Witchstone blend traditional sounds with vicious modernity on fiery ‘Mortal Fear of Infinity’

witchstone_band_picDoom metal has a long and storied history, and its makeup out of the gates really doesn’t match everything that’s being made now. That’s because the sub-genre has been stretched and changed so much over the years that this beast is much different than what we knew when Black Sabbath first started turning crosses.

Calgary-based doom quartet Witchstone is one of the bands trying to dig a straight path from doom’s roots to more modern versions of the sound. On “Mortal Fear of Infinity,” the band’s second record, Witchstone stay true to more traditional aspects of doom metal and pay their homage. But they also push forward and meld with the classic touches a rougher, grimier edge that easily could remind listeners of Electric Wizard. The band—guitarist/vocalist Sean Edwards, bassist/vocalist Andrew Sanderson, guitarist Ian Lemke, keyboardist/percussionist Joleen Toner, and drummer Marcello Castronuovo—mix psychedelic vibes, trudging fury, and crushing vocals in a manner that makes the music sound both traditional and fresh. These four tracks, that all push their time limits, are enveloping and intoxicating, making for music that should help them find a larger following.

witchstone-cover“The Voidmouth” not only is a tremendous song title, but it’s the noisy, noir-splashed opener that greets you on this record. Winds blow before the guitars light up and set everything ablaze, with gurgly singing and growling pushing through into blistering territory. The song is brutal and menacing, later trickling into cold pools before hypnotic guitars assume control. From that point, your head continues to spin, and the band pulls into “Chrono Shift.” There, insects chirp away, while the band unloads a drubbing pace that pelts with bruises. Psyche keys simmer, while nasty howls and wild shrieks take over, and the guitars continue to play games with your mind. Leads built, veering right toward Sabbath territory, while organs blare and drag the song to its end.

“Estuaries” runs a healthy 8:57, and it slips in with warped guitars and damaged vocals that go for your brain and eardrums. Spooky organs return to bring ghostly apparitions, while the guitars boil over, dumping heat and humidity into the general area. The track heads into a bluesy swagger, as noise gathers at the horizon and spreads across the land, and strange chants climb underneath your skin and fill you with dread. Closer “Maniac of Dane Hil” is the longest cut at 10:37, with the song starting playfully before being overcome by echo-rich guitars and ripping playing. The bands crunches and blasts from there, with blues-splashed guitars spilling, a brief calm sending chills, and a smashing, steady final section hammering home the dread.

Witchstone’s clubbing intensity and smoke-filled aura are apparent on “Mortal Fear of Infinity,” and this band is a hidden gem still sitting beneath the surface waiting for discovery. This force has the goods to unite graybeards and younger audiences under the same banner with their style that stretches across the ages. This band is sitting there, under the radar, waiting to be spotted, so don’t sleep on them before their following ignites, as it should.

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

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

Dread Sovereign provoke fears, snuff out any possible hope on heavy ‘For Doom the Bell Tolls’

dreadsovereign-promoThe world may or may not be screwed. Unless you’re living in a delusional fairytale—and some of you are!—the state of society, at least here in America, never has been worse. We’re a ship whose captain is vomiting in a can because he can’t handle what he’s taken on, and the rest of the world likely is looking on in pity. Or hoping to strike.

“For Doom the Bell Tolls,” the second full-length from Irish triumvirate Dread Sovereign, is coming to us at a time when we probably need it the most. A lot of us are worried about where things are going in this country and in the rest of the world, and having this six-cut platter from which to feast likely won’t make many people feel better. But sometimes looking madness in the eye has a way of strengthening, and this music could provide the life callous we need to deal with the blows of insanity and inanity that aren’t about to stop any time soon. The band—vocalist/bassist Alan “AA Nemtheanga” Averill (Primordial, Twilight of the Gods), guitarist Bones (Wizards of Firetop Mountain), drummer Johnny King (Malthusian, Krawwl, ex-Altar of Plagues)—pays heavy homage to classic doom on this effort, but they also splash it with modernity and a deep sense of fear and loathing to keep your stomach churning.

dread_sovereign_van209The title track opens the proceedings, an intro-style cut that mixes bells chiming, whipping winds, and eerie noise that pushes into “Twelve Bells Toll in Salem,” a 13-minute cut that reeks of classic doom stench. The track slowly crawls and piles up bodies, with Nemtheanga belting, “I am the dread sovereign, so take these words!” As the song continues its morbid march, Nemtheanga wails, “Let my death not be in vain,” as an emotional solo tears open the sky, and the bells return to signal the dark curtain dropping. “The World Is Doomed” is heavy and driving, with Nemtheanga accusing, “So many want to watch the world burn.” The guitar work lathers with ill intent, pulling the song into a calmer section where the waves recede, only to drag you back out to sea before you know what hit you.

“Draped in Sepulchral Fog” is an interlude track with a swarm of sounds and strange blackness, leading toward “The Spines of Saturn,” the second-longest cut at 7:56. The ambiance of this one is pretty strange, as the vocals are washed out by fog, and the tempo sits at a light boil while letting off steam. Synth arrives like a noxious smoke, as the song suddenly heads toward planetary exploration. A deep ’70s doom metal aura rises and intoxicates, while the final minute of the song fully commits to its outer space journey from which it’ll never return. The band closes out this offering with a fun, noisy cover of Venom’s “Live Like an Angel, Die Like a Devil,” a selection that seems at odds with the musical vibe set here but it satisfying nonetheless. It’s a loose, raucous end to a record that grinds your face in turmoil and murk, with no mercy on its agenda.

Thing are just going to get uglier, and having hope that we’re going to wake up to a sunrise the rest of the year is not exactly a given. Dread Sovereign are not here to soothe you. Rather, with “For Doom the Bell Tolls” only should exacerbate your fears and ramp up your anxiety that any breath can be your last. So grab onto the darkness while you still can.

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

To buy the album, go here: http://www.van-records.de/index.php?cPath=15&MODsid=8868220d4842be801ddf47e5391c05fb

For more on the label, go here: https://www.van-records.de/

PICK OF THE WEEK: King Woman’s emotional bloodletting pours on stirring ‘… Image of Suffering’

Photo by Rob Williamson

Photo by Rob Williamson

It always sounds a little dumb in the middle of February to take a piece of new music and call it one of the best records of the year. We’ve got 10 months to go, champ. Let’s pump the brakes. I acknowledge this, but I’m also pretty good at figuring out what music is going to make a lasting impact with me even if I haven’t heard 80 percent of the albums ready to come out this year.

The first time I heard King Woman’s stunning debut full-length record “Created in the Image of Suffering,” it was a couple of weeks before Christmas last year, as this heavily anticipated album finally landed in my inbox. Actually, rewind a little further, the first time I heard some of these songs is when King Woman played The Smiling Moose June 3 alongside Wax Idols when the band unloaded some of their new material. The massive difference from what was on their eye-opening 2014 EP “Doubt” was quaking right from the start, and the many added levels of heaviness and mud, along with vocalist Kristina Esfandiari’s breathy, expressive vocals hit even deeper into the chest than anything they did before. This was a band that was changing before our very eyes and ears, and the end result of the transformation is on this amazing seven-track (well, eight if you get it digitally) record that’s the year’s first absolute must-hear album. King Woman already was a formidable unit, but now they’ve taken massive, pounding steps toward becoming one of the most important bands in heavy music.

king-woman-cover“Citios” is a digital exclusive, a brief intro cut that’s built on low-humming noise and Esfandiari repeating the album’s title. From there, it’s on to “Utopia” and its surprisingly sludgy riffs, oppressive heaviness, and vocals that tear at your soul. “Is this really happening?” Esfandiari wails as the music crusts over in the muck. “Deny” starts with spoken lines, but then Esfandiari’s singing takes on huskier tones while the guitars burn underneath the surface. The band—also including Peter Arensdorf, Colin Gallagher, and Joseph Raygoza—unleashes its fury and begins pounding away, leaving noticeable welts, while unhinged shrieks mix in with the otherworldly singing, with a strong, cloudy storm hanging overhead. “Shame” purposely takes its time to get started, as the riffs jar and the tempo lurches ahead. Later, the song opens up and gets louder, with Esfandiari noting, “You can’t even look at me,” as the intensity builds, and the cut bleeds away.

“Hierophant” is the highlight of the record and arguably the emotional breaking point of the band’s catalog. The 8:01 track basically plays out in two parts, with the first finding a vulnerable, wanting Esfandiari admitting, “What I’m trying to say, I want to be the one you want,” as the song spirals like her heart, following her into desperation. As the second half unfolds, Esfandiari pays her devotion, vowing, “If you’re the sacred script, I am the hierophant,” a lovely, yet heart-crushing sentiment that’s repeated over and over again as the track spills into the dark. “Worn” gets back to grime, as the band unleashes more heaviness, and Esfandiari levels, “I wish somebody would have told me, because the past you can’t get back.” The mid-tempo path picks up volume and muscle as it goes along, ending by stinging your ears and leaving bruises. The scathing “Manna” starts with a capella calls before the song comes along in a calculated manner, with the track taking on dirt and weight, and Esfandiari again repeating the album’s sobering title. Closer “Hem” is the longest song at 8:07, and it begins ominously, with the song feeling its way through the shadows, and Esfandiari observes being “lost in the crowd.” The band keeps adding layers onto the song, revisiting sounds and melodies, causing a hypnotic effect. Esfandiari follows that up by looping her lines of, “I’m reaching for hem,” into a pool of sound, guitars simmering, and a clip of a chorus ending the record and taking with it your heart.

King Woman’s amazing display on “Created in the Image of Suffering” is an emotional tidal wave, one that can arrest your heart and imagination and have you feeling every moment of catharsis Esfandiari goes through with this music. This is a really special band, one that has grown in dramatic leaps from their formation seven years ago to its development and power they display now. This is a record you should go out of your way to hear, because it’s one where you’ll remember exactly where you were when you absorbed it for the first time.

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

To buy the album, go here: http://store.relapse.com/

For more on the label, go here: https://www.facebook.com/RelapseRecords/

Grails’ six-year disappearance ends with dark, psyche-edged seventh opus ‘Chalice Hymnal’

Photo by Rebecca Steele

Photo by Rebecca Steele

It’s been pretty refreshing the past few years that there has been a branching of musical acceptance among many metal fans to go beyond their comfort zone and embrace other styles of music that at least bleed into their territory. The darkwave movement is a good example, as the murky shadows can creep under your skin like the spookiest of black metal and influence you in the same way. That also goes for quieter, folkish sounds that have made their way into the recipe.

Portland, Ore., band Grails has been an originator among artists that don’t necessarily target metal audiences but have penetrated the gates nonetheless. Ever since their birth into the world nearly two decades ago, the largely instrumental band has traveled through so many terrains, from dry desert folk to smoking doom to post-rock fire. It’s always hard to pinpoint exactly that they are, and that continues on their great new record “Chalice Hymnal,” their seventh full-length overall and first in six years since “Deep Politics.” As Grails are wont to do, they change the script a bit on these 11 new tracks. Strains from the band’s path very much are a part of the picture. But there also are nice doses of the aforementioned darkwave, as well as an urban nighttime feel, as if you’re driving passenger side long after the sun went done and are watching the stars pass by as you gaze into the windshield. The band—Zak Riles, Emil Amos (OM, Holy Sons), William Slater, Alex Hall—also continue to pour psychedelic heat into the mix, making for one of Grails’ most contemplative and stimulating records to date.

grails-coverThe title track begins the record as keys swirl, static beats kick up, and the synth sails on a sea splashed with evening colors. A hazy ’80s feel comes out of all this, with the song breezing into the nighttime. “Pelham” is the first one with the darkwave sense, as guitars whine and noise agitates, taking the song into ’70s sun splash; while “Empty Chamber” is very chilled out, with spacey sounds, smooth singing entering the mix, and with you left feeling like you’ve swept into a long, winding dream. “New Prague” is psyched out, with doom dropping and filthy melodies, while cool synth blows into the back end of the track, letting things burn and charge. “Deeper Politics” has dark keys and the urban edge we mentioned, with the song feeling bigger and more boisterous as synth scrapes its path. “Tough Guy” delves into Far Eastern tastes before echoes pulse, and from there, strange tones mix with a threatening vibe.

“Rebecca” sails into cooler waters, as chimes gives off a sense of calm, and the track feels like it’s floating on your imagination. “Deep Snow II” has quivering cosmic sounds that run right into rustic acoustic guitars. Electrics later bleed in, while a folkish and murky vibe dominates, and psyche-filled guitars light up the night. “The Moth & the Flame” has bending bass and cool keys, with the pace hitting high gear, and shadowy melodies leading the end of the cut into mysterious terrain. “Thorns II” has more acoustics, pushing into psyche folk that’s encased in gold, while guitars wash over the surface, and the song fades away. “After the Funeral” is the longest track by far at 10:19, with keys dripping in, and a gentle, elegant haze overtaking the scene. Horns settle, while exotic melodies arrive, sitting on reflective strings before the song fades with just a couple minutes left, only to re-emerge bathed in noise that smothers the thing in fuzz.

Grails’ music can make your flesh crawl and your insides chill out within the same melody line, and there are plenty of physical reactions you’re bound to have when absorbing “Chalice Hymnal.” My most rewarding experiences with this music has been at night, but that’s just how these songs affected me. Regardless, this band has another burst of mostly instrumental cuts that won’t have you clenching your fists in rage but can let you connect to your other impulses perhaps ignored a little too often.

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

To buy the album, go here: https://www.temporaryresidence.com/collections/albums

For more on the label, go here: https://www.temporaryresidence.com/

Crossover crushers Power Trip put political forces on notice with punishing ‘Nightmare Logic’

power-tripLike it or not, we are in for a bombardment of music lashing out against the current political climate and the expected results of those who run the world. While we don’t have an official anti-Trump record yet, since it’s a little too early for that, there has been music that very well could have been influenced by the run-up to the 2016 election and the fear of what might result.

Power Trip aren’t really noted as being an overly political band, but their brand of crossover thrash certainly is terrain made up of bands of that ilk. Yet here we are, with the band’s massive second record “Nightmare Logic,” and the Dallas-based group finally are sharpening their claws and drawing blood based on what’s going on around us. On this great eight-track effort, the follow-up to killer 2013 debut “Manifest Decimation,” the band—vocalist Riley Gale, guitarists Blake Ibanez and Nick Stewart, bassist Chris Whetzel, and drummer Chris Ulsh—blasts and smashes over 32:48, creating some of their heaviest and most channeled music to this point. Lyrically, there is plenty to rake our leaders over the coals, from right wing oppression to the pharmaceutical industry evils that thwart people fighting addiction, so there’s meat in which to dig your teeth and get yourself equally aggravated and frustrated.

power-trip-cover“Soul Sacrifice” begins the record in a haze of noise and static before the first wave of heavy thrashing arrives. Wild howls are dealt, while the pace punishes. Soloing ignites and blinds, while the final moments trudge dangerously and fade away. “Executioner’s Tax (Swing of the Axe)” begins chugging, with Gale noting our destroyer is “sharpening his axe,” as heavy riffs pile on top of one another. Gang-shouted vocals pound you on the chorus, while howls of, “Swing of the ax,” deliver the final blows. “Firing Squad” is speedy, with the vocals spat out, and the band devastates the ground beneath you. The band changes pace halfway through the song, pulling you in the opposite direction, while soloing scorches, and the cut gallops to a hard finish. “Nightmare Logic” trudges all over, with raspy shouts and metallic guitar lines leading the way. The band slips into a filthy thrash groove, while the guitars light up, the tempo builds, and you’re treated to one final blast before the lights go out.

“Waiting Around to Die” simmers in synth weirdness at the start before it melts down and sprays shrapnel. “I can’t fucking stand it!” Gale shouts before the guitar playing takes over the exerts its dominance. “You’re got to fight to be free,” a statement never as relevant as right now, quakes you, with the song coming to a thunderous conclusion. “Ruination” is a blistering assault that speeds up and stomps, with the band barreling full speed ahead. “Watch the whole world burn!” Gale blasts, as the music behind him sounds like he’s doing just that. “If Not Us Then Who” is a punchy call to arms, a track that has strains of Suicidal Tendencies and Anthrax and that’s a blast to hear but also holds within it a warning. It’s a killer track that chews up space and fades out in noise. Closer “Crucifixion” is a punch back to those who revel in blind faith and cause harm to those who don’t follow the same orders. “Don’t care what you think you know,” Gale howls, as the band backs him with a vicious storm of thrash, and the track heads into the same noise haze that greeted us at the front of the record.

Power Trip are the cream of the crop of modern crossover thrash bands, and their smashing second effort “Nightmare Logic” provides even more fuel for their already raging fire. The vitriolic message and the violent assault of their music gets inside your bloodstream and should make anyone who hears it ready to ask more questions of those who run the world. This is a strong, thunderous record that should prove even more vital as we work our way through the next four years.

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

To buy the album, go here: http://www.southernlord.com/store

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

Unearthly Trance return from grave, return to their violent ways with ‘Stalking the Ghost’

unearthly-trance_jimmy-hubbard_2

Photo by Jimmy Hubbard

The return was announced without much fanfare, on a social media post declaring the band was back together, and new music was forthcoming. If you’re not following every band everywhere, it’s easy to miss such news, especially since most outlets also seemed to miss it. I found out due to work I do for another publication when, there it was, sitting on a list of records that needed a reviewer.

I jumped at the chance to write up “Stalking the Ghost,” the sixth record from NYC-based doom unit Unearthly Trance, the band’s first since issuing “V” seven years ago and disbanding a little bit afterward. The band has become one of the most important underground doom units of the past few decades, and one of the nosiest, most vicious of any sub-genre. Their music was an unforgiving pit of madness, a grimy and filth-caked wasteland that scraped the bottom of society’s bucket and spread it all over their vitriolic music. To have them back in our worlds, especially since doom has produced so many bands since they faded, is vital. They prove on “Stalking” that their blood thirst remains, and each moment of this eight-track mauler offers unforgiving violence that hits just as hard with every listen.

stalkingtheghost_1500Unearthly Trance have been creating their terror since the turn of the century, stewing brains and guts with their sound and releasing relentless, crushing music. Their debut record “Season of Séance, Science of Silence” landed in 2003, and from there they’ve steamrolled the landscape, paying no mind to anyone standing in front of them. The band—guitarist/vocalist Ryan Lipynsky, bassist Jay Newman, drummer Darren Verni—continued to play their dark arts right up until they dissolved in 2012. Oddly, only this band dissolved, as the three kept playing music together in similar-styled Serpentine Path with Tim Bagshaw (ex-Electric Wizard, currently of With the Dead), and Lipynsky also resurrected Thralldom. But this is where all three seem most at home, and “Stalking” plays that out.

The record starts with “Into the Spiral,” where heavy drubbing and gnarly growling mix together and create a hulking force. Later, some clean singing enters the fray. But that’s a brief deviation before we are back into the muck as the guitars sizzle, and the end is abrupt. “Dream State Arsenal” has one of the nastiest riffs on the record, and we have plenty of them. Through that, the noise bakes, the music weighs down, and Lipynsky wails, “Death is but a dream!” The howls then turn to shrieks before the song bleeds away. “Scythe” has misery-inducing start-stop playing, with the band dropping hammers over the chorus. The song is utter demolition, with psyche-drenched leads gushing, and the vocals sounding gut wrenching. “Famine” is dark and thrashing, feeling morbid and a bit solemn. The vocals drown in chaos, while riffs pull everything together, and Lipynsky growls, “When will the walls come down?” almost as if he’s inviting Armageddon.

“Lion Strength” is aptly named and really could have been a fitting album title. The guitars boil, and the vocals roar, with Lipynsky urging, “Listen to the voice of fire.” Trancey guitars bubble, while the song snakes along its path and continually sneaks up on you when you least suspect it. Ominous whispering chills your blood, while the back end of the song rips open and tears out your guts. “Invisible Butchery” is defaced with noise, as the pace scrapes along, and the vocals sound like they’re primed for death metal. The track smothers and collapses your chest, with the final minutes bringing torment. “The Great Cauldron” is the longest piece at 9:01, with calculating riffing, a genuflection at the altar of Sabbath, and gurgly growls that sound delivered through a throat coated with blood. The entire run of this song takes its time delivering bruising, leaving you a sore, heaving mess once the final guitar assault launches and leaves you numb. Closer “In the Forest’s Keep” has an eerie clean start, instantly pushing you into the shadows. That coldness remains, lurking and inviting the rains to soak the ground, with a sound storm arriving about halfway through, and morose dialog stretching through to the final moments, where the track takes its final resting place.

Unearthly Trance certainly have been missed because no matter how many doom bands pop up, these guys remain the masters. “Stalking the Ghost” not only is a fitting follow-up to “V,” it’s a vicious next step in the band’s journey and a reminder of what they’re capable of doing. The renewal of this band’s mission should enthrall their followers and put all the rest of the metal world on warning.

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

To buy the album, go here: http://store.relapse.com/pre-orders

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

PICK OF THE WEEK: Hypnotic Dool construct mesmerizing shadow on debut ‘Here Now, There Then’

doolMusic that is dark, captivating, and moving can be some of the most effective art there is in the extreme terrain. Being able to pull a morose shadow over everything while, at the same time, light your audience members’ hearts ablaze is a true gift not everyone possesses. But the ones that do tend to be remembered and loved by the people who are touched by their music.

Holland’s Dool is one of those bands, and it makes sense it would be that way because its ranks include members of sadly defunct The Devil’s Blood and haunting rockers Gold. Their magnificent debut record “Here Now, There Then” certainly trails down the occult rock and metal path in the vein of bands such as Blood Ceremony and Jex Thoth, but they do in their own, dusty 1970s style. The power of vocalist/guitarist Ryanne Van Dorst pushes this great unit over the top. Her expression, whether she’s belting or pulling things back, always hits the mark, and it’s impossible not to be enraptured by her every word. The rest of the band—guitarists Reinier Vermeulen (the New Media) and Nick Polak (Gold), drummer Micha Haring (the Devil’s Blood), bassist Job van de Zande (the Devil’s Blood)—provides a solid backbone for their sound and keeps things driving, interesting, and surging with blood.

dool-coverThe 10:02 “Vantablack” begins the record, and it’s a great introduction to what this band does so well. The tempo tends to sit back and let things happen, as vocals spread through the darkness, and the drama builds. As the track travels on, you go through caverns, down dark rivers, and into a lengthy stretch of noodly playing before the track rings out. It’s stunning. “Golden Serpents” rollicks, and at times the playing makes me think of Blue Oyster Cult. The verses are breathy, the bridge begins to boil, and that spills over into a great chorus that’ll stick with you. “Words of Paper” has bluesy swagger, and Van Dorst’s vocals get grittier and dirtier, which totally fits the track. Later, some higher singing arrives and hangs in the air, with echoed speaking emerging toward the end, and the finish bristling. “In Her Darkest Hour” has a music box plinking at the start, but then things get ominous and chewy, with slower verses hammering home the tale. Strong soloing emerges, the first more straight-forward, the second immersed in psychedelics. This is another one that has a killer chorus, and the back end of the song fades back into the mysterious sounds that greeted us at the start.

“Oweynagat” is another highlight, a driving, rock-oriented cut that has Van Dorst wailing, “Are you ready now?” The powerful chorus paves the way for stellar soloing that’ll carry you on its way, with the music making your brain spin, and a hypnotic, long passage stretching the track to its limits. “The Alpha” echoes, as drums drive on, and higher vocals again make their way into the mix. The song turns into sludgy thrashing, as the sounds swirl, and an extended period of hypnosis gets into your head and makes you see visions. “The Death of Love” is delicate and vulnerable at the start, with the singing haunting, with a boisterous chorus rising your blood, and Van Dorst calling, “Unfurl your blackened halo.” The music gets atmospheric and spacey, with Van Dorst insisting, “To love is to die,” and the final moments slow down and hammer home to misery. Closer “She-Goat” is a fun way to wrap up the album, as things get off to a churn that grinds your guts, and a muscular verse-chorus structure keeps you not only engaged but participating in the chaos. Things keeps bubbling and gushing, coming to an abrupt end you won’t see coming that feels like the coffin door being slammed shut.

Dool’s power and diversity are remarkable, and that’s part of what makes “Here Now, There Then” such a compelling listen. While the world has been flooded with occult-style bands of late, Dool rise above the obvious and swell into the terrain of very special. This is a band that can swallow you in darkness and caress you in shadows, making you never want to see the light of day ever again.

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

To buy the album, go here: http://en.prophecy.de/pre-order-bundles/

For more on the label, go here: https://en.prophecy.de/