Jun 2018 27

Eric Powell and Jared Louche speak with ReGen Magazine about the history of H3llb3nt, with some words about the band’s revival at this year’s PIGFest and ColdWaves festivals.
 

 

An InterView with Eric Powell and Jared Louche of H3llb3nt

By Ilker Yücel (Ilker81x)

The ’90s was truly a special time for the industrial music scene, when the advent of industrialized metal and mechanized rock spawned a new way of thinking, an alternative to the alternative, now affectionately referred to as coldwave. Not only did the scene spark a plethora of forward thinking bands with an aggressive and progressive artistic outlook, but also numerous collaborations – “supergroups,” if you will – featuring members of different bands working to create a whole new sound. One such collective was H3llb3nt, formed from the trio of Eric Powell (16volt), Bryan Black (Haloblack), and Jared Louche (Chemlab). Across the group’s three albums, H3llb3nt would also feature contributions from the likes of Raymond Watts (PIG, ex-KMFDM), Charles Levi (My Life with the Thrill Kill Kult), Martin Atkins (Pigface, ex-MINISTRY), Anna Wildsmith (SOW), Lee Fraser (Sheep on Drugs), and Julie Plante (Autumn) to name just a few. Since the 2001 release of Hardcore Vanilla and the Regurgitator collection, H3llb3nt entered into a period of prolonged inactivity as each of the band members continued along their own musical paths. Now in 2018, H3llb3nt is back with a vengeance, performing at two major industrial music festivals: PIGFest 3.0 in Portland, OR and all three cities – New York, Chicago, and Los Angeles – of this year’s ColdWaves, along with a string of tour dates with a reformed C-Tec and Chemlab! ReGen Magazine had the pleasure of speaking with Eric Powell and Jared Louche about H3llb3nt’s history and revival, the group’s working dynamic, and what the future may yet hold for the band and for the industrial music scene.

 

It’s been over 17 years since the release of H3llb3nt’s last album, Hardcore Vanilla, and it did seem like a tumultuous time at the end of the ’90s and the start of the aughts when several bands were entering into a state of hibernation or outright dissolution. As far as H3llb3nt is concerned, what can you tell us about the circumstances behind the group’s subsequent inactivity? Was there ever a sense of unfinished business among the musicians involved?

Powell: I don’t think we felt that. I think we had a blast doing H3llb3nt and seeing where it went, always getting cool comments about the project from fans of our respective bands at shows and stuff. It was never meant to be anything more than just a fun project – fun to make, fun to listen to. Now the idea is to make it a fun show this year.

Louche: Inactivity’s the nature of the beast when you’re consumed by the necessary juggling of creative life. H3llb3nt was geared to slot in among other projects, among releases and tours, and other collabs, but it wasn’t really intended to trundle to a spot in the hot lights front-and-center and be the sole focus. It’s a side project whose essence always seemed to be to allow for experimentation outside of the stream of the main bands, but dead time’s inevitable. Even in its absence though, H3llb3nt was always present, a mission-shaped hole at the center of our programming. So much of H3llb3nt’s trajectory is unscripted, and as Eric said, it’s meant to be a kick, to push parameters, drawing from the bank of shared creative intellect to generate the unshielded, tagging and deleting, repeats and sweeping on. In that regard, if H3llb3nt’s viewed as a far-ranging droid hunting and selecting the unique and discarding the mundane, there’s always bound to be a sense of the unfinished because it’s not anchored to a specific endpoint, but rather programmed to hunt, ceaselessly, fed whenever Eric and his chosen cohorts have the time to slot another tranche of the curious, ragged static grooves into the frame.

While it’s still early days and in the rehearsal stage, what can you tell us about the band dynamic now and how you feel it’s changed since the initial run?

Powell: There really was never a band dynamic. It was really just me and Bryan working on our computers with some great musicians along for the ride.

Louche: And in that same vein, I’m just one of the freaks along for the ride. It would be a rollercoaster ride of hubris for me to talk about writing or rehearsal when it comes to this strange H3llb3nt creature! H3llb3nt’s the genesis seed bursting from the twinned Powell/Black brows. I just happen to have the pleasure of occupying a front row seat for the car crash glory of it all!

Now, not only will H3llb3nt be performing at this year’s ColdWaves events, but also at PIGFest 3.0. I asked this of C-Tec as well, regarding the pattern lately of ‘legacy’ bands returning after a long absence. While I won’t ask the obvious ‘will there be a new H3llb3nt album,’ I will ask in what ways would you personally approach the music differently? What would you say you’ve learned as producers and musicians in the years since then that you feel would strengthen H3llb3nt’s music and sound now?

Powell: I think we were very ahead of our time. We didn’t have the money to go into a proper studio so we cut a ton of corners and really self-produced and recorded and mixed. It wouldn’t be all that different these days. We have gotten a lot better at it though so the quality and production would be much better.

Louche: ‘One day closer to the closing door, the space between the notes.’ That aspect puts different perspectives on the lyrics I write, and I’m sure that that sense of impending extinction would leach into anything I’d do with H3llb3nt. The striker one drags the match across becomes worn down the more it’s used, but there are always patches you can find that’ll still urge that gritty, sulfurous head to burst to flame. There are emergent properties that are starting to give rise to interesting mutations in my writing, a collision of organic and inorganic that’s fascinating because of the shape of the points (and counterpoints) of impact. An emergent aspect of minimalism has edged its way into my writing… though that might just be delusional thinking on my part as it’s really hard to see it anywhere… including this InterView… and yet… I know it’s there. Minimalism’s crucial in the music as well, even when it’s overloaded and drenched in skree. I’ve always felt that H3llb3nt’s at its fighting weight when the opposing creative forces have sufficient room to wrestle unencumbered. Recognizing that the notes that aren’t played are just as important as the notes that are is crucial because to deliver an effective blow, you need some elbow room.

Without giving too much away, what would you say audiences can expect from this new formation of H3llb3nt as far as the live show goes? As H3llb3nt featured numerous other musicians, who can you tell us is involved in this particularly live lineup?

Powell: It’s mostly me with Steve Hickey handling the string instruments. For ColdWaves, Jared will be along with us. Bryan is off jet setting with Black Asteroid and he’s just too busy to deal with us at this point. So, the idea is keep it small and nimble and let the music and visuals take center stage.

Louche: ‘Small and nimble.’ I fucking love that! Yes. I’ll be there for as much of it as I can squeeze in among the Chemlab dates that we’re building around the ColdWaves festival dates. I can’t do them all, but I hunger for every one. Regardless, they’ll all be white-hot blasts of static-groovy, electric-gooey, holy-flex, unique and ephemeral, and you’ll have to absorb the graphene streams as they dance out of the generator’s core right there and then, because when it’s gone, it’s gone and it’s impossible to predict when it’ll arise again. So, get it while it’s hot, kids, because it might never come again… and it’ll be a fucking blast in the wastelands!

Regarding the ‘small and nimble’ performances and having to build your involvment and availability in H3llb3nt along with Chemlab, this brings us back to what Eric said earlier about live shows not being as important to fans. Of course, any live show is a huge undertaking, let alone several or even a tour, and economies always tend to suck when creativity is at its height… but I’m old school and tend to think that a good live show is always worthwhile as an experience, both for artist and audience. What would you think should happen to motivate audiences to come to a show – not just H3llb3nt or Chemlab, but any show? What do you see as the future of live music?

Louche: Burned out? I’m not sure that I can see what the future of live music is going to be. I can say that I’ll be in it in one form or another, but beyond that, it’s hard for me to know. It’s a different beast here in the U.K. than it is in the States, but they’re both pretty inhospitable environments for live cultures to grow in. The petri-dish is perhaps irretrievably cracked and leaking out the essential generative fluid. Having said that, I think it’s also possible that what’ll evolve will be fascinating because there’s the potential for there to be a more organic and less corporate approach to putting on live shows. I’d be very interested in seeing a whole new slew of venues that aren’t trad, that are based in strange and off-track locations, or locations that float. Disused spaces, galleries, small gigs in living spaces – these are the spaces that have always intrigued me far more than any of the normal venues that have ruled and dictated terms.

One thing that I can guarantee you that I see in the future of live music: Chemlab and H3llb3nt shows, baby. Are you coming? I hope you’re all coming, because I can guarantee you one other thing: it ain’t happening again, so get some while it’s hot, and it’s hot right now. These shows will be one big reunion, one big hollering and swaying revival tent, one hungry reconvening of old bots meeting new models and everyone getting right together. I’m looking forward to this because there are people coming out of the woodwork that have been so deeply hidden away they’re part of the structure now. They’re not part of the frame… they ARE the frame! But they’re coming out. Chemlab will be hosting some guests too. We’re inviting musicians from across the decades with whom I’ve had the pleasure of playing to jump up on stage to riot out with us at different nodes along the way, different faces in different cities. There will also be some surprises, people who recorded chunks of Burn Out… at Chicago Trax with us but never actually made it to the stage who (I’m hoping) will join us up there too. The fact that I’ll get to perform these songs with some of them for the first time ever is fucking thrilling and will add the soup bone to the mix. I’m also really looking forward to seeing old friends and fiends, freaks, and geeks all mashed together into one churning, swirling series of sweat-drenched nights. It’s going to be amazing.
If only we could figure out how to get Jamie Duffy and William Tucker to come out from behind the curtain.

Regarding the visuals, how has that evolved? For instance, the first two albums remind me very much of some of the early 16volt records, particularly LetDownCrush, while Hardcore Vanilla was more minimalist, more Bryan’s style, but also reminiscent of the cover of the original pressing of SuperCoolNothing. Was there ever a particular connection between the visuals and the music/lyrics, and will we perhaps see a progression of those ideas in the new live show?

Powell: Our goal with the live show is to represent the music. It’s our first chance to do that. We are limited in some aspects due to logistics, but with video and lighting, I think it all comes together.

Although I personally am adverse to the term ‘supergroup,’ H3llb3nt seemed to embody that notion of creating a cohesive sound from disparate elements – i.e. ‘Forget You’ was sung by Eric and has a distinct 16volt flair to it, while ‘Heliophobic’ or ‘Jet Boy Machine’ sound almost like Haloblack with Jared’s own distinct vocal/lyrics, and ‘Rubber Girls with Knives’ was written by Raymond Watts and sounded very PIG. What would you say conceptually was the common denominator for your contributions to H3llb3nt that these songs wouldn’t have fit in your own respective bands? What made H3llb3nt stand out for you from 16volt or Chemlab or Haloblack?

Powell: I think there are those moments for sure. But they all have that common thread. It’s intangible but it’s there. I think ours fans and new fans alike will have a great time during our H3llb3nt sets and it doesn’t really matter who does what from what band. H3llb3nt is the anti-band.

Louche: ‘H3llb3nt is the anti-band.’ That’s the sex, right there! Supergroup? Anti-group. None of that shit matters. What I love about H3llb3nt is that, despite being able to point to individual streams of input, the whole’s always greater than the parts. It all coheres, managing to hold together and form a unified shape and sound, and it does so in important ways that other ‘supergroups’ don’t. None of that shit matters though. None of the talk matters. None of the questions matter though because they can’t answer what’s about to happen at these shows. The words and chatter are all about to fade away in a wash of purging surge. I haven’t played any H3llb3nt since when 16volt, Acumen, and Chemlab all toured together at the precipice of the ’90s. We kicked up some ragged, raging shows then, and although they were shambolic, they were fucking glorious. We pulled at the cables during the MIDI Ghetto Tour too, vainly trying to get them tight, but our grip failed us, two wires too thin to make H3llb3nt shows coalesce, sadly, though it was a blast trying to wrestle the beast to the static mat. Those were all painful though as they felt like tragic, missed opportunities. These shows will be driven by intention (with Eric engineering it all with his sonically brutal precision), so they’ll kick the sort of ass we always hoped the previous ones would… because these H3llb3nt shows are geared to go off… and if you miss them, then you’ve miscalculated because it might well never cycle ’round again.
Hope to see you out there in the h3liophobic, sweaty dark.

It did seem like at the end of the ’90s or the early aughts that many of the bands and musicians in that coldwave or industrial or machine rock scene dissolved. Reflecting on that, was there any sort of awareness of these sorts of changes going on – personally, musically, socially or politically, etc. – that necessitated the passing of this scene?

Powell: I think music as a whole is in an odd state. Live shows aren’t as important to fans. Small town scenes can’t support most shows; it’s easier for the promoter to deal with a DJ night than a touring band. It’s very hard to go out and tour. I don’t think I’d even try to start a new band these days, as a matter of fact. I mean, I have! But it was no easier. A lot of bands can’t make it through that kind of environment. It’s hostile out there. I have really had to just rearrange my whole thinking on music, being in a band, what it means to me, what it means to our fans. I don’t care about success anymore at all. I honestly could care less. I only do it because I love to make music. I also love to play music. And more importantly, I love to play music in a live environment. So as long as I can do that, I am successful. Nothing else matters. H3ellb3nt plays into that. It’s great, fun music that we have never really played live and I know the fans will have a great time with us!

Louche: I think that the premise of your question’s a misconception. The collapse of the coldwave scene wasn’t a necessary event, but rather an event dictated by the cultural trends and the burgeoning economic forces of the time. Ruthless, sweeping major label consolidations killed it. Cultural shifts from an interest in machine rock to ‘electro’ (Underworld et al at the time) killed it. Economic pressures on bands that forced them away from being able to easily tour killed it. With all of these forces aligning almost simultaneously, the implosion of small scenes like the coldwave/machine rock scene was almost inevitable… sucked too.

Necessitated was not the correct word, but I’m not as architextural with my vocabulary as you are. Anyway, regarding your lyrical approach and minimalism edging its way into your writing, will you be applying this to the new performances? In other words, how might you be adjusting the performance of these songs now as opposed to when they were first written? Will what we hear onstage be diverging from the records?

Louche: I simply wanted to be sure that it was understood that the sociocultural shift that we all experienced wasn’t something that any of the independent bands involved chose but was rather a nightmare scenario foisted upon us and we were simply forced to respond to. We were basically tied to the tracks, and though we could see the leering train roiling down the tracks towards us in burgeoning fury, no matter how much we struggled and railed against it, there was zip we could do about it. Brian McNelis and I talked about this a lot at the time, and he was horrified because he was inside the Beast and could see what was coming even more clearly and understood just how bad it was going to get for music in general. Bands were increasingly disempowered… and our asses got totaled. That shift saw the death of huge swathes of bands, scenes, and little labels, and the recovery’s been microscopic.

Minimalism? Did I mention that word? I guess I did. You’d never guess it from the way I write answers to interview questions though! My minimalism’s not really recognizable to the undiscerning eye, or the discerning one, for that matter! It’s not 4:33, but I guess I’m starting to be more critical of my writing, less convinced of my utter expansive genius, and more willing to wield a more merciless editorial blade. After 57 years, that’s probably a good thing, and about damn time! I edit more and flense away the fat more willingly. My wife’s an editor and I try to keep her editorial voice in my head when I’m writing. She’s an august and critical force who edits for power in the text, so though her edits are always hard to take, they also always work, doing so to the benefit of the material. The writing that I’m doing with Ultraterrestrials (more on that at some point) is much more pared down, fits tighter and breathes better, and it is courtesy of the well wielded blade.
As for the upcoming shows, there’ll be no more minimalism than was produced in the original record. My intent behind performing Burn Out… isn’t to go in and monkey around with the record, try to alter its genesis form. It’s an imperfect record, but with all its faults, it still works, and regardless of what I think about its strengths or weaknesses, it’s a finished piece of work. It’s history and can’t really effectively be changed now, nor do I think it should be. Id’ be pissed if I went to see Nails perform Pretty Hate Machine and Trent had decided to change the lyrics, make them shorter or in some way alter them. The whole point is to present the material as it is. Now, the one caveat there is that though lyrically it’ll all be there, the music must evolve some. It’s not that it’ll be the Covergirl-Faux-Jazz Attack reworking of the record, but to allow the music to punch above its weight, I think it’s important for the musicians to be able to stretch out their skills within the frame of the songs, and these guys are good, so I want there to be space for them to imprint themselves on the fabric, to bring their talents to the fore. The more they can feel themselves inside the songs, the more invested they become, and the better it makes the whole. I don’t want it to be a slavish recreation of the songs, but they do have to be recognizable as what they are without having to squint your ears too much to hear it. I want these cats to have the freedom to be able to fuck with the old frameworks, to punch the lights up and have fun with songs we all know. So, it’ll be Burn Out…, but it’ll pack a little more wallop too.
Of course, one can always tinker, and in tinkering perhaps discover something new and thrilling, but the oft stated concern is that one might not know when to stop tinkering, thus rendering the Mona Lisa into the clichéd ‘brown painting’ of cautionary legend. I think the real issue with tinkering is that it can be insidiously dangerous unless you know what makes the artwork so engaging, so mellifluous, what makes it unique. You have to first step back to gain a sense of perspective so you can really understand the essence of the thing itself, to see it, appreciate that almost luminal quality that makes it what it is, and that has made it so valuable, and understand that if you tamper with that origin-node, you run the risk of ruining what made it great in the first place. Radical tinkering is a modern, technological development, and I think it’s more bane than boon. Just because you can edit, restructure, and reframe every single beat in your song doesn’t mean that you should or even that it’ll make it any better. Just because you have the option doesn’t mean that you should press that button.

 

 

As you’ve noted, you’re also performing as Chemlab for the first time since the first ColdWaves, so you’re resurrecting two projects this year; what can you tell us about your state of mind now, why you decided that now was the time to also bring back Chemlab (even if should turn out to only be for ColdWaves)?

Louche: I blame Jason Novak for this abomination; utterly and without reservation. Please file all complaints, in triplicate, directly with him.
As for my mindset, that’s a far harder beast to tackle than I think I can manage in the confines of an interview. It’s a complicated ‘mindfield’ that confounds me all of the time. I was always crawling through the wrong doors and going out in storms undressed, lightning illuminating my frailties and distress, unraveled threads and hairline cracks, rusted threads… fractures in my head, caught in the X-ray flashing night, naked and disarmed.
Why am I doing this and why am I doing it right now? Again, I revert to blaming Jason for the ‘now’ aspect of it, but beyond that, there’s such a tangled web of motivations and conflicting desires, and all of the threads and strands of the criminal past haul their baggage over the horizon as well. Why? Because though I walked out the door, I never left the building. Why? Because I saw something shiny, chased after it, and ended up here at the bottom of the stairs with a broken neck. Why? Honestly, it’s because, of all the junkies that I’ve been, I’m the music junkie first and foremost, and the specific ne-plus-ultra is as a performer. I’ve got stage encoded into my core construction. The light, the sound, the ambience, it all illuminates, invigorates, enlivens, and transports me; the churning, yearning, reaching crowd urging towards me, and that ravening craving for the emotional/spiritual/physical state that’s broadly called ‘stage’ never slakes. There’s a transcendence that I achieve onstage that sparks in me nowhere else, and though I get a similar kick through other bands, other creative input modes, Chemlab’s the gateway sin. It’s the high-holy headfuck that does me right and does me in, and does it like that every time; a ticking time bomb whose detonation is as assured as ‘death and taxes,’ so despite the fact that I’m conflicted about the idea of reviving Burn Out… from its fossilized tomb of MTV-age broadcast amber, and the image of the dog-earred, tattered n’ tarted-up old man playing ‘angry young man’s music’ bedecked in wasted feathers n’ furs twirling and pantomiming under the dusty spotlight, I’m also held utterly in its sway. Without reason or rationale. I’m a kludgy, lo-res machine rock zombie narcissist; a living, breathing cliché of biblical proportion. Midlife crisis? Me? Never. So, when Jason engineered a situation that would allow for me to shriek full spate astride the old war wagon once more, and be able to do it pretty much to my own specs AND with musicians I’m excited to perform with, then the eternal scale-balancing high wire act I engage in that always leaves Chemlab both failing and falling was reconciled in a way that made sense. I bend, it enters. There’s glitter. There’s noise. Everyone’s happy.

Is there anything more you can tell us about the Chemlab reformation performing this year – who’s involved?

Louche: The Chemlab Reformation of 2018. Sounds like it should be a historical novel.
Who’s involved? Go search out Dead on TV, and GoFight and the perma-genius that is Jimmy Marcus. This is the clutch I’m threaded to: Daniel (Evans) on guitar and programs, Mike (Love) on keys and bass, and Vince (McAley) on drums and loops and saw. They’ve been playing together for years and are so intertwined that they finish each other’s code streams. I’m utterly entranced by their clade as it displays certain emergent character traits and fractal design memory patterns that keys into my programming perfectly, but with crucial developmental improvements and mutations. I intentionally talk about these Dead boys in cladistic terms because it acknowledges our common ancestry as well as emphasizing the divergent, mutative properties they display that I do not. That’s what makes our playing together, melding together so fascinating to me. They mirror some of the colors of wreckage in me, but their coloration’s heightened, more burnished, a broader spectrum. They’re a band of satellite treasures orbiting my chattering core, a knot of young lions hungry to light the fires, to dance through the greasy flames and smoke, to laugh under the Manson in the Moon, ‘a band of angels hovering over me waiting to take me on down.’ I recognize them. They’re the most interesting aspects of me, but more highly evolved, more richly mutated.
I always wanted Chemlab to be a street gang that resembled the doomed but thrilling fighter-fucker corner boys that always attracted me when I was young, but we never were. Sometimes a glimmer, but in the thrumming core of it all, there nestled no gang, no band of jet boys. I lamented that. Inside us resides a broken piece, something missing whose shape might not always be clear to you, that might only become clear when you look away from it, or glance at it quickly, peripherally. Not only do these Dead boys have the essential, elemental broken-robot rock deep down in their bones, that electric juice that I need to make any Chemlab iteration real for me, but they’re shaped like the piece that’s missing in me. This is why I return again and again, in interviews and discussions and my own half-formed musings, to cladistics. There’s a half-sung melody inside all our skulls, and for some strange reason, they seem to be singing the other half without us ever having worked together. These branched characteristics highlight our shared ancestry. To me, it’s the inside of the tune that makes the outside of the song sound so damn good, and that’s what thrills me about working with these guys. They’re deeply involved with the inside of the song in the same ways that I am, and if that makes sense, then you’ll know what you’re going to see onstage; if it doesn’t make sense, then you have to come to the shows to understand what the fuck. The first time I saw GoFight was at the first ColdWaves (the same night I drove Chemlab down for good). I watched in quiet glee as Daniel’s tight little high school hips thrust his guitar into the front row and howled down the mic’s throat. He and Mike and Vince slithered into the nerve-nest I call home and rocked there for a night, bedecked in falling-star-halos and cheap hand-jobs, and I was hooked. Takes a lot to tug my attention away from Jim Marcus’ magnetism, but they did, and I knew that night that I wanted to work with them at some point. It wasn’t clear when or where or how, but I was hungry to make it happen. Step into the light, Jason Novak. He lit the fuse, so I guess we go.

Referring to small town scenes, while Portland isn’t exactly a small town, you are rather heavily involved in PIGFest. This might sound a bit arrogant, but what would you say distinguishes the sound of Portland and the Pacific Northwest? Even as one is your main gig and the other is a fun project, is there a Portland or Pacific Northwest sound that you feel you are part of?

Powell: I definitely feel like 16volt is a part of Portland’s industrial history at this point. I wouldn’t really say there is a Portland sound per se. There are so many great and talented artists here all doing very different things.

 

 

Also, tell us about your involvement in PIGFest and how it came about? Is there ever a concern as to how a regional-centric festival might affect the audience’s perceptions or reactions?

Powell: My goal with being involved with PIGFest was to help prove that we can make Portland a destination festival in the next few years and help with the growth of that idea. We started off with Portland only bands last year and opened it up to bands from Seattle as well this year. Our goal for next year is to open it up to anyone. We want PIGFest to be a part of the conversation when talking about festivals like Terminus, Sanctuary, etc. There really isn’t a consistent yearly festival on the West Coast. What better place than Portland? It’s a cool city, it has great things to do and see, and we have a great built-in audience here. The main thing is to prove to venues that a festival like this can make enough money to prove its value beyond being cool and having cool art. There is always a financial aspect to it. So, as long as that is happening, which it has so far, we believe next year we could be looking at a very cool national lineup and start to get people to travel in for it and make PIGfest a destination event.

What was it about Bryan’s sound or way of working that you connected with when you worked with him initially?

Powell: Bryan has this really cool complex simplicity. I have loved his work since the first time I heard it. It’s modern minimalist before it’s time. Its slick and intelligent while being sexy and gritty.

Obviously, you’ve all moved on to do other music since then – in what ways do you feel that has put a different perspective on the H3llb3nt material?

Powell: I think H3llb3nt is more the culmination of our different takes on music. And I think we all just naturally fit into what we wrote. It meshed really well.

Are you fan of Bryan’s work now?

Powell: Absolutely! I think he has perfected his art. He is a master of his craft. I am excited to see his popularity grow because he should be a star.

 

 

Anything we’ve not covered that you’d like to talk about?

Powell: Catch H3llb3nt on all three ColdWaves, as well as shows across the U.S. with Chemlab and C-Tec this summer!

 

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