The New Morty Show - Mortyfied

1998 | ALTERNATIVE ROCK | SWING | JAZZ

Track Listing

 

1. Baby What's Up ✔

2. White Wedding / Rebel Yell Melody

3. Out Of Control

4. 15 Months In Jail

5. Buddha's Bounce

6. Blue Martini ✔

7. In The Groove ✔

8. Shoppin' Mall Mama

9. Knockin' At Your Door

10. Enter Sandman
11. Caledonia

✔ indicates track pick

Rating

 

★ ★ ★ ★ ☆

Review 

I've never really listened to much swing before. It was listening to metal that ironically got me onto this band. Some time ago I discovered and fell in love with The Diablo Swing Orchestra; and their deliciously avant-garde combination of metal and swing. So out of curiosity I searched for 'swing metal' and one of the results that surfaced was a catchy little swing cover of 'Enter Sandman', or in the words of the band; 'The New Morty Show swings Metallica baby!" I quite enjoyed their straight swing cover of the Metallica classic, so went out and got hold of their debut effort 'Mortyfied' (yes, with that spelling). For a person who's only real taste of jazz up until then had been through 'The Blues Brothers' and an occasional episode from 'The Simpsons' which featured 'Bleeding Gums Murphy', 'Mortyfied' worked its way into my head and led me to impression that everything sounds good when swung. See the problem with swing is that it's a genre that's never really been embraced by the mainstream, however 'The New Morty Show' bridge that gap as their repertoire features that old style swinging big band numbers infused with a modern sound and just a hint of rock in the mix.

Led by trumpet player Morty Okin and with brilliant duo vocal performances from Connie Champagne and Vise Grip this is a excellent first record, filled with with infectious tunes that will have you bopping the head and tapping the feet all night long. It's a full sound achieved as well, and with a rich horn section, guitar, bass, drums and piano they've got it all. Opener 'Baby What's Up?' shows what this group is all about; giving each other a moment in the spotlight. A bold trumpet riff begins the song, taking turns with a playful little piano melody. We get some nice harmonies from the singers in the chorus, while the verses give each individual vocalist some room to play. It's the solos that make this song brilliant though; first we're presented with a dirty little sax solo, and the tones on the instrument are astoundingly good. And if that wasn't enough, we get a rocking little acoustic solo before it descends back into the chorus. It's because of this perhaps that this band is often tagged as 'neo-swing' because it follows a more standard verse chorus formula that's so common in music today, but this works to their advantage and makes it more easy to listen to. 

Much of the rest of the album follows the same path as the opener; a tight horn section, a quick pace and solos a plenty. 'Blue Martini' stands out from the rest; it's the laid back piece that sounds like it's been directly pulled out of a romance movie's obligatory 'restaurant date scene', although the lyrics speak of sitting alone at a bar drinking expensive drinks late into the night.  This is where the piano gets to shine; with slow meandering jazz chords and fills. The female vocals take lead here, and Champagne certainly has great range hitting the essential lows and highs. Although she covers a wide dynamic range, her voice never becomes harsh. The highlight of the song however is the two minute long brilliant improvised solo from pianist John Quam, which begins slow but quickly gains momentum, playing off the drums and building up to a fast paced climax with horns thrown in, after which it brings you back to slow and mournful tune of the start. And all in the space of six and a half minutes. At the start of the review I mentioned the band's take on Metallica, but they also cover Billy Idol in the form of 'White Wedding'. The 'Enter Sandman' cover is an innovative and creative take on the original, with some brilliant piano work and a funky wandering bass line. It sounds like it was meant to be swung, and although more could have been done with it, it simply worked. However the Billy Idol cover falls a bit flat; the music doesn't seem to match up to vocals. It resembles what can only be described as 'musical photoshop', in which they take a generic swing song and chuck the vocals over the top. 

It's still music that's never going to find a mainstream audience which is shame, but The New Morty Show gives a good window into the past, while looking ahead to the future. And one can only imagine that when these jazz cats hit the stage, everybody on the floor will be dancing all through the night and day.

The Musicians Are...
 

Morty Orkin - Band Leader / Trumpet
Connie Champage - Vocals
Vise Grip- Vocal
Van Hughes - Trombone
Joe Escobar - Trombone
David Murotake - Saxophone
Tom Griesser - Baritone Sax
John Quam - Piano
Trevor Kinsel - Bass
David Rubin - Drums
Robert Castillo - Guitar

  

Download
   
Download From MegaUpload

Listen 

Track 1. Baby What's Up?

Band Links

Myspace

Official Site
Live Performance of 'Enter Sandman' (Youtube) 

The White Room - White Room Music

2007 | ALTERNATIVE ROCK | ACOUSTIC

Track Listing

1. Enemies Closer
2. Vicious Girl ✔
3. Unbreakable
4. I Am No One ✔
5. Nerve
6. Lover Number One
7. First Page
8. Figure 8
9. All There Is
10. Out Of My League
11. Halo
12. The Way That I Am ✔

✔ indicates track pick
  

Rating

★ ★ ★ ★ ★

Review
 
I came across a two track sampler from this album purely by chance, in a small opportunity shop just off the side of a busy highway. It was tucked on a shelf in the back corner of the shop, between all the albums and singles that nobody wanted anymore. A few things made me buy it;  the cover was engaging, it was less than a million years old, but most importantly it was put out by Roadrunner Records. Now for those who don't know, Roadrunner is a label that primarily focuses on heavy metal bands, and with the exception of Nickelback they're home to many talented rockers such as Killswitch Engage, Trivium and Megadeath to name a few. So naturally I was expecting something of the same mold from 'The White Room', however I have never been so delighted to be wrong. In fact I enjoyed the two songs on the sampler, 'Vicious Girl' and 'Enemies Closer' so much that it prompted me into a long and hard search on the net to find the rest of the album. I ended up to my dismay having to use iTunes, as it was a hard album to track down, but it was money well  spent, as I enjoyed the whole album just as much as the sampler.

It's tough to attempt to describe this band. If The Goo Goo Dolls and AC/DC had a love child, I think it's safe to say that 'The White Room'  would be the result, although this band actually sounds nothing like either of them. It's an incredibly diverse album and sound, with a combination of acoustic pop ballads and hard rocking tracks. It's also very much a family band. Wheelchair bound Marc Collins fronts up the band on guitar, with sister Steph on drums and together they share the vocal duties. 'White Room Music' kicks off with two hard hitting numbers; the first being 'Enemies Closer', which starts with muted guitar and a pumping drum beat, before progressing into a rocking chorus. It's much the same with 'Vicious Girl', and the guitar riff that begins this song is guaranteed to have you banging your head, as it has such a nostalgic old style hard rock feel to it, that you just don't hear in music anymore. The chords themselves are kept simple, much like the formula so it doesn't take long for the listener to identify with the audible pleasure they're  experiencing. The drums are another high point of the album; they're kept simple, unlike some drummers who place fills everywhere. But they're still diverse, experimenting outside of the normal straight rock beat.

The album continues to delight as it progresses. Songs like 'Unbreakable' display a technique the band is fond of; acoustic chords and riffs to fill the verses and with distortion for the chorus, while 'I Am No One' almost takes the form of a rock ballad, with multiple harmonies in the chorus and a slower feel overall, with a guitar solo to cap it all off. 'Nerve' also deserves a mention. With a punk rock vibe, Steph gets to take lead vocals for the first time. Her voice is very much in the vein of Paramore and Flyleaf, and it was a wise choice to give her more of a forward role in this song, as her voice suits it perfectly. Then there's the other side of the band; the soft side. The best showcase of this is in the album's closer 'The Way I Am'. Normally I don't look too much into lyrics, but the wry reference to Marc's own situation is hard to miss; it's his message to the world that he accepts himself the way he is, and isn't about to let his disability become a hindrance to achieving his goals and dreams. Two beautiful picked acoustic riffs contrast each other through the introduction and into a positive sounding chourus. It's often said that the voices of siblings work well together, and it's certainly proven here, as Marc and Steph make this a beautiful duet, with gentle harmonies

It's a wonderful debut effort from some extremely talented songwriters. It's also easily marketable material and should have seen the band off to grander places. However most unfortunately 'The White Room' seems to have since dissolved and slipped into oblivion. The official website has closed down and physical copies of the album are now notoriously hard to track down. iTunes and Myspace remain as the only evidence that this band once existed. Hopefully they'll emerge again at some point in the future, as they showed great potential on this breathtaking debut album

The White Room Was...

Marc Collis - Guitars, Vocals
Steph Collis - Drums, Vocals
Ben Jarvis - Guitars
Barry Brauer - Bass

Download

Download From MediaFire 

Listen


Track 2. Vicious Girl 

Band Links

Myspace 
iTunes  

That'll Be The Day - What's To Come?

2011 | HARDCORE | METALCORE

Track Listing

1. Sail Solitude

2. The Sty Of Our Lives ✔

3. Crowd Surfin' In A Coffin ✔

4. Palms And Teeth

5. Speaking Of Witch, Burn!

6. Open The Sky

✔ indicates track pick

Rating

 

★ ★ ★ ★

Review

Australia's played a big part in the hardcore scene over the years. Most notably, we've brought metalcore juggernauts I Killed The Prom Queen and Parkway Drive to the world's stage, who have both revolutionized and taken the genre to new heights in their own sense. They've both grown from such small beginnings into such a large entities that few of us probably remember how they reached this point; through dedication, hard work and by creating what the people really want; decent, catchy metalcore with big hooks and heavy breakdowns. Although it may seem easy, it's a tough balance to create something unique and original while still ultimately having that familiar metalcore sound that we've grown to love. Enter 'That'll Be The Day', a very welcome addition to the Aussie hardcore scene. 

This is one band that doesn't screw around; they know what works and they know what doesn't, and it's all there on their debut EP 'What's To Come', in the form of six deliciously brutal creations. They've got the big hooks, they've got the breakdowns, and they bring it all together so well that it doesn't take much to realise that this band is going somewhere. It's obvious the band has a wide musical influence; imagine the the best parts of August Burns Red, Haste The Day, Carpathian, Every Time I Die and Parkway Drive blended into one and you'd have a fair idea of their sound. 

While each of the six tracks from the EP is a step above most generic metalcore that's being churned out from the hardcore labels today, a few tracks are a cut above the others. One such pick is 'The Sty Of Our Lives'. Commencing with an experimental wandering guitar theme, it doesn't take long to get down the business with fast paced guitar riffs, pounding drums and brutal screams. Although It's the breakdowns where the band really stands out from the rest. Breakdowns quite often feel forced, as many bands just place them in the middle of song out of sheer obligation; because they're a hardcore band, and that's what hardcore bands do. I also get sick of hearing breakdown after breakdown using the same single chord, however That'll Be The Day avoids this trap and uses a variety of chords, rhythms and styles to keep things sounding fresh and different. In fact they do it so seamlessly that they'll fill half a song with breakdowns and you won't even notice, because it just blends so well and as a result actually sounds like it's meant to be there. From the first time you listen to this, it goes without saying that this would come off well in a live setting, and the band certainly has got glowing reviews about their live shows. 

It's all very much the same however, in the sense that they use a similar formula for every song, albeit in a slightly different manner every time. There's fast paced dual guitar riffs, there's some breakdowns, there's some epic and melodic chords with gang vocals then there's more breakdowns. However as the saying goes 'if it 'aint broke don't fix it', and there's certainly nothing wrong with this formula. This is why an EP format was perfect for their debut release; it hits you hard, blows you away, then finishes before it becomes tired. However a whole album played out in this style may be a little much, so hopefully the band progresses and experiments a bit more with their sound before another record. That being said, it's a solid release and shows much potential for this energetic young band in the future.

That'll Be The Day Is...

 

Clayton Nielsen - Guitars

Nic Ferretter - Bass

Harry Marshall - Guitars

Renn Beattie - Drums

  

Download
   
At the time of this review, no free download links were available online. If one becomes available I will post it. Until then, listen to the album through the band links below, or buy it on iTunes. Also, some free songs are available to download on the band's Triple J Unearthed page at the link below.

Listen
 

Track 2. The Sty Of Our Lives

Band Links

Myspace

Facebook

Triple J Unearthed

Tim Hockenberry & Tom Corwin - Mostly Dylan

2009 | SOFT POP ROCK | ACOUSTIC

Track Listing

 

1. Forever Young

2. One Too Many Mornings ✔

3. The Times They A Changin'

4. Like A Rolling Stone 

5. You're Going To Make Me Lonesome When You Go

6. Mr. Tambourine Man ✔

7. Two Steps Back

8. Boots Of Spanish Leather ✔

9. My Back Pages 

10. Flirting With Disaster
11. Rainy Day Women
12. Tomorrow Is A Long Time

✔ indicates track pick

Rating

 

★ ★ ★ ★ ☆

Review 

Cover albums are always a difficult thing. It's a fine line to tread; to bring a personal touch to the music, however without altering the original artist's vision. It's the same principle as with the remakes of movies; the last thing anybody wants to see is a scene by scene remake. And to pick Bob Dylan of all artists to cover, meant the bar was set high from the start. It was ambitious project that the two musicians set out to undertake, but the result is something truly magical. 

It was an interesting but inspired choice to have Tim Hockenberry take the role of lead vocals; his voice is a far cry from Dylan's. I first came across him through his work with The Trans-Siberian Orchestra, where his mesmerizing voice just matched so well with the piano driven ballads the Orchestra are fond of. His sound is certainly unique. Picture if you will the low gravely tones of Louis Armstrong crossed with soft crooning of Rod Stewart and you'd have a fair idea of Hockenberry's voice. It's his voice that drives this album, however the production value is also particularly good, with laid back, minimalistic drums, gentle bells, pianos and dreamy guitars. It all blends into one warm sound, that's gentle on ears and soothing for the mind. 

Many of Dylan's classics are here, and it's Hockenberry and Corwin's treatment of Dylan's signature songs that make for a real treat. Such an example is found in Dylan's definitive anthem 'Like A Rolling Stone'; it's been stripped right back and slowed down to a cruisy, mellow rock ballad. While there's so much going on in the original version, here everything's been simplified; with the guitar playing basic chords and the focus being very much on the vocals. However it's on the real slow songs where this laid back approach works best. 'Boots Of Spanish Leather' conjures up images of slow dancing under a starlit sky, with echoing guitars and drawn out vocal lines. It's at times like this where Hockenberry's in his element, working every drop of emotion out of Dylan's lyrics and exploring a wide and diverse vocal range. 

This is an album for drifting into sleep, discovering first love and watching the sun set over the hill on long summer evenings. What a true Dylan fan would think of these interpretations of Dylan's works is unsure, however since I'm not a die-hard Dylan fan myself, when I listened to this I was judging it as a creation of it's own, and not comparing to how well it interpreted the originals. The matter of fact is that it's a brilliantly soothing album, and one that I'm going to still be enjoying for many months from now.

The Musicians Are...
 

Tim Hockenberry - Vocals
Tom Corwin - Instruments
(A wide variety of musicians were
featured on this album, too
many to list here)

  

Download
   
Download From BandCamp
Download From RapidShare
*Password: iZm420

Listen 

Track 2. One Too Many Mornings

Band Links

Myspace

Facebook

Official Site

Machinae Supremacy - Overworld

2008 | ALTERNATIVE METAL | HARD ROCK

  





Track Listing 

1. Overworld ✔

2. Need For Steve ✔

3. Edge And Pearl

4. Radio Future 

5. Skin
6. Truth Of Tomorrow
7. Dark City ✔
8. Conveyor
9. Gimme More (SID)
10. Violator
11. Sid Icarus

12. Stand 

✔ indicates track pick 

Rating

★ ★ ★ ★ ★ 

Review 

Before this review even commences, I'll just state a quick fact; Machinae Supremacy are a REAL internet success story. Many bands will release a couple of demos online, before recording an album. On the other hand you have Machinae Supremacy. They released over thirty songs for free download on their website before singing with Spinefarm Records, all of which are still available for free from their website today. It's this kind of musical attitude that has got them where they are today. Innovatively combining an infectious and hard hitting style of metal, with sounds from the Commodore 64's SID chip has created something original which the band appropriately defined as "SID-Metal". It comes as no surprise that with such an altruistic attitude toward distributing music and with the sounds of old style gaming scattered throughout their songs, that the band appealed to the gaming community, gathering an underground internet following. But enough history. 

Machinae Supremacy's "Overworld" is an album that will keep you enthralled from start to finish. It's evident that the band did not just include material for the sake of filling the album. While many bands seem to have their few catchy songs in an album, while the rest is just filler material, almost everything on "Overworld" sounds as if it could stand alone as a single. The title track kicks off the album at full force, with shredding guitar riffs, fast pumping drum beats, and a chorus so beautiful and large it sent shivers down my spine the first time I heard it. 'Need For Steve' is another winner, showing what the band is all about; fast guitars and big hooks with some electronics thrown in. It would still be a decent album without those gaming sounds, but they fill out the gaps and make for a wider and more diverse soundscape. It adds that extra layer of melody, playing off Robert Stjärnström's vocals, to make unbelievable harmonies. In another setting the vocals might come off as whiny, but they seem to work perfectly with music, and Stjärnström's strong Swedish accent only adds to it. 

'Skin' is another piece that deserves a mention, with a tranquil guitar and strings introduction, building up to an inspirational finale, with a minute long guitar solol to end the song. That's another thing worth mentioning; lead guitarist Jonas Rörling can play brilliant guitar solos, and the rest of the band knows this, because they work in a solo into almost every song. It's a good thing however, and they never overdo it. I could almost write a paragraph on every song on this album, but using words I can only describe so much. The only real disappointment was the band's choice of 'Edge And Pearl' as the single with the music video. I found it to be the most mediocre song on the album, because it's basically an average four chord pop song with metal overtones. But I'm not trying to fool anyone here; It's all very much pop metal with a difference, amid melodic guitar riffs and enormously catchy sing along choruses. I mean they did include an amusing cover of Brittney Spear's 'Gimme More'. However I don't care what you call it. All I know is I like it.

Machinae Supremacy Is...

Robert Stjärnström - Vocals

Jonas Rörling - Lead Guitar

Andreas Gerdin - Guitar / Keys

Johan Hedlund - Bass

Niklas Karvonen - Drums

Download

Download From MediaFire 

Download From FileSonic

*All of the band's early material is available for free and legal 

download at the official website, under the 'Music' tab.
 

Listen
 

Track 7. Dark City 

Band Links 

Official Band Website  

Facebook

Myspace

Emarosa - Emarosa

2009 | POST HARDCORE | SOUL | ALTERNATIVE

Track Listing

1.  A Toast To The Future Kids! ✔

2. Pretend. Relive. Regret ✔

3. Share The Sunshine Young Blood

4. Truth Hurts While Laying On Your Back

5. Live It. Love It. Lust It.

6. The Game Played Right

7. Broken Vs. The Way We Were Born ✔

8. I Still Feel Her Pt. IV

9. The Weight of Love Blinds Eyes

10. We Are Life

✔ indicates track pick

Rating 

★ ★ ★ ★

Review

I've been a fan of Emarosa for quite some time now. Originally playing a typical style of post hardcore, innovatively fused with keys and synths, this is a band that has come a long way since their early days. Ditching their vocalist and their heavier style for an alternative rock sound on their debut record was a bold move, but it seems to have paid off. This is their second album with new vocalist Jonny Craig, and it appears the band has finally settled into their groove. This self-titled release sees them continuing in a similar vein of their previous album, fusing their unique variety of post hardcore and alternative rock, married with Craig's magical R&B and soul vocal stylings.

If you've dabbled in the slightly more alternative and experimental side of post-hardcore you've probably heard or heard of Jonny Craig. Although he's been the source of more drama than a soap opera, and has the maturity levels of a spoilt six year old, he makes up for this in his singing, and his voice is at the forefront of this album for a very good reason. In a genre of music which is overpopulated with whiny high pitched frontmen, Craig is a welcome breath of fresh air, with his style of singing suiting the music surprisingly well. On top of his incredible vocal range, he has a talent for singing his lines with such emotion, a good example of which is in the song "Broken Vs. The Way We Were Born". The instrumentation in the track is certainly solid, but it's Craig's voice that makes this track stand out, and his ability to swiftly shift from a soft soulful croon to raw passionate cries. The self-centered lyrics are hardly noticeable, as you let the sound of his voice wash over you.

 As far as the instrumentation goes, the rest of the band has also come a long way in the two years since their last release, 'Relativity'. The guitars are constantly exploring new themes and ideas, and the production is crisp and clean. However it's often hard to hear keys beneath everything else, and the bass is barely audible. Perhaps to target a more mainstream audience, Emarosa has ditched the experimental, wandering song structures found in their debut, and gone for a more typical verse chorus formula. It still works though; with "A Toast To The Future Kids", being a notable example of how a transition to a more refined song writing style has paid off. Beginning with a clean strummed introduction and soft vocals, it builds into a verse with scattering, funky drums and onto a powerful and rocking chorus. 

"Pretend. Relive. Regret" is another winner from the album. Playing out in a similar vein to "Broken Vs. The Way We Were Played", it features a catchy verse which seems to hint at the greater things to come, and greater things certainly do emerge. Emarosa has a knack for writing memorable hooks, and while their previous album featured various ideas scattered all over the place, most of the songs on this record come home strong with a killer chorus; the band at full intensity. My only criticism of the album is that there is only so much of it you can listen to at one time. It's one of those things that are better in small doses. The band made a wise decision in capping the album at ten songs, but even then it's not an album you'd put on and listen to from start to finish, as it starts to sound all the same. It has more of a place on random shuffle, where hearing a single song between other artists on your music player will blow you away.

It was a disappointment the lack of keys featured in this album. On the band's first EP, Jordan Stewart's keys were very much front and center, but since the change in sound they've provided more of a backing role, with organs and synths, rather than creating a melody of their own as they did in the debut EP. I was really hoping for a keyboard focused song in this album to let Jordan stretch his legs, but I guess I'm going to have to wait until next time. At the time of writing this review however, Jonny Craig has left the band, and is yet to be replaced. What this means for the future of the band is uncertain, but Emarosa has always been a band that adapts to change well, so I'm sure we'll hear from them very soon in the future and I look forward to discovering wherever their musical careers progress to next. 

Emarosa Is...

Jonny Craig - Vocals

Jonas Ladekjaer - Guitar / Backing Vocals

ER White - Guitar

Jordan Stewart - Keyboard

Lukas Koszewski - Drums

Will Sowers - Bass Guitar

Download

Download from MediaFire

Download from RapidShare 

Download from FileSonic 

Listen

Track 7. Broken Vs. The Way We Were Born

Band Links 

   

Myspace

Facebook

Amazon

 

Lights Action - Welcome To The New Cold World

2009 | INDIE ROCK | ALTERNATIVE

Track Listing

 

1. Moscow

2. Battle Of Lovers ✔

3. Signals To Radar

4. Young Scarlett Young ✔

5. Travellin' Man

6. I Woke Up In A Civil War

7. Passions Of The Lonley

8. Until The Day I Die

9. Black Feathers ✔

10. The Bottom Of The Sea

✔ indicates track pick

Rating

 

★ ★ ★ ★ ☆

Review

Let me start by saying; while I have listened to many brilliant musicians that have emerged from the Indie scene throughout the years, such as Radiohead, there's been almost as many that have been a complete waste of my time. There's been so many pretentious and egotistical performers, who in trying to create something with meaning, something that differs from the repetition of mainstream, end up with a creation that is nowhere near as innovative as the artist would like to think it is. 

However on the other hand, you have performers like this. Think the soaring majestic stadium anthems of Coldplay, crossed with the softer, breathtaking moments in Death Cab For Cutie and you have 'Lights Action'. And this five piece band, hailing from London, have crafted something truly special on their debut release 'Welcome To The New Cold War'. 'Lights Action' was a good name choice, as it describes what the band attempts to create; sweeping cinematic passages, combined with catchy pop rock sensibilities. 

Opener 'Moscow' acts as a forerunner for what's to come, with theatrical organs and soaring vocals, but it's after this when the album really begins. With a strong rock beat and a catchy guitar melody 'Battle Of Lovers' is well placed at the start of the album. 'Young Scarlett Young' is another winner, with a soft piano intro building up to another epic sounding chorus, with a melodic violin accentuating that cinematic sound you can tell band was aiming for.

However the real treat is saved for the end of the album, where Lights Action displays their talent to seamlessly switch from pumping rock tunes to more laid back ballads. 'Until The Day I Die' really showcases singer Patrick Currier's vocal range, and while his voice isn't always perfect, it's mesmerizing to listen to and fits well with the music. Second to last track, 'Black Feathers' is probably one of the highlights of the album. Haunting strings build into a gentle guitar melody and soft vocals, which flow into an emotional chorus and towards a grand finale, with strings and harmonies and everything they've got thrown it. It's epic, it's catchy, it's beautiful What more could you want?

Lights Action Is...
 

Patrick Currier - Vocals
Karl Bareham - Guitar
Chris Moorhead - Guitar/Keys
Alex Leeder - Bass
Steven Durham - Drums

  

Download
 

Download From DepositFiles

Listen

Track 2. Battle Of Lovers

Band Links

Myspace

Facebook

Amazon