Ranges & Man Mountain USA Tour 25: Boston, Rochester, Columbus

Read: Ranges and Man Mountain Tour Diary Part 1

Day 4

Monday 21 July 2025

O’Brien’s Pub, Boston, Ma

w/ The Burning Paris

I’d been looking forward to going to Boston, having spent a few days there last time I was in America.

We drove through Connecticut along the Merritt Parkway, a beautiful stretch of road with many unique bridges and lush woodlands either side.

The guys all wanted to have lobster rolls. Feeling that my day yesterday had been dominated by getting a sandwich, I choose to instead go exploring the city and get some time to myself to recharge.

Boston is a great place. It has the benefits of a big city, having decent public transport and lots to see and do. But it still felt clean and open, with lots of cool old buildings and greenery. And the weather was ideal.

Ranges. Mark on drums, Tim on guitar

David from Man Mountain

There was another post-rock gig in Boston that night, with a lineup of Pelican and Glacier. Surely this affected turnout for our gig. But somehow, even though the turnout wasn’t huge, this was the show that had netted the band the most money on tour so far.

I don’t have too much more to say about Boston. I was exhausted and in a low mood and not really present much that night.

Day 5

Tuesday 22 July 2025

The Spirit Room, Rochester, NY

I woke up feeling significantly better. It’s amazing what a decent sleep can do to improve one’s mood. We set off to Rochester, to the north of New York state.

It was a reasonably long drive but didn’t feel it. On the way we stopped in at The House of Guitars. It’s was a music nerd’s dream. There was a music shop selling instruments, dotted with memorabilia. Rare instruments, many signed by famous musicians. Downstairs was an old recording studio. Through the rabbit warren was a record shop with thousands of records and CDs and t-shirts piled haphazardly. Photos and signatures of bands who stopped by adorned the walls.

The House of Guitars

Mark works for Gibson, painting guitars. He struck a conversation with the staff and turns out they had a lot of mutant contacts. They gave us a tour of the place. They were showing us a stage where in-store performances happen, and mentioned one that Zakk Wylde had done there. Then he dropped the bombshell that Ozzy Osbourne has just passed away.

It was such a weird coincidence. Mark and Chuck had just been talking about Ozzy on the drive there. And last tour, Mark had been talking about recording with Steve Albini the day that we’d heard that Albini had passed. And I remember that Tom Petty died when I first went on tour with Ranges. So we need to stop touring in order to protect these famous musicians?

One of the funniest stories from House of Guitars was about when adult model Jenna Jameson had come to do an in-store signing to promote Jackson guitars. The line was out the door and around the block, with more fans queuing up to meet Jameson than there had been when Green Day had done an in-store signing.

Most of us bought a t-shirt or hoody. Mark picked up a new cymbal at a very good price.

Rochester had an interesting feel. Lots of big stately looking buildings, like the Kodak headquarters and a few sporting venues. But it was fairly quiet and not many people around.

Spirit Room

The venue, Spirit Room, was a cool space. There was all kinds of weird and wacky decor. Lots of taxidermied animals. The statement piece was huge cast of an elephant head that had featured in The Greatest Showman film, as had a taxidermy ostrich. The bar had a drink offer that involved pulling a tarot card from a deck, and then the bartender would make you a cocktail that corresponds with the chosen card. I was sad to hear that the venue was in it’s final days, with the landlord kicking them off the premises in the near future.

We went and got barbecue before the gig. The portions were big and tasty and everyone was having a great time.

Barbeque

We finished the night with a trip to Taco Bell. The Man Mountain guys had recommended the Baja Blast drink, and Tom could not get enough of the “Obama Blast.”

Ranges. Mark on drums, CJ on guitar

Day 6

Wednesday 23 July

The Spacebar, Columbus, Oh

We started the day with a visit to Niagara Falls. I was surprised to see that it didn’t cost to go to, seeing as many American state parks and attractions do charge for entry. It was pretty impressive. The falls created a lot of water spray, and rainbows were being formed in the mist. Canada was on the other side of the river. We walked around, seeing various falls from different vantage points.

Niagara Falls

We got to Columbus early and browsed a few shops – a record store and a curiosity store that stocked a lot of items similar to what we’d seen at The Spirit Room the night before.

Ranges and Man Mountain had played The Spacebar together back in 2017. They were surprised to see some of their stickers still stuck up where they’d placed them, all those years ago.

It was largely as I remembered it. One of the staff mentioned covid and it made me realise how fortunate we are to still have spaces like this, after years of the live music scene coming to a halt.

We ate Skyline Chili. Spaghetti with chilli. I’m not quite sure what makes that different from spaghetti bolognese but it tasted good.

It was a good sized stage, with lots of incandescent lights hanging and giving a nice glow. Both Man Mountain and Ranges played well.

We stopped at a pizza joint on the corner. Last time we’d been there I’d been quite drunk and Jared had carried me out, quoting Lord of the Rings: “I can’t carry the ring for you Mr Frodo, but I can carry you!” Bryan was delighted to see that the pizza joint had The Fellowship of the Ring playing on the TV, purely coincidentally.

After the gig we had a great time celebrating the last night of the tour. Man Mountain had a ridiculously hot chip coated in a chili seasoning that had been sitting in their merch box for years, with nobody brave enough to try the challenge. I ate a good portion of it, with David and Tim also having some. It was punishingly hot and painted our tongues blue.

L-R: Chuck (sound tech), David, Tom, CJ, Tim, Bryan, Mike. Front L-R: Jacob, Mark, Me (Joseph)

We traded merch, signed each others’ posters. The bar was selling a pineapple cider that was popular. We took a group photo together on the stage, before heading downtown to take another with an Arnold Schwarzenegger statue.

We’re all heading to Indiana for Post Festival after this. Ranges are playing on Saturday. Man Mountain played the festival last year, and are coming as attendees this year. It’ll be a nice way to cap things off, without the big drives and exhaustion that can come with touring.

Joseph James

Ranges & Man Mountain USA Tour 25: Chicago, Cleveland, Brooklyn

Read these first if you’d like some further context for this tour blog:

Ranges USA Tour 2017

Ranges Eu Tour 2018

Ranges UK Tour 2024

Ranges Sin album review

The people in the Ranges van are:

CJ Blessum – Guitarist and owner of A Thousand Arms record label and printshop

Mark Levy – Drummer

Tim Moens – Guitarist

Tom Verryken – Bassist

Chuck Goodwin – Sound engineer

Joseph James (me) – Roadie and photographer

Day 1

Friday 18 July 2025

Bookclub, Chicago, Il

w/ Outrun the Sunlight

First day of tour!

I’d been hanging out with CJ for the past few days. We’d driven a looooong way from Montana to Chicago with the gear and merch. Then we swapped CJs truck out for a tour van with 8 seats and space for the instruments.

CJ and I at Dinosaur Park, South Dakota

Last night we picked Tim and Tom up from the airport. It was their first time in America and it was great seeing their reactions to everything. They kept pointing and saying it was like things they’d seen on TV.

We spent the morning grabbing some breakfast (CJ and Tom got chicken and waffles, Tim and I got a pile of fried potatoes, eggs and avocado), stocking up on snacks and drinks for the van, and setting up at Fort Knox Rehearsal space. The problem with half the band living in Belgium is that the guys don’t get the chance to come together and practice. So they booked a practice space to get used to their gear, play through and set, and iron out the kinks.

At the rehearsal space. Chuck on the faders

I had used a trimmer to buzz my head and most my beard the night prior, leaving a small moustache similar to Mark’s. The guys were cracking up and how Mark and I both looked the same. Mark just took it in his stride and said it was a good look.

Bookclub was a cool venue. It wasn’t the easiest to find because it didn’t have signage. The staff were all super friendly and made us feel welcome. The venue had three levels. The upper level was the green room, that we didn’t really use. The ground level had a bar and an enormous TV wall where they played live footage of the bands on stage. And downstairs was the live music space. The stage was an interesting shape, almost a diamond with a mini catwalk jutting out the front and a pillar in the centre.

Van Mountain

Man Mountain arrived and it was fantastic to see the guys again. I’d met them when they’d toured with Ranges on their 2017 tour, and they toured again with Ranges a few years later. I remember they had a pillow with Nicolas Cage’s face on it, and had drawn John Travolta’s face on an inflatable beach ball (a reference to the movie Face/Off, also featuring Nicolas Cage). I bought them a small laser engraved wooden token with an image of “Saint Nicolas” burnt into it and hung it from their wing mirror. They proudly showed me their vehicle – Van Mountain – complete with a custom license plate and some enormous truck nuts dangling from the tow bar.

After soundcheck, Tim and I went for a walk down to Wrigley Field. The Cubs had just played a game and the bars in the surrounding area were pumping. We each got a Chicago style hot dog and walked around.

Bookclub in Chicago

We arrived back at Bookstore during Man Mountain’s set. They’re class musicians and I loved watching them play again after so many years. There’s a lot of subtlety and nuance to their music, and the new songs from their upcoming album were great. I also thought about how last year I’d played Borderlands 3 on Xbox, which featured a Man Mountain song.

I’d suggested that they sell beard combs at their merch table, so was very pleased to see they had some, along with CDs and pins and stickers.

Man Mountain at Bookstore, Chicago

Local prog rock act Outrun the Sunlight are great. I spent a lot of their set standing side of stage, watching the drummer in awe. It’s pretty complex sounding music and you can tell that they’re masters of their craft.

Mark had some friends turn up, and I actually remembered them from the 2017 tour. He wanted to head out to bars with them but I didn’t want to be in such a crowded, noisy space so I hung outside and called my girlfriend back in New Zealand who I hadn’t spoken to in a few days.

On the way out of town we stopped to see a fountain which had sadly just stopped 5 minutes beforehand at 11pm. Everyone nearby had love heart lights that indicated KPop stars Black pink had just played a concert nearby. Tim really loved seeing the Chicago skyline, which was a stark contrast to the buildings in Belgium.

Traffic was a nightmare, even that late at night. We were running low on gas and a lot of the gas stations had their entry blocked or were hard to access due to one way streets. Eventually we found one, which appeared to have a huge party onsite. Loads of people sitting around in deck chairs and blasting loud music. This is after midnight. So weird. We fueled up quickly and then drove off to our accommodation about an hour away.

Day 2

Saturday 19 July 2025

Dunlap’s Corner Bar, Cleveland, Oh

w/ Seeress

It was a fairly long drive to Cleveland. We didn’t have time to look though the Rock and Roll Hall of Fame, but stopped in to check out the gift shop anyway.

Walking to the Rock and Roll Hall of Fame

The drive through the city felt a lot different to the insane traffic of Chicago, more spacious and green, with some neat old buildings.

Dunlap’s is a cool space. Joe who ran it was telling me how it is the second oldest bar in the area, started just after the prohibition ended, under the name Pacino’s. It was basically a residential area, and it was pretty funny watching the locals hoon past with insanely loud vehicles. It must have been a local spot for it because the same people drove back and forth along the same stretch, in all manner of crazy vehicles. I’m guessing there was a swimming spot nearby because lots of families went past with swimming costumes and towels. And we saw a beaver cross the road!

Dunlap’s Bar

The stage in Dunlap’s was only big enough to fit a drum kit, so the guitar and bass players set up on the floor in front of the stage. There were a few dim lights and a disco ball that made photography difficult due to low light, but it helped create a cool mood in the space.

Man Mountain was up first. It was really nice catching up with them again, and they kept saying over and over how happy they were to see me after so long. I really love seeing them play. Their music is so comforting and they’ve really honed the dynamics of their songwriting. I asked if they would use the floodlight I remember them using in 2017, and they laughed and said they’d retired it after a bunch of complaints from people who were momentarily blinding by it at their shows.

Tom on bass during Ranges’ set

I wasn’t so keen on Seeress. Man Mountain had packed away some of their lights so it was really dark. The music just didn’t do it for me.

Man Mountain went off to check out a house from A Christmas Story, I guess that’s an iconic film here? We went to our accommodation for much needed sleep ahead of our early start.

Day 3

Sunday 20 July 2025

Gold Sounds, Brooklyn, NY

w/ Another Demon, Precious Blood

Mark is from Brooklyn, so we all knew this would be an interesting day, being a homecoming for him. He’s been so involved in the music scene on so many levels over the years, so he seems to have a connection with almost everyone.

We had an early departure for a long but beautiful drive to NYC. Lovely to see big trees and rivers in Pennsylvania. Certainly nicer than the grassy plains or concrete jungles we’ve encountered this far. A lot of the scenery reminded me of my time in New England when I lived in Maine for a few months.

Everyone was on good spirits and the banter was free flowing, despite the lack of sleep.

Gold Sounds, the venue, opened at 2pm. We arrived at that time, only to discover that we should hold off loading in because there was a matinee show on that afternoon.

On the subway in NYC

We parked up and took the subway to Manhattan to visit Katz’s Delicatessen. There was a long queue to get in. We all ordered pastrami on rye bread with mustard and cheese. They came with a side of pickles and cost over $40 by the time we’d paid for it with a drink and tax and tip included.

Then Mark took us to a bar he used to work at for a few hours before we headed back to the venue.

It was basically a repeat of last time Ranges played NYC: same venue, same visit to Katz’s.

Gold Sounds was ok. The staff were not friendly, the green room was too small to fit much gear and became dangerously cluttered. I thought that booking four bands late on a Sunday night was ambitious, but it was a good turnout. Maybe people don’t have work Monday mornings here?

Ranges set had a few technical mishaps. The cable connecting Tom’s bass cab to the amp kept cutting out, and then his tuning pedal was playing up. Tim used the mic to chat to the audience while they sorted it. All in all it didn’t affect things too much and everyone appeared to enjoy the set.

Joseph James

Album Review: Ranges – Sin

There is the music you can hear—
And the world built beneath it.

How good are riffs?

Seriously though – how good are they? All kinds. Big, filthy riffs. Shimmering, melancholy riffs. Sludgy, stank face riffs. Riffs that transport you to childhood memories unexpectedly. Riffs that if you’re driving result in your foot pressing harder on the accelerator without realising. Safe to say, I am all too happy to worship at the altar of riffs.

And luckily, Ranges new release Sin is a very fitting addition to the altar.

I must confess, I actually didn’t know much about them heading into this review. After a brief crash course I can say that I was missing out – they’re great… And with some of the most creative, bespoke, wonderful merch and universe building I’ve seen. This is a group of people who deeply love and respect the music and art that they create, and deeply enjoy sharing it with the world. How goddamn amazing.

And so onto their new release: Sin. Seven tracks, seven deadly sins. Full disclosure, I’m not 100% certain which track corresponds to which sin, so I’ve done some internet sleuthing as best I can to align them.

“The Falcon Cannot Hear the Falconer” – Wrath
Opening the album we have a track titled with a line from the William Butler Yeats poem “The Second Coming”. A poem influenced by the trauma and unimaginable horror of the first world war, descending into chaos and sheer terror. Ethereal pads and light, airy effects kick us off before some softly booming tom work guides us into the first instance of chiming guitar riffs. The guitars sway and pierce while the bass slowly rumbles. Suddenly we’re into wrath – piercing, venomous guitar lines erupt from the speakers and swirl around your head.

Just as you’re getting used to it though we’re back into the first building motif again, but with more layered guitar lines to add to the overall wall of sound, reminding me of pg. lost in a way. Exploding proper into the final stanza with the second motif repeating again we get even more high end distorted guitars wailing and thrashing at you. I can absolutely picture this as the soundtrack to coffins opening and the wrathful dead rising – a la the 7” cover inspired by Dante’s Inferno.

‘Their Eyes Sewn Shut’ – Envy
What denotes envy to you? Is it a longing for a thing you can’t or shouldn’t have? If so, the opening of this screams out longing to me. It’s melancholy, slightly wistful and pushed forward by the military style drumming. Then a screaming guitar riff comes in and takes the top of your head off, exploding the track into glorious life. It’s spacious and huge, echoing around the sound stage as wailing lines build and soar. The military snare hits keep us going as the guitar screams, until it recedes into a soft, delicate bridge.

A few well timed clean chords to echo through the space occur before the main guitar melody line comes back in to remind us of the overall track, and hint at one final peak. It’s a study in delicate noise – melodic cacophony. And then, there’s no final noise. We end with the environmental sounds/effects that were all through the track, softly echoing and dying to leave us thinking about what makes us envious.

“Bound To The Black Wind” – Lust
I love this track. It has a delicate, shimmering swagger to it, fragile and vulnerable in the beginning as we ruminate on things lost or things never had. It’s got that ‘classic’ post rock sound that we all know so well – timeless guitars, spacious yet essential drumming, melodic rises and clear yet enveloping mix. Then when the heavy part of the track kicks in it’s immediately buzzsaw guitars soaring and fighting with each other, an evil minor melody cutting through absolutely everything on the track. That melody line could absolutely be the evil, lustful voice in your head. The counterpoint guitar line coming after it is the foil to that voice, cautioning restraint. A great track, and would absolutely hammer live I think.

“Three Throats” – Gluttony
This song certainly seems to be a tale of two parts. The first instance is quiet, delicate and mournful. Everything in its right place, slowly building and moving around one another in no hurry to arrive at the second section. And then the second section is violence.

It’s a simple riff, but oh boy it’s a corker of a riff. This is a nomination to the altar of riffs for sure. It’s a masterclass in ‘less is more’ as the band slowly cycle through the riff over and over, building more venom, anger, distortion and tension into it with each phrase. It encourages head banging, evil faces and gluttony. This is feeding yourself silly on a dirty, evil riff and I am here for it. Ranges don’t give you a choice here – they’re force feeding you this riff and you WILL like it. Awesome.

“Prodigal” – Avarice/Lust
We get a quiet start on this track, with subdued guitars, a thudding, gorgeous bass line humming underneath and simple, propulsive drumming. Slowly building, ebbing and flowing with the instrument lines weaving between each other until the inevitable peak explodes… And it explodes with glorious abandon. Cutting, buzzsaw guitars, bass that seems to be ripped straight from a chasm and signaling impending doom. It’s an aural assault and it is just wonderful.

Lust indeed. I for one am lusting over that guitar tone. It’s gorgeous. It reminds me of If These Trees Could Talk with that slight proggy edge to it, but this is a beast all its own. Then in the bridge we get some delightful strings to float us away briefly before the violence returns. And then we’re back, mired into those wonderful guitar lines with a new, soaring riff over the top threatening to take the top of your head off. And all too soon it’s over. I could listen to this as a 20 minute track easily. Killer.

“The Red Mist” – Anger
Straight out of the gate this track seems to fit exactly with the sin of Anger. An angry, speedy start to this song fires you back in your seat, guitars hitting you square in the chest over and over again, minor rising lines wailing at you until they collapse on themselves. And then – respite? Perhaps, but there is still that undercurrent of tension in the ‘quieter’ section as the anger of the first part still permeates. And while the softer section is great, it’s the urgency, anger and violence of this track that makes it for me. It’s a masterclass in ‘loud/quiet/loud’ songwriting, and one of those tracks that you swear is either 2 minutes or 10 minutes long. When the second, final loud section kicks in it’s all fist pumping and head swaying. If that’s a musical representation of anger – sign me up for an album of it.

“Idle Hands” – Sloth
If I had to describe this song in one word, it would be ‘wistful’. If it is the track for Sloth, then perhaps the sloth is the languid guitar line at the start? There’s a certain sadness to this track that makes me think I got my Sin allocations wrong. It’s slow to start, each instrument coming in to add to the overall wall of sound, chord by chord, riff by riff. And you know it’s coming – the peak. Just because you know it’s coming doesn’t lessen the impact though when it’s done this well. It’s loud, melodic, screaming at you and a suitable vessel for you to scream into the void. Angry guitars yell at you one final time as the track just… dissolves into quiet. A fitting final track.

So, overall a great album. It’s not just the music, but the world they’ve created around it that makes it great. It’s so very clear the time, effort and meticulous crafting that went into this album. And there is a smorgasbord of riffs for you to sink your teeth into. This makes me need to go and listen to everything they have done previously, because I am clearly deficient in my Ranges allocation. Now, where on earth do I get an Æterno coin…

“Where words fail, music speaks.”

Ranges are part of A Thousand Arms records, a post-rock label and screen printing company that creates incredible bespoke merch. They have teamed up with dunk!records in Belgium to press some incredible looking records.

The theme of this album is the seven deadly sins. The album will be released on 7/7. There are seven different variants of the record (limited to 150 copies each), each named after the respective sins.

There are seven limited edition boxsets that contains all variants (already sold out). And for the ultra fans, we have the deluxe boxset (limited to 77 copies, also sold out), which features seven 7″ records, one for each song on the album, with vinyl-exclusive songs on the b-sides. The US Deluxe Edition also includes a suite of seven themed ephemera that align with sins and vices, including playing cards, dice, a cigar, and a poster and merch that have been screen printed in the typical A Thousand Arms attention to detail.

Ranges are about to embark on an American tour with their friends in Man Mountain, playing Midwest and East Coast parts of the country, before finishing at Post Festival in Indianapolis.

Tour dates/ ticketing: https://www.rangesmusic.com/tour

Order Sin:

Bandcamp: https://ranges.bandcamp.com/album/sin
A Thousand Arms store (USA): https://www.athousandarmsstore.com/collections/pre-order-sin-by-ranges
dunk!records (EU) : https://dunkrecords.com/collections/ranges
Wild Thing Music (Au): https://wildthingmusic.com/collections/ranges

Ranges links:

Website: https://www.rangesmusic.com/
Instagram: https://www.instagram.com/rangesmusic
Facebook: https://www.facebook.com/rangesmusic/
YouTube: https://www.youtube.com/channel/UCBJg41ELchEChCEtIRKz4NA

Patreon (The Ranges podcast, exclusive merch, early access to releases): https://www.patreon.com/rangesmusic

The Cultus (The world of Ranges lore. Exclusive marketplace, limited edition releases, unpacking the deep mystique and concepts of Ranges’ music) : https://linktr.ee/thecultus

Reviewed by Nick Dodds

Photos by Joseph James

Ranges Eu Tour 24: Bristol, Manchester, Cambridge and dunk!festival

Baggins is back with Ranges, baby!

It’s been aaaages. Last time I saw these guys was 2018. We’d planned on reuniting in 2020 but the pandemic cancelled those plans, and I was too cautious to try international travel when they next toured Europe in 2022. They’ve released three albums since I last saw them: Babel (2019), Cardinal Winds (2021) and 33 (2023), as well as re-releasing “Night & Day“, the release that first introduced me to Ranges. So I’m looking forward to seeing them play some fresh material.

A few updates since I last toured with Ranges: Jared the bass player moved to Ohio. And Joey on guitar moved to Idaho, where he is currently playing in a heavy band called Onsetter.

So Ranges are down to a core trio.

Wilson Raska contributes to the overall vision, concepts, and art. Seems a bit weird to include someone who doesn’t play the instruments, but anyone familiar with Ranges will know that their art and overall concepts are vital to who the band is. Wilson and CJ co-own A Thousand Arms – a record label, printing workshop and distro. Chances are high that if you’re a post-rock fan, you’ll have seen Wilson’s art on t-shirts or posters.

CJ Blessum is the band dad. The most driven person I know. He’s the guy up at all hours, coordinating with people, running merch stalls, driving all through the night to get to the next gig. On top of that, he writes some pretty damn good post-rock music. CJ used to contribute to Will Not Fade now and again, and invited me to tour with Ranges across America in 2017. That was one of the greatest things to ever happen to me.

And then we have Mark Levy. New York Hardcore drum legend. He’s a bit older than the others, and talks different, being from Brooklyn. And he is always the life of the party, and has a million amazing stories to share. He’s the guy I always turn to if I need drum advice.

Damn, I’ve really missed these guys. It’s amazing how spending time stuck in a van with a bunch of dudes for a few weeks can galvanise such friendships.

Last time I came to Europe I was in an absolute state for the entire tour. One of my flights – Auckland to Doha – was the longest commercial flight in the world at the time. Jetlag hit me hard and I felt too out of sorts to really enjoy myself. So this time I’ve opted to get to Europe a week earlier, hoping that the extra time would help me recover from jetlag before I join the band.

Also joining Ranges are Tim (guitar) and Tom (bass) from Astodan – an incredible Belgian post-rock band who Ranges first played with back in 2018. Tim is keeps up with Mark in terms of being larger than life and also being a drummer in a bunch of other bands in Belgium. He also finds it very hard to understand my New Zealand accent, which leads to lots of confusion and big laughs. Tom is a lot quieter, but he is by far the funniest person of the group when he cracks a joke.

We also have sound engineer Chuck Goodwin, who has also made the trip from Montana to keep the guys sounding great, and Sean Oliver is the Fanta-loving driver from Utah, charged with transporting us in the huge van.

Day 1

Monday 6 May 2024

Rough Trade Bristol, Bristol, England

w/ Fort, Din of Celestial Birds

I flew into London a week before meeting up with them, and arranged to meet them in Bristol on the day of the first show. They’d spent some time in Belgium rehearsing with Tim and Tom from Astodan. We were due to meet at Rough Trade, the venue, at 4pm for load in. But they’d encounters issues when trying to come across the channel on the train. They’d been sent back to Belgian to obtain signatures that disclose something to do with taxes before they were allowed across into the UK. This put them way behind schedule and they were pushing it to make it to Bristol in time for their set.

In the meantime I introduced myself to the other two bands, and helped Nick the sound tech set up. The house drum kit was a Natal – a brand I’d not encountered before. It was a really cool orange vistalite.

I’d seen El Ten Eleven play at a Rough Trade in Brooklyn, New York in 2017, so I’m assuming it is a chain of record stores. It was a nice venue. There were loads of cool records and books and posters for sale, as you’d expect. The venue was a great size and I got along great with Nick the sound tech. They had these interesting extractor fans that Nick told me they had been required to install before reopening after the covid pandemic. They suck fresh air into the room and filter viruses out, or something along those lines.

The first band to play, FORT, are Welsh. I’d been in communication with them leading up to this and I found them very friendly. They are high energy and the best part was during the final song when Gavin jumped down into the audience with his guitar and they all went nuts during the big climactic part.

Din of Celestial Birds are also playing dunk!fest at the end of the week, and have recently signed to A Thousand Arms. They give a more professional vibe, using backing tracks and even bringing their own fog machine and a lighting rig similar to the one Ranges had when I toured with them in the USA. There’s a lot more to take in, with six of them onstage.

We’d been nervous about when Ranges would arrive, given their big delay, but they arrived just in time. It was a rushed set up and line check, and then they played at their scheduled time. It was such a buzz to see the guys again after six years. It was mostly newer material that they’d written since I’d seen them last, but I got a bit emotional when they played a few Ascensionist songs. Tim and Tom were feeling a bit nervous about playing the set, being fill ins, but they did a stellar job and honestly, I don’t think anybody would have known that the band had only just arrived, or that they hadn’t played together much.

After the gig we drove to Bath and stayed at a YMCA. I bunked with Tim, Tom and Chuck.

Day 2

Tuesday 7 May 2024

The Deaf Institute, Manchester, England

w/ Fort, Din of Celestial Birds

Bath was named after ancient Roman public baths that were situated there, taking advantage of the natural hot springs. Like many English cities, there were grand, stately buildings everywhere with ornate masonry. I gave Sean a hat I’d bought for him at Primark that had the Fanta logo all over it. He was chuffed. Sean is a Fanta connoisseur, and loves trying the Fanta in every country he goes to because they’re all slightly different. French and Belgian Fanta are among his favourites, and American Fanta is sadly not up to par. We spent the morning soaking in the hot pools and steaming in the saunas. It was a great relaxing way to start the day.

L-R: Wilson, Tom, Mark, CJ, Me. Photo taken by Sean

Sean had stayed somewhere else, and had managed to maim his left hand when returning the key to the lock box. He showed up at the van at the agreed time, with a bunch of bloody napkins held to his palm. We stopped in at an emergency room on the way to Manchester, but there was going to be at least a three hour wait, so we got some dressings at the pharmacy and continued on our journey.

Mark was quite excited to go to Manchester because he’s a fan of The Smiths. He insisted on having a photos taken outside the Salford Lad’s Club, which I thought was the name of a brothel. He wanted to replicate a photo from God Save The Queen, by The Smiths. I don’t really know much about it, but please enjoy this photo that I edited of Mark, Sean and I at the Lad’s Club.

Tonight’s venue was The Deaf Institute. The facade read “ADULT DEAF & DUMB INSTITUTE”. Tom cracked a joke about there being a translator up the front to sign the lyrics, which was hilarious because all the bands are instrumental. There was another gig happening in the same building on the floor above.

Sean managed to get his hand seen to while we were setting up, which was a relief.

I liked the venue but the stage was tiny. Two members of Din of Celestial Birds had to stand on the floor in front of the stage because there was no way all six of them would fit. The lighting was also terrible. But the show was good and the band sold lots of merch.

Lots of people had mentioned that Manchester is great to visit. I had a little wander round during soundcheck but didn’t really see enough to form an opinion. I did find a place with a huge MF Doom mask though, which I loved.

After the gig we found a pizza joint that was still open after midnight, before heading back to the hotel we stayed at.

Day 3

Wednesday 8 May 2024

The Portland Arms, Cambridge, England

I would say this was the best day of the UK leg of the tour.

Wilson and I had matching shirts.

We stopped in at Croxden Abbey. I’ve been seeing lots of old churches and castles during my time in the UK, but I still get super excited about it every time. Many have been bombed during the WWII, or fell casualty to prior wars. Henry VIII also disbanded many churches, convents etc when he formed the Church of England so that he could divorce his wife. I love walking amongst the old ruins, admiring the workmanship that is still so evident hundreds of years later, and getting the sense of history of those locations. We did some cool/cheesy photoshoots before grabbing lunch.

Croxden Abbey

Lunch was at a quaint countryside tavern. We all ordered fish and chips. I didn’t think they were very good, but the others all loved the novelty of having such a distinctly English meal, complete with pints of ale, mushy peas, tartare sauce and lashings of malt vinegar.

I really liked The Portland Arms, our venue for the night. The stage lighting was on point, Chuck had the sound dialed in, and the green room was a welcome haven where we could relax, charge our devices, and use WiFi.

CJ took us on a walk around Cambridge. We climbed an old motte – the hill from a former castle where they would have built the defensive keep. We walked around some university grounds (around, not through. They were very clear that visitors are unwelcome), and saw a small apple tree that is theoretically linked to Isaac Newton somehow. The place reminded me of Oxford, although nowhere near as impressive. We finished up with some great doner kebabs from a street vendor before heading back to the gig.

I met a local photographer, Dobbin Thomas, who took some incredible shots of the night. He was happy for me to feature some here. Give him a follow: https://www.instagram.com/robin_dobbin_t

FORT by Dobbin Thomas

Din of Celestial Birds by Dobbin Thomas

Ranges by Dobbin Thomas

And here are some of my photos below

It looked and sounded fantastic. Ranges really came together tonight and locked in well. Everyone was on a high.

Day 4

Thursday 9 May 2024

En route to dunk!festival

We got up bright and early for a 7am departure. Touring can sound fun and glamourous, but the reality is often it means late nights, inadequate sleep, eating crappy food obtainable at petrol stations, spending all day in a van. Sometimes it wears you down. We spent hours at customs. The government wanted to ensure that we aren’t selling items that they could be claiming tax on. It just meant sitting parked up in a bay with hundreds of trucks and a lot of waiting.

This pushed back our departure time for our train to Europe. Which meant more waiting around. There were more confusions about the carnet at border security and the feeling in the van was starting to get tense, but Tim was able to talk things through with the police and it was fine. Thankfully he speaks French and was able to explain things. We finally got on the train to France and left just before 2pm.

We’ve got a long day of travelling ahead, but we’re excited to get to Belgium for dunk!festival. Din of Celestial Birds are scheduled for 17:40, and Ranges are on at 22:00

UPDATE WRITTEN LATER ON

We missed Din of Celestial Birds, but lots of people insisted that they were one of the better acts at dunk!fest that weekend so well done to them.

We made our way to Ghent, unloaded our gear, and then the Americans and I took our personal belongings to our accommodation. The accommodation was across the road from Kinky Star, the venue Ranges first played in Europe, back in 2018.

We made our way back to the venue. Last time I’d come to dunk!festival it was held at a magical space in Zottegem. There was a forest stage and a mainstage tent. People camped onsite and it had a wonderful culture where everyone reveled in the music, fueled by fries and the finest Belgian beers. They’ve switched venues, and now it is in Ghent. Regulars mourn the loss of the camping experience associated with the festival, and the stages didn’t have the same magical atmosphere as the forest, but it wasn’t a bad set up.

It was a pretty immense building, with four different stages as well as a bar/restaurant and artist green rooms. I was constantly getting lost as I tried to navigate the numerous staircases, but always found my way eventually.

We met back up with Tim and Tom. Their better halves had come to meet them. Tim’s wife is from Spain so I tried conversing with her in Spanish. Ironically enough, everyone understood me a lot more clearly when I spoke broken Spanish than when I just spoke in English with my New Zealand accent…

We visited catering, had a fantastic meal, and then began to set up our gear.

Chuck was getting a bit nervous, but he had the sound dialed. And people were already flooding into the room to listen to the soundcheck.

The Balzaal was full long before the band came onstage. I found this interesting. They could have chosen to watch other bands play downstairs. But they were that eager to see Ranges that they came early.

And that eagerness was justified.

I’ve seen Ranges play 22 times now. And this was the best by far. Tim and Tom bring an extra energy to the band that has elevated Ranges to new heights. They do jumps and kicks and move about, feeding off each other. I could see that they were all loving it, turning and looking at each other and just savouring the experience throughout their set. Being a drummer, I notice Mark’s playing the most, and I could tell he was giving it more oomph than usual. The lights looked incredible. Chuck had them sounding great. And the packed out audience was so enraptured to take it all in.

I took photos from backstage and ensured their drinks were topped up. I tried to get front of stage to take photos at one point but there were so many people that I didn’t want to push past. Tim was dripping with sweat and asked me to fetch him a towel. I looked all around backstage and eventually stole the handtowel from the toilet because I couldn’t find anything else.

Ranges set was a triumph. They were all just beaming. And rightly so.

At the end of the night we celebrated the end of the tour. Ranges had made a custom vodka to be released alongside their album Babel, and Wilson had specially bought a bottle and some cigars all the way from Montana. I don’t usually drink alcohol these days, but I joined in and got a bit silly. I’m sure Wilson has some embarrassing footage that will appear in a future Ranges release.

The rest of dunk!fest was cool. My highlights were Maserati and sleepmakeswaves. sleepmakeswaves was quite late on the final night and we were all tired and fading by that stage, but I’m glad I stuck it out because smw bring me so much joy. They faced a number of difficulties like pedals not working and straps breaking, but none of these hiccups dampened the mood.

It was nice to spend some quality downtime with the Ranges guys outside the festival as well, especially once the pressures of touring had finished. We enjoyed seeing some local sites (castles, canals and cathedrals!) and eating some great food like delectable French pastries, Belgian meatballs, and of course, frites. Last time I’d been in Ghent I was horrendously jetlagged and also got fairly drunk, so it was also nice to see more of the place in a less messy state.

With CJ and Mark in Ghent. Photo by Wilson Raska

CJ commented how dunk!festival always happens on Ascension weekend, Ascension Day being a public holiday. And that is the day that Ranges have played, on the three times they’ve played dunk!fest. And the first time, in 2018, they were touring their album The Ascensionist. There’s something especially fitting and special about that.

We had a teary goodbye at Brussels airport on the Sunday. These guys are like brothers to me. We’ve been through so much together. Over the years I’ve spent 4 weeks in the van with them, driving countless miles together. Drunken, late nights. Sampling local foods. Sharing beds in cramped sleeping quarters. Meeting crazy characters. So many laughs and stupid in jokes. Jokes that don’t make sense and we can’t even remember the origins of, but that we still find hilarious. Lots of bonding over incredible music.

I’m so thankful that CJ invited me to join them on tour back in 2017. And I’m thankful that he insisted that I join them on tour again this time.

Greets and great times to you all.

Joseph James AKA Baggins

Album Review: Ranges – Cardinal Winds

Regular Will Not Fade readers should need no introduction to Ranges. I’ve been covering music from the Montana post-rockers since they released “Night & Day” in 2015. I also joined them on tour across America for their 2017 tour in support of their breakthrough album The Ascensionist, and again when they went on tour in Europe and played dunk!festival the following year. CJ (guitar) and Wilson (art direction) also co-own A Thousand Arms, the screen-printing company come distro/record label responsible for the awesome Open Language and Hemispheres post-rock compilations that come out every year.

Most Ranges releases have an underlying concept. “Night & Day” was a 24 minute song that mirrored the 24 hour day. Gods of the Copybook Headings was inspired by the Rudyard Kipling poem of the same name. I’ve always liked how their music had extra elements that you could chose to delve into and find deeper meaning in.

CJ playing guitar for Ranges in Lyon

The albums often have amazing physical elements as well, especially with the two most recent albums, The Ascensionist and Babel. Handmade booklets for liner notes on recycled paper; ceramic mugs and shot glasses; screen printed b-side records, wall banners, t-shirts, guitar pedals, cassette tapes with riddles and maps, black market currency… Seriously, the band made their own coins which could be redeemed in exchange for exclusive merch items that were only accessible on certain days discovered by decoding a calendar.

Loads of their releases and merch have cryptic hidden puzzles and codes and meanings that hint at upcoming releases or unlocking more secret b-sides. I know Aaron “Foofer” Edwards was the first to decipher on of the puzzles that came with a cassette tape the band released.

So it’s interesting how they’ve approached this record. It seems clear that something is coming. They’ve dropped a lot of singles in quick succession over the past month. But no clear news about what was coming. No album title, no pre-order. I guess they’ve always loved the air of mystique attached to their music, and now they’ve built up a big enough fanbase that they can really have fun keeping people speculating.

They’ve even kept me in the dark – and for all intensive purposes I’m an honorary band member. I’ve been able to listen to the album for a month or two, but they haven’t given me any hints. I guess I can review the music, but any true Ranges fan knows that the music is only one component of a release. I guess information about artwork and physical media will be revealed in good time…

L-R: Joey Caldwell (guitar), Wilson Raska (art direction), Jared Gabriel (bass), CJ Blessum (guitar, band dad). Front: Me (Joseph aka Baggins), Mark Levy (NYHC drum legend)

OK, here are some juicy details you’ve been after. You’ve actually heard most of the songs if you’ve been keeping up with their recent releases. There’s the four tracks we’ve already heard; four interlude tracks named after the directional points of the compass; and the title track: “Cardinal Winds”

CJ was responsible for a lot of recording and mixing duties in the past because he ran a studio, The Low Country. For Babel they chose to give CJ a break so he could focus on songwriting, rather than worrying about taking on too much responsibility. They drove down to Texas and recorded with Chris Commons, an experience that they all enjoyed. But the a global pandemic made it harder just to get out of the house, let alone out of the state, so Ranges went back to self-recording.

This album also saw Ranges reduced to a trio of musicians. Jared Gabriel was the the bass player in Ranges for quite a while, but he moved from Montana to Ohio last year to live with his fiancé, so doesn’t feature on this record. Hope you’re doing awesome Jared!

“Deluge” was the first track we heard, featuring on the recent Open Language compilation put out by A Thousand Arms. It’s a great song to create first impressions with, but actually features as the last track on the album. It starts out with a murky sound that makes me think of whale song, and a great bass tone that gives off Kerretta vibes. The guitar line is fantastic. You can always trust Joey to come up with a great melody and it’s what makes this song what it is. Mark plays some tasty rolling beats on the toms that sound thunderous but not overpowering. And CJ brings the swells and ambience. It’s a solid song but watch out: that melody will get so stuck in your head!

The actual album opener “Abyss” (debuted on Everything is Noise) comes in strong and intentional. We’re hit by a barrage of overdriven guitar. I remember CJ saying how he wants to incorporate more tremolo strumming into his playing during the writing of Babel, and I can picture him here rocking back and forward, hands a blur as they flutter over the guitar pickups. Mark is really laying into his cymbals too and you can feel the intensity of his hits.

This subsides somewhat to allow an opening for the melody line. Joey and CJ work well together, both playing just what they need to complement the other. There’s some lush beauty that the two work together to weave throughout the song, a very rewarding listen. “Abyss” is a strong statement as an opener and it works brilliantly.

We have four tracks that I’ll call the ‘compass’ tracks. They serve as interludes, giving breathing space and breaking up the album. They sound like samples of cassette tapes; of needles on record grooves; static on the radio; or of some forms of analogue media at the very least. It’s ethereal and we hear gales of wind howling through “North” atop a speaker crackling. It’ll be interesting to hear how the four ‘compass’ tracks sound on vinyl. Very meta, I assume.

Mark is one of my drum heroes. I have so much love for the guy. I even have a photo of him up on my bedroom wall. He gave me advice when I needed to buy a snare drum, and often recommends music to listen to. My old band just released an album that I drummed on and in all honestly, Mark’s thoughts are the main thing I care about. If Mark approves of my playing then that’s all I need. Mark has a custom drum company named Duradero and if he ever makes me a snare drum I will die a happy man.

Mark had been accused of ‘playing it safe’ in the past, and he openly confesses that it was true. But it’s not true on this album. His playing is just what the music needs. It’s driving and passionate. You can hear the energy of his strokes and how it propels and elevates everything. It sounds great. It’s tight, it’s creative, it’s musical. He’s a beast but his playing serves the music instead of overshadowing it.

Mark playing drums for Ranges in Lyon

“Sojourner” [featured on Heavy Blog is Heavy] feels majestic and powerful, with a pulsing beat. There’s some really cool electronic sounds at play – a wavering, shimmery sound and some warm synth bass – that provide nice textural elements for the guitars and drums to build upon.

Title track “Cardinal Winds” is the song that they’ve saved for the big reveal. I’m guessing that they wanted to keep the album name secret. It commences with a neat percussive sampled intro before launching into the big crescendo sound that is recognisably Ranges. It comes in at just under nine minutes long, so it’s fair to say it’s an epic, comprised of a number of movements.

In fact, there are two other songs of similar length, the aforementioned “Abyss”, and “Solace”.

“Solace” [premiered on the YouTube channel wherepostrockdwells] gives of feelings of solitude freedom, as the name would suggest. 2017’s The Ascensionist was the soundtrack to conquering a mountain, and we return to similar feelings of finding ourselves reckoning with the wild forces of nature here. This is the lull in the album, focused more on ambient textures and tender guitar picking than sheer force or melody. Of course, there’s the obligatory crescendo, but “Solace” is the song that helps you catch your breath.

It’s a shame I can’t comment on the artwork, packaging or merch. Wilson always knocks it out of the park with that side of things. They did such an amazing job with Babel that I’m excited to see what they have planned. I feel that my review is incomplete, but I can at least assure you that the music is worth your time.

These guys are my good friends. I’ve spent 3 weeks in a tour van with them traveling around the world. Of course I have favourable things to say about them. But I truly mean it when I say this is a great album. Their last album Babel was their best work to date, but Cardinal Winds tops it. This record really is a triumph of songwriting. I can’t wait to receive a physical copy and let me neighbours experience it as well when I blast it on my turntable.

Joey playing guitar for Ranges in Ypsilanti

Cardinal Winds is out on Friday 27 August. There’s a countdown clock at https://www.rangesmusic.com/ but I’m not staying up til 3am local time to see what happens. I imagine there’ll be some awesome content available to purchase at the A Thousand Arms and dunk!records websites.