If you heard that girlish squeal a little bit ago, don’t worry, it was just me reacting to the latest PR wire teaser of info about the forthcoming two-part Neurot Recordings debut by Italian space doom progenitors Ufomammut. Oro: Opus Primum is due out April 17. Here’s the latest, including the Malleus (of course) cover art, which you can click to enlarge:

More details on Oro: Opus Primum – the first installment of the new two-album series from Italy’s supernatural doom sorcerers, Ufomammut — have this week been confirmed.

Already known for their attention to detail with each release, including meticulous, quality artwork and packaging as expansive and layered as every obliterating Ufomammut release is musically, this time they take it one notch higher and have completed a massive two-part album, set for release months apart.

Now confirmed for release in the UK on April 9th, throughout the rest of Europe on April 13th, and in North America April 17th, this week the artwork and track listing for the incredibly anticipated first installment of the series — Oro: Opus Primum — have been unveiled for the first time:

Oro: Opus Primum Track Listing:
1. Empireum
2. Aureum
3. Infearnatural
4. Magickon
5. Mindomine

More details on the album will be released in the weeks ahead as the world awaits the arrival of Ufomammut’s latest art. The second chapter in this monolithic two-part album, Oro: Opus Alter, will be released sometime in September with more details to be unveiled throughout the months following Opus Primum.

2012 will see Ufomammut expanding their touring circles wider across the face of the planet in support of Oro. Stay tuned throughout the year as more details on the release and the act’s tour schedule are confirmed.

I haven’t yet heard the new Black Rainbows album, which bears the awesome title Supermotherfuzzalicious, but if “Behind the Line” is anything to go by, the Italian stoner rocking Duna Jam veterans may have just earned the distinction of being the Fu Manchu of Roma. Their into-focus/out-of-focus video for the track features the trio (and their amps) against a plain white background and is more fun to watch than you’d ever think based on that description.

Rock and roll.

Heavy rocking Italian trio Underdogs got together in 2005 and released their Go Down Records debut in the form of 2007’s Ready to Burn. That record was rife with straightforward desert-hued rock and fuzz, and their sophomore outing following 2009’s unplugged download-only EP, Dogs without Plugs, Revolution Love, continues the thread started by the first album. Underdogs – joined here by new drummer Alberto “Trevi” Trevisan – ably capture their appreciation for the sound of the Californian desert. The guitars of Michele “Jimmy” Fontanarosa have a crunch and compression to them that will be familiar to anyone who’s spent time with Songs for the Deaf or Lullabies to Paralyze-era Queens of the Stone Age, and though bassist Simone “Sabbath” Vian (also vocals) has a punkish bent to his playing at times and a cleaner, less directly fuzzed tone, the three-piece work well together in carrying across their musical ideas and influences. Vian’s vocals remind in places of earliest Dozer, and though they’re not blindingly original, the songs have a sense of character to them that comes out over the course of repeat listens, be it the sub-psych brooding stonerism of “Into the Wild (O.W.K.)” or the catchy upbeat drive of opener “Prove You Wrong” and it’s “Burn motherfucker, burn motherfucker, burn,” chorus. Perhaps unsurprisingly, sex is a regular feature on Revolution Love, “Devil Dancing (Pyramida)” opening with a solid bass groove and some “Oh baby, slowly” moaning from Vian. It kind of felt like listening to someone getting a blowjob in that verse, but I guess that’s probably what Underdogs were going for. Fair enough.

That song picks up into one of Revolution Love’s most complex structures, running from one rocking riff to the next and only returning to the bass-led opening part for its outro section. As a late-album sidestep from the well-established (by then) ethic of straightforward songwriting, it works well and is made all the more effective by its still-catchy chorus. In general, the second half of the album begins to move away from some of the earlier cuts’ methods, but the accessibility of “Prove You Wrong” and “Beautiful Optional Girl” remains high throughout, and as “(Feel Like) Mad Cow” puts Vian’s bass in the leadership role for the first time, Fontanarosa driving the chorus but stepping back for the verse, their moves aren’t entirely unannounced. Interplay between the guitar and bass, maybe even more than between the bass and the drums or the guitar and the drums, proves to be the crux of Revolution Love – whether or not that’s due to when Trevisan came on board, I don’t know – and that’s not a slight on the drummer’s playing. However, as Vian lays down a warm groove for the more subdued, quiet Truckfighters-esque “Helpless,” I’m more drawn to Fontanarosa’s accenting notes than Trevisan’s drum work. On the whole, the trio works well together, but one gets the feeling that there’s more integration to come from this lineup, though by the time the start-stop verse of “Half a Blowjob” hits, it hardly feels like a concern at all.

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The good and dedicated people behind my favorite print ‘zine in the world, Vincebus Eruptum, are doing something special this time out. They’ve taken their print run of 1,000 copies and split it up to include a special CD compilation with half the run. Acid Sounds Vol. 1 will be included with 500 copies of Vincebus Eruptum #12, and will feature new and unreleased music from Core (an outtake from ’96), Vic du Monte’s Persona Non Grata, and OJM, among others.

A complete tracklisting for the comp is available on Vincebus Eruptum‘s website, and here’s the info for the new issue, which is set to be out next month:

The new issue is almost ready! We’re waiting for the very last contents and then we’ll send the mag to the printing… Next Vincebus Eruptum #12 will be published for the end of January 2012, with the exclusive Acid Sounds Vol. 1 compilation!

The new number will be available in two different versions:

Vincebus Eruptum #12 (only magazine) – 500 copies

Vincebus Eruptum #12 deluxe (magazine & Acid Sounds Vol. 1 CD compilation) – 500 numbered copies

Definitive contents: exclusive interviews to Lee Dorrian, Black Rainbows, Zippo, Gentleman’s Pistols, Hounds of Hasselvander, The Freeks, The Grand Astoria, Wight and many, many, many reviews (12 pages!)…

This is the official cover-art by Kabuto:

NOTE: Vincebus Eruptum‘s official American distribution is run through The Soda Shop, so I’m sure Bill and company will have more on the issue closer to its release.

Master Italian purveyors of the mega-heavy, Ufomammut will make their Neurot debut this coming April. Today it’s announced they’ve finished the recordings for Oro, the two-part follow-up to 2010′s excursion into the alpha and omega, Eve. The first half of Oro will be out in April and the second in September, and the PR wire has more specifics on what’s to come.

Goes without saying this is one of 2012′s most anticipated releases, but I just said it anyway, so there you go.

Ufomammut, Northern Italy‘s sorcerers of supernatural and obliterating doom, have completed the recordings for their sixth full-length, and first as part of the Neurot Recordings family. This week we are beyond excited to announce the details of this highly anticipated, mammoth follow-up to their 2010 full-length Eve, the band’s most critically-acclaimed and devastating piece of magic to date… until now.

Oro is the title for Ufomammut’s latest work, divided into ten massive movements overall which is now confirmed to be delivered in two separate pieces during the coming year. The first chapter, Opus Primum, will see arrival in April, and the second, Opus Alter, in September. The vinyl versions of both chapters will be handled directly by Ufomammut‘s own label Supernatural Cat Records, who were responsible for the release of all of the band’s previous material. This is the third album in a row the band recorded with Lorenzo Stecconi.

As with all previous Ufomammut albums, the concepts behind Oro are expansive and multi-faceted, mutating the Italian palindrome which translates to “gold” with the Latin translation of “I prey.” Oro explores the concept of knowledge and its power; the magical stream controlled by the human mind to gain control of every single particle of the World surrounding us. Oro is the alchemical process to transform the human fears into pure essence; into Gold. Although Oro‘s two chapters will be released months apart from each other, they must be considered as a single track in which the musical themes and the sounds show up and hide, mutating and evolving, progressively and increasingly stratifying culminating in the crushing final movement. Oro is like an alchemic laboratory in which substances are flowing, dividing and blending themselves in ten increments from the alembics and stills, culminating into the creation of Gold. The band are also in the process of crafting a full video/visual version of Oro which will accompany the audio.

Ufomammut is:
Poia – guitars and effect
Urlo – bass, vocals and synths
Vita – drums
Ciccio – soundlord
Lu – visuals

Making their home at the foot of the Alps in Northern Italy, the four-piece Fango made their debut in 2010 with the full-length, Nel Buio. Signed in 2011 to the respectable purveyors of the heavy at Go Down Records, Fango released the 10” EP Icarus earlier this year. In defiance of their landscape, guitarists/vocalists Simo and Cina, bassist Berna and drummer Lorenzo play a straightforward, desert-hued rock that owes its tonality mostly to mid-period Kyuss or any number of European acts fallen under their influence, up to and including earliest Dozer, Truckfighters and Lowrider. Seems like esteemed stylistic company for Fango to keep, and they’re certainly not the only ones keeping it, but the four tracks on Icarus (two per side) hold fast to their methodology, never quite veering from desert rock into the purely stoner or otherwise drugged-out, but also never losing sight of the heaviness in their riffing. Not having heard Nel Buio (which featured a different rhythm section and so might not make the best sample anyway), I don’t know how much they change up their songwriting in a full-length scenario, but although Simo and Cina switch vocal prominence and the back half of Icarus has a few turns, there isn’t much different happening structurally between any of these songs. “Drown” and “Icarus” on the first side and “Frantumi” and “What I Think (Reprise)” on the second make use of strong verses and choruses with some marked interplay between the guitarists, clear, full production and a bit of synth on the closer.

The result isn’t necessarily original, but it is well-executed and should hopefully serve this lineup well going into their next LP, with Simo and Cina working together on vocals and guitar to lend the songs character. They do so almost immediately on Icarus opener “Drown,” which plays hooky lead lines off underlying rhythm riffs to earn the above Truckfigthers comparison. Lorenzo peppers the verses with tom fills for a mellow flow that’s offset by the more active chorus. Groove is paramount, and while the connection between Fango and the myth from which their EP has taken its name isn’t clear, the band don’t seem to be flying low enough to get where they’re going without too much wax-melting flash or showy ambition. They nestle themselves into desert rock on the first half of Icarus and fit well there, the title-track lacking nothing in accessibility or charm. The final minute of the song finds solo tradeoffs bringing back the chorus for one last go before the ending, and if nothing else, Fango prove capable songwriters as they punctuate “Icarus” with a last-second growl on the line “Riding through the sun.” The desert-cruising ethic is pervasive in the music but not wholly redundant in light of the side two shifts in atmosphere, and while one could probably get hung up on drawing lines between Fango and other bands, at four songs, 14 minutes, it seems excessive to do so.

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We’ve covered most of Wino‘s bands at this point, but something not yet mentioned in this ongoing Wino Wednesday series is the incredible amount of guest appearances Scott “Wino” Weinrich has made over the years. From Lost Breed, to Solace, to Shepherd and Earthride, he’s constantly contributing guitar and vocals to the songs of others, and the fact that he’s still in such high demand after all this time just further proves the ongoing nature of the Wino legacy.

This week, the chosen clip is courtesy of Paul Chain, who’s widely regarded as the master of Italian doom. Through his work in the earliest days of Death SS to his own Violet Theatre and sundry solo projects, the guitarist/vocalist has always had an eye and ear for experimentation. His latest band, Translate, has moved away from doom into more progressive and experimental styles, but much like Wino, he’s someone whose discography it would take years to even begin to grasp.

The song “Bloodwing” appeared on Chain‘s 2004 compilation, Unreleased Vol. 2, and is one of two tracks to feature a guest spot from Wino; the other, “Nibiru Dawn,” is no less plodding and mournful. Weinrich‘s integration with Chain‘s playing style is seamless, and it’s a great introduction to anyone who might not be familiar with the latter’s also-continual progression. Hope you enjoy:

Congratulations to Italian megadoomers Ufomammut, and really, congratulations to Planet Earth. This is some of the best news I’ve seen in a while. A perfect storm of apocalyptic tonality. As Ufomammut make ready to follow the stunning work they did with last year’s Eve, I shudder to think what devastation they’ll unleash this time around.

This from the PR wire:

It comes with absolute honor to finally announce the meeting of marvelous minds, as Italian masters of thunderous psychedelic doom Ufomammut sign to Neurot Recordings for their next album. Their last album, Eve, was met with great critical acclaim worldwide, and judging by the studio updates we are receiving, their next opus will be even more epic in its proportions and probably their heaviest and most cacophonous record to date.

This is what Neurot owner Steve Von Till had to say about the signing: “Welcome Ufomammut to the Neurot family. Ufomammut is our kind of band. These sonic brothers from Italy are heavy, psychedelic, and driven. We couldn’t be happier than to have them working with Neurot Recordings for their next full-length album. Though we have been fans of their music for a while, being able to meet them and share the stage with them on our recent trip to Europe was awesome. We formed a great and meaningful bond, which of course is the most important aspect of what we do. We admire their prolific nature as visionary musicians, as members of the Malleus art collective, and as owners of their own label, Supernatural Cat. They truly embody the same spirit of music and art that we all strive for. Ufomammut is in the studio at this very moment working on their next epic.”

Ufomammut also commented…”Working with Neurot signals an evolutionary change for Ufomammut. In the last years we’ve built up our own music world, doing everything by ourselves, working on our own art and recordings, creating a label, and taking care of every aspect of our projects.

We feel very excited by this change because this confirms that we did a good job, especially coming from these guys who we have always considered a great inspiration.

We’re sure this Neurot and Ufomammut friendship will open new perspectives and directions in our sonic adventure, because we feel we have the same vision and attitude about what music should be. In few words we feel totally honored and proud to become a part of the Neurot Family.”

This news really does mark the alliance of almighty talent and we hope that you will follow this story as it unfolds in the coming weeks, more news as and when we can bring it. In the meantime, European fans can catch Ufomammut on tour beginning next week and into October.

09/14 Groovestation Dresden D
09/15 Festaal Kreuzberg Berlin D
09/16 Stengade Copenaghen DK
09/17 Inkonst Malmo SWE
09/18 Blitz Oslo NO
09/19 Truck Stop Alaska Goteborg SWE
09/21 Nuclear Night Club Oulu FI
09/22 Lutakko Jyväskylä FI
09/23 Yo-talo Tampere FI
09/24 Korjaamo Helsinki FI
09/26 Molotow Hamburg D
09/27 Underground Cologne D
09/28 013 Tilburg NL
09/29 Bastard Club Osnabrück D
09/30 Baroeg Rotterdam NL
10/01 Het Depot Leuven B
10/03 The Croft Bristol UK
10/04 The Well Leeds UK
10/05 The Continental Preston UK
10/06 Purple Turtle London UK
10/07 Nouveau Casino Paris F
10/08 Gaswerk Winterthur CH
10/09 Les Caves Du Manoir Martigny CH

Released first by the band in a limited CD pressing of 99 copies and subsequently picked up by prestigious Europsych purveyors Nasoni Records for wider issue on CD and vinyl, the Docile EP by North Italian trio Ivy Garden of the Desert relies just as much on drifting sonic spaciousness as it does on riffy crunch. The four-song release (at 38 minutes, it could either be an EP or full-length, so take your pick – I call it EP because they do) doesn’t break any real stylistic ground, but it does show an ambient patience and reverence for American-style desert stillness that a lot of the European contingent misses out on in either their riff-led or psychedelic swirling. The vocals of guitarist Diego will sound curious to American ears, perhaps owing to a combination of the six-stringer’s accented English and a bottom-of-the-mouth delivery that comes off at times sounding like something more out of commercial rock. Vocals are relatively sparse, however, and though 10-minute closer “I” begins with a throaty growl that swells in the speakers, there’s next to nothing abrasive about Docile and Ivy Garden of the Desert are far more concerned with melodic sprawl, which suits them well.

The band formed in 2008 and Docile sounds like a product of discovery on their part, but listening to Paolo’s echoing bass that begins opener “Ivy,” soon accompanied by Diego’s wavy guitar lines and the subtle tom work of Andrea, it’s easy to imagine the players seated in a jam room figuring out their parts on the fly. They soon settle into the groove that will carry them through the intro of “Ivy”’s nine minutes, gradually developing the track for the first three and a half minutes before everything drops out and Diego introduces a fuzzy, Fu Manchu-style riff that carries through the rest of the song. The guitar is in the lead role, not surprisingly, but Diego offers some clever layering and drawn-out solos that effectively give a sense of improvisation. Paolo peaks early in that the final minutes of “Ivy” feature Docile’s best bass lines, but still has plenty to contribute as the EP wears on, including the large role he plays in setting the darker tone of “Enchanting Odyssey,” following Andrea’s stick-clicks and foundational bass drum while Diego echoes a lead across the wide aural berth. The second cut of the four is also the longest at 11:14, and the first with vocals (they come on about two minutes in and appropriate room is made for them, but one never gets the sense in listening to Docile that they’re the priority), Diego’s voice sounding more derived from the influences noted above than on the later, more progressive “I.”

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If you don’t recall, a little while back I posted the video for the title track from Italian instrumental duo Le Scimmie‘s full-length, Dromomania. They’ve since made a follow-up for the song “Frekete,” and where they were being chased in the prior installment by a man in a horse mask, this time it’s a gorilla professor helping them keep up with the camera, which seems to want to back away slowly. Not a fan of fuzzy riffs or crash cymbals I guess. Nobody’s perfect.

Cool grooves and the second in a series of two (so far) videos from guitarist Angelo Xunah Mirolli and drummer Mario Serrecchia. Enjoy:

Stepping out from his role as one of two six-stringers in OJM, Italian guitarist Andrew Pozzy also takes on vocal duties with The Sade. The Padova trio’s debut, Damned Love (Go Down Records), is lucky 13 tracks of mostly straightforward, classically-minded – thinking more Led Zeppelin than Bach – heavy rock. Given OJM’s deeply individualized progressive bent and The Sade’s clear love of heavy ‘70s riffing, catchy songcraft and upbeat, energetic approach, I’m tempted to liken the differences between The Sade and OJM to those between Greenleaf and Dozer, but though there are some sonic similarities, particularly on the organ infused centerpiece “Borderline,” that’s mostly a conceptual analogy, rather than one of actual sonics. Damned Love mostly resides in the three-to-four-minute range in terms of its tracks, but in that time, the band – obviously led by Pozzy, but with the rhythm section of Mark Kimberly (bass and backing vocals) and Mat Zoombie (drums) also making formidable contributions – maintain the energy they put forth in their first couple songs, while also showing influences from punk and stoner rock.

The strive here isn’t so much to expand a sound or show sonic diversity as it is to work within a given structure to create something both familiar and unique. With the help of crisp production and a few guests along the way – Fab Shaman joins Kimberly on backing vocals on many of the tracks and OJM bassist Stefano Pasky handles organ and piano throughout, Lou Silver of Small Jackets contributes harmonica to “Dead Man’s Bones (The Dead Man Blues)” and engineer/mixer Maurizio Baggio adds percussion and guitar – The Sade does just that, sounding full but casual on gas pedal cuts like “Nice Trash” or the earlier “Run for Me Darling,” which features one of Damned Love’s most effective choruses. “Run for Me Darling” follows instrumental opener “Sadism,” which sounds to my Jerseyan ears like some of the guitar runs one might hear kicking off a record by a less fuzzed-out The Atomic Bitchwax, but is likely just getting down with the same Ritchie Blackmore jams. It’s a strong beginning for Damned Love, either way, and with “Live You Again” bringing a Social Distortion-type punkabilly feel – aided by Pasky’s piano – and all of the first three tracks being under three minutes, it’s clear The Sade wanted to start their debut with as much energy as possible. In this too, they meet with success.

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My only complaint with the long-running Italian print ‘zine Vincebus Eruptum is that it makes me want to spend money. I’ve written before about their unwavering dedication to underground heavy rock and psychedelia, but man, every time I’m fortunate enough to get an issue from these dudes, I find something else I want to buy.

In their new issue — #11, which they premiered at this year’s Stoned From the Underground fest in Germany — they cover some of the standard stuff. There are interviews with The Atomic Bitchwax and Blood Ceremony, Black Pyramid and Quest for Fire, among others. Good bands, and cool interviews, but names you’ve probably seen around.

Then there are the reviews, and it’s the reviews that always kill me. Bands I’ve never heard before, like Wight, Electric Moon, La Cuenta and Oyabun mocking me, saying, “Come on, motherfucker, you haven’t heard this shit yet! Get it! Get it!” All this cool music taunting me, and damned if I don’t go for it every time. Nobody knows the European underground like Vincebus Eruptum. Issue #11 is available through their website, and as always, it comes highly recommended.

If you’re lucky enough to make it to the Stoned From the Underground festival in Germany this year — Monster Magnet, Eyehategod, Church of Misery, The Gates of Slumber and a bunch of others are playing — make sure you pick up one of the 1,000 printed copies of the Italian ‘zine Vincebus Eruptum. Issue #11 is being pressed up now for distribution at the fest, and as you can see from the news below (courtesy of their website), it’s well worth a read:

We closed the contents for the next Vincebus Eruptum #11!

That’s the preview of the new cover by Kabuto!

The new number will be expressely issued for the Stoned From the Underground 2011 in Erfurt (Germany) on July 7-9!

Full colour version (1000 copies!)

Contents:
Blood Ceremony Interview
The Atomic Bitchwax Interview
Quest for Fire Interview
L’Impero Delle Ombre Interview
Black Pyramid Interview
The Flying Eyes Interview
Many Reviews…
Research: The Mike Gunn
Labels & Co: Sulatron Records

It’s not necessarily surprising to learn that Italian psychedelic outfit Ex is comprised of just one man. When you listen to Abuse, the fourth album from Ex, even though there are multiple instruments, there’s a kind of loneliness at the core of the material that comes through despite any and all psychedelic flourishes. Sure enough, although there were guests present adding bass and drums throughout, it was Ex mainman Eugenio Di Giacomantonio (also of Turbomatt) handling the writing and recording for the entire album.

And though the music is psychedelic, Di Giacomantonio keeps his guitar (that being the central focus of the entirely-instrumental songs, despite several movie samples sprinkled throughout) relatively grounded. He’s not washed in effects, and so when the nine-minute “God’s Spirit” begins to develop, it has a solid base to work from and isn’t just layering spacey reverb on top of spacey reverb. Abuse is creative, intimate and soothing as a result, but able as well to open up into more riff-rocking ground, as “Good Woman” and “Capitol Desert” show.

What it comes down to is I’ve been digging these tracks the last couple days and asked if I could post them for anyone else who might want to check them out. 80 Fold Cripple Press was kind enough to say yes, so here’s Abuse, by Ex, followed by some PR wire info. Hope you enjoy:

Abuse, the fourth full-length effort by Italian instrumental heavy psych hypno band Ex, marks a great leap forward in the evolution of their sound. What initially was characterized as “simply” psychedelic or acid rock has now developed to some kind of cinematic desert hypno sound where the band no longer is afraid to use gloomy and intense harmonies.

Eugenio Di Giacomantonio is the man behind the band. Ex went into the studio during 2010-2011 with the intention to do a recording of nine songs he had written since the release of his last, self-titled album. It later turned out that a whole year would pass before he returned to the world outside with what people have heard Ex himself describes as his “Ennio Morricone scores meet Yawning Man.” Ex played all guitars, basses, organ, violin and samples; drums and some bass lines were played by friends and special guests. As hard record as it is do describe, as easy it is to love. Enjoy the sonic monstruo!

It’s worth noting immediately that no one in the band 3 Mexicans From Gorma is actually Mexican. They’re Italian. The band hails from Verona and its three members – Luigi Calzavara on vocals/guitar, Marco Dal Molin on bass and Igor Lanaro on drums – make their debut on G.O.R.M.A. (Go Down Records), a narrative concept album that tells the story of a cowboy who wanders into a ghost town and gets trapped there by demons and forced to stay for eternity, and in case you’re wondering about style, as it says on the back panel of the jewel case artwork, “3 Mexicans From Gorma plays ONLY FUCKING hard Mexicans stoner music.” So right away, we know they are definitely not not fucking.

G.O.R.M.A. – the name of the town in the plot said to be derived from the band members’ names (I can see it with Lanaro and Dal Molin, though I don’t know how you account for Calzavara in that) – has several sketch interludes, complete with windy backdrop, heavily-accented speech and old-time radio sound effects of horse hooves and opening and closing doors. There’s one in the beginning, one in the middle, and one at the end, and between them, the trio riff rocks their way through songs mostly derivative of the desert/stoner mainstays without adding too much to the mix in terms of their own individuality. As I listen though, I almost wish both the sketches and the lyrics to the songs – we open with “Preface/Back to the Desert…” before “Intro” and “Intermission” take hold, so yes, it’s a while before the album gets going – were in Italian, and that there was more of a Western feel in the music. 3 Mexicans From Gorma touches on that, but with Italy’s rich history in the film genre of the Western – not to mention the accompanying music and incredibly influential work of Ennio Morricone – it feels like there’s an opportunity that Calzavara, Dal Molin and Lanaro are letting slip through their collective fingers. Our hero meets a mariachi later into the album, a two-and-a-half-minute acoustic interlude ensues that sets up the Kyuss-esque instrumental “Wah Wah,” and there was another acoustic interlude earlier in the form of “First Day, Jen… When I See You…” but that hardly feels like it’s all 3 Mexicans From Gorma could have done to play with the aesthetic they’ve taken on, and with all the interludes, sketches, intros and outros, there’s never really a flow established on G.O.R.M.A. from one song to the next.

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