'Brown Acid' series of rare/lost 60s-70s pre-metal singles drops 1969 grunge precursor "Something Else"

"So rare that diehard fuzz junkies say you'd have a better chance of winning the lottery than finding a physical 45 rpm single by one of the bands featured on their latest installment." -- Dangerous Minds

"Will do for hard rock, proto-metal and heavy psych what Nuggets did for garage rock, and bring it to a wider audience of collectors and music fans." -- The Guardian

"Mining the surprising rich reserves of heavy rock and proto-metal from the '60s and '70s, these collections have been crucial to understanding the history of a subgenre of rock that had far deeper roots than most fans realize." -- Paste Magazine

The forthcoming eleventh edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Eleventh Trip will be available on Halloween, October 31, 2020. Today, hear and share the latest single, "Something Else" the 1969 proto-grunge rocker by Tacoma, WA band Adam Wind via YouTube and Bandcamp.

Previously, the soul-laced hard rock of Debb Johnson's 1969 track "Dancing In The Ruin" was released via YouTube. The first single, "Diamond Lady" by Larry Lynn is available HERE.

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE. 

About  The Eleventh Trip:

This Trip opens with Adam Wind's "Something Else," featuring groovy crooning and a very acid-damaged guitar riff that meanders across key signatures like it ain't no thing. This 1969 single by the Tacoma, WA band predates grunge by 20 years, but the band's heavy psych and murky tones are just the stuff Northwest heroes Mudhoney sought so fervently at their peak. Lead singer Leroy Bell's excessive vibrato gives the tune its charm, but the heavy breakdown in the middle is the real payoff. 

Boston bruisers Grump return to the series with a previously unreleased dose of raw soul layered in greasy horns, plucky harmonized guitar leads and chirping organs on "I'll Give You Love." The track packs twice the punch of their cover of Elvis Presley's classic "Heartbreak Hotel" heard back on The Eighth Trip, itself a fan favorite. 

Stevens Point, WI is the actual origin of Bagshot Row, a little-known band taking its name from a street in The Hobbit. However, they sound much less fantasy obsessed than their name suggests and more akin to Sugarloaf of "Green Eyed Lady" fame. Their swaggering "Turtle Wax Blues" of 1973 will put some extra hair on your feet and send you searching for this lone 45 single like a ring that possesses magical powers to control all of Middle Earth (or at least Middle America.)

Larry Lynn's "Diamond Lady" is the B-side to his 1970 single "Back On The Street Again." Larry Leonard Ostricki adopted his stage name while performing with The Bonnevilles in the mid-1950s in Milwaukee, WI, and later with The Skunks. Larry Lynn's eponymous band explored bluesy psychedelic rock from 1969 to 1978, only to reunite in 2009 and they still perform to this date. 

Renaissance Fair take things in a very weird, very fun and undeniably heavy direction with an insanely distorted organ that sounds like a monstrous vacuum cleaner over dirge rhythms and growling vocals on their - we reiterate - weird 1968 track "In Wyrd." Think if someone left a copy of The Doors' Strange Parade out to warp in the sun on a blown-out toy record player, and then visiting space creatures attempted to imitate what they'd heard. 

Chicago, IL's Zendik bring it all back down to Earth with their politically-charged 1970 firestorm "Mom's Apple Pie Boy" which echoes the unabashed rage of The MC5 and anthemic sarcasm of CCR's "Fortunate Son." The band's only publicly released single "Is There No Peace" (previously heard on Brown Acid: The Sixth Trip) boasts the proto-punk refrain "God is dead!" This equally direct polemic was recorded during the same sessions, but unreleased until now. 

The opening cowbell of Daybreak's kicked back 1977 rocker "Just Can't Stay" affirms that the boogie is back on this swaggering nugget of FM-ready rock from San Mateo, CA. "Just Can't Stay" closes the band's lone 4-song EP, and the band delivered on the promise, vanishing into the ether shortly thereafter. 

West Minist'r of Fort Dodge, IA make their desires clear on "I Want You" with an undeniably driving riff and particularly beefy sounding synth leads that would fit in fine on Sabbath Bloody Sabbath. The song, originally released on Magic Records, is the B-side to "Sister Jane" and the band's last of three singles issued between 1969 and 1975. 

Debb Johnson of Saint Louis Park, MN is a BAND, not an individual member of the band. The 7-piece group featured a full horn section and three-part harmonies on their 1969 self-titled album. The backstory on their name is: three of the group's seven members shared the last name Johnson, so they then took the first letters of the last names of the other four members and combined them into the word "debb." The politically minded "Dancing In The Ruin" speaks a truth all-too-familiar to this day backed by a brand of wailing acid rock crossed with Buddy Miles' Expressway To Your Skull style funk. 

Crazy Jerry sends us off on a high note with "Every Girl Gets One," featuring crunching riffs, rollicking electric piano, stop 'n' start rhythms and a curious telephone call sounding like a creepy answer to the Big Bopper's "Chantilly Lace." Crazy Jerry is the alter-ego of guitarist Jerry Ciccone, who can also be heard on a few soul/funk and rock records from the 70s, including The Left Banke's second album. But here, Jerry is...well, simply crazy. 

About the Brown Acid series:

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century -- particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins -- often hoarding them in private collections, or selling at ridiculous collector's prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on

Brown Acid. 

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long. 

"I essentially go through hell and high water just to find these records," Barresi says. "Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for

Brown Acid is best for everyone involved," rather than simply bootlegging the tracks. When all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success. 

"There's a long list of songs that we'd love to include," Barresi says. "But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us."

Brown Acid: The Eleventh Trip will be available everywhere on LP, CD and download on October 31, 2020 via RidingEasy Records. Pre-orders are available for digital (with immediate download of the first single) at Bandcamp, physical pre-orders at RidingEasy Records. 

Artist: Various Artists

Album: Brown Acid: The Eleventh Trip 

Label: RidingEasy Records

Release Date: October 31, 2020

01. Adam Wind "Something Else" 

02. Grump "I'll Give..."

03. Bagshot Row "Turtle Wax Blues" 

04. Larry Lynne "Diamond Lady" 

05. Renaissance Fair "In Wyrd"

06. Zendik "Mom's Apple Pie Boy”

07. Daybreak "Just Can't Stay" 

08. West Minist'r "I Want You" 

09. Debb Johnson "Dancing In The Ruin"  

10. Crazy Jerry "Every Girl Gets One” 

Ghost Against Ghost return with politically defiant video & single "Darth Mango"

Ghost Against Ghost, the experimental rock project of eclectic composer Christopher Bono, release their first music since 2018 today with a powerful, politically charged video & single entitled "Darth Mango." Watch & share via YouTube HERE.

The title of the song and the cartoonish cover art by Nick Sirotich suggest political satire. However, the lyrics, while directly pointing to the unwholesome tactics and mind states of Trump-ism, contrast this with a message of resistance to these temptations through love and social unity.

Video artists Laskfar Vortok and Strangeloop (Flying Lotus, Brainfeeder, Erykah Badu) created a compelling video that poeticizes the lyrics of “Darth Mango" by highlighting personality and event footage that represent the agenda and actions of the Trump movement, juxtaposed against resistance images expressed through peaceful protests and crucial social activism moments.

Bono originally began composing this ornately orchestrated and complex piece during the Fall of the 2016 presidential campaign. He became driven by deep concern for the rising trends surrounding the ascendancy of Donald Trump. At the apparent normalization of explicit falsehoods, disrespect and verbal abuse against woman and opponents, as well as a general mentality of encouraging hate, anger, fear and division, Bono turned to music to process what was the beginning of a deeply dark period of American history. 

Christopher Bono: "At the time I had already been thinking about exploring rhythm in a heavier more intense, and early Twentieth Century classical kind of way, experimenting with rhythms energized by the music of Stravinsky, Bartok and others, as a driving force for the structure of a Ghost Against Ghost song. I also was interested in shorter forms, as Ghost Against Ghost songs historically tend to be an extended length, usually between 8 to 15-minutes. I thought to myself, 'Let’s do a 3.5 minute ‘pop’ song'. Of course, as with anything Ghost Against Ghost, it’s not an up the middle kind of pop song. The music was meant to express some very challenging emotions about the state of our world and reflects this by being abrasive, dissonant, angular, and very dense.”

After beginning work on the piece, he put it away for a few years to focus on the many other projects he’s involved with, including NOUS, Nous Alpha, Tsyphur Zalan and Gabbarein. It lingered in the back of his mind as a statement he felt compelled to complete writing and producing. In 2019, with the specter of the upcoming 2020 presidential campaign, after watching the horror of society and democracy crumbling before his eyes for four years, he was determined to complete it in time for the election. 

Christopher hasn’t released a politically charged song in over 15 years, but as a songwriter he does have a history of and interest in political and social commentary in music.

“In my early twenties I was inspired and driven to write activist music,” Bono explains. “I starting out pursuing a music career as a lyric driven singer-songwriter very inspired and influenced by artists like Neil Young, Bob Dylan, Bruce Springsteen and Pink Floyd. When I began Ghost Against Ghost in 2008, interestingly enough, the first album (which I never completed) was a double length concept album narrating a dystopian American future. The central theme focused on a the runaway future of a country and world driven by crass capitalism and controlled by a totalitarian head of state. Not too far from where we’ve landed 12 years later. 

"I soon put Ghost Against Ghost aside for five years to focus on several classical projects. When I revived the project in 2013 the themes present in the new material focused on metaphysical topics and dark romanticism. With the writing and release of Darth Mango, It’s fascinating to see Ghost Against Ghost return to those original themes of social commentary and political dystopia, however much I wish the circumstances had not driven me here.”

Though Bono often collaborates with friends and talented musicians, this track was performed and produced in true 2020 COVID fashion, in complete isolation. After 2 years of several collaborative projects, Christopher was inspired to revisit solo production, so he played all instruments himself, including drums, bass, piano, synths, vocals and electronics.

About this video, director Laskfar Vortok says:

"We wanted to delineate, in condensed fashion, the tumult of The Trump Administration disaster. The video for Darth Mango exists to give shape and sense to how cruel and unusual this approach to governance is. But because of the a barrage of disturbing video material, we also attempted to show, in counterbalance to the negativity, the societal backlash to corruption in government as it has manifested in The Women's March movements, the student-led Climate Strike movements, the Black Lives Matter movements (in particular the responses to the deaths of George Floyd and Breonna Taylor) and the student-led March for Our Lives, which came in the wake of the Parkland School Shooting. By drawing on the frenetic energy and powerful lyrical content of Ghost Against Ghost's music, we operated under the assumption that there is truly strength in our collective unity in the face of such terrible governmental designs, and we wanted the video to exemplify that."

Strangeloop shares: "Utilizing a series of publicly available images of DJT we trained a GAN (generative adversarial network) to produce endless incarnations of his visage, albeit with some lucky random deformations that added novelty to the frenetic unfolding of the video. It felt strangely appropriate making literally fake images of a President who seems consistently obsessed with all things fake."

Laskfar Vortok is a visual artist and musician interested in the new visibilities that have arisen from widespread dissemination and accessibility to data. He is co-founder of The Teaching Machine, an arts collective based in Los Angeles, and has worked as a live-visualist for Erykah Badu, Strangeloop, Tokimonsta, Nick Murphy, RYAT, as well as video installation work in collaboration with Anna Luisa Petrisko for Los Angeles Contemporary Exhibitions (LACE) and with Four Larks Theatre Company for The Wallis Annenberg Center for Performing Arts. He is also co-director of 3TONcinema, a 16MM film archive with collaborator Monty Cantsin.

Strangeloop is a long-time collaborator of Flying Lotus (who developed Layer³ and the recent 3D Live experience) as well as one of the original members of Brainfeeder who is heavily responsible for setting the visual aesthetic for that label, via numerous collaborations with its many artists.

"Darth Mango" lyrics:

Love,

Fear,

We choose.

Our own resistance.

A1

Fear Reveals a weakness.

A Lost Mind Trapped in Madness.

People aren’t your play things.

Selfish Lies Defy True Meaning.

Choice Defines the Future

Thoughts of All can tune a New World.

B1

Unify, Unify, Unify before our Eyes.

[Repeat]

A2

Fear dawns from Division,

Darkened hearts become our prisons,

The lines we draw are only shadows.

Thoughts of All 

can tune a New World.

Love,

Fear,

We choose.

Our own resistance.Darth Mango

Love,

Fear,

We choose.

Our own resistance.

A1

Fear Reveals a weakness.

A Lost Mind Trapped in Madness.

People aren’t your play things.

Selfish Lies Defy True Meaning.

Choice Defines the Future

Thoughts of All can tune a New World.

B1

Unify, Unify, Unify before our Eyes.

[Repeat]

A2

Fear dawns from Division,

Darkened hearts become our prisons,

The lines we draw are only shadows.

Thoughts of All 

can tune a New World.

Love,

Fear,

We choose.

Our own resistance.

ALL SOULS (Josh Homme's Desert Sessions, ex-Totimoshi) share video for "Winds" from new album via Metal Injection

"The bluster and bravado Totimoshi exerted at its most primal is still felt in All Souls, but melody, depth and reatraint actually make the sonorous sting more biting and more venomous." -- Premier Guitar

"They only sound heavier and more powerful now than they did two years ago." -- Brooklyn Vegan

Los Angeles quartet All Souls share an official video for "Winds" from their new album Songs For The End of The World today via Metal Injection. The video is directed by Josh Graham (Soundgarden, Neurosis visuals) and is available to watch/share HERE. (Direct YouTube.)

CvltNation recently featured a full album stream for Songs For The End of The World HERE. (Direct Bandcamp.) 

A stunning animated video for album track "You Just Can't Win" was released earlier this year. Watch the dark portents via YouTube. 

All Souls formed in Los Angeles in the winter of 2016 and have gone from playing local gigs to performing in theaters and arenas. Featuring Tony Tornay (Fatso Jetson, Josh Homme's Desert Sessions, Deep Dark Robot with Linda Perry) Antonio Aguilar and Meg Castellanos (Totimoshi) and Erik Trammell (Black Elk), they were recently hand-picked to tour with Tool, The Jesus Lizard, (the)MELVINS, and Meat Puppets.

All Souls creates songs that are lyrically dark, infused with the band's unique style and perspective on the state of today's world. Their music has been described as intelligent, majestic, exciting and original. They are unafraid to bridge into big open spaces discovering new wastelands; ultimately stepping from dark to light.

Throughout 2016, the quartet -- Aguilar [vocals, guitar], Castellanos [bass, vocals], Trammell [guitar], and Tornay [drums] -- recorded what would become their self-titled full-length debut, All Souls, during intermittent sessions at Sound of Sirens Studio in Los Angeles with producer Toshi Kasai known for his work with Tool, Foo Fighters and (the) MELVINS.

Following tours with the likes of Red Fang, The Sword, Kvelertak, and Torche, the band released All Souls in 2018 via Sunyata -- the label founded by iconic Screaming Trees and Mad Season drummer Barrett Martin. Earmarked by Spaghetti Western-style expanse and rough-and-tumble riffing, the music proudly bears the wild wear-and-tear of the nineties Palm Desert scene with a twist of psychedelic voodoo and metallic edge.

For Aguilar and Castellanos, the music spoke to a dormant primal need that harked back to their time in the fan favorite underground mainstay Totimoshi.

All Souls just-completed second album which they recorded in 2019, Songs for the End of the World, reunites them with Kasai. This follow-up recording is an evolution for the band. Aguilar's distinctive vocals are at times lyrically bleak and deeply personal, set against a musical backdrop that challenges listeners with inventive songwriting and ethereal melodies. Tornay's explosive drumming matched with Trammell's innovative guitar and Castellanos' low end and feminine back-up vocals lend to their power and unique approach. One could say they are connecting the dots between Led Zeppelin to the Pixies, Soundgarden to the Cure all the while carving their own road with authenticity. 

Songs for the End of the World is available on LP, CD and digital, released on October 2nd, 2020. Pre-orders are available HERE. 

Artist: All Souls

Album: Songs for the End of the World

Record label: self-released

Release date: October 2nd, 2020

01. Sentimental Rehash

02. Twilight Times

03. Winds

04. Bleeding Out

05. Death Becomes Us

06. You Just Can’t Win

07. Empires Fail

08. Lights Out

09. Bridge The Sun

10. Coming With Clouds

Links:

http://allsoulsband.com

https://allsoulsband.bandcamp.com

https://www.facebook.com/allsoulsband

https://www.instagram.com/allsoulsband/

Street Doom band R.I.P. (RidingEasy Records) streaming forthcoming album early before Friday release

"A disgusting, punk-rock-meets-Black Sabbath shredder that's going to leave a film of filth on any speaker that has the misfortune to output its gnarly sounds." -- Metal Injection

"R.I.P. find a place for '80s and early '90s nostalgia that's not overblown would-be glam or retro-minded thrash, but would nonetheless fit well on a bill next to Slayer during their big-hair days, despite the obvious sonic discrepancies." -- The Obelisk

"Heavy, dirty, filthy rock n’ roll... Dead End is going to catch you in its strong, hairy arms and soothe you with murder in its eyes!" -- CvltNation

Portland, OR 'Street Doom' quartet R.I.P. are streaming their forthcoming third album Dead End in full today ahead of release via Brooklyn Vegan. Hear and share Dead End HERE. (Direct YouTube.)

Metal Injection previously hosted the lead single "Out of Time" HERE. (Direct YouTube.) CvltNation shared title track "Dead End" HERE. 

When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy Street Doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, none of us expected its depravity to take such fierce hold, and yet, here were are, sheltering in place and/or stealthily creeping through a nightmare dystopia that the 80s sci-fi/horror movies foretold. 

Dead End is, ironically, a recharge of the band's sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics to the band's ferocious heavy metal. 

During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity - touring the west coast with bands like Electric Wizard and Red Fang, and taking Street Doom overseas for the first time for a month long headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases. 

For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath.  

Dead End will be available on LP, CD and download on October 9th, 2020 via RidingEasy Records. 

Artist: R.I.P.

Album: Dead End

Label: RidingEasy Records

Release Date: October 9, 2020

01. Streets of Death

02. Judgement Night

03. Dead End

04. Nightmare

05. One Foot In The Grave

06. Death Is Coming

07. Moment of Silence

08. Buried Alive

09. Out of Time

10. Dead Of The Night

On The Web: ridingeasyrecords.com facebook.com/R.I.P.P.D.X instagram.com/R.I.P.P.D.X braveinthegrave.bandcamp.com

PG.LOST (ex-Ghost, Cult of Luna) share dramatic video for "Suffering" from new album on Pelagic Records

"At the top of the list of post-metal and rock for me, always delivering emotional, clever, and inimical works of emotive, atmospheric, and surprisingly heavy music. You are not going to want to miss this one." -- Heavy Blog Is Heavy

"Heavy, intense, climactic, beautiful music, and Pg.lost know exactly how to suck you in and keep you enthralled." -- Brooklyn Vegan

Swedish quartet  PG.LOST share an intense, dramatic video for "Suffering" from their upcoming first album in 4 years today, via Brooklyn Vegan. The clip is directed by Mats Ek (Myrkur.) Watch and share HERE. (Direct YouTube.)

PG.LOST recently shared the first single "E22" via Heavy Blog Is Heavy HERE. (Direct links for all streaming platforms HERE.)

This is PG.LOST’s Oscillate  -- the band’s latest LP packed to the gills with pure drama and catharsis. Their fifth overall and first effort since 2016’s much lauded Versus, Oscillate leans on an instrumental approach and while their keen understanding oftension/release may warrant comparison to the likes of MONO, Explosions in the Sky and Godspeed You! Black Emperor, PG.LOST is unafraid to move into exciting new directions. With influences that range from the emotional heft of Big Thief to the inventive spirit of krautrock to the brutality of Neurosis to the dark experimentalism of COIL, these heavier elements intertwine and open up into wide-eyed expansiveness of Fennesz or Tim Hecker, revealing a beauty shimmering underneath and a range of depth rarely found in today’s over-compressed and spit-shined version of “modern music.”

In making the new LP, PG.LOST opted to keep it simple and follow their gut. “On the previous records we have always tried to make it very basic and clean when it comes to production, not too many overdubs or add-ons,” reveals bassist Kristian Karlsson. “This time was more about not thinking about that at all. We don’t try to over analyse our records -- it always starts with one or two songs and they often set the mood of the rest of the writing process. I think this album has more layers to it -- you hear new things every time you listen. We’re really looking forward to hearing what the listeners think.”

Kicking off with a blossoming dark ambient passage on the title track, an ascendant guitar/synth part builds tension until final release is achieved with a massive chorus, wavesof eye-opening guitars and elephantine tribal drums. It’s emblematic of the album as a whole -- massive in scope and even larger in sound, Oscillate is the true definition of its title with incredibly tense swells to the point of collapse leading to a slow but pensive disintegration. And again. And again. Oscillate is not just instrumental music, it’s cinematic -- it’s high drama, executed in IMAX with a pristine soundtrack blasting at 120db.

Due in November via Pelagic Records, the LP was recorded by the band in their own studio, and mixed/mastered by Magnus Lindberg from Cult of Luna. In creating the LP, the only hurdle seemingly was an internal one and making efficient use of individual scheduling. “When we formed the band we spent almost every night in the rehearsal space,” recalls Karlsson. “Nowadays we only rehearse for tours or when we plan to have writing sessions for example upcoming records. It is not as spontaneous as it used to be, but I think it forces us to really make the best out of it when we do see each other.”

Founded in 2004 in Norrköping, Sweden, PG.LOST is Mattias Bhatt, Martin Hjertstedt (ex-Ghost), Gustav Almberg (The Great Discord) and Kristian Karlsson (Cult of Luna). Formed in pursuit of a singular love of post-rock, ambient and shoegaze with a bent towards post-metal, the band released their self-titled and the Yes, I Am EPs in 2006 and 2007. From there PG.LOST dropped their 2008 LP It's Not Me, It's You! quickly followed by 2009’s In Never Out, Key, the Wang Wen split LP and Versus followed in 2012, 2013 and 2016 respectively. Sovereign in execution and mammoth in scope, Oscillate is ten tracks of pure dramatic bombast and a massive step forward for the decades-old band. The four years away have been worth it. 

Oscillate will be available on LP, CD and digital on November 20, 2020. Pre-orders are available HERE. 

Artist: PG.LOST

Album: Oscillate

Record label: Pelagic Records

Release date: November 20, 2020

01. Oscillate

02. E22

03. Mindtrip

04. Shelter

05. Suffering

06. Waves

07. Eraser

08. The Headless Man

On The Web:

pglost.com

pelagic-records.com