Deftones – Koi No Yokan (Reprise)

Deftones - Koi No Yokan

Deftones – Koi No Yokan

If I had to sum up the Deftones in only four words I would do it thusly:

Tension. Release. Tension. Release.

You know I love this band.  I loved their Album of the Year Diamond Eyes of a couple of years ago (reviewed here), and their outstanding live performances (like this one), and pretty much everything they’ve ever done.

So you won’t be surprised to know that I love this album too.

There are no major surprises here, just more refinement and honing on their well established songwriting and sound. Nick Raskulinecz handles the production again after taking over on Diamond Eyes, and Matt Hyde does the recording and engineering, so you know the sound will be perfect.

I won’t go on about this too much because there’s only so much Deftones raving one blog can handle, but I just want to unpack the tension/release thing a little, give you a couple of sample songs off the album, then wrap it up with the obligatory 9 or 10 out of 10.

The key ways the band generates tension are: non-standard time signatures, jarring or syncopated rhythms, Frank Delgado’s atmospheric synths and samples, and the honest and heartfelt vocals of Chino Moreno.

Here’s an example of the time signature thing from the second track, Romantic Dreams.

Notice in this track the verses are in 3-4 time, before the bridges and choruses break into the standard 4-4. You can check this just by counting out the bars in your head (1,2,3 – 1,2,3 – 1,2,3, etc). Notice the emotions you feel during the 3-4 bars. They’re kind of unsettling and difficult to settle into. This is a metal band and metal bands don’t play in triple metre, dammit!

Then at the 45 second mark you get 10 seconds of 4-4 time, giving you a little taste of the way things should be, and a chance to relieve the tension for a moment, but not for too long as we have another 3-4 verse to get through yet. Then at the 1:15 mark you get the big chorus, back in 4-4 time again. By the time you get there you really need that release, and Chino’s soaring vocal provides that in spades.

Here’s another example, track three, Leathers.

This time we get instant brooding atmosphere from the keyboards, before a jarringly heavy verse and syncopated riff shocks the listener. Once again the release comes in the chorus: ‘Shedding your skin, showing your texture, time to let everything inside show’.

That lyrical theme seems to come up again and again throughout the album – a kind of psychological unpacking where the listener is invited to cast aside their outer shell and explore their innermost essence. It’s such an unexpected and emotionally confronting experience that very few heavy bands can match (maybe Tool?).

Here’s another example of an exploration of that theme, a song called Tempest, with the lyrics front and centre for your consideration:

Look I think I’ll leave it there for now and let you explore the rest of this album on your own.

I love it.


– Hazizi


2012: A Year Of Awesome Tunes

OK, so let me tell you about my year, because I’m sure you’re DYING to know.

So after I single-handedly brought about the introduction of a carbon tax in Australia – the best and most positive and progressive piece of legislation introduced in my lifetime – I thought I’d become a teacher. Can’t be too hard, right?  So I moved back to my home town of Ballarat, did a teaching degree, started playing the trumpet again for the first time in twenty years, joined the brass band, just the usual stuff…

But it wasn’t all smooth sailing let me tell you.  It was a long, cold winter in this freezing cold pocket of Victoria. And the course was pretty tough going at times, what with all those essays and the like. And Richmond didn’t make the finals AGAIN.

But, as always, it was music that got me through the tough times, and was there to celebrate with me when the good times inevitably rolled around again.  I frikking love music and you all do too, right?

So let me tell you about the music that I will remember from this crazy year. Most of these albums were released this year, so this list can also serve as a preliminary ‘Best of 2012’ list, with the disclaimer that there have been a heap of great bands releasing albums recently which I’ll be listening to through the festive season.

I won’t bother with the album covers (although they are great click bait!), but I’ll give you a nice little Youtube clip for each one so you can have a listen. I won’t put ratings in either because quite frankly I can’t be arsed. They’re all good and highly recommended.

Let’s go:

Mark Lanegan Band – Blues Funeral (4AD)

That voice. Oh my. Mark Lanegan surely has the best voice in all of music. Dripping with cigar smoke and whiskey and sadness, it is simultaneously primal and ethereal, almost spectral, like a voice from before time.

Alain Johannes provides the music and production, and while it’s hugely stripped back from the layered complexity of QOTSA’s Lullabies To Paralyze, there is a dark sexiness here (along with the presence of Lanegan) that recalls that classic Queens album. Johannes does a great job of putting the voice front and centre, while adding enough musical variation to keep the album interesting all the way through.

Jack White – Blunderbuss (Third Man Records)

OK everyone knows this guy is basically a songwriting genius. I mean the man can play, but lots of people can play. It’s the ability to write that is truly valuable. There’ll be White Stripes fans who will argue with me about this, but I’ve never heard Jack White’s music sound this good. I’m a sucker for a 3/4 song every now and then, and the title track is a typically doleful example. Every song is a timeless classic.

Pelican – Ataraxia/Taraxis (Southern Lord)

Are you familiar with the teachings of Epicurus? Well you bloody well should be. If everyone followed his teachings the world would be fine. Here’s how ataraxia is defined on Wikipedia: “ataraxia was synonymous with the only true happiness possible for a person. It signifies the state of robust tranquility that derives from eschewing faith in an afterlife, not fearing the gods because they are distant and unconcerned with us, avoiding politics and vexatious people, surrounding oneself with trustworthy and affectionate friends and, most importantly, being an affectionate, virtuous person, worthy of trust.”

Nice, huh?

I would add to this “listening to Pelican” to this list. There is something so comforting about listening to a Pelican album. You’ll get the heaviness and expansiveness of a great post-metal band, but without having to worry about some dude yelling at you every now and then. It gives you time to think, to feel, to write an essay if you will.

Long time readers will know how much I love me some Pelican. They released my favourite album of 2009, and although Ataraxia/Taraxis was only an EP it played a big part in getting me through 2012 with in a state of “robust tranquillity”. Ahhhhh…

Torche – Harmonicraft (Volcom)

Another former Three Paper Album of the Year winner, Torche are simply awesome. This album continues the crossbred pop-meets-heavy genius from their previous albums, but if anything finds them reaching a new level of confidence, complexity, musicianship and bold experimentation that pays some remarkable dividends, with the band at times finding some previously uncharted musical territory. There’s also a couple of those slow, doomy tracks (Solitary Traveler and Looking On) that they do so well.

Then when they decide to play it straight and just write a great song, there are few in the world today that can match them for catchiness and the ability to make you feel damn good about life in general. And this film clip is hilarious:

High On Fire – De Vermis Mysteriis

Do you know what a grimoire is? It’s a book of magic spells, chants, curses and other occultish instructions.

If you are a fan of metal you really should read H.P. Lovecraft, because his writings have inspired so many heavy metal songs, lyrics and images over the years. I’ve been reading his stories this year, perhaps prompted by my return to my dank and chilly ancestral home. (The Rats in the Walls is my favourite) In his stories he often referred to a famous fictional grimoire called the Necronomicon, but he did mention others, including De Vermis Mysteriis.

Anyway, enough of the QI style fact sharing.

High On Fire released an album in 2012, and it was pretty good. Not great, but pretty good. The early excitement from High On Fire albums has worn off a bit, it’s true. All their albums have been excellent, but I don’t think they’ve progressed much since Blessed Black Wings. Still if you love their swinging doomy riffs and thumping toms then you’ll love this too. Romulus and Remus is my fave track.

Trap Them – Darker Handcraft (Prosthetic)

OK, I’m a sucker for pretty much anything that sounds like Entombed, which is why I love this album. It was actually released in 2011, but I gave it a pounding throughout 2012.

Of course, every Entombed album is different, so you can’t just say a band ‘sounds like Entombed’, you have to say which one, and this is probably closest to Uprising in sound and punk rock attitude. It’s probably more accurate to say it sounds like Doomriders mixed with Disfear, but of course both of those bands were heavily influenced by the Swedish death gods.

There’s some fast and aggressive stuff, and enough d-beats in here to keep Discharge fans happy, but plenty of fun rocking riffs too.  Here’s a song called The Facts:

OK that’s it from me for the time being, I’ll get back to you as I digest some more awesome tunes over the next month or two.

– Hazizi

Anthrax – Worship Music (Nuclear Blast)

Album of the Year 2011

Music reviewers have piles of shame too you know.

One of the reasons I decided to take up this gig as one of Australia’s most narrowly read heavy music reviewers was that it gave me an excuse to buy some new CDs.

I don’t get sent a whole stack of free stuff.  Well, people have tried but it’s often ended up rotting on my ‘to listen to pile’ so they never sent me anything else.  To all you people I say this: don’t hate me, please.

So I tend to end up buying most of my own stuff.  And by ‘buy’ I mean buy.  You know, order the CDs and wait for them to arrive in the post.  Or go to the shop, pick up the album, take it to the cash register and pay for it.  I know, it’s bizarre isn’t it?  But I like having the original CD, and I like knowing I’m supporting the artist, and downloading torrents makes me feel like a dirty scumbag.

The upshot of all this is that I have a lot of freedom as a reviewer to pick and choose the things I really want to listen to (which is why so many of them end up with good scores).  And I don’t get flooded with stuff I have to listen to just to keep the reviews ticking over, but I can take my sweet time to absorb a new album and give you my considered opinion on the album in question.

So when a great album comes along, and I take the time to listen to it, to absorb its subtle nuances, to consider its influences and its historical context and to gently sauté it in my brain’s auditory cortices over a period of weeks or months, but then I don’t actually bother to follow up and review the damned thing, well, that gives me the guilts big time.

And when I purport to run a reputable reviews blog that up until now has previously provided ‘best of’ lists, but then one year I don’t provide one and don’t even give an excuse or any mention of the concept whatsoever, that takes me from just vaguely guilty to a negligent prick.

So it’s time to fess up.  To come clean.  To lay prostrate at your feet and beg forgiveness.  And to present you, my humble reader, with the best album of 2011: Worship Music by Anthrax.


Yep, Anthrax produced the best album of 2011.

Obligatory history lesson: Anthrax brought the d-beats and attitude of New York’s punk rock scene to the self conscious posturing of their West Coast thrash peers.  While the others wore leather and spikes, Anthrax wore shorts and skate shoes.  They still played awesome heavy metal, but without the bullshit that went along with it, and they were always more inclined to experiment and collaborate outside the confines of their genre.  And I think this made some metal heads uncomfortable.

They wore their pop culture influences on their sleeves too.  Without Anthrax I would probably never have seen Killer Klowns From Outer Space, and my youth may well have been devoid of Judge Dredd comics, Blue Velvet and Stephen King’s Misery.

The fans dropped off with the departure of Joey Belladonna after the classic Persistence of Time album (and the rise of grunge, blah blah blah), but Anthrax kept producing quality albums with John Bush on vocals.  Critics panned them and fans ignored them but all of the John Bush albums are excellent and worth seeking out if you skipped them.

Rob Caggiano has been the lead guitarist since 2001, and he’s great.  He’s a producer as well as a player and has an ear for clean, classic metal riffs.  You might be more familiar with his recent work with Scott Ian and others in supergroup the Damned Things (who feature on the Friday Night Footy song on Melbourne’s SEN radio, but more importantly had a song on the Batman: Arkham City soundtrack).

Anyway, the big news is that Joey Belladonna is back for the latest album and, as good as John Bush was, this feels like they’ve really got the band back together (apologies to former guitarist Dan Spitz a.k.a. the Shortest Man in Metal, but I prefer the new guy).

Now let me step you through a few of the songs.

After a great, atmospheric intro, the album kicks off with the manic Earth is on Hell, a song about worldwide riots, anarchy and revolution.

Fight ‘Em Til You Can’t was released for free when the album came out (available here), and is a “zombie killing thrill ride” whose verses call to mind the manic thrashy goodness of the A Skeleton In The Closet off 1987’s Among The Living.

i.e. This…

…reminds me of this…

There are other examples of songs that riff off their earlier work, but why the hell not? As I’ve always said, if you can’t rip yourself off who can you rip off? And the production on this album is great so it’s nice to hear a new take on that old sound.

The standout song is the anthemic chugger at the centre of the album called In The End.  The vocal performance by Belladonna on this song rivals Dickinson or Dio at their sky-punching best.  It’s the tragic story of the fallen hero who decides to rise up and take one final stand, only to find he’s left it too late and the battle has already been lost.

Maybe that’s the story Anthrax want us to take from this album.  This is a work of metal genius – one (possibly) final, mighty effort from a metal behemoth that has so often been underrated and dismissed, and like the hero in this song, they’re pounding on the door, but it’s already over – the music scene now a fragmented, hedonistic mess.  Old warriors like Anthrax are destined to swig their mead and trade old war stories in musty taverns while the spotlights are turned on the pretty boys, autotuned cardboard cutouts and tepid folk rockers of today.

I know where I’d rather be.

Category Rating
Production: 10
Songwriting: 10
Creativity: 7


– Hazizi

Entrails – The Tomb Awaits (Dark Descent)

Entrails - The Tomb Awaits

I’m becoming a slightly self conscious reviewer these days.

It’s just that, well, I’ve noticed some trends developing in my reviews.  Firstly, they’re becoming increasingly personal, and use the word ‘I’ a lot.

Secondly, they usually start with some great big history lesson about the bands that influenced the release in question and the history of that particular subgenre, or in some cases the whole frikking history of heavy music.

So it’s in this new spirit of self awareness that I approach my next review: The Tomb Awaits by Entrails.  And that kind of makes things difficult.  Because, let’s face it, Entrails are basically a rip off of one of my favourite bands of all time – Entombed.

A good friend of mine who goes by the name of Felix Threepaper (you may have read some of his work) recently asked me to name my top five favourite bands of all time.  This is, in itself, an interesting question.

Firstly because there’s nothing a bloke likes more than ranking things.  The whole fantasy sports phenomenon is a testament to this – it’s all about ranking the players you think will perform best in any given season or week, and it’s now a worldwide phenomenon.

Secondly because it’s such a personal question.  It’s purely subjective.  It’s not like ‘Top 5 Most Influential Bands’, or ‘Top 5 Best Guitarists’ or some other question which can be objectively discussed, argued and debated.  No, this is purely about personal taste.  Who are my favourite bands – not ranked according to their technical proficiency, live performances or anything else, just who do I most enjoy listening to?

The first three on the list pretty much picked themselves: Black Sabbath, Metallica and Slayer.  But the other two are slightly nichey, and not exactly household names: Helmet and, you guessed it, Entombed.

A quote from my highly recommended bible of Swedish Death Metal pretty much sums up my views of them: “During 1989-1994, Entombed was one of the best bands in the world”.

So what made Entombed so bloody great?  Well, for starters, so many bands have spent their lives searching for a new sound but never really found anything, but not Entombed.

The sound they made in that Stockholm studio out of their pissy little Peavey amp is now the stuff of legend, and went on to define a whole new genre. The whole planets-crashing-together thing.  The whole DOOM-in-mile-high-letters thing.  The whole turn-it-up-loud-and-feel-as-if-your-soul-is-being-pushed-through-a-meat-grinder thing.  The whole so-dense-it-makes-a-neutron-star-seem-like-a-delicate-soufflé thing.  It was a sound that saturated every frequency in your eardrum and made your innards shake.

If you want to know more about the setup and playing style that was required to get “that” sound I can recommend this (quite lengthy) tutorial clip.  I love the enthusiasm of this guy.

But it wasn’t just the sound.

Even in their earliest stuff, when they were still called Nihilist and were producing tinny sounding demos, there was an inherent groove that underlaid even their most vicious songs.  Sure there was plenty of that every-beat snare drum thrash, but pretty much every song had a section where they busted out into some massive, swinging riff.

And while Nicke Andersson wasn’t the fastest or most technically proficient drummer in comparison to other death metal drummers at the time, he hit the drums hard, particularly the kick drum, and injected the groove into the rhythms.  Some of the faster death drummers had to kiss the power and groove goodbye, because playing too fast takes away the space for a powerful kick drum.

OK, so that’s over 600 words and two clips now and I’ve hardly mentioned the album I’m actually reviewing.

It’s called The Tomb Awaits by Entrails, in case you’ve forgotten.  Entrails made my Top 5 List last year, and for good reason.  My eardrums hadn’t been piqued like that since Clandestine in 1991.

So it’s a quick turnaround from their previous album, but they were mostly old songs anyway so I guess they had a few more in the chamber.  They grabbed Dan Swanö from Bloodbath to do the production here, and he definitely makes it sound more modern.  More like… well, Bloodbath.

This means there’s a bit more sustain in the guitars, and it’s not quite so low and gritty as Tales From The Morgue, but that kick drum is still there in spades, and if anything it might even have a little more oomph to it.

There are some subtle variations from the Entombed theme from time to time.  For example, there are some Metallica-style harmonics in the leads.  And whereas reading Entombed lyrics made you feel as if you might have stumbled upon some lost pages of the Necronomicon, these lyrics are cartoonish and clichéd, like some long forgotten screenplay by Sam Raimi.

Let me quickly post you a song before I wrap things up.  This song is called Undead, and is about being trapped in a cemetery trying to escape a bunch of zombies who have begun digging themselves up from the grave.  Note the Metallica influence in the solos around the 1:50 mark.  The whole thing is just so unexpectedly catchy, and I think that’s a good thing.

So that’s it.  It’s as derivative as hell but makes no bones about it and does it well.  If you were a fan of that Swedish death metal sound then you’ll definitely dig this.  If you’re not then you are ignorant and you should go away immediately.

Category Rating
Production: 9
Songwriting: 8
Creativity: 5


Free Torche!

Torche/Part Chimp - Tour 12"

As y’all know, we love our Torche on Three Paper Reviews.  And the only thing better than Torche is free Torche.

Check out their latest recordings – three covers of Guided By Voices songs – which they’ve contributed to a split EP with some lo-fi London doomsters called Part Chimp.  It’s a limited release to mark a tour happening now on the US east coast.

You can stream the whole damn thing here, and it’s well worth a listen, not just for the Torche songs – the Part Chimp stuff is great too.

And if you wanna get your hands on the vinyl you can order it here.  Not only will you get the awesome Yeti-vs-chimp-themed artwork in all its glory but all copies ordered off the web are signed by the artist Trevor Claxton.  Great stuff!


Mastodon – The Hunter (Reprise)

Mastodon - The Hunter

“Mastodon, some say you have the momentum of a runaway freight train – why are you so popular?”

I’ve never had the pleasure of interviewing these guys, but that’s the kind of Dorothy Dixer I’d probably serve up to kick off the interview.  Furthermore, I actually think it is a question worth exploring.  And, in the absence of having done the hard yards to secure an interview, it’s a question I’ll attempt to answer myself.

Modern metal is a dense and complex web of subgenres, but somehow Mastodon seem to be across an incredibly diverse assortment of strands.  OK, well I guess it’s time for a list:

  • Given the clean, modern production values and technical precision in the drumming and guitar playing you might at first be forgiven for lumping Mastodon (especially early Mastodon) in with modern industrial thrash bands like Lamb Of God.
  • The mathy progressions and rapidly changing time signatures and tempos call to mind the proggy experimentation of bands like Coroner or Meshuggah.
  • They have the artistic tendencies and confidence of big arty bands like Tool.
  • There are jarring vocals throughout (although less in later albums) and a doomy heaviness in some of the riffs that shows the influence of post-metal doomsters such as Isis, Pelican and Neurosis.  And yes, Scott Kelly makes his now traditional guest appearance on this album.

As the band has grown and matured, and – here’s the thing – especially on this album, they have brought in more and more influences from outside of metal.  Another list?  OK then!:

  • The ooh-ahhh vocal harmonies employed by Josh Homme and Queens Of The Stone Age are evident at times throughout, especially on Dry Bone Valley – one of my favourites (take that Pitchfork!).
  • The swampy dirge called Creature Lives could just as easily have been written by the Melvins.  By the way, that’s a compliment not a criticism.  From the freaky electronica of the intro to the doleful, marching main section, it’s a real standout.
  • There’s a Torche influence at times too I reckon.  Blasteroid, for example, really reminded of one of those faster, rockier tracks off Meanderthal.
  • Some songs have some real jazzy stuff in them.  Some of the bass lines get pretty damn jazzy, for example.  The song Octopus Has No Friends was apparently so named because it sounds like you’d need eight arms to play it.  There’s syncopation and even swing in the drumming too.
  • The guitarist brings in a bit of a country banjo twang into some of his playing.  The guitar strings have always had a really steely ring to them which really lends itself to that fast picking style.

Here’s an interview on Consequence of Sound where bassist Troy Sanders talks about the wide range of influences on display in this album, including his love of both country AND western music.  Have a read if you like.

And while I’m linking to stuff, here’s a clip of them playing Curl of the Burl on Letterman.  Yep, Letterman.  I’m including it here not just because it’s so cool to see a band like this is blasting the heads off an unsuspecting studio audience, but also because it will give you idea of how they share the vocals between the band, with the smoother-larynxed bassist taking the chorus, and the vocal contributions of the drummer allowing for some nice three-way harmonies.

My favourite track is Stargasm.  It’s got that same space and the crushing crescendos we saw in Sleeping Giant on 2006’s Blood Mountain.  But every review I’ve read nominates a different song as their favourite.  I get the feeling it will be one of those albums where you gradually develop new favourites as you come to notice some of the intricacies of the less-instantly-catchy tracks.

I won’t bore you with any more track by track analysis – you can have fun doing this yourself when you buy it (if you haven’t already).

But I will say that there is so much variety from track to track that each song is memorable in its own way.  There are still chops galore, but it’s never gratuitous or overdone, and each part of every song fits neatly together.  Where they might have gone through some intricate transition within one of their long songs on their previous albums, here they just end the song and start another.

I know I’ve been gushing a little, but dammit I can’t help it.  It’s just so refreshing that a band has taken all these great influences, including so many of the ones you’re likely to read about on this blog (i.e. my favourites), and applied their considerable artistry as well as all of the modern music production technology and expertise they could muster to create this set of awesome metal songs.

It’s frikking sweet.

Category Rating
Production: 9
Songwriting: 10
Creativity: 10


– Hazizi

Crowbar – Sever the Wicked Hand (eOne Music)

Crowbar - Sever the Wicked Hand

I’ve never seen an epidemiological study linking alcoholism to different professions, but if there was one I would imagine ‘doom metal singer’ would take out the #1 spot by a mile.  All the nihilistic angst, tortured screams and existential themes suggest the need for some serious self medication.

It turns out this was true of Crowbar’s Kirk Windstein, who has faced his demons in the time since their last album, 2005’s Lifesblood for the Downtrodden.  This interview has Kirk talking about some of the shit he’s been through in the intervening years, and the headspace he was in when he made this new record:

As he says in the interview, this is a positive record.  You might find it hard to believe that a band who have written songs such as Existence is Punishment, I Have Failed and Through a Wall of Tears, and whose guitar sounds like it has bubbled up from the depths of the earth through a mile thick swamp of molasses would be capable of making a positive record, but it’s true.

Don’t get me wrong, this is still a heavy album, and that signature guitar sound is still here, saturating every available frequency and overwhelming every eardrum it touches.  There are a few more up tempo songs than previous records, and the influence of the work he’s done with Down in recent years shines through, with just a little bit more groove than usual.

But it’s the lyrics where you’ll really notice the difference.  Check some of these out:

  • “Never let it bring you down, stay strong ‘til the bitter end”;
  • “This darkness fades away, the light begins to stay”;
  • “Hands of death letting me go, I’m reinventing the man that you all thought was gone”;
  • “I’m gonna pull through!”

OK, it’s not quite Walking on Sunshine, but it speaks of a new maturity, and a willingness to throw off the veil of self loathing that has shrouded Crowbar’s previous work.

When I first got my hands on this CD and saw that the first song was called Isolation, I was worried we might be in for a bit of Mighty Boosh style introspection:

But thirty seconds into the album comes the first of many killer riffs strewn throughout this album like gold pieces and gems across the floor of a dragon’s lair.

Big statement time: Kirk Windstein is the best exponent of the heavy metal riff since Tony Iommi.

He has a way of coming up with a killer riff, stretching it out for an extra bar or two, adding a little flourish, then turning it back on itself somehow so that it becomes this monstrous, twisted thing.  It’s not just the riffs themselves that make this a great album, but the way he weaves them together seamlessly, and the ability to match the metre of the lyrics with the riffs so that they complement each other perfectly.

There is no filler on this album – not a single wasted song.  And the production, handled by Kirk himself, is faultless – as clean and heavy as Terry Date’s work with Crowbar’s old mates Pantera, which became synonymous with southern US metal.

So for all of these reasons – riffs, songwriting, consistency and sound – I’m doing something I don’t do very often and giving this a big fat ’10’.

But there’s something more than that here too.  This album has shown me that ‘being metal’ isn’t about how much you hate yourself and the world, how much booze you drink, how many drugs you take, how tough you are or how long your hair is.  Metal is about the music, and life is too short to waste on all that macho bullshit.

Category Rating
Production: 10
Songwriting: 10
Creativity: 8


– Hazizi

PS. Here’s a song from the album – enjoy!