SXSW '09 Pick #5: Detroit7

Detroit7

Thirds Star From the Earth and other material
Rudie Records

Japanese rock, no matter what kind of style it is, whether punk, pop, garage, etc. is an animal unto itself. The Japanese seem to take any American cultural phenomenon and then add something to it that gives it more energy that makes it more fun. Japan's Detroit7 is no exception. Although the real exciting part of Japanese rock and roll is a live performance, this band sounds great recorded too. Unfortunately, the language barrier has alway been an obstacle for great bands who either don't sing in English or when they do, it's hard to decipher. That's unfortunate for us but also unfair for them, considering American and English bands are popular all over the world and people in non-English speaking countries will sing along to every word from a band who might only know English. However, not knowing the language also leaves one's ears open to really listen to the music. "Owari wa Hajimari" has a Stooges influence but has the organ addition, which works well. Detroit7 just rocks. It's loud, fully of choppy riffs and great attitude. The band's name definitely applies. The songs have a heavy Stooges influence. Everything is loud and cranked all the way, but the Japanese sensibility puts it all up a new notch and into its own place. It doesn't matter when you can't decipher most of the words to "Raise High" except those two words when it's a feedback laden guitar assault with a fast, tight, but complex beat and Kotajima's bass line that's both subtle but not basic.

One could probably never imagine themselves nodding along to a loud, nasty track that has a chorus of "We're gonna lay in the sunshine," but one just might sing along once they hear it after noticing how tight but original Miyoko's drumming is. "Akai hana" is a great song that makes one think of The Pretenders' more melodic work but with a heavier feel. The only word I could pick up from the song is "Arigato", but the melody and structure are enough to let one know it's a lament that has a universal emotional appeal, although one also hears influences from '90s indie rock in the song. Lead singer/guitarist Nabana has both a great wail and a narrative tone that gives one a strong confidence in her role as front of the band. When she sings "Don't feel so blue, I've got your blessing" and then wails on the guitar in "Beautful Song," one only comes to realize that Detroit7 are the real thing: a great, loud, rock band that stands equal to some of your favorite garage influenced rock bands that really deserve to be BOTH seen and heard.

It's quite a task to review a band when you're not able to understand them, but as cheesy as it may sound, a love of great rock 'n roll is universal. If it weren't, American and British bands would not have a worldwide following, but we'd also not have such influential rock acts from Scandinavia or other places like we do. A lot of us love to see Japanese rock 'n roll bands because they bring an energy and enthusiasm that almost flatters us since they're doing something in a musical language that we can understand but is new to us since we're not familiar with it. Unfortunately, that makes some great bands seem like novelty acts to us. Detroit7 is not a novelty: They're a great band with great music and talented people who stand up and rock equally, if not better to many of our favorites. They really deserve a listen.

SXSW Schedule:

Friday, March 20 1:00 a.m. Elysium (705 Red River St)



Akai Hana


Courtesy of zlobnij


Beautiful Song

Courtesy of kuchiburu3

SXSW '09 Pick #4: The Cute Lepers

(Reposted from an earlier review with updated show times)

The Cute Lepers

Can't Stand Modern Music
Blackheart Records Group

A Briefs spinoff? Oh, man! I can't tell you how many times I bobbed my head around singing "She's got a knife to my head, alright!" in my cube at work. Seattle's The Briefs have to be one of the funnest bands out there, so a project with Steve E. Nix already has the bar set pretty high. Goods delivered! "Can't Stand Modern Music" is full of catchy beats, handclaps, and some of the coolest new wavy/punk riffs that remind one of how punk/new wave rock used to be fun and just silly in a tongue in cheek sort of way. "Terminal Boredom" is a perfect opener with tribal beats and high pitched chords punctuated by Steve E. Nix's "An hour goes by and....(um, you have to hear it to figure it out)! "Cool City" is a dead on homage to The Circle Jerks with a more narrative vocal, catchy chorus, and melodic riffing. The stuff is punk rock, but catchier and definitely not to be taken too seriously. One kind of can't help it with a lead singer who goes into vocal spasms much like the never taken seriously until he became a composer Danny Elfman from Oingo Boingo. Other tracks 'feel' more of a straight on, early '80s, So. Cal. punk like "out of Order," but the handclaps, Oh-Ohs, and female harmonies are a little too inclusive just to be punk rock.

The Cute Lepers are right. Modern music sucks. The best music out there involves taking the basics from the past and bringing them into the future without cleaning them up. The cleanup is modern. Like Steve E. sings in "Terminal Boredom"-"Aint nothing on the radio, no hope, But that stupid band called chemical...Oh what a mope." The album ends on a semi serious note with an optimistic call to arms on "Opening Up," but the harmonies still rock.

Why does this band have seven members? One can only guess that they wanted to include as many people in the fun as possible. "So Screwed Up," like many of the tracks on Can't Stand Modern Music, is more loud punk rock with harmonies. Somehow those two things don't fit together well. I guess like other reviewers, the focus on good songs and catchy tunes with a guitar base can only be called powerpop, but I think a more apt description is punk rock in its joy and irreverance without regards to conventions, including the sometimes uptight idealism of those who want punk to be considered as serious. Yeah, punk rock was about rebellion, but it had plenty of silliness and fun at the same time. Call it what you want: Powerpop, Pop Punk, whatever. To many, The Cute Lepers are just great punk rock. Although his current whereabouts are unknown, Mojo Nixon is smiling right now.

SXSW Showcase:

Friday, March 20

Red 7 Patio (611 E 7th St) (All Ages)

Devil Dolls Booking

Kepi: The Band 8:30 p.m.
Poison Arrows (GA) 9:15 p.m.
The Cute Lepers 10:00 p.m.
The Dollyrots 10:40 p.m.
The Pink Spiders 11:20 p.m.
The Girls 12:00 a.m.
Teenage Bottlerocket 12:35 a.m.
The Queers 1:15 a.m.


Free Day Show:

Breakaway Records (1704 E 5th St)

Mar 19 2009 12:00 p.m.

afternoon show @ with
The Girls
The Pranks
The Cute Lepers
...and more


Terminal Boredom




So Screwed Up

SXSW '09 Pick #3: The Orchid Highway

The Orchid Highway

The Orchid Highway
Rainbow Quartz Records


Vancouver, BC has a great connection to the UK. Rain! It's no surprise that band based in '60s Britpop harmonies and psychedelia come from there. The big surprise is that The Orchid Highway is both slow and upbeat. The music grabs you in places, the lyrics do in others, the harmonies get you, the guitars do, or combinations. Like where they're from in the more forward thinking but '60s sense, the album was recorded on analog and has a rich, deep sound that invokes a life spent indoors out of the rain. Great rock 'n' roll can also be about a really good listen. The Orchid Highway is very good ad it. Their self titled filled with enough jingle jangle guitars and a penchant for touches of other instruments akin to Love and Brian Wilson that you'll dig through your closet to find those paisley shirts again. Sofa Surfer Girl is such a great song title to start an album off with. One automatically knows what it's about. Although "getting the girl" is only next to "losing the girl" in common rock themes, a Sofa Surfer Girl is very particular and instantly familiar. Besides, it's an ode to the perfect girl for every guy who's single (or was) and goes out to see live music. Sofa Surfer Girl should take its place as a term from now on.

Medicine Tree is a demonstration of perfect vocal harmonies that have a shimmering quality and a catchiness that's undeniable and a guitar based sound that can only compliment it. If you ever thought what happens when you mix surf rock with grey skies, Let's Stay in Instead is the perfect slow epic for a rainy day, but the added flute gives some optimism for clearer skies. Let's Stay Instead is the walrus running through the strawberry fields.

Next World has an opening psychedelic riff with just the perfect hook to excite you about hearing a great song for the first time, but the cool trip gets a great accentuation with some distant keyboards and a piano thrown in here and there that's a nice touch, but the harmonic psychedelic guitar work keeps one fixed on the song. It's a great one. Other tracks go into a slower territory that's thickly tripped out enough to stick in your brain when your head is too clouded to hear something faster, but the effect has a permanence. The aptly titled Opiate recalls Riders On the Storm by tempo and organs, but with stronger dual guitars with enough blues to make it more exciting than it's comparison. The full length debut from The Orchid Highway is a challenging diversion since down and uptempo songs are mixed enough that the overall tone of the album changes from track to track. Some songs are upbeat and catch you with hooks and harmonies like Pop Tart Girl.

This is still based on what rock 'n' roll is all about. Since it's only from the point of view of the gender preference of whoever's singing, the listener has to apply whatever's appropriate for their preference. It's still the common theme of "Girls!" Put your own preference into that and then everyone can identify with it. This album might be better titled "Songs About Different Kinds of Women." Then again, hundreds of great albums can share that title, too. The influence and power is switched in Tea With Chandra when we're confronted with "She asked me if I want to lose this crowd? She said you know that I'd make love to you here, but I don't think it's allowed!" The story goes to her making our protagonist tea (!!) and advising that the weather will be bad and that she hopes he hasn't made any plans. The rest of the song is open and metaphorical. A tryst? A crash at someone's place? a great time in company without sex? There's a lot of interpretations to make up. It's no suprise that The Orchid Highway is from Vancouver considering that there's a lot of stuff on their full length debut that takes place indoors and involves "new" experiences or ways of looking at them, at least that's part of the album. Afterall, the songs reflect a progressive environmment that definitely has sex but interprets them as open ended experiences instead of the act. It's those experiences that we grow on since they can be positive on so many different levels and ways without being ultimate. Nevertheless, one might think they're songs about girls taking a break from their second year at Evergreen when they decided they needed to "see the world" after reading On the Road. Not quite hippie girls yet, but not the squeaky clean image, either.

Since life is complex and challenging, but rewarding at the same time, rock 'n' roll can have that element, too. The Orchid Highway is both slow and upbeat. The music grabs you in places, the lyrics do in others, the harmonies get you, the guitars do, or combinations. Like where they're from in the more forward thinking but '60s sense, the album was recorded on analog and has a rich, deep sound that invokes a life spent indoors out of the rain. Great rock 'n' roll can also be about a really good listen. The Orchid Highway delivers on this without sounding dated, dull, too complex, or over the top. With a good '60's base that's simple and has its garage rock roots because of it, 12 string psychedelic guitars, British invasion harmonies, great hooks, some blues, and recording on analog tape only with an ear towards not only making a great sounding recording, but one that is very organic in it's cohesiveness musically, The Orchid Highway is a perfect illustration of what The Paisley Umbrella is all about since it takes a broader, more inclusive approach with different elements that make great rock 'n' roll, but leave a slight challenge to go beyond the standard formula. It sounds great and will hopefully have a broad appeal. As far as the experience and elation of a live rock show goes, these guys are well known for their delivery, so their polished sound on their debut release only scratches the surface. Great rock 'n' roll is a discovery. The Orchid Highway is that discovery. These guys are not full of power chords that epitomizes garage rock, but if you love the elements, you'll know it once you hear the results. Like the motto of their label, Rainbow Quartz, it's pure pop perfection: A combination of '60s melodies and hooks with a little bit of complexity to make it interesting without missing the beat.

Saturday, March 21 BD Riley's (204 E 6th St): TBA
With:

The She Creatures
The Parties
Deleted Waveform Gatherings
Broadfield Marchers
Telepathic Butterflies


Next World

SXSW Pick '09: The Black Hollies

(Reprinted from 3/2008 with minor changes and updated show times)

The Black Hollies

Casting Shadows
Ernest Jennings Records (US)/Rogue Records(Aus/NZ)


The Black Hollies are definitely psychedelic: Lots of garage fuzz guitar, echoes, distorted vocals, Indian influences, and a fair dose of phasing. Casting Shadows starts out with the Cream/Syd Barrett era Pink Floyd inspired “Whispers Beneath the Willows” is recognizable yet so different from anything you’ve heard in quite a while that it demands your attention. The follow up, “Paisley Pattern Ground” has a solid, soul dance beat, fuzz rhythm guitar, and echoed vocals from vocalist/bassist Justin Angelo Morey, with complimentary dual guitar phasing and jams that are loud and just long enough to be interesting without losing itself.

Other tracks like “The Autumn Chateau”, with it’s melody led by a sitar, courtesy of lead guitarist Herbert Joseph Wiley V, bring to mind “Paint It Black,” but heavier at times. The standout track on Casting Shadows has to be “Hamilton Park Ballerina, with its slow intro that dives right into a loud, catchy chorus, settles into a tight, dancing groove, then wows with a brief psychedelic solo, but keeps a solid drumbeat, and a grooving baseline. “That Little Girl” is a fuzz guitar, catchy dance tune that showcases the incredible talent of rumored eight handed drummer Scott Thomas Bolasci, but falls just slightly short of brilliance because it’s missing the visual accompaniment of at least two gogo dancers. The bluesy, wah wah vibed “Running Through My Mind” is going to make you think you’re hearing a performance by five young, black clad Bo Diddley fans from some smoke filled London club around 1966.

The cool hooks, kicks, and grooves just keep coming on Casting Shadows. Instead of cooling off at the end, “Patient Sparrow,” the final track, is a perfect climax with the simple introduction, built up by more hypnotic, rock ‘n roll drumwork, followed up by a perfect sync of Justin’s voice with the sitar, peaking with broad strokes of single note guitar fuzz that builds and then makes it’s sudden exit.

The Black Hollies’ Casting Shadows is psychedelic mod rock in modern terms, but it’s real psychedelic rock since the songs have a great soul base and then start shooting off in all directions, only to meet back with each other in perfect harmony. Although psychedelic rock has a strong notation for clichés such as fuzz guitar, effects, phasing, Indian influences, and some loud, short jams, courtesy of a blues influence, truly good psychedelic rock was all about experimentation, and there were not too many bands that could do it well. The Black Hollies are damn good at it, which means their music will remind one of such greats as The Small Faces, The Master’s Apprentices, The Mickey Finn, The Yardbirds, and a few more notables like the “Flowers” era Rolling Stones or the “Sold Out” era Who. That’s a lot to put into one release, but psychedelic rock had about a good 4 years of existence in the mid to late ‘60s, so it had a brief explosion of great creativity that was followed up by the less exciting, various types of music that it spawned, which were not nearly as fun or inspiring, such as acid, progressive, and the always evil, mind numbing jam rock.

The Black Hollies are the result of what happens when you tape a pair of headphones on kids and play nothing but ‘60s London Underground Psychedelic Rock. They are PSYCHEDELIC ROCK with equal emphasis on both words. Casting Shadows rocks like nothing one’s heard in years. That means you should prepare yourself for a heavy dose of a freakbeat/freakout for their upcoming SXSW appearance. They're easily remembered, like a choice number of bands who still have people talking about seeing them at SXSW from years before.

Casting Shadows is available all over, but notable from Get Hip Distribution

Showtimes:
Friday, March 20 The Independent (501 N IH 35) 12:00 a.m.


Paisley Pattern Ground




The Black Hollies @ The Knitting Factory, June 2008. Courtesy of thecalicowall

Garage Rock: Everything! Nothing Less. The Revellions!

The Revellions

...eponymous
Dirty Water Records

It's only fitting to write about my true thought that the greatest rock 'n' roll is being made today. I've always known it, and there's more proof of it. We need primitive, nasty rock 'n' roll. The sudden passing of Lux Interior makes it only more evident. That guy had did more than Keith Richards tripled, but also looked a lot beter at it. Everything about Lux was primitive. It was smooth, seductive, but still primitive. Kinky, but not dirty. Therefore, I find myself sharing with you Dublin's The Revellions. Not exactly ghoulish or zombie rock, surf, garage, or garage punk, but a glimpse of perfection somehwere in between. It's nothing less than primitive, but it's a sound. The music itself is steeped in floodlike surf and blues that goes beyond, but with a farfisa! If there's one thing to ascribe to them, it's garage rock.

"Ain't No Fool" gives the heaviest Farfisa out there. It first hints at Strawberry Alarm Clock with darker overtones, but Ali Moore's vocals are scratchy, '60s garage punk. It's somehow melodic, intense, but raw at the same time. One of the common themes in rock 'n' roll is teenage angst no matter what genre, but once we grow past our teen years, we find that slight angst in songs about girls that put us in another time. One can't say The Revellions leave that element intact: they are that element, but James Lister's semi dissonant guitar echoes make the relationship confusion more prominent. On the other hand, the vocal harmonies "Don't say you will" sound early beyond most of our years. Other tracks like "Down On Your Luck" take on "Have Love, Will Travel" with a little bit of Yardbirds, while "It's Up To You" have a tribal beat that takes center stage, but James Lister puts out some great vocal chops that are quite convincing when he shouts "It's up to you". Another thing one notices is something that permeates the whole album: most songs have great backup vocals that lend a wholeness to The Revellions as a complete band.

The following tracks like "I Don't Mind" and "Groundswell" show off the fastest true surf guitar around, but "Groundswell" is so fast and loud that touches on punk! The Revellions don't hesitate to give full effect to Thomas D'Arcy's Farfisa on "Not The Attraction", but the combined howls and guitar are almost heartbreaking. Children of The Cramps, indeed. Reminders of "Human Fly", "She Said", and many others are found throughout The Revellions, but that's also the mood many of us are in. Another standout track is the organ heavy "Have It All" with additional tremolo guitar added, but the song also a great reverb cascade that's nothing less than shockingly good, but a great organ solo follows it that's equally sonic. There's also the Mick Smith's primitive, fast beat of "You're Tellin Lies", a song that falls inbetween ghouly surf, fuzz, and organ swoons. In a final gesture to eeriness, the slow psychedelia of "one Of A Kind" adds either a theremin or a monophonic keyboard and a smooth, detached vocal on slow parts, but the tempo changes and what follows is primitive garage rock much in the spirit of Electric Prunes or 13th Floor Elevators, only with great surf guitar and beats.

The Revellions had their album release party last night in Dublin with the equally talented, fuzzed up countrymen The Urges. It's my honest opinion that this was probably the coolest show to take place anywhere in the world. I'm sad I missed it. The Revellions are fuzzed out surf/garage punk/psychedelia with great beats, howls, and everything else one would want and expect for great garage rock. In fact, the next time anyone asks you what is garage rock, tell them about The Revellions. Blasting surf guitar, loud, primitive beats, great sweeping organ, some psychedelia, and a lead singer who can both scream and sing chills up your spine AND make the your hairs stand up. As if by no surprise, the album was produced by Mike Mariconda and Jorge Explosion at Circo Perotti, where The Urges, Hollywood Sinners, The Cynics and others have gone to make monumental rock 'n' roll. The Revellions are too good (that's an understatement) for anyone to let pass under your radar. If you love garage rock, this is your album.

Presently, the album is available directly from Dirty Water Records and online retailers, but you should all be screaming for it from your favorite online indie retailer or local store.

There isn't much video available, but one good turn deserves another.

Sweetness In A Better Portion: The Cocktail Slippers - St. Valentines Day Massacre

The Cocktail Slippers

St. Valentines Day Massacre
Wicked Cool Records

As if not to spoil one's appetite with too much chocolate, Wicked Cool Records is offering up a little treat from Norway's all female act The Cocktail Slippers, with a digital single and 7" release only. The title and release date reveal an eye towards the holiday, the Little Steven penned title track has a swirling, carnival like keyboard from Lisa Farfisa that gives one a longing for Summer while the song itself takes on a story line that goes through the year, ensuring the song will outlive the season. The b-side "Heard You Got A Thing For Me" is a great tune. Musically, it carries pure simplicity in a few basic guitar chords from Rocket Queen and Squirrel, evenly spaced by a slow, heavy beat from Bella Donna. However, the timing of guitar and drums combined with Sugar Cane's bass create music that's full of nooks, crannies, and great little subtleties to pick out. Additionally, the keyboard parts give it an '80s neo-psychedelic pop mood, but what's noticed most is the simple but great sounding, '60s influenced vocal harmonies.

The appeal of St. Valentine's Day Massacre lies within its simplicity for great '60s pop songs. It's fun, simple, and catchy, but it's also great music. The release of a single also brings back a tactic used by The Beatles in whetting one's appetite for more. Additionally, the vocal harmonies on "Heard You Got A Thing For Me" are more than impressive in being a great compliment to the first all girl, '60s influenced band The Bangles, who happened to be more talented, played better music, and had better, simple hooks than many of their counterparts. It's a great compliment to see The Cocktail Slippers following in their footsteps, but staying original by rocking out just a little harder.

The Cocktail Slippers will be performing in Austin at South By Southwest Music Festival. Showtimes to be announced.

The Redwalls Aren't From Great Britain

The Redwalls

...self titled
MAD Dragon Records

What exactly is "British Invasion Music?" There's more than one wave, so it's too much there to pinpoint. The first wave? The punk wave? The new wave? What is it? Ahh, It's Chicago's The Redwalls! Their self titled third album is based on '60s mod beats, catchy vocal harmonies, commanding lead vocals, and some psychedelia. Surprisingly, it sounds modern and not rootsy. The opening track "Hangman" is a dirty guitar, handclapping introduction with a great backing vocal harmony and a scratchy lead vocal from Logan Baren that's both confident and commanding. "Modern Diet" is a three chord hit that sounds like a '70s rock anthem and a great, shakin' beat and verses that get your attention to listen, but the chorus is so catchy that one will be singing along to it immediately. The Redwalls are really on to something here. "Summer Romance" is a tender but very rockin' moment about how for a short time, the world stops and there's nothing but you're romance. It's a wonderful story with a big heart that sings of the perfect moment wrought with meaning that eventually fades with "Time goes on and seasons change, infatuation fades away, the ties that bind begin to fray". If you've every had an intense whirlwind romance, this is going to stick to your chest and the chorus will stay with you long after you hear it.

The basic '60s and early '70s rock is enhanced with great string arrangements on "You Can't Forget Yourself" that hearken to early '90s British psych revival, but the arrangements are much better and the feel is modern. The added instruments give a great texture and reveal more of The Redwalls as a strong band that are not easily categorized, but the following "Put Us Down" leans a little bit towards Strokes territory, although I'm very hesitant to call anything The Strokes do as their own territory. It's got their derivative rhythm but much better and occasionally innovative guitar work. This self titled third release paints an overall picture of a band coming into their own, so the stretches that they make with orchestration once and the addition of very strong slow songs like "Game of Love" are very reminiscent of the early to mid '70s when the influential and popular '60s act started to sound like themselves and less like their influences. "Game of Love" is just heartbreaking, though: "I tried to break her and I don't know why, but she's leaving me today, it's so clearer in the bright sunshine...It's a sad day, when you're losing your friend, you've got to hold out, think of where it began, but you're trying to have it be like it was, but it's so hard, for all the reasons above." As if pulling another card from their sleeves, "Don't You Wanna Come Out" is just loud mod fun.

A little bit of chaotic string arrangements were needed for the aptly titled "Into The Maelstrom". Wait. That song rocks! A great tempo change and a lot of great riffs, but the string melody is dark and oozing. One can't ignore vintage Rolling Stones in The Redwalls, but one can simultaneously point out that it's been a long time since one's heard the blues like on "Little Sister" done so heartfully and true since "Wild Horses". One really can't put these guys into any "sounds like" category despite the easy references. "They Are Among us" is paranoid and definitely familiar, but it just can't be placed. This is how one's roots and influences become one's own sound.

It gets hard to point out song structure or arrangements when one's confronted by The Redwalls. A lot of craft went into this album, but the technicality is overpowered by the fact that all the songs are really good, but at least half of them are great. Songs like "Each And Every Night" are heavy, lush, psychedelic, but also simple. That's the overall impression of The Redwalls. Their songs are meaningful as rock 'n' roll somewhere in between purity, early '70s British Invasion, and using the studio as an art space and not just a work space. If one thinks about what made some of the late Faces and early Rod Stewart solo work so good, the talent of The Redwalls and their music is understood. These are songs that more commercial '60s and '70s influenced acts wish they could do. Some of the influences are easy to find, but not easily at times. In the end, The Redwalls show a love for great bands and great music that never comes off as derivative. The studio production is thick, but never overbearing. One gets the impression that The Redwalls knew exactly what they were doing. This speaks volumes for their followup, but in the mean time, the listener of this album will feel like they discovered something that's fairly accessible, but too good for the mainstream.

The Redwalls and their self titled third album is a pleasure that everyone should indulge in.

One can't talk about The Redwalls without bringing up their record label. Shortly after finishing their album, they were dropped from a major label and taken up by MAD Dragon Records, an independent label run by students and faculty at Drexel University. This is a great symbiosis with the label as a nesting ground for both the artists and those looking to get hands on but real world training for a career in music. The artists and the label are both young and growing with each other. At a time when like everyone else, the music industry is suffering from a terrible economy, this is a new business model that inherently respects personal independence as part of a higher education institution, but has reliable funding and hopefully as a result, some longevity since it's part of an academic curriculum. With this new idea, let's hope that other bands out there with talent and potential will have a chance to grow and become great artists without having to pull apart under the weight of the economy and overall, an industry that's still trying to cling to its old ways of making money for itself and not the artist, but happens to no longer be viable.


Modern Diet




Game Of Love




Hangman