Archive for the ‘Reviews’ Category

Mr. Fox and the Hounds Self-Titled album review

Lansing hip hop group Mr. Fox and the Hounds put out their debut self-titled EP last week with a show at Mac’s Bar.

Mr. Fox and the Hounds are: Andy Fox (vocals), Aaron Simon (supporting vocals), Matt Waterman (guitar), Alex Rosendall (guitar), Pat Hogan (bass) and David Del Cid (drums).

Here’s a review.

This Lansing/Grand Ledge-based band, who formed last year, combine all sorts of different styles on their debut effort including ska, punk rock, hip hop and even space/progressive rock to mixed results.

Opening song “Lucy” has a Red Hot Chili Peppers-type feel in the verses. Fox’s rapping flow is pretty consistent. The chorus makes the song take a totally different turn with anthemic vocals and more open production style compared to the verses. The vocals on the chorus sound distant and the guitars sound more powerful while during the verses, Fox’s flow is upfront and the guitars are too. The backing vocals add more depth. The production transitions used make the parts of the song feel clunky when listened to as a whole.

“Countdown to Success” features Fox rapping about sophomoric topics like sex, girls and partying. “One, two, three/Where’s the place to be? Four, Five, Six, Let’s drink some fifths with some chicks” are the lyrics to the chorus. I’m gonna say this song, and the atmosphere and idea behind the band, is partying and having fun so I won’t fault them for the content nor the simplicity of the lyrics. Some of his rhymes seem a bit too fast for the drum beat. Former members of the now-defunct band Jason Alarm make up a majority of the members here, so the fast, shredding guitar solo and chugging guitars during the choruses aren’t a surprise.

The song “Demons” has a neat, delayed guitar intro which adds a somber-like atmosphere given the song’s title. “Stuck on a path of self-destruction/I think I’m ’bout to blow/’Cause no one is trustin’ in me’” Fox raps. I want to try and take Fox seriously with this song but it’s kind of hard. The song is about how Fox has dealt with hard times in his life and that listeners “don’t know where I have been, the things that I have seen and all these demons”, as Fox raps in the anthemic and instrumentally powerful chorus. I have never met Andy Fox nor do I know what his life is like. Maybe he has had some rough life experiences, but so has every other rapper. The originality of the lyrics is pretty poor. He does have a great flow though. That’s pretty consistent throughout this entire record.

“Blackout” has standard upstroke guitars common in ska music in the verses with power chords in the choruses. Again, Fox raps about sex, partying and drinking. This song makes me start to realize something about this band: it reminds me of guitarist Waterman’s just-for-fun side project, The Matt Waterman Revival. The following song proves this. “Friends ‘Til the End”, about friends, partying, drinking and just being hoodrats. The instrumentation on this song is clunky, struggles to keep the beat and the guitars can’t seem to keep up at points. It seems a little bit all over the place. The instrumentation makes this song really hard to get into, let alone listen to. The exact same sentiment can be said for the last track, “I’m an alcoholic”. With it’s shotty, Do-It-Yourself beat of clanging beercans, the lyrics again are about drinking and partying. No surprise given the title. The chorus sucks. It’s a joke song. Take it as you wish.

If you’re looking for a party atmosphere, lyrics about girls, sex, partying and drinking, this record is for you. Again, I’m tending to think this EP is a just-for-fun release so maybe my criticisms are looking too deeply into something that’s pretty light to begin with. On it’s face, it’s great party music. More deeply though, there’s little to be desired, even on the supposedly more serious tracks. Check this out for yourself and download it for whatever price you choose.


The Avett Brothers, Frontier Ruckus announced for Commonground; Jahshua Smith – The Final Season review

The Avett Brothers have been announced for the Commonground Music Festival held in downtown Lansing this summer and Frontier Ruckus have been announced to open for them.

Be on the lookout for more performer announcements in the future.

In other news, Lansing hip hop artist Jahshua Smith has released a new album called The Final Season.

Check out a review here, via Central Michigan Life:

Lansing emcee and BLAT! Pack member Jahshua Smith (formerly JYoung the General) released his new album “The Final Season” last week, and with almost an hour-and-a-half musical journey, the listen is a bit long but well worth it.

With cameos from a who’s-who of Michigan artists from Joe Hertler (on lead track “Seven Year Itch”) to fellow BLAT! Pack members Philthy, The Amature, Yellowkake and Red Pill, the diversity shown in the featured artists is just as diverse as the production on the tracks themselves. “Seven Year Itch” features Hertler’s soulful crooning on the chorus, while “Carry On/The Ark” features Philthy’s lisp-laden flow.

Smith’s lyrics range from the political to the personal, with a party track thrown in here and there. On “Censored,” he raps about making it to college “but still had to wait for Uncle Sam to split the bill.”

It’s a bit of a stream-of-consciousness, pointed diatribe with a bit of hope tied to it. There’s a light at the end of the tunnel here.

“The Ghosts of Medgar Evers” is another political track drawing on the mindsets of Martin Luther King, Jr. and Malcolm X.

“They take up 130 words to sum up a black life,” Smith raps over a synthesizer and snare beat.

Smith’s flow is confident and powerful. Able to draw upon personal experiences, he channels a pent-up anger on his political tracks, while his laid-back style comes through on “Butt/Don’t Hold Back,” with its soulful guitar lead and interchangeable sample of the word “butt” with “but” cleverly implemented. It’s a party track “for the ladies,” as he says in a skit before the track.

He also takes time to dissect love and relationships with songs such as “Lylah’s Song.”

Smith’s travels down a few different avenues with this record and can cater to different groups. Including a few different bonus tracks, the album is a bit too long to listen to at once. The singles are where this album shines, but listening to the entire album helps the listener learn more about Smith: his triumphs, struggles and life. Regardless of what you listen to, you should pick this up. It’s got a bit for everyone and has Michigan roots.


Inflatable Best Friend “DMT Bike Ride” review

Kalamazoo’s Inflatable Best Friend are releasing their first full length soon, called “DMT Bike Ride”. They’ve been on a few tours and plan on going out west again this summer. They’ll be releasing the album with a couple release shows around Michigan. Check this release show out in Lansing soon.

Here’s a track-by-track review of their record.

Inflatable Best Friend is: Ian Howell (drums), Austin McQuarter (bass) and Tanner Boerman (vocals/guitar)

Spiritual Journey to the Gas Station: With a constant, droning fuzzed out guitar raging for the majority of the song, I get strong Sonic Youth vibes from this song. I like the production on this. The drums are up front in the mix so the guitar isn’t overbearing. Smart move there. The drums play the same beat over and over (for the most part). They’ve studied post-punk a bit. Interesting lead-off here.

I Wanna Ride a Sabertooth: The fuzz continues among a dance beat now. The vocal is very clean. Contrasts with the noisy guitar. The only lyrics are “I wanna ride a sabertooth” (or some variation on this). More lyrics please. I like the beginning of this song with the driving beat and fuzz bass. That’s cool. But it’s just kind of repetitive.

Moon Flower Soul: A guitar line that’s not overly noisy? I like it. But then it goes back to it’s old ways and definitely sounds just like a Sonic Youth swirling, flailing guitar. Nothing new. Boerman sounds a little like SY guitarist Lee Ranaldo when he sings. The guitar, even with all the noise, has a bit of melody coming out of it. It’s not all just noise (sometimes).

Blood Surf: Sounds a lot like the previous tracks. I get a bit of a goth/post-punk vibe from the vocals this time. Still the same fuzzed out bass and noisy guitars and cycling drum parts. More instrumental on this track than vocals. A subtle difference but not really enough to keep me interested.

Apis Mellifera: A clean guitar intro. Just as I thought it was staying the same as before, I changed up a little bit. Good to hear. Sounds a little like Lansing’s Cavalcade. Maybe in the same headspace. They’ve played shows together so maybe their sound rubbed off on IBF’s a little? Too much reverb on the vocals. Can’t really understand them. This got weird real quick. Sounds like they literally are messing with the tape speed on the guitar. Really cool move there. Almost down a similar path but took a few interesting turns.

My Dead Bird: Fitting. Begins with sounds of chirping birds. A lot more lo-fi this time around. I can actually hear the vocals: “His face was melting/flew into the sun/A thousand miles per hour/I heard him scream: ‘this feels like fun’”. A slowed down part with a reverberated “Now He’s Gone” plays side-by-side with a clean guitar part and marching drums. I’m starting to hear a bit of diversity on this album.

Brisk Steel Sun: With a psych-rock intro and a slowed down tempo with noise flashes here and there, it sounds like Blue Cheer with Thurston Moore on guitar. Noise yet rocking. Steady tempo on the drums. Vocals are too reverberated and far away in the mix to hear them intelligibly. The noise seems to be contained in a steady, hard rock mode. It’s easy to follow as opposed to other tracks. Another bit of diversity.

Swiss Cheese Brain: A clean, melodic guitar intro?! With a Dinosaur Jr.-like distorted and melodic guitar. More fuzz bass. The vocals don’t kick in until almost half way through the song. Again, more instrumental than vocal. Same old, same old.

Circus Dog: Sonically different than the rest of the album. Everything sounds like it was recorded separately (as opposed to the in-the-same-room feel as the rest of the album). Overall a lot more clean. Vocals have a lot of reverb on them. “Circus dog/you are my circus dog” Boerman sings. No fuzz bass this time. Reminds me of Kool Thing by Sonic Youth. These guys loooove Sonic Youth.

Thistle Girl: By far the noisiest track on the album. A cacophony if there ever was one. Then a tempo and mood change. Classic rock and ’80s alternative rock seeping through here. Kind of a tiring experience now having to listen to so much fuzzed out bass and noisy guitar. One track to go.

Worm Battle on DMT Mountain: Again a noisy track. Noisy guitar. Fuzzed out bass. Pounding drums. Same. Again.

Overall Thoughts: I got tired of the noisy guitar after a few songs and the production (in particular, the drums) never really changed. The places it did, I liked. I liked the occasional venture into clean guitar parts and some of the singing was alright. Next time, a bit more lyrics (and more thought into them) would be better. Experimenting with that on their next record might be the way to go while still harnessing their noisy exterior. I like what I hear but it can be a bit repititive and combersome. If you’re a fan of ’80s alternative and noise rock (Sonic Youth, Big Black) or even Lansing, MI band Cavalcade you might like this. Check it out here and go to their album release shows.





Fisherking “Ghost” review

Here’s a review I wrote of Fisherking’s new album, “Ghost” for Central Michigan Life, which you can also read here. Go see them play with Ceremony at Mac’s Bar this Thursday 9/20. Get tickets via Fusion Shows. Pick up the album for a pay-what-you-want price here.

Courtesy of the Fisherking bandcamp page

Lansing’s Fisherking has put out a record I can’t stop listening to. It’s hardcore punk to a tee; singer and bassist Ryan Holmes’ yelling vocals, blast beats and lightning fast one-two snare/bass drum combos from drummer Alex Corey and heavy, crushing and punctuating power chords from guitarist Ben Jenson. The songs don’t venture past the three minute mark. It’s quick and to the point.

And man, does it make a point. A few to be exact.

“I am the ghost/The lonely soul,” are the opening lines of their first full length album, which is being distributed primarily through their Bandcamp page but will have a limited physical release at their show with California punk band “Ceremony” in Lansing at Mac’s Bar on Thursday Sept. 20.

Those and other honest, emotional lyrics make this record stand out. On tracks like “Conflicts Reside,” Holmes sings “I don’t speak my thoughts/instead I bottle them up,” and “I know I can’t hide forever/I just don’t know what to say.” On “The Difference,” he yells “You know, you don’t really have to scream/You know you don’t really have to be the center of attention.”  I love his lyrics. I think many of us can relate to them.

The music, though, adds a backbone to his lyrics. That’s not to say the music here is boring. Quite the contrary. On multiple listens, there are many time changes, a couple slow and quiet sections and even a bit of experimentation. On the track “Giver,” where Holmes’ vocal sounds like it was recorded through a bullhorn. There’s also a guest appearance by Zach Smith, of Kalamazoo band “Ackley Kid” on the track “Defeat Me”. Smith’s voice takes the anger and amplifies it to the maximum. When both of them scream along to a chaotic aural scene of crashing blast beats and guitars, it becomes a bit overwhelming.

Even the track list itself is subtle. Listening to the album from beginning to end, the listener hears a bit of musical continuity, which has made me keep the record on repeat for days. Listen to it from beginning to end and you’ll know what I mean.

I love this record for its under-the-surface musical complexity. The album makes subtle, successful attempts at breaking away from the hardcore mold, while staying within it. Post-hardcore tendencies abound here. It satisfies a strict hardcore listener while giving other more adventurous listeners a treat too.



Language “Self-Titled” EP Review

Language is a new band from Lansing, MI, recently making their live debut (as well as releasing a self-titled EP) alongside The People’s Temple, Racket Ghost and Jake Simmons and the Little Ghosts at Mac’s Bar.

Here’s a review of said EP.

On first listen, a few different things come to mind from the self-described “post-art-pop” band. Although I’m not really sure what their stated influences are, I can tell they have a love for ’60s style rock and roll (similar to Lansing band The People’s Temple). Bands I can think of off the top of my head that they share sonic qualities with include The Velvet Underground (for their steady, repetitive rock and rough tones), the Beach Boys (for their harmonies and a pieced together feel somewhere near a similar sound) and Joy Division (for the vocalist’s droning style that actually carries a lot of melody behind it). Sonic Youth comes to mind too.

With all of these varied influences converging at a new point with Language’s music, I can’t say it’s something that’s entirely new in the large scheme of things. For the Michigan music scene, it definitely is. It’s a refreshing sound that I could get used to. Maybe there are other bands beyond Language as well as The People’s Temple who are doing something like this but probably not as exciting or interesting.

A lot of the instrumentation is really cool. “Indian Giver” has a dance-New Wave beat to it. The last song on the EP, “Lake Effect”, has a guitar tone very similar to The People’s Temple song “Sons of Stone”. Kinship indeed. The rhythm section is solid and spot on. It really drives the songs and helps them reach new heights as they progress. The drum fill into the chorus on “Koch Party” pulls you in.

The opener, “Sault Marie”, reminds me of a Joy Division or Velvet Underground song fronted by a singer who is gargling mouthwash. I can’t really understand him (beyond clearly hearing the chorus). Maybe that’s some of its charm. The guitar tone is fluid and trance-like. Good stuff.

They definitely don’t forget how to craft a good pop song among an overall washy mix. Songs like “Sweet Randy” have an overall dreamy tone to them but you can still tell where the verse ends and the chorus begins. It never drifts off into something unintelligible. They know where the songs are supposed to go and end where they naturally should (even if it’s a little abrupt like on the opening track and a couple others too).

Check this band out when you get a chance. They’re a refreshing sound in mid-Michigan that shouldn’t be taken for granted.


Nathan K. “Dishes” review

Michigan indie-folk musician, Nathan K. (real name Nathan Klages) is back with a new album called “Dishes”, slated for release on the 26th. He is currently on the Warped Tour as a full-time member of Grand Rapids electro-pop group Stepdad.

Check out this review of “Dishes”.

Recorded the previous winter on a 4-track recorder in the waiting room of the hospital where his grandfather was dying (who has since passed on), “Dishes” has a nervous yet expectant feel to it. On a re-worked version of a previous song, “Ghosts”, Klages sings with a warbly falsetto among drum loops and acoustic guitar chimes. “For your own good”, the album’s opener, he sings “I really should try to relax/For my own good”, has an eerie, self-assured feel to it as knowing the record’s back story. The most personal song on the album, “Hospital Walls”, he sings “I was working on a great big painting to give my grandpa as a gift/But he died one cold, dark evening so I threw it in the ditch”, exposing Klages’ some feelings about his grandfather’s passing.

The instrumentation on the album is a bit repetitive but considering the circumstances in which the album was recorded, I’ll give that a pass. He does his best to liven up the instruments on occasion; on “Leave Them”, there’s a light, omnipresent hand clap that adds a bit of rhythm. “Hospital Walls” is really lush and warm, featuring strings along with his voice and many layers of his guitar. The guitar line on “Criminal” is really cool; it feels like a pendulum, swinging back and forth while a banjo lightly plucks.

This album is only nine tracks and I do think his re-worked version of “Ghosts” should have been left off the album. His backing unbearably high falsetto is something I could do without. I’m sure he’s getting better at hitting the high notes. He just needs a little more focus and he’ll have it down next time. I did like the drum beat on it; shows the influence Stepdad has had on his songwriting. If only he brought a few more of those elements into the album, I think I could discern a few of the songs. A lot of the tracks have the same feel to them; instrumentation, vocals, etc. I guess it’s the nature of the folk/singer-songwriter genre. Good songs but just stuff I’ve heard before from him. A little diversity and/or approach next time would be great.

His lyrics are great, telling stories with a passionate energy. The imagery gets in your head. Great stuff on that front. The instrumentation, while limited, does its best to work with the lyrics. Maybe he’ll stick to a style like this next time (hey, I can’t blame him, he’s great at it), but to push his songs to a new level, a wider array of  instrumentation is definitely needed.

Pre-order the album here. Pick up the album when it comes out at the same link.

Little American Champ “Nothing Forward, Nothing Backward” EP review

Lansing punk band Little American Champ released a new EP last week entitled “Nothing Forward, Nothing Backward”.

Here’s a review.

Courtesy of the Little American Champ Bandcamp page

Little American Champ is Jonny Janis (guitar/vocals), Alex Janis (bass/vocals) and Danny Petrilli (drums/percussion).

This three piece has a ringing resemblance to other bands (Lemuria, Against Me and The Riot Before come to mind) while holding true to their Midwest roots. Sometimes the lead vocals have a Tom Gabel-esque approach in their melodic shouting ways. I really like them but they’re not really original. Heard it a million times but that’s OK. I could say the same for the guitars, drums, bass…everything about this band is something I’ve heard before. Not a bad thing at all.

For some bands, they play a style other bands also play down to a tee but what matters with a band like Little American Champ is the amount of heart and soul they put into their music. When they play their songs, they play the hell out of them. They love what they do. That energy is apparent all over this four song EP.

On a song like “We’ve Been On a Roll Lately”, with its distorted, feedback-laden intro and powerchords aplenty, Jonny sings the chorus of “relax and repeat” as the powerchords follow his vocal lead. The breakdowns are melodic and have room to breath with a rotating drum pattern, leading to a breakdown then a build up of cymbal crashes and droning power chords. Good stuff from this three piece.

The rhythm section is extremely tight and concise. Not a note or drum hit is wasted. The bass doesn’t have the hardcore punch but it’s not wimpy either. I like this rhythm section. I like this whole group as a musical unit. Sometimes even with a three piece the members can drift off into their own worlds but here, they act as one toward their goal of playing the best they can as a unit. Again, not a note is wasted.

“What’s the Secret, Max?” has the Gabel-like vocals I hinted at earlier. Jonny sings “I don’t have anything to report” and later “thank fucking God that you stayed home”. Although, I will say, it is a bit hard to understand his voice. I hear the lyrics correctly here and there but not the whole way through (maybe it’s just me and maybe my hearing’s going downhill worse than I thought).

Everything about this four song EP is essential Midwest punk. Honest, blistering, quick. The whole thing lasts about 15 minutes. Go check it out and download it for free. Do that here.

Alco “Self-Titled” review

Sometimes a band with obvious influences gets pigeon-holed into being a “rip off” of their influences. Lansing’s Alco, who recently played their farewell show and no longer exist as a band, went out with a somewhat sonically familiar bang with their self-titled album.

I say “sonically familiar” for a couple reasons. Singer and piano player Justin Franks has a voice really reminiscent of Thom Yorke and/or Matt Bellamy from Muse. On “Someone Like You”, he croons out the chorus in a delicate, harmonious manner. He hits the high notes with ease. He also has an incredible piano playing ability. During the introduction of “Amnesia”, he brings about a classical-meets-rock piano playing style that seems a bit like Muse virtuoso Bellamy. Heck, the whole song has a Muse vibe.

The songs have an atmospheric and, at times, epic feel to them a la Coldplay or (again) Muse. I said earlier a band such as Alco, with their influences being warn essentially on their sleeves, makes it hard for the listener not to pigeonhole them. It’s not a bad thing in this case. Alco do a great job playing the kind of music they play. I love the energy they bring to their songs. They love what they do and it’s pretty obvious.

Guitar playing, courtesy of Shaun Spivak, is minimal and crisp, adding another ambient layer. Chapman stick player Chris Wood adds more ambiance with his playing as well. Jeff Twomley’s drumming is to the point and on time. No unnecessary fills and no going crazy. He does what needs to be done and that’s it. I love the cello playing courtesy of Jacqueline Douches. Instead of a bass, this is an interesting sight to see when they play live. On “Poisoning the Well”, her cello playing is heard loud and clear.

“Poisoning the Well” is the album’s standout song. Featuring a high-hat heavy drum beat via Twomley, Franks belts out a huge chorus and croons during the verses. The guitar line is catchy and adds a bit of subtly with the bends. I like it. Great song from this great group of musicians.

If you like the ambiance of Coldplay and/or the epic rock of Muse, check out their album. If there’s any album that was a final swansong for a band, this is definitely a great choice.

Cheap Girls “Giant Orange” review

Cheap Girls released their newest album, “Giant Orange”, in February on Rise Records. Here’s a review of the album, also available to read via Central Michigan Life.

The third time seems to be the charm for Lansing’s Cheap Girls, releasing their newest record “Giant Orange” on Rise Records in February. Using that phrase, “third time’s a charm,” implies they missed the mark on their first two albums, 2008′s “Find Me a Drink Home” (Quote Unquote records) and 2009′s “My Roaring 20s” (Paper and Plastick records), but that couldn’t be further from the truth.

Produced by Tom Gabel, frontman of Florida punk band Against Me!, immediately makes a difference on the band’s signature brand of power-pop. On their first two albums, everything about the music sounds a bit flat in comparison to the recordings on this new effort. On “Communication Blues,” guitarist Adam Aymor uses power chords to his advantage. The single note crawl heard throughout the song sounds just as crunchy as the power chord barrages during the choruses. Every guitar riff on the album sounds crisp, loud and heavy like a bag of bricks.

The rhythm section, via brothers Ben Graham (drums/backing vocals) and Ian Graham (lead vocals/bass), is incredibly tight and efficient. Ben uses each hit to push the song forward to its natural conclusion. The cymbals sound fresh and inviting, and the kick drum and snare add a subtle but powerful punch. The bass is a little low in the mix for my tastes. It’s there, but it’s sneaky — pretty swallowed up by the guitars.

Wordsmith Ian Graham uses a bit too many on this album. On previous efforts, Graham wrote a lot of shorter verses with shout along choruses that are a blast to belt away to live. Here, the lyrics can be quite a mouthful. The chorus for opener “Gone All Summer” is “I’ve been gone all summer and I think it’s for the great good.” Not necessarily a bad thing, but different from Ian’s previous lyrics, which takes a bit of getting used to. I’ve been listening to the album non-stop for a little more than a week and still don’t have all the lyrics memorized. I will soon though.

All in all, Gabel’s production brings out the best in the power trio. Aymor’s guitar sounds incredibly powerful and is a perfect transition to what they sound like live. The rhythm section is extremely tight, yet has a natural swagger. Ian’s bass is quiet, almost too much so, but it works. His lyrics are a little wordy, but worth the multiple listens to decipher. I highly recommend this.

Nasty Nyne “Higher Learning” review

Lansing rapper Nate “Nasty Nyne” Winters (now living in Bakersfield, CA) released his album “Higher Learning” almost a year ago to the day. Before he left, he was performing all around Michigan and called Lansing his home. Check out this review of “Higher Learning”.

Starting us off is the slow, R & B tinged “A New Day”. Full of sparse synths and wah-tinged warbles, the drums are mellow and add keep the song grounded. The lyrics here, delivered at an almost talking pace, have a, yet again, chilled and mellow drawl. “Just another day/I make another dollar/Money comes and goes but we livin’ larger” he raps with a naturally gruff yet melodic singing slant. The production on the album varies throughout. Some tracks have an R & B pulsation to them and others have an almost Synthpop production style with horns being used via a synth (“Corners”). Another song, “Higher Learning (Magic)”, uses an acoustic guitar riff loop, which helps keep the listener on their toes.

The lyrics on the record don’t deal with a whole lot, mainly smoking marijuana, drinking vodka and, oddly enough, school. Winters attended Lansing Community College while here in Lansing and it’s had a more real and positive effect on his lyrics and outlook. While the outright lyrics about smoking weed (Winters seems to favor grape flavors) are pretty common within hip hop, the fact that he’s writing about school is something you don’t hear very often. On “A New Day” he raps “I did good on my finals G/two 4s and a 2 but I can’t complain/My GPA rises like gas prices”.

The album seems to wear a bit thin as it moves along as the lyrical content becomes a little tiresome. The production also gets a little tiresome after a while. I do like this record but only if I’m in the mood for it.

You can check this out (and pay your own price for it) here.

-Label: Hot Stacks Music

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