Monthly Archives: December 2017

TVD Radar: Alvin Lee
& Co., Live At The Academy Of Music 1975 in stores now

VIA PRESS RELEASE | Unearthed live music from the late, great English singer and guitarist Alvin Lee has finally been mastered and released: Alvin Lee & Co. Live At The Academy Of Music, New York 1975 is out now on Rainman Records. Famously known for his band Ten Years After’s galvanizing performance of “I’m Going Home” at Woodstock, Alvin Lee left that band in 1973 to pursue his own artistic vision and quickly found success as a solo artist.

Now, for the first time, a January 18, 1975 show recorded at New York City’s Academy Of Music (which would later become the Palladium) has been mastered and properly released. The show was recorded on a (then) state-of-the-art 16-track, but only a few songs were ever heard, via the “King Biscuit Flower Hour.” In 2012, Lee discovered the masters in his personal archives and set out to transfer and professionally mix the concert. Lee passed away in 2013 before the music could be released, but his wife Evi carefully oversaw this project (released October 27).

The result is a collection of jazzy, funky, and mellow performances; 13 selected tracks played by a world-class band made up of talented musicians at their peak with Alvin leading expertly through tasteful guitar work and outstanding vocals. The band included Ian Wallace – drums and Mel Collins – sax & flute (both ex-King Crimson), two former members of Stone The Crows (Ronnie Leahy – keyboards, and Steve Thomson – bass), as well as Brother James – percussion, and backing vocalists Donnie Perkins and Juanita Franklin.

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Graded on a Curve:
Sonic Youth,
Confusion Is Sex

Let me just begin this review by saying this about this album: It annoys my cat. He likes to hang out on my desk, but whenever I put this album on he flees the room. And that should tell you something. Painkiller, Pig Destroyer, Killdozer—he can stomach them all. Hell, he has even sat steadfast through the horrorshow that is Foreigner.

But Confusion Is SexSonic Youth’s 1983 LP debut—unsettles him. Hell, it unsettles me. And I can only imagine it unsettles everybody, including the legendary NYC art noise poseurs who produced it. Which makes me wonder, what’s the point?

Art for art’s sake would be the short answer. Because this is certainly not art for pleasure’s sake or anybody else’s. I know a lot of pain junkies who listen to all manner of free-form atonal jazz skronk, but I do not know a single person who likes this album for the simple reason that Sonic Youth does not want anyone to like this album. It’s a classic example of taking a good thing too far.

Sonic Youth make a few concessions to such things as actual songs, but not many. And even on the songs that don’t grate, the vocals do. Kim Gordon and Thurston Moore have one thing in common—they cannot sing. And I do not mean they cannot sing in the traditional “Look at me, I’m Frank Sinatra” sense. What I mean to say is they appear to have an aversion to singing. At least on Confusion Is Sex, they seem to be going out of their way to flunk an audition.

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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Graded on a Curve:
The Best of 2017’s Reissues, Part Two

Picking up where we left off yesterday, the international focus continues. You can find them all for purchase from our friends at Discogs at the links below, or at your local mom and pop, indie record shops via The Vinyl District Record Store Locator app—free for your iPhone here, free for your Android here.

5. V/A, Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 (Light in the Attic) + Hiroshi Yoshimura, Music for Nine Post Cards (Empire of Signs) In the notes for Even a Tree Can Shed Tears, set co-producer Yosuke Kitazawa observes that Japan’s global pop exports have been rather small. Regarding pop I can’t disagree, but in overall musical terms I’d argue that Japan’s impact has been significant. Bluntly, I can go hardly a day without some Japanese band or artist entering my consciousness, if not landing upon my turntable.

Like another of Even a Tree Can Shed Tears’ producers Jake Orrall, much of my initial interest in the country’s music came through noise, experimentation, and heavy rock, and it’s an inclination I maintain. That doesn’t mean the more folk-derived sounds collected here aren’t appealing; I love when things take a turn for the psychedelic, but even the Laurel Canyon-esque moments go down easy. Joni is a big influence here, but so is Dylan, and this is the type of comp that inspires binge buys of the represented artist’s full albums. I’m familiar with a few already, but frankly, I’m going to need a longer shelf.

Empire of Signs is a label co-founded by Maxwell August Croy (of the Root Strata label) and Spencer Doran (of Visible Cloaks), and it’s being distributed by Light in the Attic. Croy and Doran’s inaugural release brings wider exposer to Yoshimura, a pioneer in Japanese ambient music. Music for Nine Post Cards was his 1982 debut (he passed in 2003), and it’s been reissued numerous times, but this is its first release outside Japan and its first time on vinyl since initial release, executed in cooperation with the artist’s widow Yoko Yoshimura.

Beginning as a conceptual artist, Yoshimura’s musical side developed as part of the Japanese post-Fluxus scene, with his sound creations intended to soundtrack activities (fashion shows) and objects (from houses to train stations to perfume). Indeed, Music for Nine Post Cards’ original incarnation was as a demo tape intended for play inside the Hara Museum of Contemporary Art. If you’re thinking Eno, well yeah, but this LP, played on a keyboard and Fender Rhodes, is distinct. Empire of Signs’ promo text states he strived for serenity as an ideal, but the album is also very pretty and melodically engaging.

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In rotation: 12/13/17

Where to get Vinyl Records in Kuwait: The first shop I went into had a large pile of records piled up in the corner of the shop. So I sat down on the floor and started going through them one by one. Anything that was remotely interesting I put on the side. By the time I was done I had found around 14 potential records which I ended up reducing down to 10…The buying process though wasn’t so easy. The shop was originally closed (it’s always closed whenever I visit) but the basement janitor has the key. So I had him open up the shop for me and after I chose the records I wanted, he had to take pictures of each one and send them to the owner.

10 Best Vinyl Record Stores in Singapore For A Throwback To Before Spotify Was A Thing: With Spotify, Apple Music, and Youtube, we have a world of music quite literally at our fingertips. But for vinyl enthusiasts and aficionados of analog audio, there’s something more satisfying about the experience of buying an LP, slipping the shiny new record out of its sleeve, placing it on a turntable, and gently dropping the needle – a far more elaborate ritual than hitting “shuffle” on iTunes. There’s no logical reason to buy vinyl over digital downloads – it’s a purely emotional experience. If you’re looking to get acquainted with the magic of analog music, here are ten record stores where you can indulge your vintage fetishism and crate dive for that limited edition marble green Joy Division LP – or Taylor Swift’s Reputation, if that’s how you roll.

Sam the Record Man sign lights up Yonge Dundas Square, Iconic signage will be a fixture this holiday season. The Sam the Record Man sign is back in action. It was lit up Friday evening overlooking Yonge-Dundas square. The 15-metre by 11-metre neon turntables on the sign spun and flashed “That’s Entertainment” at 5 p.m. The sign will stay illuminated through the holiday season until January 3. Last week, Ryerson University, which owns the sign, installed it atop 277 Victoria St., the Toronto Public Health building. City council approved a proposal in 2014 to reinstall the sign. Restoration of it began last year. The sign was removed 10 years ago, when the flagship store at Yonge St. and Gould St., which sold vinyl records, closed. The closure marked the end of the record store chain, which was established in 1937.

Remembering Ross ‘Skip’ Kolhonen: No music played at Salem’s venerable vinyl shop, The Record Exchange, on Friday morning. Longtime employees Paul Bazylinski and Barrence Whitfield, sorted through records mechanically, just trying to get through the day. Just a week ago, their beloved manager and friend, Ross “Skip” Kolhonen, 43-year owner and founder of the store, died of heart disease complications. He was 71. “It’s hard,” said Bazylinski. “He passed last week, and the funeral’s this week, and so it’s sort of like this odd week in between. And a lot of people coming in to reminisce — sharing their sympathy and condolences, but also telling these great stories … He was such a joyful guy that you’re crying and laughing at the same time sometimes.” Bazylinski first met Kolhonen in the late ’70s, in his old store on Lafayette Street. He called him “the warmest guy,” and remembered how he liked to connect through music.

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TVD Live: Joe Henry at Jammin’ Java, 12/5

A saving grace of not exactly being a household name is the ability of fans to hear the music of someone like Joe Henry in such an intimate setting as Jammin’ Java, a strip mall oasis in a Virginia suburb outside of DC.

A hushed crowd of 100 or so is perfectly suited to the nuanced chamber-folk with a jazz flourish that Henry produces with his fine LA band. Henry’s deep voice matches his brainy songs that often march to deliberate beats. Still quite youthful at 57, he began the show Tuesday solo, deconstructing one of his most enduring, enigmatic tunes, “Trampoline.”

Then he was joined by his longtime band that includes Patrick Warren on keyboards, David Pilch on bass, the inventive Jay Bellerose on drums and percussion, and Henry’s son Levon on tenor saxophone and alto clarinet – an expressive instrument that snaked its way into a lot of songs, providing the perfect mournful undertone.

Another Henry who wasn’t a relation — jazz saxophonist Vincent Henry — sat in for a few songs and he and the younger horn man seemed to have a good time playing off of one another. It was a trip to watch Bellerose work — for some songs he’d have both sticks in one hand handling the set, while the other was reserved for tambourine. He knew when to build and when to hang back. There was nothing standard about his approach.

Henry said he was reluctant to use a gig as a way to promote new product — “and yet,” he added, before going into the first of what would be nine of the 11 cuts from Thrum, his 14th solo album, released in late October.

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TVD Radar: Country Joe & The Fish, The Wave of Electrical Sound box set in stores 1/26

VIA PRESS RELEASE | 1967 marked an era of creative expression, political rebellion and experimentation, climaxing in The Summer of Love; and no other location on Earth was quite as synonymous with this period as San Francisco, the center of the counterculture movement. Perhaps one of the best musical representations of this time, place and environment came from a rock band across the Bay, who married progressive protest with groundbreaking, experimental music: Country Joe & the Fish.

In that one year, the Berkeley musicians rose to prominence, releasing two albums which would go on to influence some of the biggest psychedelic acts of the decade: their debut LP, Electric Music for the Mind and Body, and I-Feel-Like-I’m-Fixin’-To-Die. Craft Recordings, the Catalog Division of Concord Music, is proud to celebrate the band’s prolific year with a limited-edition, deluxe vinyl box set, The Wave of Electrical Sound, as well as standalone, high-end LP reissues, both due out January 26th, 2018, while a remastered digital collection, offering both albums as well as two exclusive bonus tracks, hits digital retailers and streaming services.

Limited to 2,000 copies worldwide, the deluxe 4-LP box set, The Wave of Electrical Sound, will offer both mono and stereo versions of Electric Music for the Mind and Body and I-Feel-Like-I’m-Fixin’-To-Die. All four remastered LPs will be pressed on audiophile quality, 180-gram vinyl, and housed in old-school-style, tip-on jackets – the mono Electric Music for the Mind and Body LP will feature rare, alternate cover artwork, while the other titles will be in replicas of their original packaging.

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Needle Drop: East of My Youth, “Go Home”

We’ve previously featured East of My Youth as our Artist of the Week and it’ll be no surprise why after you hear their latest corker of a tune. “Go Home” is another stunning slice of electro-pop underscoring that the Nordics really do do it best.

East of My Youth’s “Go Home” opens slowly with Thelma Marín Jónsdóttir’s smooth, sultry vocals leading the way. Underneath are Herdís Stefánsdóttir’s percolating MicroKorg synth sounds, a funky bass line, and mellow electronic beats that carry the track. This may be a bit of a slow burner but trust us, roll with it. As the layers within the track reveal themselves, the listener is transported into another world where only these pulsating, mesmerizing beats matter.

Thelma and Herdís are without a doubt, a force to be reckoned with. Not only do these Icelandic talents have unique style, their music feels extremely personal, yet completely current and relatable at once. 2018 may well be a big year for them, so watch this space…

“Go Home” is in stores now.

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UK Artist of the Week:
The Little Kicks

This week’s Artist of the Week are Scottish indie rockers The Little Kicks. The band released their latest album, Shake Off Your Troubles, earlier this year and they’re back with a fourth single from said release, “Bang The Drum Slowly.”

At first listen you’d be forgiven for thinking this is just another noughties indie rock remake, but we urge you to listen closer and enjoy. The Little Kicks definitely have an element of fellow Scots Franz Ferdinand about them, but they also incorporate glitchy electronic beats and fuzzy guitar that separate them from the masses.

“Bang The Drum Slowly” is brilliantly catchy from the offset with lead singer Steven Milne’s crisp, sharp vocal taking full control. Milne explains, “The themes of the record would be a feeling of happiness, gratitude, and to be thankful with what you have and not take things for granted. Furthermore, not to let others get you down or let anyone put you in your place.”

The Little Kicks have been core players in the Scottish music scene for some time and have already supported a number of huge bands including The Maccabees and Maximo Park. With “Bang The Drum Slowly,” The Little Kicks hope the rest of the UK (and beyond) will take note of their eclectic indie pop sound.

“Bang The Drum Slowly” is in stores now via Loosen Up Records.

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Graded on a Curve:
The Best of 2017’s Reissues, Part One

What was said yesterday regarding the year’s box sets also applies to 2017’s less expansive reissues. Who could listen to them all? Not us. Not you, either. But amid the deluge, many worthy releases emerged, some exceptional even, and here’s a list of a few.

Find them all for purchase from our friends at Discogs at the links below, or at your local mom and pop, indie record shops via The Vinyl District Record Store Locator app—free for your iPhone here, free for your Android here.

10. Jackie Shane, Any Other Way (Numero Group) + OST, Ciao! Manhattan (Light in the Attic) Any Other Way is one of the out-of-nowhere finds of the year, though unsurprisingly, heavy soul heads have long been in the know regarding the slim discography of 1960’s transgender pioneer Jackie Shane. Lighting out from her hometown of Nashville, she landed in Toronto and developed a career singing soul as a transwoman, even if the culture wasn’t ready for full acknowledgement of this fact.

However, Canadians (and some US residents) were eager to purchase her ’62 version of the William Bell song that titles this collection, making it a regional hit that bubbled under on the Billboard chart at #124; in the context of this comp, it resonates like a smash. Any Other Way collects her studio recordings and the serious fun of her ’67 live album, and if there’s occasional unevenness, Shane’s talent is undeniable. Though her career was brief (she turned down deals with Motown and Atlantic and the opportunity to join Funkadelic), Shane is a survivor; she currently lives in Nashville.

Edie Sedgwick did not survive, and like many of the figures primarily known for their association with Andy Warhol, her life, which was alternately captivating, exasperating, lurid, absurd, and ultimately tragic, has been the subject of scorn. Often, this is little more than small-minded hostility over the Warhol scene’s aura of cool, though quintessential underground flick Ciao! Manhattan’s blending of unfinished B&W footage of Sedgwick and Paul America in ’65 NYC (the good times) with color photography from California in ’70 (the downward spiral) provoked understandably diverse reactions.

I was conflicted after my now long-ago viewing, and through snippets of dialogue, the first-time reissue of this soundtrack (in any form) initially stirred up similar feelings. Mingling those audio bits with a synth score by Gino Piserchio and post-hippie singer-songwriter selections by John Phillips, Skip Battin, and a handful from Richie Havens, this OST is wildly imperfect; individually, the threads aren’t much, but weaved together, the whole becomes messy, uncomfortable, still sometimes frustrating and yet quite striking. Put another way, I keep coming back to it, which is something I doubt I could do with the film.

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In rotation: 12/12/17

Cincinnati record stores are booming. This book explains why. If “Queen City Records” had been published a year ago, it would have been considerably thinner. A vinyl boom is taking place here, and Cassie Lipp was trying to keep up with stores popping up as she was writing “Queen City Records,” a book that documents independently owned record shops, old and new, of Greater Cincinnati. The book features the photographs of Cincinnati native and Los Angeles resident Mike Spitz, who created a similar work in 2015 titled “The Record Store Book,” an overview of L.A.’s vinyl-shop scene. Lipp wrote the text for “Queen City Records,” which is scheduled for release this month. As Spitz and Lipp worked on the book, three stores that stock vinyl opened for business this year: MetaModern Music in Oakley, Jet Age Records in Newport and Herzog Music Downtown. A fourth, Morrow Audio Records if Florence, opened after the book was completed.

Old school gets new life, new audience with vinyl record shop: Throughout their childhood, sisters Brenna Gentry and Calvert Gentry McMahan spent hours upon hours listening to their parents’ vinyl record collection. Years later, the fourth-generation Franklin, Tennessee, natives have brought back their youthful musical passion by co-founding Luna Record Shop at The Factory in Franklin, Tennessee. “Records were our first experience with music, as well as our first medium for music,” said McMahan. “Of course, we slowly moved to cassettes then CDs, but then came back around to vinyl once we realized the quality was much better than the compressed music we had become accustomed to.” Gentry’s love for music — and record shops in particular — have existed since she was a child.

Holiday Gift Ideas for the Vinyl Enthusiast in Your Life, Instead of yet another vinyl record, get your music lover something different this year. These holiday gift ideas for the vinyl enthusiast in your life are fun, decorative, and ingenious. If you know someone or are someone who collects vinyl, you know the hobby doesn’t stop at just the records themselves. Frankly, it’s more than just enthusiasm—it’s obsession. But that’s not a bad thing! To prove it, we’ve come up with some holiday gift ideas for the vinyl enthusiast in your life that will show you how many different ways they can include vinyl records in their life.

Rolling Stones, Elvis Presley, Dylan Ramp Up Box Sets As 2017 Reissues Set Record: The Beatles, Rolling Stones, Elvis Presley and Bob Dylan are among artists leading this year’s record crop of musical box sets. The multimillion-reissue bandwagon exceeds last year’s peak, with a lot of classic albums returning in anniversary and deluxe editions – by U2, the Eagles, Prince, Radiohead and The Smiths, among others. New and announced titles, including vinyl reissues, are currently running at more than 630 for mainstream artists so far in 2017, an increase from the approximate 520 number at the same point in the year from the same record companies in 2016. The number surged in the last few weeks before Black Friday, Cyber Monday and now the first weekend of December – the weekend seen by eBay as the peak time for physical sales of vinyl, CDs, DVDs and Blu-Ray, even old videotapes and cassettes.

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Celebrate Walter “Wolfman” Washington’s Birthday Week

He’s one of the last remaining links to the glory days of the New Orleans Rhythm and Blues scene in the 1950s. And he’s still on the top of his game as a guitarist, vocalist, and bandleader. Fans and music lovers will have a chance to wish Walter “Wolfman” Washington a happy birthday four times this week.

His regular Wednesday night gig at D.B.A. is a favorite mid-week show for locals and visitors alike. It begins at 10 PM and Washington will be appearing with his longtime ensemble, the Roadmasters. Thursday is a special early evening performance as part of the ongoing music series at the Ogden Museum of Southern Art. The show begins at 6 PM.

Washington will be a special guest Friday night at Tipitina’s when Anders Osborne begins his annual two-night Holiday Spectacular. Osborne always brings his A-game and very special guests are expected. Besides, Washington, Ivan Neville and Rickie Lee Jones are on the bill.

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TVD Radar: Chris Hillman, The Asylum Years in stores 2/9

VIA PRESS RELEASE | Chris Hillman co-founded some of the most classic, seminal, groundbreaking acts of the ’60s and ’70s including the Byrds, the Flying Burrito Brothers, Manassas, and the Souther-Hillman-Furay Band. But, in the mid 1970s, he decided it was time to try things on his own.

The 20-track The Asylum Years compilation, to be released on February 9, 2018 by Omnivore Recordings, combines Hillman’s two Asylum LPs on one CD for the first time. 1976 brought Slippin’ Away, the musical journeyman’s first solo release. Produced by renowned engineers Ron and Howard Albert (Derek and the Dominos, Allman Brothers, Jimi Hendrix), it was a star-studded affair, featuring members of Booker T. & the M.G.’s, Poco, Buffalo Springfield, the Turtles, and ace studio musicians. Hillman took his place as frontman, and the results were the epitome of the classic ’70s L.A. sound.

He returned the following year with Clear Sailin’, which saw him dial back the flashy supporting cast for a more traditional release, sounding much like the iconic music he had created in his early years with the Byrds and Burritos. For Clear Sailin’ Hillman assembled a core band (including soon-to-be-superstar Richard Marx) with production helmed by Jim Mascon (Poco, Firefall). A number of songs feature co-writes with Crawdaddy magazine’s founder, Peter Knobler.

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Graded on a Curve:
The The,
Soul Mining

I’ve been dismissing The The as a stuttering problem for as long as I can remember. When it comes to Matt Johnson’s vanity project I’m with Robert Christgau, who dispensed with Johnson altogether with the words, “The The: Uh Uh.” I have always found listening to The The an underwhelming experience. I can’t even say Matt Johnson’s depressive take on things makes me want to kill myself. It makes me want to half kill myself.

But a funny thing happened to me as I was listening to 1983’s Soul Mining. First little flashes of color started leaping out at me. Jools Holland’s extended turn on the piano on “Uncertain Smile,” for example. And the accordion on “This Is the Day.” Subtle things, shadings of color as it were. And then a few of the songs actually began to stick.

And this is odd, because most of Johnson’s songs simply fail to make an impression. I listen to one, and I’ll be damned if I can remember how it went the moment it’s over. But this time around, at least on Soul Mining’s A side, the songs gradually wore me down. “This Is the Day” just might be the best song Johnson has ever written; the melody is seductive, the chorus rousing, and that accordion gets me every time. “Uncertain Smile,” ditto. It’s synthpop at its best, and Holland’s long piano solo goes a long way towards warming up the chill most synthpop gives me.

The A side’s other tracks are also winners. “The Sinking Feeling” plays against itself; the melody is bouncy, while the lyrics are, well, morose. I have charitably decided that Johnson is being funny when he sings, “I’m just a symptom of the moral decay/That’s gnawing at the heart of the country” and when he describes being “raped by progress.” I would certainly hate to think he’s being serious when he says he’s being raped by progress. It sounds… awful. Meanwhile, “I’ve Been Waiting for Tomorrow (All of My Life)” is a rave-up of sorts and features some big drums going boom boom boom. Johnson sounds breathless and appears to be taking himself far too seriously but the song still works on the basis of sheer martial badassdom.

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TVD’s Press Play

Press Play is our Monday recap of the new and FREE tracks received last week to inform the next trip to your local indie record store.

Treehouse Sanctum – O Come, O Come, Emmanuel
Fovea – Don’t Play
Eagle Johnson & Clean Machine – My Best Girl
The Dirty Truckers – Like Him
Cameron Blake – After Sally
Felsen – Vultures on Your Bones
Stephen Doster – Shooting For The Stars
Jeff Tweedy – Laminated Cat

Rain – Abstract Vision

MOTORCADE – Desertion
Eagle Johnson & Clean Machine – Push Pin Jane
Jason S. Matuskiewicz – Battle Born
Moon Darling – By The Light of The Moon
Shining Mirrors – Cardiac
The Captain Of Sorrow – Hollow Empty Void
MANICS – Embrace

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