Gig Review - Horror Punk Fest 2026 - The Flapper, Birmingham, October 3rd 2026

A sunny and unseasonably warm October afternoon in Birmingham greeted those of us who made the trip to the UK horror punk event of the year - the return of We Are Horror Records Horror Punk Fest. There's no better way of welcoming in spooky season - a promise of half a dozen great bands from across the country (and further afield), surrounded by fellow enthusiasts of the genre. And so it was that, after traversing the streets of Birmingham looking slightly lost before following three quarters of Oracular to The Flapper (our venue for the night) and indulging in a bit of home-away-from-home comforts with a crisp pint of cider and a vegan burger, that I settled in for the evening in my customary at-the-back-but-not-too-far-back position and awaited the bands.

Now - I've done it again and not taken any photos. This time the phone died. I'm not remotely viewing this thing though, honestly - there's even pictures of my ugly mug at the event this time. I'm tempted again to illustrate the nights events through the medium of my terrible MS Paint artwork - or possibly interpretive dance - but I will save you all from either of those particular horrors and let my words do the talking instead. 

Leicester's finest horror punk exports Oracular were first to hit the stage. The band's previous singles have been excellent (and are all reviewed on this very blog) and they are one of the most promising acts in the scene currently, so I was excited to see them live. Covering all of their songs released so far plus some new tracks and a cover, this put the punk in the horror punk with an energetic, sometimes messy (and I absolutely mean that as a compliment) but hugely enjoyable set which kicked off the evenings proceedings with a bang. With only a few gigs under their belts they're already winning over a loyal following and they are a bunch of cool fuckers as well.

It was Hellbound Heist taking the stage next. After just reviewing their latest single this past week, a long overdue review of the band, I was looking forward to seeing them live and they... well they killed it. On record they're good - on stage they are phenomenal. There are few front women or men as engaging with dominant stage presence and as genuinely funny as Melissa Myers, who ate up the deserving adoration of the assembled freaks and spat out a commanding performance. A set of past singles and covers - including, frankly, an inspired bit of Shania Twain x Horror Punk (which deserves a proper release) and a blistering cover of the Blitzkid classic Pretty in a Casket, it was an unmissable second act for the evening. 

Not - of course - from this gig!

Next up was Tricie and the Phantom Punks all the way from Texas (complimented with a German contingent) who took the stage and blew everyone away. This was proper old school horror punk; pit-starting, anthemic, singalong melodic and theatrical punk rock which blasted anyone in the venue into life if they weren't already. There was the... third? (I lost count) Misfits cover of the evening which was a blast and spinning through their previous releases (including my personal favourites 'Date Night at the Morgue' and 'Darling Richie' as well as the excellent 'Ghost Town') they were tight (which was impressive with their European replacements), powerful and a huge amount of fun. 

Dead Pleasures 20th anniversary show saw a homecoming of sorts (well, to the West Midlands at least) and a triumphant one at that. As I've only enjoyed the band via the medium of the Internet previously it was excellent to see them live and in the flesh - so to speak - and their short, sharp, melodic horror punk rock aural assaults made the venue bounce (and slam). They've always been one of the best from the UK at doing this and their set was a massively enjoyable and crowd pleasing one; tight but with the chaotic air of punk rock always ready to burst out of the ground and consume everyone. I've always thought on record they were great, but live they showed (and they weren't the only band of the evening to do so) that they are tried and tested masters of the craft. The pit was a bit crazy though for an old man like me. I haven't been the same since being in pits for Capdown and Subhumans in the same week. But that, my ghoulish fiends, is a story for another time...

I've made it very clear that I love das Ghoul on numerous occasions on this blog, and I make no apologies for doing so. Their unique blend of ghoulish synthy terror pop horror punk is one of the real gems of the UK scene, and as the only band of the night I'd seen previously I knew what to expect with this the penultimate set of the night - and they delivered once more. They have more in common in some ways with the overtly steampunk-orientated bands like The Men That Will Not Be Blamed For Nothing than with doo-wop influenced horror punk, treading their own path in the scene and bringing a very distinct vibe to proceedings (the vibe being a haunted group of Victorian dolls tapping at your window in the fog). It was a belter of a set spanning their past releases (including all of my favourites, 'Pandora's Vinyl Curse' had me singing along again just like it did in Bristol a couple of months ago) and some new songs which point towards a very exciting next release from the band. They bring a sense of theatre and grandeur to any venue and this gig shows yet again that they deserve to be better known in the wide world of horror punk. 

I'm regretting the no-photos again... ain't stealing shit though, so logo only!

You need to finish a show like this on a high. Step forward the legends of the UK horror punk scene Zombina & the Skeletones. Despite listening to the band for nigh-on 22 years and counting (or thereabouts) I've never seen the band live; they never quite crossed over into the thriving ska-core heavy UK punk scene of the mid 00s that I was part of and since then my gig going has been sporadic at best, so it was a genuine pleasure and highlight of the evening to finally catch them in person. Delivering a more punk rock orientated set of songs from their prestigious back catalogue they nevertheless had every single person in the venue bouncing up and down with classics and new songs (the last of which closed out the set before the encore and was astonishingly good - next album is going to be an absolute killer); 'Dracula Blood', 'Zombie Hop' and 'Nobody Likes You (When You're Dead)' are all timers and were received with gleeful abandon. It was great to see so many people at the gig who were there for Zombina and who could embrace the wider horror punk world - if the band's forays into various genres (they've never been one to be pigeon holed into a certain sound) get's fresh new blood interested in the scene that's always a good thing. A thoroughly enjoyable end to the night's event delivered by the justified headline act.

And with that the night was over. A chance to pick up some merch (picture disc version of Taste the Blood of...!), one final goodbye to friends old and new and my chariot home awaited. I fell asleep instantly, dreams no doubt filled with what delights Dan at We Are Horror Records is going to bring us next year. 

Awesome vinyl! Awesome mug! Awesome CD! Awesome... uhh, random Toria and the Terror picture!

T-shirt to remember the day!

Horror Punk is alive and well in the UK. 

You can follow the bands on Spotify and various other sites on the following links:

Oracular - Facebook, Instagram, Spotify

Hellbound Heist - Facebook, Instagram, Spotify

Tricie and the Phantom Punks - Facebook, Instagram, Spotify, Bandcamp

Dead Pleasures - Facebook, Instagram, Spotify

das Ghoul - Facebook, Instagram, Spotify

Zombina & the Skeletones - Facebook, Instagram, Spotify, Bandcamp

And of course none of this would have been possible had it not been for the efforts of Dan of We Are Horror Records. A gentleman and a scholar, he's also dedicated to kicking the UK horror punk scene into life and is bringing the goods! We Are Horror Records are the sort of independent punk label that this country has nurtured for 50 years now (blimey!) and is always the life blood of the community. Go and support your local label (and if you're not in the UK, support anyway and see what we have to offer over here!) in Dan's continued pursuit of releasing the best horror punk has to offer from around the world!

WAHR are on Instagram, Facebook, Bandcamp and of course the site itself! Go buy merch! 

New Release Review Roundup - September 2026

In my continued attempts to try and work out how best to review as many horror punk releases on this blog as possible (and to attempt to mitigate my terrible procrastination) I'll be putting up a round up of releases every couple of weeks (possibly even more frequent depending on the season... hello upcoming Halloween release dates!)

September has been quite the month to start this new format though...

Blitzkid - Modern Hel (album) 

If you're reading this blog the chances are you've already heard this one - and if you haven't, the question has to be... why not? The masters of the genre, arguably a bigger influence on modern horror punk than any other band other than one we won't mention, return with their first album in 16 years. Much anticipated, there was always a danger this could not live up to the lofty expectations - but thankfully not only does it do just that, it's an absolute top-tier horror punk album from start to finish. 

Blitzkid's own brand of melodic horror punk has defined many of our own experiences of the genre and on this album it's one catchy song after another, blending a diversity of references and influences, each song distinct and hugely enjoyable and setting another set of songs for all of our playlists for many decades to come. From the pulsating speed of opener 'The Thirteenth Guest', which is full on hardcore horror punk mixed with the bands patented melodies and hooks, this is an engrossing listen. 'Ghosts Walk' is a hauntingly excellent and immediately memorable instant classic, right up there with the best the band have in their catalogue, whilst 'Cujo' goes for the jugular and is just as great. 'Bloodlines' is absolute classic Blitzkid with it's bittersweet melodies and woah-oh-oh's, as is 'Warning Shadows' a song so good it had me humming the tune in my head after only a couple of plays. 

The Troma worship of 'Toxic Avenger' and funhouse shenanigans of 'Carnevil' are both immensely fun, whilst 'The Unhallowed Art' and 'Behind the Rows' are more melancholic horror punk songs in the best traditions of the genre (and of the band), both impeccably crafted and gorgeous to listen to. 'Nailbiter' is another slow burner that gets under the skin whilst 'Beast or Man?' will join the ranks of 'Pretty in a Casket', 'The Pumpkinpatch Murders' and 'She Dominates' as an all time classic Blitzkid song (although there is a hint of the Offspring here that I can't ignore). 

The haunting 'Demonica' will no doubt get plenty of cross-genre play on gothic playlists, and rightfully so - this is the really dark and atmospheric, slowed down and echoey gothic-horror-punk side of the band. An album like this needs a strong finish - step forward 'Under the Stairs' with it's blend of rampaging punk rock sound and sombre, almost whispered lyrics. There may indeed be something under the stairs, but if it's a copy of Modern Hel we're all in luck.

Blitzkid have done it again. This isn't just 'another' horror punk release - this is a band that created a legacy and an influence on numerous other bands now back at their best. Just as good as what has come before this is the biggest horror punk release of the year, one of the best ever, and does not disappoint for a single second.

All bow to Blitzkid.

You can download the album from ACWNN here - physical is currently out of stock (boo from all of us who thought we'd ordered a copy and found out we hadn't!)

Ultrafiend X - Little Succubus (single)

Californian horror punks Ultrafiend X have released a series of excellent singles this year; I reviewed 'Cold Dead Me' a few months ago (and a complete look at their releases is coming soon) and there's been a couple more before this (including the excellent 'The Countess in Red'), their latest single. Past songs have built upon foundations of strong, melodic horror punk with hints of Californian deathrock and Samhain/Danzig influence, and that's all evident in this track - the sort of graveyard love song that only this genre can pull off. It's driven along on woah-oh's and the nostalgic horror punk feel evoking images of moonlight drive-in theatres, has well-written lyrics and is memorable enough to stick in your brain. I - and I'm betting a lot of you - are suckers for this sort of song, and this is yet another great song from a band whose future debut full length is right at the top of my most wanted list for next year. 

You can grab the digital download of the single (and the band's other releases) on their Bandcamp page and give them a follow over on Instagram. 

The Crimson Ghosts - Carpe Mortem (Version 2026) (album)

German horror punk institution The Crimson Ghosts need little in the way of an introduction. Alongside their FiendForce records labelmates they helped define the sound of this genre in the 00s onwards, releasing half a dozen legendary albums over the last two decades. The second of those releases was Carpe Mortem which saw the light of the day back in 2006. Twenty years on and the band have released it again in a completely remixed and remastered version. It's difficult to say whether this is a better way of experiencing the album or not - when you've been listening to a classic for so long, 'updated' mixes are either a trip down memory lane or inferior, but luckily this release sits in the former. All the greats are still here - 'Somewhere in a Casket', 'Mephisto', 'The House' and 'Night of the Dead Promqueen' remain steadfast essentials in the band's repertoire - classic Euro-horror-punk dripping with macabre lyrics, doo-wop influenced punk rock mixed with harder hitting punches and atmospheric and evocative - and hugely fun - songs that any fan of the genre will enjoy just as much now as ever before. Re-releasing puts the album back in the spotlight which is never a bad thing either. I am sort of conflicted as to whether the versions here are better - they're different, certainly, but not significantly so. Up until about thirty minutes ago I would have said I preferred the originals, but the more time spent with this re-release the more I can appreciate it and it's fuller sound. Regardless though Carpe Mortem is an all time classic and any release of deserves praise. 

The album can be purchased through the band's Bandcamp or through their own merch page.

Hellbound Heist - Runaround Sue (single)

I've not covered any of Hellbound Heist's releases on the blog before, but with this latest single it's time to correct that oversight. Another band that has emerged from the North East of England (along with Haddonwood and The Magnetic Monsters) this is a group steeped in the sounds of classic horror punk - and this reinvention of Dion's doo-wop classic Runaround Sue, suitably horrified, certainly shows that. It's brave to take on a verifiable classic song and put your own twist on it, but they pull this off and fans of this strain of horror punk will enjoy. It's another fun entry in the band's growing list of releases, which includes last years 'Wake The Dead' EP and the 'Santa Carla' single. The latter of these is included with this release (on Bandcamp here) and is a really enjoyable love letter to The Lost Boys; a spiky punch of UK horror punk and the band's best release to date. A growing reputation (including an upcoming appearance at the Horror Punk Fest 2026 in a couple of days time, at time of writing) and a place on the always exciting We Are Horror Records roster mean Hellbound Heist are another band to keep an eye on in the next couple of years.

The single can be purchased on the WAHR Bandcamp page; the band can be found on Instagram so give 'em a follow!

Review - VAMPIR - 'BEATNGU' single

VAMPIR

BEATNGU

Single, September 26th 2026, We Are Horror Records

It's gonna be a busy couple of weeks for horror punk fans. As well as a new Boogeyman EP, and a remastered, anniversary edition of The Crimson Ghosts Carpe Mortem we're all waiting in anticipation for the brand new Blitzkid album Modern Hell (and for those in the States, their upcoming tour) and in the UK, the upcoming Horror Punk Fest 2026. To release a single as a new-on-the-scene horror punk band during this period is a brave move - but Ukrainian band VAMPIR have done just that (through We Are Horror Records). Does their bravery pay off? Let's take a listen...

Hailing from Odesa, Ukraine VAMPIR is the work of Nefarious (who was also behind Ukrainian horror punk band THE NIGHT), who states that 90s horror movies and TV shows are the main influence on the band's output. BEATNGU is their first release, a two song single released through WAHR with some frankly incredible artwork. You are spoiled for choice in the annals of horror punk artwork history but this is up there with the best - and you can grab a t-shirt with the design on too! 

The music is what matters though, and first song 'Dance of Death' is a dark, rampaging horror punk song which melds a hardcore sensibility with deathrock-like atmosphere and melodic punk rock. It's short, sweet and a great introduction to the band. Second song 'Queen of cold' is another dark one; it has the vibe of a dark, damp cave somewhere, where the horrors hide from the sunlight. Whilst this is very much hardcore horror punk like the first song, there is a permeating sense of terror to the song and feels a little like an underground melodic black metal band in the atmosphere it creates - very much a compliment as my library of one-man black atmospheric black metal records will attest too. The sound though is very much in the dark horror punk style.

As a short taster of the band this is pretty awesome. Whilst it doesn't depend too heavily on the traditional horror punk sound it has heaps of atmosphere and takes the genre in a darker direction, a direction that is never unwelcome.

Grab the band's release over on WAHR's website or Bandcamp and the band can be followed on Instagram. 

Discography Review - Boogeyman

 

Rising from the dusty desert crypts of Phoenix, Arizona, Boogeyman are one of the finest horror punk bands currently around; macabre storytellers who deliver infectious punk rock and weave tales of horror through a thoroughly mesmerising connected series of songs in the bands 'Devils Song' saga. As another band that has come to my attention largely through their being on the We Are Horror Records label, and with a brand new EP released, which itself serves as a prequel to the tales told on their first two albums, I thought it was about time to dip into the second of the 'discography' reviews on this blog - a look back at their past releases whilst featuring the new EP in it's own review which you can read here. 

In the post-pandemic years the band have really emerged as a band to watch closely. Appearances on compilations, some excellent videos and two great full length releases - as well as some glorious artwork and iconic logo and merch - have started giving the band the recognition they deserve. The three piece band is made of Jason Payne on vocals and keyboard/piano/organ, Eric Zellmer on drums and Ryan Zellmer on guitar and bass for their releases. 

Review - Boogeyman - 'Nightmare Begins' EP

 

Boogeyman

Nightmare Begins

EP, released 26th September 2026

The third 'proper' release from Arizona's Boogeyman (after a few singles), Nightmare Begins is self-described as the band's 'Earth A.D.' - a move away from the more melodic, early 80s hardcore punk influenced horror punk of the band's two albums into shorter, sharper and altogether more thrashier territory. It also serves as a prequel to those releases, setting the scene on how the evil came to haunt the town of Whisper Creek in their 'Devils Song' story. It's a bold move - many diehard fans of the genre aren't exactly enamoured by the Misfits move into the faster thrash sound that American hardcore morphed into; however I for one am a fan of that style, so the concept of this EP is an intriguing one for me.

Immediately you can hear the shift in styles. The TSOL influenced gothic horror punk of Rotten Leaves is blown away by the rage and velocity of first track 'Foresee'. It's still melodic horror punk, just played at a faster pace; a raging and menacing sound that still paints the vivid images in your mind the band are so good at. This is fast, balls out hardcore rather than metal too - and the comparisons to Earth A.D. are immediately evident. '1713' appeared on the 'The Kids are All Fright!!!' compilation last year and follows the same formula - this is spooky, gothic-tinged, fast hardcore horror punk which despite the speed never loses the sense of melody and storytelling. It's a belter this.

'Shadows' has a more gothic sound wrapping it's thrash assault; whilst the band have shown their mastery of epic, narrative driven melodic horror punk before, this EP is showcasing another side, and it's pretty excellent. There's no let up in the speed here but the atmosphere remains chillingly macabre. 'One by One' is another excellent song - sub-2 minute thrashy horror punk which is instantly memorable. 

'The Widow' has a hint of late 90s AFI to it but is just another all out sonic attack of a track, atmospheric but unrelenting; whilst EP closer 'Frostbite' reminds me a bit of The Nerve Agents. I'm probably stretching a little bit in comparisons to either of those bands, but like both of those legends, Boogeyman are going down that hardcore route of horror punk on this release and have realised it beautifully. 

It may only be 12 minutes long but Nightmare Begins has a big impact. A departure from their earlier gothic-driven epic horror punk storytelling (although this does still form part of their self-created horror universe), there are those who may not be fans of the move towards the hardcore thrash - but for me, someone who can happily listen to Bedtime for Democracy and Fresh Fruit... and get much from both, this move adds another aspect to a band that already has delivered some fantastic horror punk.

You can follow the band over on Instagram and Facebook, and the EP should be available on the band's Bandcamp page from release day.

As part of their build up to release the band released two videos, for '1713' and 'Shadows'. I've embedded both below, and they're well worth a watch!

Review - Gatlin - Horror Town Single

 

Gatlin

Horror Town Single

2026, releasing as 7 inch vinyl on Halloween

Horror punk is a universal language. Whatever corner of the world a band is from, and whether I understand their lyrics or not, the vibe of it all is unmistakable. A love for the macabre, spooky sounds and just having a bit of fun in this crazy world. Gatlin are a Polish horror punk powerhouse - they've been around for more than a decade now, with several releases under their belt (including a split 7 inch with Necrotones and the excellent, perfect sounding 'The Thing' single) - and their latest EP/Single is now with us, and with the promise of a physical release near Halloween. Only fitting to take a listen!

The title track opens up with a spooky, neo-Western sort of sound before bludgeoning into a slow, pounding beat with exciting use of the theremin that featured so heavily on The Thing single. Quite simply the perfect instrument to create a spooky atmosphere, it plays here behind some heavy hitting punk rock which delivers menace, horror and a pretty unique sound. 'Prince' follows this up, a short and sharp punk song which is a bit of a change of pace. A censored version of the title track is up next before Kołysanka (Lullaby in Polish) ends things with a nightmare instrumental soundscape that is a must to play as a part of any self-respecting Halloween playlist. 

A short release then, with only really two songs, but the title song carves out a unique sound that sets it apart from it's peers and is definitely worth a listen as we descend into Autumn.

Gatlin hail from Brzozow, and are Arkadiusz Sikora, Tomasz Kotulak, Łukasz Tercha, Kamil Tercha and Mike Koneful on theremin. You can follow them on Instagram, give them a listen on Spotify and buy their stuff through their social media channels - the split with Necrotones and a rather fetching pair of t-shirts (of which I've just grabbed myself one)!

Review - Rise From Your Grave - Choose Your Scare - Album

Rise From Your Grave

Choose Your Scare

2026, Album (releases 18th September)

The newest release from Pittsburgh's Rise From Your Grave (for the band's past discography click here) emerges from the depths on the 18th September. I recently did a 'deep dive' into their past releases so am hyped to listen to their latest output. Their journey from really heavy, oppressive atmosphere-laden Lovecraftian horror punk metal to their more 'traditional' horror punk sound on more recent releases (whilst still retaining some of that cosmic horror feel) has been exciting and with this latest album, and the singles which were released to prepare for it, their is a massive promise of something extraordinary. So let's take a look at this their seventh major release.

Opening up the album is the appropriately named 'Rise', a great example of RFYG's sound - powerful metal infused horror punk based on The Call of Cthulhu which stampedes it's way across your face, a barnstorming way to open the album dripping with the dark atmosphere and impending terror of the the band do so well, whilst still being sublimely catchy and memorable, resplendent with horror punk hooks. 'Nevermore' follows on, a horror punk retelling of arguably Poe's greatest work, this is a slower paced gothic-horror-punk song which still retains a certain upbeat, fun feeling and hits all the right notes for fans of the genre. Up there with The Simpsons for me in bringing this classic tale to life. 

The Freddy Kreuger inspiration on 'Stay Awake', which was the first single release in the build up to this album, may not be unknown territory for horror punk but RFYG deliver an utterly irresistible, catchy-as-hell melodic punk assault with soaring vocals and singalong woah-oh's which leaves this as one of the prime examples of Nightmare on Elm Street referencing songs in the genre. 'Blood(That's All I Want)' follows on with another track that will fester in your skull, pulsating and driven, immensely enjoyable horror punk that does everything right. It certainly shows the change in the band since their earlier releases, where the terror lived in the abyss and in the shadows - this is another (relatively) upbeat song that still delivers the horror and, in this case, Vampire elements so well.

'Live Again' first appeared on the We Are Horror Records compilation 'The Kids Are All Fright!!!'; another excellent slab of melodic horror punk, a pinch of that nostalgic genre-vibe, plenty of horror punk singalong bits, and a touch more of the thrash metal influence the band has always displayed. Serving as a follow up to 'Pieces of You', and set in RFYG's 'The Lake' universe, it serves as inspiration for the album's cover art. 'Like Mother Said' follows on and - for me - is the standout track here, amongst some very strong contenders. It's take on the internal struggles of Norman Bates during Psycho results in a soaring horror punk masterpiece, insanely catchy, a crunching metal sound and loads of atmosphere dripping from the shadows in this tale of murder, madness and motherhood. The single release of this one instantly grabbed my attention and it is perhaps the single best song the band have released - high praise when you look at their discography. 

'Dancing On My Grave' is another immediately likeable song; it's got an upbeat sound again, contrasted with the darkness of the lyrics and themes of lost love and the promise of reuniting, bounding along on a punk and metal base. The band's musicianship is always top class, but this release really is polished to perfection, alongside the always superb lyrics. 'We Feast' kicks straight into the 'woah-ohs' (which we all love) before expanding into another one of those sorta-50s prom night nostalgia feeling tracks that permeate the horror punk scene, a bittersweet horror tale (based on the story of Red Dragon) that showcases the ever-present conflict in the genre which some don't quite 'get' but which many of us are absolute suckers for.

The album draws to a close with track 9, an instrumental (and a very well done organ-driven gothic instrumental at that) 'Prelude to Darkness', complete with cracking thunder, which immediately kicks into the final track, the near gothic metal-inspired track 'The Phantom' which features vocals from Katie Garner from Freddy Vs. This is perhaps the most un-RFYG song so far released - and at the same time, one of my favourites. This is just pure Hammer Horror territory, dripping with evocative gothic splendour. It wouldn't sound out of place on a modern day Castlevania remake - you can positively hear the beating of bats wings, the wail of werewolves in the distance and the swishing of the Count's cape. Katie Garner's vocals are delectable, the metal is pronounced, but there's still an underlying horror punk feel to things - which is difficult to do in the genre, but done remarkably well here. A captivating and hugely atmospheric song to end the album on.

I've been a bit obsessed with RFYG in recent weeks. A deep dive into their back catalogue has brought me new appreciation for the band and I was really looking forward to this release. Possibly their most diverse album both musically and lyrically, it does everything right and should be held up as one of the best horror punk releases of the year. For fans of the band's earlier, darker sounds their is still plenty to love here - RFYG never completely lose that terror in the cosmic vastness feel - although I have to admit the journey they have been on has taken them away from some of that very unique sound they had. But when you're left with absolute top-tier horror punk, some incredibly catchy songs including some of the band's very best, and even an epic tale of gothic-romance, you realise that this is a musical journey which has been well worth the time.  

You can pre-order the album on Bandcamp both physically and digitally Give the band a follow over on Instagram and Facebook.