Gonzalez & Steenkiste - Stuffed With the Down of the Eider (Eiderdown Records)

 Two of the kings of Anfang, my bros Glen and Ernesto, require a crystal-covered queen.  Peace and much love to my kindred spirits, Humboldt Relief :)

Two brothers from Sylvester Anfang ii, Glen and Ernesto, temporarily leave the sanctuary of Anfang and take a pilgrimage to the ashram of Steenkiste and Gonzalez, where their buzzing hymns hover gently over the countryside and engender healing.  This is the first recorded output of Glen Steenkiste (Hellvete; Sylvester Anfang ii) and Ernesto Gonzalez (Bear Bones, Lay Low; Sylvester Anfang ii) as a duo.  And the results on this c40, from the burgeoning Eiderdown label, should serve to whet the appetite of the listener.  Glen and Ernesto recorded this tape on 4-track, in 2011, using harmonium, violin, acoustic guitar, korg ms 10, electric tampura, bells and birds.

The first track, 'An Evening at Sloow's', which features Father Sloow on analog synth, produces some of the heaviest sounds on the tape.  Bowed symbols and bells transmit energy to the opaque night.  Slowly the shroud is eviscerated as the buzzing and heaving instruments create an encompassing wall of sound.  Over the course of the track, the intense sound hovers with subtle changes along the way.  The mood and sound is heavy.  This is music to which one must devote their attention - a blazing hash rocket, flying straight for your head.

The heavy nature of the first track is contrasted to the bucolic, reverberating strings of 'Front Porch Rumbling'.  The feel here reminds me of the Hellvete release on Sloow Tapes, 'Een Duvelse Zak Is Nooit Gevuld'.  As the smoke clears, Glen and Ernesto play acoustic guitar and banjo, which produces a serene effect.

The flip presents the side-long track, my favorite of the tape, 'Paradise' - a hymn to locating and studying the breath.  The sound here is achieved through an amalgamation of harmonium, electric tampura, violin and birds.  It creates a feeling of stillness, as the beautiful sounds elevate the breath from its malaise.  One might be tempted to think that the sound is uniform, but a careful listen reveals the sound suddenly becoming intense and then mellowing.

 Glen and Ernesto create sounds that are faithful to the journey of life.  This beautiful nug on Eiderdown is accompanied by two color double-sided screen-printed J-cards courtesy of Broken Press with eye popping visuals created by Max Clotfelter.  Heavy vibes like this disappear from the distros quickly.  Procure a copy by contacting Eiderdown Records.

peace to you, friends :)

ReeferVision with Breathing Flowers and Vor Onus

intergalactic fuel for the journey through the Breathing Flowers' star field.  peace and love to my friends at Humboldt Relief :)

the following video is from the Menskmoon YouTube channel

Welcome to ReeferVision - because sometimes you need to bring a fresh set of green eyes to the situation at hand.  ReeferVision is all about love, in a visual format.  For your protection, avail yourself of the green-tinted shades.. things are about to get smokey.

Today the green machine is emitting visions of McKinley Jones (Breathing Flowers) and Jason Hoover (Vor Onus).  The video above is of a Breathing Flowers performance from September 2011.  During the performance, Jason (guitar, loops, and modified theremin) joined McKinley (lead guitar and synth), and they played some beautiful, introspective psych that moves through several states and meanders pleasantly in the head.  While they have yet to formally release anything, the weed tree divined that some fine nugs do exist.  Here is to hoping that these recordings find a home on a good label.

peace to you, friends :)

Sky Stadium / Pierrot Lunaire - Windowing (Koppklys 008)

realize the shimmering beauty of the day with this nug full of kindness and compassion.  peace and much love to my friends at Humboldt Relief for providing the key to the lock.

Life is good when your shrouded in nugs and next level tones.  Windowing, a split release on the venerable Koppklys between Sky Stadium and Pierrot Lunaire, is one of the best splits of 2012, and the finest missive yet from this burgeoning label.  Perfect in its execution, this split presents two different perspectives on ambient beauty.  Where as Sky Stadium provides buoyant vignettes of new age vibes to assist in spiritual awakening, Pierrot Lunaire plugs you into his grid, and one returns grounded and enlightened.  

The medicine to redefine your head-space beings with an injection of Sky Stadium's blue imbued hymns - the perfect way to commence the day.  Hot on the heels of excellent releases on Bridgetown and Exo, Sky Stadium enchants the listener with elongated, placid tones.  There is an interesting contrast in mood, as the third track presents heavier, somewhat darker sounds compared to the other three tracks which comprise side A.  Besides being the longest track of side A, the fourth track, 'Into the Wild Blue', develops at a nice pace, adding layers subtly that take the sound to the next level.  Ultimately, this is the track in which the listener 'buys the ticket' to the psilocybin imbued world that manifests on the flipside.

In one of my first reviews, I noted that Pierrot Lunaire - John DeNizio - creates music with the power of healing.  Once again, the power of John's music is felt instantly.  Given his past releases, I expected to hear the sax; however, if it is present, then it is buried under mellow, hazy sounds which he exudes. 'The Flowery Dream' is a sidelong track, in which John transitions through many alluring states, each with its unique personality.  The music here glows with entheogenic beauty.  The first few parts make me think of some fantasy situation in which an EKG is being performed, but instead of electrode discs attached to your chest,      one finds psilocybin mushrooms in their place.  Through osmosis, it produces an otherworldly effect where the breathing is slow and measured, while the ecstasy pours forth from the speakers.  The tones here glow and recede in a glorious cycle. Throughout this side, the transitions take one through an environment of  vacillating, turbulent loops and beautiful tape moves.  The side ends with woozy, gossamer tones that gently stir in the head.  The music here reminds me of the Raajmahal Digitalis tape from earlier this year- gauzy tones glisten in the tape murk, coupled with serene vocals.  The soundtrack for coming down gently.

What else is left to say after having your head-space readjusted in this manner?  After listening to something like this, I want to board the tricked out Herbcraft vehicle to get lost in the sun - continue the trip.  Fredrik Rangnes, proprietor of Koppklys, has created a beautiful label - I would say tape label, but according to this awesome interview, conducted by my friend Brian at his excellent site, Guide Me Little Tape, it appears that Koppklys will spread its wings in the upcoming year.  Fredrik's passion for tape music shines through on this release.  His label is a celebration of experimental music, and it not constricted to any one genre.  The new batch of Koppklys is the best yet, and it includes releases from Venn Rain and Daw Nusk - the latter being one of the nicest surprises of the year.  Buy 'Windowing' directly from Fredrik!

peace and love to my friends :)

Kief with Matt "MV" Valentine (MV&EE)

Wowee Zowee!!  It is a privilege to talk, kief style, with Matt "MV" Valentine.  For those unaware, MV is one half of the glorious duo, MV & EE.  Whether they engage in duo exchanges or jams with musicians from various incarnations of the band, the vibe they emit shines for all to feel.  Recently, they released Space Homestead on Woodsist.  And a few weeks prior, they released the wonderful Suub Duub tour box on their label, Child of Microtones (C.O.M.). 

  

Trichomes and MV&EE is the way we roll.  Peace and love to my friends at Humboldt Relief :)

1)  The new one, Space Homestead, comes approximately a year after Country Stash.  Could you please talk about the process of recording Space Homestead, the inspiration(s) for this record, and the cast of musicians traveling with you and EE on this journey?

MV:  i'm always working on something up here and once we finished "country stash" the cycle needed to be unbroken so to speak. you gotta dig that music is ephemeral, and from us making it to you hearing it there is alotta in-between time. changes...that primarily was the inspiration with this one, changing seasons, shifting gears and distilling our sounds into a long player...jettisoning some things relating to the human condition. you also gotta dig that music is forever when it hits waxwork or binary shores AND everywhere else it can be played back therein. i think that is more terrifying than inspiring.

we make alotta music together and we spend alotta time hanging out with other musicians. i'm proud of that and i'm grateful that we know so many amazing artists/thinkers. we like to play and record, make things. more importantly we have a strong sense of harmony/sonics which we are always trying to develop further. the band spends a great deal of time on that. there are different shades, we tried to balance our rural jammers and excursions into noise/space with stacked melody and varying sounds/sonics and a thing i call "chromolodics". that's the deal with what inspired "space homestead"…it's the perfect distillation of what could happen at a show. the environments are implied and yet it can work as a lil' companion to those coming toward us for the first time. a space to rest for 40 minutes, everyone is welcome.

most of our good friends and co-pilots are on board. folks would drop by our home studio, or i'd go to theirs…or we'd book a few sessions when things seemed to fit with other inner ears. like all of our music it came very organically, it goes straight to the proverbial compost otherwise. these are mos def inspired times. one of the grooviest things about the LP is our bud carson arnold, we like to call him good ol' "smokehound", makes his studio debut with us on a coupla songs. we think he's dwine a real sweet job and it is nice to have him in the crew. i put him thru a pretty rigorous 3 year trial period, heh heh, and of course, pretty much all the bummer and golden roadies are representing.

2)  One can tell that the MV & EE boxsets - everything from the first one on Blackest Rainbow to the Suub Duub box on your C.O.M. label - are made with lots of love.  Could you please talk about the taper's pit and its importance in realizing these gems?  Also, for future boxsets, are you going to stick with cd's or return to cassettes?

MV:  i'd love to do a vinyl box set at some point! i suppose we'll do both, cassette and digital. i really dig the way the tapes sound and the vibe, i grew up on that kinda thing so it seems natural, plus i still have a tape deck in my car. the cdr's tho' have great advantages and also sound amazing for different reasons. thx for noticing that lots of love are put into them…we try to offer a NICE piece for the heads. the ones on C.O.M. are all made with great attention to detail, entirely with my own hands.

the whole band learns a lot from the tapers pit, so there is an educational thing for us in recording the shows…it also is just something we "do" now at the gigs, like setting up our amps. it is part of the build. we have gotten to the point now as players that the ratio between "good" and "bad" shows has narrowed so even the "lesser" gigs, whatever that means, are interesting and sometimes preferred by people who listen to a lot of our music. we have hundreds of shows recorded and are constantly investing in ways to improve the live recordings/archive. the recent phase of the "spacetime spacemind" tour that we just finished deployed our first quad mic set up in the pit, in addition to having two room mics. the reels i heard so far sound absolutely BEYOND.

3)  To commence the year, MV & EE did a residency at Zebulon, in Brooklyn.  Could you talk a little about it and what was it like to play again with P.G. Six, who released a real blazer on Drag City last year?  Also, any chance that these sessions will receive the C.O.M. treatment?

MV:  the zebulon run was some of the best times i've ever had playing, we got really into it. firstly, it's always groovy to head south during the vermont winters, so getting off the mountain for 3 sundays in a row was an inspirational start to the new year. we didn't repeat many songs, mebbe two or three and we pulled some rarely played, or never before played, tunes from the catalog. that was challenging. the aim was we would open up with an acoustic set, then do an environments set and/or someone else would play. for example, steve gunn sat in with us for the "environments" set the first week, "high lodge" which, is a duo project with jeremy earl and myself, did a set in week two and p.g. six did a set of his own for the middle slot of the last week. we would close each nite with a full on electric set and pat gubler sat in with us for that ride on the final sunday. we got really strong recordings, along with a soundboard matrix and reels from our king taper jim hildreth. that will likely be the next box set we release on child of microtones.

4)  Currently, what records or sounds are you and EE digging?

MV:  been listening to a lot of dennis brown, king tubby, et. al. somethin' about the spring time, warmer weather for that stuff. also been way into the new BR Garm LP, steve gunn & johnny T's "ocean parkway", the eddie callahan "false ego" wax that time-lag just did. erika loves the virgil caine and larry "here's sunshine" rice platters as well. "observe ember weeks" cursillistas jam is a heady ride. cool to grip robbie basho's "twilight peaks" on wax, over a decade ago i rode around for years with that being the only cassette in the car, i kept the oversize J-card in the glove box so there'r no sunspots. been groovin' on the jovontaes LP, white fence twofer and rafi bookstaber's jams, especially "greener pastures". all come highly recommended.

5)  Is there anything in the works?

MV:  yep

Peace to you, friends :)

Brian Green - Tides (self-released)

crystal covered love from my best buds at Humboldt Relief!  peace to you :)

Lately, Brian Green has been making and self-releasing some seriously beautiful art - the type of stuff that leaves an indelible mark.  He is a prodigious sound artist, creating small-run batches of cassettes that disappear from his website quickly. These sounds slowly pervade the head and spread tranquil beauty throughout the body. 

Regarding the indelible mark that this music leaves, I take this music everywhere.  Sometimes I like to examine nature with these sounds.  Sometimes I use his music for meditation.  There is nothing quite like sustaining focus on his uplifting sounds.  Other times, I like to look at the flowers as the beautiful drone of Tides washes over me.

Tides, a self-released tape in an edition of 10, is a tape comprised of beach sounds collected over three days.  The sounds being processed are those of shells and water.  There is a tremendous emotional depth that manifests to the active listener.  The tape is replete with alluring tones that change subtly, and the echo of shells, which are nicely situated and do not dominate the overall sound.  

The decision to bring sound into one's life is highly personal.  Unequivocally, I recommend these sounds to fellow travelers.  Brian's Bandcamp page is regularly updated with new releases and it also acts as an archive.  Therefore, even if you cannot grip one of the sold out tapes, everything is available for your listening pleasure.

Peace to you, friends :)

Motion Sickness of Time Travel - S/T (SP 016)

Rachel, this nug's for you! This lovely image, of King Kush, is kindly provided by my friends at Humboldt Relief.  peace to you :)

King Kush is not applicable for every record/tape reviewed on this blog.  However, Motion Sickness of Time Travel (MSOTT) S/T is one of the best records of 2012 and it is entirely apt for these side-long, crystal-covered zoners.  There are many reasons to buy this record.  First, this S/T nug has been among the top 10 best selling items at Forced Exposure for four consecutive weeks - and it will likely be in that list for many weeks to come.  Next, not only is this one of the finest records of 2012, but I feel secure in suggesting that this release from Spectrum Spools is Rachel's best work to date.  Perhaps the most important reason is trust.  This is music from the heart.  Not to go off on a tangent, but this music consoled me after the loss of a young family member.  One only takes sincere music with them into the darkest moments of life.  And this music is true to life: beautiful and uplifting in some parts, yet fragile and dark in others.  

The manner in which Rachel constructs tracks - layering sonic elements coupled with her mellifluous voice - is not unique, but her style is singular. While other artists attempt to do similar things with music, it is obvious that Rachel has an innate ability and sincerity that rises above most in this realm of music.  Thus, four sides of vinyl is not too much for this adroit artist.  She revels in the space provided, creating expansive, otherworldly paeans that permeate the toughest skin.  Also, compared to the predecessors, this effort on Spectrum Spools has a clearer sound.       

Just like the beginning of 'Magnetism' on Seeping Through the Veil of the Unconscious, Side A, 'The Dream', exhibits her proclivity for crafting buoyant, warm sections of sound.  Also, Rachel's voice is extremely soothing, and it is comparable to Janina Angel Bath, who was featured in this blog a few months ago.  One must appreciate the manner in which Rachel realizes her ideas through the conduit of music.    

As the needle drops on Side A, the first conspicuous thing is the clarity of sound.  While I love the haze of some of the past recordings, the clarity of sound makes the music glow - a real aural treat for those with hungry ears.  An amalgamation of heavy sounds precedes the parting of the clouds, in which she produces some of the most beautiful tones heard this year.  These tones are shimmering, slow-moving and euphoric. This is music with an implicit desire to heal those that suffer.  Everything in this track develops nicely.  The different states of sound seamlessly integrate.  Almost halfway through the track, a beautiful and mysterious transition occurs.  At first, I had to rub my ears; yet, it felt like Rachel was channeling the sound of one of my music hero's: Joe Zawinul.  'The Dream' ends with fluttering synth and effects.

Side B, 'The Center', contains some of the best MSOTT material to date.  Within minutes, the myriad of layers and Rachel's voice create celestial drift - an extremely relaxing vibe.  A transition occurs, in which the music is almost too perfect for words .  In the next transition, it feels like she is presenting another idea of 'The Center'.  Where as the first part of this track glistened, the sound here feels more direct.

Side C, 'Summer of the Cat's Eye', commences with cavernous tones that race through the labyrinthine structures of the head, with shades of another musical visionary: J D Emmanuel.  Later in the track, the aforementioned tones are ensconced softly in the mix, while her voice and other layers come to the fore. 

'One Perfect Moment', the last track of the album, is just that.  It is a celebration of sound and a wonderful way to end the album.    

Keeping with the aura of this blog, MSOTT S/T is the stickiest of the icky.  As one hops along the different sides, Rachel's spectrum of sound glows intensely, blazing a path for fellow seekers.  This album is available from many fine distros.  I purchased the colored vinyl from Forced Exposure.  Even though the colored vinyl is now unavailable, it doesn't matter if the vinyl is blue or black.  The music is the most important thing, and this sincere, beautiful effort is just the medicine for your head.

Peace to you, friends :)

Kief with Rachel Evans (Motion Sickness of Time Travel, Quiet Evenings)

It is an absolute honor to chat with Rachel Evans, kief-style.  Whether it is with her own project, Motion Sickness of Time Travel, or the blissful duo with her husband Grant, Quiet Evenings, Rachel is making some of the most beautiful music today.  The pictures below are only a small sample of her prodigious output.  Recently, Spectrum Spools released the incomparable Motion Sickness of Time Travel self-titled 2xLP.  Easily one of the finest of 2012, it is full of "Def" sounds - sounds that make you feel.  Throw a healthy dollop of kief on that bowl, fire it up, and blaze on with us :)

Glorius Bubba Kush Kief from fellow smokehound, Fadedfools!  thanks for the good vibe and peace to you, bro :)

1) The diverse range of sound and ideas over four sides of vinyl coalesces impressively. Could you please talk about the process of recording this beautiful release for Spectrum Spools and your inspiration(s) for this record?

Rachel Evans: I started recording material for the 2xLP in early 2011. Initially I approached it the same way I've approached most of my other solo releases, which is sitting down with my gear for an hour-ish at a time and recording layers on top of layers of myself direct-in. I got a few "finished" tracks out of this, but since I had so much time to work on the album I just kept recording more for it. Throughout the process I decided to record some longer "live" one-take tracks.

One of those takes became the C-side of the album, and is one whole piece. I was really happy with it and liked the idea of longer, side-long tracks for album, but I was still really attached to some of the shorter tracks I'd recorded before and after that. So in January of this year when it was time to decide what was going to make the record, I did some post-editing and turned the other 3 sides of the LP into "suites", mixing the shorter tracks together. I really wanted the album to have a more continuous flow to it, without excess silence interrupting in between "songs". I was really happy with the side-long "suites" approach so I stuck with that as the final version of the album, and gave each side it's own name. 

As far as inspirations for the album goes, my husband Grant had just bought me the "Promethea" books by Alan Moore around the time I started recording music for the LP. In a weird way it's sort of my soundtrack to my own Promethea-esque tale. The D-side title "One Perfect Moment" comes from that series of books. About the time I was finishing up the music for the album I was reading Murakami's "Kafka on the Shore" (another book Grant suggested I read!). It was also a big influence... the A-side title "The Dream" comes from that novel. I had a couple titles in mind for the album itself when I started recording it, but by the end of the whole process I ended up going with a self-titled album. I'd never done that before and it just seemed right... nothing else seemed to fit better than that. There were a few other inspirations for the album too... I was listening to Grant's solo music (especially his double tape, "Winds Over Silmäterä") a whole lot during the time that I was working on the bulk of the music for the album. Also cats. Cats inspire so many things.

2) The label that you and Grant run, Hooker Vision, has started the year wonderfully with many great releases. What can fellow sonic travelers expect from the label in the future? Will there be more vinyl releases?

Rachel Evans: Right now we've got a Sparkling Wide Pressure LP in the works, and some more tapes too, including a Spectrum Tickets cassette.

Our upcoming Hooker Vision tape batch, due out the first-ish of June includes a new Aloonaluna tape, a Merryl tape, a Crippling tape, Grant's first solo tape under his own name, and a new MSOTT tape.

3) What kind of records/sounds are you diggin' currently?

Rachel Evans: Probably one of my favorite records we got recently is Phurpa on Idealogic Organ. So good... Also I never get tired of listening to Grasshopper. And the new Discriminate tape sampler with Inez Lightfoot and Night Lite is amazing. I especially love Inez Lightfoot's side, perfection!

4) What does the future hold for MSOTT and Quiet Evenings? Are you participating in any other projects?

Rachel Evans: We have a handful of shows coming up for Quiet Evenings! We'll be playing Gainesville, FL this Thursday (May 17) as part of the Pedestrain Deposit tour. Then Atlanta, GA May 22 with our good friends Villages and Merryl as a part of their tour, and then Asheville, NC on June 2 as part of Aloonaluna and Roamer X's tour (also with Villages and Merryl on the bill). We also just got word that Quiet Evenings will be playing Voice of the Valley this year on a 905 tapes side stage. And later in the year we'll be playing the Hopscotch Music Festival in Raleigh, NC. Quiet Evenings also has an upcoming LP on Aguirre Records, due out this summer! And a handful of splits in the works with Grasshopper, Former Selves, and Afterlife.

I have a new tape coming soon as MSOTT on our own label Hooker Vision, called Chinaberry. It features some brand new stuff as well as a couple tracks that were cut from the 2xLP, and will be out the first week of June. I have another tape coming soon to Sacred Phrases that also features some tracks that didn't make the 2xLP cut. And in February 2013 Grant and I will both be playing solo sets at The Stone in NYC on February 1, and on February 2 Quiet Evenings will be playing The Stone too, along with Afterlife! As far as other projects... I've had a split/collab 7-inch in the works with Lunar Miasma for some time now. That's still on my to-do list, along with doing some vocals for some Emuul tracks. Grant & I are also planning to move out of GA this summer, so that's a huge thing too.


peace to you, friends :)

MV & EE - Space Homestead (Woodsist 060)

Trailblazer Jack Herer makes the Space Homestead glow with green.  thanks to Humboldt Relief for the good vibes.  peace to you, bro :)

What can one say about music as beautiful as this?  Furthermore, how often does music elicit tears from one's eyes?  MV&EE's discography is replete with beautiful songs.  Yet, 'Wasteland', the penultimate track on Space Homestead, released on Woodsist, might be the most alluring of all - to listen to the track, go to Dusted Magazine and read the wonderful review by fellow MV&EE head, Jon Dale.  Not surprisingly, it features the contribution of Jeremy Earl - Woodsist, Woods, Hello Sunshine, Fuck It Tapes.  This album has a real D.I.Y. feel and Jeremy's finger prints are ubiquitous.  His contribution to the vocals during the chorus is a very pleasant surprise.  More so, Jeremy's drumming on 'Wasteland' regulates the tempo nicely - some of my favorite drumming of the year.  At first listen, his drumming is instantly noticeable.  Depending on your disposition, this one might hit you differently. However, this poignant track never fails to produce goosebumps on my forearms.  Matt's guitar solo wraps you in that familiar, uplifting MV+EE gossamer.  His fried tones part the clouds, bathing the travelers in the warmth of the sun.  Given the emotional weight of this song, it is also interesting that only three musicians appear on this track - Matt, Erica and Jeremy.  It would be wonderful to hear more of Jeremy on future releases.

Overall, the album has an interesting feel.  The first side contains mostly bucolic, folk styled tracks, including contributions from a wonderful cast of players from various incarnations such as Jeremy Earl, Asa Irons, Mick Flower, John Moloney, Rafi Bookstaber, Muskox, Doc Dunn, Carson Arnold, Matt LaJoie, Coot Moon, Rangoose, J. Mascis, Paulie G., and Willie Lane.  The album starts with waves of lap steel that instantly propel the listener into the the MV&EE universe.  Next up is 'Workingman's Smile', with its sweet, languid tempo, and it would not be out of place on Barn Nova.  'Sweet, Sure, Gone' has a really mellow collective vibe - the vocals being the best part.  Side A ends with two standout tracks, 'Common Ground' and 'Moment' respectively.  'Moment' is augmented by the beautiful concurrent vocals of Matt, Erica, Jeremy and Matt LaJoie.

Where as Side A was a bit mellow and resided in bucolic environs, Side B picks up the pace.  Overall, it is the best flipside that i have encountered in 2012.  'Too Far to See' has a blues feel in several spots and it would not be out of place on C.O.M. classic, Liberty Rose.  Subsequently, the aural beauty of 'Wasteland' makes an appearance before the record ends with another standout, 'Porchlight > Leaves' (PL).  PL has a live sound, one in which the listener does not feel far removed from the action.  Erica Elder's airy vocals hover over, as the cast of players make sounds that snake through your head.  Towards the end, a transition occurs in true MV & EE style.  

Jack Herer would be proud of music such as this.  Blow smoke to the heavens and open your doors to the sound of MV & EE. Space Homestead was produced by MV in glorious Spectrasound and recorded at a myriad of studios.  This nug can be purchased directly from Woodsist or through Eclipse, among others.

Peace to you, bro :)



thanks to lukejhilton for the sweet Liberty Rose vibes.