Wednesday, 26 October 2011

Spotlight: Martin Grech

Martin Grech is one of many enigmatic underground artists that does not recieve enough exposure. I first fell in love with Grech's music way back in 2006 when he was featured on Yourcodenameis:milo's collaborative mixtape Print Is Dead. Since listening to that track a long term love affair started between me and his music. Martin's career actually started quite a while before this and saw him attaining relative critical acclaim and quite a lot of media exposure thanks to his track "Open Heart Zoo" appearing on a Lexus advert. The impressive thing about this track was not just it's unique eerie falsetto but the fact that it was written by Martin whilst he was still in his mid teens. Martin's first album of the same name also was produced and released before he'd even reached twenty and cemented his reputation as a truly inspirational young talent.

Open Heart Zoo was a beautifully realised album from start to finish mixing a vast range of different styles and still is one of my all time favourite records. The albums sound was very experimental with some tracks featuring ambient piano segments and saxophones whereas others were filled to the brim with industrial beats and scratchy unhinged guitars. Whilst the subject matter throughout remained bleak and quite depressing areas of the album were upbeat and even poppy. Martin's unique vocal stylings that sometimes went into supersonic high pitched falsetto where compared by many to Thom Yorke and Jeff Buckley two singers held in universal high regard. From every perspective then Open Heart Zoo appeared to be the start of a promising career indeed.

In 2005 Martin Grech returned with his crowning achievement sophomore album Unholy. Whilst the more morbid tones of Open Heart Zoo were counter balanced by often upbeat backing music Unholy boldly saw Martin reinvent himself into a purveyor of all things dark. Where there were once sparse and delicate keys were horrendous sounding guitars and violent orchestral stabs. Whilst this shift left many complacent about his complete overhaul of his sound the album remains a powerful testament to his ability to continue to evolve. The albums main highlight for me is the brooding epic "Holy Father Inferior" a 9 minute long masterpiece that slowly layers tension and anxiety before exploding with a truly haunting blood curdling falsetto. Martin also branched out with his experimental nature and even explored industrial metal elements throughout the album proving once again his versatility.

Following Unholy Martin split from his record label Island. Whilst Martin's fanbase grew the music industry was on very uncertain ground in the late noughties and Grech's cult success made him a prime candidate for going independent. March Of The Lonely was Martin's next album, released in 2007 it saw Martin once again define convention and all of his critics attempts to pigeonhole his work. March Of The Lonely was a much more serene album than either of its two predecessors. The album saw Grech strip back to the barest bones the majority of material being acoustic and only very subtle tweaks were made to make a more organic and simple album. This again left some in uproar as the heavy dark elements were totally abscent although anyone with any interest in his career should have expected a curve ball at this juncture. The album again was mostly seen as a great success and yet another testament to Grech's almost limitless versatility.

After this period of time is where the veil of ambiguity and mystery began to arise. Following March Of The Lonely Martin tried to set up a new project under the working title Meatsuit, the idea was to recruit other artists to form this band. In the mean time Martin also created an original score for the film Blood River, a score that as of yet seems as though it will not be released. During this transitional period Grech worked tirelessly on demos for Meatsuit tracks with regular updates to his Myspace. With the gradual demise of Myspace in favour of the new social networking hit Facebook the updates stopped and Martin disappeared. Updates were few and far between until more recently when an official facebook page surfaced with a few short mysterious trailers of new material under the working title Shadow Secrets. This was later changed to The Watcher.

Whilst further details are still eagerly awaited by his fanbase Grech recently released Meta part 1 and 2. Meta is a collection of all the music Martin put together in his transitional stage between his albums and each part is made up of roughly 25 tracks. Clearly the quiet period of inactivity was not quiet at all. Both of these releases were available for download part 1 through facebook and part 2 through Martin's bandcamp. Both part 1 and 2 of Meta whilst made up of demos again highlight Martins experimental nature from the metallic Meshuggah like qualities of his Meatsuit project to the serene and poignant experiments with electronica that echo of Thom Yorke's solo work. Both are highly recommended the only reason they weren't reviewed properly on here at the times of release was the sheer magnitude of material and Martin Grech himself adamantly proclaiming these are only to be viewed as sketches of songs.

Whilst the release of The Watcher still has not been announced and the tracklisting and even musical direction remains a mystery one thing is certain, Martin Grech is definitely an artist to keep your eyes on. It is quite unlikely at this stage that The Watcher will see the light of day this year but I'd estimate a release next year is quite a high possibility.

Martin Grech's Facebook:
Martin Grech's Bandcamp:

Tuesday, 25 October 2011

Catscans - Catscans EP

Catscans EP Cover Art
Catscans - Catscans EP
Genre: Post Rock/Prog Rock
Rating: 6.5/10

Catscans are a four piece band from Leeds who have released a new eponymous EP this year. Forming from the ashes of other projects the band is fairly fresh on the scene and create post rock a genre which has seen quite a significant boom in recent years. This unfortunately brings with it an element of foreboding as with such a wide market it is one particular musical field that is very difficult to stand out in. The main ways in which Catscans attempt to break out from the crowd is by mixing classical with contemporary elements. Whilst many bands have begun to realise the impact classical instruments such as violins and cellos can have in turning dreary and dull compositions into sprawling epics the real notable difference on this EP is found in the rythms.

Post rock is a notoriously difficult genre to master not only because of the hordes of competition but also the unnecessary drive for towards instrumentals. Admittedly the forerunners and defining bands of the genre like the scottish giants Mogwai may be partly to blame for this, noone could have predicted the unprecedented arrival of thousands of voiceless bands. This is an issue that still plagues the genre today and whilst the majority of these bands are very talented it has become more and more difficult to distinguish between acts. Catscans avoid this by mixing elements of prog rock into the formula so whilst you have all the reverb and delicate layers you are also treated to jangly rhythmic blasts from real drums and drum machines alike. The programming does somewhat breathe life into the EP giving it a freshness of its own. Rhythm section aside the music is fairly typical of the genre, soft ambient guitar tones minimalist keys and sweeping string sections are prominent throughout making for an interesting listen. The main downside would have to be the use of vocals throughout. Whilst as a general vocals can serve to give a more individual sound and provide some actual context to the serene landscapes the music paints here it seems to be employed as an instrument. Rather than communicating any real message all the vocals consist of notes being sung without words and without any real lyrics it just seems redundant. Another issue is the length of the EP with only three tracks in total it is very difficult to gleam any real impression of the bands sound. This aside the closing track alone "Untergang" makes this an intriguing release with its icy textures and powerful emotive strings and highlights the bands potential.

Overall Catscans self titled EP averages out as quite a good release. Whilst the band haven't reinvented the rule book or exploded onto the scene in a blaze of glory they display their skills quite humbly and have shown enough potential to keep me watching for future developments.

Download: "Untergang"

Exit Ten - Give Me Infinity

Exit Ten - Give Me Infinity
Genre: Metal/Alternative
Rating: 4.5/10

Exit Ten are a little known metal band from Reading who started up in the mid noughties. The bands sound started of as a merging of melodic vocals and heavy metal riffing and breakdowns leaving much of the music press to christen them as metalcore, a genre that describes a baffling range of more commercial melodic metal like Killswitch Engage and their ilk. By the mid to late noughties this metalcore trend was slowly becoming a huge movement. With the end of nu metal and the explosion of emo the market for heavy bands was wide open and metalcore seemed to fill this void. Unfortunately like most trends it wasn't long before the market was oversaturated and the initial buzz wore off. In spite of this Exit Ten stuck to their guns for their debut album 2008's Remember The Day. After an extensive tour the band return this year with new album Give Me Infinity which also see's them adopt a new sound.

Whilst Exit Tens early work was notable for its fast paced metallic elements clashing against the soft melodic vocals of Ryan Redman, Give Me Infinity lacks its predecessor's bite. Where there was once thunderous drums and nasty riffs there is now soft reverb distortion and even string sections. Whilst Give Me Infinity does not make quite the same impact as the bands debut it has to be celebrated for its boldness if nothing else. The main issue stopping this album from being great however is that by making the move towards a more post rock sound the band actually double their competition and unfortunately the many veteran kings of the genre are not easily displaced. Whilst the music is technically proficient and quite well produced the majority of songs are so subtle that they are quite easily forgotten. Without the pace set by the bands previous metal elements some of the songs drift on for longer than they need to and even drag in places. Songs also fail to stand out from one another making the whole album feel somewhat like an ambiguous mess in places and the consistent drive to make an anthemic chorus out of each track somewhat grates and feels too forced. This is especially the case for "Suggest A Path" the albums lead single which seems overly dramatic and cheesey. It's not all bad though as some tracks have enough kick to make them stand out. The fast paced "Sunset" is a perfect example of this with its intricate guitar work being both beautiful and powerful other tracks like "How Will We Tire?" succeed in their endeavour to produce anthemic results whilst avoiding to appear drawn out. The sad fact of the matter is these moments are just too few and far between.

Overall Exit Ten's bold attempt at branching out isn't a complete failure. The good bits, whilst limited in their frequency, are very well done the real detracting factor is that the majority of the material on offer is instantly forgettable. Whilst the band prove themselves technically adept Give Me Infinity fails to capture the imagination and lacks the punch of their debut. I would advise giving this one a miss.

Download: "Sunset"

Antlered Man - Buddhist Soup (Giftes Pt. 1)

Antlered Man - Buddhist Soup (Giftes Pt. 1)
Genre: Rock/Alternative
Rating: 8.5/10

Antlered Man are an up and coming band based in London who I previously discussed in my first (and so far only) "spotlight on" feature. The band produce what can only be described as truly deranged rock music which flirts with experimental proggy elements whilst retaining a level of astute punk vitriol. The band are very difficult to describe in terms of overall sound as they seem to revel in twisting and turning away from standard conventions but this only serves to make the whole thing more intriguing. Following two download only singles the band have just released their first part of a two part album in both limited hand made cds, of which only 500 will be made, and download from their self established label Goo Grrrl records. The end result is Buddhist Soup, a 5 track mini album or EP that demonstrates the bands creative flair and originality.

Buddhist Soup, as predicted, is a very sporadic release that schizophrenically evolves in and out of states of absolute mania and more refined calmer moments. From start to finish the band make no attempt to go easy on the listener throwing a riotous dismissive racket in your general direction before disappearing behind their more eerie material. In places the material on show has an almost nursery rhyme feel as seen in the title track, which only adds to the sense of unease spread throughout the record. Whilst this all sounds a bit too chaotic to work the band manage to pull this off  in their own unique way. Highlights include the bands opening gambit and single "Outrages 1 Ta 3" which see's a simple lone guitar slowly twist into an almost psychedlic hypnotic riff before pummelling your ears with crashing metal intensity, as well as the eerie whistling and flute work on title track "Buddhist Soup" which makes for quite a creepy listen. The biggest highlight is my personal favourite, the closing track "Platoono Of Uno", which sees the band yet again baffle and confuse as they twist and turn time signatures into strange new shapes employing loud and quiet dynamics to devastating effect all the while the tense and poignantly sharp lyrics ooze like bile. The only real criticism of the whole release is the decision to release it in two parts which means an undetermined wait for what I can only assume will be a thrilling conclusion to the album. With only five tracks making up merely half an album you can't help but feel that it all comes to a close a little prematurely. That being said it does the job to wet your appetite for more material so this is only a minor grumble. 

Overall this is a suitably impressive first outing for a band who have only just started to show off their true potential. The bands originality and vision is employed with a finesse rarely demonstrated on a debut and is a real breath of fresh air stacked up against quite a stale music scene. Highly recommended.

Download: "Platoono Of Uno" "Buddhist Soup"

Screaming Trees - Last Words: The Final Recordings

Screaming Trees - Last Words: The Final Recordings
Genre: Rock/Grunge
Rating: 10/10

Way back in the mid eighties alternative music began to shift away from it's traditional values with a unprecedented explosion of hair-rock and cheesey metal swamping the charts people began to tire of the classic rock template. It was this tiresome over the top posturing that aided a musical revolution and saw the birth of alternative rock and grunge both genres which focus more on expression than leather clad cliches. One of these groundbreaking bands was Washington's psychedelic rockers Screaming Trees who to this day are seen as one of the founding fathers of the grunge movement. Whilst the bands legacy and influence on the grunge scene is undeniable the bands sound was a much more traditional affair heavily influenced by the psychedelic tinged rock of the 60's. Unfortunately Grunge would end up being the reason behind the bands break up in 2000, with the influx of grunge bands record labels had a hard time working out how to market the more vintage rock made by Screaming Trees and with frontman Mark Lanegans solo career gathering speed the band dissolved.

Whilst 2011 has been a monumental year of unexpected comebacks the liner notes of Last Words clearly state that this is not a reunion album. The majority of the music on display instead was recorded way back in 1999 for the follow up to bands seminal work Dust and was distributed to labels in an attempt to secure a record deal. Whilst in 1999 the record label was king of the music industry the slow disintegration of this idea over the past few years has given Screaming Trees an opportunity to actually independently release this material to the fans. The album is produced by an equally important character in the grunge movement, Jack Endino. Endino himself was part of Skin Yard another band that helped to form the Seattle sound and is still to this day an influential music producer most notable for his production of Nirvana's debut Bleach. The album is true to form sticking to the sound the Screaming Tree's had perfected by the late nineties, fusing poppy choruses with the flair and imagination of classic psychedelic rock. Throughout the album Lanegan's legendary dry whiskey stained vocals provide an almost blues feel whilst soaring sustained solo's by Gary Lee Conner paint a beautiful range of tones and moods. Whilst sceptics could easily regard posthumous releases as a quick cash in, Last Words from start to finish is an impressive addition to the bands already established canon of work. Highlights come thick and fast from the punchy fast paced opener "Ash Gray Sunday" all the way to the sombre closing moments of "Last Words". Other highlights include the fiery "Black Rose Way" and the more experimental and claustrophobic "Crawlspace". From start to finish Last Words delivers what may just be the Screaming Trees strongest recorded work. The only downside to the brilliance of this album is the fact that it is merely an epitaph in a career that has already reached its conclusion. The album highlights what a crying shame it was that the band had to break up and how foolish record companies can lead to great works being overlooked.

Overall Last Words is an amazing album showcasing the Screaming Trees at the peak of their career. Whilst the band members have all moved on to massively successful projects since the bands break up there is still a real feel of nostalgia to their music. Their influential mix of psychedlic rock and grunge was perhaps before its time and the sound still resonates with power hard to rival. Highly recommended.

Download: "Black Rose Way" "Ash Gray Sunday"

Thursday, 13 October 2011

Matt Stevens - Relic

Matt Stevens - Relic
Genre: Prog Rock/Rock
Rating: 8.5/10

Whilst the last submission I recieved to review was quite a flawed piece of classical music I have recently been contacted by another artist interested in a review. Matt Stevens released his third solo album Relic this september and was kind enough to send me a copy to review and I must admit I was genuinely suprised. Stevens produces instrumental rock which on the whole is not really a scene I've bothered to get into all that much. Following the post-rock explosion of the mid to late nineties bands like scottish pioneers Mogwai inspired millions with their powerful music to drop singing and unfortunately this lead to a genre oversaturated with instrumental bands. The main issue I have with instrumental rock is that without vocals it is often hard to gleam any sort of personality from an album and all your left with is interchangeable bands who are so anonymous they could be anyone. This however I was suprised to find does not have to be the case.

The first thing that strikes you when listening through Relic is Stevens's versatility. Whilst many bands are content to release a whole album of instrumentals that flow one into the other seamlessly, Relic, from start to finish, is an album of constant shifts and changes and this is what makes it such an engaging listen. The music ranges from mellow acoustic guitars to full blown metal chaos. Another key strength against its closest competition is the accessibility, whilst some artist who chose to go down the instrumental path feel the need to compensate for their lack of singer by going over the top into self indulgent complexity, Stevens seems to side step this for more straight forward punchier compositions. The use of Glockenspiel, Mellotron and the odd synthetic beat give the album enough variety to seem fresh and keep you paying attention. Whilst the tracks never reach ostentatious levels of complexity Stevens pulls no punches in regards to curve balls with most tracks ending abruptly at a moments notice and catapulting you into a completely different genre. As far as labels go with such a diverse record it is fairly difficult to pigeonhole, but this just adds to the records numerous charms. If comparisons had to be made I would say that in places tracks have hints of Radiohead, Pink Floyd and King Crimson to say the least but the music here still retains its own identity without coming across as derivative. Highlights include the brilliant closer "30 End" which has huge hints of David Gilmours sedate yet powerful sustained guitar style and the outright brutally schizophrenic "Frost" which see's Stevens push the boundaries of his technical ability experimenting with elements of metal. Other brilliant tracks include "Rusty" a lovely piece of classical spanish guitarwork complemented by some evocative violin  and pacey drumwork, the title track "Relic" is equally enthralling with its shifts and changes between strummed acoustic guitars and brilliantly reverby electric tones.

Overall "Relic" is somewhat of a success story for Matt Stevens. Not only does it highlight his ability as a guitarist but shows his ability to create original and exciting instrumental rock a talent that is truly quite rare. The level of variety makes this an incredibly impressive album on the whole. Highly recommended.

Download: "Relic" "Frost"

Giles Corey - Giles Corey

Giles Corey - Giles Corey
Genre: Folk/Alternative
Rating: 10/10

One sleeper release you won't hear much about this year is the monumentally dark Giles Corey self titled debut. Giles Corey is the brainchild of Have A Nice Life's lead singer Dan Barrett an outfit who already find themselves on the furtherst stretches of the underground music scene. This new project of Barrett's takes the name from a famous american who was killed during the Salem witch trials by being pressed to death for refusing to plea guilty or not guilty relating to charges of sorcery. Giles Corey proves a suitably grizzly moniker and image for an album that can only be described as hellishly dark and unsettling.

The music on offer throughout this record owes a lot to Barrett's time spent with Have A Nice Life, a band who produce some of the darkest shoegaze around. Giles Corey's sound however feels slightly more focused whilst maintaining the same dark atmosphere and tone. The music is fairly straight forward from start to finish and consists mostly of haunting synths and acoustic guitars with Barrett's somewhat angelic vocals murmurring over the top. Whilst this doesn't sound like enough to make an album worthy of a perfect score the level of emotional depth and the undeniable power of the songs is what really wins you over. Atmospherically the album is very well developed and real thought has gone into the sparse and lonesome tone of the songs the lyrics are sublime in places and the whole album is a haunting affair. The vocals are layered and overlapped in a similar way to Bon Iver's critically acclaimed debut but Barrett does this in his own unique way, rather than doubling up Barrett sings one line melodically whilst lining up the same line in a more raw emotional form often sounding quite tortured. Small creaks in the background, subtle synth and keyboards are used to devastating effect giving the whole record a nightmarish feel some songs also build in intensity towards huge trumpet refrains and furiously strummed guitars. The album is not short on highlights with every track working together brilliantly to make a compelling record from start to finish. Personal highlights include the immensely hushed darkness of "I'm Going To Do It" and the eerie and atmospheric interlude "Empty Churches" which features a sample of a man discussing voices of unknown origin backed up by sparse synths. Other masterstrokes are the almost uplifting, but still very creepy, "Blackest Bile" and the downright sorrowful "No One Is Ever Going To Want Me" which slowly builds to a climactic finale with trumpets blaring. I could go on and on about this hypnotizing record but the rest is best discovered on your own.

Overall Giles Corey is definitely a project to keep a watchful eye on. The material released so far showcases Dan Barrett's immense talent unbound and is one of the most raw and affecting releases this year has seen. Whilst this album will prove incredibly tough to track down due to the underground nature of the band it is more than worth the effort. Highly Recommended.

Download: "Blackest Bile" "No One Is Ever Going To Want Me"

Radiohead - T.K.O.L RMX 1234567

Radiohead - T.K.O.L RMX
Genre: Alternative/Electronica
Rating: 7/10

Following on from their frankly disappointing 8th album The King Of Limbs Radiohead return with a two disc set in which various artists remix the aforementioned album. These remixes, much like those of Thom Yorke's solo album The Eraser, were first released two at a time on limited edition vinyls before being compiled into this two disc set. Remix albums on the whole are a tricky business to get right. When a band offers up a whole album to a wide range of artists the results can often be quite inconsistent and often feel like a cash based rehash of old material or something that has no place in either of the artists back catalogue. That said I've been pleasantly suprised before with some quite flawed albums gaining new life after interesting and inventive reinterpretations.

Whilst The King Of Limbs was a scittish album filled with out of tempo scratchy beats and rather lacklustre tracks the remixed album fairs much better. Somehow even with the wide range of artists involved it manages to be more consistently pleasing than the albums source material. The reinventions of the tracks are the real clincher here with some tracks sounding almost nothing like their original forms. Oddly though the most popular track for reinterpretation is "Bloom" with 5 of the nineteen tracks being remixes of this track. An odd choice considering "Bloom" was one of the many weaker moments on King Of Limbs its mismatched electronic beats and keys making it a dull and dreary bore. However all five of these remixes breath new life into this tired track without sounding similar. The album whilst stronger than the original is not all smooth sailing whilst some of the remixes add new depth and dimensions to the tracks some sample and edit the tracks so much they are near enough unidentifiable which somewhat defeats the object. Another disappointment is the reluctance to use Thom Yorke's vocals on a lot of the tracks making many of them solely instrumental affairs. Most of the music on show though hits the spot and rather than turning the tracks into dance floor filling club bangers predictably they aim to capture the eerie mood of the dark electronica pioneered on the bands previous outings like Amnesiac or Kid A. Whilst there are more than a few duff tracks the sheer size of this release means this isn't anything that a track skip won't fix. Highlights include the brilliantly reimagined opener "Little By Little (Caribou RMX)" which see's the band cut and twist Thom Yorke's falsetto vocals with joyful abandon whilst bringing forward the power of the original melody.  Other highlights include "Good Evening Mrs Magpie (Modeselektor RMX)" which turns the bands track  "Morning Mr Magpie" into a much darker form with claustrophobic beats and sinister synths throughout turning the otherwise dull track into something with real substance. Flaws like "Morning Mr Magpie (Pearson Sound Scavenger RMX)" however fail to add anything to the album as whole and strip back the original track so far it is unrecognisable turning an ok song into nothing but an off beat drum track.

Whilst TKOL RMX 1234567 is not perfect the whole record balances out as a rewarding listen. Whilst the source material was flawed by its minimalist nature and wishy washy overall sound the remixes on display offer a more robust end product. Bad tracks are few and far between and the whole thing is just easier to get into. Recommended.

Download:  "Good Evening Mrs Magpie (Modeselektor RMX)" "Little By Little (Caribou RMX)"

Wednesday, 12 October 2011

A Journey Down The Well - How Little Can Be The Orchestra

A Journey Down The Well - How Little Can Be The Orchestra
Genre: Neo-Classical/Ambient
Rating: 4/10

A first for me this time as I'm reviewing an EP that was sent to me for the sole purpose of me reviewing it. The EP in question is the new effort by A Journey Down The Well a neo classical group that was originally made up of members split across two seperate countries. After completing two full length albums together the swedish section of the band left the project citing the difficulties in travelling back and forth leaving just the turkish duo to continue the project as an instrumental endeavor. This in itself is no mean feat when the bands classical nature centres around a diverse range of traditional string instruments. This is the reason behind the EP's aptly chosen title How Little Can Be The Orchestra.

The bands sound was previously very traditional with violins and cello's making up the majority of the scores whilst the band all provided almost choral group vocals over the top. With the vocals no longer in the mix and condensed down to a two piece there is definitely a notable difference in sound. The band also seem to have incorporated more contemporary elements with this new release mixing in samples of ambient recordings of traffic from quiet streets to overheard conversations in cafes. These ambient recordings work to the advantage in some areas of the record providing an extra dimension or tone to the sombre and quite introspective arrangements. The main flaw that stops this EP really standing out is the stiff competition it faces from its peers such as the Icelandic prodigy Olafur Arnalds and his label mates Peter Broderick and Nils Frahm. Whilst certain parts of the record are undeniably emotive in other areas the sound effects serve only to ruin the serenity of the track. The album closer "The Orchestra" for example whilst musically very sombre and affecting is somewhat brought down by  the constant barrage of what sounds like owls mewing and other misplaced noise. This isn't the case throughout the whole EP as opener "How" is a beautifully icy piece with poignant violin work and "Can Be" demonstrates a much more subtle use of samples which work well against the classical instruments at the bands disposal. Whilst most of the material on show here is quite impressive there is simply not enough to really get excited about. Whilst the music feels passionate the minimalist stylings and limitations of being a two part orchestra ensure that the listener is never taken to the limits of sorrow or joy and the whole thing seems to lack true value. In short the music, whilst adequately arranged and performed, fades into the background too much and makes very little impact when compared to other modern composers.

Overall whilst it was a bold and ambitious thing for A Journey Down The Well to attempt to continue as a two piece the results are somewhat tame. Whilst not particularly unpleasing on the ear the EP fails to engage the listener and as such memory of it soon fades. If you are interested in Neo-Classical music at all you could do a lot worse but you could do a lot better as well.

Download: "How" "Can Be"