The best of -2-0-2-0-

A most mediocre year in the record history for me. Most of my giants were holding back and not releasing any new material. There are still a few moments and a few artists that made me smile. As usual: no singles or ep’s, live albums or compilations. Just fresh new material on full albums. Which already started a conflict. “The Haunting of Silvåkra Mill” by Malsten, contains only four songs, why I do not consider it as an album, but still forty minutes of prominent doom, so they end up first as a mention of honor:

17. Svederna “Härd”

The lovely complete hordes of chaos ringing in my ears listening to this blaster. Swedens complete nutters are swinging it on blasting dirty black thrash metal for the receivers of dissonance on their third album. Starting up with maybe their best song to date, “Den arkaiska rötan”, and donates the pure, wicked and malicious vocals of Primathor over a war from the rhythm section immediately. Well done, lads. The guitar lines sometimes even take me near the soundscapes of Caller of the Storms.

16. Painted Doll “How to draw fire”

The second album by Dave Hill & Chris Reiferts rock project does not reach the heights of the first one. Still, there are solid songs right through the thirty-nine minutes shared over twelve songs. “Blue Postcards” might be my highlight. Nothing new here, just plain rock of quality.

15. Deep Purple “Whoosh!”

Another album slapped in the face by its precursor. Maybe I did not give this one enough time but I can not feel the purple extra in this release as I did with their current album. It still got the Ian’s in a great condition for this old lobster of an album.

14. Novarupta “Marine Snow” This one mane army of Alex Stjernfeldt bursts out the second, hard album with such a slope. It is miles better than the debut album which I found a bit uninteresting despite great guest vocalists. Once again a great line-up of vocalists in Josh Graham, Martin Persener, Lea Amling Alazam, Robert Lamu, Mike Paparo & Arvid Hällagård puts this darkness up a few notches in five songs in complete perfectionism.

13. Henrik Palm “Poverty Metal” Fella Henrik Palm is another great Swedish multi-instrumentalist that just brings us to worlds beyond and this time he over helmed himself with some hidden ugh!. The cover version of my favorite Twisted Sister-song “Destroyer”, says it all. When he played Roadburn the other year he screened some old Judas Priest-footage behind him whilst rocking on 🤣. For some odd reason, this album makes me think of old Sonic Youth. It’s alternative hard rock at a proper point and remembers his name.

12. Jordablod “The cabinet of numinous songs” The discovery of the year in my world. Malin who works in the magnificent record store “Sound Pollution” in Stockholm recommended them to me and I am grateful for that. More Swedish Black Metal. This features musical slopes as acoustic intros. Did I mention that it is once again a work by a Swedish multi-instrumentalist, Filip Lundström? “Blood and rapture” be my favorite song and the song I DJ: ed most out at clubs from this procreation.

11. Incantation “Sect of vile divinities” Genuine, blasting American Death Metal build upon massive riffs and slabbing drums. Nothing new, just a great dose of what you need. John McEntee knows what’s he’s best at more than thirty years ever after.

10. Necrowretch “The one from hell” The fourth album by these French monsters. It is fast blackish Death Metal. 8 songs in 37 binding minutes with an evil deliverance. The instrumental “Through the black abyss” be the sign of the mysticism from the melancholic dark spheres into the rinse up conclusion with some classic satanic speed metal-style in the song “Necrowretch” were Vlad is giving us all of his inner wrath & exasperation.

9. Witchskull “A driftwood cross” You can believe I had high expectations for the third album from the Aussies after the super latent “Coven’s Will” from a few years ago. The opening song on that epos “Raven” have such an intense riff and the rhythm from the platonic duo Joel and Tony fronted by the frantic and almost obscene vocals by Marcus blew me away. So when the opening song is named “Black Cathedrals” my expectations might be turned out too high. The opening riff is not bad but it is something I could expect a band like Orchid to do. Also, the vocals calmed down to the level they sound lane in comparison. The album holds that standard over the first four songs but when you flip to the B-side and the galloping doomish metal in the song “Dresden” keeps your headbanging along the groove. Then you know it is coming. Halfway through the song it slows down and creeps into the mythic crypts of the “Sabbath Bloody Sabbath” record. The complete fury is back in Marcus voice and here is pure Australian metal history from the pride of Canberra. The final riff and roar is so direct so you are breathless afterward. The following songs do not really climb up to the heights of “Dresden” but it shows a few not heard before paths by the band. Genuine Black Sabbath-syndromes and authentic wrath. You can almost visualize all the pain in this music. “March of Winter” pounds of comfortably straight towards some dark and cold winter nights, despite I have my doubts that this gang ever lived through a harsh winter night of complete darkness and nothingness as we do have up here in Sweden & the North in general. “Nero Order” is a proper order of madness with some very Iron Maiden-ish touches. Going back to Iomminess on the final song “A driftwood cross” ends the album with a journey from melancholy to majestic, epic metal. Makes you hungry for more. If they just had let the devil a bit more loose on the A-side this should’ve been the album of the year. I look forward to their fourth release.

8. Dark Tranquillity “Moment” In my world the term “Melodic Death Metal” is a contradiction. Death Metal is rage towards normal levels of music and should not be room clean nor melodic. Still, there are a few bands in the genre that I like. Dark Tranquillity is one of them and “Moment” might be their finest album to date as a full album. One of the singles released before the album “Identical to None” really is a role model for this record. It is poppy, catchy, dark and the lyrics by Stanne are genius as usual. He’s good at his lyrics, how to put words together, and how to evolute that through his songs. The ballad “The eyes of the world” where Mikael partly cries the words out is a very sensitive song and proves why this is such a great musical export. They really turn to many people and their worlds without being sissy. That is really a hard job. Most American bands fail there. They sound like hairspray and produced radio rock band if you put them next to the real thing like Dark Tranquillity is. I enjoyed them streaming the entire album live from “Storan” in Gothenburg and I hope they play the full album live for us, one day too.

7. Uada “Djinn” One hour hell, is the phrase describing this album. The intense melodic guitars, the wrathful voice, and the curious drums are the tactics for yet another well-balanced record. When you are at the level of Uada it is hard to fail and disappoint your fans. I wish they could have dusted the production just a bit, a rougher version of this record could have done it. You’ll never see (unless you are getting hold of a rough mix of the record). The first two songs almost walk into each other too much in style, if you listen to it like me, you are good with it. Others might get bothered and bored. On my own record song, two and song three are examples of exactly that. For us into powerful modern black metal. This is a great trip. You’ll hear what such impact Watain had on bands like this, and as a fan of Watain, I am good with that.

6. Vampire “Rex” I got almost shocked turning this on the first time. They’ve risen from an ok band that is a good live band to a really good band overall. Again, blackish thrash metal the way I like it. The suitably named song “Pandemoni” got an 80’s King Diamond touch to it, which makes it scarier. “Rekviem” might be the most furious song and gives me back the memories of listening to the second album by Merciless. “Melek-Taus” is an unhappy ending with an epic acoustic last forty seconds.

5. Sòlstafir ” Endless twilight of codependent love” Almost as complex and hard the title is too remember and pronounce, almost as complex and hard it is to take in everything from this record. Starting with a jazzy part with their Icelandic cowboy sound the song “Akkeri” tells you that the coming 63 minutes of your life will be difficult to cure. A very progressove pumping and aggressive part follow and if you did not know, they know their shit starting like a hundred years ago as a Black Metal band. I DJ:ed at a few of their shows and when they got time to come out after and hang they party loose to all the great classics, believe me. They are one of my favorite live acts and I’ve seen them numerous times. This spring I was considering fly to Iceland to see them at a genuine Icelandic village, unfortunately, life said no to that, it was just the week before the virus took over. So sad in that case. I hope life will give me another opportunity someday to go and see them in Iceland. So, after the attack with the first song, they slow things down with a gloomy postrock kind of ballad. After a slight bridge with strings towards the end, “Drysill” pumps out with a crescendo of the boys giving us an action-filled ride upon the Icelandic prairies. “Rökkur” keeps the moldy postrock alive and it goes on like that until they press us down beneath their messy Icelandic Black Metal in “Dionysus”. “Til Moldar” is a typical sensitive jazzy pop-ballad. Until returning to the doomy post-rock-era we mostly know them from. “Ör” must be the most complex listening on this hour-plus record. Too many impressions to mention and I will fight this tune for several years. The beauty is all existing in the soulful “Úlfur”. Sòlstafir remains in the prime of their career with this epos and my heart is far from full, but it is joyful.

4. Dool “Summerland” I first jumped on this band a few years ago as Job and Micha from The Devil’s Blood were in and I did not know too much of the infamous guitarist/singer Ryanne and one of the most powerful Dutch voices I know about. Superb melodies, catchy choruses and a helluva guitar twang upon the rhythm section. Pointing on their debut album, which I thought were a great start of the day some years ago they now merged together after a hell lot of touring and matured enormously. “Sulphur & Starlight” makes any fan of metal bang along to its catchiness. Trippin on upon the “Wolf Moon” all the ingredients are there to bake a band that should be playing stadiums and arenas, hopefully, they get all the success they do deserve. “Be your sins” be my favorite song for today. Catchy poppy metal with an insane rhythm section that I envy. A record completely different from the first and I can not wait to see them live one day again.

3. Black Funeral “Scourge of Lamashtu” Another new find for me, knowing it is far from a new band. This is shitty Black Fvkkin Metal for bastards, like me. Pure unholiness and hard to beat in its genre. Completely unproduced and dirty. Adorable art. The rawness with the disharmonic organ makes the epicenter of dissonance into this void of American madness. The second song “The Vampyric Rabisu at the Threshold” is a perfect definition of what I consider as perfectly shaped extreme metal. Knowing very little of this outfit and only bought the recorded digital I do not know how much to say more than I have to investigate them closer over the coming years and also need to remember to order it on vinyl, one day. This is exactly what I want from Black Metal. A large fvkk off to overproduced lame over-hyped things.

2. Katla “Allt Thetta Helvitis Myrkur” From the roots of Sòlstafir (or at least their old drummer) and a partnership of a multi-instrumentalist comes Katla. Another eclectic record starting with a very heavy drone that had me at d. This record passes many styles of music, and they do it good, why I do believe they will never get as famous as they should. People are applying themselves to soulless and uninteresting music more and more. So this kind of relevant music will not find it’s way to too many homes, unfortunately. This heavy burster has a weak point for me “Hvítamurkur”, an epic journey through majestic Icelandic heaviness. My type of importance to life. The guitar harmony is almost by the book what I do like to listen to and I wrote a near-identical for a song for the next chapter of my band, bloodofjupiter. Icelandic is also a very good language to sing in, like English or Danish. Fans of big music, darkness, and folk music should give this a try. I gave them many.

1. Molassess “Through the Hollow” In 2019 I went to their debut concert at Roadburn with fear. As a huge fan of The Devil’s Blood & Selim Lemouchi I was afraid this could turn out very far from what I wanted. It was a difficult hour at 013 in Tilburg. It took time to melt. Was it that good? It was the perfect continuation for Farida, Job, Oeds and Ron from The Devil’s Blood, one of my all-time favorite bands. It was with all respect to the late Selim Lemouchi, no blueprint of the past and a vag packed with their own formulas for futuristic beliefs. Farida does have such a voice of perfection for this kind of music. Contain all the needed tools a throat can give. Deep and powerful. The music is sort of progressive, psychedelic hard rock with touches of metal as well as the sixties. Harmonies, melodies, catchiness, wrath, pain, and soul. An enormous package built in here. I can imagine myself sitting in front of the campfire singing along to “Corpse of Mind” and I can feel myself poise away into another dimension through “The Devil Lives”. This is so great and a perfect debut album. I hope we can have the opportunity to enjoy this orchestra for many years, gigs snd albums as I do believe they have a lot of music inside of them that we need to hear.

As a bonus, you can listen to the album I released with my band bloodofjupiter by October the 31st 2020 named “Eternal Damnation” here…

The Isberg-Chronicles – the best of 2020

So I released the record “Eternal Damnation” under the monicker bloodofjupiter. At the time we were a band and here is the complete story behind this album from my point of view.

Pic by Jonas Husbom

First, I am very proud of this record and how it came through and I do not wish we did it in another way. No, this is what it was. This is what it is. This is what it forever will be.

2010:

It was during the Taste of Stockholm Festival for food and wine located in Kungsträdgården in the very center of the city I did meet some people from the wine house of Piccini, Tuscany.

I was in company with a few members of the band Opeth. It is a band I created and was a part of thirty years ago, today. After my departure from the band, we remained friends and I always buy their records and pop in into their gigs and so on. So in this case, I had a product manager from the company that imported the wines from Piccini, he was a good friend and knew I was a specialist as a profession in northern Italian wines in general and Tuscany in particular and also very involved in the metal scene playing with my own project somn and had a past in several bands. So, he asked me if I thought Opeth were interested to release a wine of their own brand on the market. 2010 most bands had still not yet add alcoholic beverages to their merchandise.

That is why we were there, to start with. There were two represents from the winery, a female from the export market and a guy who was a winemaker. They were both fans of Opeth and would be more than happy to produce this wine.

The wine did never happen in the end. The band was entering a very long tour shortly after and things were blowing away in the wind.

Anyhow, through this discussion and tasting of wine with the wine house and the members of Opeth, we spoke a lot about one of my favorite grapes, the Sangiovese. The name means the blood of Jupiter in Italian and through that, I decided to re-make somn and name it bloodofjupiter, in one word.

Just it did not happen until almost exactly one year after this band rehearsed for the first time and played a song from the band somn that I & Adam Skogvards wrote and arranged in 2007. That song is called “Archangel Polymorphess in Blue” and is of course the first song on the record.

That song traveled a long way by now and the re-scale and arrangements used on the record were done by me and past member Rolph Ericsson in 2013. It is way different from the original version in the way that I slowed it down firmly and removed all the extras so it is simplified. There is actually a demo-version of an old line-up with the previously named Rolph on guitar, Dipa on bass, and Ronnie Bergerståhl on drums circulating somewhere on the webs.

It also had a last journey in the sudio when Robert added the dark bells upon it without our knowledge. We did first find out when listening to the mixes of the album.

The lyrics from the song are also the first text from my book featuring lyrics, poems, and collective writing from my book “Ornament if the ominous demoniac – the coagulated blood if David”. It just handles the powers of a glory ride through the winescapes.

Coming back to my lyrics, I later discovered that I more or less accidentally often uses a technique named after me that was revealed to the public by no one less than Ernest Hemmingway named The Iceberg Theory. I stole this little example to explain it from Wikipedia:

“If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.”

You can see that later down in the featured lyrics for the title song or as some of you might´ve read my book and saw things inside the book.

The next song up, “232 -Esoteric terror”, came from the start of a jam. I tried to have the bass player at the time and also the guy who plays on the record, Fredrik Dingvall, to play a melody I had in my mind. He just grooved it up and then came the drummer and slapped on so it turned out into something else.

Ir really breathes heaviness and fear, jumping its way through and over and struggle to balance the intensity despite a mid-tempo. Yes, we can be complex in our deeds though it sounds like pretty much easy stuff.

The lyrics handle morbid visions of fire and desolations through number magic that goes completely out of hand.

Dangerous stuff, I can tell.

People knowing me closer knows that I am restless like hell and have traces of a series of letter-combinations starting with the A & D.

So walking around in the studio when nothing happened, mean the other dudes were tuning something or our engineer/co-producer Robert Pehrsson had to listen to something recently recorded.

We recorded all the musical grounds live with me directing the musicians.

Robert Pehrsson was a great choice for this session. We went to his Studio Humbucker, south of south-central Stockholm. He had Stipen from Merciless coming there the day before tuning the drums for us. He is a very simple person and with a long time background in the Death Metal-scene playing with several bands since the early nineties, he definitely knew exactly what to do with us.

One day I would like yo work with him again.

Back to be restless, I started to create a new piece of music. Also Linus “Commander” Öhrn, the guitar player had a riff so, on the final day in the studio after the lunch break the two of us merged them together into one song whilst the others were having a piss. I quickly arranged the drums and 18 minutes later after the second take, it was recorded, settled, and done.

I do have many lyrics written and laying around but this was an easy pick. I could hear on the guitar intro that this song was called “Bleeding”. The lyrics are handling the subject of internal bleedings. Turning the angst and wrath inside of you to the joy of torment.

It is an interesting part of the tragedy as we´ve heard it happen too many times. Other persons considering themselves as normal would say that the person would go nuts.

It is the thing, working the songs and then try to order them up for a full record and do them in the right order. I am not more than old school in mylearning. So I started the record with a typical opener that gives the listener hunger for more and then pop down the two singles, straight. Finishing side A with a banger and then do the more complex and interesting stuff on side B. Most of the fluffy listeners who mostly bought singles back in the days will never ever go as far as side, anyhow.

So I saved the tracgic and magic and gave the flops and the pops. No more, no less. Tell me I am wrong, cool, but there will be no other order working with this material as your brain must be open minded for the full 53 minutes and be ready to accept more of this brutalism.

Coming back to my first meeting with extreme metal further than Motörhead we have to move back until the year 1985 and Kynäsvägen in Huddinge, a suburb 12 km south of the Stockholm city center.

A few hundred meters down the street of Kynäsvägen lived a guy obsessed with heavy metal. Five years older than me and listened to the name of Peter Olsson. He introduced to the likes of Mercyful Fate, Voivod, Nuclear Assault, and Venom 1985-86. I walked over to his house every now and then to hear the most glorious music around. Not too sure what he and his older brother (I do believe or was it a friend?) thought about it, really, as I was just such a small boy and in the teenage, as they wore, it can be very sensitive if someone finds out. I am however grateful for this and I will never forget it.

Anyhow, this day he played the recently released lp by a band called Slayer, called “Hell Awaits” and the other bloke, Anders Mellberg, living in my blocks providing me copies of bootleg cassettes by Dio, Iron Maiden & Ozzy were directly forgotten. I had a new local hero.

So “Hell Awaits” is a very special soundtrack to my life. Might be heard here and there onto this record. He soon played me some adorable music by Venom, too. I liked it but did not jump on that wagon until later. That is another story containing a VHS-release.

Anyhow, I heard Fredrik our bass player play a riff in the rehearsal room and I had Peter begin to drum upon it but held him back so we did not lose any power or heaviness. I thought we found the natural continuation of Slayer’s title song.

A couple of weeks later in the year 2018, Linus came back from a few weeks up north where he comes from way above the arctic circle. He came into the rehearsal room and we tried to wake up the song again, he listened and told us to hold on as he had some changes to it. He played a few versions of the riffs evaluating a lot for each new take and half an hour later we were there.

He started the riff, Peter played disco drums, and then we transferred into I do not know what. Intense chaos that turned out to be the fourth song on the record “Abstract Unobtainium” where the main being/character in the lyrics does certain tricks to wake up Cthulu with Unobtainium to end this world as we know it, as mankind.

A most spectacular order of chaos and for a few a very unsuspected turn on the record. The first three songs are holding on to the obscure heaviness of doom. This is as close as a end part of midtempo Death. A cluster filled with old school elements.

So far many stages of imagination leading us to the bitter end, no matter what.

I can not for my life remember how this started. One day it was just there. A song that fits the modern dark death & doom & influences me from the nineties and forwards outside the epic doom or classic death.

Just instant low-tempo brutality. The lyrics for the title song “Eternal Damnation” go through lots of different efforts and may be interpreted in just your own way. Another kingdom of paths towards the end and it goes like this:

” Scraped of the ground

Like a rotten dead something

The power plant

Like nutrition scholarship of uranium

Drafted smell of coming explosions

Like the dream you never dreamt

Separating minds

Like cleaved in the middle

The spirit of the outer sphere

What they call lightyears away

And parralell dimensions

Eternal storms of damnation

I’ll face my end

Everytime I wander there

I’ll face my end

Into the cold dark sphere

Where there is a end

You will know

What exactly that all was

And were exactly that will come

Beyond the stages of sense

In any mind “

In the next episode, we do see the world fall down through spectacles such as domination, frustration, group sex, longing & the entering of the portal of eternal darkness filled with cynism, fear, and reservations towards others. It is more or less partly a biography from different corners of my own life down the bottom of society.

It is a tribute to all the souls giving them selves away to total darkness.

The riffs for the song were nicked by Fredrik from another band of his that did not intend to use it and it turned out to be a hypnotic and dissonant doom ballad named “Hommage des Ténèbres” lasting for nearly fourteen minutes.

It is just the wrath we had inside us that pumped out this genetic, autistic & semi-epic doom.

I will let the song speak more for itself and let you use your imagination listening to it.

In late 2016, when half the band left their duties and Fredrik Dingvall jumped in on bass, we had files coming and going with different riffs and epos. Dipa switched from bass to guitar but later needed to leave soon after as he had family issues in his home country. A few of them featured were taken up and ended me re-write some lyrics from the book, which were not published but in the final works before getting printed back then. I merged a few things into a story of fear, vicinity, witchery, and overwhelming obscure vigor. Another dissonant hypnosis was born and this is a typical opener or closer of either a show.

Unfortunately for some reasons Fredrik ended his role in the band already in April 2020.

I decided to flicker out the lights from the burning fire of this recording here. A whiplashing intensity upon complex heaviness building a strong wall of brutal doom and it almost creeps beneath your skin and goes through your vein and plant the uncertainty and fear deep inside of you. The guitar forms a spin of different techniques unusual in this kind of use and proposal.

It is a storm past torture, the trespassing of eternal damnation…

Now as these days are by. I am working on new material. there are plenty. One to be heard in the release of the single “Platonic considerations from the shores of Kataja 1538”. Originally planned to be upon a three songs ep. The recording of the ep got canceled as someone suddenly decided he did not have time for this band for a long period. Looking at it by now, I am not sure about the two other songs. Not that the songs are bad nowhere, no, it is that we could not play them properly together and the three of us at the time, me, Peter & Linus with a session bass player named Jonathan were not the people to do these songs together.

We did them live and I have plenty of recordings from the rehearsal room and we did not give these two songs enough dedication to shaping them well. I will not go into details or try to blame something. It was just the way it was. I am not sure if we stressed to up to do the studio takes for them would do the songs any justice at all.

So, on October the 10th we played at Plan B in Malmoe for a full house with all the corona-restricted seats sold, it was sort of magnificent to stand upon the stage and to see people sit by the tables and headbang.

So deciding to cancel the planned “Storms of Chaos”-ep, I had a recording from that certain gig in Malmoe which I really like.

 It really captures the atmosphere of this era of bloodofjupiter and I decided to release it by November 11th digitally to end this chapter and move on further with this band.

Others moved themselves away from this band, forcing me to work more and harder than ever.

I am now sitting in darkness with new works in progress for 2021 and who will appear in the end to do it with me, only time will tell. Or maybe just the interwebs should not be in the know already by now.

This record and it´s travel from the recording starting the 1st of February until the digital release on October the 31st has been fantastic.

For the few of you who actually do buy things, yes I have plans to release it physically by myself if someone is not quick enough to deal it up with me.

New elemnts will one day shine and leave deep scars inside of you, torturing your mind with some trve #deathdoomedrocknfvkkinbaroloofmetal.

Damage done in 2020:

February: recording of the album, headlining Debaser with support from Python

April: vocals recording for the album

July: digital release of the single “Bleeding”.

August: announcement for gig at Eindhoven Metal Meeting pre-partty with Grand Supreme Blood Court, Nailed To Obscurity & Distillator in december (canceled due to Covid)

September: a sold-out gig at Fredagsmangel in Jakobsberg, based on the later canceled “Storms of Chaos”-ep sitting audience and Covid-19 restrictions, an announcement for Järfälla Metal fest 2021 along Svederna, Dreadful Fate & Firespawn amongst others.

October: a sold-out gig in Malmoe in the south of Sweden along Siniestro sitting audience and covid-19 restrictions, the release of the single “232 – Esoteric terror”, the release of the album “Eternal Damnation” o October 31st.

November: digital release of the live single “Platonic Consideration from the Shores of Kataja 1538”, a post record written song.

December: canceled shows in Eindhoven and Stockholm due to the intensity of the pandemics.

Looking forward to providing you with more material from bloodofjupiter in the futuristic chaos of the year 2021.

The debut book by David Isberg & Lilith Grimmefrost released earlier this year

Ornament of the Ominous Demoniac – the coagulated blood of David

My collective writings and poetry interpreted to illustrations in various techniques by Lilith Grimmefrost limited to 325 copies only. Available only from Sound Pollution Record Store Stora Nygatan in Gamla Stan, Stockholm. New stock just in.

book release party!

Saturday the 12th of August will see the birth & death of the original Printing of 300 only copies of our book.

Online orders will be available online until July the 28th.

Thereafter the books original first pressing will be available only at this releaseparty and at special events as long as lasts (mean you have to come in person or send a friend), then disappear into it´s nothingness.

Secure your copy in the shop.

More info on this event will come nearer Saturday the 12th of August.

 

http://debaser.se/kalender/19766/