Issue 85 - August 2005: These godless reviews


cheating the polygraph
Apr 29, 2001
dead between the walls

Delayed more often than the new Symphony X album.

Issue 85 – August-September 2005

No lyrics, since approximately two-thirds of what I’ve been listening to is predominantly instrumental. Who needs vocals anyway?

May all the displaced victims of Hurricane Katrina find relief and shelter quickly as resources and the devastating environmental conditions will allow. RIP Denis “Piggy” D’Amour.

Nevermore – This Godless Endeavor review

Could it really be five years since Dead Heart came out? After all that has happened since Nevermore made that early claim to dominance of no-subgenres needed metal in 2000, it seems much longer. Of course, for the crucial follow-up Century Media, eager to let their contract expire, left them with no budget and what resulted was the most badly produced major release since …And Justice For All, Enemies of Reality in its initial form sounded so rushed many speculated they were saving material for an imminent deal with another label. But last year, things started getting back on track, starting with an unexpected reconciliation with CM, who even more shockingly agreed to clean up EOR. (A brief comment on their “$5 remix” offer those who bought the CD in 2003: Some have accused them of ripping off fans, while CM obviously is looking to get more money off one of their biggest acts, I think it’s justified as the auditory problems with the album weren’t a mastering defect, but a lousy production job they happened to approve.) Then they beefed up their sound by adding a permanent second guitarist in Steve Smyth (ex-Testament), Warrel found sobriety, and they made an album many are calling their best to date.

Like Dead Heart, TGE wastes not a second in succeeding to kick the listener’s ass with the raging Born, which immediately promises that the album will be their heaviest to date. As usual, the band alternates between riffs with effortless precision, I especially like the one after the first chorus. The lyrics are just as uncompromising, it wouldn’t be a Nevermore album without authority figures being referred to as pigs. J Final Product is the album’s prerelease track and first video, probably chosen randomly as TGE doesn’t have anything immediately accessible (by MTV standards anyway). It’s a very typical Nevermore song elevated by Van Williams’ ferocious drumming and a great middle section with a solo rivaling the one in The River Dragon Has Come. My Acid Words has an opening riff that recalls the glory days of melodic death (which Loomis later energetically solos over), but the rest of the song’s stop-start structure is classic Nevermore, and Warrel’s vocals are in strong form here, especially on the bridge. It slows down during the outro paving the way for Bittersweet Feast, a dark midtempo song with an atmosphere and macabre lyrical imagery straight out of Dreaming Neon Black. It’s the first of three songwriting credits Smyth receives, he has a brief and manic solo here. Sentient 6 lyrically continues the machines revolting against humans theme of their proggiest moment, The Learning. In my last column I said Bruce Dickinson wrote the best ballads in metal, but that may be because I find that word inappropriate for Nevermore’s usually devastating slower songs (and because they didn’t write Revelations after all), and this one is no exception. It begins with acoustic guitar and piano (the booklet doesn’t say who plays it for some reason) and has the same aura of epic balladry as…well, Revelations, especially with that soul cleansing chorus: “Trained, I see imperfections in your race” and Loomis’ unusually elegant solo. A brief snippet of backwards vocals and rare upfront bass leads into the appropriately mechanical riffing of the heavier section, and Warrel’s repeated ominous chant at the end closes things. Up next is Medicated Nation, which combines powerful riffage and accessibility as well as anything on Dead Heart, the chorus is definitely the catchiest thing on the album. Did I mention it has another awesome Loomis solo? An interlude called The Holocaust Of Thought (named after a lyric from three songs earlier) follows it, which is basically a guest spot for fellow Testament album James Murphy, who passionately solos against Jim Sheppard’s backdrop. Sell My Heart For Stones sounds a lot like the slower songs on DNB, built mostly around Warrel’s vocals. Psalm Of Lydia has become an early fan favorite, with enigmatic, mythology-based lyrics and some of the most intricate riffing on the disc, Loomis and Smyth are all over the place on this one, and they engage in a guitar duel during the middle section. If only they got more than five songs on Gigantour. A Future Uncertain suffers a bit from being placed between it and the title track, but is impressive in its own right, building nicely from its intro and having precise riffing throughout, and the third verse does the old bury the clean riff under massive distortion trick. The lyrics here combine apocalyptic imagery with anti-racist sentiments. And then there’s the title track, nine minutes of Nevermore at the height of their power. It begins with Warrel wailing over an acoustic guitar, soon breaking into a bombastic riff with “godless are weeeee” being intoned repeatedly, from there the songs continues to build in power, and halfway through we have the moment. The stretch between 5:00 and 7:30 is arguably the most savage music Nevermore has ever produced, and definitely the most overtly technical, the parts where Warrel sings and Loomis shreds over riffs that would shame any –core band makes my head spin every time. The song breaks back into its main theme, and Warrel brings Nevermore’s fourth masterpiece to the best conclusion possible with the only appearance of The Scream on the album and lyrics that speak for themselves.

“Mankind still can’t understand how to define you

So hide your face and watch us exterminate ourselves over you”

“Abandon naïve realism, surrender thought in cold precision…”

The second quote is from earlier in the song, but what the hell.

PS: If anyone can track down the cover of Revelation (Mother Earth) recorded during the TGE sessions and post a Yousendit link here or anywhere else on UM, I’ll nominate you for sainthood. I’ve always loved that song, one of the few solo Ozzy tracks comparable to prime Sabbath, and I imagine that Nevermore reinvented it in their own image as well as they did Sounds Of Silence and Love Bites.

PPS: Nevermore still kicks your favorite band’s ass. If not for the album I’m reviewing next, this would be my undisputed album of the year so far.

Ulver – Do you have the Blood Inside?

Note: This review will concentrate entirely on the music and contain no lengthy background information that you know already, at least not in the introduction. I will be doing it track by track, with a lyric that I feel captures the essence of each song.

I. Dressed In Black: “Is a vampire in the mirror eternal?”

The first full-length Ulver release in four years begins with a moody synth intro that sounds far more organic than Perdition City’s glitch landscape. It is soon countered by classical piano and Garm confronts us with some existential questions. As you undoubtedly know, the album that eventually became Blood Inside was always intended to be more vocal-oriented. But this track finds it strength in the instrumental passages, especially when it escalates in unexpected ways and contains a choral transition into…

II. For The Love Of God: “Going down deeper than the dark”

When Garm said this album would be more rock n’ roll sounding (of course, it’s about as far removed from the rock idiom as possible, that may have been him playing the role of Jester again), this may be what he was alluding to, as it’s the most conventional sounding track on the disc, albeit filtered through the heavy electronic layering. The “Going down” chorus is definitely the biggest hook being thrown at you, and it even has a wild guitar solo.

III. Christmas: “Don’t seek and don’t trust, for all is mystery.”

It opens with chimes, but that’s the only seasonal allusion on the song The End put on their website to represent Blood Inside. Good choice, as Garm crooning over the fractured techno (with some orchestral sounds surfacing throughout) in the body of the song is a defining moment here, and the second half is stunning: everything drops out and the emotion is built up in the form of guitar (played by Zappa alumnus Mike Keneally, whose solo albums have jumped genres as often as Garm has) wrapping itself around the electronics, the chimes reappearing, and massive overdubbed vocals toward the end.

IV: Blinded By Blood: “Crying from the inside, the fear”

This is dedicating to Garm’s son, and is the only track here that sticks to one theme, taking the form of an unsettling ambient lullaby, except for some vibraphone at the very end, the keyboards are the only instrument. Garm’s use of voice manipulation as an instrument is genius here, as the various delays and echoes he puts match the swelling tones perfectly.

V: It Is Not Sound: “For the record, no one will understand what it is all about”

This lyric appeared on Ulver’s website in announcing the completion of the album, and many found it indicative of Garm’s pretentiousness. While he makes no secret about it (a booklet illustration reads “Viva Megalomania”), I have to wonder if when he says “what is it all about” here, if he’s actually asking himself. Musically, it opens with a bizarre synth noise resembling a distress signal, leads into an industrial-sounding section with energetic vocals, and ends on a note of desecration with its mutated Bach passage.

VI: The Truth: “The pages turned by the one is turned back by the other”

This is the only song on the album I feel is too disjointed for its own good and is lacking in cohesion, while the point of Blood Inside may be the make their avant-gardism palatable, here the atonality of the verses and the hyperactive drums work against it. And the sped-up vox near the end are annoying. It does have it strengths, the interludes have detectable melody and the lyrics, about the perception of truth, are well written.

VII: In The Red: “Taken away in a moment, ambulance…”

The hospital motif indicated by the Red Cross on the cover is explicitly introduced here and continued in the next two tracks. Musically, it’s an unlikely but successful combination of dark jazz and synthesized orchestral music. Garm once again uses his vocals for dramatic effect by echoing words like “ambulance” after each line. It ends with a return to the cut-up electronics of Perdition City and the Silence EPs, only with distorted big band trumpets.

VIII: Your Call: “Open in the end, end in the open”

If songs like For The Love Of God show Garm using his voice as the foundation for a song, this one finds him matching lyrics to music superbly, even though this song is largely instrumental. It has an extended ambient intro, then Garm and guest violinist Jeff Gauthier (whose playing here is excellent) enter. When he says “Phone”, we hear an unanswered phone call that later recurs, and when he says “corridor”, we hear footsteps that become rhythmic. But these are not mere sound effects, they are vital to the song. Add one more ingredient to the surprisingly emotional mishmash: a wordless female vocal. The song ends with only the phone call, and someone finally answers, setting up…

IX: Operator: “Call the police, radio paranoia”

If Your Call captured the dread of receiving word from the hospital about terminal illness and/or death of a loved one, Operator is the sound of a virulent epidemic spreading and panic ensuing. The atmosphere here is chaotic, the music dense and apocalyptic sounding with electronics that sound like a thousand sirens going off at once, a frenetic guitar solo (again played by Keneally), and crashing drums. There is some hope when things slow down and Garm sings “please be patient, hold the line”, but this is offset by a desperate sounding voice in the background. Those are the last lyrics spoken, and things end in a haze of confusion.

Capsule reviews & impressions (moving further into obscurity and away from metal):

Aarktica – Big Year, The Mimicry All Women Use: A one-man band, Jon DeRosa’s (who has lost hearing permanently in one ear) releases under this name consist of both minimal drones and slowly unfolding dirges. Given those descriptions, the music is more resonant than you’d expect, especially on the latter track, which understated but has a powerful build and a moving vocal performance. The latter should appeal to anyone who enjoys this sort of glacially paced bedroom music.

Antimatter – The Weight Of The World, A Portrait Of A Young Man As An Artist: Planetary Confinement is the duo’s third album, and its release coincided with Duncan Patterson announcing his departure. Musically, it has more separation between the two songwriters than Lights Out did. Both of these tracks, available on, are entirely acoustic Mick Moss compositions, as bleak and sorrowful as anything on the past two albums, the latter also adds some weight with its pessimistic lyrics.

Adrian Belew – Asleep, Dead Dog On Asphalt: The second side of the Crimson guitarist’s trilogy has arrived, and it is decidedly different from the power trio format of Side One, here he relies on electronic enhancements (which enable him to perform the material totally solo) and repetitive structures and lyrics. The latter, also the title of the cover painting, has only its title for lyrics. In short, it’s a more experimental release that bears little resemblance to Crimson, but still rewarding and the latter track is as resonant as anything on Power To Believe.

Boris – Huge, Akuma No Uta: The latest album from these longstanding Japanese sludge merchants borrows its cover image from a Nick Drake album, but this is of course the furthest thing from introspective acoustic music imaginable. Much of their The title of the former track says it all, consisting almost entirely of a procession of monolithic riffs, and the album Akuma No Uta does find them delivering some kickass stoner rock, the title track being a miniature feedback orgy at four minutes.

Carptree – Burn To Something New, Titans Clash Aggressively To Keep An Even Score: This Swedish progressive rock duo is one of several recent signings to Inside Out, bigger scores being Riverside and Sieges Even. As on their previous release Superhero, the material here is often alternately moody and bombastic (especially on the latter track’s chorus, the former is paced very well and full of effective vocal melodies) and contains arrangements reminiscent of Peter Gabriel circa Security.

Comets On Fire - Blue Tomb, Pussy Footin’ The Duke: Psychedelic stoner rock for hipsters? Quite possibly, as this band’s second album Blue Cathedral has been warmly embraced by the indie rock press (as have the like-minded Dead Meadow). The songs here range from manic desert rock to languid psychedelic excursion, both of these are of the latter stripe. The former track closes the album and slowly enraptures the listener during its ten minutes, and the latter is a trippy instrumental with overtones of Floyd at their most experimental. Finally, a band with the initials COF worth listening to. (come on, you knew that was coming.)

Djam Karet – The Gypsy And The Hegemon, Twilight In Ice Canyon: Recollection Harvest is the latest in a long series of releases for this always inventive instrumental prog act. The material here is split into two halves, the first being lengthy jamming that grafts Crimson-ish dissonance onto Floydian atmospheres, and the second (originally intended as a separate simultaneous release) being more acoustic and ambient based, the latter having a wintry feel matching its title.

Echolyn – Georgia Pines, Misery Not Memory: After their stab at a sprawling album-length track, the critically acclaimed Pennsylvania proggers return to the more song-based format of their earlier albums, with much of the ambition left over. These tracks open and close The End Is Beautiful, the former being an energetic track that rocks harder than expected, and the latter is an excellent nine-minute opus with plenty of great musicianship, intricate vocal arrangements, and unexpected mood changes.

Esmerine – Quelques Mots Pleins D’Ombre, The Marvelous Engines Of Resistance: Violin and percussion duo, the former of which provides the obligatory Montreal scene connection by being a member of Silver Mt. Zion whatever. The former track from this year’s Aurora, available at (lots of mp3s and info, but a bitch to navigate), is full of dramatic intensity, which was lacking a bit in their debut. With some major exceptions, like the latter track which closes the disc with plenty of rumbling and rattling…

The Evpatoria Report – Taijin Kyofusho, Cosmic Call: More post-rock, this band came out of nowhere (Switzerland to be precise) and has become a favorite of several forum members, who are completely responsible for bringing their excellent debut to my attention. The perfect one-word description for this is epic, all six compositions are composed on a grand symphonic scale. Obvious influences like Godspeed and Mogwai can be heard throughout (both acknowledged on their website), and most tracks contain the typical tension building and wall of noise (the former containing an incredibly potent example), but these lengthy tracks never turn into carbon copies or become boring, even in the often minimalistic 14-minute latter track.

Far Corner – Fiction, Something Out There: A recent Cuneiform signing, like most of their roster their songs are much closer to modern classical (cello and piano being the dominant instruments here) than progressive rock, though a bit more palatable than some of their more out there bands. Both of these songs would have taken up an album side in the vinyl days, the former changing constantly and the latter being a piece in three movements, the first has a sinister buildup reminiscent of Larks-era Crimson and the second has some unexpectedly high-speed tempos.

Fly Pan Am – Univoque/Equivoque, Sound Support Surface Noises…: Like Silver Mt. Zion whatever, this Godspeed offshoot has been more productive than the main gig and their full-length releases have all differed vastly. These are from their second release (with a long French title I’m too lazy to write here), which was billed as having a theme of self-sabotage. While various extraneous noises do play a major role here, it’s not quite that random for the most part, and the experimental bent doesn’t hurt the main themes of both of these tracks, the former probably their most melodic offering and the latter having an addictive pulsating rhythm and the interruptions here prevent the track from becoming too repetitive.

Frogg Café – You’re Still Sleeping, Reluctant Observer: On their third album, the former Zappa tribute band turned prog/fusion hybrid delivers some intricate and sonically pleasing progressive rock with strong jam band tendencies, the former track begins slowly and goes on a number of tangents, including an almost big band jazz section, while remaining melodic. The latter is one of the more tightly composed songs on the album, and boats an effective lead riff and lengthy instrumental breaks (great violin solo, I’m a complete sucker for use of that instrument in a rock context) which enhance the mood.

From Monument To Masses – Sharpshooter, Old Robes: This band has followed in Godspeed’s footsteps by incorporating political activism into a disc containing no lyrics, done here mostly through frequent use of outside samples (sorry for the redundancy). Musically, it bears more resemblance to math rock, although the songs here don’t change time quite as jarringly, preferring to build songs around the shifting rhythms at a fairly constant pace. Former song available at

Growing – Life In D, Pavement Rich In Gold: The loudest quiet band ever? Ambient for metalheads? Those are questions that came to mind when listening to this band’s debut, The Sky’s Run Into The Sea. Much of it is built around the contrast between droning heavy riffs and quiet ambient backgrounds, a collision of opposites that produces striking results, especially in the second half of the former track. The latter track leans more heavily on the delicately quiet side until an extended section which adds droning vocals for additional effect, they also serve to unite the seemingly disparate pairing.

Hangedup – Klang Klang, Alarm: Clatter For Control is the third album for this viola/percussion duo on the Constellation label. With words like clang, alarm, & clatter being thrown around, you’d expect these guys to generate some unholy noise, and you’d be right. The opening track stomps right out of the gate, urgent but disciplined, picture a post-rock crescendo stripped to only the two instruments used here and you’d have a good idea what it sounds like. The latter opens and ends with some eerie notes and its body is even more chaotic, it sounds like a bulldozer leveling the house next door.

Hrsta – Lime Kiln, Silver Planes: Project from ex-Godspeed vagrant Mike Moya which consists equally of melancholic folk-influenced songs, like the downcast former track, and more experimental soundscapes and dirges, while this contains none of the passionate interplay of his former group and their kin, the bleakness here is everywhere. The latter track is minimal and extremely slow even by doom standards, its isolated feeling reinforced by the muted vocals.

Khanate – Capture, Release: Memorably described by one forum member as truly sickening, listening to this band’s ultra-oppressive doom is the equivalent of an entire album of Neurosis at their most brutally cathartic. Led by noisemaster Stephen O’Malley (also a key member of SunnO), their third set of unrelenting aural pain is called Capture & Release and consists of two lengthy tracks called…well, duh. As the previous sentences suggested, only for those who have a stomach for such nonstop pummeling.

Kinski – Hot Stenographer, All Your Kids Have Turned To Static: Equal parts raucous stoner rock, spaced-out instrumental excursions, and ambient drifting, this Washington state-based band has created some powerful instrumental rock on their latest release Alpine Static. The former track (and the next two on the disc) fall into the first category, with a monstrous riff that carves through the speakers and a driving tempo….hear it at The latter track is its complete opposite, an ethereal slow track with a singular guitar line and floating flute & keyboards.

The Mercury Program – Leaving Capitol City For Good, Down On Your Old Lung: Florida-based post-rock group who specializes in the sort of melodic jazz-influenced side of the genre successfully explored by Tortoise and later Do Make Say Think, their latest is a relaxed instrumental set, but the earlier From the Vapor Of Gasoline adds some heavy guitars throughout and hushed vocals on half the tracks. The former is a percussion-dominated track with some enjoyably repetitive patterns, while the latter is a hazy slower piece on which the understated vocals work very well.

Meshuggah – Mind’s Mirrors, In Death…Is Death: By now you’ve probably made up your mind as to whether Catch 33 is another boundary pushing release or a pretentious failure, tellingly I’ve read plenty of great reviews but no one daring to call it their best. These are of course the two sections that stand out the most as individual compositions, but both are integral to the whole piece. The latter is Meshuggah at both their most devastating and experimental, first half among their sickest work ever and the latter an exercise in slowly building tension that sets up the final movement perfectly. Former track available at

Kevin Moore – Mirrors And Phones, Overheard: Definitely one of the more digitally compatible artists out there, all three Chroma Key albums can be listened to in their entirety on his website, along with the soundtrack Ghost Book (his first release under his own name), from which these tracks are taken and predict the turn towards the dark and cinematic Graveyard Mountain Home took, the former being an eerie piece of music that conjures a lot of images in under four minutes, and the latter is similarly effective as a mood piece.

Orphaned Land – Seasons Unite, The Beloved’s Cry: If you’re attending Progpower and/or only know them from Mabool, time to check out their older stuff, which they continue to perform live regularly, especially the latter track, a highly emotional ballad and longtime fan favorite that will be familiar to anyone who has the acoustic bonus disc. These tracks are from their decade-old debut Sahara, which proved to be both ahead of its time and a precursor to the epic cultural fusion of Mabool, while having a more pronounced death metal influence, tracks like the former are as melodically strong and intricate as most of the album that topped my 2004 list.

Pelican – Last Day Of Winter, Autumn Into Summer: Australasia gave this instrumental act a large cult following, and their followup The Fire In Our Throats Will Beckon The Thaw contains the same mixture of post-rock and metallic heaviness that blew listeners away the last time. It’s more atmospheric and contains less gigantic riffage than the previous one (many tracks also include acoustic guitars), which has disappointed some but is surely a natural progression. And it helps to make the contrasts between the two all the more powerful, especially in the latter track, and both here rival anything on Australasia.

Pineapple Thief – The World I Always Dreamed Of, Light Up Your Eyes: England’s second most recognized progressive rock band with the initials PT (I can’t help but bring it up again, partly because they share more than oblique names) returns with Ten Stories Down. The release was delayed due to a sudden re-sequencing from the initial limited edition…adding to the confusion, there’s also an EP of tracks not found on either version. The album falls short of 2002’s often excellent Variations On A Dream, the former track is strong melodically put veers close to overly sentimental pop, while the latter two-part epic has some strong moments but suffers from repetitive lyrics and a lack of direction.

Redemption – Threads, Sapphire: The Fullness Of Time is the second go-around for this progressive metal project. Leader Nick Van Dyk responded to the criticisms of the debut by ditching the book report lyrics and getting Ray Alder to sing on the entire album. His voice is in fine form throughout, especially on the latter track, sixteen minutes of solid progressive metal that is stronger compositionally than the debut in every possible way, and it has some powerful lyrics…and the same applies to most of the other songs here. Former track available at

Shalabi Effect – Bright Guilty World, Iron And Blood: Though this band has numerous connections to the Montreal post-rock scene, their music consists largely of psychedelic experimentation, their latest Pink Abyss finds them using that approach and blending other styles, and the result is a fascinating release where every song sounds different. The former track is a showcase for guest vocalist Elizabeth Anka Vagajic, whose husky tones are perfect for this dark jazz tune. The latter track uses a continuously building post-rock structure in a psych context, opening with a persistent rhythm and vocal chant that sounds like an army marching through dense swampland, and contains some impressive trippy guitar work in its second half.

Spiritual Beggars – Salt In Your Wounds, Through The Halls: Two of this band’s core members are better known for their work in other bands, keyboardist Per Wiberg having recently been promoted to an official member of Opeth. But forget those connections and concentrate on the intense stoner rock this band has put out consistently, these tracks are from their most recent Demons (issued by Inside Out, oddly enough). The former track is an effortless stomper, the latter begins as a slower track before erupting into a ferocious jamming section…to hell with Doomsday Machine.

Witchcraft – Chylde Of Fire, Wooden Cross: Psychedelic rock revivalists have sprouting all over the place, but this band comes the closest to being mistaken for a prized Vertigo obscurity. While their slavish adherence to early 70s hard rock can’t be called ground breaking (unless you subscribe to the everything old is new again theory), it can be highly entertaining, and the timeless Sabbath vibe is recreated perfectly on the latter track, with great instrumental breaks and passionate vocals to boot.

Wobbler – Hinterland, Clair Obscur: This could be called another entry in the new wave of Swedish progressive rock (NWOSPR), it draws from the same lifeblood as bands like Anglagard, only they’re Norwegian. They earned a spot on this year’s Nearfest on the buzz generated from two mp3s offered on their website, neither of which appear on their debut Hinterland, on The Laser’s Edge. The title track is overlong at 27 minutes, but there’s enough folk-tinged passages, skillful playing, and vintage equipment to hold the interest of any first generation prog fan. The latter track is a dark extended instrumental, again full of the aura you can only get with outmoded keyboards. J

YOB – Quantum Mystic, Ether: This Oregon band is quickly establishing itself as a leading force in the growing field of ultra-heavy doom, the band regularly takes the doom ethic to extremes with epic compositions, vocals that sound like Ozzy being strangled, and some of the thickest walls of distortion you’ll ever hear. They have also been prolific, the savagely riffed former track opens The Unreal Never Lived, released less than a year after their previous one. Both tracks available at

Thus ends this chapter. Next issue: A shorter than first anticipated Gigantour review and the obligatory Opeth review. May the metal community unite with the single purpose of running Sharon Osbourne the fuck out of the music business.
Demonspell said:
Delayed more often than the new Symphony X album.


Demonspell said:
May the metal community unite with the single purpose of running Sharon Osbourne the fuck out of the music business.

I hope.

Demonspell said:
A shorter than first anticipated Gigantour review and the obligatory Opeth review.

Can't wait to read those. Some great stuff mentioned in this issue, and your columns always prove to be entertaining for a number of reasons. How about more frequent posts than once a month, though? ;)
The new Sieges Even-album "The Art Of Navigating By The Stars" has been released by Inside Out. Be sure to review that one, DS. I already have it and it's truly a fantastic work.
Tangerine Dreamer said:
The new Sieges Even-album "The Art Of Navigating By The Stars" has been released by Inside Out. Be sure to review that one, DS. I already have it and it's truly a fantastic work.