 |
| Hanging with Dr. Ryan "Clementine" Clemmer, my material science professor. I guarantee that after his final, one of us won't be smiling anymore.
I'll make an update once I've finished all my exams, then we'll come back for second semester in full swing. Until then, good luck, good hunting, and (hopefully) happy exams!
That's all for now, folks!
-DG
|
Thursday, November 29, 2012
Update: Exams!
Well, my last day of class for my first semester of third year mechanical engineering is over. Exam season has officially started. As a result, Needs More Noise Gate won't really be operational for the next couple weeks (unless I really don't want to study). If you're one of the three people who actually keeps up to date with reading this blog, stay at your computer and constantly keep refreshing this page. Don't go outside. I went outside once. There were people there. It was awful. Trust me.
Monday, November 26, 2012
Album Review: Shadows in the Crypt - "Cryptic Communication"
First snowfall in Guelph happened just a couple days ago, so I think it's appropriate for another black metal review, no? There's no other genre more appropriate for the cold, blustery winter season, so let's embrace the frost and dive into Cryptic Communication, Shadows in the Crypt's newest full length!
Shadows in the Crypt is another American black metal band who have nailed that dark Scandinavian sound with modern production, much like their labelmates Fiends at Feast. Cryptic Communication is ripe full of brutality, pure evil and hate, and musical technicality to boot.
While I would say Shadows in the Crypt have a much more traditional black metal sound than Fiends at Feast, there's still no shortage of catchy riffs and face melting solos here. I have to applaud guitarist Lawrence Wallace for his mastery of the instrument, because while many of the riffs are tremolo picked, classic to the black metal style, they're also very hook laden, sometimes with melodies very unorthodox to black metal. The final track, "Disgracing the Pulpit" has probably my favorite riffs on the album. I can't really choose any individual riff off the song to praise the most because they all flow so perfectly together. The solos are wild and ripping, which I think is great considering black metal's lack of solos, let alone ones that shred.
Unfortunately, Wallace is the only shredder on Cryptic Communication. The drums are wickedly fast and perfectly on time, not a common combination when it comes to black metal. As the old saying goes, if something sounds too good to be true, it probably is, and since the drums sound absolutely flawless, it doesn't come as a shock that they're programmed. That being said, they aren't too over the top and crazy (a la Agoraphobic Nosebleed's grind classic, Altered States of America), but if you listen carefully, you can tell they're just a little too inhuman. It's nothing too distracting from the music, and for the most part, the ridiculously fast playing is kept pretty tasteful. [EDIT: I've just been informed that the drumming is not programmed, but is handled by Jesse Beahler. This proves that Mr. Beahler is a fucking beast on drums. I'm sorry for the mix up, everyone.]
Bomb-Ass Tracks: Baphomental Affliction, As Shadows Cover, Disgracing the Pulpit
On a Playlist With: Fiends at Feast, Emperor, Taake
Overall Score
3.0
Shadows in the Crypt do a pretty good job of making a modern black metal album with Cryptic Communication. Any fan of black metal will definitely enjoy it, and even if you aren't a big fan of the genre, the phenomenal guitarwork should be enough to reel you in.
You can find Shadows in the Crypt on Facebook here and you can pick up Cryptic Communication from Horror Pain Gore Death here.
That's all for now, folks!
-DG
Shadows in the Crypt is another American black metal band who have nailed that dark Scandinavian sound with modern production, much like their labelmates Fiends at Feast. Cryptic Communication is ripe full of brutality, pure evil and hate, and musical technicality to boot.
While I would say Shadows in the Crypt have a much more traditional black metal sound than Fiends at Feast, there's still no shortage of catchy riffs and face melting solos here. I have to applaud guitarist Lawrence Wallace for his mastery of the instrument, because while many of the riffs are tremolo picked, classic to the black metal style, they're also very hook laden, sometimes with melodies very unorthodox to black metal. The final track, "Disgracing the Pulpit" has probably my favorite riffs on the album. I can't really choose any individual riff off the song to praise the most because they all flow so perfectly together. The solos are wild and ripping, which I think is great considering black metal's lack of solos, let alone ones that shred.
Unfortunately, Wallace is the only shredder on Cryptic Communication. The drums are wickedly fast and perfectly on time, not a common combination when it comes to black metal. As the old saying goes, if something sounds too good to be true, it probably is, and since the drums sound absolutely flawless, it doesn't come as a shock that they're programmed. That being said, they aren't too over the top and crazy (a la Agoraphobic Nosebleed's grind classic, Altered States of America), but if you listen carefully, you can tell they're just a little too inhuman. It's nothing too distracting from the music, and for the most part, the ridiculously fast playing is kept pretty tasteful. [EDIT: I've just been informed that the drumming is not programmed, but is handled by Jesse Beahler. This proves that Mr. Beahler is a fucking beast on drums. I'm sorry for the mix up, everyone.]
Bomb-Ass Tracks: Baphomental Affliction, As Shadows Cover, Disgracing the Pulpit
On a Playlist With: Fiends at Feast, Emperor, Taake
Overall Score
3.0
Shadows in the Crypt do a pretty good job of making a modern black metal album with Cryptic Communication. Any fan of black metal will definitely enjoy it, and even if you aren't a big fan of the genre, the phenomenal guitarwork should be enough to reel you in.
You can find Shadows in the Crypt on Facebook here and you can pick up Cryptic Communication from Horror Pain Gore Death here.
That's all for now, folks!
-DG
Thursday, November 22, 2012
Vinyl Update: Hivesmasher!
<Motherfucking_Grind>
</Motherfucking_Grind>
That's all for now, folks!
-DG
 |
| Dat cell phone camera quality. |
That's all for now, folks!
-DG
Album Review: The Wides - "The Wides"
Looks like I've got another Halifax based band for you guys! Unlike Barlow, who are also Halifax residents, punk quintet The Wides play on the post punk side of things rather than the hardcore side. They've been rocking around the scene for quite a few years now, playing with the likes of Jon Epworth and at festivals such as Halifax Pop Explosion. They've released material in the past, but they've finally dropped their self-titled debut full length.
Like I said, The Wides fall into more of a post punk sound than anything else, and if I were to describe them, it'd be like a much, much, much, lighter Neurosis. There are many definite differences between Neurosis and The Wides, but I can't listen to the tracks like "Drugs & Religion" without immediately bringing back memories of Given to the Rising. The Wides also incorporate some of alternative rock and a little bit of progressive rock in this release with many hook laden vocals and chordal riffing as well as some noodling around in a couple odd time signatures here and there. Regardless of what labels you'd like to use, The Wides showcase some great songwriting abilities with songs that ebb and flow, rise and fall, and most importantly sound like they have a purpose.
I have to say that between the instrumentation and the vocals on this release, I much prefer the instrumentation. That's not to say I think the vocals are bad in any sense, I just think that the arrangements for all the songs are all beautifully executed. Like I said before, a majority of the riffs sound very chordal, but I found that while one guitarist is wailing on some chords, occasionally the other brings in some faint leads that shimmer on top of the rest of the music. Something refreshing to hear is the guitar tone used here. Unlike almost everything else I listen to, the guitars on The Wides are only slightly overdriven, enough to give a satisfying crunch, but not so much that the clarity of the notes isn't there as well.
I enjoy the vocals quite a bit as well as the instrumentation. Everything sounds really natural and organic, which is even more impressive considering all the different tones that the vocalist is capable of and goes through on this album. The singing goes between ethereal and haunting, like in the ending "Voir Dire" to powerful and punchy in the minute-fifteen-second long straight punk banger "Big Stinky". I've noticed that sometimes the singing sounds a little off key, which to be fair comes along with the genre at hand (reminiscent of Neutral Milk Hotel vocals), but whether or not this technique is intentional or not, I'm not too much of a fan of it. Other than that, the vocals get nothing but praise from me.
Bomb-Ass Tracks: Fuller Terrace, Big Stinky, Drugs & Religion, Voir Dire
On a Playlist With: Arctic Monkeys, The Misfits, Neurosis
Overall Score
3.5
The Wides' self-titled full length debut is a really solid punk release. While it doesn't blow my mind, it does the job of delivering high energy and fun tracks to jump around and mosh to, with just enough dynamic variation to keep things interesting. I'll be keeping my eye on The Wides in the future.
You can check out The Wides' Bandcamp page with their full album here. If anyone can track them down on Facebook, please let me know and then I'll link you guys to their fan page [EDIT: Courtesy of an Anonymous reader, their Facebook page can be found here.].
That's all for now, folks! Canada still rules.
-DG
Wednesday, November 21, 2012
Double EP Review: Barlow - "Vol. 1" & "Vol. 2"
Despite living in and loving my home country of Canada, I know surprisingly little about it. Before today I didn't really know anything about the Maritimes, other than whatever the P.E.I. Encyclopedia taught me. Today, I learned that there's a hardcore band based out of Halifax, Nova Scotia called Barlow. Well, it's official. 100% of the Nova Scotia hardcore bands I know rule.
Vol. 1
Vol. 1 is a release that's rooted heavily in old school punk and Converge-style hardcore above all else. Out of all the bands that seem to draw Converge as a big influence, Barlow are one of the few that both do this frantic style of hardcore justice, and make it their own to boot. These dudes aren't just another rip off band trying to cash in on Converge's winning formula.
Songs chug along with pounding primal aggression, with each member of the band decimating your ears every step of the way. Guitarist Aaron Burke slams out a tidal wave of punishing riffs, ebbing and flowing between hook laden licks like the main riff to "Purging Purity" and real fret-burners like the ones in the opening track "Empty Justice". Vocalist Dexter Outhit is a beast behind the mic, bellowing out absolutely soul crushing growls across the entire EP. Outhit's vocals have so much fucking energy on tape that it boggles my mind just thinking how powerful they'd be in a live setting. In fact, the entire band is able to translate their raw energy perfectly on Vol. 1, and I honestly feel like these guys would put on one hell of a show.
Bomb-Ass Track: Empty Justice
Overall Score
3.5
Vol. 1 is a beast of a release made for any fans of hardcore or punk. Things get Convergey, which is always a good thing in my books, but Barlow really pull through with their own brand of high energy, feel bad hardcore that most other bands wish they'd be able to do.
Vol. 2
Alright! Time for Vol. 2! If there's anything right off the bat that I can say, is that it's much heavier than Vol. 1. The songs on Vol. 2 are much faster and way more pissed off. Things still seem to have a big Converge influence, with a lot of the songs reminding me of the heaviest songs off of All We Love We Leave Behind.
The guitar bits here are more straightforward, but Burke still has some mind bending riffage to offer us. I have to give lots of credit to bassist Tri Le, who has nailed in the nastiest and most nauseating bass tone I've heard in a long time. Le's bass thumps and booms, dominating the low end of this aural assault and is partly the reason as to why Vol. 2 is so god damn heavy. Drummer James Deyoung beats the living shit out of his kit, pushing everything forward at that so-frantic-it's-just-about-to-fall-apart pace. If Barlow had a hateometer (patent pending), it'd be in the red, all the way through Vol. 2. Outhit's vocals are as filthy and bloodcurdling as ever, and when everything comes together, it's just fucking awesome.
If there's anything I have to complain about, it's the length of Vol.2. It's 5 tracks (including an intro) over 9 minutes. I honestly can't complain, because Barlow seems to stick to the age old saying of "it's about quality, not quantity", and by god, is this some quality shit.
Bomb-Ass Track: Severed Ties
Overall Score
4.5
I feel like a junkie, holding on to Vol. 2 with dear life, just squirming around and waiting to get my next fix of Barlow. Vol. 2 is the soundtrack to you dragon-kicking a baby into a pit of fire.
You can check out Barlow on Facebook here, and download both Vol. 1 and Vol. 2 from their bandcamp page here. If you live anywhere near the Halifax area, check these dudes out, pronto! I can only hope they come touring around Guelph sometime in the future.
That's all for now, folks! Canada rules.
-DG
Vol. 1
Vol. 1 is a release that's rooted heavily in old school punk and Converge-style hardcore above all else. Out of all the bands that seem to draw Converge as a big influence, Barlow are one of the few that both do this frantic style of hardcore justice, and make it their own to boot. These dudes aren't just another rip off band trying to cash in on Converge's winning formula.
Songs chug along with pounding primal aggression, with each member of the band decimating your ears every step of the way. Guitarist Aaron Burke slams out a tidal wave of punishing riffs, ebbing and flowing between hook laden licks like the main riff to "Purging Purity" and real fret-burners like the ones in the opening track "Empty Justice". Vocalist Dexter Outhit is a beast behind the mic, bellowing out absolutely soul crushing growls across the entire EP. Outhit's vocals have so much fucking energy on tape that it boggles my mind just thinking how powerful they'd be in a live setting. In fact, the entire band is able to translate their raw energy perfectly on Vol. 1, and I honestly feel like these guys would put on one hell of a show.
Bomb-Ass Track: Empty Justice
Overall Score
3.5
Vol. 1 is a beast of a release made for any fans of hardcore or punk. Things get Convergey, which is always a good thing in my books, but Barlow really pull through with their own brand of high energy, feel bad hardcore that most other bands wish they'd be able to do.
Vol. 2
Alright! Time for Vol. 2! If there's anything right off the bat that I can say, is that it's much heavier than Vol. 1. The songs on Vol. 2 are much faster and way more pissed off. Things still seem to have a big Converge influence, with a lot of the songs reminding me of the heaviest songs off of All We Love We Leave Behind.
The guitar bits here are more straightforward, but Burke still has some mind bending riffage to offer us. I have to give lots of credit to bassist Tri Le, who has nailed in the nastiest and most nauseating bass tone I've heard in a long time. Le's bass thumps and booms, dominating the low end of this aural assault and is partly the reason as to why Vol. 2 is so god damn heavy. Drummer James Deyoung beats the living shit out of his kit, pushing everything forward at that so-frantic-it's-just-about-to-fall-apart pace. If Barlow had a hateometer (patent pending), it'd be in the red, all the way through Vol. 2. Outhit's vocals are as filthy and bloodcurdling as ever, and when everything comes together, it's just fucking awesome.
If there's anything I have to complain about, it's the length of Vol.2. It's 5 tracks (including an intro) over 9 minutes. I honestly can't complain, because Barlow seems to stick to the age old saying of "it's about quality, not quantity", and by god, is this some quality shit.
Bomb-Ass Track: Severed Ties
Overall Score
4.5
I feel like a junkie, holding on to Vol. 2 with dear life, just squirming around and waiting to get my next fix of Barlow. Vol. 2 is the soundtrack to you dragon-kicking a baby into a pit of fire.
You can check out Barlow on Facebook here, and download both Vol. 1 and Vol. 2 from their bandcamp page here. If you live anywhere near the Halifax area, check these dudes out, pronto! I can only hope they come touring around Guelph sometime in the future.
That's all for now, folks! Canada rules.
-DG
Monday, November 19, 2012
Album Review: Twelve Foot Ninja - "Silent Machine"
When you read the word nu-metal, what do you think? A bunch of sweaty thirty-somethings in masks playing angsty music for angsty teenagers at Scenefest? Maybe a rad bro with a snapback and throwback jersey rapping over caveman guitar riffs and drumming? If you couldn't tell, I'm not a fan of much nu-metal, and unfortunately, more often than not, that above description is true for most of the genre's artists. With a bunch of super srs dudes being all dark and edgy playing super srs, dark and edgy songs, there needs to be someone to come out of he super srsness, darkness, and edginess to bring some fun into the scene. Out from the srs, dark, and edgy fog steps none other than Twelve Foot Ninja with their debut, Silent Machine!
Twelve Foot Ninja are an Melbourne-based band that can only be described as "a clusterfuck of genres mashed together into the the musical equivalent of blunt force trauma". Rooted in a blend of classic nu-metal and djent/ modern progressive metal, TFN boggle the mind by reaching out to genres like funk, latin fusion, reggae, and electronic over the span of Silent Machine's 45 minute running time. Just the opening track, "Coming for You" has everything you need, from slammin' Periphery-esque, keyboard laden choruses to salsa dance inducing Abraxas-era Santana fusion and pure 70's funk verses. What's that? You think that's impossible, and if it was it'd sound like shit? That's cute.
So, point proven: TFN are genre-bending masters. Unlike most metal bands that like to shove in a little bit of cross-genre fun, TFN is actually able to pull it off flawless consistency. Using "Coming for You" as an example again, if I heard the fusion section without hearing the rest, I would have thought they were actually a latin fusion band. Same goes with the funk. They're all proficient enough musicians to be able to play all these different styles, all while keeping it all coherent. I know some people think the genre changing is a little gimmicky, but I don't think so. While at first you find it funny that they jump around so quickly, you soon realize holy shit, this isn't just a bunch of random ideas stitched together. These are actual songs. This album is more than just a cheap, quick laugh, there's substance here that you have to keep digging into. That's one of the reasons why I think Twelve Foot Ninja are going to have the staying power that a lot of other bands wish they had.
If there's one thing I have to pick to love more than anything else on this album (and that's hard, trust me), it would be the vocals. While lead vocalist Kin is a monster, capable of bellowing out some aggressive nu-metalish vocals and dropping suddenly to soft soaring vocals, the rest of the band members provide incredible backup vocals and harmonies throughout the whole album. At first, sometimes you barely even notice them, but the more you listen, the more they seem crop up and the more you can't stop grinning because it's always done so well.
Production is handled very well, as is expected from a release this ambitious. Any band that jumps around with styles as much as TFN do wouldn't want to mix and master everything with a heavy as balls sound and keep that production style for the funk sections. Silent Machine sparkles and dazzles when it needs to shine and bears it's black toothed grin when it it wants to get down and dirty. Even still with this varied production, everything sounds coherent. Whoever produced this album is a studio wizard.
Bomb-Ass Tracks: Coming for You, Mother Sky, Shuriken, Silent Machine
Overall Score
4.5
Twelve Foot Ninja. Silent Machine. SHIT IS SO PRINGLES.
That's all for now, folks! Slam that siqqness.
-DG
Twelve Foot Ninja are an Melbourne-based band that can only be described as "a clusterfuck of genres mashed together into the the musical equivalent of blunt force trauma". Rooted in a blend of classic nu-metal and djent/ modern progressive metal, TFN boggle the mind by reaching out to genres like funk, latin fusion, reggae, and electronic over the span of Silent Machine's 45 minute running time. Just the opening track, "Coming for You" has everything you need, from slammin' Periphery-esque, keyboard laden choruses to salsa dance inducing Abraxas-era Santana fusion and pure 70's funk verses. What's that? You think that's impossible, and if it was it'd sound like shit? That's cute.
If you watch this and think "DIS SUX! METUL IS SRS BSNS GUISE!", please leave
this page and never come back. You won't be missed.
So, point proven: TFN are genre-bending masters. Unlike most metal bands that like to shove in a little bit of cross-genre fun, TFN is actually able to pull it off flawless consistency. Using "Coming for You" as an example again, if I heard the fusion section without hearing the rest, I would have thought they were actually a latin fusion band. Same goes with the funk. They're all proficient enough musicians to be able to play all these different styles, all while keeping it all coherent. I know some people think the genre changing is a little gimmicky, but I don't think so. While at first you find it funny that they jump around so quickly, you soon realize holy shit, this isn't just a bunch of random ideas stitched together. These are actual songs. This album is more than just a cheap, quick laugh, there's substance here that you have to keep digging into. That's one of the reasons why I think Twelve Foot Ninja are going to have the staying power that a lot of other bands wish they had.
If there's one thing I have to pick to love more than anything else on this album (and that's hard, trust me), it would be the vocals. While lead vocalist Kin is a monster, capable of bellowing out some aggressive nu-metalish vocals and dropping suddenly to soft soaring vocals, the rest of the band members provide incredible backup vocals and harmonies throughout the whole album. At first, sometimes you barely even notice them, but the more you listen, the more they seem crop up and the more you can't stop grinning because it's always done so well.
Production is handled very well, as is expected from a release this ambitious. Any band that jumps around with styles as much as TFN do wouldn't want to mix and master everything with a heavy as balls sound and keep that production style for the funk sections. Silent Machine sparkles and dazzles when it needs to shine and bears it's black toothed grin when it it wants to get down and dirty. Even still with this varied production, everything sounds coherent. Whoever produced this album is a studio wizard.
Bomb-Ass Tracks: Coming for You, Mother Sky, Shuriken, Silent Machine
Overall Score
4.5
Twelve Foot Ninja. Silent Machine. SHIT IS SO PRINGLES.
That's all for now, folks! Slam that siqqness.
-DG
Sunday, November 18, 2012
Album Review: Fiends at Feast - "Towards the Baphomet's Throne"
I hope everyone is feeling as grim and dark as the frostbitten North because today I'm going to take a look at some brand spankin' new black metal! We've got Towards the Baphomet's Throne, the debut full length from California based black metallers Fiends at Feast. Now I know you think that sunny California and bleak black metal don't seem to mix, but if I didn't know beforehand, I would have thought that Fiends at Feast hailed from the snowy mountain peaks of Norway.
Fiends at Feast hit the spot when it comes to black metal for me. I'm a big fan of the cold and grim atmosphere that a lot of old school black metal has, but I can't stand their DIY style of production. FaF have a sweet mixture of dark, evil, and menacing atmosphere and solid thick production.
The guitars follow a solid blend of tremolo picked madness and full on riffage. It's pretty standard stuff for modern black metal, and a lot of the riffs are pretty catchy to boot. There are some pretty wicked solos and leads on Baphomet's Throne, something a lot of black metal doesn't have enough of. A testament to guitarists Sammer and David's shredtastic skills are the solos and leads in the midsection of "With Blood and Vomit". They're brutally facemelting, and uncompromisingly sinister. Another feat of guitar wizardry is the acoustic instrumental track "A Despondent Theme to Thy Own Demise". It's less impressive in it's technical execution and more about its atmosphere and coherence with the rest of the album. Black metal rarely has any acoustic music in it, so to hear an acoustic piece that captures the bleak and dark atmosphere of the rest of the album is really cool. Kudos to Sammer and David for that one.
Honestly, there's not too much to say about the rest of the album. Towards the Baphomet's Throne is a pretty meat and potatoes modern black metal album. Nothing ambient or orchestral, just unrelenting death and doom. The drums are wickedly fast, blasting away and double-kicking into the blackness of the night, while the vocalist keeps to mid to low range growls, screaming out like a demon from the depths of the abyss.
Bomb-Ass Tracks: With Blood and Vomit, A Despondent Theme to Thy Own Demise, Hedonistic Heresy
On a Playlist With: Taake, Goatwhore, Dissection
Overall Score
3.0
Fiends at Feast have made a pretty textbook example of modern, no-shits-given black metal. Towards the Baphomet's Throne has got its shining moments here and there that set it apart from the rest of the genre, but it's nothing too, too special. I am excited to see what Fiends at Feast put out next. Hopefully next time they step a little out of their comfort zone and make a more ambitious release.
You can find Fiends at Feast's music at their Bandcamp page, on Facebook, and you can pick up Towards the Baphomet's Throne through Horror Pain Gore Death Productions.
That's all for now, folks! Stay kvlt.
-DG
Fiends at Feast hit the spot when it comes to black metal for me. I'm a big fan of the cold and grim atmosphere that a lot of old school black metal has, but I can't stand their DIY style of production. FaF have a sweet mixture of dark, evil, and menacing atmosphere and solid thick production.
The guitars follow a solid blend of tremolo picked madness and full on riffage. It's pretty standard stuff for modern black metal, and a lot of the riffs are pretty catchy to boot. There are some pretty wicked solos and leads on Baphomet's Throne, something a lot of black metal doesn't have enough of. A testament to guitarists Sammer and David's shredtastic skills are the solos and leads in the midsection of "With Blood and Vomit". They're brutally facemelting, and uncompromisingly sinister. Another feat of guitar wizardry is the acoustic instrumental track "A Despondent Theme to Thy Own Demise". It's less impressive in it's technical execution and more about its atmosphere and coherence with the rest of the album. Black metal rarely has any acoustic music in it, so to hear an acoustic piece that captures the bleak and dark atmosphere of the rest of the album is really cool. Kudos to Sammer and David for that one.
Honestly, there's not too much to say about the rest of the album. Towards the Baphomet's Throne is a pretty meat and potatoes modern black metal album. Nothing ambient or orchestral, just unrelenting death and doom. The drums are wickedly fast, blasting away and double-kicking into the blackness of the night, while the vocalist keeps to mid to low range growls, screaming out like a demon from the depths of the abyss.
Bomb-Ass Tracks: With Blood and Vomit, A Despondent Theme to Thy Own Demise, Hedonistic Heresy
On a Playlist With: Taake, Goatwhore, Dissection
Overall Score
3.0
Fiends at Feast have made a pretty textbook example of modern, no-shits-given black metal. Towards the Baphomet's Throne has got its shining moments here and there that set it apart from the rest of the genre, but it's nothing too, too special. I am excited to see what Fiends at Feast put out next. Hopefully next time they step a little out of their comfort zone and make a more ambitious release.
You can find Fiends at Feast's music at their Bandcamp page, on Facebook, and you can pick up Towards the Baphomet's Throne through Horror Pain Gore Death Productions.
That's all for now, folks! Stay kvlt.
-DG
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