Seven Days Lost is a visual stimulation and audio ecstasy Shock Rock / Traditional Metal band based out of The United States, Colorful Colorado. Seven Days Lost Joseph Vallejos (Lead Guitar & Vocals), Michael Trejo (Guitar & Lead Vocals) Gary Higdon (Bass & Lead Vocals), and Chris Jamison (Drums & Vocals), is a crew of Hard Rock Monsters with the balls to turn it up both musically and visually! With Ear bleeding guitar solos, heart stopping thunderous bass and drum sounds 

Seven Days Lost has been gaining the attention of audiences and building a strong fan base in the dusty desert regions of the Western United States as of late and there is a good reason why. 

Seven Days Lost has created their own unique blend of fuel injected Rock 'n Roll that is delivered with conviction and strives to entertain their fans with not only energetic songs, but with a forever growing and constantly evolving 

electrifying and active live show, that visually captivates the viewer and draws them into a musical web of intense hooks and rhythms. Seven Days Lost is building a reputation for not being your ordinary band. A wild, high-energy show conjures up images geared toward the likes of Alice Cooper, KISS, Rob Zombie, GWAR, Murderdolls, Wednesday 13 and WASP…while carving out their own unique style and presence on stage. 

The show may also conjure up images of evil for those who believe that Rock ‘n Roll is the Devil’s music, but Seven Days 

Lost only wants to entertain you with a show based on a foundation of traditional hard rock based music that is as thick as brick and twice as hard. With a love of horror movies, over the top rock theatrics and a musical style that they describe as traditional metal. There is no real evil intended, just a kick ass Rock and Roll Show!!

Although most of the band had played together for several years Seven Days Lost officially came to be in 2007. In 2012 Seven Days Lost launched a full frontal assault through the Southwestern United States called “The End Of Days Tour“. The tour was highlighted by wonderfully received performances in Las Vegas, NV and in front of a full house at the world famous Whisky A GoGo right off of LA’s Sunset Strip, that left sold out attendance in awe of what they had just heard and seen, and excited with anticipation of the bands return.

Seven Days Lost promises to shake things up even more with the release of their new CD “Good Day to Die”. Six songs and two bonus radio versions for eight tracks total, that guarantees to leave you wanting more! With a couple music videos scheduled to be filmed in Late July and several regional and US national tours through out the year, along with increased media exposure, world wide distribution, and an over whelming social media buzz expect to hear the name "Seven Days Lost" again and again ...It's in your future!


Part punk, part thrash and 100% rock and roll, Silverlight Shadows are a high octane trio who go for the throat. Formed in 2016 by meetings through mutual friends, Silverlight Shadows recorded their eponymous debut album after a mere handful of jam sessions. Ever prolific, the band dropped another full length, Headspace in 2017. Fusing the sounds of bands like Magic Dirt and Tumbleweed, these Jason Fuller produced madmen want to take on the world.
Never a band to shy from the hustle, Silverlight Shadows have built a reputation on powerful live shows defined by their driving riffs and demolition drumming. Behind this though, they hold a deep well of content. This ranges from the exclusive artwork they collaborate on with their talented friends to the three high quality music videos they have dropped since their inception. It has even manifested in special editions, including an exclusive run of 27 hand painted vinyl copies of their debut album by artist Benjamin Phillips Nozdrachev
Now Silverlight Shadows are looking forward to the release of their next single, which will come on a split with Monarchus and promises to see them evolve their sound ever further. With a long history of garnering fans, they have earned a place as regulars on their local PBS and Triple R stations. Now as they take the next step they want to grow with the global rock underground in mind. Seeking to bring a new breed of heavy rock out of the Antipodes, Silverlight Shadows are about to blast off!

 Light and darkness combined as one, yet different? SILVERLIGHT SHADOWS churn out riff driven rock/garage/stoner/grunge, strong catchy songs and raw power! Straight to the point Aussie rock! — Kev Lobotomy, Shock Treatment PBS

SILVERLIGHT SHADOWS’ album HEADSPACE is that perfect mix of don’t give a fuck attitude and beer swillin’ mayhem, with that awesome live punk urgency that something dangerous is going to happen at any minute. — Anthony Moore, Desert Highways

In a galaxy far far away
a carbon-being was born...

From the collision of two separate shock-
waves produced from two equal in mass, separate super-novas; this carbon based bright new star was born.

Harnessing the vibrations of the collisions that resulted in his creation, Notahuman traveled to the scorching deserts of Arizona to try his hand at reproducing some of the most heated shock waves exemplified in sound.

Being produced in 87, receiving radio transmissions from earth: Notahuman has an "old school" feel. With roots in the Arizona desert planted since the early 2000's; Notahuman has been able to harness the close proximity of the Sun of Earth's solar system at this location and deliver it through his musical concoctions. 

The embodiment of creation, pure: rhythm, vibrations, convergence, light, love, and purpose is Notahuman.

Info: cordeevocali@gmail.com

Costanza Pieri (Voce) & Alessandro Moschini (Chitrarra acustica & Basso elettrico) danno vita ad uno spettacolo molto particolare ed affascinante di rivisitazione di molti successi della musica italiana ed internazionale dove gli unici strumenti sono la voce della cantante e la chitarra acustica od il basso elettrico del musicista montecatinese. 

Costanza Pieri 
Voce

Nasce il 1 Agosto 1978. Studia canto da diversi anni. Ha partecipato ad alcuni concorsi canori giungendo seconda al concorso Joeys Eventi 2014. Il 30 maggio 2015 si è esibita con il duo Corde & Vocali alla presentazione del libro di fiabe "Giostre di novelle e Dondoli di luna" tenutasi al Caffè Letterario Le Murate di Firenze, il cui ricavato è andato interamente in beneficenza all'Ospedale Pediatrico Meyer di Firenze. 

Alessandro Moschini 
Basso elettrico
nasce a mezzogiorno di Domenica 2 febbraio 1969 a Montecatini Alto. Inizia gli studi di chitarra folk sotto la guida del maestro Valter Davi all’età di 16 anni. Dopo alcuni mesi passa al basso elettrico affascinato dalle sonorità hardrock in voga a metà degli anni 80. Nel 1986 fonda la sua prima band: i G.L.A.S., storico gruppo Montecatinese, uno dei capisaldi del metal italiano anni 80. Con i G.L.A.S. incide 1 mini LP (“Audax Vincit” quotato circa 60 Euro tra il mercato dei collezionisti di vinile metal anni 80) 2 cd compilations (una delle quali per la Musical Box Promotion dell’allora caporedattore di Metal Shock e Direttore di Flash Klaus Byron e l’altra edita in U.S.A. dalla label VD Records) e 3 demo tape collezionando una serie nutrita di concerti. I G.L.A.S. sono menzionati inoltre sul libro “Italian Metal Legion” di Gianni della Cioppa edito da Andromeda Relix. Successivamente all’esperienza dei G.L.A.S. Alessandro gravita in varie bands locali prima di approdare nel 1995 negli H.A.R.E.M., storica street metal band capitanata dal cantante/tastierista Freddy Delirio (Death SS) con i quali registra l’omonimo demo del 1995 appunto e si esibisce dal vivo in diversi concerti tra cui uno storico a Palermo nel 1996. Desideroso di esplorare altri generi musicali dopo la fuoriuscita dagli H.A.R.E.M. Alessandro suona per un periodo nei Frame, cover band R&B pistoiese. In questo periodo Alessandro, che al basso è completamente autodidatta, inizia seriamente a prendere lezioni con il maestro Federico Gori. Dopo lo scioglimento dei Frame e dopo aver tentato a più riprese la ricomposizione dei G.L.A.S. Alessandro entra a far parte del Quartetto Bastrelli, formazione swing jazz ideata dal chitarrista Emiliano Ponziani. Accanto a lui altri due nomi dell’Underground toscano: Il batterista Emanuele Fabiani ed il chitarrista (qui in veste di cantante) Alessio Pastacaldi, entrambi membri del gruppo folk Le Clan Banlieue. Con il Quartetto Bastrelli suona dal 2003 al 2007. Parallelamente a ciò nel 2004 esce il disco “Beyond the sky” della band hardrock Fool’s Moon con alla voce il singer Jacopo Meille. Su questo disco Alessandro appare nei ringraziamenti in quanto uno degli autori del brano “Desert soul”. Nel 2009 Alessandro registra la colonna sonora del lungometraggio “Il gatto e la volpe” per la regia di Andrea Gervasi. Sempre dal 2009 Alessandro è il bassista ufficiale dei Fuoridalcoro, storico gruppo di ricerca della canzone popolare toscana ideato dal chitarrista/commediografo Valerio di Piramo. Lo spettacolo del 2010 proposto dal gruppo si intitola “In viaggio con Fabrizio” e trattasi di 24 canzoni 19 delle quali del grande Fabrizio de André e 5 inediti scritti da Valerio di Piramo. Dal 2010 inoltre Alessandro entra a far parte della formazione dei The Chicago Funky Experience, band fiorentina di orientamento funky/acid jazz con la quale si esibisce regolarmente con successo sui palchi della Toscana.


Name: Ashes WHDIE
Age:24
Location: High Desert, Southern California
Occupation: True Artist 
Zodiac Sign: Cancer
DOB: 6-27-88 (Year Of The Dragon)

Looking To Place My Memory In This World, By Expressing My Thoughts, Feelings & Past Experiences Threw Music.

I Come From A Small City In The High Desert Of Southern California. It's Name Barstow. Many Have Probably Never Heard Of It, But Im Looking To Change That.

My Inspiration To This Music Making Is Music As A Whole. I Can't Pin Down One Genre Over Another, Neither Can I Choose A Certain Artist Over Another, Every Artist Gives Me Inspiration. 

I Do Have My Favorites But That's My Business.

Yes, I Do Medicate Off That OG....

People Will Want To Label,  Me Saying Im A Rapper, Maybe Im A Hip Hop Artist. Naw, True Artist Mother Fucka.

As A Kid I Grew Up In The High Desert, Not Much Opportunity But I Always Had Dreams Of Doing Great Things In Life & Getting Out This Town. I Do Love My Birth City, But There Was The Whole World To See.  Loved Music Since I Can Remember, Something About It Gave Me Feelings, The Feelings Of Love. Started Freestyling Over Beats an Other Songs Around The Age Of 11. To Shy To Do It In Front Of People at The Time, But I Knew I Had It In Me. Just As Many Other Teens, I Grew Up A Screw Up and Did A Bunch Of Dumb Shit. Stealing, Drinking, Smoking Herb, Fucking Hoes, Partying, Sniffin Yay. Didn't Really Think About What I Wanted To Become In Life. Just Thought I Would Fuck Some Shit Up, Still Managed To Finish High School. A Semester Late But I Still Got The Diploma. A Week Before I Got The Diploma, My Great Grandma Gave Me The Chance To Make Something Of Myself Life. I Had The Chance To Get Out OF A Town That ranks among the 10 poorest cities in California, One third of residents receive public assistance and 4 out of 10 receive welfare and social security funds. A City That Is Known As Methamphetamine Capital OF The World. A Chance That Many My Age Don't Get. Took That Mother Fucker and Ran. Barely 18 Living  On My Own Along With A Cousin In The City Of Anaheim. Coming From A Lil Town, I Really Didn't Know Much Other Than The Desert.  It Was A Total Cultural Shock But Fell In Love With RIght Away. The Beach, The Weather, The Girls, Some Many Other Things To Do. My Home Town Says It The Cross Roads OF Opportunity But You Really Have No Great Oppurnityity To Place Your Memory On This Earth. Started Going To College A Week After I Moved. Went To School To Become A Legal Pill Pusher A.k.a A Pharmacy Tech. Loved Drugs So I Thought I Would Work WIth Drugs & Help The Medical Field Out. Always Liked Helping People and Always Loved Science. Didn't Really Know People But Started To Meet Great People Fast. People Who I Will Always Remember. These People Who Are Now Friends, Showed Nothing But Love And Made Me Feel Like I Was Home. That Shit Made Me Love The City Even More. Started Partying  and Let Me Tell You When They Say L.A Knows How To Party, Those Mutha Fuckas Know How To Party. They Be Fucking Cracking Too. Partying With My Home Boys From The Refugees Located Out Of Whitter, Where Some Of The Best Memories Are. Mad Bitches, Ballons, Shrooms, Drank, Blow, We Would Be Going Hard Like A Mother. One Day My Home Boy Vince Started Rappin and Showing Me Some Of His Music. Well We was Getting Faded I Jumped Out Of My Shell Started Freestyling A Havnt Stopped Yet. Broke That Small City Shell and Knew Music Was My Destiny.  Always Had Dreams Of Becoming A Music Icon. But I Was To Shy To Express Myself. That All Changed, They Say Invest Your Love in Things You Love. I Love Music. So I Knew I Had To Invest Into Something I Love. Along This New Journey I Knew It Would Be Alot Of Hard Work and There Would Be Alot of Critics and Haters. But I Learned That There Is Gonna Always Be Those People, But What They Say Don't Matter, The Fans Matter.  Hopefully Someone Can Relate To My Story. Its Hard Coming From The Devils Playground But I wanna Prove That It Can Be Done. Trying To Put My City On The Map and By Doing That I Hope My City Will Grow Instead Of Not Letting It Grow. I Finished My College Too, So I Got The Knowledge and I Do Having Living Experience and Damn It Was A Party. Most People Rapping About Shit They Have In There Dreams. I Know What It Feels Like To Start From The Bottom and Gain A Lil. I Lived I Learned. I Wanna Hit The Top. Back at The Bottom and This Time I Wanna End Out On Top. 18 Years Old Never Had A Job, Besides Selling That Mary and Company. I Got Another Great Chance, Finally A Mother Fucking Job. Started Working As A Pharmacy Tech and Let Me Tell You I Loved The Job. Learned So Much and The Money Was Alright For Someone My Age. After Getting This Taste of success my hunger for greater success and placing a bigger memory arised. Started Raving Once I Had My Own Income. Fuck I Had Always Heard Of A Rave But Never Went To One. Went To One and For The Next 2 Years I Raved My Ass Off. Rollin, Rollin, Rollin. The Energy of Those Venues and The Way People Come Together To Dance and Party Is Amazing. Made Me Want To D.j But I Was Gifted With Lyrics. Got Introduced to dubstep and drum and bass. Listening To That Made My Energy Come Alive and Love Rapping Over Some Sick Dubbed Out Ass Beats. At The End Of The Day Music Is What Brings Us All Together. Living The Life I Was Working Having Fun, Bought My Own Whip. A Young Nigga Ballin. During These Years I Kept Rapping and Knew I Had The Gift and The Gift Was Getting Better, Deeper, and More People Liked It. Never Really Put Anything Out. You Know Just The Partying Cyphers. People Would Always Give Me Respect Cause It Was Earned. Worked At The Pharmacy For 4 1/2 Years So I Know What Its Like To Bust Ass. Yeah Its Not A Hard Labor Job. Buts Its A Hard Mental Job. It Looks Easy But Give The Wrong Person The Wrong Pill. An Kill That Mother Fucker. Met New Friends The Longer I Lived Down, and Met Some Great Stars. They Say Great People Come In Contact With Great For A Reason. I Got The Oppurinty To Help Out The Greatest Basketball Player On Earth. Kobe Bryant. Coming From A Lil Town I Never Thought I Would See Him Besides On T.V. One Thing Ill Always Remember, Hes A Person Just Like me. He Gave Me Alot Of Inspiration Of Being Something Great Like He Is. Always Said What Up. and Every Once In Awhile we would chat it up. told me something one day and forever it will be a personal quote. He Said You Crazy Enough To Fuck With Me I Want You On My Team, referring to the new ones who joined the team at the time. Matt Barnes. That Gives Me The Fire Inside To Be A Great and To Be A Humble Successful Man. and To Give Back To The Community.  Times Got Tough Cause Just Like Anyone Else I Was Effected By The Recession.  Things Where Getting More Expensive Living Wise So I Made The Dumbest Choice In My Life. Move Back To Hell(barstow).  I Don't Regret It, But I Learned From It. 3 Months After Moving Back I Got A Criminal Case. First Time Ever In Trouble With The Law. Cops Are Known To Be Dirty In My City Especially When It Comes To The Deceives. I bet I can Get Half Maybe even more of the town to Back me. Been Fighting This Case For Almost 2 Years. Keeping My Life At A Total Stand Sill. Where's Justice? If They Have Evidence They Push A case. IF They Don't They drag it on and on, hoping to get you on another case. Thats The Justice They Been Giving Me. Public Defenders Yeah They Don't Do Shit. I Had My PD for half this time i been fighting this case and all of a sudden he's moving. Its Time For Me To Show The World Who Matthew Joseph Montano Is. A Young Man With Great Hopes and Hopefully You gain Something From My music. Place The Biggest Memory On This Earth You Can. Here's My Story.

Product Of The Great Late 80's. Year Of The Dragon, There's Nothing But Faith and High Levels Of Energy Running Threw My Soul.



Dirty, Sleazy, Loud & Powerful Heavy Metal, from the corners of the Mexican semi desert.
Bad taste and face melting solos, inspired by cheap violent Horror Movies and Old School Metal.
Putting filth in your ears with apocalyptic blasts of the most chingón Shock Rock you're gonna hear these days.

Welcome to the supermodernity of Post-Neo-Close Lobsters. This site is an avenue for the uncontainable desire to create new sounds, new sounds built on 'ancient' foundations and set free old sounds built on new precepts. The music here is cumulative and quite useless, the target is beautiful and splendid output. The title Post-Neo-Close Lobsters is inclusive of the term kunstwerk and is an amalgamation partly in honour of German techno minimalism which reawakened the soul, and partly simply a means for the expression of artwork. It is music conceptualised, organised and produced for the fuck of it. That is, it is necessary in every way imaginable. Music as the melody of life. Kunstwerk as life time lines. The CLS is as in CLOSE LOBSTERS, the KUNSTWERK is as in 'Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit'; 'the work of art in the age of technological reproduction'.   CLOSE LOBSTERS KUNSTWERK is effectively, if only really very much partially, Post-Neo-CLOSE LOBSTERS.  POST-NEO-CLOSE LOBSTERS.  The 'legendary' CLOSE LOBSTERS are the font and well from which this movement springs and moves. CLOSE LOBSTERS are an independent pop punk rock group who made little ripples in the pool of sound towards the middle-to-end of the 1980s and into the 1990s. CLOSE LOBSTERS KUNSTWERK is the extension of the CLOSE LOBSTERS into the 21st century and an appropriate vehicle for various types of rythmic mumbo-jumbo. It is a reawakening of the desire and need to create. After high and low plains drifting in the wilderness for stretched time, the right time is nigh and it is mere spooky coincidence that the current economic shakedown has rendered world markets precariously on the very edge of the precipice - just as they were left back in the 90s, and as they are generally prone. As ever, au naturelle, naturlich. Up Up Up, Down Down Down as the song 'Head Above Water' is wont to tell. The 90s were supposed to make the 60s look like the 50s but didn't. Its all the same in the underground. We look into the abyss and allegedly this is where we find our character, and then when we do we are haunted by the past. It has been said that the traditions of the dead generations weigh like a nightmare upon the living. It has been said. In this sense, CLOSE LOBSTERS are past, present and future tense.  A new spectre is haunting Europe. Of late there has been a simultaneous coalescence of events which suggest/trigger something about moments and decades in time. Chains of flashing images. Time is not linear but cyclical and terribly terribly strange. It is an expression of our collective imagination. In this vein, we give vent to the accelerating juggernaut of CLOSE LOBSTERS KUNSTWERK, attempting to capture, if only for a fleeting moment, the spirit of a world turned on its head....the Re-MYSTIFICATION of the very nature of things, a world where the great many are condemned to live-in-quiet-desperation and the rest get twitchy and repetitive and loose. CLOSE LOBSTERS is an endeavour to reflect the revolutionary potential of the underground house music insurrection as it intersects with the spirit of punk rock - as an anti-hierarchical pro-autonomy kill-your-idols type social musical movement. Underground not mainstream - not superstar in the formal sense of this mainstream but in the Warhol manner. Upstream and downstream. Not literally but artistically.  Anti Disco Mafia as they might say in Eivissa and Anti-sterile POP as we have always said. CLOSE LOBSTERS KUNSTWERK is a work-in-progress. Whatever progress might be. Everything here is. The tracks/mixes above appear in latest but never final form. They are restless - given to anxiety. Twitchy. All works and all theorizing are partial. A tune is COSMIC WAR.  It is more than a mere sabre-rattle.  It is the site of the existential struggle. It attempts to soundtrack the struggle within each human heart between the angels of darkness and the demons of light and vice-versa. It is MELANCHOLY SOUL. The POP REBETALISM Mix is a hallelujah-ode to the modern artistic freaks of Athens Greece who have revitalised Rebetika in modern form. Rebetalism as magic realism. There are silent Hellenic voices in there. The original version, the DEEP HOUSE Mix is a live studio recording from the depths and midsts of time, June 1991. It stands here as the original Deep House Mix. The SUPERMODERNITY mix was frankensteined in February 2009. It is way too long. There once was a track called 'Ripples in a Pool' but it aged before our very eyes and the sword of damocles fell squarely on its head. Its days were numbered in any case. It was built in late 2008 and shuddered to collapse in July 2009. The monuments of this modernity are crumbling before they are even completely built. Such is the fevered reality of the 21st century. These are all tracks developed by CLOSE LOBSTERS KUNSTWERK.  For your delectation, the mixes are offered in (some kind of) polychronic order. A few Close Lobsters tracks are also made available here. Steel Love awaits forlornly its 2009 makeover and sits in the corner sulking. In the context of the song, the vocals are now very moving. Tragically so. The sword of Damocles permanently hangs over the song - forever. RIP. Some say the COSMIC FIVE mumbo jumbo mix is the nearest yet. To what is not clear. It was shaped and let loose in March 2009. As indicated, some of the new experimental mixes are saved/taken/rescued from the smouldering embers of the original track Deep House version. The 'Deep House' in the title was a play on living in the depths/basement of a house during the house music explosion of the late 1980s and early 1990s. One night we went to a desert storm and never returned home sweet home so to speak. Shock and Awe before shock and awe in fact. These mixes are prominences on the surface of the sun - solar prominences even, manifestations of supermodernity. Certainly a new movement. Each epoch dreams the one to follow and in a similar vein the dreams of the new mixes were contained in the original. Phantasmagoria abounds! The 'lyric poem' of 'NANANA Deep House' goes something like this: 'My favourite ever stupid phrase is 'things will never be the same' its my favourite stupid phrase la na na na na na na na na na na na na Wrote in a rush from this day on, the spectre haunting Europe will be gone  - lived in deep house in those days  - saving up for some better days - history is about to be changed  - lived in deep house in those days. My favourite ever favourite phrase is 'things will never be the same' la na na na na na na na na na na na...' the chorus, if chorus is what it is, is on the prowl, seeking answers to the incessant movement of things where life never really happens but is gone - Abracadabra! We are living between what has been, what could be, and what should be. CLS KUNSTWERK should be and are remastered in the age of technological reproduction. Welcome to the supermodernity of all things CLS KUNSTWERK - Close Lobsters Kunstwerk. The 'legendary' CLOSE LOBSTERS are the font and well from which this movement springs. CLOSE LOBSTERS are a independent rock group who made little ripples in the pool of sound towards the middle-to-end of the 1980s and into the 1990s. Typically miscast and misunderstood, the majority of impressions of the group were very much wide of the mark. Some people are just plain lazy mentally. The fundamental attribution error. However, this is fine.  Contrary to popular representations they created a dust-up live. They toured relentlessly across the UK, Europe Central and the Mid-to-North-East North American continent releasing three albums and five singles (or something like that). Evading capture and categorisation are the hallmarks of the living. Keep on keepin on as the song goes. All manner of Close Lobsters materials remain available from the usual outlets, that sorta thing, y'know these sorta places - iTunes, Amazon, the WWW. Be picky! This site aims to provide the channel for the resurrection and re-enchantment of the spirit of CLOSE LOBSTERS in supermodern form; as an entity that lives and breathes and stretches and groans and haunts. As it was and is now intended to be.  For those interested in what was, a new singles collection of CLOSE LOBSTERS works was released by Fire Records of London on 05.10.09. It is entitled 'FOREVER, UNTIL VICTORY!' in honour of the songs and the group and of the late Ernesto 'Che' Guevara.  The story of the group is thus: There was once a storm of stones and sticks and half bricks and this barrage was to become a lodestar. The very perfect nature of things. If eternity is indeed the sea mingled with the sun as a young French poet once intimated then unrelenting group disorder defines the everyday and mundane in chains of flashing images. The singles collection was marshalled and brought together, collected if you will, and these disparate souls called songs then began to spontaneously form a chronological narrative/orderly queue. The cover design (see below) is exemplary and features Rebetalism as Salvador Dali. It is a visual representation of Rebetika in modern form. Rewinding to the present, a lot more things and stuff are planned for this new movement, including the unearthing, the cannabalizing, and the technologizing of fragments of old and dusty unreleased Close Lobsters materials so that these embers ignite IN movement and as CLOSE LOBSTERS Kunstwerk Marcavo Music Recordings 2009-2011-2015...and on and on and so on...


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