Norwegian cult act ULVER return again to the track ‘Hollywood Babylon’ from their previous album Liminal Animals (2024) for the best of all reasons: a stunning music video that has been long in the making. Following a fascinating remix by Gazelle Twin aka Elizabeth Bernholz that offered a brooding reinterpretation, the Norwegians now add this beautiful clip to the growing corpus around the original track.
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ULVER comment: “Working with our wonderfully mad old friend Christian Mona from the Bogus Blimp days never disappoints”, mastermind Kristoffer Rygg writes on behalf of Ulver. “He started to create this video before we released our last album (sorry about that) and he has finally delivered a splendidly grotesque little gem from within his Automated Bathroom. ‘Hollywood Babylon’ has never looked better! It is a distorted mirror of our times. Please feel free to stare into it a little too long.”
The Norwegian visual artist collective AKFF! adds: “2025 marked 20 years since Ulver made the animated music video ‘It Is Not Sound’ in cooperation with us”, Christian Mona states. “It has been a hypnotic journey through the Sea of Sorrows all the way to the Pinnacle of Truth. Thinking back on what a great experience it was to visualise and expand on Ulver’s universe, we started wondering why AKFF! hadn’t made more videos with Ulver. As it turns out, Ulver had been thinking along the same lines! And so the making of ‘Hollywood Babylon’ began.”
The Fulford Arms is great for many reasons, but one is the diversity of the shows it hosts. It’s also something of a haven for metal, with a couple of promoters putting on solid lineups of four bands for a tenner or so. The popularity of metal in recent years – particularly of more extreme persuasions – may well be a sign of the times, and I’ve written previously on the uplifting, even euphoric, qualities of a decent metal gig, and it very much does seem like a fair few here tonight are simply wanting to cut loose and have a blast while being blasted by dark sonic forces.
First up, Damage Control – not the international electroindustrial quartet signed to Metropolis Records, but a York-based three-piece, whose guitarist is a particularly lanky sod. Their set consists of back-to-back, nonstop, fast, raging thrash. The energy inspires some early two-stepping. mostly by one immensely tall bastard with no spatial awareness slam dancing himself. I know I’m on the shorter side, and also, at the age of fifty qualify as an old bugger, but fuck me, how are kids today so fucking massive? Anyway. It makes for a good start to the night.
Damage Control
Drior are from Nottingham and making their York debut. Their thing is old school death metal with titles like ‘Living Cadaver’. They’re appearance is unprepossessing, simply an assemblage of shorts and T-shirts, but what they do is slow, dark, heavy, and yes, I’ll say it – crushing. The drummer is the main vocalist and growls with a look of malevolence in his eyes. The drumming itself is perhaps a shade loose given its dominance, but the trio pack a commendable sonic density.
Driot
As is often the case with lineups like this, there’s a step up with every band – although not in the same way as it was in the 90s, when the headliners weren’t only given a superior mix but about 30% additional volume. This very much did used to happen, incidentally, at the same time the supports would often have to pay to play, too. The music industry has found new ways to shaft emerging artists since, but anyone who thinks there was some golden age is misinformed or misremembering. By the same token, band have to be so much tighter and more professional now. I’ll park that here for another time, and instead focus on the fact that Exorcism are all out fury from the offset. And they’re relentless. And loud. Perfect.
Exorcism
Blasphemer are worthy headliners. They bring the thickest, densest, filthiest racket, churned out via a bristling host of spiky guitars – and their drummer can drum alright. The venue is far from packed, and it seems that Damage Control and their mates have had to go home, but given that it’s the night after England’s World Cup defeat and the hands of Argentina (again) and it’s a Thursday after the students have gone home, there’s still a fair crowd getting down to these guys.
Blasphemer
Blasphemer are a blast, with full on riffs from start to finish. There are moments that stall me and me gnaw on some questions. They announce a song called ‘Grooming Gang’, and as the lyrics are impenetrable, I’m left to ponder their position. Obviously, I hope they’re not racists, just as I hope they’re not brash metal edgelords, too, as they also play a sample of the voicemail message left by John Samuel Humble, also known as Wearside Jack, who submitted hoax calls and under the guise of The Yorkshire Ripper. ‘I have the greatest respect for you, George..’ It feels rather less exciting or edgy here in 2026 than it did in 1986. Call me sensitive if you like. Still, they kick arse and are nothing short of phenomenal to watch, and are exactly what you need from a midweek metal bill.
Damage Control is an international electro-industrial group centred around a core quartet of Bill Barsby, Richard Thacker and Alex Wise (all based in Australia), plus Markus App from Germany. Barsby and Thacker are originally from the UK.
The group released an EP in mid-June entitled Master Of Silence on Metropolis Records that contained four songs recorded with Leæther Strip (the Danish musician Claus Larsen). They have followed it today with ‘Manifesto’, a new single resulting from another collaboration, this time with the Canadian duo OHMelectronic.
Consisting of Chris Peterson (Unit:187, Front Line Assembly, Delerium, Decree) and Craig Huxtable (Noise Unit, Landscape Body Machine), OHMelectronic issued two albums in the 2010s and recently resurrected the group to record new material.
The lyrics of ‘Manifesto’ have been written and sung by Huxtable. Exploring themes of sovereignty and personhood in the digital age, he states that “it is about sticking to your principles in an age of hyper disinformation. There is a lot of manipulation, false narratives and false idols out there. We are bombarded every day and we all need to stand strong in the face of it all. Declare your independency, set yourself free.”
Los Angeles-based alternative rock quartet Cascades have released their debut single and video, ‘in moments’, offering the first glimpse into their upcoming EP liminality, due September 25 via Many Hats Endeavors. Blending post-hardcore intensity, shoegaze atmosphere, and alternative rock melody, Cascades arrive with a sound that is both expansive and deeply personal.
Check it here:
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Featuring Jeremy Hernandez (guitar, vocals), Bobby Kay (bass), Jenna Terranova (drums), and Shane Burns (lead guitar), Cascades craft songs that move seamlessly between vulnerability and aggression, atmosphere and impact.
Fans of Thrice, Deftones, and Circa Survive will find plenty to connect with in the band’s approach.
“It’s heavy until it isn’t. It’s quiet until it isn’t. And that’s kind of the whole point,” says bassist Bobby Kay.
While the members bring decades of collective experience to the project, Cascades is less a continuation of past endeavors than the start of something new. Hernandez is known for his work with Fearless Records bands Big Wig and Near Miss, while Kay previously recorded as a Universal Republic artist, shared stages with artists including The Roots and Bleachers, and currently tours with Interscope artist Lady Radiator. With punk-inspired Terranova anchoring the songs’ momentum and Burns weaving layers of expressive leads throughout, Cascades has forged a chemistry that feels collaborative and intentional.
“It’s been exciting to reconnect with Jeremy and then to meet Jenna and Shane to create this,” says Kay. “It just feels like it’s the right timing, but it doesn’t feel like a coincidence.”
Recorded with veteran producer Steve Kravac (MXPX, Less Than Jake) and mixed and mastered by John Naclerio at Nada Studios (My Chemical Romance, Brand New), liminality captures the band’s dynamic intensity and emotional depth in a sound that is raw, immediate, and cinematic.
LEPER COLONY drop the first brutal advance track ‘These Blades’ taken from the deadly international trio’s new full-length Back to Primal Sludge. The third album of these death metal fanatics has been slated for release on October 9, 2026.
LEPER COLONY comment on ‘These Blades’: “This ferocious track whips uptempo filth your way and opens up a new breathing hole in your neck”, shred-master Rogga Johansson claims. “Meaty, fully fleshed-out riffs, mercilessly pounding drums, and a brutal vocal delivery deluxe are included. For us, ‘These Blades’ creates a perfect equilibrium between the American and Swedish approaches to death metal.”
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LEPER COLONY hold firm and relentlessly soldier on in their unholy quest to create the perfect equilibrium between the Floridian and Stockholm styles of old school death metal on their third full-length Back to Primal Sludge.
This defines Back to Primal Sludge in many ways as a direct continuation of their sophomore album Those of the Morbid (2025). Yet, there are twists and tweaks in the details. While the previous release offered a handful of references to deadly German influences, these have been further reduced just as the second album had dropped the classic thrash elements from the self-titled LEPER COLONY debut (2023).
Emerging in the early 2020’s, Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth of Veins’ was released in 2022, and their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.
Returning now for Static Abyss’ third studio album, and with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, The Dying Hunt plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare-inducing trip through the sonic abyss. Continuously and relentlessly flitting between brutal passages and hypnotic otherworldly craziness, The Dying Hunt reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust and Doom elements.
Ahead of the album’s release at the end of August, they’ve shared a video for the album’s savage title track, which you can check here:
Of this new release, Electronic Producer and DJ Huw Cadwaladr, says, ‘I Believe’, never originally intended for public release, offers the first glimpse into the world of Cambria Nocturna. The track marks a departure from the electronic work Gruff and I previously created as Carcharorion, moving toward a more songwriting-driven and lyrically expressive approach. While evolving creatively, the project continues to explore our shared love of cinematic electronic sound through experimental tape loops, field recordings, analogue instrumentation, and richly textured production. Originally conceived as a post-punk composition before transforming into a driving techno piece, ‘I Believe’ evolved over many months into its final form — a confessional and emotionally charged work. Recorded by Gruff and myself, and mixed by Alexander Green at The Zoo, the track became the first true catalyst and creative foundation for what would eventually become Cambria Nocturna.
Cambria Nocturna itself emerged from a period of profound personal trauma. During this time, I reconnected with Gruff after more than a decade apart, and together we began experimenting once again. What started as artistic collaboration quickly became something deeper: a source of healing, catharsis, and genuine therapy.
Through channeling these emotions creatively, Cambria Nocturna was born — a sonic tapestry of deeply atmospheric electronic music shaped by raw emotion, human connection, and resilience. By merging analogue electronics with acoustic instrumentation, we drew from a broad spectrum of influences, spanning 90s trip-hop, techno, electro, 80s Italo, and alternative electronica, alongside the work of artists such as John Cale and Nick Cave.
‘I Believe’ marks the beginning of a new chapter: emotionally resonant electronic music rooted in vulnerability, transformation and defiant survival— with further releases set to follow.
Hear ‘I Believe here:
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Emerging from a period of profound personal upheaval, Huw has created a sonic tapestry of deeply atmospheric electronic music shaped by raw emotion, resilience, and human connection.
During a time of recovery and reflection, music became both an escape and a lifeline. Around this time, he reconnected with Gruff, his longtime creative partner in Carcharorion. After more than a decade away from creating together, the pair began experimenting once again, discovering that the process offered not only artistic fulfilment, but genuine therapy.
The result is Cambria Nocturna: a deeply personal project born from vulnerability, reflection, and survival. Never originally intended for public release, the project became an honest exploration of emotional darkness, connection, and self-expression.
The debut single, ‘I Believe’, marks the beginning of this new chapter – emotionally charged electronic music rooted in atmosphere, honesty, and catharsis, with more releases set to follow.
Outside of his own music, Huw is also a presenter on Radio Sudd, where he hosts a show focused primarily on club-based electronic music.
Crumbling Ghost recently announced their return after a number of years away with the release of new album Four on 7th August via New Heavy Sounds. The group’s core idea is deceptively simple: traditional folk material rearranged and refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom.
Today the band have shared the video for new single, the slowcore/grunge inspired ‘Last of All Sleep’ which you can check out now:
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Within the broad church of ‘rock’ or ‘alternative’ and its many offshoots – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else.
Crumbling Ghost is one such anomaly and an irresistible one at that: a group who feel less like a discovery than a secret belatedly shared. Their new album Four set for release on 7th August (New Heavy Sounds) was announced last month.
Crumbling Ghost are not newcomers. They’ve been operating for some time, releasing records sporadically, Four is in fact their fourth release. Along the way they’ve accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they’ve appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under‑the‑radar. That might change with the quite wonderful ‘Four’.
The group’s core idea is deceptively simple: traditional folk material rearranged and refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock‑pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression.
On Four those narratives are dragged into the present via churning distortion, hypnotic repetition and a sense of looming atmosphere. Fairport Convention with fuzz. Trees with heft. A pastoral Sonic Youth.
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett’s voice sits at the centre: unmistakably folk‑rooted, but shorn of prettification, melodic yet capable of real bite. There’s no “hey nonny nonny” here.
Musically, it’s a combination that really does work, and it’s delivered in some style too. And to fully appreciate the world of Crumbling Ghost, listening closely pays dividends, and those stories come to life.
New single ‘Last of All Sleep’ is not a Crumbling Ghost reinterpretation of a dark and distant folk murder ballad, nor a cover of a little known 90’s SubPop grunge downtuned, downtempo album-track-that-should-have-been-a-single, but it feels like a song you’ve wanted to hear and yet known for years, in other words, an instant classic.
This release is something of a curio, in the sense that it’s a collaboration between two of the most famously prolific recording artists of recent times – Sun Ra recorded over 100 full-length albums, comprising well over 1000 songs prior to his death in 1993 at the age of 79, while Merzbow, active since 1979, has released in excess of 500 albums to date. However, this collaboration occurred posthumously for Sun Ra, and it’s worth quoting the context as given by the label, Cold Spring here:
Officially licensed from Irwin Chusid, who oversees the catalogue of the late Afrofuturist artist/composer/bandleader Sun Ra, Cold Spring negotiated rare and unreleased tracks from the Sun Ra archive to be remixed and treated by Masami Akita (aka Merzbow). The tracks incorporate the jazz power of Sun Ra with the brutal excess of the Japanese noise artist Merzbow.
Originally released by Cold Spring a decade ago and long sold out, the music was spread across vinyl and CD, with completely different music on each format. The tracks have now been collected together for the first time, using the original master tapes and presented in the order intended (the vinyl format dictated the order due to optimal sound quality restraints).
Included for the first time on any release is a bonus two minute track entitled ‘Granular Jazz Part 5’, a special composition created for ‘Stuart Maconie’s Freak Zone’, a weekly radio show on BBC 6 Music in the UK. It was broadcast ahead of Merzbow’s live concert at the FAC251 venue in Manchester in September 2016.
There are obviously practical reasons why the different formats featured different track listings on the original release, although these things can prove frustrating for fans finding themselves faced with the dilemma of missing material or forking out for multiple formats. This ‘complete’ reissue has the added incentive of an unreleased track, and while it’s only a couple of minutes of unreleased music, it does round off what is unquestionably a monster release – the six pieces having a combined run time of a massive 104 minutes.
So, to begin with a brief content comparison, the contents of the original CD – the 32-minute ‘Livid Sun Loop’ and ‘Granular Jazz Part 2’ (34 minutes long) makes up the corresponding first disc here, while the 2016 vinyl contained ‘Granular Jazz’ parts 1, 3, and 4. Chances are that some will still be dissatisfied that the CD tracks still haven’t made it onto vinyl, but you can’t please all the people all of the time, and as much as I’m a fan of vinyl myself, the longform nature of the compositions does seem well-suited to CD.
As for the contents of this ten-year expanded reissue… it’s no criticism or complaint to comment that it very much sounds like what you’d expect. ‘Livid Sun Loop’ encapsulates the album in its entirety in the first few minutes – shrieking horns flying in all directions against an apocalyptic churn of cement-mixer noise with the treble cranked to the max, feedback and flayed circuitry exploding like fireworks on New Year’s Eve. A squall of treble, scraping, screaming, like a Brillo pad scouring away at the inside of your skull. There are prolonged segments which are pure Merzbow, shredding digital noise, but then, suddenly, amidst the blitzkrieg, there are honking horns and random toots which pop through the raging wall. The track is a truly relentless assault, and brutally harsh. The frequencies very much favour the top-end, with howls and hisses of tinnitus-inducing quality tearing from the speakers with not so much as a second’s let-up. Every time you think that this must – must! – be the limit, Merzbow does the Merzbow thing of finding new frequencies with which to cause injury. Oh yes: this hurts. But what else did you expect? Some cozy club vibes, a bit of mellow sax and piano? Right. Merzbow brings the harshest head-shredding hell.
Twenty minutes in, there’s a segment that sounds like everything is breaking – not just the gear, I mean it sounds like a field recording of the collapse of civilisation, the absolute end of the world as we know it. And it just goes on. And on. What have I done to deserve this? What has anyone done to deserve this? Actually, perhaps this is the answer to the UK’s issues in the penal system. Being forced to listen to this a couple of times may be a viable altern alternative to shorter custodial sentences. But here I am, listening with great interest and even with a degree of perverse pleasure – although after half an hour, I will admit that I’m wilting somewhat, and not just because it’s 30C with 70% humidity in my office at 9pm. This is nothing short of punishment: it hurts. And it ain’t very jazzy. It’s a mangled mess of skin-peeling, face-melting horror.
But if ‘Livid Sun Loop’ makes for a long and challenging half hour, you’d better buckle in and brace yourself for the endurance test of all endurance tests. To dissipate any doubt, I am a big fan of noise, and enjoy basking in blistering waves of aural annihilation. And Strange City is special in its vision and scope, and its sheer enormity. There are fleeting flickers of strolling double bass which pep through the wild bleepery, woozy drones and sheet metal shredding.
‘Granular Jazz Part 1’ yawns and snarls, bibbles and bleeps and pulses and creaks and swashes and swinges its way through just shy of eighteen minutes of existential anxiety, but it’s simply a prelude to part 2. The slow fade-in and trickling digital cacophony is simply a lure, creating the illusion of listenability. And it does take some time to build. But, of course, build it does. A quarter of an hour in, and it’s reached a sustained crescendo or chaos that’s dense enough to crush your skull. The jazz quota is ratcheted up, too, and the result is something else. Finding the words for this is a challenger, but I’m starting to feel that it’s not words I need, but an ambulance.
Strange City is… intense. In large parts, it feel like Merzbo is the dominant party in this mash-up (which is essentially what it is), and at its best, Strange City makes for a fitting posthumous release for Sun Ra. But from whichever able ou approach it, Strange City is one serious blast of noise. Killer all the way.
Since Chat Pile’s formation just over six years ago, the Oklahoma City-based quartet has grown from a scrappy passion project of four local film and music enthusiasts into one of the defining heavy acts to emerge from the 2020s underground.
Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums)’s crushing, crass, and cathartic take on noise rock resonates in a cracked reality. Their music captures a raw, undeniably human essence that’s increasingly fleeting in an age marked by ceaseless torrents of algorithmic slop, technological overreach, and the cold, crestfallen state of society. Nothing about their forthcoming third LP, Who Loves the Sun, feels synthetic. In a world increasingly shaped by disposable content, Chat Pile answers with something defiantly real and organic.
Who Loves the Sun’s latest single, ‘PEN I S MALL’ is “…the heaviest Chat Pile song to date. The song and title refer to a stretch of time when Raygun was working as a maintenance man at one of the local shopping malls here in OKC. He screamed himself into a pretty brutal headache tracking this one if I remember correctly,” says Stin. Ray B. continues: “If survival wasn’t so brutal in the United States, a maintenance job at a local mall could in theory be a fun gig… Of course, the awful beast known as Capitalism is extremely rickety with not enough to truly go around in fair share as those in the lower and even middle positions know all to well.”
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While Chat Pile’s debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves the Sun now peels back the skin on how a collective indifference for a decaying world defines this new century. Touring off the back of their previous albums in part lent itself a confidence in the universality of their music. Stin comments, “I’ve always felt that Chat Pile is such an American concept thematically, but it seems like that’s not particularly true – people all over the world are resonating with what we have to say.” Spanning imagery of coastlines devouring cities as a result of inaction on climate change, the dread of working dead-end jobs, and the species’ collective submission to data-driven inauthenticity, Who Loves the Sun depicts the common experience of existing in a doom loop which feeds the malaise that permeates all aspects of our lives.
Reaching into the collective consciousness to commiserate and carouse, Chat Pile now dissects how the apathy-bloated state of 21st-century existence is an active, slow-motion apocalypse, threads of which are woven through the album’s ten tracks. The album is lyrically and sonically as aggressive and confrontational as ever, but here Chat Pile approached the record’s songwriting with hooks in mind, drawing on the melodic tones of pre-2000s indie/alt-rock and new wave.
The perfect allegory for the thematic essence of Who Loves the Sun is the photo embossed on the record’s cover. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. Devon Tower, a glassy, largely vacant monolith of a building, looms alone high above the Oklahoma City skyline, while an unknown burnt-out home or storefront envelops the foreground. Devon Tower was originally owned by the Devon Energy Company, who announced they were leaving Oklahoma last year. A monument to empty promises stands without a care in the world, while it’s only a matter of time before the blight it was responsible for swallows it up, too.
Live dates:
UK/EU 08/06 – Ancora, PT – Sonic Blast 08/08 – Katowice, PL – OFF Festival 08/09 – Prague, CZ – Fuchs2 ~ 08/10 – Budapest, HU – A38 ~ 08/11 – Vienna, AT – Arena (supporting HEALTH and Carpenter Brut) 08/12 – Munich, DE – Live/Evil ~ 08/14 – Col Du Lein, CH – Palp Festival 08/19 – Dublin, IRE – Button Factory ~ 08/20 – Dublin, IRE – Button Factory ~ 08/22 – Bristol, UK – Arctangent Festival
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09/12 – Oklahoma City, OK – Tower Theatre = (SISU Fundraiser Fest) 09/17 – Minneapolis, MN – First Avenue +^ 09/19 – Chicago, IL – Riot Fest 09/20 – Englewood, CO – The Gothic Theatre +& 09/23 – Salt Lake City, UT – The Metro Music Hall + & 09/25 – Seattle, WA – Showbox SoDo + & 09/27 – Portland, OR – Revolution Hall + & 09/29 – Sacramento, CA – Ace of Spades + 09/30 – San Francisco, CA – The Regency Ballroom + & 10/03 – San Diego, CA – Music Box + & 10/04 – Los Angeles, CA – The Belasco + & 10/06 – Mesa, AZ – The Nile Theater + & 10/08 – Austin, TX – Radio/East + & 10/09 – Houston, TX – White Oak Music Hall + & 10/10 – Dallas, TX – Granada Theater + & 11/05 – Detroit, MI – The Majestic Theatre + % 11/06 – Millvale, PA – Mr. Smalls Theatre + % 11/08 – Norwalk, CT – District Music Hall + % 11/10 – Brooklyn, NY – Brooklyn Steel + % 11/11 – Philadelphia, PA – Union Transfer + % 11/12 – Washington, DC – Black Cat + % 11/14 – Charlotte, NC – Underground + % 11/15 – Atlanta, GA – The Masquerade + % 11/16 – Nashville, TN – Brooklyn Bowl + % 11/18 – Columbus, OH – Newport Music Hall + % 11/20 – Indianapolis, IN – Deluxe at Old National Centre + % 11/21 – St. Louis, MO – Delmar Hall + % 11/22 – Lawrence, KS – The Granada + %
~ with Ragana + with Soul Glo ^ with Prize Horse & with Virga % with Shallowater = with Portrayal of Guilt, Nightosphere, Traindodge, Primal Brain
Aural Aggravation 