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Tag Archive for: Peter Hughes

Since the formation of Record Store Day in the US, where its headquarters are still based, back 2008, the event has grown and expanded globally with international organisers in the UK, France, Ireland, Netherlands, Japan, Italy, Australia, Spain, Mexico and Poland. Record sales have been on the rise for a long time now, and did in 2019 outsell CDs for the first time since 1986, which is pretty cool.

Obviously, this year’s Record Store Day is a bit of a write off, seeing as we’re all locked up away at home due to the global pandemic. Luckily, that means we should have all the time in the world to listen to our current favourite records, while planning what to purchase once we’re yet again allowed. Record stores will be hit hard by the current situation, so I’m personally gonna treat myself to a couple more than usual once this thing settles – it’s all for a good cause, right…? Support independent businesses and hard working musicians, it’s a no brainer. In honour of this year’s Record Store Day, we figured we’d catch up with some of our artists to find out what’s currently on their turntable.

Thomas Jäger, Monolord

Album: Benefit
Artist: Jethro Tull

One of my fav records is Benefit by Jethro Tull. It hooked me with the midrange punch guitar and reeled me in with the clever lyrics and melodies. I love it.

Sally Gates, Titan to Tachyons

Album: Irony is a Dead Scene
Artist: The Dillinger Escape Plan with Mike Patton

I had some friends turn me on to ‘Irony is a Dead Scene’ when it first came out. At that point, I was listening to a lot of Emperor, Today is the Day, Cryptopsy, etc. I hadn’t heard anything from Dillinger Escape Plan or Mike Patton, other than a couple of FNM tunes on the radio. This record grabbed me immediately, as from the first track it’s a completely chaotic, twisted, and weirdly upbeat ride. It opened my eyes to the possibilities of juxtaposing multiple genres within quickly changing song structures, while retaining a coherent flow.

From here I went down the wormhole of this style (avant-rock/math metal), and came across Fantômas, Mr Bungle, and more Dillinger albums. (The Fantômas ‘Directors Cut’ album became another inspiring record for me in a different way, as a go-to soundtrack while working on paintings). These bands quickly became favourites, and had a marked influence on my writing style. ‘Irony..’ is such a short, perfect 18 minutes, and continues to influence me now. I’ll often throw this on for inspiration on the way to a gig, particularly if it’s free improv. Favourite track: ‘When Good Dogs do Bad Things’. 

Peter Hughes, Sons of Huns & Danava

Album: The Evil One
Artist: Roky Erickson

Roky Erickson was a Texas-born rock ’n’ roll howler best known for his early years with The 13th Floor Elevators, whose lysergic reverb-soaked hit “You’re Gonna Miss Me” was written by Roky at the tender age of 15 and would endure as his highest charting song and the definitive composition of his career. The 13th Floor Elevators are credited as the first Psychedelic Rock group and their first two albums, The Psychedelic Sounds of the 13th Floor Elevators & Easter Everywhere are the most notable. The Elevators LSD-steeped sound rippled across Texas west to San Francisco and clearly influenced the sonic palette of a number of bands that went on to enjoy larger commercial success, the heavyweight of the bunch being boogie behemoths & fellow Texas natives ZZ Top. Guitar hero Billy Gibbons first found his footing on the Texas club circuit with his band The Moving Sidewalks (an obvious nod to the Elevators, as Gibbons himself freely admits) who later toured as the opening act for Hendrix before going on to form ZZ Top. Even Janis Joplin considered contributing her soulful blues-tinged vocals to the 13th Floor Elevators before deciding to head to San Francisco instead. Continue reading here…

Sarah Jane, Gorilla

Album: Gorilla
Artist: Gorilla

Originally, I was going to talk about another artist’s album but unfortunately as RSD got cancelled as well as our European tour, I have chosen the first Gorilla album Maximum Riff Mania. This album was recorded in 2000 exactly 20 years ago, so this makes this a special year for Gorilla as it’s the 20th anniversary of this debut album. Gorilla have put together an ace Coloured Vinyl limited edition reissue, with CD, poster, photos and sticker inserts (limited to 300 copies). It reminds me of very happy times! We recorded the album at Toe-rag studios, back when it was pretty much the only totally analogue studio around and practically no one was really releasing vinyl, and it was all about the CD. We recorded and tracked our set live at the time, including most of the vocals straight from the studio floor. I was using my Rickenbacker 4001 through my trusty gig rig, a seventies Orange OR120 head, and  a Celestion Greenbacks loaded Orange 4×12. The straight-to-tape warmth of the sound, and our super tight performances still make me really proud, considering we’d only been together for a year or so! We didn’t compromise on anything it was influenced by all music that Gorilla loved and not led by any trends that were happening in the year 2000. Maximum Riff Mania “fuck the safety net” rock’n’roll! 

“A power trio in the time honoured tradition of blue cheer and cream, Gorilla recorded the ten track album at London’s analogue friendly Toe Rag Studios. Superbly led by Guitarist/Singer John Redfern, the threesome bridge the gap between old school riff rock and the more recent genre practitioners with dexterity. While the thunderous Coxsackie recalls The Stooges, circa fun house, a potent combination of poppy melody and grungy sounds ensures that She’s Got A Car isn’t far removed from peak period Nirvana. Although clearly boasting enough knowledge of metal history to keep the retro rockers happy, the first Gorilla album suggests they also have the armoury to impact on the immediate future.”
–  Record Collector review

“Imagine if you will Jimi Hendrix jamming with The Who, then throw in a dose of Black Sabbath, then you almost have the rumbling roar which is Gorilla. This is analogue sound at it’s finest and instead of ripping off their hero’s, Gorilla take the influences and make them their own. It’s unfair to label Gorilla as a stoner band although there are elements contained – they are a damn fine rock n roll band who know their way around their instruments and make on hell of a glorious racket.”
– RockSound review

Album available here.

When I got this column last year, I was so stoked; to have a platform of my own where I could share my thoughts and excitement about music, and the weird and wonderful world around it. No editors and no rules, with the exception of keeping the ‘F’ word to a minimum. This month, I’ve decided to let someone else ramble on for a bit, as I wanted to share in whole this piece Peter Hughes of Sons of Huns and formerly of Danava wrote about the late, great, Roky Erickson. I asked for a few word about his favourite record, and the finished result was more than anything I could have hoped for; a heartfelt ode to one of the pioneers of psychedelic rock. Thank you Peter, and thank you Roky. – Ella Stormark

Peter Hughes of Sons of Huns

Roky Erickson was a Texas-born rock ’n’ roll howler best known for his early years with The 13th Floor Elevators, whose lysergic reverb-soaked hit “You’re Gonna Miss Me” was written by Roky at the tender age of 15 and would endure as his highest charting song and the definitive composition of his career. The 13th Floor Elevators are credited as the first Psychedelic Rock group and their first two albums, The Psychedelic Sounds of the 13th Floor Elevators & Easter Everywhere are the most notable. The Elevators LSD-steeped sound rippled across Texas west to San Francisco and clearly influenced the sonic palette of a number of bands that went on to enjoy larger commercial success, the heavyweight of the bunch being boogie behemoths & fellow Texas natives ZZ Top. Guitar hero Billy Gibbons first found his footing on the Texas club circuit with his band The Moving Sidewalks (an obvious nod to the Elevators, as Gibbons himself freely admits) who later toured as the opening act for Hendrix before going on to form ZZ Top. Even Janis Joplin considered contributing her soulful blues-tinged vocals to the 13th Floor Elevators before deciding to head to San Francisco instead.

Roky’s psychedelic period was cut short after a series of drug arrests, culminating in his apprehension onstage in Austin August of 1969 for marijuana possession, which resulted in two Police cruisers being destroyed by fans in the ensuing riot. Unfortunately, Roky was subsequently committed to Rusk Maximum Security Prison for the Criminally Insane after pleading insanity when faced with the narcotics charges. He would spend the following 3 years in Rusk during which Roky was involuntarily subjected to electroshock therapy and forcefully dosed with Thorazine after being diagnosed as schizophrenic, though this would not be his first or last stay in such a facility. One too many LSD bad trip freak-outs combined with underlying mental health issues in the ‘60s were then compounded by the traumatic environment of the psychiatric hospital and the cruel abuses he suffered in the stead of effective medical treatment during his stay there. These hardships proved to have no small influence on the sound and subject matter of Roky’s music, who had begun to believe that a Martian inhabited his body. This is reflected in the first iteration of Roky’s new group named ‘Bleib Alien’ that first appeared in 1975. This was eventually changed to a more radio-friendly version ‘Roky Erickson & the Aliens’ in 1977 when the group started working on demos for a new album with Creedence Clear Water Revival bassist Stu Cook. The 15 songs recorded during the sessions with Cook from 1977-79 would form the Horror Hard Rock body of work from which a number of alternately titled albums were released (Self/Titled-1980, also called Runes or Five Symbols due to the ambiguous cover art, & The Evil One-1981) and would serve as the songbook from which Roky would base the majority of his live sets during this period and when he resurfaced in the 2000s.

Roky’s return to performing live deserves considerable credit to the aid of his younger brother Sumner Erickson, without whom he likely may not have overcome the odds. After Sumner gained legal guardianship of Roky, he sought the long needed medical treatment for his older brother as well as legal aid to help Roky reclaim licensing rights to his back catalogue, much of which he was cheated out of by greedy labels & others. Austin Texas studio engineer Doug Sahm once traded Roky a smoothie for three of his most timeless songs “Two-Headed Dog”, the love song “Starry Eyes”, and “Don’t Slander Me” once after a session. The must-see documentary released in 2005 titled “You’re Gonna Miss Me” after the hit from his Elevators days also played a large role in exposing his music and life to a whole new audience.

“Two-Headed Dog” kicks off the album with the harsh cries of Bill Miller’s electric autoharp, which adds a signature flavor of psychedelic sound to the group, a bright twang somewhat reminiscent of the familiar electric guitar strum and similar in function to the electric jug playing of Tommy Hall in 13th Floor Elevators, but with s strange otherworldly timbre all of it’s own. This is my favourite track on the album and Roky’s distinctive rock ’n’ roll tenor snarl screams and wails with confidence “Two-headed dog, two-headed dog, I been workin’ in the Kremlin with a two-headed dog!” In addition to Roky’s tortured yelps the other element that gets me every time is the killer lead guitar playing of Duane ‘Bird’ Aslaksen, with his hottest licks heard flying over Roky & the rhythm section pounding away on “Cold Night for Alligators.” The last standout tracks are the two slow-burners “Night of the Vampire” and “Stand for the Fire Demon”, the end of the A & B-side respectively. In “Night of the Vampire” Roky warns, “The moon may be full, the moon may be white, All I know is you’ll feel his bite Tonight… is the Night of the Vampire” before the whole band joined now by eerie overdubbed organ leans into a macabre minor-key melody that would be at home as a foundational basso continuo progression in a Baroque Fantasia. The closing track in the 10 song first release of Roky Erickson & The Aliens’ 1980 self-titled album summons listeners to “Stand for the Fire Demon.” This final performance covers the widest range of dynamics, from subdued backup singers alternating ‘oh-ohs’ with Erickson’s lines delivered with the most controlled restraint,
    
  “Stand for the fire demon
      Spirits say ‘boo’ and the paper
      bursts into fire,
      Stand for the fire demon
      wilder, wilder, wilder, wilder,”

through to full-on pounding electric bass & drums with waves of dual overdrive-saturated guitars crashing on top and Roky’s haunting screams riding above all as he commands,

      “Stand for the fire demon
      Stand for the demon of fire
      Stand for the demon of fiiiiire!”

It is worthwhile to note that after numerous different versions were released over the years, in 2013 Light in the Attic Records released an edition of’ The Evil One’ with 2xLPs containing all 15 songs recorded by Roky & the Aliens during the 1977-79 sessions with Stu Cook and is worth obtaining if for no other reason than the inclusion of Roky’s chilling song “Bloody Hammer.” Roky died last May 2019 aged 71, his music as relevant now in these uncertain times as ever as we face a global pandemic that threatens to usher in untold evils, not to mention stands to spoil Record Store Day leaving vinyl stores empty with most folks fearfully self-quarantined at home. Looking back on the entirety of Roky’s life, his hardships and struggles in the end are unequivocally outweighed by his triumphs in music, early on with psychedelic rock and later Horror Rock and ultimately with his output finding renewed acceptance and culminating in Roky enjoying the most widespread success of his career with a commendable final effort he finished strong with performances at festivals and on tour both throughout the US and abroad.

‘Rest In Peace Roky ’Starry-Eyed’ Forever.

By Peter Hughes

There is one thing we love more than anything else and that is rock ’n’ roll, in all shapes and sizes – we love it, can’t get enough. Without rock ’n’ roll, we wouldn’t be where we are today, and we owe everything to this beautiful genre and it’s offsprings. We like to take this opportunity to shine a light on a few (of many) rock bands and artists on our roster today.

Billy Gibbins, ZZ Top

Bax Bangeetar
Micro Dark

Another legendary guitarist making their way into this article is ZZ Top guitarist Billy Gibbons. Gibbons started his career in The Moving Sidewalks as a young teen, a band that landed shows supporting bands and artists such as Jimi Hendrix and The Doors – he then went on to forming ZZ Top in the late sixties alongside bassist Dusty Hill and drummer Frank Beard (who funnily enough is the only member without a beard), which remains the standing line up of the band today nearly fifty years later.

Throughout his time in the band, Gibbons have become a massive name among respected guitar players, and again and again produces quality blues infused rock albums whether it’s with the ZZ Top or as a recording solo artist. Latest one out is his solo project “The Big Bad Blues” released September 2018, which just adds to his already impressive resume. Billy Gibbons is a master bluesman, to say the least. Gibbons is not a big user of pedal, so we were particularly pleased when he took a liking to our Bax Bangeetar pedal which he uses both live and in the studio.

Phil Campbell, Phil Campbell and the Bastard Sons

Phil Campbell is first and foremost known as the former guitarist of legendary speed rock band Motörhead. His career in the band lasted for 31 years, which he pretty much spent on the road touring or in the studio recording. Sadly, the band’s disbanded in 2015 after the tragic passing of frontman Lemmy. Since then, Phil has formed his own band “Phil Campbell and the Bastard Sons” with three of his actual sons, almost a family business much like our own, sort of.

Rune Rebellion, Turbonegro

AD30HTC x 2
Rockerverb100
Turbonegro kind of came out of the Norwegian woods having created their own sort of genre called “Denim Death Punk”, which is pretty close to what we call rock ’n’ roll hence why we’re allowing them on our list. Turbonegro were initially formed in the late eighties and kept it going for about a decade, before a three year long hiatus. Luckily, to the joy of Turbojugends across the world the band got back together and kept releasing music. Rune’s one of the founding members of the band, and has been a constant member with the exception of a few years which we’re choosing to ignore. Watching Turbonegro live is in many ways the most masculine and feminine thing you’ll ever see all at once – middle-aged men in daisy dukes, sailor hats and make up, playing sweet rock ’n’ roll to a bunch shirtless dude and women (although they tend to keep their shirts on) – few bands throw a party like Turbonegro. Rune’s been using Orange for about 15 years now both live and in studio, and tends to stay clear of effects, as “The Rockerverb sound provides him with the softness of classic rock mixed with the modern hard rock growl which is perfect for the full on Turbonegro guitar attack.” – Rune Rebellion.

Scott Holiday, Rival Sons

OR15
Acoustic Pre
Custom Shop 50
PPC412

PPC212

Some people say rock ’n’ roll is going, so whenever a band such as Rival Sons comes up it makes us happy as it means we can prove people wrong. Rival Sons are one of those bands that are kind of ticking all the boxes for a classic rock band, but with a modern twist – they have the anthems as well as the ballads, a killer frontman who can play the tambourine and look super fly while doing so, which is pretty rare in 2019, and they have Scott Holiday and his magician moustache. Scott’s all about the big sounds, and with the “killer and colourful heritage and history, healthy list of some of the greatest players ever and the high quality of current amps and cabs, Orange was an easy choice.” – Scott Holiday.

Danava, Peter Hughes

Rockerverb 50
OR100
PPC412 x 2
Peter Hughes, the classically trained and exceptionally skilled guitarist of heavy rock ’n’ roll bands Danava and Sons of Huns. Peter got his hands on his first ever Orange (which was a Rockerverb 50 combo) back in 2007 having just graduated the Willamette University with a Bachelor of Music degree in Classical Guitar performance. It didn’t take longs before he had his hands full playing for both bands, venturing far away from the classical sounds but bringing along all the tricks of the trade to the table, now catering for a new audience with his high paced and heavy rock ’n’ roll which would suit fans for the likes of Motorhead and Thin Lizzy. Since then, he’s become an official Orange ambassador and acquired a few more pieces to his rig in the form of two PPC412 cabs and an OR100. When Peter isn’t playing his Orange amplifier at excessive decibels, he enjoys “plucking out the Baroque stylings of the one and only J.S. Bach on Classical Guitar”, as well as being a amateur mycologist, or a fungi enthusiast.

Peter, thanks a million for taking the time to do this interview, myself and the rest of the Orange crew are big fans of you and your music – could you please introduce yourself to the reader, and tell us a bit about yourself and the music you make?

Good morning Orange Amp freaks! Or is it afternoon, evening? Whenever it is, wherever you are on this rotating rock orbiting the Almighty Sun while we hurtle through space, allow me to introduce myself. I am Peter Hughes, the human and guitar player you may know from such hard rock bands as Sons of Huns and Danava. Other than playing my Orange amplifier at excessive decibels, I enjoy plucking out the Baroque stylings of the one and only J.S. Bach on Classical Guitar, I am an amateur mycologist – or I like fungi, or mushrooms.  If you’re really in the dark about the entire Kingdom of organisms, without whom plants couldn’t grow in the first place let alone be decomposed and with whom we share a large amount of DNA, making many species great medicine. I am also a sufferer of Lyme & related tick borne illnesses thanks to a deer tick from my home state of Virginia, this has led me down a trying but ultimately rewarding path toward healing, with composing and performing music being a huge part of my medicine and therapy.

Its been pretty quiet from the Sons of Huns camp lately, whats the lays of the land there?
Sons of Huns was my first serious musical endeavour and first experience recording, releasing records and touring. We had a great run and I will always smile back on the memories made with my brothers Shoki Tanabe, Ryan Northrop and Aaron Powell, playing music we loved loud and from the heart. We are now on an indefinite hiatus and though I was admittedly upset when I realised we’d all be moving on, I respect my peers and am proud of the accomplishments they’ve made and families they are building in the time since through nothing other than their own sheer determination and unwavering power of will.

How about Danava, are you guys working on new material?
Danava is indeed working on new music! The joy I feel when recording new music in the studio is 2nd only to playing loud at live shows. Tee Pee Records put out a 7″ single of our newest, non-stop righteous ripper, “At Midnight You Die” just over a year ago in October 2016. My rig for this session was my trusted Ebony Gibson SG Standard running into an Ibanez TS808Tube Screamer used when needed to push the tubes into extra overdrive of my much beloved OR-100 amplifier head paired with a single OR-PPC 4X12. We cut the song live in the studio, only adding Greg’s vocals and blazing lead as overdubs. I think that was crucial in capturing the magic performance of this high speed, hard rock track: the four of us in the same room, hitting hard holding nothing back. The melodic Maiden style duel guitar riffs that fly together in harmony through verse, into the chorus and unrelenting bridge until the song ends explosively, is an approach fans can expect to hear more on our next release.

How do you guys work together creatively as a band?
Gregory Meleney is the driving force behind Danava and our fearless leader. He has composed the majority of the material from the band’s early days up to present. Greg is a natural musician with a great ear for melody, harmony, and rhythm and his throw away riffs would make most guitarist weep and either give up or go home and practice. The rhythm section consisting of Matt Oliver on drums and bass player Dominic Casciato, who as well as myself have a Classical background, and myself are all of the later constitution and as such have grown as musicians and can now pick up Greg’s ideas quickly, facilitating a faster song writing process. Most great musicians are perfectionists and plagued with self doubts, and I think one way I’ve helped our process is by reinforcing which iteration of a riff is the strongest and in which order makes the most impact. At the end of the day, Greg is also the singer and so he makes decisions on key and register. I should note Danava, Sons of Huns in the past and my solo compositions, utilize a slightly lower reference pitch than the present day standard. A=432 Hz as opposed to A=440Hz, the book The Cosmic Octave offers enlightenment on this seemingly small, but purposeful and incredibly significant alteration.

You mention solo compositions, is that something you’ve ben working on recently and anything we can expect to hear anytime soon?
Yes, with a little luck it will be sooner rather than later! I’ve been tracking demo recordings at home going through and adding to my riff library and playing a lot of bass and drums lately to realise the song’s well enough so that as the things are falling into place here with increasing speed, I can have musicians with actual talent on those instruments take my compositions to the level or raw power I hear in my head. As long as we continue to hit it off as we have since meeting rather recently, and she doesn’t hate the demos… I have the low-end rumble and crushing power all lined up and drummers, well the good ones are usually playing in at least three bands but I have feelers out there and my hard drummin band mate in Danava, Matt Oliver, is required to play on at least one song whether or not he has realized it yet. Working title of this project is ”  “, keep your eyes peeled and snag a copy and crank it when you see it available! The core makeup is the classic guitar, bass, drums Power Trio instrumentation but as I foresee it as a recording project, I won’t be putting as many limits on myself as far composition in terms of being able to play it live. I am enjoying implementing different timbres and more psychedelic sounds at times and adding multiple layers and harmonies swelling and building to an orchestral sound of numerous guitars.

You’ve been using Orange for quite some time now, what’s your current setup and history with the brand?
I have! I long lusted for an Orange amp and finally picked up a Rockerverb 50 combo of my own in the summer of 2007. I had just graduated a proud alumnus of Willamette University with a Bachelor of Music degree in Classical Guitar Performance and moved up to Portland, Oregon to pursue music. I used the RV50 combo for several years and acquired an Orange PPC4X12 to add to my rig. This Orange 50 watt amplifier running 6X12 speakers paired with an SG was the backbone of my sound during the earlier days of Sons of Huns. I was elated and honored when I became an Orange Ambassador in the winter of 2013! I celebrated this achievement with the acquisition of an OR100 amplifier and another PPC4X12 cab, so I could run my thundering new amplifier head through a proper 8X12 stack of sonic & striking Orange beauty. Orange amplifiers are the foundation of my sound on stage and in the studio. I do use some low wattage secret weapon tube combo amps in the studio for overdubs and at home for lower volume but full tube saturation recording. That being said, I think those amps will be decommissioned if/when I snag one of your OR15 amplifier heads that I have had a keen eye on. I’ve never been a shoe-gazing pedal pusher, preferring to plug my guitar into a superior tube amplifier with beautiful and plentiful gain on tap, such as you fine folks at Orange craft. I use a few other pedals recording at home, the few that clock in the most hours being an MXR MicroAmp, boosting those little low wattage tube combos, an MXR Phase 90 for the swirls, and a JHS Pulp n’ Peel compressor. In Sons of Huns I used a CryBaby Wah-Wah into my OR-100 amplifier head and a stack of PPC4X12s and currently in Danava I play a few guitars, my trusty Ebony Gibson SG Standard, a 70s Guild S-100, and most recently a 1963 Gretsch Corvette that is absolutely sexiest guitar I’ve played to date, into an Ibanez TS808 Tube Screamer to push the front end of my OR-100 when I get to play the fancy bits!

I gotta ask, what’s the story behind the sweet photo of yourself and your stacks of Orange in  the desert?
This photo was taken by Tyler Cox of Light Science Productions in the desert of Show Low, Arizona while Sons of Huns was on a two week break in between touring around the States with our German brothers Kadavar, and then all over again with Doom legends Saint Vitus. It is not a staged shot, we brought out a generator and fired up our amps, and although we only had Tyler taking photos and video, our road-hand Nat, and the vast expanse of the Arizona desert as an audience, we played high volume versions of several songs, most notably the freshly composed “Powerless to the Succubus”. This track can be found on the A-side of the 7″ Kiss the Goat collaboration with local Portland Gigantic Brewery, which coincided with the bottling and distribution of their Kiss the Goat black dopplebock beer. I also have to say thanks to the Orange Amps Instagram feed for psychically knowing when to post this pic on a day when I needed a little reassurance the most.

So all you geetar-fiddlers out there that haven’t experienced the bliss of plugging into an Orange, grab one quick let ‘er rip!


Thank-you Ella for the interest and interview, and thank you Orange for allowing me to do my damnedest to make a contribution to keep Rock & Roll alive!

A few shout outs to the people helping out Sons of Huns along the way;
I have to give a shout out to Devin Gallagher Founder of High Scores and Records who released the first Sons of Huns self-titled EP and Toby Tanabe for the stunning artwork, Kelly “Gator” Gately of Powerblaster Records for releasing the “Leaving Your Body” 7″ record and Adam Burke of Nightjar Illustration for his otherworldly album art and Matthew Thomas Ross for directing our one and only music video for the title track, Daniel Hall RidingEasy Records who released our first L/P on vinyl “Banishment Ritual” (again Adam Burke coming through with the fantastic gatefold album artwork) as well as the following album “While Sleeping Stay Awake”, Gigantic Brewing for the collaboration and release of the “Kiss the Goat” 7″ record and corresponding brewing & bottling of their knock-you-on-yer-ass dark beer, Pat Kearns for recording and mixing the majority of your discography at his Portland studio PermaPress (R.I.P.) as well as being a true friend and mentor -Love You Pat, Toshi Kasai for his skillful hand at the console in his studio Sound of Sirens in LA and for bringing the seed within me to fruit to ‘Double That Shit!’, the loving and caring STUMP sisters and DC himself for their hospitality and support, and I got say thank you and send my love to my man Wino for coming through and singing with me on the SOH track ‘An Evil Unseen’ from the “While Sleeping Stay Awake” L/P. I’d also like to give a hug and kiss and huge thanks to our dear families, friends, and fans that supported us through the years and came out to shows, bought records or t-shirts and those who continue to support our music & mercy via Bandcamp. What more can I say? Me and the boys have the Sons of Huns triangle tattooed upon our sickly human flesh.

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