to think "Threnos" may see similar success. Pick-up "Threnos" on Lifeforce Records today.

“Threnos” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: My Dying Bride, "The Ghost of Orion"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 06/03/202

Label: Nuclear Blast

“The Ghost of Orion” CD//DD//LP track listing:

1. Your Broken Shore
2. To Outlive The Gods
3. Tired of Tears
4. The Solace
5. The Long Black Land
6. The Ghost of Orion
7. The Old Earth
8. Your Woven Shore

The Review:

Befitting of a band with such maudlin themes, My Dying Bride rise from the ashes of despair to deliver their latest in soul crushing Death/Doom, “The Ghost of Orion”. Not unlike previous albums, “The Ghost of Orion” is an unrelenting journey of mournful introspection, written almost entirely in solitary isolation by guitarist Andrew Craighan, as his band mates were suffering the very trials of life that comprise the inspiration for their works.

Founder and lead singer Aaron Stainthorpe was understandably absent during the writing process for My Dying Brides’ latest release, as his daughter fought against the remorseless tendrils of cancer, what he calls “the cruelest of God’s bitter and loveless creation”. Though absent in their inception, the tumultuous experience is ever present in his delivery of the words he expels throughout each track. I am a sucker for a good concept album, and to share in such a difficult period for the band, “The Ghost of Orion” becomes a cathartic exercise in unified suffering. By taking on the weight of tragedy alongside the band members, the listener is a part of the story, feeling the paternal longing for healing, and the bitterness of unanswered prayers. It is heavy a burden on the human spirit, but one that can be comforting to anyone who has been through such pain.

Like “Feel the Misery” before it, “The Ghost of Orion” was conceived in the wake of turbulent and uncertain seas. Having several members absent for various familial reasons, and losing guitarist Roberts prior to writing, Craighan gratefully bore the burden, and composed his most personal work to date. Because he did not have other members to soundboard with, this album feels more like a singular concept, a woven sonic tapestry of epic design. While there is a LOT of Andrew in this composition it isn’t until his band mates added their unique talents to the recording that the true vision came in to focus. Tracks like “Tired of Tears” are given extra weight when held to the light of circumstance, and fits nicely amongst previous titles from the band. Single “Your Broken Shore” is seeing extensive play on streaming platforms, and is a perfect introduction for the uninitiated.

“The Ghost of Orion” features rhythm work from ex-Paradise Lost drummer Jeff Singer, and production by master soundsmith Mark Mynett. In its own way, “The Ghost of Orion” is a refinement of My Dying Bride’s sound, a return to form if you will, opting to focus less on complexity, and more on executing the basics to perfection. Through this approach, the band hopes this album can be “easier on the ears”, allowing newcomers to experience their art without the barrier of primal brutality.

Where lesser bands would’ve given up, My Dying Bride persevered; delivering to their fans a poignant and accessible new entry into the pantheon of Doom-Death masterworks. My Dying Bride set out to broaden their scope, and succeeded without jeopardizing the sound they’ve developed over their career. Is it still pummeling? Sorrowful? Grim? Of course, it is. However, it is so much more than that; “The Ghost of Orion” is a reimagining of how a Doom album is written. Stainthorpe has even admitted that sections of the release are, dare I say, “catchy”!? There are weeping violins, soft instrumental interludes, and even sections of clean classical vocals, all adding to the allure of somber darkness. My Dying Bride has one again proven themselves as front runners in the genre, and deliver one of the first must hear albums of the year.

“The Ghost of Orion” is available HERE

Band info: facebook

ALBUM REVIEW: Angellore, “Rien Ne Devait Mourir”

By: Thomas Gonzales

Album Type: Full Length

Date Released: 14/02/2020

Label: Finisterian Dead End

“Rien Ne Devait Mourir” CD//DD//LP track listing:

1. A Romance Of Thorns
2. Dreams (Along The Trail)
3. Drowned Divine
4. Blood For Lavinia
5. Sur Les Sentiers De Lune
6. Que Les Lueurs Se Dispersent

The Review:

What better way to celebrate Valentine’s Day, then with a crushing, moody, and atmospheric new metal album? Thanks to Angellore and their most recent release “Rien Ne Devait Mourir”, themes of sorrow, death, love, loss, and the beauty of nature are poignantly showcased in a crushing wave of Death Doom.

Formed in 2007, Angellore have carved out a place amongst doom fans the world over like a stone angel at the gates of a mausoleum. Hauntingly beautiful, but not at the expense of heaviness, Angellore are able to slide along the spectrum of Doom Metal, ranging from Funeral to Death Doom, then back again. It is as much an emotional journey as it is a sonic one, and at no point do they allow the atmosphere to lose gravity.

Vocalist Lucia returns to once again lend classical cleans to an already diverse mix, bringing brilliant melodic sensibilities to sweep across the heavier segments of each track. When paired with the acoustic guitar breaks, they waltz back and forth in a macabre dance, lending a refreshing Gothic nature to their already sorrowful sound. If you haven’t caught on yet, the tone of the album is dark and broody, and can be appreciated in those quiet hours of contemplation, without feeling forced or edgy.

That’s not to say the album isn’t also a banger, it’s just more about the musical experience than creating catchy riffs, and anthems. Opening track “A Romance of Thorns” is a crushing twenty-minute juggernaut of a song, showcasing a little of every technique the band has become known for. Lucia starts things off in a somber operatic fashion, before passing the flame to vocalist and founder Walran, who provides some of the crunchiest growls of the year (so far). Walran’s harsh segments are rough, and rumbling, and add a weightiness that drags the whole track down into a crashing blast of Death/Doom, before giving way to a soothing classical guitar segment. This ebb and flow is part of what makes this album so enjoyable as a continuous piece; each song is so dynamic, that it’s hard to lose interest before the cadence changes once again.

Every bit as pummeling as it is graceful, “Rien Ne Devait Mourir” is a composition deserving of a start to finish listen. While several of the tracks could be enjoyed as singles, it is a disservice to the artist (and yourself) not to experience the complete vision. Skipping around changes the pacing set out by the creators, and would cause the listener to deny themselves some of the finer aspects of the recording. Pick up “Rien Ne Devait Mourir” today on Finisterian Dead End Records.

“Rien Ne Devait Mourir” is available HERE

Band info: bandcamp || facebook

TRACK PREMIERE: Moloken, "Hollow Caress"

Since the dawn of time music has been a part of human history and it is the only language that has transcended every age. Of the few fortunate that channel one of humanities oldest forms of expression is the aging colossus Moloken. Born in the bitter cold of Ume in 2007 the band has walked their own path disregarding musical conventions and genres. To change, morph and evolve restlessly is in the very fabric of Moloken and the titan above us is still on a journey into the unknown. Music is their religion and it unleashes feelings that are only understood by the heart of those who listen.

Throughout the last 12 years the band has been fusing together influences from Death/Doom/Black Metal along with 70's progressive rock and Hardcore. The result is a unique blend of dark, moody and menacing music that manages to be both cerebral and crushingly heavy. The goal of the band has always been to create something of their own while acknowledging that they are standing on the shoulders of giants: Burn what we worshipped and worship what we burned.

Having joined the roster of the ever impressive roster of The Sign Records, Moloken will release their new album ’Unveilance Of Dark Matter‘ on January 31, 2020 and today we’re debuting a brand new track taken from the record, entitled “Hollow Caress” which you can check out below.  Preorder the record HERE

Band info: bandcamp || facebook

VIDEO PREMIERE: Lisburn City death doom ensemble The Crawling debut "Rancid Harmony"

Happy Friday folks and what better way to kick start the weekend than offering out some righteous riffs and today we have two brilliant bands for your attention and if I am not mistaken, they’re both making their first appearances at the mighty SLUDGELORD.  First up is The Crawling from Lisburn city, Northern Ireland a band whose music personifies heft and the might of the bludgeoning riff, added to that a mix of guttural vocal to combine melancholy with weight, they churn out a heavy, doom/death ensemble.

The closure of 2018 would see the release of their sophomore album entitled ‘Wolves and the Hideous White” a reflective batch of songs that deals with the human desire to belong, the sacrifices made to be part of someone, disillusion from loss of self, and the final inability to escape.  “Wolves and the Hideous White” is available to order HERE but for now  less chitter chatter and let us deal out some riffs.  Check out the brand new video from The Crawling entitled “Rancid Harmony” which you can check out in full below as well as a band insight for the track. 

“Is experiencing a connection with someone on any level better than none at all? Rancid Harmony reflects the facade of enjoyment, the dance we sell to the world, when inside it’s nothing but rot, and everyone sees it.”

Band info: facebook

ALBUM REVIEW: Un, "Sentiment"

By: Richard Maw


Album Type: Full Length

Date Released: 28/09/2018

Label: Translation Loss

For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

 

“Sentiment” CD//DD//2LP track listing:

1). In Its Absence

2). Pools of Reflection

3). Sentiment

4). A Garden Where Nothing Grows

The Review

Well, there are four tracks here, nothing much under twelve minutes in length and there has been a sizeable buzz surrounding this record for many weeks prior to me sitting down to review. So what is going on with Un's “Sentiment” album- their sophomore release?!

For starters, melancholic clean work opens up and then gives way to a truly huge and crushing passage of music. Obviously, from the song lengths alone, it is reasonable to assume that this is an album that is in the arena of the doom genre- and it is, loosely. This is nothing really like Sabbath, Vitus, Trouble, Candlemass et al- it is not trad doom by any stretch. It does fit into the more modern interpretation of the genre label- think Conan, Yob and so on.

The vocals are of the growled variety (not on every track though, so keep an ear out!), the sound is absolutely enormous and the mix is excellent. This is very, very weighty stuff indeed and by the time opener “In Its Absence” has finished, the tone has been set. There is nothing uplifting here: only the darkest and murkiest riffs and sounds are to be found here. It's a downbeat listen, as song titles such as “Pools of Reflection” suggest. The title track is just as sprawling and epic in approach and utilises the same clean opening (yielding a promise of something sweeter than the bitterest of fruit which is actually then served up).

There are echoes of Paradise Lost at their gloomiest, echoes of Yob at their trippiest and there are hints of death metal, psychedelia and even shoe-gaze here and there. The closing statement of “A Garden Where Nothing Grows” is a dark and bleak vision and it really sums up the whole record very well. Any track here would sum up the release as a whole as it is a very strong whole and is nothing if not consistent.

Yep, “Sentiment” fits into the doom bracket, but there is a great deal going on here. For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

“Sentiment” is available HERE

Band info: bandcamp  || facebook

ALBUM REVIEW: Shrine of the Serpent, "Entropic Disillusion"

By: Mark Ambrose

Album Type: Full Length

Date Released: 23/04/2018

Label: Memento Mori Records

Whether cranking out a moldering dirge like the introductory, instrumental “Descend into Dusk” or the chugging progressions of “Hope’s Aspersion”, Shrine of the Serpent deliver the perfect mix of nauseating terror so often characterized by the best death doom bands

“Entropic Disillusion” CD//DD track listing

1. Descend into Dusk

2. Hailing the Enshrined

3. Hope’s Aspersion

4. Desecrated Tomb

5. Returning

6. Epoch of Annihilation

7. Rending the Psychic Void

The Review:

I love the menacing crackle of lo-fi death metal in all its permutations: classic, grind, blackened, death doom.  There’s a muddy, horrific vein running through those crusty recordings that instantly invoke twilight drives through swamps and decrepit woods, all-night gore flick marathons, and seedy exploitation VHS rentals that just sets my monster kid heart all aflutter.  Combined with the gruesome, sometimes nauseating artwork that typifies the genre (even the borderline incompetent shit), even the rawest demo tape can turn me into an easy mark for bands who can thrash out a competent slab of death.  It helps when they manage to back up their swagger with some real bona fides, and the trio behind Shrine of the Serpent have some real chops on display, bolstered by haunting cover artwork by Mariusz Lewandowski & Vladimir Chebakov. 

Whether cranking out a moldering dirge like the introductory, instrumental “Descend into Dusk”, or the chugging progressions of “Hope’s Aspersion”, Shrine of the Serpent has one unifying characteristic: VOLUME.  The vibrating bass tones and the shrieking crackle of guitar leads are fuzzy, dirty, and punishing.  Often, this hits that perfect mix of nauseating terror that characterizes the best death doom bands.  Todd Janeczek’s inhuman growls are multitracked and layered in several different registers, imbuing tracks like “Desecrated Tomb” with the sense that there’s a whole host of ghoulish, unholy narrators.  Chuck Watkins’ drum performance is that subtle balance of technical skill and instinctual barbarism that the best death drummers can pull off effortlessly.  And Adam De Prez’s multi-duty efforts are formidable, especially his unholy bass tone.

Unfortunately, there’s a lack of balance in the mix that quashes some stellar intricacy.  The left channel in particular is just too damn jacked into the red zone, so you get clipping on many of the guitar tracks.  And frankly the punishing volume can be unpleasant and diminish moments like the volume shift in “Epoch of Annihilation” that should be chilling but instead sounds strange.  This volume escalation is an issue that plagued even the best death metal bands, as well as modern superstars (Metallica and Rush have both fallen victim to “volume wars” in recent years).  For a band so solid in every sense of the term – rhythmically, technically, and vocally – a steadier touch at the mixing board next time may produce a genuine masterpiece.  For now, with “Entropic Disillusion”, Shrine of the Serpent embraces both the pinnacles, and pitfalls, that decades of death metal have traversed, while showing promise for exciting work ahead.

“Entropic Disillusion” is available here

Band info: bandcamp || facebook