Chuck Schuldiner Project

Wednesday, December 7, 2016

Dealer - Billionaire Boys Club


Dealer are the sort of fuzzed out rock and roll band who speak volumes to the power of the scene right now. There crazed chords, balls out progression and willingness to just sit back and jam is stunning. The pounding grooves of their new record Billionaire Boys Club reflects the punk rock magic that has always defined this band and gives us something to really sink our teeth into. Yeah it's stripped back and sounds like a group blowing up in a garage, but it's a really fucking good group blowing up in a garage.

From the first you know what you are going to get with Dealer, the first song on the record, AM Gold pretty definitively showcases what this band is all about. It lends a certain monochrome intensity to Billionaire Boys Club that is at once the bands greatest strength, inasmuch as it lets us really sink our teeth into the sheer riffage, but also a weakness because it feels like Dealer could do so much more. That being said, with their relatively limited palate they manage to pull off some truly cool feats of sound with epic solos and blazing drums bashing you all the way back to the 70s, but with production and influences that feel very 2016.

Billionaire Boys Club is, if nothing else, an incredibly tasty record. The punching assault of these songs is addictive and the bands ability to crash into your skull and showcase all sorts of weird and exciting frills is fascinating. Dealer have a sort of trademark throb that makes it hard not to keep from falling in love, they have a pulse that is titanic and bass driven creating a bottom driven sound that every heavy metal maniac will love but which can also find a place in the hearts of punks and old school rock and rollers.

Find them on Facebook!
https://www.facebook.com/dealerrips/

Tuesday, December 6, 2016

Echelon - The Brimstone Aggrandizement


Echelon are one of those death metal supergroups who make death metal nerds squeal with joy but who have more than enough to keep death metal nerds excited and in love with the possibilities that this music presents. The brutal grooves and punishing assault of their latest offering, the almighty The Brimstone Aggrandizement is the sort of Old School Death Metal that clearly gives no fucks but instead revels in the murk, forcing you to embrace the sheer darkness this music has to offer and reminding us of the cynical realities of the world around us.

The raw and vibrant energy of Echelon makes their music strangely addictive, as do the relatively short eight tracks. It means that The Brimstone Aggrandizement is an easy and straightforward listen that crunches forward without giving a single fuck. It means that the bands trademark stomp will capture your imagination and there willingness to dive into balls out and destructive riffs with powerful solos will crush your fucking teeth in. The Brimstone Aggrandizement is an album that reminds us of all that we love about classic death metal but which also has the nervous energy that keeps the genre viable.

Echelon know how to fucking tear it up and they stomp forward with the same swagger that has made this genre the sirens call for so many over the years. The Brimstone Aggrandizement is a release that presses hot coals into your skull and conjures demons straight into your brain. Rather than pussified clean vocals and hyper technical riffs The Brimstone Aggrandizement deals in straight death and will fuck your skull into oblivion. This is death metal at its finest, over the top and ready to feast on your sweet flesh.

Find them on Facebook!
https://www.facebook.com/EverForwards/

Interview avec Johannes Persson de Cult of Luna (14/04/2016) (Ver. Francaise)


En petit bonus pour vous, chers lecteurs, j’ai le plaisir de vous ressortir une vieille interview de mes archives, un article qui n’a malheureusement pas pu être publié au moment de sa finalisation. L’année 2016 touchant cependant à sa fin et l’album Mariner de Cult of Luna & Julie Christmas tenant toujours en tant qu’album phare de l’année, il aurait été trop dommage de laisser l’article prendre la poussière. Ayant été réalisée peu de temps après la sortie de l’album, il est à noter que le groupe n’avait à cette époque aucune intention de jouer l’album en live, décision sur laquelle le groupe reviendra 7 mois plus tard avec une tournée dédiée à l’album aux côtés de Julie Christmas.  Cela étant dit, je vous invite à lire cette interview en gardant en tête sa date de réalisation.


Sortis d’un silence assourdissant avec l’annonce d’un nouvel album en collaboration avec Julie Christmas ainsi qu’une tournée célébrant les 10 ans de Somewhere along the Highway, les membres de Cult of Luna reviennent en force sur les devants de la scène pour un mois d’avril retentissant. Entre le retour sur un album désormais culte de leur immaculée discographie et la sortie d’un album assurant d’ores et déjà et sans le moindre doute sa place auprès des meilleurs albums de l’année, le moment semblait on ne peut plus propice pour s’entretenir avec le fort sympathique Johannes Persson pour parler de l’évolution du groupe.

Vous êtes actuellement en tournée pour le 10ème anniversaire de Somewhere along the Highway. En rétrospective, comment voyez vous ce chapitre pour le groupe?

Ce n’est pas tant le moment de sa sortie qui importe autant que la manière dont on l’a écrit. Avec Salvation, on commençait former notre propre voix, mais c’est véritablement avec SatH qu’on était vraiment “nous”. Ce qu’ont fait en ce moment découle directement de cette ère. On a fait l’album super vite: on l’a écrit en 3 mois et enregistré en 1 semaine. On n’a pas eu le temps de beaucoup penser sur le moment, on a simplement écrit et on a laissé les choses se faire. On ne s’est pas posé de questions, on l’a juste fait. On a écrit ce qui nous semblait bon.

La base de votre son a été édifié par sa spontanéité.
Exactement. Des titres comme And with Her Came the Birds n’aurait jamais été possibles sur les autres albums. L’enregistrement était aussi très spécial parce qu’avant on s’enfermait en studio et on bossait pendant des heures à la ronde. Pour cette fois-là on avait embarqué tout notre matériel d’enregistrement dans un petit cottage perdu et on a travaillé comme des fous en essayant d’enregistrer le plus possible en live. And with Her Came the Birds a été enregistré en live au milieu de la nuit. Magnus avait aussi placé des micros en extérieur pour capter le ruissellement de la neige qui fondait et s’en est servi sur le début du morceau.

Etant en tournée pour SatH tout en ayant tout juste sorti votre nouvel album Mariner, quel est, selon vous, la plus grosse évolution ou changement pour le groupe dans ces 10 ans séparant ces 2 sorties?
Il y a beaucoup de choses. Musicalement, c’est plus simple pour les fans de répondre à cette question. Après, avec l’age vient un semblant d’assurance qui tient plutôt de fait d’en avoir plus rien a battre (rires). Il y a moins d’anxiété qu’avant, et tu n’avais pas l’avantage de savoir ce qui était bon ou pas. En rejouant ces titres d’il y'a 10 ans j’ai aussi été surpris sur certaines choses. Les morceaux étaient vraiment bons et plus techniques que ce qu’on fait actuellement, du moins de mon coté. Je n’aurais jamais pu écrire cet album aujourd’hui, impossible. Je suis une personne différente et bien que nous soyons les mêmes individus, l’album ne serait pas sortis comme tel aujourd’hui. On aurait pris des positions et décisions complètement différentes.

Est-ce que ca ne découlerait pas d’une approche différente de l’écriture?
Je ne pense pas qu’on aurait été aussi “ouverts” à certaines choses qu’auparavant. Ca peut sembler contradictoire, mais je pense que certaines parties qu’on aurait jugés trop “simples” où on se serait dits “Ok, il faut qu’on fasse autre chose sur ici”. Dim n’aurait pas sonné comme tel aujourd’hui. Sur ThirtyFour, qui est un morceau très complexe à jouer, on alterne entre des mesures à 3 et 4 temps, ce qu’on n’aurait jamais fait aujourd’hui.
Quant au groupe, je pense qu’on est plus “sûrs” maintenant. On n’a pas eu de vraie dispute en 6-7 ans, ce qui est un peu dommage n’empêche (rires). Avec Andreas on se chamaillait beaucoup.

Sur des questions créatives?
Sur tout. Une fois on s’était disputés sur une histoire de chambre d’hotel et on a fini par essayer de se donner mauvaise conscience en dormant dans le van. Il ne devait qu’y avoir qu’une personne qui devait dormir dans le van et on se disait “Je le fais! Non, c’est moi!”, et on a fini par dormir tout les deux dans le van et j’ai chopé une pneumonie de malade que j’ai gardé quelques semaines. C’était horrible (rires). Mais on ne se chamaille plus.

Vous venez de sortir Mariner avec Julie Christmas. Peux tu nous parler des thèmes abordés sur l’album?
Après SatH on a fait Eternal Kingdom, qui était inspiré de l’environnement rural où in a grandi. Avec Vertikal on voulait faire quelque chose de complètement différent, on voulait faire faire un album futuriste sans tomber dans le cliché de faire une B.O. de Blade Runner. On avait de créer le son d’une ville mécanique inspirée de l’expressionnisme allemand et du futurisme. On savait déjà ce qu’on voulait faire par la suite, d’où le titre Vertikal ; on regardait vers le haut. Le titre In Awe of sur l’album parle de l’admiration de l’espace. On a aussi fait l’EP Vertikal II, avec la pochette qui évoque les lumières de la ville dans le ciel. Du coup quand on a décidé de faire un album avec Julie on lui a dit qu’on voulait faire un album sur voyage qui partirait de la terre en dépassant la vitesse de la lumière pour atteindre les limites de l’espace. On lui a expliqué ce concept musical tout en lui disant qu’elle pourrait faire ce qu’elle voulait, on ne lui a mis aucune pression. La musique est donc inspirée du voyage concret dans l’espace mais également de l’idée de toucher de nouveaux horizons pour découvrir ce qui s’y cache, laisser sa zone de confort dans le domaine musical et artistique pour voir ce qui se passerait. Ca parle d’exploration.

Comment s’est déroulé le processus de collaboration, sachant que vous n’étiez jamais dans le même studio ensemble?
Le fait est qu’on savait à l’époque qu’on allait moins tourner, du coup on lui a dit “Ecoute, vu qu’on ne va pas tourner, pourquoi pas faire un album pour lequel il serait impossible de tourner?”. Avant de se décider si on allait faire l’album, je lui ai envoyé quelques idées que j’avais écrites sur mon ordi, et ca a fonctionné à merveille. On lui a ensuite envoyé des demos. Elle a suggéré quelques idées de modifications et on a fini par en utiliser certaines, on en a laissé de côté et on en a modifié quelques unes avant de les mettre en oeuvre. Pour ce qui est de sa voix, on n’avait aucun contrôle sur sa voix, ce qui faisait assez peur. Mais une fois qu’on avait l’album en main, on s’est rendus compte qu’il n’y avait aucune raison de s’inquiéter.

Y a-t-il eu des surprises par rapport à ce à quoi vous vous attendiez?
Pas vraiment. Je pense qu’au départ elle avait un peu de mal à comprendre comment on fonctionnait et comment on composait. Quand on écrit, on sort des trucs très monotones, et si vous n’êtes pas habitués on peut se demander “Comment est-ce que ca va devenir un morceau? C’est le même riff qui tourne en boucle”. Mais c’est là qu’on commence à ajouter des couches avec chaque instrument pour finalement avoir des parties différentes alors qu’à la base nous avions une partie qui sonnait pareil pendant 4 minutes. C’était un peu dur à comprendre pour elle parce qu’on n’avait que des démos on lui disait “sur cette partie on va faire ca”, mais on s’est vus à New York en automne dernier et elle nous a vus en concert. Elle nous a dit “Maintenant je comprends ce que vous faites, au travail maintenant” et c’est à ce moment qu’elle a commencé à sortir des merveilles.

Ca peut paraître un peu prématuré, mais j’ai pu lire que vous avez commencé à écrire votre prochain album. Est-ce que vous pouvez déjà donner des pistes sur cette sortie ?
Il est bien trop tôt. J’écris en permanence, mais je ne sais pas si ca va finir sur l’album. Je peux déjà dire qu’il ne sortira pas dans un an, mais au delà de ca je ne sais pas du tout. On a cette tournée, puis on a 4 concerts en mai, mais au delà de ca on n’a rien de prévu. On a chacun nos vies, donc on verra. On aime bouger, on aime écrire mais on ne va rien précipiter.

Peux tu nommer un de tes albums, films et bouquins préférés?
Albums: Ok Computer de Radiohead est un des rares chefs d’oeuvres de ce monde.
Films: Je travaille dans ce milieu donc c’est pas évident. Pour nommer un film récent, j’ai vraiment adoré The Danish Girl. Le mec qui joue Lili était incroyable! Sinon un de mes films préférés est Deux Soeurs. J’adore les films d’horreur asiatiques.
Bouquins: J’ai commencé à m’intéresser à la première guerre mondiale, et le premier bouquin qui  y a étincelé mon intérêt est A l’Ouest, Rien de Nouveau d’Erich Maria Remarque. Je devrais le relire maintenant que j’en sais davantage sur l’enfer que c’était sur le front. T’avais tout ces soldats qui se faisaient broyer sur place. Tu voyais la première ligne partir et se faire totalement décimer par le barrage d’artillerie avant que ce soit ton tour… Un autre roman superbe, un des plus intelligents que j’aie lu, est Le Comte de Monte-Cristo d’Alexandre Dumas. Quel putain de bouquin! Le mec passe 10 en prison à comploter sa vengeance. Ca aurait été bien trop simple de tuer tous ceux qui t’ont causé des torts, et donc le gars prépare sa vengeance pendant 13 ans pour rendre ces gens fous. C’est sublime, j’adore!


Interview réalisée et traduite par Robin ONO.
Live Photos par Rémy Barbe

Un grand merci aux groupe et au staff de HiM Media pour avoir rendu cette interview possible et pour nous avoir permis de publier cet article sur notre site.

Cult of Luna
Site Officiel
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Interview with Johannes Persson from Cult of Luna (14/04/2016)

As a bonus feature for you readers today, I thought I would share you guys an old unreleased interview I’ve had archived in my folders, an article that unfortunately fell through and was left unpublished after having been on standby for publication for months. However, with 2016 drawing to its end and Cult of Luna’s collaborative record Mariner with Julie Christmas still holding up as one of the years’ best releases, I figured it would be a shame to let this article gather virtual dust on my desktop. Having been done shortly after the records’ release, it is interesting to note that the band had as of yet no plans to play Mariner live whereas 7 month later the band would hit the stage alongside Julie Christmas for a handful of sold-out dates dedicated to the records’ live rendition. With that in mind, I invite you to enjoy this interview all the while bearing its date in mind.

With the announcement of their collaborative record alongside Julie Christmas, Cult of Luna have marked 2016 with a resounding comeback, topping things off with a 10th year anniversary tour for Somewhere Along the Highway. Being at the crossroads of this tour dedicated to one of the bands’ most celebrated albums and the release of a mind blowing record already contending as one of the best records of the year, the moment felt right to catch up with frontman Johannes Persson to discuss the bands’ history.

Right now, you’re on tour for the 10th anniversary of Somewhere along the Highway. In retrospect, how do you regard this particular era or “chapter for the band”?
Well the time of the release isn’t that important, the important part is the way we wrote it. The album before, Salvation was when we started to get our own voice but I think that Somewhere along the Highway is just “us”. What we do now was basically spring boarded from that era. The thing is that we wrote that album really quick. We wrote it in 3 months and recorded it in one week. We didn’t have time to think much of it, we just wrote and whatever happened… happened, basically. We took some chances on that, or rather we DIDN’T take any chances, since that would have been a conscious thought. We didn’t ask ourselves “should we do this?”, we just did it. We wrote what we thought was good.

It was this spontaneity that solidified the basis of your sound.
Exactly. We were just like “Ok, this is cool”. Songs like And with Her Came the Birds wouldn’t have been possible on the other albums. Also, the recording was very special because on the other albums we had pretty much locked ourselves into the studio and worked hours and hours. But that time we just took all of the recording equipment and took it to a small cottage in the middle of nowhere and worked our asses off for one week, with the emphasis of trying to record live as much as possible. And with Her Came the Birds, which was basically recorded live during the middle of the night. It had snowed but it was starting to get warm again so the snow was melting, so Magnus had put a mic outside of the cottage and you can actually hear melting water on the track in the beginning.


I’ve also heard of some weird occurrences happening during the recording process.
Yeah, there was this woman that came out of the forrest, it was weird. The location is called Norrfors, it’s a small village outside of Umeå. It’s not in the middle of nowhere, it’s just a little bit out of the city, but the cottage is quite secluded. We were sleeping there and living there, and this one time this woman emerged from the forrest and started dancing outside. We were just trying to keep quiet because it would be really weird if she had seen us looking at her. There’s a lot of free spirits out there. She did her free dance and then she walked off into the forrest again. It was probably some hippie. 

Being on tour celebrating one of your earlier records while at the same time having freshly released your latest album Mariner, what would you say is the biggest evolution and/or change for the band in these 10 years separating both releases?
There’s a lot that happened in 10 years for the band. I mean, who were YOU ten years ago? I guess that’s an easier question for you to answer than for us when it comes to the music part at least. Of course, with age comes something close to self-confidence, though it’s more about not giving a shit anymore (laughs). There’s not as much anxiety as there used to be, but you don’t have that advantage of knowing what’s good or not. Also, going back and playing songs that we wrote over 10 years ago surprised me on certain things. The songs were really really good, and they were more technical than we are today, at least for my parts. I could not have written this today, it would be impossible. I’m a different person, and that album, even though we are the same people that recorded that album, it wouldn’t have sounded the same today. We would have taken different positions and done it completely different. 

Do you think this is the result of a different approach to songwriting? Or has it remained the same?
I don’t think I would have been as “open” to a few things we did back then. This might sound a bit contradictory to what I said earlier, but I’m thinking of different parts that are maybe a bit too “simple”, where we would have gone “Okay, we need to do something different here”. A song like Dim would not have sounded like it does today, not a chance. When it comes to a song like Thirtyfour, which is a very complicated song to play, we alternate between 3’s and 4’s in the time signatures in the same song, we would not have done that. And of course there’s a lot of things that have changed with us personally, of course.
I just think that we are more aware of the group dynamic, it’s much “safer” now. We haven’t had a proper fight for years. We used to have some really really bad fighting back then. We haven’t had a fight in about 6 or 7 years, which kind of sucks though (smiles). Me and Andreas used to go at each other a lot.

For creative matters?
No, for everything, just stuff that annoyed us. Once we got into this huge fight over a hotel room and it ended up with us both trying to guilt-trip each other to sleep in the van. There only needed to be one person sleeping in the van and we were both saying “I’m going to do it! No, I’m going to do it! Fuck you, I’m going to do it!”, so we both slept in the van and I got this badass pneumonia afterwards for weeks. It was horrible (laughs). So we don’t fight at all.

You just released your collaborative album with Julie Christmas, Mariner. Could you tell us a bit about the themes and subject matter touched upon on the album?
Well well after we did Somewhere along the Highway, we did Eternal Kingdom, which was very much inspired by the rural environnement we grew up with. After we returned from taking a couple of years off, we wrote Vertikal. We wanted to do something completely different, so we wanted to make a futuristic album WITHOUT falling into the trap of doing a Blade Runner soundtrack. We had this idea of doing the sound of a mechanical city, which was more inspired by german expression expressionism in the 1930s’ and Italian Futurism in the 1920s’ . At that time, we also knew where we were going after that, that’s why the album is called Vertikal; we were looking up. There’s a song called In Awe Of on the album that deals with the admiration of Space. We also did this EP called Vertikal II. The artwork was inspired by the city spotlights going into the clouds at night. So when we decided to do the album with Julie I told her that we had an idea to make a Space travel from earth, travelling faster than the speed of light and crossing the outer-space. We told her that this was what we were going to do musically, and that she could do whatever she wanted. We didn’t put any pressure on that. So the music was inspired by both a concrete journey through space and also treading new ground, whether we’re talking about the old mariners sailing into the horizon to see what’s on the other side or musically and artistically leaving your safe space  and going out to see what’s going to happen. So that’s both the inner and outer theme of the album. 
Exploration, basically.
Exactly.

The band and Julie were never in the same studio during the tracking. How did the collaborative process go? Was there a lot of demoing involved?
What happened was that we curated this festival, and I happened to love Julie’s stuff from her band and especially her solo album The Bad Wife. We wanted her to play that festival but she couldn’t, so I got her contact from her agent but she couldn’t make it. We continued talking and I explained my admiration of her work. I also knew that we were going to cut down on touring but I didn’t want to cut down on writing, so I told her “Look, if we’re not going to do any touring, why don’t we do an album that is impossible to tour on?”. We didn’t decide then and there, we were just making some drafts at first and sending them over. We were like “If it works out, we can do an album. If not, we can scrap it and leave it there.” So we basically started out with me writing everything on the computer and her trying the song out, and it worked out perfectly, at least from our perspective. So we started to send over rough demos. She had some ideas of changes, and we used some of them, some of them we didn’t do and we also modified a few of them. So that’s how the collaboration went. When it comes down to it, we had no control over her vocals, which was quite scary. But once we had the album in had, it turns out that there was no reason to be worried.

Were there any aspects that came across that you had originally not planned or expected?
Not really. I’m just guessing, but I think that it was hard for her in the beginning to understand how we write songs and our band dynamic. When we start writing songs, we write very monotone stuff, and if you’re not used to how we work I can imagine how people think “How is this going to be a song? It’s just the same riff all over again”. But that’s when we start layering stuff : vocals, guitars, keyboards … and all of the sudden the same part that sounded the same for 4 minutes turn into different parts. I think it was hard for her to understand how we work because it was just demos and we were like “Look, on this part we’re going to do this”. We met her in New York last fall and she saw us and after that she said “Now I understand what you’re about, let’s get to work.” That’s when she started delivering magic.

This question might come very early, but I’ve read that you’ve started writing on your next effort already. Are there any concrete leads you can disclose as of right now ?
It’s way too early. I write all the time, but whether that’s going to end up on the album? I have no idea. I can tell you it’s not going to come out in one year, but I don’t know if it’s going to take two, three, five or ten years. We’re doing this tour, then four shows in may, but after that we have nothing planned. Everyone has different lives, so we will see. We like heading out, we like writing music but we’re not going to rush anything.

Could you name one of your favorite albums, movies and books?
The problem with all art is that it depends on which genre. I love Apocalypse Now but I also love Cannibal! The Musical.
Radiohead Ok Computer is one of the really few masterpieces out there.
Movies… I work in this field so it’s hard for me. Naming a  recent film is probably better. I really enjoyed The Danish Girl. It was fucking amazing. The guy who played Lili was freaking amazing. I was wondering why he didn’t get the oscar but apparently he won one last year. I flew to L.A two weeks ago and I saw the film about Steve Jobs with Michael Fassbender. I knew before I even wrote the credits who had written that script. That level of craft … The film takes places in the span of four launch meetings and it’s able to tell so much story. There aren’t many characters at all.
Books… I really started getting into the First World War. I didn’t really understand what kind of hell it was. The first book that got me into that is All Quiet on the Western Front, which is really interesting and great. I think I need to re-read it because I now have more knowledge about how bad it was in the front. You had all of those soldiers that just got thrown into the meat-grinder. You’d see the first line go and get totally decimated by the barrage of artillery, then it would be your turn.
One really great novel, one of the most intelligent ones I actually read is The Count of Monte-Cristo by Alexandre Dumas. I fucking love it. The guy spends 10 years in prison just planning his revenge. It would be too easy to kill everyone that wronged you, so the guy started this hellish plot that took 13 years to drive one of the guys that framed him to madness. It’s just beautiful, I love it.
Another one of my favorite films is also A Tale of Two Sisters. I have a thing for Asian Horror Films. 

Interview by Robin Ono
Live Photos by Rémy Barbe


A huge thank you goes out the band and to the staff at HiM Media for making this interview possible and for allowing me to re-use this interview for publication.

Cult of Luna
Official Website
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Monday, December 5, 2016

Lo-Pan - In Tensions


I'll be honest - I forgot how much I dig Lo-Pan. Their unique brand of driving stoner rock with big wide open vocals and beautiful flanger effects adding layers upon layers to the sound is stunning and suggests a group who transcend many of their peers with their crushing sense of forward motion. In Tensions is perhaps the bands finest work to date, though it weighs in at a mere five tracks it takes the bands unique brand of Clutch and 70s rock inspired grooves and adds a healthy dose of bands like Red Fang and Torche.

Yet In Tensions is so much more than that. It shows us a band who, in the three years since their last full length have grown in potent and exciting new ways. They have showed us a new glimpse into the drive that makes this band so goddamn exciting. The soaring vocals on songs like Alexis are the perfect contrast to that rolling bottom end. These Columbus, Ohio rock and rollers were among the progenitors of this brand of rock and roll and the groups unique, almost swaggering take on the genre now almost feels like a victory lap. Lo-Pans potent riffs and booming songwriting are among the best of the best, and they goddamn know it.

It's easy to get lost in this album simply because In Tensions demonstrates the sort of pulse that made records in the 70s so addictive. It's a sort of constant throb that winds its way through every song on the album and makes it feel even shorter than its five tracks would suggest. This is a good thing though - In Tensions rapidly becomes highly addictive, an album you wrap up and then can't help but want to jam again. Lo-Pan seem set to take on the world in 2017 and In Tensions is just the vehicle to do it.

Find them on Facebook!
https://www.facebook.com/lopandemic/?fref=ts