MOOG

FRANCIS ROBERTS / KING GORM, OLD MAN WIZARD, YAGA-SHURA

Gear & Loathing is proud to present the brand-new Yaga-Shura track “The Sky Is Blue” for your listening pleasure. Be sure to buy it via Bandcamp if you can.

Francis Roberts: Bandcamp / King Gorm / Old Man Wizard / Yaga-Shura / Instagram / Twitter

1. In your last Gear & Loathing feature, we mostly focused on your Old Man Wizard gear but you’ve got more (and different) irons in the fire right now. Tell me about your new projects and what you’re working on. What’s inspiring you these days, musically?

Funny you mention that. I’m actually listening through my second mix of a new Old Man Wizard album while I answer these questions. As far as new stuff goes, I’m doing a lot of more cinematic music, mostly with synthesizers. I recently scored a couple of short films that will hopefully be out soon, and I’m releasing a lot of dark ambient/dungeon synth type stuff over at my Bandcamp page.

Aside from that, I have an album coming out for my sorta throwback Rainbow/Uriah Heep worship-type of project King Gorm at the end of July. Behind all of that I have a fairly experimental synth-pop/electronic project called Yaga-Shura that I’m periodically releasing stuff for. That’s the only project I’ve got right now where I’ll listen to stuff I made and think to myself, “How did I make that sound?” or “How did I make time to make that sound?” Lots of fine detail work and sequencing of hardware.

Francis Roberts Guitars

2. In your last Gear & Loathing feature, you showed us your silver High Spirit Strat. It’s been awhile since then: why/how has it remained your #1 after all this time? Is there a challenger perhaps?

No challenger really. On the new Old Man Wizard album, we did some takes with my other guitars but in the final edits I only ended up using takes where I played the High Spirit one. I play better on it and it sounds better. Same deal with the upcoming King Gorm album and the Yaga-Shura tracks that have guitar in them. I play a lot of guitars that feel like toys, even when they play and sound great. The guitars Connor from High Spirit builds feel more like high quality tools. I actually almost bought a second one so I could have a backup at gigs in case I changed a string, but I can’t really afford to (because of reasons that will become obvious in the next question).

Francis Roberts Synths

3. I’m gonna need all the details on this synth rig. When/how/why did you get the Mellotron M4000D and the Model D? What are you uses for both? Favorite settings or sounds?

I’ve owned a ton of synths at this point and none of them ever sounded good enough. I probably spent the better part of a year trying to find a synth that could sound like a Model D without costing as much as a Model D, and, well, there aren’t any. I sold all of them within a year of buying them. Not even a Moog Voyager will do it (but those do come really close and are better at other things). I’ve tried the Behringer clones and they’ll sound pretty close if you have twice as much time to dial them in, but if you put them side by side with a Moog, they give you the feeling that you’re going to push them off the table before you get them to sound right. I also can’t get them to shine through a mix the same way. Maybe some other people can. If you’re reading this and you can, please buy me food with the money you saved! Anyway, the Model D ends up on almost every recording I make these days, and the sounds I’ve gotten from it have gotten me hired to do session work and film scores, and it’s actually well on its way to paying for itself, somehow.

The Mellotron is another story. I’ve known I needed a Mellotron for years, and went through a ton of Mellotron plugins and samples. They were great (and still are), and then I found out that this Swedish guy named Markus Resch bought the company and the original tapes and stuff and does a great job maintaining (and honoring) the legacy of the brand. [Check out his website here] He also makes digital sampling synths that use the Mellotron layout and samples the original sounds in a way that is pure magic. I emailed him and asked if he’d sell me one and he was super nice and told me about all the different models he has. I ended up getting his Micro version, loving it (it’s on a ton of my solo stuff, the first Yaga-Shura EP, and the King Gorm album). Then I found out that Markus’s M4000D model has the same type of keybed as an actual Mellotron, which has a sort of bizarre version of polyphonic aftertouch. It’s one of the most expressive instruments I’ve ever played, an absolute masterpiece. I decided to sell my Micro and shop around for an M4000D. I found a used one online and noticed the guy selling it was from San Diego. Small world. Anyway, I ended up giving him my Micro as part of the sale of his M4000D, and I think it made both of us feel a lot better about the transaction. You probably know him: Pall Jenkins from Three Mile Pilot and Black Heart Procession!

My go-to sounds on each instrument depends on the project. A Mellotron is basically an orchestra in a box, so you really have to think like an arranger when you use it. Obviously the famous sounds are the strings and flutes, but I find myself using the tubular bells, woodwinds, vibraphone, and celeste sounds quite a bit. I use the Moog for bass, leads, and sound effects. I usually create a sound specifically for each track I make. It feels a lot like you’re mixing as you go.

4. Have you ever wanted to get a more expansive (perhaps digital) synth that could combine both of those worlds? Or is there really nothing out that could accomplish that?

Well, the Mellotron technically is a digital sampling synth. If Markus wanted to make Mellotron sounds for me out of my favorite Moog patches, I’d probably use that for something, but I’m not rich or famous enough to bug him to do that. [laughs] I also regularly daydream about adding a Black Corporation Deckard’s Dream to my setup, since it’s one of the only great synths out there that could take advantage of the Mellotron keybed’s ability to send polyphonic aftertouch.

Hans Zimmer Moog Modular

(A young Hans Zimmer standing next to his Moog Modular system)

5. If you were to upgrade, or move on from either the Mellotron or the Moog, what do you think you would get?

I’ve seriously considered buying a Synthesizers.com modular system, but every time I think about it, I realize that I would still want the Moog. If cost weren’t an issue, I’d get a Hans Zimmer-style wall of Moog Modular. I also really like the Moog One.

And this probably sounds crazy, but if I had a ton of money, I’d get two or three more Mellotrons. The little ones stack nicely on the big ones, and the tape ones work well as keyboard stands and are capable of a few fun things the digital ones can’t do.

6. Does it worry you to haul around and set these up for shows? I’d be riddled with anxiety. Why not use emulations live via a laptop or MIDI?

I have really great cases for everything, and the whole rig can essentially be one trip from the car. As far as theft, well, that happens sometimes. If it happens, it happens, and worrying about it will only make me unhappy and less likely to play well. I just sorta go for it. And as far as the laptop thing goes, nothing against laptops, I’ve heard people get great sound from them, but, well, I haven’t been able to. I’m sure I could spend some time figuring it out, but my stuff always works and always sounds right, and none of it can run out of batteries. I also think it looks pretty cool and intimidating up on stage!

7. I know you’ve been pretty focused on your synth-based music lately, why do you think that is? Is it more challenging to write/create than in a typical band format, or easier?

I really haven’t been more focused on it; I’ve just been recording it. I guess enough people told me that it sounded nice when I was “just messing around,” so I started hitting the record button before I messed around, and then I started putting it up on Bandcamp. People haven’t stopped being nice to me about it so I’ll keep sharing it. It’s also way easier than writing for a band, because I can stop whenever I want or add as much as I want without having to wonder whether or not it’ll work live. I think I have something like five hours of synth music up on Bandcamp now, so I think people will understand if I leave out a song or two. [laughs]

8. I see that Strymon Deco hiding next to the Moog. What are you using it for and what does it add to your overall sound?

I just got that, so it’s not on any recordings yet. It’s completely incredible. I bought it because the demos reminded me of the J37 plugin from Waves, which I use on almost everything lately. The Deco did not disappoint me, and I’m hoping to add some of the fake tape magic to my live shows soon (probably really soon, I’m hoping to do another livestream set maybe next month). Finding out that there’s a pedal that does a decent job at the tape saturation and tape speed tricks thing was a dream come true, and Strymon did a great job with it.

Francis Roberts Pedal

9. I’ve never seen the Correct Sound Eclipse pedal, or the SoloDallas Storm: gimme a rundown on what each of them do and how you’re using them?

I use the Correct Sound as a preamp for bass, mostly, but I used it on guitar for the two Yaga-Shura tracks that have electric guitar. It’s supposed to make your amp sound like a Sunn Concert Lead, which is one of my favorite solid state amps. I borrowed one (the Sunn) from my friend Lewis a few years ago for the bass guitar parts in “Blame It All On Sorcery,” and then at some point I saw the Correct Sound on Reverb. It doesn’t sound exactly like the Sunn but I love it and I really love what it does to DI bass.

Attachment

SoloDallas is known for creating their Schaffer replica, which is a gain stage circuit used famously by like, everyone important in the late ’70s to the present. The Storm is sort of their entry-level version of it, and it sounds great (only slightly worse than the real deal, for something like a 10th of the cost). I found out about them when my friend started working for them. They’re based in San Diego! Anyway, people are starting to catch on to the fact that somebody is actually making a clone of this important piece of gear nerd history. If you don’t believe me, take a look at their artist roster. It’s kinda intimidating.

Francis Roberts DAW

10. I’ve never used Reaper and don’t know much about it. How does it stand up to other DAWs? Do you find it to be limited at all? Do you mix with Reaper, or have your music mixed and mastered elsewhere by someone else?

I switched from Pro Tools to Reaper because I hate paying for software updates and subscriptions. Every time I find myself wishing it would do something that Pro Tools did, I find out that it actually does. There are very few things it can’t do, and it’s become my favorite DAW by far. I’ve never felt limited by it. I mix with Reaper, I try to avoid mastering because I’m not great at it (but when I have to, I also do it in Reaper). I track in Reaper, I even do a lot of simple video editing with it. It’s incredibly easy to customize it to fit your workflow, and it plays nice with all the hardware I use. I even know some people who use it live in their laptop rigs.

11. Give me your review of the Behringer VC340! Haven’t heard much about those and I’m already intrigued by a vocoder synth that actually works well. You finding it useful?

Don’t buy it unless you know exactly what it does. I cannot stress this enough: It does nothing else. It’s really good at being a vocoder/string machine but it literally does nothing else. Anyway, I love it. I don’t use it a ton, but I was getting sick of trying to get the sound I wanted with software, and I’m not about to pay $5,000 for a Moog Vocoder (as much as I really really want to be able to afford to do that). I’m using it pretty sparsely on the new Old Man Wizard album, and it’s on one of the Yaga-Shura tracks so far. I’m planning to do a few Yaga-Shura tracks with a Daft Punk-style lead vocal, so that’ll probably be the first time you hear it front and center in any of my tracks. [Listen to it featured on the track below]

12. What’s the lunchbox preamp-lookin’ thing on your desk next to the Behringer? Compressor? Preamp? 

Oh that’s the preamp for my Chameleon Labs TS-2 microphone. It’s a really incredible large diaphragm condenser for the price. I usually just use it for lead vocals but sometimes I’ll mic a bass cab or an acoustic guitar with it.

Francis Roberts amp

13. That Valco amp is somethin’ else. I’ve seen you perform with different amps before though. Didn’t you use an old Marshall at some point? What has drawn you to the Valco?

I still have that Marshall (it’s a copy of a JTM45, so not Marshall brand but all new old stock parts and really high build quality) but I’ve never recorded with it. It’s really just too loud for anything but shows. The Valco is my recording amp because it does “loud” amp sounds at a much lower volume. I used to borrow my friend’s Supro for that sound but this one is even quieter so it’s easier to record with. All those old ’60s amps sound great when my friends Connor and Chris tell me what tubes to put in them.

14. If you could buy any piece of gear right now (money was no issue), what would you get and why?

Probably a Moog IIIP with a few of the sequencer compliments, a couple of Space Echos or Echorecs, a good Rhodes electric piano, and I’d also probably replace my entire recording setup with a no-computer setup. I think I’d still mix digitally on a computer, but I tend to get better results tracking when I don’t have that “that’s an easy edit in a DAW” bug whispering in my ear.

Francis Roberts Gong

15. I don’t see many gongs on Gear & Loathing, might be the first actually. Is a gong the secret ingredient to your music?

This also belongs to my friend Connor. It goes on a lot of my stuff. You can’t really put it anywhere, but it’s one of those things that can’t be replaced by anything. If you need a gong, you’ve gotta use a gong.

 

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THE PARKER MERIDIEN

kit1

The Parker Meridien: Bandcamp

1. First off, who’s in The Parker Meridien and how did the group come together?

Nathan Hubbard: Parker Edison and myself first worked together on the live video for his “Apefood” single. After that, he contacted me about putting together a group to perform music from his release “The Parker Meridien” EP, and Parker Meridien is the resulting group. Currently the lineup is Parker Edison on vocals, John Rieder on bass and myself on drums and production. As we rehearsed and performed this music, I started throwing hooks and music at Parker, he wrote verses and more hooks, and we started adding these to the set. So we ended up with a set that is one-quarter tracks from the EP and three-quarters original material. We spent most of 2017 working on recording this material, and the release date of our new album “Fists Like Gotti” on Nov. 1 [the record release party will be Saturday, Nov. 4, at Til-Two Club] will be almost exactly 24 months since our first gig.

kit3

2. Give me a rundown on your equipment? Was this the primary gear used to record the album?

After writing and performing this material many times, we decided a recording was in order, and decided to keep it “in-house,” so to speak, so we recorded the entire thing at my house. We recorded on an old Mac G5 using Pro Tools and an Allen & Heath board for the preamps. I had recorded all the samples, keyboards and background vocals when we were writing, so with those in place, we started by tracking drums in the garage. Rafter Roberts came over and gave me a few cool micing options, and I spent a bunch of time getting specific sounds, changing snares and hi-hats depending on the track. We used a 24” ‘60s Slingerland kick, a bunch of vintage snares, and hi-hats ranging in size from 12″ to 16”. I would like to say that a personal goal for me was to make this record with no quantizing/beat detective/sound replacing on the drums — an honest take on how I play. So there are two tracks that are loops of my playing, and all the rest is full performances – if a take had problems, rather than use digital editing to fix it, I would just do another take. The only exceptions are “Someway About It,” where we punched in the double-time section with a smaller drum-kit, and I did move one kick drum hit over a bit in “No Sequels.”

bass

Next we moved inside, tracking bass via a DI – no amps were used for this recording. John has a cool take on effects, so we spent some time getting specific sounds for each track, using a Moog FreqBox and Lo Pass Filter, a Zvex Wooly Mammoth and my old green Electro-Harmonix Big Muff. We did a bit of double-tracking the bass, either octave doubling or doubling with different effects, or in the case of “Someway About It,” we beefed up the Freq Box track by layering in a bass-ier sound underneath it playing a condensed version of the bass line.

parker4
Vocals were all tracked in my backroom; we built a little blanket isolation booth, and used a couple microphones – a hi-fidelity condenser for most of the tracks, a beat-up dynamic with a bit of squashed frequency range for “40 Foot Tall” and all the background vocals, and a homemade telephone mic for “New River” and “Dirty Blvd.” Parker has a strong, rich baritone range — so depending on the track, we used different mics to either amplify or modify those characteristics. From there, I mixed and cleaned up all the samples, layering in field recordings and re-tracked some the keyboard parts for a more unified sound across the record. I also added vibraphone and glockenspiel to several of the tracks. I wrote the track “No Sequels” specifically for Rebecca Jade to sing the hook and the ballad middle section, so the last step was getting Rebecca in to sing. Thanks Rebecca! From there, we made stems of the audio and took it over to Rafter Roberts to master.

vocal mics

3. That outer kick drum is massive. Give me the lowdown on why you’re using a setup like that?

After tracking drums for a few weeks, I wasn’t getting the kick sound I wanted on a few tracks, so I switched out the 24″ for a smaller 20″ Ludwig bass drum. That drum sounds great and is a bit more punchy, but lacked a bit of bottom, so I placed a 28″ Ludwig Scotch bass drum with no muffling in front of the other drum and placed a condenser very close to the front head. By blending the two mics, I got the punch from the 20″ with more sub-by bass from the 28″. You can hear that drum on “40 Foot Tall.” On a nice sound system, it pushes some air.

kit2

4. WTF is that weird can-looking mic? Never seen anything like that before.

The chili-can mic is a microphone from an old analog telephone; I wired it to an XLR jack and melted a garlic-chili hot sauce can to hold the diaphragm. I also modified an old mic clip to fit the can. It got used all over the recording, we used it as a hi-hat mic on the drums, on the piano for “No Sequels,” and most notably on the vocals for “New River” and “Dirty Blvd.” It has a super squished frequency range which really blended well with all the samples, making the vocals really settle into the mix. It has become such a defining sound of the group, we’ve been using the microphone on live performances.

IMG_5503

5. Talk to me about the Moog FreqBox — what did you use it for?

John Rieder: You’ll hear the FreqBox in conjunction with the Moogerfooger Low Pass Filter on “Someway About It.” The FreqBox is kind of hard to explain. It’s not a typical synth pedal that processes the signal of the guitar but instead uses the input signal to trigger an internal oscillator. The result is very frenetic, and a little unpredictable, synthy goodness. I selected a sawtooth wave shape on the FreqBox and then ran this into the low pass filter pedal. I have an expression pedal controlling the cutoff frequency on the filter pedal, which helps me attain all the vintage Mu-Tron-type filter sweeps that you hear.

parker1

6. What’s a track off the new album that you’re particularly stoked on?

I really like the track “40 Foot Tall.” It was a hook I started singing to myself in the car driving somewhere, I sang it into a recording app on my phone, took it home and lined it up with a few samples, brought it to rehearsal and we jammed on it, realized we could go back and forth between the main groove and the more rocking half-time groove, and built it up from there. For me, it’s the track where we found a portal to what the possibilities for this band were: “Are we a hip-hop band? Are we a live funk band? Are we an over-driven rock band? F it, we are all of those things and more….” This was also the hardest track to translate our usual “sweaty, all engines on go” live performance into the sterile microscopic recording studio situation.

7. Aside from the record release show on Saturday, Nov. 4, at Til-Two Club, anything else coming up soon?

We have a 360 video of our full set from an AC Lounge performance a few months ago coming out via local production company Audioscope Radio. [Watch it here] This is a cool experience, with a phone or tablet you can turn the viewer to see both the band and the audience. With virtual reality goggles, its super intense, like you’re floating above the audience. Beyond the release concert, we’ll be performing in San Diego and surrounding areas well into the spring to support this album.

BOTANICA CHANGO

Botanica Chango: Facebook / Twitter / Instagram / Website / Bandcamp

Members: Joshua “J.B.” Becker (percussion/vocals), Tyler J. French (guitar/keys), Carlos Vicente Jr. (vocals/guitar), Sean Davenport (keys), Michael Alan Hams (drums), Bobby Roquero (bass)

1. Tell me about your guys’ stuff.

Carlos: We are currently in the writing process, so our rigs are a bit different. We are experimenting with a lot of vintage synths, drum machines in addition our normal pedal setups. A lot of the sounds that are coming out of this pre-production are pretty indicative of the time period the gear was made. Finding sound that fits the song we write next is always a work in progress.

2. What Botanica Chango song do you feel is the best portrayal of your particular sound/style/gear?

Tyler: I/we get a lot of joy from finding new sounds, and we make a conscious effort not to get comfortable. One particular song in the new batch that we are all excited about, “Every knows,” is a pretty synth-heavy track that hopefully can make the girls in black move their hips.

3. What’s the one “holy grail” piece of equipment you’d buy if money was no object?

JB: I’d probably say we could use some Quincy Jones brain, there’s nothing holy about our grails.

4. What was the first piece of gear you bought and what are your thoughts on it now? Do you have still have it?

Carlos: My first piece of gear besides a guitar and amp that really brings back memories was a DOD RP-6. It was my first foray into effects and it definitely influenced me quite a bit. I used it for about 6 months and started buying standalone pedals. The RP-6 is long gone, but it was an eye-opener for me.

5. What is your current favorite piece of equipment and why?

Tyler: My favorite piece of gear that we are writing on right now is the Moog Opus-3. It’s like a church organ you can play at Studio 54.

6. What’s coming up for you guys?

JB: The album we are currently working on is titled Action Park and is being written to be performed by professional figure skaters as Botanica Chango On Ice in LA. Our next show is SoundDiego’s Summer Splash Party at Harrah’s on July 16th, and we’ll be unveiling lots of new material from the album for the first time. [INFO]

BRETT PATTERSON / THE WHISKEY CIRCLE

The Whiskey Circle: Facebook / Website / Twitter / Instagram / Bandcamp

Comment below, on the Gear and Loathing Facebook page, or email gearandloathinginsandiego@gmail.com to be entered to win a pair of tickets to The Whiskey Circle’s EP release show at the Music Box on June 23!

1. Tell me about your current rig: For example, why do you use the gear you’re currently using? Best parts? Worst parts?

I guess it all depends on which rig we’re talking about? My main project is The Whiskey Circle with my wife Leanna, but I also play my upright bass for some local bands when needed and produce instrumentals with my brother in a project we call “Dream Queen.” For The Whiskey Circle, I play drums and keys at the same time. I’d prefer to just have separate people playing their own instruments, but at one point The Whiskey Circle was just a 2-piece and we felt the need for something more than guitar and drums. I was inspired by Shovels & Rope for the basic drum kit and keyboard combo.

For the most part, the drum kit I use is a Gretsch Catalina Club that we refer to as “Beetlejuice.” However, the 26″ kick in that Gretsch kit takes up too much space on the road and my Roland Juno kept falling off the top of it. So now I use a 22″ kick that came with a no-name, made-in-Japan kit that I scored off CL for $5. When I play live, I never play with more than a kick, snare and floor tom. When we record, I’ll mix the two kits together (13” and 14” rack toms and 16” and 18” floor toms) and make a 6-piece kit with the 26″ Gretsch kick to get that boom. When we play live, I always use small cymbals (Paiste 13″ hi-hats, 14″ thin crash and 20″ light ride), when we record I like to add a second ride and stereo crashes. My goal when playing for The Whiskey Circle is to always be quieter than Leanna’s vocals and let her be the focus of the song. When there’s a voice like hers in the band, it should never be drowned out by the instruments.

For the “organ” part of the rig, I currently use a Roland Juno Alpha-2 with a Behringer reverb/delay/echo pedal and a Marshall overdrive pedal through an Acoustic B20 bass amp for the low end. The pedals help the Juno not sound like a 1985 MIDI synth (which it is and why I originally bought it), but more like the organ on all of our recordings, a 1976 Kimball Entertainer.

Another cool thing about The Whiskey Circle is the other guitar player, Collin Webb, and I switch between drums and guitar throughout the set. The whole musical chairs thing started back when Daniel Cervantes was playing with us and he wanted to play drums on some tracks (if you didn’t know Dan is a drummer too then you’re missing out). It’s also really hard for me to sing the songs I wrote on guitar while playing drums and organ. Collin and I combine our pedals (although most of them are his) to get what you see in the picture. A lot of cool delays, shifters, modulars, fuzz and most importantly that Boss tuner. Collin plays that red Fender tele and I play Leanna’s daphne blue Mustang. Collin and I both play through his 12″ Fender Blues Jr.

Lastly, you’ll see the two fender basses and the Orange 1×12. Bass is my first instrument and my first love. I’ve recorded the bass for all of The Whiskey Circle tracks in the past and was playing bass in the band originally. My main live bass is the white reissue Fender Musicmaster with new Seymour Duncan pickups. My other bass is a P bass that was pieced together from CL parts: Squier P bass neck, MIM body, DIY surf green pick guard and pickups out of a 1971 American. This is the bass that has been recorded on all of The Whiskey Circle tracks. It needs some TLC as some of the higher frets are not quite right, but if you know how to make it work, then it’s the best thing ever. The Orange amp is a newer 1×12 Crush that was upgraded to 100w, new Jensen speaker and a 3″ tweeter installed to pick up some of the highs when we use the Bass Muff. It’s plenty loud enough to compete with the 12″ fender blues amps we all play with. This is the amp that our bass player uses live.

2. What song of yours do you feel is the best portrayal of your particular sound/style?

This is the demo version of one of the tracks off the new High Deserts EP called “Beaches.” It’s a song about everything I love: Leanna, CA, decriminalizing weed and riding bikes/motorcycles. It’s the first track that I’ve engineered and recorded everything on. Every piece of musical equipment that we own was recorded on the track (all three guitars through the Fender Blues Jr.) and also a Fender Champion (not pictured since we never use it live), the P bass and the Musicmaster (yes double bass tracks are the shit), and the Gretsch kit. It was definitely a pain multi-tracking by myself, but in the end, I think the track has a really nice “if the Velvet Underground hung out with The Blank Tapes in OB” sort of vibe.

 

 

3. If money was no object, what’s the holy grail piece of gear you’d buy?

I want everything in this video, but most importantly Jack Bruce’s Gibson EB complete with still-lit cigarette burning on the headstock.

4. Who is the musician you admire the most sound/gear-wise?

Gear-wise, I would say Kurt Vile.

Music production/badassery-wise, I would say Dave Grohl. He’s from the DC area like me (we had the same HS PE teacher) and he played drums in 2 of my favorite bands, Scream and Nirvana. Not to mention his philosophy on drumming, like my favorite drummer (Ringo), is the best thing ever.

5. What do you have coming up that we should know about?

We are about to release our High Deserts EP via Wiener Records on June 17 with a music video and tour to help promote. [INFO] Our official EP Release Show is Thursday, June 23, at The Music Box with Jimmy Ruelas, Bad & The Ugly and Gary Hankins & the Summer Knowledge. [INFO/TICKETS]