Coming January 15 : Chris Brokaw – ‘Puritan’

(photo : Anthony Saffery)

Chris Brokaw is the consummate underground rock musician. In a career spanning thirty-plus years he has been in countless bands (Come, Charnel Ground, Codeine, The Lemonheads, to name a few) has been a sideman with everyone from Thurston Moore to GG Allin, pounded countless stages on nonstop tours, and played on over seventy recordings. ‘Puritan’ is his tenth solo album and it’s a killer.

From the hypnotic repetition on the extended instrumental outro of title-track opener ‘Puritan’, the wounded grace of ‘Depending’, to the fragile beauty of the Velvets-esque duet with Claudia Groom, ‘I’m the Only One for You’, and the ghost of Alex Chilton echoing through ‘The Bragging Rights’, onto the GBV-like firestorm of ‘Periscope Kids’, and ending with the ‘On The Beach’ era Neil Young minimal strum of his cover of Karl Hendricks’ “The Night Has No Eyes”, Brokaw has crafted an understated masterpiece. ‘Puritan’ is an album that is all heartache and rebirth, resignation and joy, the kind of record that is so needed but all too rare these days. A classic from front to back.
– Mark Lanegan 2020

PREORDER :
12XU
Bandcamp

Q&A with Chris Brokaw on ‘Puritan’
 
Q:  How long has it been since your last solo record and what have you been doing in the time between?
 
A : My last solo record “End Of The Night” came out in May 2019. Since then I finished up some Lemonheads touring, toured the west coast with a band playing my new record (Lori Goldston on cello, Greg Kelley on trumpet, Luther Gray on drums, Dave Abramson on drums, me on guitar), toured Japan with Thalia Zedek (solos + duos), toured Europe with my band Charnel Ground (me +Doug McCombs and Kid Millions), toured the west coast again playing guitar in Doug McCombs’ band Brokeback, played a duo gig with Mike IX Williams in Boston…and then the plague hit. I’ve just been teaching guitar + drums on Skype since then, recording a little, laying low in Cambridge.
 
The last album I did of rock songs, with vocals and lyrics, was in 2013, and I guess I’ve been gathering material since then.
 
Q: Can you tell me a little about your songwriting method?
 
CB : Most of them take a long time. Sometimes I’ll have 8 seconds of a song, totally realized, I can hear a whole band doing it in my head as if it’s on a record….and then I just wait, and eventually form the rest of the song around it.
 
I’ve written some songs using mesostics and/or acrostics, tho none on this record.
 
“The Heart of Human Trafficking” took a long time, and I had to take a leap of faith to conclude that it was actually done, that the particular form it took was finished.
 
“Puritan” I wrote about a week before we recorded it. The band totally nailed it in the studio but I was still writing the lyrics at the microphone. I had to make it a crowd of voices, sort of tripping over one another, trying to form a path.
 
In both these songs I was really happy to have the results be surprising. At this point I most happily await things from myself that I don’t totally recognize.
 
“I’m The Only One For You” I wrote originally for a movie, a short ghost story called ‘Mother’s Garden’. The song is kind of a period piece, but then I fell in love with it. Originally it was pretty short but one night I was playing it with my trio in this cavernous brewery in Massachusetts and was like, what happens if we just stretch this out…in this room with this huge high ceiling…
 
“Report To An Academy” was named after a Rudyard Kipling story of the same name. I tried to use some of the ideas in the story, specifically the thoughts of a creature trying to imitate humans, as a jumping off point, but I couldn’t fit a vocal or lyrics into the song, and it stayed an instrumental. I was going through a period where I felt like I was imitating humans….negotiating some changes.
 
“Periscope Kids” I was trying to get something really sand- blasted-sounding. I’m a big fan of Nico and I was thinking of her a lot on this one. The Periscope Kids were a couple I knew in Seattle and they were bad news and that whole song is bad news.
 
My songs aren’t like Johnny Cash songs, most of them only I will probably know what they’re really all about. That’s ok, for better or worse I think that’s how it has to be. Whatever people get out of them, that’s great. Much of what’s in them is literal for me but maybe not for the listener.
 
Q)  How long have these songs been gestating?
 
CB : “Periscope Kids” is oldest, I think around 2014. “Puritan” one week old. Everything else in between.
 
Q)  Can you pick a couple songs that hold particular meaning to you and talk about them?
 
CB:  “Depending” is probably my favorite. So far it seems to be everyone’s favorite. It feels stately, and it’s nice to just step into that.
 
There’s a line in “Depending” where I say:
 
“I never thought, moving my lot alone across a prairie
I’d have the thought to give up my bones unto the birds to carry
whether I drive, whether I park and wait a few,
it won’t depend on you”
 
And I mean that was me literally driving a truck with all my shit across the country from Seattle to Boston in 2017, extremely uncertain about what was ahead after a pretty disasterous period out west…and thinking at one point, in some part of the country where you don’t see any cars or trucks or houses for hours, maybe I should just drive off a cliff and let the vultures pick my bones clean….And whether I do or not… that’s my call! Sort of a declaration of independence.  – Which I thought was grim and insane and funny all at once. It still cracks me up.
 
“I’m The Only One For You”, like I said, went from being a sort of pastiche to this kind of lush romanticism I’ve only dreamed of. My friend Claudia Groom (formerly of the Seattle band Juned) did such an amazing vocal on it…it fucking kills me, the band plays so beautifully…I’m very happy with it.
 
“The Night Has No Eyes” is the one cover, written by a dude from Pittsburgh named Karl Hendricks who passed away in 2017. I did the song originally for a tribute/benefit album, but re-recorded it with Thalia for this. It closes the album with a voice that feels about forgiveness and/or acceptance, and while that voice is essentially an outsider’s it seemed like a conciliatory way to end an album that is working through a bunch of other shit.
 
Q)  Inspiration?
 
CB: I’ve come to love playing and singing, but came sort of late to a lot of it, so I feel like I’m still finding my way in it. It’s one of a few different things I do. Like I said earlier I’m always happy to get surprised by the songs that come out. I wrote “Puritan” right before we recorded and it’s definitely about moving back to New England, a place I’m not from (I grew up in New York) but one I’ve fallen in love with and I think found my place in. I think saying “Chris Brokaw: Puritan” is deliberately funny but maybe I’ll be the only one laughing on that. The album is definitely threaded with ideas about how people judge one another, but….I don’t know, I don’t want to explain shit. Explaining art is terrible.

(photo : Andy Hong) 
 
The Chris Brokaw Rock Band :
Chris Brokaw  guitar, vocals
Dave Carlson – bass guitar
Pete Koeplin – drums

with special guests :
Tricia Adelmann – vocal on “I Can’t Sleep”
Claudia Groom – vocal on “I’m The Only One For You”
Thalia Zedek – vocal, guitar on “The Bragging Rights” and “The Night Has No Eyes”

Recorded and mixed by Andy Hong at Kimchee, Cambridge MA 2019/2020. “Bragging Rights” and “The Night Has No Eyes”, recorded by Britt Robischeaux at Cloudland, Fort Worth, TX, November 2019. Mastered at Chicago Mastering Service by Matthew Barnhart.

All songs written by Chris Brokaw except “The Night Has No Eyes” (written by Karl Hendricks, lyrics used by permission). LP layout and design by James Keeler. Front cover photo by Sasha Syeed.

Coming December 4 : Voice Imitator – ‘Plaza’

“Adult Performer”, from the album ‘Plaza’

Voice Imitator is the collaborative project of Per Bystrom, Justin Fuller, Mark Groves, and Leon O’Regan. All four have been active as part of numerous, cross-genre ventures in the Australian underground for many years. Bystrom has offered a rhythmic heart for Exhaustion and Leather Towel, whilst further expanding on metrical ideas in Compound, his solo electronic undertaking. Zond, TOL, Grane and various solo outings have all showcased Fuller’s severely manipulated, hallucinogenic guitar and unsettling electronics. O’Regan has provided lithe, turbulent and imaginative bass guitar for The Bunyip Moon, and antagonistic industrial electronics as Dire Ears. Groves, as vocalist, has previously oscillated between the idiosyncratic combination of drily delivered text, close-miked voice and concrète sound for Red Wine and Sugar and solo project Absurd Cosmos Late Nite, as well as functioning as frontperson for noise rock and heavy electronic acts True Radical Miracle and Dead Boomers.

In Voice Imitator, these four pursue mutual auditory fixations and eccentric individual inputs toward a distinctive and cohesive unit. Groves’ texts are the outcome of anxious and fatigued surveillance, emerging as bleak satire and quietly surreal flashes drawn from the mundane. Vacillating awkwardly between barely contained frustration and ironic detachment, this voice is ushered by a relentless ostinato pulse, washes of heavily effected guitar, subterranean electronic noise and a tense ambience of self-conscious nervousness. Recurring undercurrents of motorik rhythm, and motor city techno draw shared obsession together, providing an altogether new construction. Much like the allegory of a boiling frog, here tension slowly builds to an aggressively muscular conclusion.

preorder ‘Plaza’

“Adult Performer (Hemlock Ladder mix)

Coming January 15, 2021 : Wolf Eyes / Blank Hellscape split 12″

Wolf Eyes – “Winter Sunday” b/w Blank Hellscape – “Concrete Walls” 12″ (12XU 127-1)
out January 15, 2021

What happens when Detroit’s Wolf Eyes and Austin’s Blank Hellscape team up to provide a suitably nightmarish backdrop for USA 2020 vanquished by fear, greed, incurable disease, etc. ? Fuck if I know, it’s not like they recorded their tracks in the same room while watching cable news. I mean, credit both ensembles for having an imaginative bone in their bodies or two. On the left, we have Michigan’s synapse-snapping heavyweight champs. On the right, 3 fellas whose 2019 Diseased Tapes debut was one of the year’s most harrowing listening experiences. This EP required no fewer than 3 mastering engineers, 2 personal trainers and 1 and a half psychologists (there was a credentials question) to complete.

preorder.

John Sharkey III – I Found Everyone This Way

John Sharkey III – “I Found Everyone This Way”
from the album ‘Shoot Out The Cameras’ (March 5, 2021)

stream / download :
12XU – North America
Mistletone – Australia

“I Found Everyone This Way” is the arresting first glimpse of ‘Shoot Out The Cameras’, the debut solo album by John Sharkey III.

Written and recorded amidst the devastating bushfires which ravaged his adopted hometown Canberra, just before the wave of pandemic broke, ‘Shoot Out The Cameras’ reveals Sharkey to be a master craftsman, honing in on the existential dread of living in a burning world, and the imperative to find beauty in what remains.

Perhaps best known as the creative force behind Clockcleaner, which erupted from the fertile soil of Philly’s DIY scene in the 00s, Sharkey’s solid underground credentials include his tenure in 9 Shocks Terror and more recently, literate rock explorations as Puerto Rico Flowers and Dark Blue.

It was love (of course) that brought Sharkey from Philly to Melbourne in 2008, where he worked behind the bar at beloved venue, The Tote. Sharkey and his partner Yasmin moved back to Philly for several years; then, amid the darkening landscape of US politics, the couple decided to settle in Canberra, Yasmin’s hometown. A lunatic sports fan, Sharkey adopted the Canberra Raiders with the same fervour as his beloved Philly Eagles, and has connected with hardcore Rugby League fans, making several guest appearances on the wildly popular NRL Boom Rookies podcast.

At a physical but not psychological remove from the horrifying dysfunction of Trump’s America, Sharkey watched catastrophic bushfires encircle Canberra, raging through the hills of the Southern Tablelands, the city glowing orange, the suburbs suffocating in smoke. This is when the songs of ‘Shoot Out The Cameras’ took form. As if to echo the craters of “before” and “after” that apocalyptic events leave in our collective consciousness, the songs arranged themselves into a cinematic narrative arc, from the foreboding of disaster (Side A) through its aftermath (Side B). The background horrors of totalitarianism, paranoia and surveillance also stalk the album – the cameras of the title inspired by Canberra’s omnipresent CCTV and speed cameras – just to add to the unmistakable sense of impending doom.

Such heavy subject matter brought into his music, for the first time, a gift that Sharkey had carried within him since his teens; the mighty influence of one of Americana’s great auteurs, Iris Dement. Dement’s ability to cut to the bone, in her sweet and devastating songs, deeply informed Sharkey’s songwriting on ‘Shoot Out The Cameras’.

“My grandmother raised me on country music – Ray Price and Patsy Cline”, Sharkey recalls. “When I was 12, my mother would flog Iris Dement’s first two albums on drives to the beach. I was into Black Flag, but come 16 or 17, I was sneaking into the car to steal her tapes. Iris Dement crept into my psyche, and never left. She taught me not to hold back, when it comes to death or sorrow, doubling down on depressive lyrics.”

Fate intervened in the shaggy shape of Philly hero Kurt Vile, who invited Sharkey onstage when he toured Canberra last year. In the audience that night was Canberra native Nick Craft, who stood mouth agape as Sharkey sang pristine country harmonies with Vile on a cover of The Highwaymen’s “Silver Stallion”. Once Craft heard Sharkey’s demos, he urged him to make an album.

Holed up in a small studio on Queanbeyan’s industrial estate, Sharkey and Craft captured ‘Shoot Out The Cameras’ in two marathon sessions. Beautifully recorded, the starkness of Sharkey’s lyrical imagery and pit-of-the-stomach emotions are honoured with nothing more than guitar and voice, and, on the album’s closer, the glisten of Philly homie Mary Lattimore’s harp.

The result is an album of searing emotional depth, which faces the onslaught of disaster unflinchingly, with the hope and determination that families and communities must muster to pull through the personal and collective nightmares we all face. Sharkey remains a staunch optimist, his love for his adopted Australia only strengthened by watching it burn.

“We will adapt, we will get through this together,” he vows. “The most important thing to have in your arsenal of emotions is empathy. Not many people have it; so you have to build your own resilience and strength to deal with that too. You have to be tougher than anything the world can throw at you.”

Coming April 24 : Lewsberg – ‘In This House’

(photo by Hasret Emine)

‘In This House’, the second album by Rotterdam-based Lewsberg and their first US release will be issued on LP by 12XU on April 25.

(PREORDER ‘In This House’  – 12XU  / Bandcamp*)

The quartet’s latest offering seeps into your consciousness in a different way to their debut, though their tendency towards existentialism and black humour is present throughout. Harsher in sound, but more humane in spirit, In This House refuses to let the listener settle for a single moment.

The metallic, atonal guitar strum on opening song “Left Turn” leaves no room for discussion. This is Lewsberg at work. The unnerving sound of a revving car, handbrake on, suddenly coming to an abrupt and silent halt. Is the title of this opener a warning for the listener for the rest of the set, as if we’re going down Robert Frost’s “road less traveled,” or is it just a description of this lonesome character’s unexpected behaviour in this particular song?

‘In This House’ is full of surprises. The teasing guitar break on “From Never to Once”. The two instrumentals “Trained Eye” and “Interlude”. The emotionally affecting ballad, “The Door”. And there’s the pairing of the last two tracks: the fatalistic “Jacob’s Ladder” and the wild, evocative “Standard Procedures” —- as if each piece works independently from the other, gazing back occasionally on what came before and, in turn, adding a different flavour to what comes next.

“Cold Light of Day” and “Tbrough the Garden” are textbook Lewsberg ; 2 songs, provocative and enchanting in their minimalism. Whilst “At Lunch” is seemingly innocent and carefree at the start, ultimately conjures a looming sense of doubt by its conclusion.

“In this house we make mistakes
In this house we never give up”

These lines from closing song “Standard Procedures” could be the adage of the band. Not like some sort of peptalk or an expression of winner’s mentality, but as an homage to the beauty and comfort you can find in perseverance.

Lewsberg would like to draw your attention to the following:
1. Some people are nicer than they think. Some people don’t dare to show how nice they are.
2. More pixels means less imagination.
3. Next time the mice will catch the owl.
4. In Rotterdam they don’t use concrete anymore.
5. Sometimes you only find out how fragile a thing is, when you touch it for the first time.
6. Not every good deed is part of a plan.
7. There’s comfort in continuous toil.
8. In this house we make mistakes. In this house we never give up. The door is always open.


Lewsberg are Arie van Vliet (guitar, vocals), Michiel Klein (guitar), Shalita Dietrich (bass, vocals), and Dico Kruijsse (drums)
Music by Michiel Klein.
Music for “At Lunch” and “The Door” by Arie van Vliet & Michiel Klein.
Recorded & mixed at Sahara Sound Studio.
Produced by Henk Koorn & Michiel Klein.
Mastered by Timothy Stollenwerk.

Lewsberg on tour
March 27, ACU, Utrecht, NL
March 28, Extrapool, Nijmegen, NL
April 5, Hafen 2, Offenbach DE
A
pril 6, Monarch, Berlin DE
April 7, Gastfeld, Bremen, DE
April 8, Tape, Aarhus, DK
April 9, Vera, Groningen NL
April 16, Latest Music Bar, Brighton UK
April 17, The Wedgewood Rooms, Portsmouth UK
April 18, The Smokehouse, Ipswich UK
April 19, Bobiks, Newcastle UK
April 20, Brudenell Social Club, Leeds UK
April 21, Crofters Rights, Bristol UK
April 22, Moth Club, London UK
April 25, Rotown, Rotterdam NL

(outside of North America, ‘In This House’ is self-released by the band and available via Cargo Distribution)

Coming January 24, 2020 : Xetas – The Cypher

(video directed by Kana Harris)

Xetas – The Cypher (12XU 120-1)   out January 24, 2020

Why do people start bands anymore? To get rich and famous? Compliment re-tweeting? To gain the respect of their peers in the RIAA? I don’t know, and I don’t have a computer so I can’t look it up. But I bet sometimes bands get started with no goal at all, beyond basics like don’t lose the keys to the practice space, and to share the excitement of making music together. From there, the goals become things like, get better at it, and do it more. But, again, no computer here, so, don’t know 100%.

Xetas have been doing exactly that, making wired, joyfully intense music ever since their first 7” in 2014. Their first two albums, ‘The Redeemer’ and ‘The Tower’, are compact, high-voltage, furniture-throwing gems. With ‘The Cypher’, they emerge after a year of work as a one-minded beast. The songs blast off and burn, but carry a new depth and weight. Inside gusts of ferocious noise there are subtly sweet melodies that stick in your head; volume gets quiet, tempos charge, slow down, stutter, and implode. The sounds are of a deeper dimension, surprising glimpses of (what’s that?) and (huh wow!). It all creates a rich emotional dimension, which you feel even while the band is thrashing you around in its jaws like an alligator.

Instantly you notice the vocal arrangements. Everybody sings every song, whether dividing verses or in unison, in true crew fashion. It’s a moving statement of intent. Punk rock? To be sure, but punk can mean anything goes. David Petro’s guitars come in countless layers of tension, incorporating punk mowdown and bad trip psych, at times bringing to mind Pen Rollings, Tara Key, and Roger Miller. On “The Objector,” bassist Kana Harris’s voice effortlessly shifts emotional gears as she reflects on power and change, leaving you to meditate on the lyrics “no one here will remember the old landscape.”

Maybe it’s a concept record? Could be, if the concept is figuring out how to survive by being yourselves, how to get better and better every day at being a band, and leaving nothing on the court. Isn’t that a concept every band should have? Is that even a concept? Isn’t that reality? It’s like I have to look everything up these days. – James McNew 



Xetas :
David Petro – guitar, vocals,
Kana Harris – bass, vocals
Jay Dilick – drums, vocals

‘The Cypher’ was recorded throughout 2019 at Estuary Recording, Austin TX and produced by John Michael Landon and Xetas.

stream / download “The Hierophant”

preorder ‘The Cypher’ on LP/CD  : 12XU / Bandcamp

(photo by Angela Betancourt)

(photo by Angela Betancourt)

Coming October 18 : Rocket 808 – ‘Rocket 808’

(photo : Frostine Shake)

Following a late 2018 debut 7″, ‘Rocket 808’ is the eponymous debut LP from the latest brainchild of John Schooley, a guitarist with an impressive resume in the American underground going back a couple of decades with bands including but not limited to the Revelators, the Hard Feelings, John Schooley’s One Man Band and Meet Your Death.  This, however, might be his most daring gambit to date.
 
Combining the primitive analog drum machine of 1970s New York underground icons Suicide with the snarl and twang of guitar progenitors Link Wray and Duane Eddy, Rocket 808 has created a unique aesthetic mixing minimalist proto-punk noise and roots guitar into a new futurism, finally giving us the tomorrow with flying cars we were promised in 1950s EC Comics, Blade Runner, and back issues of Popular Mechanics. If Martin Rev had produced ZZ Top’s ‘Eliminator’, or if Ry Cooder’s score to “Streets of Fire” was instead heard on “Sid and Nancy”, you’d have an idea of how Rocket 808 blurs the lines between guitar-heavy styles and eras using artificial percussion.
 
Just as The Cramps updated their 45 collection for a new generation, Rocket 808’s cover of Suicide’s “Ghost Rider” exists alongside rockabilly classics like Ersel Hickey’s “Goin’ Down That Road”, while the band name conjures images of both Ike Turner’s supposedly “first rock n’ roll song”  “Rocket 808” and the Roland TR-808 Rhythm Composer, the world’s most famous drum machine. Orville Neely of OBN IIIs and Bad Sports provides live drums, and hotshot Mike Molnar of the Bellfuries adds guitar on a few songs alongside Rocket 808’s Schooley, which lets you imagine what Johnny Thunders trading licks with James Burton on an Alan Vega solo album might have sounded like. Rocket 808 has deconstructed the 1960s guitar instrumentals of Dick Dale or Santo and Johnny into Angelo Baldimanti soundtracks for David Lynch films that haven’t been made yet.

Stream / order Rocket 808

(photo : Frostine Shake)

Coming October 25 : Spray Paint – ‘Into The Country’ (12XU 119-1)

Stream “Cleaning My Gun” at Spotify
Preorder ‘Into The Country’ from 12XU
Preorder ‘Into The Country from Bandcamp

‘Into The Country’ was recorded throughout the year of 2016 in-between touring/working and Cory & Chris moving to Mexico and Australia respectively. Basic tracks were recorded by longtime collaborator Ian Rundell in his studio and then messed with in our practice space at the Monofonus compound in Austin, TX. Chris did most of the heavy lifting. Cory did some of the drum machines, and George was fiddling with some electronic gadgets, with lyrics once again mined from the info wars comment section and various other stressful situations like airports and hospitals. This is the first proper Spray Paint LP since 2016’s ‘Feel The Clamps’ (Goner). Since then collaborations with Protomartyr, Ben Wallers, Ben Mackie, and Dan Melchior have been released.

Though Spray Paint have no touring plans in the immediate future, the trio will reconvene in Austin this November to for multiple nights at Hotel Vegas as part of the Monofonus Press RIP weekend taking place at said venue and the M.P. compound, November 22-24 (other participants include The Rebel, Beech Creeps, Tashi Dorji, Sun Araw, Obnox, Claire Rousay, Ralph White, Brandy, Matchess and many others).

Coming June 6 : Golden Pelicans – ‘Grinding For Gruel’

Over the course of the last 8 years, Orlando’s GOLDEN PELICANS have made a compelling case for themselves as one of the planet’s most relentlessly malevolent ensembles, both live and on record. Thankfully, however, this is not an episode of “Hot Bench” and rather than finger-pointing and tearful recriminations, I’ll offer as evidence their succession of titles for the Total Punk and Goner labels with which the quartet of vocalist Erik Grincewicz, guitarist Scott Barnes, bassist Sammy Meneses and drummer Rich Evans have reached American punk’s apex in the 2 thousand teens more than once (like goalposts, the thing moves around a bit)

(photo by Nick Allam)

On the band’s 2019 entry, ‘Grinding For Gruel’, recorded by Ryan Bell of GG King / Predator, Grinewicz’ fatalism & Barnes’ not-nearly-heralded-enough virtuosity are captured with the sort of chromatic sheen that would’ve at one time been considered unthinkable (well, before electricity was invented, anyway). Is this the finest, most fully-realized Golden Pelicans release to date? Is rock D-E-A-D? Have you ever been hit in the head with a soft rock? YOU SURE DO POSE A LOT OF INTERESTING QUESTIONS.

There are those who well might mutter “how many Golden Pelicans records am I supposed to own, anyway?” Would you ask the same of Tangerine Dream? Nana Mouskouri? Why don’t you say it to Nana Mouskouri’s face right now and see what happens

Golden Pelicans on the road :

April 17 Snug Harbor, Charlotte NC w/ Pleather, Fixed Faces, Mutant Strain
April 18 Wonderland, Richmond VA w/ Cement Shoes, Sick Bags, Shiftless Citizens
April 19 The Glove, Brooklyn NY w/ Urochromes, Brandy, Foster Care
April 20 Greek American Club, Somerville MA w/ Sticker Shock, Nice Guys, Thighs
April 21 Machines With Magnets, Pawtucket RI w/ Funeral Cone, Sticker Shock, Songbirds
April 22 Skid Row, York PA w/ Eggman
April 23 Wicked Witch, Raleigh NC w/ Huffer, Das Drip, Scarecrow

preorder ‘Grinding For Gruel’ from 12XU or Bandcamp