Maple Death HHV Records 36 Items

A download code is included. If you could paint the world black, rediscover it with a flashlight illuminating every single detail and turn each finding into an obsession while gliding across the murk then you might stumble into Blak Saagan’s new magniloquent quest ‘Se Ci Fosse La Luce Sarebbe Bellissimo’ (If there were light it would be beautiful), a monstrous work of dedication and sound architecture that investigates and soundtracks one of the saddest and most obscure pages of Italian history: the 1978 kidnapping of former prime-minister Aldo Moro by the Red Brigade terrorists. Based near the Venetian lagoon, Samuele Gottardello aka Blak Saagan, has been crafting his own library music for years merging the tradition of Italian 60s/70s psychedelic OST’s, ambient, drone, rhythmic electronics with kosmische kraut landscapes and Industrial wave to create ritual hypnagogic experiences. While his first record ‘A Personal Voyage’ explored outer space influenced by the work of cosmologist Carl Sagan, ‘Se Ci Fosse La Luce Sarebbe Bellissimo’ is a completely different beast, a sinister terrestrial atmosphere pervades the recordings, a relentless throbbing beat that maps out the complexity of this new endeavour. Every song has a title that connects with the Aldo Moro case; 54 days from Moro’s kidnapping and assault on March 16th 1978 to the finding of his body in the trunk of a Renault 4 on May 9th, the 86 letters he wrote during his detention, the communications and negotiations and the uncertain role of the secret services. It’s like a path that goes deeper and deeper, with moments of tension, moments of suspense, dream passages obfuscating reality and drum rolls echoing hyper-reality. One could say it’s like the soundtrack of a movie that was never shot. Recorded over the course of two years with the use of a Farfisa Vip 205 organ, Roland Tr-606 and 505 drum machines, Siel Orchestra synthesizer, Moog Model D and various analog effects, this 4 sided LP comes as dense as they can, moving from the autobahn Kraftwerkian loop images of ‘Convergenze Parallele’ to the cold blooded synth-wave of ‘Scuola Hyperion’ and ‘Achtung Achtung’. ‘L’uomo incapucciato’ ups the drama recalling Goblin’s 1978 OST for Dawn Of The Dead, while ‘Ore 9: Attacco al Cuore dello Stato’ is pure Italian police soundtracks, elevating gongs, percussion and orchestral elements to Morriconian suspense that reaches new heights in ‘E Lo Spettro Disse: Gradoli’ where celestial flutes intertwine and carry on the rapturous terrestrial legacy of Italian maestros Alessandro Alessandroni, Egisto Macchi and Piero Umiliani. Blak Saagan’s work would not be complete without nods to Carpenter and the 1978 crossroads where post-punk, sci-fi, new wave and minimalism collided creating alien experiments (‘Dentro la Prigione del Popolo’, ‘La Firma Del Legionario’). Ending on the majestic 8 minute title-track, Se Ci Fosse La Luce Sarebbe Bellissimo, the album finds its moment of catharsis, a world free of any rhythmic constriction where the mystical dances with the unknown and where light finally has permission to invade and permeate reality.

Furious, relentless, maybe less starry-eyed but at the same time profound, celestial and poetic, London concrete-punks Qlowski are back with ‘The Wound’ their second album on Maple Death & Feel It Records, a record that feels like the culmination of their lives, politics and sense of community. Still led by the dual-force of Mickey and Cecilia, Qlowski has expanded into a collective with the addition of Christian, Lucy and James, creating a sense of urgency and sweeping palette that was only hinted at on their debut ‘Quale Futuro?’.

Dream-punk, propulsive rhythms, oblique kiwi-pop, dark punk are still part of their vocabulary but the band smashes borders with kosmische soundscapes, art-pop ballads, industrial beats and funked-up low-thud. Sonically impeccable, loaded with ear candy, the album was recorded in Dublin at Sonic Studios by Daniel Fox (Gilla Band) one of today’s most innovative producers and ‘The Wound’ ebbs and flows through syncopated grooves, abstraction and bliss, a work of contrast, dark-soft-heavy full cycle but mainly euphoric. The addition of drum pads, drum machines, electronics, analog pedals and field recordings are part of this process, it almost feels like a punk album for the club culture, where bodies and sweat are just one gear in bringing a community together.

Full of staples ‘Desire’ mixes anarcho-punk bleakness with New Order-ish ecstasy and Mickey’s commanding vocal presence, ‘Surrender’ almost feels like the Cure on a Martin Hannett diet of pills and reverb chambers, ‘It May Change’ and ‘Mastering The Motions’ dance on the cusp of angular funk, all wiry and bouncy recalling Pylon but also euro icons Kleenex. ‘Praxis’ and ‘Stronger Than’ show how far Qlowski has come, dream-pop ballads that shine though analog synths (Siel Orchestra, Juno) and Ceci’s heavenly delivery.

No rock 'n' roll record has felt this mysterious and free-spirited in years. R.I.P. channels Jorge Ben's late-night, alcohol-soaked vibes (heard on 1970's Fôrça Bruta) and the rambling country-blues of Bob Dylan's Nashville Skyline. - NPR

And just like that he did it again, vanished. At this point Krano is an expert in the art of disappearing, after the dust settles he retreats, fades away into the hills behind Valdobbiadene and shuts down communication. It took four years to rescue from the vaults ‘Requiescat In Plavem’, Krano’s 2016 country-psychedelic masterpiece, a Venetian songbook for the Piave river shrouded in mystery and wonder that turned heads across the music circuits. Seven years later he’s back with ‘Lentius Profundius Suavius’ an incredible collection of songs about loss, solitude, death, darkness (Profundius) and sweetness, devotion and friendship (Suavius). Absolutely aching with soul, these ten songs channel rollicking twang, cosmic electric americana, honky-tonk mystics, noir gothic and fuzzed out spiritual rock’n’roll. As some would say, only the good sh*t, a masterclass in songcraft and true loner folk.

Who knows how, but ‘Lentius Profundius Suavius’ was vaguely inspired by the work of Italian peace activist Alexander Langer, a forgotten hero that relentlessly worked on eliminating ethnic boundaries and fostered ‘togetherness’ and true values of solidarity and ecological renaissance. “Slower rather than faster, deeper rather than higher and gently rather than hard” was Langer’s motto and fittingly is the reason behind the album’s title.

Krano’s music runs free, transcends barriers, a distillation of broken dreams tinted in black and white, where having the blues is not just a feeling but something you can’t shake, a wayfaring outsider on a journey side by side with players like Bill Fay, Robbie Basho, Skip Spence, Dave Bixby, inevitably bound to burn in eternity.

“Damn if there isn’t some mystical appeal at work in these songs.” - Aquarium Drunkard

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naive

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records and Feel It Records.

Distorted classical choral recordings, synths, processed guitar… The exquisitely complex human-machine interface experiments conducted by Stefano Pilia are kept in a delicate balance by John Duncan‘s lyrics and the soulful quality of his vocals, for an album of electroacoustic songs that are a unique blend for both artists. Seeds and memories from the past are re-actualized in the present through a machine electroacoustic compositional process creating a dark, gloomy and terrifying image of the future. Duncan’s lyrics offer a counterpointing liberation to the machine processes in action here, poetically revealing the dark and intimate struggle between the human soul and its rapport with the machine.

These recordings are a point of departure for Matilde Piazzi‘s inspired liner notes and photos, that take this release to another level entirely, becoming a metaphor for contemporary efforts to reach the limits of knowledge and discovery, their heroic nature and their inevitable failure.

Both artists worked on their respective sections in isolation, Pilia in an industrial area of central Bologna, Duncan in the wilderness several kilometers south of the urban sprawl. Together, their recordings developed an almost magnetic attraction that seemed to meld effortlessly.

The experience of listening quickly takes on a cinematic quality, exquisitely moving from an oceanic uplifting (Try Again) to the depths of apocalyptic, unsettling vocals (Fare Forward), constantly maintaining a lush, richly complex tapestry. The linear understanding of time is suddenly gone, dominated by a crushing machine-defined present, with Duncan’s lyrics and vocals becoming a shamanic portal to a possible future.

Distorted classical choral recordings, synths, processed guitar… The exquisitely complex human-machine interface experiments conducted by Stefano Pilia are kept in a delicate balance by John Duncan‘s lyrics and the soulful quality of his vocals, for an album of electroacoustic songs that are a unique blend for both artists. Seeds and memories from the past are re-actualized in the present through a machine electroacoustic compositional process creating a dark, gloomy and terrifying image of the future. Duncan’s lyrics offer a counterpointing liberation to the machine processes in action here, poetically revealing the dark and intimate struggle between the human soul and its rapport with the machine.

These recordings are a point of departure for Matilde Piazzi‘s inspired liner notes and photos, that take this release to another level entirely, becoming a metaphor for contemporary efforts to reach the limits of knowledge and discovery, their heroic nature and their inevitable failure.

Both artists worked on their respective sections in isolation, Pilia in an industrial area of central Bologna, Duncan in the wilderness several kilometers south of the urban sprawl. Together, their recordings developed an almost magnetic attraction that seemed to meld effortlessly.

The experience of listening quickly takes on a cinematic quality, exquisitely moving from an oceanic uplifting (Try Again) to the depths of apocalyptic, unsettling vocals (Fare Forward), constantly maintaining a lush, richly complex tapestry. The linear understanding of time is suddenly gone, dominated by a crushing machine-defined present, with Duncan’s lyrics and vocals becoming a shamanic portal to a possible future.

Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K’s ‘Two Years’, a deep dive into the Canadian songwriter’s journey through vulnerability, change and ultimately letting his guard down.

Whitney K is the wandering stalwart Konner Whitney, a Whitehorse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto ‘Goodnight’, a head on collision into 24 hours of illusioned romance and modern day escapism. Fast forward to 2021, lift those curtains, aptly titled ‘Good Morning’ is the opening track on ‘Two Years’, a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski and drummer Avalon Rossignol-Tassonyi, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordinary. Written with a completely different mindset and a conscious effort to break with the traditions of a corrupt, hypocritical, and hateful society/lineage, Konner’s pen is precise and daring, uniting the earnestness of Willie Nelson and the comedy relief of Harry Nilsson on the beautiful ‘Me Or The Party #165’, or when painting Canada’s colonial past and heartland image on the primitive rock’n’roll anthem ‘Trans-Canada Oil Boom Blues’. There is no avoidance, no excuses, whether your self portrait in the mirror resembles a five dollar caricature sold on a boardwalk, the John Cale-esque opener ‘Good Morning’, or whether you learn you are worthy of love like on the poignant vignette ‘Maryland’, the beautifully arranged album closer that echoes Tin Pan Alley with Lou Reed’s grit. ‘Two Years’ also presents plenty of fun, the perfectly stumblin’ garage rocker ‘Last Night #2’, the honky tonk blues coming-of-age episode ‘Cowboy City Rocker’ and the cello/violin belter ‘Hit This Pipe’. One of Whitney K’s many gems is ‘The Weekend’ a minimalist spectral ode to hope where the band’s restriction brings out the pure force and vocal command of the ramblin’ troubadour. Time to open your arms, he’s coming out of no fun city and aiming straight for you.

Swarm of failing robots, where are you running to? This is Milano in 2020, put your gloves on, it’s brutal out there. Hailing from the Occult Punk Gang collective and the experimental scene that calls Macao home, Wisecrack perfectly exemplify the bleak narrow futureless city with their heavy dose of industrial bass music. Their Maple Death self-titled debut is a furious mix of mind bending circuit breakcore rhythms, post-rave, hard techno and synth-punk delivered with an uncanny edge, a kinetic body voyage through vexation that juxtaposes celestial placidity (closing track ‘Wrongful Death’) with residual rage (‘Lights Off’). Federico Campo and Francesco Manzato, the duo behind Wisecrack, came together in late 2018, to create music inspired mainly by bass and distortion, documenting city hallucination, suburban sprawls and urban isolation. Their first output ‘Flesh’ was included as a cut in Bristol’s Avon Terror Corps compilation ‘Avon Garde’, epitomizing the duo’s ties to the city’s musical scene: post-dub, industrial, club culture. What characterizes Wisecrack is their unique approach, metallic dry beats, a cyber-punk sneering vocalist and a tribal thump that would not feel out of place on Chicago’s legendary Wax Trax Records.

From an ocean of black, sometimes there is a slim chance you might emerge clean and translucent, with another life chapter under your belt and a renewed story to tell. J.H. Guraj, our favourite wandering bird, is back with his first proper opus on Maple Death: Introspection / Migration. Sometimes records lead off into an unknown path that never considers release schedules or the outside world, inhabiting the abysses of the artists’ mind and dropping a hefty anchor in the murky waters. Dominique Vaccaro, stage name Guraj in homage to an old sage picker from the Albanian rocky landscape, started Introspection / Migration on a two day recording spree in 2014 using a resophonic guitar, a distinct unifying songbook theme and his usual freestyle wizardry … then the dust settled. In between releasing Underrated Glances At The Edge Of Town (Maple Death, 2016) ,Steadfast On Our Sand (Boring Machines, 2018), touring with Be My Delay and his experiments as Vaccaro Overlapped Memories (Tsss Tapes, 2019) and Close Distances (Dinzu Artefacts, 2018), his determination to finish this album never wandered.

Paranoid, alone, possessed, vibrant… has this ever been your state of mind on your morning commute to work? Just a human lost in the city, lost in the sea of machines, overwhelmed by fate, facts and the inevitability of those train tracks that someone has already laid out for you.
Named after the subway C line that runs through Roma Est and the Pigneto neighborhood, Metro Crowd are an industrial post-punk quartet that have carved out their sound on massive doses of 9 to 5 paranoia, metropolitan psychosis, corporate cubicles, government jobs and total annihilation. The four members represent an eccentric crosspollination of the florid Roma scene: cartoonist Vic Sinex, Gabor from acid minimal synth duo Holiday Inn, Ludovico T from hardcore chaotic punks Sect Mark, Toni Cutrone from Mai Mai Mai, one of the primary Italian occult psychedelic movers with his label No=Fi Recordings and Dal Verme venue.
Planning:, their first album for Maple Death (following an acclaimed first record on My Own Private Records/Legno Dischi), is a complete outer space Kafkian journey through a post-industrial landscape where mankind is fighting just to keep its head above water, basically to survive. Metro Crowd’s sound is built upon that sense of disgust, repulsion, unease. It’s a world where alien guitars meet factory tribalism, shifty bass patterns fight over circular rhythms and dramatic sloganeering. They inhabit that same oddball cosmos that gave birth to bands like Chrome, Z’EV, the old Subterranean Records catalogue, Foetus, Cabaret Voltaire, Flipper, early EBM tinged Ministry. What really sets them apart is their theatrical deadpan, shall I dare say a Mediterranean tinged New Wave flare and their giddy take on furious eccentric punk that probably comes from the Italian tradition of early 80s where bands like Move and Gaznevada were creating synthetic paths made of fog, lasers and flanger effects.
Are you controlling your trajectory, is the train fully automated or is there a driver steering your life in the wrong direction?

Creeping out of Torino’s longest dark winter nights, isolated and shrouded in mystery just like the cities’ deep connection to black magic, here comes SabaSaba, the newest addition to the Maple Death family. Western esotericism converting pagan mystic’s one by one!

No more waiting, His Electro Blue Voice's follow up to their Sub Pop debut is finally out via yours truly Maple Death & Irong Lung. Mental Hoop took three years to complete, a change in pace from the band’s past frenetic discography: gone is the organic earthy carefree approach of Ruthless Sperm now replaced by mind games, obsession, celestial psych and extra terror. No worries though, HEBV is as savage as ever, bringing it’s A-game and its usual brand of punishing dark-punk, Italo Hardcore, kraut beats, metallic noise and industrial.

Creeping through an imaginary border, sidesteppin’ through the night like cyber phantoms eavesdropping on early morning machinery shifts, an industrial solstice for pagan mystics. After five years Torino’s mysterious SabaSaba are back with ‘Unknown City’ an imaginary soundtrack for a dystopian city: digital raga, horror Exotica, half-speed techno, metallic dub and organic electronics.

The duo of Andrea Marini (synth, guitar, electronics, tapes) and Gabriele Maggiorotto (drums, percussion, effects, programming) return with their most political manifesto yet, an intricate musical essay inspired by China Miéville’s novel ‘The City And The City’, examining border control, repression, an unknown city where people move like ghosts without personality and without communicating, monitored on sight by the authorities. SabaSaba’s personal OST is a whirlwind of analog and digital instruments colliding, textured samples, syncopated drums and spiritual synth sweeps often heightened by Ambra Chiara Michelangeli’s eerie viola playing, an ancestral force resisting under a cement tower, modulars gasping for air, endlessly reverberating into noir-soul and gray landscapes.

Like Miéville’s two imaginary cities Ul Qoma e Besźel, SabaSaba’s journey is cavernous, claustrophobic at times, but a clear sense of evasion and resistance breaks through, small flickers of light, like a cyborg calibrating himself – the hypnotic dub ambient of ‘False Speech’ – for an ecstatic liberation – the trance inducing ‘Wrists Free’ featuring UK industrial techno duo Jerome. ‘Ul Qoma’ unites Boards of Canada’s emotional detune, with On-U Sound’s terrestrial ground force, ‘Night Plotters’ kosmische elevation is chained to the ground, while ‘Guarantee Safety In The Cities’ fluctuates like a nightrider, eyes shifting left and right, a somber procession descending into grace and paranoia ; ‘Catatonia’ is a message of hope, off-kilter beats carrying solitude on an unknown path.

‘Unknown City’ is an album for dark isolationists but also for people trying to connect, striving for freedom, be it primordial, celestial or written in dust.

Night shifting patiently, slowly drifting in constant flux. Where Ancient Plastix’ debut used rhythm to create geometrical sound architectures and craft elaborate mazes, his new offering ‘II’ glides effortlessly, combining incredibly rich textures with soft swan-like strokes, oscillating gently, an unhurried pace that combines the depth of Japanese ambient maestros and the choppy British mist.

Liverpool producer Paul Rafferty aka Ancient Plastix, recorded ‘II’ straight to cassette with a number of different synths (Yamaha Reface, Korg MS20) and keyboards (90s casio and 70s Gem organ) via a collection of guitar pedals, outboard (Roland Space Echo, Melos delay, spring reverb). His tape machine this time was a Japanese Sansui from the 90s, a strange 6 track machine with a pleasing fidelity bought off from an old rave dad who was finally giving up the ghost.

“Musically, this album is more patient in its approach to the predecessor. Recorded towards the end of lockdown in my highstreet basement below a used record shop, the arrangements reflect the personal era. No responsibility, no reasons to adhere to the previous patterns in my music making. As a result the album is a patient trawl through new discoveries and possibilities presented by improvising with old technology.”

Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K’s ‘Two Years’, a deep dive into the Canadian songwriter’s journey through vulnerability, change and ultimately letting his guard down.

Whitney K is the wandering stalwart Konner Whitney, a Whitehorse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto ‘Goodnight’, a head on collision into 24 hours of illusioned romance and modern day escapism. Fast forward to 2021, lift those curtains, aptly titled ‘Good Morning’ is the opening track on ‘Two Years’, a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski and drummer Avalon Rossignol-Tassonyi, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordinary. Written with a completely different mindset and a conscious effort to break with the traditions of a corrupt, hypocritical, and hateful society/lineage, Konner’s pen is precise and daring, uniting the earnestness of Willie Nelson and the comedy relief of Harry Nilsson on the beautiful ‘Me Or The Party #165’, or when painting Canada’s colonial past and heartland image on the primitive rock’n’roll anthem ‘Trans-Canada Oil Boom Blues’. There is no avoidance, no excuses, whether your self portrait in the mirror resembles a five dollar caricature sold on a boardwalk, the John Cale-esque opener ‘Good Morning’, or whether you learn you are worthy of love like on the poignant vignette ‘Maryland’, the beautifully arranged album closer that echoes Tin Pan Alley with Lou Reed’s grit. ‘Two Years’ also presents plenty of fun, the perfectly stumblin’ garage rocker ‘Last Night #2’, the honky tonk blues coming-of-age episode ‘Cowboy City Rocker’ and the cello/violin belter ‘Hit This Pipe’. One of Whitney K’s many gems is ‘The Weekend’ a minimalist spectral ode to hope where the band’s restriction brings out the pure force and vocal command of the ramblin’ troubadour. Time to open your arms, he’s coming out of no fun city and aiming straight for you.

From abstract dub, to post-punk rumblings and bedroom classics Giacomo Stefanini, Porta D’Oro, (also member of Kobra, Ondakeiki and the Milan Sentiero Futuro collective) has been slowly building his own world of meditative punk, ethereal dub, tape ballads, ambient noise and spiritual stanzas. “Così Dentro Come Fuori”, his proper debut, co-released by Maple Death & Legno , is one of the most unique and singular releases in both labels’ catalogues.

Longtime friend of the label, his fourth studio album is an homage to the IRL world and its twisted and varied romance with the worlds of our minds, in a wild collection of "soundtracks'', each a sonic re-construction dedicated to a distinct scene. Both musically and lyrically, this is Jack Name's most adventurous and genre-defying album. Elements of acid, dance, folk, micro-tonal weirdness, horror, sensuality, impressionism, and bursts of rock fuse with Name's most direct yet ethereal lyric writing to date. Listen to first single 'Cherie's Eyes' and watch the video directed by Jack Name & Stephi

Everything about Stefano Pilia’s spiritual journey always seemed to point directly towards ‘Spiralis Aurea’, his astounding 2022 release for Die Schachtel, a deeply resonating piece of art that intertwines traces of sacred geometry, collective experience and elusive connections between nature and human kind. ‘Spiralis Aurea Trio’ adds an extra layer, an opera of sheer beauty and execution, will, force and composure. The original cycle of compositions live and breath, adapted and transformed, taking their initial meaning and depth to new heights, while maintaining the concepts of ‘divine geometry’ and their sacred mystique intact, displaying a deep resonance with works by La Monte Young, Arvo Pärt, Pauline Oliveros, Eliane Radigue, Krzysztof Penderecki, and Terry Riley.

Whitney K and band are back with an electric live album that captures the best from their classics ‘Two Years’ and ‘Hard To Be A God’, including a few nuggets from the back catalog and the unreleased tune aptly titled ‘Dire Straits’.

If ‘Two Years’ was the thunder, the rawness and the spirit, a combination of outsider folk, modern psych, grit, humor and everything in between, ‘Hard To Be A God’ was the sophistication, the dedication, the mind traveling far and beyond… ‘Vivi!’ is the hot sauce missing, the perfect setting, the inevitable gift, really putting the word ‘motion’ behind the poetry, the electricity carrying the rollicking combo, the road opening up literally wide and infinite and the wide-eyed dreams becoming a coliseum standing in front of the chaos.

Recorded live in Montreal upon returning from Whitney K’s first European month long tour, ‘Vivi!’ is a vivid, exuberant and jarring photograph of a band that’s lived to see the force of ‘togetherness’, a ritual, a communion of sorts where emotions run free and into the unknown.

‘Vivi!’ encapsulates everything that makes Whitney K unique, the freewheelin’ songwriting, visions painted with utterly precise strokes, rock’n’roll bravado, sonic interplay, feedback and shimmer, velvet touches and goldmines, Modern Lovers, Television, Fred Neil, Harry Nilsson, Karen Dalton and the jingle-jangle of tomorrow. Played beautifully by Konner Whitney, Joshua Boguski, Marlon Kroll and Avalon Tassonyi, there is no way back, only one way in and it’s positioned crystal clear right in front of us. Alive.