PICK OF THE WEEK: Wayfarer’s spacious black metal infuses creativity, fury into ‘Old Souls’

Photo by Alvino Salcedo

Photo by Alvino Salcedo

I have some traveling in my future, which I’m both looking forward to and kind of having some anxiety about. The latter is just par for the course. Anyhow, usually during those stretches where there are boring, unexciting scenes, I like to flood my head with stimulating music so that I can stay alert and so that I can have something to lift my spirits.

During these upcoming travels, I’m certain I’ll be spending a lot of time with “Old Souls,” the new record from atmospheric black metal band Wayfarer, a stunning, moving adventure that’s been bombarding me for the past few months. See, I do work for a magazine as well, and with long lead times, we often get music even earlier than I do for what I cover at this site. Since I was assigned Wayfarer, I’ve had the music for quite some time now, and it’s been an album that’s constantly been in my rotation. I know we’re inundated with this style of black metal now, as there certainly is a lot of that out there, but these guys infuse passion and power into their work and keep you dreaming along with them. Hence why they’re going to make essential music for those long hours in the car.

Wayfarer coverWayfarer, who hail from Denver, have been together for half a decade now and already are two full-lengths into their run. The band independently released their 2014 opus “Children of the Iron Age” (another record you should seek out if you haven’t yet), and that caught the attention of Prosthetic Records, who have been building a pretty interesting roster as of late. That’s a plus for both parties as the label gets another great band, and Wayfarer should be exposed to far more sets of eardrums. As for the band, they’re made up of members who have played in bands as varied as Blood Incantation, Abysmal Dimensions, Suns of Sorath, and Kitezh, and they include guitarists/vocalists Tanner Rezabek and Shane McCarthy, bassist Jamie Hansen, and drummer Isaac Faulk, and they’ve really come together as a promising leader in this sect of the sub-genre.

Wayfarer refer to their style as “music for mountains,” and that starts in earnest with “Ever Climbing,” a track that takes its time stretching its legs before unfurling fully. Once the seal is broken, heavy leads push through, howled growls pierce, and a tempered pace pushes on, not too worried about reaching its end point until the full story is told. The song chugs and tears even further apart, spilling into spacious terrain, feedback ringing out, and then another big charge. Melody bursts one more time before the track comes to its resting place. “Frontiers” is a brief interlude, built with drums, an acoustic/electric mix, and rustic sensibilities before heading into the 11:41 “Old Souls’ New Dawn.” Acoustics lead off and into the explosion, with creaky growls smearing as the tempo chugs along. The pace feels like a rolling storm, hanging overhead and soaking the ground, mixing into serenity and quiet guitars, then later erupting anew and unleashing thunder. The growls are deeper and nastier, with an emotional swelling crushing the gates, guitars lathering up, and the song winding down with explosiveness. “Catcher” punches open, making a case for urgency. There is a proggy feel to the riffs, making for one of the catchiest parts of the record, and acoustics settle in and set a bridge to deluge, with the track exuding melody and spilling right up to its blunt end.

“Deathless Tundra” charges open before the tempo starts pushing and pulling. The bulk of this is punchy and rainy, with forceful growls agitating and a fluid pace that makes this feel like a flowing stream. A folkish section arrives before the storm clouds return and deliver fury and blistering growls that trade off with eerie whispers. The final minutes pulverize the senses before the sounds bristle away. “The Dust Lakes” is a quick instrumental, with guitars slowly setting up shop before bleeding and bending through the bulk of this. The track stays mid-tempo and emotional, and it sets the stage for pulverizing, 9:50 closer “All Lost in Aimless Chaos.” The track spits open and spreads sparks, with riveting riffs, and very creative pace, before serenity sets in a lets you room to breathe. That doesn’t last long, however, as the track rages with life again and changes colors constantly, going from fire to ice. Later, the guitars mount a stabbing surge, with vicious growls causing deep bruising, making a final stand before the song takes on a slithering tempo before it fades off into a warped bed of sound.

I can appreciate any band that can grab my attention and hold it for an extended period of time, and Wayfarer definitely have that grasp. “Old Souls” is a big step ahead for them both musically and from an attention standpoint, and hopefully they make the most of that opportunity. This band has a chance to spread atmospheric black metal and its many wonder to more people, and this album is one that deserves your undivided attention.

For more on the band, go here: https://www.facebook.com/wayfarercolorado/

To buy the album, go here: http://prostheticrecords.limitedrun.com/

For more on the label, go here: http://prostheticrecords.com/

Texas death metal drivers Vex unearth torment of drought on mind-bending new ‘Sky Exile’

VexThere aren’t a ton of concept records about the weather in the metal world. I guess we can argue Immortal’s discography roughly could be argued as counting since all of them focus on a fantasy ice world. But for the most part, this is an area that doesn’t get a lot of attention conceptually over an entire album.

That didn’t deter Texas-based death metal band Vex, whose new record “Sky Exile” takes on the heat and scorched earth that was a very real thing people experienced just a few years ago. Based on the 2011 Texas drought, the 11 tracks on this record are imagined as journal entries from the people of West Texas who endured that time period. It was a way for the band to further humanize the situation by imagining what those inhabitants went through during the heat and tragically small rainfall that year. The band’s travels through those areas, and the skeletons of abandon houses, led them to create this music, looking back on one of the driest, most destructive stretches in Texas history.

Vex coverWhile Vex are termed as melodic death metal, don’t go thinking the bulk of the indie metal label’s rosters. It’s nothing like that at all. It’s pure death infused with melody, as well as prog and folk. Having formed in 1998, the band has two other full-lengths to their credit—2010 debut “Thanatopsis” and 2013’s “Memorious.” Their dexterity and commitment to infusing passion into their music adds great depth to their work and doesn’t just soak you in brutality. What the band—vocalist Joe Jackson, guitarists Michael Day and Ciaran McCloskey, bassist Joel Miller, and drummer Eoghan McCloskey—accomplishes on this record is take an event such as the one from 2011, and give it treatment that’s equal parts heaviness and texture, fury and compassion.

“Dry River Days” is a brief opener that allows the door to creak, with swirling sounds and drums, and that leads into “To Anacreon (Strangling the Muse)” that tears apart. The pace chugs and the growls pierce, with strong riffs wailing and cool progginess slipping in. Clean singing then settles in, and the track heads toward “Empyrean,” another shorter track that acts as an interlude, blowing into “Antithetic Age.” There, the riffs hit hard as death throes arrive, with melody rushing in, and added progressive sounds showing fresh colors. The vocals switch back and forth between guttural growls and airy singing, as the bass work pops, and the track hits a new level of ferocity before it heads out and toward “Nowhere Near.”  There, the music has a bit of a Southern vibe, with slide guitars adding mood, and savage growls pounding away. Later on, the guitars stretch out and explore the sky, with the bulk of the song settling into psychedelic corners. Reflective playing then dissolves into static.

“The Cygnus Light” is a really interesting one and has a spacious start, churning and turning from there, with the grim growls telling the dark story. The song has its tricky moments, with some of the playing shaking your head around and rustic acoustics unleashing dust. Odd ambiance arrives, with a spoken passage sprawling, and a moody finish. “Solar Sacrament” unleashes the breezes again before hitting a crunchy path. Fiery vocals are unleashed, with the song getting heavier and meaner, and the final minutes jerking your neck all over. “Dark Skies Painted” begins with dark clouds settling overhead before the track bursts open with fluid playing that sometimes nears black metal realms and often is unforgivingly heavy. Toward the track’s end, the melodies well up high, as the song fades into sparks. “30 Miles From Here” starts flowing, with guitars dripping, and an explosive eruption taking hold. The bulk of this is slow driving, but ultimately heavy, with creaking growls piercing flesh, and a finish that sits in hypnosis. “August 11” has trudging power, as growls crawl over cleaner guitars before the seams are torn apart. There are parts that rip everything apart before acoustics mix in, and the track disappears into a trickle of water. “Astral Burial” is the interlude finale, a sense of relief as waters rush, footsteps crunch the ground, and fires crackle amid drumming and noise rumbling away.

While a drought might seem like dry subject matter on the surface, the humanity and passion the band puts into “Sky Exile” never even makes that thought cross your mind. The band has a creativity and style that sets them apart from a lot of the death metal world, and Vex’s multi-faceted approach always keeps their music interesting and engaging. This album is a bit of a grower, granted, but after a few visits with this record, it’ll soon start etching its way inside of you.

For more on the band, go here: https://www.facebook.com/vexmetal/

To buy the album, go here: http://eihwazrecordings.com/distro/

For more on the label, go here: http://eihwazrecordings.com/

Blut Aus Nord, Ævangelist join warped forces, bloody waters on split ‘Codex Obscura Nomina’

Blut Aevangelst coverThere are some unions that, where you hear of them, you nod and confirm that said bond makes total and complete sense. So when my inbox was infiltrated by a new split release pitting Blut Aus Nord with Ævangelist, it didn’t really shock me. That’s a release that’s just too much logical.

For Blut Aus Nord, we’ve long been enchanted by their strange form of black metal, one that has twisted and turned over the years, taken on surprising new elements, and really hasn’t bowed to anyone’s wishes. The band, led by the unstoppable Vidsval (guitars, vocals) and rounded out by keyboardist/electronics wizard W.D. Feld, bassist GhOst, and drummer Thorns, has whipped out 11 full-lengths since their formation in 1994, their most recent being 2014’s excellent “Memoria Vetusta III: Saturnian Poetry.” Their four tracks on this split release “Codex Obscura Nomina” shift even further away from pure black metal and into industrial, trip-hop elements that have been woven through their work over the years. Their cuts here are strange, nightmarish, and intoxicating, a definite foray away from the band’s center (which, granted, is way different than most). That makes these songs really exciting and something that might indicate even more experimentation in the future.

“Evanescent Hallucinations” begins with strange industrial sounds before opening up in the mouth of a storm. Thick keys make the song sound like a dark carnival, with really weird, nightmarish melodies laced into the track. Buried growls rumble, with the back end of the track bubbling up as a monstrous sprawl. “Resonnance(s)” makes it feel like the room is spinning, with slurry, odd, dreamlike imagery taking hold. The growls dissolve, while chants rise up, a clean, deranged wails explode behind the din, and everything fades into a sound cloud. “The Parallel Echoes” has static beats and off-kilter playing, with gurgly growls sounding like a demonic strangulation, before they hit a humid simmer. Mesmerizing guitars float, as the weird riffs levitate in mid-air, and the sound reverberates inside your chest. “Infra-Voices Ensemble” is their final deed, bleeding in from the darkness and heading into aggressive programmed beats. Harsh growls slice their way in, as the tempo reaches its dark arms across you and embraces with force. The track punches and pelts, with the beats maintaining their intensity and then subsiding in a cloud of noise. Really interesting stuff from one of the world’s most inventive bands.

As for Ævangelist, they, too, walk their own path, which is fucked up with tons of dissonance and jarring noise that go against every fiber of metal’s grain. They have been quite prolific as of late, with three full-length efforts that past three years (last year’s “Enthrall to the Void of Bliss” is their most recent and first for 20 Buck Spin), as well as a couple of EPs. On this split, the band—Matron Thorn (guitars, vocals, bass, noise) and Ascaris (vocals, saxophone, cello)—commit their longest song to date, a 21:33 opus that takes up their entire side of the effort, and one awash in great terror. As usual, their music isn’t easy to approach, especially if you’re not familiar with their style. But if you participate fully and let the music wash over you, it’s easy to fall prey to their punishing hypnosis, which could leave you lost, disoriented, and oddly speaking in strange tongues.

“Threshold of the Miraculous” has a numbing start, with drums and beats rattling, then growls beginning to make their way across. Weird melodies swirl into a sound vortex, and then things really get started, with gurgles bubbling up, menacing messages being delivered, and then a stretch of uneasy quiet. That’s torn apart by slicing riffs that sound almost conventional (at least in an Ævangelist world), before the first stretch of speaking arrives, switching back and forth between tongues, and sounding like a sermon for the end of days. That melts into death and an array of dizzying sounds, with the monologue returning and then dissolving into a stretch of lurching growls and a melody burst that spins out of control. “Bow down and pray!” is bellowed over and over, way more a threat than an invitation, while the last few minutes bend into feral ugliness and go out in death fumes. This is one of Ævangelist’s more daring pieces yet, one that holds its own quite well with their split mates.

As much as I enjoy split releases that feature bands coming at things from completely different angles, it’s also great to hear one where both groups are operating within the same sphere, albeit with different agendas. Blut Aus Nord and Ævangelist are two of metal’s most daring and interesting bands, and you never can guess with total certainly where either will gravitate next. To have both locked into the same creative space is an enthralling thing, one that will reprogram your brain and how you process art.

For more on Blut Aus Nord, go here: https://www.facebook.com/blutausnord.official

For more on Ævangelist, go here: https://www.facebook.com/aevangelist .official

To buy the album, go here: http://www.debemur-morti.com/en/12-eshop

For more on the label, go here: http://www.debemur-morti.com/en/

Terra Tenebrosa force you to face the strange as their black metal damages on ‘The Reverses’

Terra TenebrosaAnd now for a dose of head-scratching weirdness. When it comes to said strangeness, we don’t get a whole lot of that anymore in metal’s realms. Things are often too serious and to the vest that some outright wackiness and lopsided terror doesn’t get as much time as it should. But if it’s weirdness you crave, there is an abundance of it for you today. In fact, this week.

Terra Tenebrosa, the mysterious, masked trio, have confounding goods for you in great numbers on their new and third full-length “The Reverses.” Over their run, nothing has been normal or by the numbers for them, and that’s what’s made the band pretty refreshing. Can they be an at-arms-length type of band? Sure. Their wares aren’t bound to be for everyone’s tastes. But their twisted, industrial-tinged black metal is unforgivingly heavy, unabashedly strange, and packed with their own brand of intensity. In fact, if you want another example of how this band follows its own calling and no one else’s, their bio is a poem. It’s all about the plight of the Cuckoo, the formation of the band, and all of the dark and horrifying things that have inspired this apocalyptic vision. It’s not easy to understand, honestly, but that only makes sense. The band had some notable helping hands on this record, by the way, with Jonas A. Holmberg (This Gift Is a Curse), Alex Stjernfeldt (The Moth Gatherer), MkM (Antaeus, Aosoth), and Vindsval (Blut Aus Nord) lending their gifts.

Terra Tenebrosa coverWe just mentioned the Cuckoo, and that’s the name of our vocalist, who plays dark host and storyteller, almost as if cloaked, with a snifter of poison and a pipe for smoking. He is joined by Hibernal and Hisperdal (all three were members of post-hardcore band Breach), and together these Swedes go about telling odd, damaged tales amid their storms of numbing, nightmare-inducing music. Terra Tenebrosa got their start in 2009, issuing their first record “The Tunnels” in 2011 and following that in 2013 with “The Purging,” an album that’s on my phone as a go-to for when I’m driving and need something to keep my mind stimulated so I don’t doze off behind the wheel. Works every time.

The record opens with “Makoria,” a ghostly introductory instrumental imbedded in odd noises and warbled growling, and then it’s into “Ghost at the End of the Rope,” a title that should send chills. The song is crunchy and off-kilter, with Gollum-style creaks and growls amid the insanity, and long stretches of dissonance disorienting. The song gets scary and smothering, blasting into eeriness and going out on a haunted note. Then it bleeds toward “The End Is Mine to Ride” that opens with a blistering, yet melodic riff. Parts of this actually are damn catchy, with the vocals slithering on, and the track taking on a horror film score sense. Things later take on a psychedelic edge, with the vocals floating in the ether, and the track trailing off into the dark. “Marmorisation” has dark guitars and sounds wafting, with a burning tempo and alien-like vocals. Later the growls turn to morbid speaking, as the music gets more mind numbing, almost like you’re listening in to someone else’s nightmare as they writhe in pain.

“Where Shadows Have Teeth” is delirious right away, with crazed speaking, hypnotic terror swirling about, and disarming heaviness that just drubs you. The pace feels like a storm hanging overhead, with mechanical growls, the tempo continually twisting and grinding, and damaged strings and blunt grunts adding more bruising. “Exuvia” has a slurring melody stretching out, while scratchy speaking tells the track’s story. This song is like if the bogeyman made a record and slipped it into your room at night, forcing you to listen in the dark. The melodies loop and continually frighten, while the final moments dissolve into a cloud of noise. Closer “Fire Dances” is the longest track by far at 16:55, and it takes its time digging in its claws and drawing your blood. Once it erupts, there are pastoral-style chants, whispery growls, and strong riffs that keep building the piece and getting heavier. Noise swirls about, leaving your head spinning, and that all passes through a pit of industrial sludge. On the other side, riffs pile up, the pace grinds away, and the track ends in guttural cries and spooky organs.

As noted, Terra Tenebrosa isn’t going to do it for everyone. They’re not easy to digest, and their work on “The Reverses” could be a cause for elevated anxiety in some. But for those seeking a nightmare in which to get lost, this record could soothe what ails and help you connect with your own weirdness.

For more on the band, go here: https://www.facebook.com/terratenebrosaofficial

To buy the album, go here: http://www.debemur-morti.com/en/12-eshop

For more on the label, go here: http://www.debemur-morti.com/en/

PICK OF THE WEEK: Ashbringer pour emotion, fiery tumult into amazing second record ‘Yūgen’

DSC_0176The feeling of being overwhelmed isn’t a foreign concept for most humans. We have a tendency to get inundated with things, whether that’s work, our personal lives, or our emotions. That sense that so much is going on at once can be intimidating, and unless you have an outlet to release all of that energy, it can well up inside.

I got that same feeling listening to “Yūgen,” the stunning new record from Ashbringer. The feeling rushed over me the first time I experienced these eight tracks, as it felt everything from their creators was poured out, leaving almost nothing left, pushing back against the pressure. Emotion—and that’s a major factor on this record—is nearly bled dry, and not just through the words and vocals, but within the music itself. Digging into the lyrics provided even more evidence that much had to have been going on leading up to the creation of this music, that “Yūgen” seems like an outlet for something bigger than just their art. Themes of nature, loss, reunion, and longing can be felt in the songs (or at least that’s how I’ve interpreted it), and every new journey spent with this spacious, rich album could have you feeling different things and seeing changing shades.

Ashbringer coverThis Minnesota-based black metal band only has been in operation for three years now, but already they have put out two powerful records that prove their strength. Before “Yūgen,” Ashbringer opened our eyes on last year’s superb “Vacant,” which proved a harbinger of what was to come. The band used to be fronted and composed solely by Nick Stanger, who now handles songwriting, lyrics, guitars and vocals. He has rounded out the lineup with a strong cast including guitarist Robert Northrup, bassist Nathan Wallestead (who plays with Stanger in Astral Blood), drummer Ian Sutherland, and keyboardist/oboe player Cormac Piper. This is a formidable lineup seeing through a vision that might remind some of the fallen Agalloch, Alcest, Falls of Rauros, Alda, and bands of that ilk.

“Solace” begins the record, a 10:40-long piece that slowly spreads its wings before hitting full soar. Glorious melody and creaking growls arrive, with the tempo driving harder as it goes and synth and spacey colors working through the body. Rustic acoustics spill in before Maiden-like leads take hold and everything comes to a fluid end, that then bleeds into “Oceans Apart.”  There, calm waters flow for a few moments before the song ignites, with huge growls pummeling. Great melodic leads drive the force, with Stanger wailing, “I’ve waited so long to see you again.” A quick halt hits, with the song slowly building back up amid woodsy melodies before the blaze lights again, and clean wails wrap themselves over top the song. “Lakeside Meditation” sits in a static storm, crushing on the other side of that, with delirious playing and furious growls penetrating. The song speeds up, finding more a rock personality, while the gazey shades and cathartic playing practically let you feel their collective hearts pumping in their chests. “In Remembrance” is hazy at first, with starry dashes and the eventual explosion. Steely guitar work and gushing feelings are injected into the piece, and Stanger reflects on loss, howling, “I watched the life fade from your eyes, I stood breathless.” That anguish continues over the song’s final moments, as the track comes to a thunderous end.

“Celestial Infancy” is hushed at first, with the band building into a spiritual chant of, “Mind and body are one, body and earth are one, earth and sky are one, spirit and sky are one,” a refrain you might find yourself repeating, especially as it repeats later in the song. There are reflective moments during this one, as well as tumultuous ones, with the pace swinging back and forth with force, and alien singing sending the track on its way. The title cut has guitars jabbing and guest vocalist Elizabeth Redding carrying the heavy load. The crescendo builds as the song develops, with beauty intertwining with fury, and the tension rising up over the final minutes as jagged guitars slam shut the door. “Omen” is a woodsy instrumental that starts with fires crackling and Cameron Becker adding trombone to the mix, with syrupy slide guitar shining a Western beam on the song, and gentle breezes following to the end. Closer “Glowing Embers, Dying Fire” bursts right away, with melodic growls, a strong refrain, and a huge feel to the guitar work. As the song goes on, the band, and Stanger as lyricist, finds a new level of understanding with the surrounding world, with him calling, “Bleeding into one, fading endlessly, merging with the earth, I see clearly now.” The track is full of spirit and power, with elegant, spacious playing unfurling, and the track finding its way to the fire where it, too, becomes one with the land.

Ashbringer’s mission is a worthy one, and the exemplary work they do on “Yūgen” must be heard in full to be properly understood. These are songs steeped in emotion, bleeding passion everywhere, and seemingly reacting to being overwhelmed by life experiences. It’s an incredible outlet for this band, one they’ll hopefully follow well into the future and they carve out their journey.

For more on the band, go here: https://www.facebook.com/ashbringermusic

To buy the album, go here: http://avantgardemusic.bigcartel.com/

For more on the label, go here: http://www.avantgardemusic.com/

Canadian black metal crushers Wendess mix chaos, imagination into melody-rich album ‘MLMXXIII’

wendessDespite the stupid, embarrassing riches I have as a writer who is inundated with new music on a daily basis, it’s actually quite easy to miss something really good. So, while we try to keep this site going forward with things that have just come out or on the horizon, now and again we have to go back and cover something we missed.

One of those things is “MMXXIII,” the new record from Quebec-based black metal band Wendess. Part of the reason we didn’t have something on this when it was released a few weeks ago is because this self-released monster never actually made it to the inbox and instead was discovered as a result of some strong recommendations and an eventual purchase on Bandcamp. The band’s sound, while black metal at its base, goes other places, allowing for some psychedelic winds, folk-led playing, and guttural emotion to make its way into the music. Comprised of Keven (vocals and guitars), Alex (bass) GIa Hoi (prince des douze royaumes) (guitars), and Огњен (vocals, drums, and percussion), the band swings back into the world for the first time since their monstrous 2011 effort “Nuee Noire” and a 2012 split with Defest. There’s not a ton else out there about the band, which is fine and refreshing.

The record starts quietly and unassumingly on “Dystopie,” with the music trickling gently but eventually erupting into thunderous melody. Keven’s wrenching growls are all over the place, scraping the track with feeling, and later, organs slip underneath the chaos, strong soloing finds its way in, and the song bleeds away. “Identité Dissociative” changes things up, threading a folk path through the song, even amid the blood-curdling howls. Dark, creaky power kicks in, with the song going emotionally bloody. Later, the song heads into prog territory dashed with rustic elements, but then it rumbles again, with strong guitar work fading into serenity. “Sommeil Profond” starts clean before choked shrieks pierce, and the heaviness arrives in giant waves. Great leads head through, firing up the song’s base, and later things get dark and even a little surfy. Every element then explodes, with growls strangling and smeary soloing bringing the track to its end. “Le Marchand D’âmes” has piano dripping and acoustic guitars, but it’s not long until the energy erupts. Wild howls penetrate, with the song flowing forward, the cut fading into darkness, and keys bringing things to a soft finish.

“Nostalgie Nocturne” also starts quietly, but then black metal-style melodies arrive, and desperate wails cut into flesh. The track boils in place for a stretch, with wild soloing blasting in and taking over the pace. Feral growls seem to indicate there’s no end to the madness, and despite a brief foray back into acoustics, that’s pretty much the case until the song ends. “Sans Raison” begins with a Charles Manson quote from a 1989 interview, where, when asked to describe himself in a sentence, he responds he’s “nobody.” The track crunches quickly, pounding away, with the guitars swelling and scorching. The melodies remind me of early fall, when greens just start to turn orange, and anguish begins to fall like a heavy storm. The intensity drives down until it fades into quiet keys. “Forêt Maudite” is a bizarre, warped instrumental that feels like something from the “Twilight Zone.” It hypnotizes and swirls, pulling in damaged “Over the Rainbow” lines and Manson’s “nobody” returning and spinning around your head, surely to induce panic. Closing instrumental “8916” (“8913” and “8915” are tracks from their two earlier albums) closes things out, with a slow-driving burn, a thick bassline for a spine, and a fascinating exploration that envelops your mind and drives you out toward the stars.

It may have taken some exploration, but I’m happy to have found my way to “MMXXIII,” this great new piece from Wendess. Striking out on their own without label support is a bold move, especially with a record this strong, so it might take this album time to stretch out. But anything worth its while will do that, and once Wendess make their way to you, prepare to go on an explosive journey that’s equal parts terrifying and enthralling.

For more on the band, go here: https://www.facebook.com/Wendess-123940974378337/

To buy the album, go here: https://wendess1627.bandcamp.com/album/mmxxiii