Der Blutharsch is the main project of Austrian musician Albin Julius.
Over the past two decades, Der Blutharsch has been constantly changing, ever evolving into something new – from their early beginnings as the inventors of ‘military pop’ to Der Blutharsch and the Infinite Church of the Leading Hand’s hallucinatory tendencies – allowing Albin Julius to find alchemical, musical perfection; parts krautrock, psychedelia, and dark experimentalism.
Albums such as Joyride, Today I want To Catch Clouds and The Story About The Digging of The Hole And The Hearing of The Sounds From Hell showcase Albin Julius’ psychedelic maturity. Instead of full on ‘freak outs’ so common to most psychonauts, he’s blending his post industrial and neo folk roots with a wide spectrum of cerebal sounds and keeping his mind-altering compositions really tight – both rhythmically and atmosphericly.
In the past few years Der Blutharsch was not keeping to himself.
Collaborations with like minded artist such as White Hills, Aluk Todolo, Josef Dvorak and Fuckhead resulted in some of the heaviest psychedelic jams in recent history.
Theatrical and tense, sonically dark and perverse, ritualistic and confusing, Der Blutharsch and the Infinite Church of the Leading Hand is undeniably authentic. Albin Julius will bring on the road Der Blutharsch (and the Infinite Church of the Leading Hand) on a tour to celebrate their 20th anniversary.
Pentagram was initially formed in 1971 by Bobby Liebling (vocals) and Geof O’Keefe (drums) with Vincent McAllister on guitar and Greg Mayne on bass. After recording several demos throughout the mid-70’s, this line-up lasted unti 1976. Much of the material that would be released decades later as “First Daze Here” was recorded by this original incarnation of the band.
Enter 1981. Joe Hasselvander, who joined the lineup in ’78, was dating a girl who had told him about her 18 yr old brother Victor back in TN. Victor Griffin was a young, heavy guitarist already recording his own music under the name of Death Row. On a family visit, Hasselvander traveled to Knoxville to see if this fresh-out-of-high-school musician lived up to his reputation. “Back then Victor Griffin and Lee Abney, his bass player at the time, were already playing the Death Row material,” remembers Hasselvander. “Griffin had the songs and I was blown away by his playing. He had a sound that was a lot deeper than what Venom was doing and it was heavier and more Sabbath-y than what Witchfinder General was doing. In fact, I thought that it was better than Sabbath. He was Blue Cheer mixed with Black Sabbath!”
Shortly before this period, while in high school, is where Griffin perfected the sound invention of “Drop B tuning.”Of the technique, Griffin says, “I had been messing around with a drop D tuning which was also uncommon at the time. I had been playing around with it and dropping it lower and discovered something when I got to B. If you play a fifth chord on the top two strings, it makes this octave. Now you have those seven-string guitars with the low B right on there. For the time though, I don’t know of anyone who had done that.” Little did he know at the time that he’d influence thousands of players in the future.
The guys played as many headlining gigs in the area as they could and opened for nearly every major label metal band who toured through the DC area. Crowning this era was an infamous gig at the defunct yet historic CBGBs in NYC. As a result of these performances and unique, stellar songs, a new deal with international indie label Napalm was on the table. The second album, Day of Reckoning finally hit the streets in 1987.
The same demons still haunted Liebling and his band however. This coupled with virtually no label support the group was soon driven back into the grave. It wasn’t until 1994 when the band would come back together and record for Peaceville records. Hasselvander jumped back on board. He, Liebling, Griffin and Swaney dug down deep into the vaults and pulled out a few old Liebling classics as well as the usual heavies Griffin had become known for. Be Forewarned came out to more fanfare than ever, even though that still kept them well beneath the mainstream.
Fast forward to 1998…Hasselvander had rejoined the band and in 2001 PENTAGRAM released Sub-Basement and First Daze Here, a collection of Liebling’s best recorded 70′s songs. As quoted by Liebling, “This album finally gave me the growth steps I needed to take in order to find a wider audience.” More rock and hard rock than doom, the soulful songs reached across multiple sub-genres of metal and rock and roll. Accolades of these uncovered songs started pouring in from famous and infamous musicians alike as it went on to sell well over 10,000 copies. Covers would appear from respected contemporaries such as Hank III, Witchcraft and The Dead Weather. People such as Liam Gallagher from Oasis sited Liebling’s 1972 song, “Be Forewarned” in his top five songs of all time. Finally, was the genius of Bobby Liebling and PENTAGRAM becoming known by the mainstream?
Things never came easy for Liebling though. They say that it is at these times of deep darkness that the light ends up shining through the clouds brighter than ever. Liebling reached out to Griffin who at the time was fronting Death Row alongside Hasselvander and Swaney. Missing his old band mate and mentor, and seeing how hard he was trying to fly straight, Griffin agreed to a small run of US dates in the spring of 2010. The gigs were a welcomed success and peaked on the main stage of the Maryland Death Fest in front of hundreds of eager fans. The gig was stellar and captured on film by a five camera crew. This show and tour was such a hit that the band again started plodding another attempt at finally making it.
In the fall of 2010, a 3 album deal with the historic metal label, Metal Blade Records was announced!
The creatures known as Mondo Drag hailed from deep along the banks of the wild Mississippi River where they created ominous, spiritual, savage psychedelic revival sounds. Summoned to the edge of the Earth, they journeyed west, collecting new sounds reminiscent of desert scapes, acid dreams, all-night prog vinyl spinning and a dark galaxy of protometal swirls, exalting the band unto new, wickedly brilliant horizons. Now settled in the deep realms of Oakland, the ensemble continues to create cosmically proportioned, churning jams evocative of a rainbow of obvious inspirations but also numinous new sounds emerging from the organ – heavy riffs.
If you love Blue Cheer, Black Sabbath, Can, Atomic Rooster, Hawkwind, Budgie, Uriah Heep, Deep Purple, Italian prog, Krautrock in general, and heavy space-outs….get into Mondo Drag. They’ll knock your socks off, let your hair down and take you on a mind’s eye exploration you won’t soon forget. Though they exude love for the spiraling tapestry of heavy psychedelia of the past, they are on a rock and roll mission all their own: an unearthed prog band, futuristic in their time capsule, rocketing forward through the depths, gathering the sounds of space itself.
In early 2015, after numerous line up changes and one member joining the highly acclaimed Blues Pills, Mondo Drag signed a 3 record contract with the hottest stoner/doom/retro label around: RidingEasy Records.
“The Occultation Of Light” is set to be released on February 26th internationally.
To characterize Buried at Sea as an overwhelming sonic experience would be a significant understatement. To reference the crushing tides of sound waves that wash over the listener as the foursome drone on in perpetual tectonic slow motion would be to understate again. To mention the hopeless situation in which one finds oneself beneath tons of doom, volume, aggression, and bleakness is simply stating the obvious.
Formed in Chicago in 2001, Buried at Sea quickly snared a viciously devoted cult following with honors, amongst the devotees, of being the loudest, the slowest, the doomiest, and the most crushing band on the planet.
Savanah is an austrian Stoner Rock Trio from Graz, formed in 2014. After their first show in june they played several concerts including supports for bands like Colour Haze, Karma to Burn, Rotor, Seven That Spells, Black Rainbows and Acid King. In February 2015 the first song of their upcoming debut EP Deep Shades was released and gained airplay on radio FM4, 3NRG and others.
The band takes influences from Doom, Desert and Psychedelic Rock to create their unique sound, once described as aggressive Stoner with a defeaning bass and powerful riffs. Energetic Live-Performances are part of the bands character and attitude.
Deep Shades is now available on their Bandcamp-Site as digital download or digipack and as a limited Vinyl Edition on StoneFree Records.
Considered as one of the greats of the European stoner rock scene, MARS RED SKY have gained international recognition thanks to a unique sound imprint based on thick infectious grooves and melodic aerial guitar riffs. This is truly a one of a kind experience, all wrapped up in Julien Pras’ ethereal vocals, Matgaz’ powerful drumming and Jimmy Kinast’s pachydermic bass lines. Somewhere between the heaviness of doom and the haunting relics of 70’s psych pop, the Mars Red Sound first intrigues, then irremediably impels the masses to gather into a cosmic ritual of solar burning fuzz and reverberated atmospheres.
In 2012, after playing live in over 20 countries they paired up with French doom metal monsters Year Of No Light to release a 3-track split record, which sold out quickly. The release of the “Be My Guide” EP in the spring of 2013 prophetically opened the path for another extensive tour across Europe.
With the 2014 effort Stranded In Arcadia, the trio takes its music to a brand new level: heavier than ever, this record embarks you further into their very own world of fuzz and psychedelia, a journey to a wondrous imaginary place called Arcadia… Widely acclaimed by both the fans of the genre and the press, it gets quickly considered as a « masterpiece » (Metalmouth) or a « psych rock piece of excellency » (Rock Hard Germany). In the wake of this release, the band joins French rock band Detroit on tour – including a show at La Cigale in Paris – after which they are invited to open the 9th edition of Hellfest under a packed Valley tent.
2015 saw the release of the eagerly anticipated EP “Providence” and the announcement of a 40 date tour in early spring.
Like their forefathers in Sleep, Electric Wizard, Bongzilla, and Weedeater, Poland’s Belzebong summon fuzzy down-tuned instrumental stoner metal with a throbbing groove and a guitar tone that is the audial equivalent of a massive THC bong hit coming right in your face.
The production work is not only spectacular. It’s fucking HUGE. Toss in a bit of feedback, a peppering of psychedelic riffery, and a couple of cult movie samples to break up the lack of vocals, and you have one of the best new weed-addled bands out there.
Stoned Jesus is a heavy psych/stoner rock trio, emerged from one-man-band of Igor (Krobak, Voida, etc). Beginning with stoner doom on their debut “First Communion” LP (including killers “Red Wine” and “Black Woods”), the band changed their attitude (as well as line-up). The recent “Stormy Monday” EP shows more Alice In Chains than Electric Wizard, and more innovations are expected on folks’ forthcoming second LP. With dozens of live shows played in Ukraine and Russia Stoned Jesus are going to invade Europe soon, be prepared!
Golden Void is the new face of Bay Area psychedelic music. It’s a rich tradition and like many of the tradition’s greats, Golden Void’s songs are firmly rooted in melody and not afraid of exploration. The band’s hooks get stuck in your head and their riffs transport you to the astral plane.
Golden Void’s undeniable twist, setting them apart from their city’s lineage, is the influence of classic bands like Sabbath and Pentagram. The quartet, Isaiah Mitchell (Earthless) on guitar and vocals, Camilla Saufley-Mitchell on keyboards and vocals, Aaron Morgan on bass and Justin Pinkerton on Drums, achieves a perfect balance of muscular riffs, soaring melodies, and hazy atmosphere on Berkana, their sophomore album.
Recorded with Tim Green (The Fucking Champs), Berkana shows Golden Void expanding the scope of their sound without abandoning the heady groove they carved on their acclaimed self-titled debut.
Emil Amos, the mastermind behind Holy Sons, returns with his second Thrill Jockey release, Fall of Man. The multi-instrumentalist (who counts himself as a member of Om, Grails, and Lilacs & Champagne) carves out new territory on his most diverse release to date, adding more hooks and pop balladry to his songs while still retaining the intimacy and psychological depth of his earlier records. 1970s classic rock has always been a touchstone for Amos, and on Fall of Man he filters those influences through his modern looking-glass to create a deliberate, melancholy album of epic scope, a sonic universe tinged with a soft, slight sadness.
The signature darkness and strangeness that Amos has cultivated throughout his career is present on the album, even in its title, which references the myth that humans are powerless and fundamentally flawed while also suggesting that we have reached the autumn of humanity, slowly sowing the seeds of our own destruction. Amos masterfully tucks away these pessimistic themes within some of the most beautifully produced, endlessly listenable songs of his career.
Amos, a home-recording pioneer, delves into a fuller, more lush sound on Fall of Man. The album was recorded between Portland, Oregon and Brooklyn with producers Brandon Eggleston (Mountain Goats, Swans), Al Carlson (Oneohtrix Point Never) and Jeff Saltzman (Grails). “Mercenary World” walks the line between pop hit and the darker, sample-based recordings Holy Sons is known for. “Out of Sight” shows Amos providing his fans more inviting songs without abandoning his outsider ideology that has made him such a respected cult figure. The classic rock influence seeps into “I Told You” with Deep Purple-styled organs and guitar solos that bring to mind Rush playing in a stadium with the lights down. Amos’ North Carolina roots show through in songs like the Pavement-tinged, stoner-rock track “Being Possessed” or the mid-60s southern AM radio ballad “Boil It Down.” The hauntingly beautiful closing track “Trampled Down” harkens to the dark piano balladry of Dennis Wilson’s Pacific Ocean Blue. Amos plays every instrument on the record himself, except on the rollicking “Aged Wine,” which features Brian Markham on bass and Adam Bulgasem on drums, who have played live with Holy Sons at recent gigs with Sleep, The Mountain Goats, and more.
The fanatics who have come out to shows know that live, Amos roughens up the edges of his songs, pumping up the volume and the intensity. This is yet another dimension in the astonishingly diverse sonic arsenal that Amos deftly wields. Fall of Man brings together many of those sides of Emil Amos, the rocker, the silk-voiced singer, the pessimist, the meticulous producer, and the lost child of the ‘70s.
“There are a few people in this world I feel close to. I know thousands, have met way more than that. But seldom do I encounter someone who triggers that old strange feeling. The feeling you get when you meet someone who has the same ancient memories floating around in their bones, the sense of time, the trust in universe, the world inside their human heart.
Scott Kelly takes it all in.
He doesn’t miss much.
If you hang out with him for any amount of time you will observe a man who has been shaped well by time. He has suffered, and for that he loves the things that matter even more. He is a husband, a father, a son, a brother. These things flow through his words, his energy, his blood and sweat, his heavy, tattooed hands. That same tone that seared through his broken old Les Paul carries just as well through whatever instrument he sits down to play. And his voice. That bottomless, dark, familiar sound.
Scott Kelly can reach beyond what most people hear. There is a place that speaks to him, to me, and on and on. We may not understand these strange connections, but we all know there is something there that guides us. This is the way things are. And we are all blessed to be in this small space to feel it.
And then we come to redemption. Forgiveness. The world beyond our world. If you think this is a stretch, then you don’t know anything.
Scott Kelly and his new partners The Road Home (Noah Landis and Greg Dale) continue to explore The Great Mystery with “The Forgiven Ghost In Me”. With another collection of sparse, introspective songs, Kelly delves even further into a personal, private space that he has now come to occupy fully and solely. Recorded by Landis, “The Forgiven Ghost in Me” is the natural progression from his first solo album, “Spirit Bound Flesh”, and 2008ʼs “The Wake”.
With his unmistakable deep growl, his fearless lyrical honesty, and rich, spare guitar work, Mr. Kelly lays everything on the line. Only a true artist would be so willingly and completely exposed. So intensely focused on truth, redemption, and healing. So in tune with the song he has always heard inside. His path has been a narrow, dark, and difficult one. But with his most recent work, Scott Kelly shows that his strength and vision has endured it all.”
Colin H. Van Eeckhout is best known when he is surrounded by kindred spirits, but now he steps into the limelight all on his own.
This first solo album was preluded by a split 7” he released together with Nate Hall. In the meantime however, CHVE crafted his music and transformed it into a whole unique entity.
In stead of the folkish singer/songwriter track he premiered back in 2012/2015, CHVE now solely makes use of a hurdy gurdy and his voice as instruments to dig deep within his own self.
This is CHVE on his most vulnerable. Just a man, his thoughts, scars and memories, with his voice and his instrument.
The album is magnificently produced by Dehn Sora (Treha Sektori, Sembler Deah), and brings long soundscapes capturing in ambient and droning sounds what lies beyond what can be grasped by words.
CHVE started to build his album out of an empty void. He built layer upon layer, and rebuilt and reconstructed to complete his universe called RASA. The album ended up somewhere between folk, drone and ritual. But above all, the album is a conquest, a meditation and it offers an inward journey, between grief and tears.
Reverent as it is prophetic and stark, King Dude has previously shared his spiritual visions with releases on Dais, Avant!, Bathetic, Clan Destine, and Ván records. Pulling together the biblical sound and isolation of the bygone days of revelation with an atmosphere filled with hope and salvation, King Dude has woven his own brand of American music.
He brandishes many varied influences in his songwriting. Everything from British Folk, Americana, Country and Blues can be heard in his songs. Even the heavier sounds of Heavy Metal tend to sneak and slither it’s way into the King Dude canon. The resulting songs are much more of a modern day hymn then your average pop song.
King Dude’s music beg’s the soul to lift itself up from the darkness of ignorance, towards the ever shining glorious “Light” that exists outside of all of us yet that which we are eternally connected to and at once connects everyone on Earth.
Since 2013 King Dude released an Ep, a split 7 ” with Urfaust an two split 7″s with Chelsea Wolfe. 2015 saw the release of his new LP “Songs Of Flesh & Blood – In The Key Of Light”.
Totally Wired Records has been making tireless efforts to liberate Vienna´s Independent Scene from it´s shackles of urban politeness. Bruch, being one of their main acts, have been laying important ground work for the cause, evoking the slapback-electrobilly-ghost that once haunted post punk pioneers Suicide, and providing hit material about stumbling from one sleazy bar to another and being a “Walking Paradox”, equally loving and hating this city.
„You keep me knocking on your door / I’m not a stranger anymore / So let’s forget about our manners / Take me / Take me home Vienna“
California’s SAVIOURS continue to forge ahead with towering riffs, colossal rhythm, monumental guitar harmonies and an obsession with the end of times, the occult, psychedelics and the arcane. Still building upon the the foundation that BLACK SABBATH, IRON MAIDEN, THIN LIZZY and MOTORHEAD laid,
SAVIOURS are back with a vengeance on their highly anticipated new album “Palace Of Vision”, their first release in over 4 years.
Saviours are always good for a healthy dose of gnarly, NWOBHM fun; just the right amount of dirty rawness and just the right amount of Thin Lizzy polish. But, best of all, they never repeat themselves, which is so often the downfall of “reliable” bands: they twist things up just enough to make each release an engaging listen, as they’ve done now over the course of five full-lengths and two EPs spanning a decade-plus career. -Metalsucks
Pastor started jamming in late 2012. The group consists of four young men with an intense love to the art of music. Their various influences can be drawn from your dad’s record collection (well, if he was actively listening from 1968 to 1978). The tunes are filled with fine riffs, spaced out solos and hard hitting rhythm sections. Yet Pastor tries to break through the niche and clichés by mixing the sound with a bands unique character.
Their debut album “Evoke” was released in 2015 on Who Can You Trust? Records.
Be it one of their live shows, be it one of their albums: German Instrumental band My Sleeping Karma never fail to create a unique and hypnotic score of epic proportions that is bound to send the listener on deep mental journeys.
On their fifth album Moksha, the instrumental groove rockers show us their most varied side: blusterous waves of riffs embrace fragile melody lines, Eastern mysticism has its place and ghostly sound shivers lead eternal rhythms to new horizons. Yes, this word is abused way too often these days – but My Sleeping Karma are pure magic.
Almost by definition, musical side projects aren’t meant to last very long, but rather serve as brief, often one-time departures for musicians otherwise engaged with far more pressing or successful bands — and that’s why Greenleaf has proved itself to be anything but your typical “side project.”
Yes, this Scandinavian music collective has gone through quite the revolving cast since their arrival on the scene, much like an auditory Y2K virus in that fateful millennium flip; but the one constant bond that has repeatedly drawn them together, every few years, like an irresistible gravitational force, is a shared musical vision, straddling the realms of stoner and alternative rock.
Such was the case when Greenleaf first assembled behind Lowrider vocalist Peter Bergstrand for that eponymous, year 2000 debut EP; welcomed Dozer frontman Fredrik Nordin for is 2001 follow-up, Revolution Rock; added Demon Cleaner guitarist Daniel Jansson for 2003’s Secret Alphabets; integrated Truckfighters singer Oskar Cedermalm in time for 2007’s Agents of Ahriman; and powered ahead behind reliable mainstay, guitarist Tommi Holappa, for 2012’s Nest of Vipers.
Now, Greenleaf is on the move again, bidding Cedermalm “adieu” and saying a hearty “hola” to a tandem of new recruits in frontman Arvid Jonsson and drummer Sebastian Olsson, who joined Holappa and long-serving bassist Bengt Bäcke in time to record (incidentally, with no outside help, guest musicians, or other additives) what would become Greenleaf’s next and fifth long-player, Trails and Passes.
Mammoth Mammoth, a heavy rock band from Melbourne Australia that smash the shit out of their stoner, glam, doom, punk and psychedelic rock influences.
The band suffered several setbacks before playing their first live show. Their launch venue, Cherry Bar burnt down, Singer Mikey Tucker was hospitalised after a brawl with a gang of hammer wielding thugs and Bassist and Guitarist Cuz and Gash survived a shoot-out in Melbourne strip club ‘Kittens, to name a few.
In the end their first live shows gained immediate media attention.Their physical, no-holds-barred approach and front man, Mikey Tucker’s reckless performances gained them an immediate and dedicated following. In that year they we’re voted among the top 5 live shows in Melbourne’s premier Newspaper, The Age Entertainment Guide.
It was already with 2012’s eponymous debut album that KADAVAR casted a spell on all fans of solid riff-driven yet doom-like 70’s hard rock à la BLACK SABBATH or PENTAGRAM. Marrying this with the spacy psychedelic approach of early HAWKWIND and mixing in a distinct own touch while preserving their icon’s warm vintage charm can doubtlessly be considered the trio’s key to success.
Following the release of their Nuclear Blast records debut “Abra Kadavar” and a highly ambitious touring schedule through Europe, the UK and the US, including appearances on most major rock festivals, Kadavar was established as one of Doom Rock´s biggest names.
2015 saw the release of their eagerly awaited 3rd studio album “Berlin”.
The LP landen on 18 on the German charts and traditional Metal publications such as Metal Hammer and Rock Hard gave rave reviews.
Real rock‘n’roll cannot be faked. It is the immortal celebration of prized atavistic values – power and volume, sweat and adrenalin, uncompromising good times and the invigorating squall of past, present and future colliding. Those with the artistry and soul required to make music that stirs the blood will never stop chasing that distant horizon, and so Horisont have both the name and the know-how to blow minds and disperse life’s oppressive clouds.
Since forming in 2006, this Swedish quintet have steadily established themselves as one of Europe’s premier underground rock bands.
Their first two albums – 2009’s Tva Sidor Av Horisonten and 2012’s widely acclaimed Second Assault – made it plain that the band have tapped directly into the heart of heaviness and guitar-wielding derring-do. Now, with their latest masterpiece, the vividly realised Time Warriors, Horisont are raising their game, refining and re-defining themselves and leaving the competition spluttering in the dust.
“Odyssey” was released in September 2015 via Rise Above Records.
“On the night of November 6th, 1979 Black Sabbath was at their most drug addled and explosive standing. They were on tour supporting their newly released Never Say Die album and had a night off in Los Angeles. After knocking back a few drinks at the infamous Rainbow Bar, they decided to check out the local rock scene at the Whiskey A-Go-Go. Arriving late, they caught the tail end of a set by The Circle Jerks. Feeling intimidated yet inspired, they rented a rehearsal space and spent the rest of the night jamming. For an unknown reason they exclusively played Thin Lizzy material and Keith Moon was sitting in… These events never took place. But if they did, the results may have sounded similar to Los Angeles’s The Shrine. Formed in 2008, The Shrine play a houserocking breed of heavy, psychedelic, riff based Rock n’ Roll. Their debut, recorded on vintage reel-to-reel tape, by local hero Dave O. Jones and under the auspices of the notorious Chuck Dukowski, is the perfect soundtrack to any debaucherous gathering of longhairs. If you and your rag-tag group of riff-raff friends are planning a road trip to Humboldt County to “Score”, this is the album you need to be listening to on the way. The Shrine is Josh Landau on guitar/vocals, Courtland Murphy on bass, and Jeff Murray on Drums.”
RARE BREED is their new full length album produced by Dave Jerden is coming out on Century Media Records October 30 in Europe and January 15 in America. Cover art by Kris Kirk, the 3rd now in the series with the Wolf, this time taking a trip deep into the jungle.
Arriving from Herndon, Virginia in a psychic blizzard of garage-birthed fury and fuzz-crazed abandon, Satan´s Satyrs stand proud as a malignant manifestation of all that´s debauched and demented in heavy music. What’s more, their incoming third album, “Don´t Deliver Us”, beamed in from a metaphysical zone of over-amped ´70s power trio action and exploitation-movie malice, may well be the most gory and glorious thing they’ve thus far wrenched into creation.
“We wanted to recapture the primitive thrust of rock ´n´ roll to our sound” asserts frontman Clayton Burgess, also of Electric Wizard, who indeed recently achieved the considerable feat of completing a Stateside sell-out tour performing double-duty in both bands. That was an absolutely exhilarating experience for us in Satyrs, he enthuses. It made us so much tighter as musicians and bandmates.”
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