Moonless - Calling All Demons

Here is another doom album that is sure to be a favourite of mine by years end. Denmark's Moonless debut album 'Calling All Demons' is one that oozes all that stoner goodness that I like so much and is a fine alternative when wanting to put down your Blood Farmers or Church Of Misery albums down for just a few moments.

This album wasn't easy to take in at first due to Kenni Holmstad Petersen's vocals. At first I wasn't a fan of his raw and throaty voice, but they have grown on me now which is always a good sign cause I dig them very much. I like that extra raw edge that it gives this album. The way he holds his notes too and you can hear the scratchy tone in them. Reminds me a lot of Church Of Misery the way they are delivered. I also like how each word his clear and distinct, great energy behind each word. Cool stuff.

The riffs don't quite crush, but that is made up for with a real raw psychedelic edge. Wicked melodies, sweet hooks and licks help make those swaying and bouncing riffs all the more enjoyable and keep a decent variable flow throughout. Sure, a Sabbath vibe but without the darkness. Much more in line with Church Of Misery but less crush. I imagine this floating in the background as you enjoy a barbecue in the summer sun. The strings are rusty from the sweat dripping off them.

The tempos don't really change much but that doesn't matter because the songs are really catchy and so good. 'The Bastard In Me' is the only one that really gallops and is punchy the whole way through but the rest are much slower, swaying but always remain hard hitting. There is not a bad song here either as they all rock and all have some of those 'moments' and at just under 40 minutes and six songs, it is quite fitting.

Last week I called Conan's debut 'that' doom album that came out this year that you and your mates talk about. Well add 'Calling All Demons' to that list except this is 'that' stoner/doom album you will be talking about, just like we did about 'Houses Of The Unholy' in 2009. Wicked!

Ikil

Secrets Of The Moon - Seven Bells

Secrets Of The Moon has been one of those bands in recent years that has impressed me with a 'unique' style of black metal. Unique in reference to sound, feel, atmosphere. It is not that they stand out above the rest so to speak, but they just have a distinctive sound that when you hear it, you know it is them. The Tom G Warrior co-produced 'Seven Bells' is the new album, and it is a very good one.

I found their 2006 album 'Antithesis' to be fantastic. Catchy riffs, a lot of variation in tempo. Great sound, dark atmosphere. Certainly underrated. The album prior to 'Seven Bells', 'Privilegivm' was good but something was missing. Perhaps there wasn't as many memorable moments on that album compared to 'Antithesis'. Well, 'Seven Bells' has brought those more memorable moments back here.

The first thing I pick up on is the dark atmosphere. That type that is pitch black. Like wandering into an endless cave so dark you will not see a thing! There is no background noise to fill this either as the riffs have enough power in them to almost break out of the speakers you are hearing this from.

I enjoy the variations too. Reminds me a lot of 'Antithesis' the way things can be all heavy and quick before breaking down to eerie melodies. Just listen to 'Serpent Messiah' to get the idea. Speeding at the beginning to slowing it right down in the middle and making it borderline crushing with those dark melodies and repeating it this way throughout. And listen to those drums before the end the way they twirl around. It is a pretty common trait on the album to speed things up before slowing them right down. But when things do slow down and the heavy riffing is in play, it is crushing.. like grinding you into the ground.

Some of those tremolo riffs too are chilling. The way they come into the title track but also into 'Blood Into Wine' and after the crushing slowed down section just break out and speed off on their own. It almost feels subtle but they tear through that darkness in front of you. Also the way they come in towards the end of 'The Three Beggars'. Epic stuff for something so dark. Excellent drumming there too!

The descriptions may make the songs seem predictable but I don't really find that as they manage to transcend between the slow and faster moments at unexpected times. Take 'Worship' for example the way it crushes along most of the song and out of nowhere things get fast and the drum fills are going everywhere like hearing a machine gun going off in that dark cave but not knowing where it is coming from because of how dark it is. All you know is the bullets have hit you.

The harsh vocals sound so commanding. There have force and sharpness but still gritty and they don't vary much but at the right moment, they know when to change it up a little bit like the almost painful like yelling coming into 'Nyx'. Perfect time for when the tremolo riff and lead back each other up. Such an epic feel.

I don't know if it is the Tom G Warrior influence here, but this reminds me a lot of Triptykon. That dark atmosphere, that heavyness. The way the song names act as the chorus lines in most of the songs. It doesn't feel quite doom and it doesn't feel quite black either but all the elements for both are here. In the end, if I am looking for something similar to 'Eparistera Daimones' in terms of feel and atmosphere, 'Seven Bells' might just about be the closest thing to it. And that is saying a lot.

Ikil 

Conan - Monnos

After a few delays awaiting Conan's debut full length 'Monnos' to finally land in my hands, now I have been able to hear what has turned out to be one of the most crushing and destructive doom albums this year. Wait, not one of.. THE most crushing and destructive doom album I have heard this year so far.

Imagine standing on a rocky mountain overlooking the desert. Suddenly everything begins shaking. The Earth is rumbling like mad. The edge of the cliff breaks off and you fall down with it and the whole rocky mountain begins to crumble and crushes absolutely everything down below. Of course this description has nothing to do with what this album is about as it is all themed around battles and weapons, but perhaps this Earth crumbling moment is making way for an open battle ground for great warriors to fight it off in a battle much more chaotic and destructive than the earthquake that just took place before them.

These riffs are so thick. So deep! They crush everything in its path! A wall of crushing noise. And the way these riffs tread. It is not a slow pace like you might except for something as crushing. It marches along.. like the warriors are in one line marching towards their opponents, carrying their swords and axes and their thick boots are making deep prints into the desert ground.

But it is not just the riffs.. The bass is so heavy as it nods along with the riffs. Same for the drums. They all crush in the same moment with one another which would just leave a gigantic crater in anything! I mean, those beats just hammer through that noise in front of them. They feel like they lead the way a lot in this album. Listen to 'Hawk As A Weapon' to see what I mean. When things slow down and become softer (eg: 'Golden Axe'), it is almost as if this signifies the end of the battle. Who has claimed the sacred golden axe?

No one as the 'Headless Hunter' appears swinging his hammer and bludgeoning the warriors to death and continuing to beat them down even after they lay lifeless on the bloody floor. When the riffs begin to drone out, it is him standing with one foot on his dead opponents and he holds up his hammer in ultimate triumph before he gallops away into the sunset to now claim the 'Invincible Throne'.

And thus the final song is when things really slow down and drone out, as if slowly panning a view from above over the desert grounds and all the bodies that lay crushed from the battle. Like all the songs on here, what they 'lack' in variation, they make up for in the way they crush along and that is what captivates you with 'Monnos'.

I really like the dual vocal assault on 'Monnos' too. The blend of the deep bellowing yell with the higher one just makes this feel so powerful. Quite emotive and even epic. Almost like commanding chants and battle cries as the war commences. There are not many lyrics in the songs but the fitting thing with this is that each word they breathe is filled with equal feel. So much force.

I was expecting 'Monnos' to be a much longer album as the EP 'Horseback Battle Hammer' is 33 minutes long and this album is just under 40 minutes which seemed like it might be a bit too short. In the end, it is fine and fitting. I don't think they could have crushed your skull anymore due to how heavy this thing is.

Overall, I have been waiting for 'that' doom album to arrive this year. That one where you sit down with your mates and say 'Oh, how fucking good is that album?'. As of this moment, 'Monnos' is that doom album that is invincible to all the other doom albums I have come across this year, and the way it is going, will surely claim the throne to this years most crushing assault. Yes, the word of the day is 'Crushing'.

Ikil

Occultation - Three & Seven

So Profound Lore has definitely led the way with more 'obscure' releases this year and here they have released one of the more interesting albums I have come across this year. Occultation's debut album, 'Three & Seven' is one eerie, haunting piece of work that whilst I like for the majority of it, is still proving to be a challenging listen..

I recognized the guitar sound straight away, coming from 'Nameless Void' of black metal band Negative Plane. A lot of this album feels like Negative Plane, but with clean vocals, and much more doom and psychedelic oriented. But okay, to focus on 'Three & Seven'.. There is a lot of echoing effect to the riffs which makes this sound really eerie, trippy and really dark. It feels ritualistic in a sense. That twang and chime sound. Even the leads can sound piercing at times to the ears when they get higher. It kinda feels hypnotic.

This could lead you out to a choppy sea at night. You can't help but walk towards the water as these riffs are ringing in your ears thanks to the strong winds carrying the sound through. They have control over you and with help from the plodding bass lines or organs (eg: 'Dreamland In Flames'), you will just fall face first into the water and the stream will carry you well through the seas.

Even the way that bass line plods along with the leads is haunting. Like people in dark hoods slowly walking along the shore line and line up candles along the banks as they await for you to swim back to them so they can cast more haunting spells on you.

The female vocals are not anything amazing, but they are well suited to this. Low end, mostly monotonous and like the guitars, have an echo to them. But what I see in this is that hypnotic and haunting effect. It has that occult atmosphere. Dark hymns being sung at a black mass.  

Production is my only real gripe and probably the one thing that has made me not cling to this album so much. That echo can just make those guitars be too piercing at times. Listen to this too much through headphones and it might send you crazy haha. Maybe that is the plan. The drums sound a little drowned out also. I would prefer this to sound a little cleaner. This is definitely what is making for an 'uneasy' listening experience so to speak. But hey, it is what it is.

Perhaps when you are in a dark mood, put on the candles, turn the lights out and put this on.. Then sit back on your couch and stare into the candles as they flicker along to the eerie melodies that you hear filling up the room. Mesmerizing effort.

Ikil

Desaster - The Arts of Destruction

This really does seem to be the year of killer albums being released. Also a lot of surprises too. The latest album from Desaster, 'The Arts of Destruction' being one of them. I have never been crazy about the band, just another one I have enjoyed from time to time. Then I got this, and it fucking rules!

What I really dig about this album is the variations, especially for something that sits in the black/thrash area. Take the awesome raw thrashing melodies of 'Lacerate (With Rays of Doom)' that is so catchy, or the more old school black metal opening riffs of the title song and 'Phantom Funeral'. Or the dark evil lead at the beginning of 'The Splendour of the Idols' which transcends to chaotic riffing and beats which again transforms to a slower neck snapping riff.

You tend to hear these elements in almost every song which helps for an interesting listen. But I also like the different feel that is presented in the songs. Take the more filthy and trashy 'Queens Of Sodomy', or the more tremolo tearing 'At Hell's Horizons'. Those riffs feel like they are creating a bonfire which is about to spread out through some dirty neighbourhood, making way for the devil to rise up from the ground. Then the help for this destructive piece of work on a whole comes from the drums that beat away like explosions going off in these streets. The snare and cymbals shatter glass and thudding toms will belt down the walls. 

The real stand out for me though comes from the song 'Possessed and Defiled'. An eight and a half minute epic. The first few minutes build up and are lifting and then it starts to gallop away as the devil rides through the neighbourhood on his dark horse to carry on with the destruction that has already begun. Very catchy with some wicked melodies.

Sataniac's vocals are killer also. Such menace in his throat that is deep and raw no matter when he roars or screams. So dark and evil. Like he breathes fire when he screams and blows smoke when he growls. He definitely adds a crazy vibe to this evil sound.

I also have to make mention of the fact that it is nice to listen to an album of theirs that maintains the same sound/production in every song. I found some of their early albums to be a little annoying to listen to as each song on a certain album had different production, one song would have the bass to high in the mix or another song had too much background noise and so forth. Nothing sounds out of place on 'TAoD' and that rules.

When a band with a number of albums under their belt comes out with a new album that is really fucking good, it will make you go and revisit their catalog. 'The Arts of Destruction' has definitely done that for me. When some of the more thrash oriented albums I have been anticipating this year have turned out to be a bit of a let down, at least Desaster has helped taken some of that disappointment away. Killer stuff.

Ikil

Borknagar - Urd

I was really interested to see how Borknagar would go given the return of Vortex and how he would work along side Vintersorg in the vocal duties. This was sure to add some extra spice to a band that I felt it seemed like they were running out of ideas with their last few albums. 'Urd' is certainly a step up and a definite return to form for a band who has been a great example of how the influence of black metal can spiral out into many different forms.

Well the first thing that took me by surprise was not only how well Vortex and Vintersorg work together, but also the way Lars Nedland's vocals are brought into the mix as well. All of them have prominent roles throughout the album. Sometimes they will lead together or back each other up. When Vintersorg is spitting out his harsh vocals, you may hear a distant harmony from Vortex's voice in the background like a reminder to a group of explorers that the ghosts of their forefathers are with them on their journey through the forests.

Vintersorg could almost leave his clean vocals behind as Vortex and Lars just add so much more of an epic and operatic feel to this album. Just listen to the way Vortex comes into the middle songs like 'Epochalypse' or 'Roots', the way he commands 'In A Deeper World' or the way he and Lars opens 'The Beauty Of Dead Cries'. Dimmu Borgir's loss has become Borknagar's gain. Vortex was going to waste in Dimmu and he has been used exactly how he should be here.

The guitars feel like they are held back a bit. Besides some of the lead work that gets to breathe a bit, I would have liked them to have more of a lift in the mix but then again, I have found that to be a familiar trait in Borknagar's sound. They always seem to be on the same level with the keyboards. What this does do though is add a more symphonic or orchestral vibe which again pushes the epic feel. And yes, even a progressive one. It does make you concentrate on the riffs more when the tremolo riffs are speeding along with the drums which makes this feel like this music is being played along with a distant wind that is bringing the clouds above the explorers. And when the clean melodies are introduced at various moments, it feels like faint raindrops falling on the explorers as they exit from the woods and come out into the open fields.

As I said before, the drumming is like a wind. A slightly harsh wind. It is all in a good way though. It helps make this epic journey for these explorers a not so pleasant one. It is windy and it is cold. And a fog slowly rises when the double kicks  and snares whisk through the woods and across the fields. When this mixes in with those tremolo riffs, it can also give off a feeling as though something bad might happen. Almost like a tense moment but then breaks away triumphantly. Listen to 'The Winter Eclipse' to see what I mean.  

The next time I take a bush walk or if I ever get to explore the forests in Norway should I ever visit there again, this album may be the perfect soundtrack for that adventure. For me, 'Urd' is Borknagar's best work since 'Empiricism'. Great work!

Ikil

Meshuggah - Koloss

I have always had a 'love/hate' thing with Meshuggah. For me, definitely one of the most interesting and original bands out there and have produced some of my favourite albums of all time. But then they put out a few hits and a few misses. Of course, one of the most influential bands of the last 10 to 15 years. The only problem has been that all but one band, that being Vildhjarta (Swedes too mind you), have failed miserably at truly emulating the Meshuggah sound. Makes the term 'Destroy Erase Improve' seem ironic don't you think?

Even when I saw them live in 2008, I was one of about three people that found their show to be rather bland and quite boring. I think I will put that down more to choice of song rather than performance. So I guess that was really my problem, not theirs. And so for a few years, I really couldn't find any time for them. Quite silly reasons to put a band on the shelf. I mean, should I also stop listening to say... Emperor because they too are yet to have any band even come close to claiming their throne?

Anyhow, the new Meshuggah album 'Koloss' is definitely one I will put along side the likes of 'D.E.I', 'Contradictions Collapse' and 'Chaosphere'. A great variation in technicality, vocals, tempos and styles. One that is dark, twisted and set to take your mind to all kinds of dimensions. This is more like it.

You just picture yourself lying on a metal table surrounded by a few odd scientists. You are hooked up to the heart monitors and the like and they start running their experiment on you. The way 'I Am Colossus' begins with its thick disjointed plod is your pulse running normal and the pace picking up and becoming almost blistering as your pulse is racing, reacting to the injections you have just received.

And then your body begins to shift back and forth in all different directions due to all the mechanical disjointed riffs that are hitting you and feel like an electrical current streaming along, full of energy and intensity. The atmosphere feels like something is burning from the power point all the chords are plugged into. And their is a subtle ring hovering well back behind these disjointed riffs.

After your epileptic fit from the first few songs on the album. Your body settles down in complete darkness and the atmospheric leads pass through your head like straight small beams of white light. Your body only shifts a little more at various moments like the way the drum patterns follow along so tribal like before they twist and move around and build up with the pace of the riffs. And when 'Swarm' begins to scurry around in your head like ants running in all different directions after their hill has been rained on, you've had enough..

'Demiurge' explodes off like a deep siren as you leap up from the table and begin to go insane, ripping off your chords and pulling apart the cables from the power points which causes the lab to catch fire. You catch fire and yell with fury.. revealing the voice of Jens Kidman. His voice once sounded as though he was burning alive in a boiler room.. now it sounds like he is burning alive in an electrical fire. So well suited.

So how fitting when the ambient like ending 'The Last Vigil' represents the burnt down lab. The scientists have escaped, but your body lays lifeless amongst the thick black ash and slowly the vision becomes distant. 'Koloss' is like the enormous beginning with great build, great speed, almost indestructible.. then slowly breaking it down to the point it withers away.

I think back to my above comments. With 'Koloss', it really feels like Meshuggah has truly destroyed and erased that rough patch I felt they had with their last few albums.. because 'Koloss' is one master of an improvement. This will definitely make my end of year list and that says something cause I wasn't going to show any interest in this in the first place.

Ikil

Burzum - Umskiptar

I have enjoyed every Burzum album since Varg Vikernes' release from prison. Even if they have not lived up to his earlier works, they all still have that feel from that period. With the new album, 'Umskiptar', the feel is still there except dusk has arrived. It is getting warmer and the chills of the dark past appear gone but not forgotten.

He is still displaying those simple tremolo picked notes that remain so effective. This time they tend to hang around in the background more as their is a sense of dust blowing up from the dirty trails getting in the way. And after 'Joln' is what we have come to know of Burzum, 'Alfadanz' truly comes across as just that. The tempo is slower and the slight disjointedness in the riffs sounds awesome. Perhaps my favourite Burzum song from the last three albums.

The tone in these riffs remind me a bit of 'Det Som Engang Var', but without the cold atmosphere and less evil. Here, it appears more sad and warmer. The rawness is still evident though, nothing sounds clean and this does help keep a touch of evilness if it is meant to be lurking around somewhere. I also enjoy the slower tempos in the songs as well that mix up between 3/4 and 4/4 beats. It is not the tear away fast tempos that had become a common thing for me with Burzum.

The repetition remains also and again, doesn't get boring. He is one of the only few that can write an eight to ten minute long song consisting of only three riffs and it will still sound great. Take 'Valgaldr' for example. The blend of Varg's cold harsh whispers, clean vocals with the cleaner notes and intricately played tremolo riffs still makes for an interesting listen even if there is no progression.

I have quite liked Varg's vocals on his later albums and again here he mixes it up well. We will never hear the psychotic screams from his early works and I think that has a lot to do with the fact he isn't using a shitty old computer headset to record them on anymore hehe. His cold harsh whispers still give a small sense of that chilling effect and I even find a dark appeal in his spoken word and clean singing. The chanting, the harmonies, this is coming from a guy who is meant to be minimal in his musical abilities.

The last found songs have more of an ambient presence to them. I don't mind it, this is the type of stuff to more sit back and relax to. It just feels like it drags on a bit too much. But I know it will grow on me. Perhaps the woman riding off into the distance with her child as pictured on the album cover has finally stopped riding and will now rest through the night nursing her child safely in her arms as she stands guard in case the people from her village she has taken refuge from may find her. 

With 'Umskiptar', Varg has again shown that he doesn't need influence from any other band to create the music he truly wants to create. You just know that the only band he is taking any influence from is his own and I really admire that. Also give him credit for the fact that he is making the music for himself and no one else. A lot of artists fall into the trap these days of pleasing others before pleasing themselves.

For me, one thing is certain.. Like it or not, Burzum still embodies that spirit of true black metal. Perhaps not entirely in style, but certainly in everything else..

Ikil

Ne Obliviscaris - Portal Of I

Get ready for a very long read..

If there is one album I have been looking forward to for the last three and a bit years, it has been the Ne Obliviscaris debut, 'Portal Of I' (POI). I have been following them with great interest since coming across them in early 2006, even to the point of heading out to Canberra on two occasions to see them live and even flying out to Melbourne for their amazing 'comeback' gig in 2008. Definitely one of the most talented group of individuals I have come across.

Before I delve into this, I will get the 'concerns' out of the way. I will admit that my anticipation for this album had dropped a little bit over the last couple of years. Firstly, given the dramas the band faced trying to get lead guitarist Benjamin Baret back into the country, I wondered if this album would ever see the light of day. Full credit to the guys for fighting so hard and getting others behind them to get him back here.

I have to say I haven't enjoyed their last few gigs either. Not really their fault, but I didn't like the mix at all. So in a sense you wonder if the album would have a similar problem. Would certain instruments get drowned out or would others be mixed to high etc or would production overall be too mechanical sounding as can normally be the case with majority of bands who can be so progressive and technical. So happy to say that this is not the case here. For all the technicality involved here, everything still feels organic and perfectly mixed for my mind. I don't think one could ask for anything different. This feels like Opeth's 'Blackwater Park' but with more twists.

Now for the music.. How one can weave so many different elements in their style and pull it off so incredibly well is beyond me. Not just musically, but emotionally as well. This whole epic thing is practically flawless. Take the way 'Tapestry Of The Starless Abstract' opens with that black metal sound blasting away, the subtle tremolo riff in the background twisting and turning and coming off so chaotic and how it transforms into a hazy stream of distortion and the harmonizing between the clean vocals of Tim Charles and harsh blackened vocals of Xenoyr. The way it can blossom into something almost beautiful. That climatic finish. Being at the bottom of that treacherous mountain and not thinking you can get to the top, and when you climb to the top, you lift up your arms in triumph. You now feel like you are the King of the world.

This is just one example. It is a similar trend throughout but the styles and emotions change. Leads become more melodic and the violin might become the subtle element hanging in the background like it does in the early half of 'Xenoflux' while the heavy wall of distorted riffs march along and transform into something almost feeling disjointed, like something of later Blut Aus Nord. Xenoyr's vocals have taken a more deathly approach, similar to that of Mikael Akerfeldt, but their is a hint of pain in his voice. But again, their is that climatic moment when the guitars become clean and melodic and in line with the violin and out of nowhere, the skies open up and heaviness returns with a lead/solo that soars so powerfully through the air.

Like a classic album, every song on POI has its 'moments'. But even here, every member gets to have his 'moments' on this album. For me, Brendan's bass is the shining light in 'Of The Leper Butterflies'. He leads the way in majority of the song while the clean guitars and violin twinkle in the background. Sweet to hear but you can sense the darkness lurking in the background and then it hits you out of no where when that familiar wall of distortion hits you in the face and then rocks back and forth.

Then you have Tim's vocals and violin work. Where the bass plays a prominent role in 'Forget Not', it is the violin that takes command in the first half of the song, building up, soaring along. I am reminded a lot of Dirty Three in the first half of this song. His shining violin performance for me would have to be the first part of 'And Plague Flowers The Kaleidoscope' the way it twists and turns and jumps to so many levels before those walls of distortion come into the fray but even then it returns to take center stage throughout. Just listen to the way it hovers over the blistering staccato part from the six minute mark.

His vocal performance especially on 'As Icicles Fall' is stellar. The way he can make something sombre sound as though it is being laced with beauty is awesome to hear. This song almost feels like it would have descended into complete tragedy and despair, total oblivion if not for that moment as the rest of the song feels like your heart has sunk. He can certainly hit his notes and this adds so much to the bands sound. They are more than just a metal band.

With the guitars, the lead work is fantastic. I really enjoy the variation in style. Sometimes melodic, sometimes disjointed, sometimes soaring. A great technical mix of styles between black and melodic death metal but progressing to great lengths. I have to say though, the rhythm work grabs me the most. It sounds bleak and misty, but quite harsh. The back end of 'Forget Not'  and the beginning of 'Tapestry...' reminds me of Astriaal. And sure, plenty of other moments bring the Opeth to mind.

Even the way Xenoyr's vocals have progressed to this album has been a joy to hear. From a rasping demon, he can emerge into a roaring beast. Sometimes with command, sometimes with hints of sorrow but always with great force. He can sound short and sharp or sometimes lets his words be drawn out and always done in a chilling manner.

And for the drumming. The odd soft touches is overpowered by the chaotic, trembling, blistering beats throughout. It doesn't rain here, it hails, but the distorted riffs help break these giant hail stones up into small particles that shower over the land.

This band will keep getting Opeth references and whilst I understand this and that is the obvious comparison, there is so much more to this band. This band has already achieved some aspects in their sound that took Opeth about five albums to get to. That is scary given this is only their first album. If Akerfeldt really pays attention to all those bands taking on the Opeth approach, I am sure he would be laughing at how much they fail to reach Opeth's level. One thing will be for certain though.. he will be keeping a close eye on Ne Obliviscaris.

Thus concludes my write up that took me twice as long to do as the albums length... Definitely will be one of my albums of the year. Congrats to them for their hard work over the years and finally getting a well deserved record deal (Code 666) which will certainly get them even more interest overseas. Impressive stuff. Enjoy..

Ikil