Witch Egg- Witch Egg

 

There are times where a band name can be both illuminating and obfuscating at the same time. I find this to especially be the case when it comes to psychedelic and experimental music. The Grateful Dead is very evocative and lets you know there's going to be something otherworldly about their music, yet if you listen to Workingman's Dead you'll find the moniker confusing—shouldn't this have been made by a band called Mother McCree's Uptown Jug Champions? Similarly, groups like sunn O))) and Nurse With Wound signpost it's not going to be something especially digestible, but if you had no knowledge of what kind of music they make, you might assume they're an ambient and a hardcore punk band, respectively. While the ever-changing moniker of John Dwyer's main band, Osees, has nothing to do with the sound of the band over the decades, his side project names are squarely in the illuminating/obfuscating category. So it is with Witch Egg. Of course, a cursory Google search will reveal two possible origins of the name. Witch's Egg is the nickname for the Stinkhorn mushroom, in particular its immature egg-shaped fruiting body. The Witch's Egg, by contrast, is a children's book from 1974, summarized by user AbigailAdams26 on LibraryThing.com as the following:

“Agatha was a nasty old witch who lived alone in an abandoned eagle's nest on the top of Lost Mountain...[O]ne day a cuckoo's egg was left in her nest, and the cantankerous witch decided she would hatch it, in defiance of the mother birds who offered to take it off her hand...[R]aising Witchbird, Agatha learned to enjoyed [sic] the company of another being, and for the first time she was happy. Then in the fall Witchbird left for the south, and Agatha went back to her solitary life. Was it the end of their friendship, or would Witchbird return...?”

For all I know, though, Dwyer arrived at this name independently of these two sources. So let's put an end to this preamble and get to the good stuff. Witch Egg was released January 22, 2021 as the highly anticipated second entry in the improv side projects. Much to my surprise I found I had missed that Witch Egg had more than one release, so maybe I should ignore what I said in the Bent Arcana review about these not really being band names and moreso album names. I will be maintaining the use of italicization to indicate the album and not the band during this review. But I digress. Witch Egg's second release was a live album, simply titled Live, put out only on cassette on October 21, 2022. It captures a short four song set from August 6, 2022 featuring the full album lineup. (They opened for Flipper, which is sure a weird contrast!) There are no current plans to further release it on streaming services or other physical formats. While I couldn't find an upload of the cassette there is thankfully a HD recording of the entire show on YouTube: https://youtu.be/T2Lbm0OFcz4

Let's get back to Witch Egg, which has a smaller, different lineup than Bent Arcana:

John Dwyer- guitars & much more

Nick Murray- drums

Greg Coates- acoustic bass

Tomas Dolas- keyboards/synths

Brad Caulkins- saxophones

Nick Murray, of course, was a member of Osees for the post-Drop tour and the Mutilator Defeated At Last album, as well as the OCS 'reunion' record Memory Of A Cut Off Head. Greg Coates seems to be one of those under the radar musicians who plays a lot of random local shows where he lives, including a somewhat recent Soundgarden/Chris Cornell tribute show according to his Instagram.

On first listen, Witch Egg isn't too different from Bent Arcana. I feel that with more revisits, however, there's a real day/night, sativa/indica, Ocarina Of Time/Majora's Mask divide going on between the two records. You may have noticed that the lineup has an entirely different rhythm section, and this is the Rosetta Stone to beginning to understand where the differences come in. Nick Murray is more of a light handed drummer than Ryan Sawyer or the Osees duo of Paul Quattrone and Dan Rincon. His playing features a snare-forward, skittering, drum-rolls-and-cymbal-crashes sound that is founded more in traditional psychedelic rock and jazz-fusion. Greg Coates, meanwhile, exclusively plays acoustic bass on this record, while, interestingly, Dwyer contributes the electric bass parts, such as on 'City Maggot' (you can tell; his playing is tentative and a bit flat by comparison). Coates lacks the slippery elasticity of Peter Kerlin's playing style though his acoustic bass (and use of a bow at times) give Witch Egg part of its unique jazzy texture. I've always liked acoustic bass with an otherwise electric/amplified/woodwinds improv-heavy band, such as heard in early Medeski Martin & Wood.

The best way I can more tangibly explain the sound change from Bent Arcana is that Witch Egg as a whole has more of a jazz-forward, spacey/cosmic focus, de-emphasizing the rock, krautrock, and psychedelic/experimental elements. Outside of the rhythm section personnel turnover, the other huge change is that John Dwyer's guitar is either absent for most of the album or used as more of a background texture. Seriously, go back and pay close attention to this record and I don't think he plays a single solo or lead line! More intangibly, meanwhile, I would say Witch Egg has a hazy, late night, and eerie vibe going on, though you wouldn't know it at first.

Opener 'Greener Pools' jumps to life with a bellowing bassline and cacophony of saxophone/keyboard/guitar before quieting down into a spacey, drumless ending that segues immediately into 'City Maggot' led by Brad Caulkins' screeches and honks. 'Your Hatless Friend' maintains a low-gear chilly groove that isn't funky but makes you want to tap on the steering wheel or desk, with saxophones breathing in and out at the edges of the music, the full-band pulse gradually increasing while keyboards/synths quietly stir up the background fireflies. Suddenly all is dispelled by a chunky guitar strum that is a bit abrupt and awkward, if I'm being honest.

Side two turns down the lights even further. 'Baphomet', aptly named after an occult deity with a goat's head, has a deep, frightening synthesizer line that howls echoingly at you like a creature opening its multiple maws to begin the song that announces the end of the world. The free-floating 'Sekhu' feels like you're in the long dark of the Mines Of Moria, trying to spy apparitions in the foggy darkness, ending with a comfortingly traditional jazz bass solo. Finally, 'Arse' and 'On Your Way Now' cap off the mostly-mellow-yet-sometimes-menacing record. The former has an oddly catchy ascending saxophone line and a gibbering wordless vocal that reverberates in the backdrop, as if you're turning a corner and coming upon a ceremony being performed before it's all washed away by a staticky synthesizer. 'On Your Way Now' starts with a cycling keyboard line and a bass-heavy groan nodding back to 'Baphomet' before a dusty dusk shuffle kicks in led by airy saxophone leads and slow motion drumming. I always picture incense trails or maybe smoke from freshly blown out candles wafting in the air when I hear this song. Faint arcane babbling and Nick Murray's echoing snare hits see us out the door.

If I listen to Witch Egg more than Bent Arcana, it's only because I love how much it simultaneously narrows/focuses the sonic palette while also having a unique vibe and sound all of its own. Aside from Damaged Bug, it's rare to hear Dwyer play so little guitar, and the spacey, late night jazz atmosphere of the record really implants itself into your subconscious. Listen to it a few times in the right mood and setting and it'll infuse into your goosebumps and the hair on the back of your neck. For those who prefer In A Silent Way and Can's 'Future Days' and 'Quantum Physics' to Bitches Brew and Tago Mago, you may find Witch Egg to be one of your new favorite albums. Hell, even setting aside these pedantic preference discussions, it can become so. I know it did for me.

Bent Arcana- Bent Arcana

 

Despite notable attempts by Television and The Wipers, punk and garage rock bands have traditionally shunned long songs. To open that forbidden door is to venture beyond the sacred ground of simplicity, to betray everything they were reactions against, namely the excesses of prog rock and fusion bands. Can these warring factions ever be united? Well, ask a man like John Dwyer and he'll just laugh it off and go back to making whatever the hell he wants. After telegraphing the future with Warm Slime's title track, Osees truly opened the gates with Face Stabber's 'Scutum & Scorpius' and 'Henchlock', the latter of which is a side-long jam session that brings to mind Can's Tago Mago and Miles Davis's On The Corner and their ten-plus minute throwdowns. Were you to merely continue following Osees' studio output, however, you'd see a band who seem to have walked it back from the edge, with the transitory Protean Threat and (as of this writing) most recently the sub-half hour punk/hardcore love letter A Foul Form. It's in the extracurricular activities—live albums, The 12” Synth, Metamorphosed, Weirdo Hairdo, and Panther Rotate—the threads of Face Stabber were followed, whether long songs or otherwise. Sail even further over the edge of the known map of the Osees world upon the good ship S.S. Dwyer, and you'll land in the New World of Damaged Bug and improv-based side projects.

Bent Arcana would bookend this series of side project improv sidequests with a self-titled studio album and a live album. Today we're only concerned with said studio album, released in the depths of the covid pandemic on August 21, 2020. The sessions that would give birth to Bent Arcana took place over five days in December 2019, and featured the following players:

John Dwyer (guitars and a bunch more)

Ryan Sawyer (drums)

Peter Kerlin (bass)

Tomas Dolas (synths/keyboards)

Kyp Malone (synth)

Brad Caulkins (saxophones)

Marcos Rodriguez (guitar)

Laena “Geronimo” Myers-Ionita (violin)

Andres Renteria (misc. percussion)

Joce Soubiran (tenor saxophone)

Most of you will probably recognize Kyp Malone from the amazing TV On The Radio, while Brad Caulkins will be familiar to Face Stabber fans as the man on the saxophones. I won't pretend I know any of the other players prior to this record, but I do want to point out Joce Soubiran is one of the co-owners of the Zebulon venue, at which Bent Arcana will record their eventual live album.

Before we get to the album, a short side discussion. It can get a little weird talking about these side projects because other than Bent Arcana, the other releases are only really given an album title and not a group name. I will continue to use Bent Arcana as the band, since they do have two different releases billed to their name. Where it gets confusing is that the Moon Drenched album features all of the same players on Bent Arcana plus one, and the live Bent Arcana album has fewer members and has two songs off the Moon Drenched album. Nonetheless I will discuss them as separate bands/music projects for an attempt at simplicity. In addition, I'll italicize the album name if I'm talking about it specifically and not the band of the same name.

Anyway! Setting aside Sword & Sandals and Endless Garbage, the improv side projects led by John Dwyer are concentrated on varying combinations of jazz fusion, psych, and krautrock. Some tracks do seem like pure improvisations created on the fly through group interplay ('Outré Sorcellerie', 'Mimi') while others have a more linear progression suggesting a predetermined chord structure and framework, possibly multiple takes with different soloists leading while the others react and interact ('The Gate', 'Oblivion Sigil').

Something I keep thinking about when I listen to these albums is that, while Miles Davis was absolutely and rightly celebrated for his skill on the trumpet and his drive to innovate music, his most underrated asset was his ability to seek out other musicians who could not only help him realize his and stalwart producer Teo Marcero's vision, but to push him in new directions. (One could also credit some of his love interests with introducing him to new music). After all, the first and last songs on Bitches Brew weren't written by Davis, and the various players on that album are as quintessential to its depth of sounds, motifs, and ideas as he was. I would, of course, say the same about John Dwyer. There's no denying the talent of the current five-man Osees lineup, as well as previous members of earlier incarnations of the band. The people he got together for the improv side projects, despite not being “names” to me outside of Kyp Malone, gel with Dwyer and each other so well you'd think they'd played together for years. I will say that I don't really hear violinist Laena “Geronimo” Myers-Ionita much on Bent Arcana, and it's tough to tell if it's Dwyer or Marcos Rodriguez playing guitar. Anyway, he really knew exactly what he wanted to explore musically and had the ear to recruit people who were as skilled as him, if not moreso, and who could contribute equally. There's a reason he never names his bands something like “John Dwyer Band” or “John Dwyer's Bent Arcana” or something.

Bent Arcana is a beast of modern improv adjacent musicians collectively playing their asses off without ever letting their ego get in the way or dominating the conversation. You'll walk away with Ryan Sawyer as your new favorite drummer, a genuinely gifted player who can do loose, ever evolving funky krautrock/jazz grooves just as well as he does the kind of free-rhythm shock and awe that lives in the edges and the foundations of tracks like 'Outré Sorcellerie' and Gong Splat's 'Another Dust.' Were I tasked with choosing a MVP of Bent Arcana, though, I'd have to give it to Peter Kerlin. Whether on electric bass on 'Misanthrope Gets Lunch' or acoustic on the closing 'Sprites', his playing has a way of bringing everything into sharper focus while propelling everyone around him. The bassists of Phish and The Grateful Dead also have this style, part rhythm and part lead, that I tend to prefer in improv-heavy music, though the deadset bass repetitions of Can and Fela Kuti are obvious exceptions to the rule. Anyway, before I get to my closing thoughts I have to praise 'Mimi', a truly beautiful mid-album duet between the saxophonists that feels like stepping outside for fresh air in the midst of hotboxing a jam session. Perhaps a strange comparison, but it actually kind of reminds me of the (mostly) solo improvisations that Keith Jarrett plays on the Miles Davis boxset of live performances from late 1970, The Cellar Door Sessions 1970.

Given the ten member lineup, Bent Arcana is something of a fully-realized prelude to the coming side projects, containing bits of all the styles that would be more narrowly focused later on. This could result in the album feeling somewhat overstuffed with ideas and instruments, depending on your taste. Yet every time I give it another listen, especially on headphones, I seem to pick out things I missed before—the vocal groans and possible cuìca on 'Outré Sorcellerie', sonar-like pings and pongs from synthesizers throughout the album, what sounds like Out To Lunch-esque vibraphone on 'Oblivion Sigil'—and my appreciation for this record further deepens. Outside of Endless Garbage I sometimes think of these side projects as interchangeable. The devil is in the details, as always, and Bent Arcana is an unholy, otherworldly fine start to some of the best modern arcane musical rituals led by psych shaman/D&D dungeonmaster John Dwyer. And it only stays great from here.

Sword & Sandals- Good & Plenty

 

When the Bent Arcana album was announced in June 2020, John Dwyer's accompanying press blurb gave us this explanation: “[t]his is the first interstellar transmission from five days of electrified & improvised sessions recorded at Stu-Stu-Studio, edited down to 40 minutes for your earballs.” It didn't come as much of a shock, given that the most recent Osees album at this time was Face Stabber, a monolithic beast that ends with a 21 minute psych-jazz jam. The band had also for some years used soloing and group improvisation during live shows. So, yeah, what could be a more natural progression than Dwyer calling up a few musician friends and having a good old jam session? This was something that rock-associated musicians had been doing since at least Al Kooper's legendary 1968 Super Session, a record that saw the assembled players stretching out on blues and jazz jams interspersed with more traditional vocal-led songs. Culled from two days of jamming, Super Session is believed to not only have helped coin the term supergroup but it also called to mind already existing supergroups like Cream and John Mayall & The Bluesbreakers. It's not too much of a stretch to say subsequent supergroups like Blind Faith, The New Yardbirds (soon known as Led Zeppelin), and Emerson, Lake & Palmer were inspired by it to push pure musicianship above pop songforms.

Anyway, no one has claimed Bent Arcana and subsequent improv releases were supergroups, so let's reel it back in. That's not the incongruity here regardless. The real problem with the press blurb above? It wasn't techincally Dwyer's first crack at an improvisation heavy sideproject. That would be Sword & Sandals, a free-jazz band that dates to circa 2006, which you can see in a rare live video from when they were a duo consisting only of John Dwyer on drums and Randy Lee Sutherland on saxophone: https://www.youtube.com/watch?v=WaI6w0H4VJw&ab_channel=KevinBrown

It wouldn't be until 2010 that Sword & Sandals were fully formed and released a studio album, Good & Plenty. Recorded and released during the same time period that gave us Warm Slime, which was not improvised but was recorded live-to-tape, this record of seven untitled songs featured a trio of John Dwyer (drums, flute, and bass), Randy Lee Sutherland (drums, bass clarinet, and alto saxophone), and Shaun O'Dell (tenor/alto saxophones and piano/keyboards); Anthony Petrovic contributes synth on the first track. It's worth noting for Sees-storians that O'Dell did all or some of the artwork for the first OCS album as well as for Good & Plenty. He maintains a personal website to this day and seems to be focused on visual art as well as being a college lecturer/professor. (Aside from Dwyer the other members have remained below the radar)

There are a few bootleg live performances floating around and CD-r/live releases from Sword & Sandals, but it's really hard to pin these down given their obscurity/rarity and the fact that the group's name is also a subgenre of films, thus making them kind of un-Google-able. There's also apparently some even more obscure Irish(?) band going by the name Sword And Sandals to confuse you further. Only the Rate Your Music website lists anything by Dwyer's Sword & Sandals other than the Good & Plenty studio album so tread carefully, hardcore collectors. As a result, it's all I'll be tackling.

Free-jazz is always a tough subject to write about, largely because it's so hard to define. Some people use it interchangeably with the terms free-improv and/or avant-garde jazz, so that even after reading a well written essay like Dom Minasi's Free Jazz Versus Free Improvisation (https://www.allaboutjazz.com/free-jazz-versus-free-improvisation-dom-minasi-by-dom-minasi), I'm still not sure I have a full grasp of the differences. Certainly as a jazz fan I've delved into the waters of landmarks like Out To Lunch (which I absolutely adore, and I believe is considered more avant-garde jazz with free elements) and Free Jazz: A Collective Improvisation (which I still find just as baffling as the jazz magazine DownBeat, which after its initial release rated it five stars and no stars in two dueling reviews). All I will say with my dubious-authority on the subject is that I find it a bit elitist when people seem to believe it's only genuine free-jazz if it's performed by musicians who come from a traditional knowledge pool of their instrument and 'classic' jazz/blues forms/modes/scales/chord changes, and also because it still has some “form” and still, occasionally, “swings”...whereas free-improv pretenders do not possess this knowledge and don't have a true feel for “swinging.” Since we know with certainty John Dwyer does not come from a traditional jazz background, make of all this what you will. But I digress.

To these ears, what Sword & Sandals are doing draws more from the John Coltrane school of free-jazz, focusing more on the interaction between 'melodic' instruments freely improvising with a drummer pounding out scattershot rhythms. Though released after his death and therefore not part of his true canon, Interstellar Space, featuring Coltrane playing in a duo with Rashied Ali on drums, is a close touchstone for Good & Plenty. I've always been entranced by Interstellar Space; it's such an oddly beguiling and spectral album, exploring the chaos of the cosmos yet keeping one foot firmly planted in the terra-firma language of mid-to-late 60s jazz. The way each song begins with Coltrane shaking what sounds like sleighbells before Ali begins the space ritual is so distinct yet so simple. While it's obvious Dwyer, O'Dell, and Sutherland are not on the same level as Coltrane—shit, I mean, who is?—there's still a lot of ragtag fun to be had here, skilled amateurs getting in the ring to try to see how many rounds they can bleat, blare, and carom around before collapsing.

Good & Plenty was clearly something done as a vacation for Dwyer, allowing him to take a breather from leading one of the greatest garage-rock bands at the peak of the late 00s/early 2010s garage/psych revival. The obvious point of interest for Osees fans is his turns as drummer, something he's only done on Castlemania and Putrifiers II, but I also want to take the time to call attention to his flute playing, as subtle as it can be in something like the mix in the intro of 'Track 6.' Anyway, since the liner notes don't say which songs he's drumming on, we can't know for sure which bits are his, but I have to say he's actually doing a great job at mimicking what he's aiming for, even if it is a bit more stiff and bass-drum heavy than your usual 'true' jazz drummer. Also worth praising is guest Petrovic's synth during the first track, which is less like free-jazz and much more like the propulsive menace of doomed keyboards on Suicide's first album, in particular 'Ghost Rider.' This is all very interesting given that about ten years later Dwyer would get the itch to again revisit jazz/improv-heavy music, and these kind of instrumental textures would no longer feel quite as out-of-the-blue as they must have to then-Thee Oh Sees fans of Help and Warm Slime. In fact I'd wager that beyond the generally saxophone-dominant sound of Good & Plenty, you could easily put something like the last few minutes of 'Track 2', with its breakdown into smoky atmospherics of keyboard, piano, and bass around the five minute mark, onto side two of the Witch Egg or Gong Splat releases and nobody would notice. Of course then there's freakouts like the short 'Track 4', which is actually quite more familial to the free-jazz leaning moments of a certain replica of the trout mask variety. 'Track 6' is probably my personal favorite, starting out with droning, interwoven saxophone lines and cymbal washes with occasional bass drum pulsebeats before drum rolls begin to churn the ocean around you.

Assuming you come to this record from a jazz/free-jazz knowledge base, I would assume Good & Plenty will strike you as a bit amateur if inoffensive. As for Dwyerologists, unless Endless Garbage is your free-jazz-cup-of-tea, it isn't going to be some hidden gem revelation. Yet even those of you who can't enjoy this racket will find in it a crucial part of Dwyer's musical DNA, an artifact from an earlier time when Thee Oh Sees had only been around about as long as the earlier OCS incarnation had been. It's perhaps more useful to you, then, as a source to cite for the lead-up to the modern jam/improv sideprojects. For those of us who, to use a Grateful Dead metaphor, like our 'Eyes Of The World' as much as we do our 'Drums' and 'Space', Good & Plenty is an intriguing mid-period outlet for Dwyer's more out (in the jazz sense of the word) and outre musical excursions. It's a tantalizing “what if?” to imagine how Sword & Sandals might've developed if he had kept it going concurrently to his main band.

Osees- A Foul Form

 

Let's get this joke out of the way: two years is an eternity in Osees studio album land. Coming cold on the heels of Protean Threat, Osees took an uncharacteristically long amount of time to deliver A Foul Form. Instead, they focused on hunkering down to survive the pandemic and released a string of live albums as well as clearing the (recent) vaults with odds-n-sods collections and a surprise remix album. Oh yeah, and main Sees-r, John Dwyer, also unleashed a set of improv/jam records under various guises with various lineups just for good measure. So while the drought between new Osees studio material may have felt interminable to stalwarts, we were hardly short of other drinks and tinctures to slay our thirst. Still, speculation ran rampant, as speculation is wont to do, as to what direction the then-theoretical next album would take. Would the transitional-feeling Protean Threat be seized upon more fully, leading the band to complete said transition and return more or less to their roots, skinning it back to the garage abandon of the Help era? Would they, as some fans hoped, 'course-correct' by reloading their save so that the modern robust five-man lineup could continue harvesting the heady mines of prog/psych/jazz/metal from the preceding era? Or maybe they would truly curve our expectations with something new, like bossa nova drum n' bass?

As it turns out, A Foul Form is neither a course-correction nor a true return to their garage era. Instead, the svelte 21 minute album challenges the gifted musicians to concentrate their sprawl and power into short, sharp shocks that call to mind the Black Flag covers on Live At Big Sur as well as, to some extent, the murky, formless post-punk of the Chrome covers on Levitation Sessions II. All of that said, A Foul Form is no slavish tribute/sacrifice to the old “kill-your-idols” idols; instead, it's one of the most outright alive and heavy sounding dispatches from one of the best modern rock bands going. Which is a bit ironic, given that a sickly Dwyer was finishing the mixing and vocals while suffering from a second bout of covid in late 2021. (Eerily, as I'm writing/editing this I'm still fighting off a really nasty non-covid illness that has had me sleeping ten hours a night for more than a week. But I digress.) According to the same Aquarium Drunkard interview I got that info from, this short hardcore/punk album was something the band had wanted to do for awhile...So while at first glance it certainly is a huge change from the preceding era it's certainly not a reactionary record. It must've just seemed like it was finally time. After all, if you can barely breathe you may as well yell and bellow.

So, yeah, this is less a Let It Be stripping it back-to-basics than it is a Reign In Blood/Damaged all-killer, no-filler love letter to the music they grew up on. Or perhaps a better comparison in Dwyer's own sprawling discography is a less blown-out and lo-fi take on what he was up to with Coachwhips and Pink & Brown. Make no mistake, though, it's still an Osees record through and through. There's always going to be an element of psychedelic and druggy oddness peaking through like a rainbow sprung from the darkness. The brief song fragment 'A Burden Snared' is a dense, layered, and transitory piece that honestly makes me think of Panther Rotate or (as said earlier) the hazy, formless, shifting Chrome heard on Alien Soundtracks. Album highlight and longest song 'Perm Act' uncouples Osees from their usual krautrock prog-motorik train cars and reattaches them onto a semi-truck starting/stopping in traffic between smooth reggae/dub influenced rhythms and up-and-down proggy instrumental calisthenics. Overall there's a real sense of fun and irreverence that was sometimes missing from previous releases, and I don't just mean surface level things such as offbeat/edgy track titles 'Social Butt' and 'Fucking Kill Me.' The title track is right up there with the finest stock of Osees' patented “hardest rocking song on the album” classics, and the loopy guitars backing the shouted chorus are irresistible. I picture someone rolling their eyes all around their sockets and belting out “a foul form! A foul form!” Assuming I ever make a playlist to exercise to again, a lot of this record is going on there. Make calisthenics great again!

Though A Foul Form was telegraphed a bit by Protean Threat, I don't know that I could have predicted how vital and successful the dip into classic punk and hardcore would be for Osees. If I'm being honest, I'm a little sad they didn't give us at least one more in the same vein of the post-Drop albums, but I suppose I do feel this way about every incarnation of this band. I just really love more or less everything they do, with even personal-least-favorites like Dog Poison or Putrtifiers II giving up gems on further revisits. All of which is to say, if we get another string of forms most foul, I'll just have to spend the next few Halloweens digesting the next batch watching skate video compilations and pounding Bang energy drinks instead of hitting the bong and watching horror movies at half speed.