RIFF REWIND: (24/05/2012): Stoneburner - 'Sickness Will Pass'

STONEBURNER is one of the mainstays of the Portland, Oregon underground scene. Formed in early 2008, the bands’ familial roots reach back twenty years. Drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried At Sea) have rocked together in many incarnations. Their other bands had similarly earth-choked names (a stone burner is a subterranean weapon from the novel Dune), but it gets even more incestuous — Jesse went to school with bassist Damon (Heathen Shrine) Kelly’s step-mother. Years later, Jesse’s father would be Damon’s high school government teacher.

To describe Stoneburner’s music one need only look to the list of bands with whom they’ve shared the stage: Yob, Sleep, EYEHATEGOD, Neurosis, Buzzov-en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves At Sea, Lord Dying, Drop Dead, Whitehorse, Wind Hand, Bastard Noise and etc. It’s all about domination through amplification and soul-cleansing catharsis. Stoneburner does not put on airs for anyone. The shows are not "rituals". According to guitarist Eli Boland, playing in Stoneburner “…takes care of the thing inside us that would otherwise lead to serial murder. It cleanses my soul, eases my demons, and fills my heart in a way that keeps me high for a good long while.

Upon receiving their debut album “Sickness Will Pass”, I remember being absolutely  blown away and had heard nothing like at the time.  “Life Drawing” (review here) their second album would follow in 2014 via Neurot Recordings, however today we’re going to rewind back through The Sludgelord archives to this day 5 years ago (24/5/2012) and give you guys another opportunity to check out, what I believed to be at the time, one of the albums of the year in 2012.  Make up your own mind by checking it out for yourselves below.   

The Bio was pinched from here  


By: Aaron Pickford

Album Type: Full Length

Date Released: 22/5/2012
Label: Seventh Rule

‘Sickness Will Pass’ is an ugly, visceral and truly terrifying beast of an album. It sounds monumental and is herculean in scale and is the benchmark of which all future releases this year will be judged.  It is quite possibly the ultimate sludge metal album of the year.  I urge you to buy this album, you will not be disappointed.

‘Sickness Will Pass’ DD//LP track listing:

1). Christian’s Charity 6:00

2). Marriage 7:15

3). Run Boy... 6:40

4). Elesares 8:38

5). We Have Failed 5:55

Stoneburner is:

Jesse McKinnon | Drums, vocals

Damon Kelly | Bass, vocals

Elijah Boland | Guitars

Jason Depew | Guitars

The Review:

Have you ever seen the movie Hellraiser, the excellent British horror movie?  The premise of the movie is about a puzzle box, which can open a portal to a realm of new carnal pleasures. Instead, it opens up a portal to the realm of the "Cenobites," who take people as prisoners and subject them to extreme, sadomasochistic torture.  ‘Sickness Will Pass’ reminds me of that movie, because this record is that puzzle box and once you push ‘start’, the listener is subjected to an explorative cerebral experience so extreme that it transcends the boundary between pain and pleasure.  The record is like an atomic weapon, with the desired effect being an explosion of music, intent on destroying all that stands in its path; to the very core of the earth. 

‘Christian’s Charity’ is a ferocious opening, the colossus that is the opening burst of sound is like a sonic boom, an explosion to the senses, with a public health warning decree from the band to ‘Please, make yourself scarce’? The song is incredible, sitting somewhere between the sound of Yob and ‘Remission’ era, Mastodon.  It is a song of unparalleled density, the riffs are beautifully disgusting, and it is as if the band is intent on turning the thumbscrew, until you surrender.  In truth this song and indeed the album feel like a torture test, begging the question.  Is this a puzzle box you wish to open?  Despite the pummelling riffs, discordant bass and the gut spewingly psychotic  Djinn like vocals, the song is layered with variety too, but remains volatile and savagely malignant, until a minute from the end when they tone things down to a moment of acid fused psychedelia.

‘Marriage’ begins with an almost processed chugging guitar riff, perhaps enhanced by the use of flanger? You can hear the two guitars in unison.   Then we’re back to the heaviness of the scarifying riffs, this is certainly not a marriage made in heaven.  Essentially an instrumental track, showcasing the awesome musicianship of the band, the song is structured around the opening riff, with slight variations, until around 2:30, when things are slowed down to that trippy post metal psychedelic breakdown, with clean sliding notes from bass and guitar, then we’re back to black bile spewing vocals and the booming sickening din of the riffs, till we’re back to the opening riff, further augmented by an unorthodox almost C.O.C lead guitar with squealing pinched harmonics.  ‘Run Boy’... starts with the fade in of drums, leading into a two minute grooving instrumental passage, Neurosis esque in tone, and then you’re hit like a fist in the face by the prerequisite pummelling riffs; based around a terrifying chord progression of which Mike Scheidt would be proud, this track for all intents and purposes is another instrumental track.  The listener’s ears are then lacerated by the piercing sound of a ‘March Of The Fire Ants’ type riff in tone, at 4:40 the vocals are back in with vehement fury and then we’re subjected to a further barrage of filth.  The final 2 minutes of the song, engages the kill switch , with loathsome revulsive intent and begs the questions, ‘Do you ask the Djinn for a wish to end this torture’? 

If you’ve chosen to continue, ‘Elesares’ is up next and the penultimate noisome, offensive to the point of arousing disgust, it’s 8:36 of virulent toxicity, with a predominant thrash like galloped riff for much of the song, interchanged with a slow sludgy dirge, it is another startling example of consummate sardonic perfection.  The track feels like a game from the Saw movie, trapping the listener to test their will or resolve to live through physical or psychological torture, with the reward being your life. 

‘We have Failed’ is the final lysergic acid test, with the band seemingly intent on inducing the derangement of your personality, before your return to normal social functioning.  If you thought that the track was going to ease off the vituperation, then think again.  The track is as abhorrent as the first note of the album.  It is possibly the most intricate song on the album, opening with an exchange of heavy chords, hammer offs, slides and deafening chord progressions, it is a measure of the band that they remain inventive till the end. At 1:43 they slow things down again to an eerie, almost horror movie inspired soundscape.  Then for the last decisive minutes of the record, the band end things with one final sneering and derisive outpouring of morally objectionable dirt.  The sickness has passed.

‘Sickness Will Pass’ is an ugly, visceral and truly terrifying beast of an album. It sounds monumental and is herculean in scale and is the benchmark of which all future releases this year will be judged.  It is quite possibly the ultimate sludge metal album of the year.  I urge you to buy this album, you will not be disappointed.

Band info: Bandcamp | Facebook

Wizard Rifle - Here In The Deadlights (Album Review)

Album Type: Full Length

Date Released: 28/10/2014

Label: Seventh Rule

‘Here In The Deadlights’ CD/DD/LP track listing:

1. Crystal Witch (06:39)
2. Buzzsaw Babes (02:58)
3. Paul The Sky Tyrant (05:39)
4. Psychodynamo (08:52)
5. Beastwhores (07:38)

Bio:

WIZARD RIFLE arose from the rain and gloom of Portland -- two malcontent twenty-somethings with a bent on creating something exhilarating and progressive amidst a scene of tepid dreamy pop, and redundant revival acts. Drummer Sam Ford is a blur of tom rolls, rapid-fire rim shots, screaming out harmonies amid the flurry. Meanwhile guitarist Max Dameron spews forth tentacles of noise, at times angular yet bizarrely groovy, at times psychedelic ambience, or purely crushing space-rock. The sheer sonic wall created by two is a sight to behold live, both members sharing signing duties and pushing to the limit of their abilities and ears.

With a sound rooted in a reverence for ‘70s psychedelic and punk, and myriad contemporary acts without ever feeling like a throwback, WIZARD RIFLE seeks to push the boundaries beyond reference points and obvious nods to rock idols. Still, they’ve commonly been likened to King Crimson, Lightning Bolt, High On Fire, Misfits, Karp, Melvins, My Bloody Valentine, Sonic Youth, Sleep and so many others. In 2012 the band released their debut LP Speak Loud Say Nothing to critical adoration on Seventh Rule. Teaming up with Nanotear Booking, they honed their live sound on several US/Canadian tours, sharing the stage with the likes of Yob, Church Of Misery, Black Cobra, Arabrot, Rabbits and Witch Mountain. Last year, the lads relocated to Los Angeles, and immediately started work on the delightful, riff-encased bruiser, Here In The Deadlights.

The Band:

Sam Ford | Drums, vocals

Matt Dameron | Guitars, vocals

David Bow | Bass

Review:

Wizard Rifle are much more than just a spectacular name. Their debut offering, ‘Speak Loud, Say Nothing’ had The Sludgelord basking in their translucent yet industrious tonalities. ‘Here In The Deadlights’ is an offering that builds on that striking first impression with a fistful of menace and an equally generous amount of dreamlike lucidity. Paradoxical, phenomenal!!

From the off, opener ‘Crystal Witch’ packs vigorous riffs drawing lovingly from High On Fire, with that same dark guitar tone that doesn’t need a cranked distortion to get the job done. The music is at times untidy and unhinged but it’s exactly that, which makes the album so voraciously fun. Take the raw anarchic bout of ‘Buzzsaw Babies’, itself pertaining a buzzsaw riff that grinds your ears in the best possible way. The shortest track of the record at just less than three minutes, its punk mentality hits you hard before venturing down a more psychedelic passage and returning full circle with a vengeance.     

‘Paul The Sky Tyrant’ whips up an almost boogie like frenzy – it’s a proper skull-rattler of a tune. Feral guitar work, drums that fill every conceivable gap of their sound, unkempt vocals roared atop the mix; their sound isn’t easy to ignore. But for all the welcomingly messiness of it all, there are flashes of a more solid, melodically pleasing brilliance at play: The outro of ‘Paul The Sky Tyrant’ unfurling a dash of harmonised guitars amidst the sludgy, early-Mastodon fashioned riffs. It’s Incredible stuff.  

‘Psychodynamo’ ploughs on. It’s a venomous sounding composition which builds to an uncomfortable and staggeringly powerful climax. The crescendo in question is a Melvins style jolting riff, preceding the record’s most memorable chorus and a barrage of tom rolls, discordant guitar work and a tone as nasty as they come.  Suffice to say, it has The Sludgelord enamoured once more.

Music aside, Wizard Rifle has a fantastic piece of artwork for this record. It’s a simple but highly effective image, the whitish grey of the skull against a heavenly blue sky, a powerful metaphor for their sound. For as manic and unrestrained as this is, they strive to add a fair degree of natural beauty to their deathlike grasp. On the aforementioned ‘Psychodynamo’ for instance, they emerge from bustling crescendos – from a wall of noise essentially – with a thumping lone guitar riff – the sky blue peering momentarily from behind the skull and clouds.

Closer ‘Beastwhores’ is as free as this band sound. Building on a rhythm section which could very well be Grand Funk at the peak of an acid trip, the guitars stab at you above them before the dynamics are dropped completely. When the vocals come in it’s like the soundtrack to some ancient sacrifice, a pale moon blotting the jet black sky as a baying crowd chants its way through rituals beneath. This is music to summon a Daemon of the most fucked up kind and we here at The Sludgelord live for such hellish revelry.  Their sound is a constant, incessant explosion of noise, of riffs part High On Fire, Black Sabbath and Sonic Youth, thundering drums and a growling bass that rages through your speakers like a cyclone, ravaging everything in its path. How this band can make such a racket is beyond me.

Come get battered in the torrent that is Wizard Rifle, you won’t regret it. 

Words: Phil Weller

You can pick up a copy here

For more information:

http://www.facebook.com/wizardrifle
http://www.seventhrule.com
http://www.instagram.com/seventhrule
http://www.seventhrulerec.tumblr.com/
http://www.twitter.com/seventhrule

Megaton Leviathon - Past 21 Beyond the Arctic Cell (Album Review)

Album Type:  Full Length

Label:  Seventh Rule Records

Date Released:  9/9/2014

“Past 21 Beyond the Arctic Cell” CD/DD/LP track listing:

1). Past 21 (13:04)

2). The Foolish Man (08:44)

3). Arctic Cell (12:41)

4). Here Come the Tears (08:29)

The Band:

Andrew James Costa | Guitars, bass, vocals, Synthesizers, effects, sound loops.

Review:

Perhaps one of the greatest names ever dreamed up in the world of heavy music, Megaton Leviathan's second album “Past 21 Beyond the Arctic Cell” is a monolithic sonic achievement. Beginning with the longest track “Past 21” that slowly expands a mind expanding slow burn vamp. Atmospheric oscillations spiral into the distance as the dreamland vocals kick in. Once the bass and distortion turn up it rises out of the wavelike layers perfectly. The mid-song guitar solo is suitably verbed, spacey and shockingly tasteful, even elegant in scope and execution. There's some either spacey key work later on or some very nice orchestral wind instrument playing. I'm assuming keys but it’s difficult to tell and yet it sounds great, particularly during the final coda section which is very nicely arranged.

Sitar! Beginning with some trippy sitar playing, the second track “The Foolish Man” begins with some really unusual feel as the sitar swirls the rhythm section and has a slightly ominous slow vamp while the guitar pings some Mogwain post-rock leads. This track really reminds me of Ufomammut once the vocals kick in with the oscillating background sounds, except Megaton Leviathan isn't nearly as harsh on the distortion and has more of a post-rock or 70s psych influence and not quite as metal.

As the 3^rd track “Arctic Cell” begins it does not vamp and starts pretty much right off the bat with vocals and some more cool guitar work. Coalescing into a doomy section just before the three minute mark, at this point in the album this simpler type of riff is completely unexpected and breaks up the song nicely. The later bridge section with feedback howls over a slow guitar chug, a pretty awesome segue into one of the better recorded fuzz basses I've heard in a crushing slow riff.

Closing out the album “Here Come the Tears,” starts with a minimalist beginning of just drums, bass, guitar, and voice leaving a lot of space in between the notes. This track has a bit of a modern Pink Floyd feel, more so than the rest of the tracks especially with it's gradual build-up and very nice transitions. An epically huge wah-verbed guitar breaks out around the halfway point is also pretty cool.

The production is very well done and all the instruments can clearly be heard and have nice separation when needed and mesh well when needed as well. I particularly like how nice the bass tone is, as primarily a bassist myself, I always like to here it perfectly mixed and AUDIBLE. In addition, the name of the album really does describe the sound presented here. The swirling dense layers really do summon the feel of the cold winds out on the tundra and I would say this is definitely a winter car trip album. Check it out below.

Words by: Chris Tedor

You can pick up a copy using the link below

https://megatonleviathan.bandcamp.com/
http://www.seventhrule.com/

For more information:

http://megatonleviathan.com
http://www.facebook.com/pages/Megaton-Leviathan/185853803548
http://www.seventhrule.com
http://instagram.com/seventhrule
http://seventhrulerec.tumblr.com/
http://twitter.com/seventhrule

Graves At Sea/Sourvein - Split EP (Review)

Album Type: EP

Date Released: 13/5/2014

Label: Seventh Rule Recordings

Graves at Sea/Sourvein Split EP CD/LP track listing

1.GRAVES AT SEA – Betting On Black 07:43
2. GRAVES AT SEA – Confession 07:34
3. SOURVEIN – Drifter 03:49
4. SOURVEIN – Equinox 03:06
5. SOURVEIN – Follow The Light 05:31

Bio:

Two of doom metal’s mightiest of feedback-laden riff worshippers – Portland’s GRAVES AT SEA and Cape Fear’s SOURVEIN – have united in sound, mind and spirit for the ultimate split of earth-smoldering amplifier worship.

GRAVES AT SEA, whose contributions leave an eerie aura complete with tortured vocals, foreboding composition, and a general sense of dread, occupy Side A. Recorded by Billy Anderson, (Melvins, Sleep, Neurosis) “Betting On Black” and “Confession” finds the all-consuming sludge for which the band is notorious, flooding in amongst the tortured howls and shrieks of vocalist Nathan Misterek.

SOURVEIN, who’ve now existed for two decades of distortion, damage and total doom, solidify Side B. With three songs produced and recorded by Mike Dean of Corrosion of Conformity, these odes of heavy combine toxic riffs, grooves and just the right amount of psychedelic appeal.

Both sides were mastered by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering and will be released via Seventh Rule Recordings on both CD and LP on May 13th, 2014 during the two bands’ duel conquest touring Europe and prior to their appearances at this year’s edition of the illustrious Maryland Deathfest. The first pressing of the LP will be limited to 1000 copies and come available on 160-gram black wax with an included download code. Recommended for fans of Eyehategod, Black Sabbath, Electric Wizard, and all things loud and fuzzy.

Review:

Portland based doom/sludge metal-ers (yes another doom band from Portland, is there something in the water there?!) Graves at Sea have teamed with fuzz ridden Sourvein for this five track down tuned offering. Released on Seventh Rule Recordings, mastered by Brad Boatright (Sleep, Beastmilk, Nails) and topped off with some incredible artwork, both bands amalgamate to lay down their distorted riffs and twisted doom stylings, resulting in a must have metal record.

After splitting in 2008 Graves at Sea thankfully reformed in 2012, and returned revitalized in 2013 with new bassist Jeff McGarrity and drummer Bryan Sours. With only a handful of releases, and their only album being a re-issue of their demo ‘Documents of Grief’ they have gained notable cult popularity. And it’s not difficult to see why, as within the first minute of ‘Betting on Black’ I’m hooked. Nathan’s raspy tortured vocals are something to behold, immersing a blackened tinge to the sludgy chug of the guitar. As pessimistic and bleak as it is, the lyric ‘You lose every time. You’re born into this world of shit and then you die’ is unforgettable and works perfectly with the grimness of the vocals. Graves at Sea are truly unique, and excel on the two tracks they offer to the split.

Sourvein are the more veteran of the two bands, with three full lengths, three EP’s and seven splits under their belts. Offering a more psychedelic approach to the doom metal paradigm, it perfectly complements the blackened rhythms of Graves at Sea. Reverb aplenty, particularly in ‘Equinox’, and some groove laden riffs, Sourvein showcase their doom/sludge/psychedelic hybrid to great effect. The frequent change in pace from slow dawdling riffs to the head banging rhythm sections injects a lively thrust to the distorted haze.

Both bands are no strangers to the recording of splits; therefore it was only a matter of time before these two put their musical prowess on to the same release. While splits are certainly not about whose input is better, Graves at Sea are a band I had vague familiarity with before this release, but I’m now scouring the internet for more material, a fantastic discovery.   

Words by: Heather Blewett   

You can pick up a copy here

For more information:

http://www.facebook.com/GravesAtSea
https://www.facebook.com/pages/SOURVEIN/238932972468
http://www.seventhrule.com
http://instagram.com/seventhrule
http://seventhrulerec.tumblr.com/
http://twitter.com/seventhrule

Wizard Rifle - 'Speak Loud Say Nothing' (Album Review)

By: Aaron Pickford

Album Type: Full Length

Date Released: 7/05/ 2012

Label: Seventh Rule Recordings

I cannot tell you enough how incredible this record is.  There are not enough superlatives available to do this record justice.  It is the work of genius and I absolutely, unequivocally love it.  I hope you guys will too.

‘Speak Loud, Say Nothing CD//DD//LP track Listing

1. Tears Won’t Soften Steel 06:23

2. Frazetta 04:58

3. Megatherium 07:29

4. Nobody 07:06

5. Leathery Gentleman 10:32

Wizard Rifle is

Sam Ford | Drums, vocals

Max Dameron | Guitar, vocals

The Review:

In terms of reviewing records for this here blog, I often find myself searching for new words or ways of describing music in order to keep things fresh and inventive.  More so, to keep things interesting for you, the reader, because you don't want to be reading the same thing over and over again!  When it comes to Wizard Rifle ‘Speak Loud Say Nothing’, there is not one word or even a series of words to describe just how spectacular they are.   They are truly unique and I would say they're in a genre of one, that being themselves. Indeed, Wizard Rifle are peerless!  What they have done with this record is to create some kind of ungodly hybrid monster, made up of many different parts, but brought together to live and breathe as one.  ‘Speak Loud, Say Nothing’ is some kind of monster.  It is undefined, unrestrained and frankly bewildering, and I love it!

‘Tears Won't Soften Steel’ is the album opener and you are immediately subjected to the din of whammy type effects from the guitar, with waves of screeching feedback and pulsating drums.  Then there are twists and turns from some audacious guitar playing by Max Dameron.  The first minutes of the track sums up what you should expect from the record.  The pace is fast, frenetic and riffy as hell, drawing comparisons to the intensity of the band Lightning Bolt,  there is so much going on, it is mesmerising.  Sam and Max are incredible musicians and this record is a showcase of their talents, seemingly pushing themselves to the very limits of their abilities and beyond. Galloped riffs are interplayed with whammy pedal effects with incredulous intricacy.  Max shredding the guitar with virtuosic procession and Sam Ford practically falling off his kit in his attempts to keep up with the frantic pace of the track, let us not forget also, that this is some heavy stuff too, with crunchy riffs in abundance.  What a spectacular start and I found myself truly absorbed, once I had picked up my jaw from the floor. 

‘Frazetta’ is another fantastic track, perhaps an ode to renowned fantasy and science fiction artist Frank Frazetta,  Wizard Rifle unleash another barbarous whacked out dose of wonderment, this track is no less intricate and vocally it is performed with humour and vigour in the same breathe.  Reminding me at times of Daron Malakian of System of a Down, the duo use their instruments like weapons, positively scything through this track.  It is as if they are duelling against each other and they do so with unbounded exuberance and complete surrender of inhibitions in their performances.  They do not bow down to restraints and Wizard Rifle will fight to uphold their honour.  This is a much heavier track, with chugging riffs and deep vibrato notes, with the tone of the guitar sounding fat and bass heavy. Max Dameron is at one with his instrument and reminds me of a virtuosic Jack White, with the bluesy vibe of his tone and say the technicality of Steve Vai.  What a combination and it totally works. 

‘Megatherium’ starts with a mournful sloth like pace of the clean arpeggios, only giving way to a disgustingly heavy doom like riff.  It sounds colossal and it is as heavy as the Megatherium’s presumed 4 ton bulk.  This track is just another measure of this band, as it showcases their many facets.   The opening minute of track sounds like the music from an emotional scene from a silent movie, before Wizard Rifle butt end you in the face, with the distorted heaviness of their arsenal.  At the 2:00 mark you get the slow doom riff I remarked upon earlier.  It is so bloody heavy, with an Alice in Chains like quality to the harmony vocals.  It ambles along with the aforementioned sloth like pace  with only the magnificence of the distortion for company.  It is performed with swagger and gusto with Boastful or conceited expression.  Braggadocio if you will.  During the final 2:00 of the track, Max once again produces the guitar histrionics in spades, scaling the neck of his guitar with precision and flair, finishing the track with off kilter splendour.

‘Nobody’ is Wizard Rifle at their weird and archaic best with a kinda math core angular vibe to the track.  It is imprecise, ambiguous, off kilter and just plain crazy, as if the band have been affected with madness themselves.  It is truly an insane track.   It knows no boundaries in terms of the dynamics, because it is beyond categorisation.  If you like your music left of centre and frankly bizarre, this is the track for you.  At the end it goes from supremely heavy riffs to an influence of native American rainmaking chants, with Sam Ford beating his drums like a banshee.  It is as if the band have been transported into Mike Patton's brain, such is the similarities to the ambience of this track and that of the Tomahawk album, ‘Anonymous’.  This track is just plain bonkers.   

Finshing off the record with ‘Leathery Gentlemen’, at over 10 mins, it is an epic track and incorporates much of what has come before it.  Given the songs title you can't help but think the band have a wry smile on their face.  Yet, there is nothing funny about this track; it is startling in its caustic brutality, once the palm muted arpeggios, gives way to the blistering and relentless riff abuse from Max Dameron.  It is perhaps not unforeseen, but the heaviosity of the tyrannous subjugation of riffs is just downright oppressive and bitch slaps you awake.  It is like a maelstrom or conflagration you have no means of escaping from.  Bloody brilliant I say.  There is a comparison again to the talents of System of a Down and the quirkier moments of their back catalogue, e.g. ‘Vicinity of Obscenity’.  ‘Leathery Gentlemen’ is cooky as hell but ferociously heavy.  Again there is variety in abundance, often with the band straying into the freneticism of Lightning Bolt.  It is just a Herculean sized track that takes you on a wild and wonderful journey.  Often unpredictable but never boring, this is one Leathery Gentleman you will not wish to ignore.  It is an absolute belter of a track with the finality of track spliced with atmosphere and tribal drumming.  It then veers off tangentially to perhaps the most bat shit crazy moment of the entire album, blazing like an inferno until it reaches its natural end. 

I cannot tell you enough how incredible this record is.  There are not enough superlatives available to do this record justice.  It is the work of genius and I absolutely, unequivocally love it.  I hope you guys will too.

Band info: Bandcamp | Facebook