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Wednesday, August 20, 2014

Tom Slatter - Black Water


Almost like a storyteller in the gothic and horror vibe, Tom Slatter is one of the people to go into the darker realms of the characters who have committed horrible crimes and have an evil background and the skeletons in the closet that they don’t want the listener to know what is inside of them. His third EP, Black Water, tells the tale of Seven Bells John who is one of the characters that was mentioned in his first album, Spinning the Compass and the 10-minute piece, The Steam Engine Murders and the trial of Seven Bells John as well for the murders he had done.

He appeared in about four compositions and with the EP, this is more of a background on John’s history and Slatter himself delivers the evil territories like no other. The opening title track begins with a gothic acid-folk atmosphere along with the pow-pow like percussion with two different time signatures that resembles White Willow and Trees with the eerie folk-like acoustic guitar picking and spooky electric lines as well as if we are going inside the mind of the killer that would send shivers down the listener spines.

Combining the haywire effects which starts and ends as if the instruments were going crazy, the guitars come in with a haunting and sinister vibe as Slatter sings “Don’t you know/I’m hungry still/will I ever have to beg?/To be locked up again/Don’t want to wake up asking where am I again.” The instruments and the flute-like mellotron comes in with a soaring sound, the intensity is right at you with the doomy-psychedelic nightmarish feel as if someone in the woods is ready to attack on Nightfall.

The mellotron comes in handy on the moody, Moon in the Water. It has this warmth yet touching late ‘60s psychedelic beauty as Tom sings very relaxing and yet mourning on where the character will do next as he looks at his reflection to feel free. At times, the song has this gentle touching homage to Barclay James Harvest’s Once Again-era and Slatter takes it into almost as if he was a folk hero of the 19th century and singing this at a sermon to a wonderful reception.

Closer, Ghosts in my Dreams, has this dark score as if Tom Slatter was writing, composing an episode and a story for Rod Serling’s The Twilight Zone. You could tell that Tom takes it to a darker area and its very much psychological and the moment Seven Bells John is about to do the unthinkable that would make him the word around town. The keyboard, guitar, and drums passage is very creative and inventive from Slatter’s mind and he creates this dystopian-sque composition for both the intro and outro to pay homage to Serling.

Tom Slatter’s music can be hard to get into, but he knows his influences of stories and influential backgrounds very well. As I’ve mentioned on the final composition, I can imagine Rod Serling has given the torch to Tom Slatter and for him by writing his own stories to capture and staying true to the late 1950s TV series of The Twilight Zone. What I hope that Slatter does, maybe in the future, is to make a Graphic Novel of the complete story and along with the music telling everything from start to finish.

Monday, August 11, 2014

BeHer3 - Fight With Your Best Weapons


From his work with Dusan Jevtovic on Am I Walking Wrong?, Xavi Reija’s Resolution, and also done a score for a video game for the PSP called Invizimals 2: Shadow Zone with GarcyNoise, Bassist Bernat Hernandez displays a lot of his talent by helping some of his friends out to lend a hand on their projects. Taking the sounds of; John Coltrane, Mahavishnu Orchestra, Thelonious Monk, Miles Davis, and the German Experimental scene of the early ‘70s to name a few, BeHer3’s Fight With Your Best Weapons sounds at times like it was recorded during the 1970s and he carries the essence of the three influences in his bag and bring it to life as his playing in the styles of Jaco Pastorius, Jimmy Garrison, and Paul Chambers.

The first four tracks (Gotta Shot of Whiskey, Holland 54, Wallander, and Under the Blanket), feels as if you are in the streets of Paris as they are almost like a score for a movie that is almost at Midnight walking through La Seine and the Eiffel Tower and there are some wonderful touches of Bebop Jazz in the late ‘50s. And it reminded me of some sessions that it could have been used between Wes Montgomery and John Coltrane as if they had done an album together that would have been a perfect match to get you in the relaxing mood for a dance.

Almost as if it was the Act one of the story as Act two is where they go into the late ‘60s and into the golden-era of the ‘70s. Bernat and the band go through ‘50s Jazz and straight into the sounds of Jazz Fusion and this is where they go into a fast mode like no other. Through the essence of the Funk-Soul groove on Descend & Mono Moon in which the drums are in the style of Billy Cobham and Bill Bruford at times and the Miles-like Trumpet comes in as the Bass helps in to play the melody before Bernat does his Jaco tribute on the Bass.

Meanwhile, We Try It in the Soundcheck has this wonderful homage that the trumpet goes into the style of the late Nucleus’ Ian Carr and bits of Elton Dean of the Soft Machine as well in there as the Rhodes goes into a soothing ambient atmosphere before Bernat’s workout comes on into the town. But Absolute Zero is Bernat’s ominous bass composition that has this post-apocalyptic nightmarish touch as it segues into the sinister guitar-driven styles of John McLaughlin and Robert Fripp into the void on Hexagonal Panel.

The electronic structures comes in handy as the drums, guitar, and bass go into the space and heading into the milky way of our solar systems for a rocket ship adventure into the stars with Shout With All Ur Might as the band go into this alternative relaxing mode in an acoustic style for Bernat and his friends get a chance to relieve their electric instruments into a lighter yet calming touch on the acoustic version of Staring at the Chrysler. Then, everything goes into Funk town late ‘70s/early ‘80s style with a dosage of the Fusion/Soul groove of Herbie Hancock’s keytar if you will as Bernat and his friends are having a blast away In a Really Good Company.

As the first (Bebop), second (Fusion), come into place, the third and final act on tracks 13 through 16, sees Bernat go into more of a 21st century futuristic adventure if you will. There are elements of an electronic version with shifting time signatures a-la Mahavishnu style with a Hammond organ on the psychedelic-jazz touch with The Dover Man and the droning turned soothing but yet peaceful with a dynamic vibe with Hypothetically Crystal.

Then Bernat takes a breather to relax for one of the guitarists to lay down some avant-garde ideas with a touch of Amon Duul II’s Phallus Dei-era in there with sinister vibes along with the sounds of Phillipe Besombes in the mix on Living in Some Other Frequencies and Don’t Rip the Letter. The effects of backwards tape and laid-back drums make it perfect for this piece as it has some elements for touches of the obscure and musique-concrete at times to fill in the void that makes it in your face and the terror comes right there that is mind-boggling at the same time.

But one of the most creepy and haunting compositions that is on the album is the electronic surroundings homage to Gong, Radiohead, Tangerine Dream and Klaus Schulze with the 9-minute epic, Traffic Jam. The keyboards go into some haywire and moody terrorizing elements that bring back the sounds of the Krautrock movement in there for the first two minutes as the trip-hop boogie goes into place for Bernat to go into Stanley Clarke territory as the effects of the noise that sound like zappers attacking to lay down some funky vibes and the last few minutes sees the guitar going into haywire mode before getting back into the funk.

A Long Way Back to Home reminded me at times sessions that were left off of Pink Floyd’s Ummagumma and a score to Alejandro Jordorowsky’s abandoned Dune project. The sounds of the effects of sonic-ambient-cosmos, the instruments is letting us the listener know that it is ready to set for light speed to control heading back to Earth for a wonderful and amazing adventure with BeHer3. Bernat really shows the balance of going through those acts of the different genres of Jazz, Fusion, and Electronic Music and parts you can relax, buckle your seatbelt and go beyond the different voyages of different worlds and understanding where he will go next.  

Wednesday, August 6, 2014

MoeTar - Entropy of the Century


2014 so far has been quite an amazing year of new releases from bands like; Knifeworld, Hedvig Mollestad Trio, Univers Zero, and The Microscopic Septet, to name a few, and you can always imagine what is going to happen next in the Progressive Rock scene in the years to come in the future. And one of the most amazing bands that completely blew me away from the Bay Area is MoeTar and they are back this year with their follow up to From These Small Seeds with Entropy of the Century.

Throughout all the sounds of Psychedelic, Progressive, and Avant-Art-Pop, has really come around since their formation six years ago. MoeTar has received word-of-mouth and recognition. Including opening for Avant-Prog group, Sleepytime Gorilla Museum back in 2011 at the Burning Man Decompression Festival and everything is starting to cook very well with the ingredients they have. It’s hard to describe about their music, but is fun, catchy, difficult time changes that comes out of nowhere on of the compositions, and they have a great time having a blast and let the listener to enjoy and sink into the music.

Throughout all of the 12 compositions that have been written by bassist Tarik Ragab except for one by keyboardist Matt Lebofsky of miRthkon. Opener, Dystopian Fiction, begins with Lebofsky’s star-like intro on the keyboards that is in the style of Supertramp’s Crime of the Century-era as Moorea comes in with her vocals and Matthew Charles Heulitt playing the melody on his Guitar before the Drums come kicking in as the spaceship begins for it's liftoff. Then there is the title track.

I almost cried during this second piece, because it isn’t just beautiful, but moving and stirring that is embracing to join us with a groove and yet, an emotional adventure. As Moorea’s voice just hits you so strong that you almost couldn’t let go of the album, because she sings so touching that it has a dreamlike welcoming into the city as the band places the instruments into shape for the audience to come in and start their new chapter in this new universe.

The creaking yet thumping sounds between Heulitt and Ragab on Regression to the Mean has this eerie/spooky introduction before getting into the reminiscent of Bowie’s Heroes-era that reminded me at times Sons of the Silent Age and the lyrics have an Orwell meets Ayn Rand vibe as Moorea sings “By decree 2+2 is 3/Non-believers dead after curfew/All unwanted freaks shall conform to guidelines right there on the chalkboard/Stand up straight and hate all those not like us on the same team.” Meanwhile, Welcome the Solar Flares, has an ascending crescendo that has a symphonic value as Friday Night Dreams goes into the dance halls as it kindles Half Past Four’s Good Things, but with a laid-back feel as if you are tap-dancing on the sidewalk.

Letting Go of Life has emotional structures on the views on all the damage you have done to yourself and everything has come crashing down, you have to make some sacrifices before you fall towards your doom as they lay down the totalitarian environment on how the machines taking over the city along with no longer being a human and turning into a robot along with going through the puzzle with a Zappa vibe to it on Raze the Maze, the ideas of being used in the corruption of feeding dreams on  the Confectioner’s Curse,  and the lyrics on We Machines, hits you on how the humans can be foolish to be machines; “I do no longer need my arms or either of my legs/Some motorized mechanism will do for me instead/These new eyes replace my old worn out brand new face.”

The piano introduction done by Matt Lebofsky with his composition, Benefits gives Ragab a chance for Matt to write some lyrics and the response is a jazzy and gentle melody that gives MoeTar relaxation as it goes into a ¾ time signature thanks to the guitar solo by Heulitt who just goes not just all the frets, but seeing where his instrument might take him. The dooming metal keyboard intro just comes out of nowhere on Where the Truth Lies and at first it sounds like something out of the sessions of Jethro Tull’s A Passion Play before going into the Crimson-like sounds that Heulitt does to pay tribute to Robert Fripp and then go into the Avant-Pop territory.

We head off into the highway with The Unknowable. It has this soft lullaby for their mother’s singing to their child to sleep and hoping that everything will be fine and knowing that this city was really worth it and how you can understand that this isn’t what you expected and how is it impossible to be of one’s unreal world. I have listened now to Entropy of the Century around nine times now and I have to say that this one of the finest follow-ups that the band has unleashed who can give the listener and the audience an unexpected astonishing adventure.

It is a crowning achievement for MoeTar to bring something remarkable, startling, and mind-boggling which is going to have a lot of competition on the race for the best albums of this year. 

Here is the band performing Regression to the Mean.

Monday, August 4, 2014

Active Heed - Higher Dimensions


Umberto Pagnini, who is the creative drive behind Active Heed, shows no signs of stopping. The band’s debut, Visions From Realities, which was released last year, just blew me away and I always knew that this was a band that was soon going to be one of my favorites. Their follow up, shows that Pagnini and his friends, show no sign of stopping for another roller-coaster ride with Higher Dimensions.

Paginini is like a storyteller throughout his lyrics in the realms of science-fiction and fantasy and he knows where he wants the band to almost do a film score and very much like the soundtrack inside your head for the listener to understand. The throttling The War of Tempos provides the heavy guitar and organ introduction thanks to Micro Ravenoldi and Moongarden’s Cristiano Roversi who does an homage to Jon Lord of Deep Purple and his synths and mellotrons can come in handy as Per Fredrik Asly (PelleK) comes in with his amazing vocals to give it that time changing tempo adventure.

Far Escape which contains the mellotron, guitar, and Gian Maria Roveda’s drum work that has some symphonic melodies that reminded me of early Yes, Genesis, and the Time Stand Still-era of Rush while A Little Bit Expired shows their haunting turned uplifting side with folk surroundings, difficult time changes and goes into a venturing flying into the solar systems. Gaps in Time has the foot-stomping acoustic guitar and beat that Ravenoldi does in the style of Peter Gabriel’s debut album as homage to the composition.

It begins with a folk-crisp sunny morning for the yellow bright circle to rise up for a new day as the organ and Per’s voice comes in and the bass drum does the stomping beat along with the guitar comes in and it’s very magical and relaxing. Multiple Replies has this atmospheric/ambient noise on the keyboards done by Roversi that is very moody and soothing. Then, it transforms into an rocking/relaxing sound as Ravenoldi does his Gilmour and Hackett-sque sound that brings the landscapes into the scenery before Roversi comes in and Per as well to give it that ascending climb finale.

“Here it comes God/Calling anywhere with all the signs you can’t imagine.” Per’s voice gives that chilling introduction as the blistering heavy thrash-power metal resembling Metallica, Deep Purple, and Hammerfall comes in with The Number of God and the ominous No Speed Limit as A Pet Called Prime and Kick-Ass Grammar, echoes the Fish-era of Marillion of their golden-era in the ‘80s as if it was left during their sessions for Script for a Jester’s Tear and Fugazi.

Ternary Level One has some of the choral-like sounds from the background vocals and heads back into the heavenly mellotron, organ, synth lush beauty and the folk-like fingerpicking touches on the acoustic guitar along with the roaring chords with an impressive vibe for the transposition of the symphonic rock sounds. The closer, Not Left and Not Taken, opens with the thunderous drum patterns ahead with the blistering guitar riffs, atmospheric keyboards, and soaring turned hard rock unexpected moments by going from relaxing and into driven heavier mode and to give it that adventurous journey to head back home and maybe going for another ride into the cosmos.

This is my 4th listening on Higher Dimensions and Active Heed have show no sign of stopping and they are one of those bands to give the listener some amazing ideas on what you can expect some amazing ideas and this is soon going to be one of my favorite albums so far of 2014. They have a long way to go, but this (Higher Dimensions) along with their debut album (Visions from Realities) is a good start to see where the band and Umberto Pagnini would go to next.

Thursday, July 31, 2014

The Invincible Czars - Invincible Czars play Graham Reynolds and Peter Stopschinksi


It’s quite an amazing idea of having different time signatures and wacky ideas to come unexpected that is right at you at the moment as a listener to go back and find out by saying “what did they just do all of a sudden? This is really interesting!” One of the bands is Austin’s The Invincible Czars who have been around for twelve years and while this is my introduction of the band’s music, it’s almost as if Frank Zappa had been around and teamed up with The Charlie Daniels Band, Miriodor and Hamster Theatre to create some mind-blowing ideas that just comes out of the water ready to get the machine ready for action for a performance they’ll never forget.

They have also some arrangements for Tchaikovsky and Mussorgsky to gain word of mouth along recognition for a band that had various line-ups show that they can knock one out of the ball park. Their EP, Invincible Czars play Graham Reynolds & Peter Stopschinski, shows how much they can have a blast. The EP is a tribute of the two composers who did score work. Graham has done work with filmmakers including Richard Linklater on films like; A Scanner Darkly, Bernie and Before Midnight to name a few while Peter has done short films including Chickenfut and Attack of the Bride Monster.

Opener, Greyhound starts off with electricity thanks to Josh Robins bass and guitar work along with Phil Davidson and Leila Henley’s intense work between Violin and Flute and Chuck Fischer’s fast drumming work. It has this stop-and-go movement that the band would play and give Phil a chance to play a quick solo and Leila as well and it is quite interesting that they could have been inspired by King Crimson and bits of Jean-Luc Ponty as well, but the music keeps on going.

The haunting and in the vibes of Egyptian atmosphere thanks to Robins guitar in the style of Frank Zappa and Fred Firth of Henry Cow, can come in quite handy with The Duchess of Parma (The Polish Opening). At times it reminded me of the Diablo Swing Orchestra and almost like they could have used this piece of music for one of Tim Burton’s stop-motion animated films for Corpse Bride or The Nightmare Before Christmas as the melodic nightmarish dystopian ‘60s vibe, Dark Theme from Metropolis, is chilling and will give you goose bumps.

Josh does this twilight zone-sque yet spooky introduction with the delay/reverb sound to have that spaghetti western touch on his Guitar as if you are walking in a town with no one there as if you can hear a pin drop before the band comes in to have this mellowing and sadness of a town that was supposed to be, but gone wrong. The closing track, The Difference Engine II: Ada, opens with a guitar that is sounding like a Harpischord/Organ with a dytopian lullaby for the first 30 seconds and then the sax and violin play the same melody as the bass along with the drums comes in to increase the tension as it goes into some pronk (prog-punk) like structures to have the tempos going fast and not to mention the late ‘60s psychedelic vibe to go with it (Nuggets style!) before the haunting harpischord-like guitar chords closes the curtain.

The Invincible Czars have all the ingredients to have fun and enjoy themselves. They are one of those bands that they can take these different genres of Prog, Rock in Opposition, Punk, Polka, Hard Rock, and Jazz rolled up into one and create some amazement with their instruments and you can never expect what to come out of them. This is my 6th time listening to this EP, and I have now become blown away by The Invincible Czars and they are soon going to become one of my favorite bands to come out of Austin.

Saturday, July 26, 2014

Chris Fury - From Darkness


When you have a guitarist who has this wonderful combination between the sounds of Mike Keneally, John Fruscinate, Alex Lifeson, Steve Vai, and Frank Zappa, it is going to be quite an amazing experience when you listen to an up-and-coming guitarist from Long Island named Chris Fury. With a bachelor’s degree in music from Binghamton University, Fury brings a touch of adventure, progressive music, virtuosity, funk, classical, and metal right in his veins throughout on his Guitar as it takes the listener throughout various journey’s with his debut, From Darkness.

Alongside Fury, he brought along Berklee Graduate Ian Underwood from the Chris Fury trio on Bass Guitar, Sebastian Persini on Drums, and Jason Roddin on Piano/Keyboards to help along Fury makes his mind-blowing debut to give it that high voltage.  The Nexus opens the album up like a battering ram that hits you right in the gut as the band go straight into town. Fury is playing both rhythm and lead by playing some heavy riffs and all over the frets as if Vai is watching in awe of this amazing up-and-coming guitarist giving some juice to heavy duty work while he gets into the Funky-soul yet bluesy groove in the styles of Parliament Funkadelic teaming up with John Fruscinate of the Red Hot Chili Peppers as if it was recorded in the early ‘80s on All Funked Up.

Then, he brings his finger-picking and thumb-slapping technique with a classical touch with Byte the Bullet. It is very much as you can imagine the sun going down into west as he is watching it by creating these soothing and minor melodies to capture it at the right moment as Roddin creates this atmospheric synth surroundings in which Fury gives himself a chance to relax before going back in the thumb-slapping unexpected moment that is jaw-dropping for an ending.

Elsewhere, Over Andover has a futuristic yet ascending adventure as In Your Eyes, has a very romantic acoustic-rock ballad that has an ‘80s feel and then Fury goes into this emotional yet powerful solo and soothing structures to fit the vibe. Both Mogera and Lost Transmission go through from heavy riffs, pummeling chords, Roddin’s doomy piano work for the finale to a gentle relaxation as the spaceship heads into lightspeed towards back home to earth with some calming atmosphere, makes it a wonderful voyage going through the heavier and uplifting touches between both Persini and Roddin.

Then you go back into the driving forces of fast-mode with a beat like a race car going 200 miles per hour on tracks like the fierce and dramatic beats on Running Away and the virtuosity tribute to Rush’s Alex Lifeson on A Fire WIthin as Fury gives Berklee alumni Ian Underwood a chance to do his bass work for a Jazz-like solo for a mellowing moment for a second in the style of Jaco Pastorius as Fury and Persini take turns doing guitar chords and drum patterns all over the place before the solos go in for a shrieking and volcanic finale.

The title track goes through a minor and mourning vibration before the seat belts are buckled up for another driven roar on the composition in which the piece deals with you really are on Autopilot Disengage. There are some classical and symphonic melodies that he plays on here and it really shows how Chris brings that in the 11th track and lending his chops to the table and it’s a killing track that is probably going to become a live fan favorite soon into his career and in the future.

The relaxing yet fighting as you sacrifice to save one person’s life with Last Breath, starts off with a relaxed acoustic guitar chords and then followed by a mellowing electric workout before going into almost a Brian May style and then back into the comfort bluesy sound and then back into the thunderous magic. Then, it becomes very ambient thanks to the synth textures on the spacey voyages into the universe of the milky-way as Chris relaxes to give it that warmth sunrise. The closing track, Mystical Journey is where everything gets right into the moment.

It starts off with a Tchaikovsky-like introduction as the band go into a ¾ waltz time signature as you can imagine someone doing the Tango for the first minute and twenty-four seconds before going into energetic overdrive and then back into the time signature. What Fury and the band are doing is creating a back-and-forth movement from going into the Waltz into a Harder edge drive that they switch gears by going into different directions on the road.

There has been some excellent music so far in 2014 and up-and-coming virtuoso guitarist Chris Fury fits right in this year with playing. There is almost the soundtrack inside your mind and Fury playing the music for you and his arranging and composition in From Darkness shows he can go into mellowing, heavy, classical, blues, fusion, and prog like no other. And after listening about seven times now, it is soon going to be one of my favorites. A must have for an adventure that you will experience from beginning, middle, and end.

Saturday, July 19, 2014

Present - Le Poison Qui Rend Fou


It would be almost a score to David Lynch or one of the Italian Giallo films from the late ‘70s/early ‘80s by the master himself Lucio Fulci. For Rock in Opposition group, Present, their follow up to Triskaidekaphobie, would also be their last and final album (Le Poison Qui Rend Fou) that was originally released in 1985 and this 2-CD set shows the darker magic and brilliant force on here like no other! The title was inspired by Herge’s Tintin comic book series, Cigars of the Pharaoh and Trigaux himself wanted to pay tribute to the master from his childhood.

The opening 15-minute title track begins with this roaring Fripp-sque guitar introduction that Roger himself does along with the atonal chords done by Alain Rochette before they get down to business with the difficult time signatures followed by the operatic vocals of Marie-Anne Polaris that resembles the Zeuhl influences of Magma and very much straight out of Frank Zappa’s 200 Motels along with thumping and doomy bass lines done by Ferdinand Philippot. It is sinister, intense, haunting and ominous as well as you could tell which direction the band goes into by Roger’s conducting and he’s letting them know which time movement or instrument should come next to give it that shivering goosebumping surrounding moment to make the hair on the back of your arm raise up.

The track closes for the last 3 minutes as Rochette goes into this Schoenberg-like piano piece as Trigaux comes in along with Daniel Denis as well to give it that climatic finale. Ersatz is very much almost militant thanks to Denis drumming workout and Trigaux’s virtuoso is jaw-dropping as he goes through the frets and those odd time changes along with the stop-and-go moments can really come in handy as it segues back into the second part of Le Poison Qui Rend Fou.

The second part is called Didi, Dans Ta Chambre! Trigaux is all over the place with his guitar. He makes it screech and shriek at moments the Synth and percussion along with the piano go into the room with the different pieces and its insane at times while they go into the King Crimson Red-era by paying tribute to the album as if the two-part suite could have been a part of the sessions along with Dave Brubeck’s Take Five for a brief moment as well. It cavernous and in your face as well and shows that Present can give the listener the shocking and jaw-dropping moments an unexpected moment.

The closing track Samana is a calming after the storm at first. It has this atmospheric avant-experimental touch to it, but with a dosage of chamber music and neoclassical vibes to it. The second disc is a live performance that the band did at Livry-Gargan on January 23, 1982 in which it is a commune in the northeastern side of France and it’s amazing listening to the group’s performance live. You could imagine being in the audience, blown away of watching these amazing musicians really going to give the most mind-blowing performances that they are giving.

On the first disc, is a Quicktime video of the band’s rare performance around in 1981, in which there are only three clips of the performance in Paris. And I’ll admit it’s not the best quality, more like a "B" graded quality of the footage if you will, however it is very wonderful chance of seeing the group just taking different turns and seeing the band for yourself on your very own Computer. I have listened to Le Poison Qui Rend Fou about five times now and alongside their debut album, Triskaidekaphobie, I’m completely hooked into their music and Cuneiform Records have done a superb job reissuing these amazing albums and I’ve suddenly now become a huge Present fan. I will look into more of the Cuneiform catalog in the near future and see what kind of magic they have up their sleeves for me.