Steve Reich - 1974, 1986 - Mallets

Quality: 5 out of 5
Trip-O-Meter: 5 out of 5

I have to admit that this is probably my most listened to of Steve Reich's highly regarded body of minimalist works. While I'm often a sucker for lots of strange instrumentation, I feel like composers in this genre are often at their best when confined to a small selection of instruments. As the track titles explicitly tell you what you'll hear, this music fits that bill.

First off is "Six Marimbas." "Under My Thumb" is one of my favorite Stones songs, so it may be no surprise that I have an affinity for the marimba sound. The track has sort of a jungle-like, monkeys banging around sound. At first it may even seem like a new age song, but where that genre would start slathering on the cheeseball melodies, Reich plunges deeper into the jungle with the relentless marimba rhythms. I'm not quite as big a fan of the second track, but it is still top flight Reich work, with the mallet work once again taking center stage as the other instruments add a variety of color. As good as it is, this one more overtly recalls Reich's seminal Music For 18 Musicians (you should probably go here if you are new to Reich).

This is the kind of music that I can listen to all day. It is wonderful as background music, but really starts to shine brightly if you are willing to give your attention to the myriad of texture and tonal variety.

Terry Riley - 1983 - Descending Moonlight Dervishes

Quality: 4.5 out of 5
Trip-O-Meter: 5 out of 5

Here we are for another Terry Riley freak-out. Sure the man is a legitimate composer, using plenty of classical theory and existing as one of the prime movers of minimalism. But at it's heart this is music that can only be experienced. From what I understand, this one is a live organ recital, but with the different patterns of sound it's often difficult to imagine that this involves only a single organist. I guess the man is able to synchronize his hands and feet like clockwork.

I only have a single track for this one, although I understand that the piece is often paired with something else. At 52 minutes, though, there is no lack of music to sink your teeth into. For once, I'm more or less at a loss to describe the music. Pretty much everything is a series of interlocking organ patterns that travel at often breakneck speeds and are far more trance-inducing than 99% of other sounds that bear a 'trance' label. If you already dig Terry Riley, than this will be manna from heaven. If you're not and can deal with a very extended track, this is not a bad place to start.

I wouldn't quite put this up with A Rainbow in Curved Air or In C. Those pieces have more instrumentation and thus provide more tonal color. This piece is even more minimalistic than those classics, but it does have the benefit of distilling Riley to his essence and providing an even more meditational sound than the others.

The Vertigo Swirl - 2009 - The Vertigo Swirl

Quality: 3.948 out of 5
Trip-O-Meter: 4.25 out of 5

Here's a bit of brand-spanking new psychedelia via a fellow named Brian Andrew Marek. He seems to draw inspiration from many of the bands lurking around this blog, with touches of 1960's psychedelic pop, krautrock, and a dash of 70's rock informing the melodies. The production is also of note. Although definitely shifted over to the more lo-fi end of the sound range, the instruments stand out crisply and blend in all the right places. This stuff was recorded very well and mixed even better.

The album is clearly divided between more compact vocal contributions and more extended instrumental space explorations. If you've been reading this blog for a while, you may surmise that I'm more attracted to the instrumental tracks. "Welcome to My Carnival" and "Thank You Thank You" do a fine job of evoking prime late 1960's psychedelic pop; maybe too well. They sound strangely dated despite being brand-new recordings. I guess it's best thought of as a kind of a Dukes of Statosphear re-creation; this is stuff very much of a kin with the Merchants of Dream or Paul Perrish. "Thank You Thank You" also seems to also be an (un?)intentional tribute to the similarly titled Big Star tune, although it functions well enough under its own power. "I Get the Visions" pushes things even farther into a seventies sound. It makes me think of the Who's Next-era Who trying to evoke Pink Floyd's Meddle.

Alas, I'd like to think that you would forge a firmer connection with the hypnotic instrumentals. "Baited Breath" is a swirling world of sound. We get backwards guitars and sitars and everlasting synthesizer drone, improbably but effectively stitched together by an almost AOR piano riff. The main course in both length and content is the sprawling title track. It sounds like an LSD ceremony presided over by Manuel Gottsching's delayed guitars before plunging into the abyss (or vertigo swirl I'd presume) at about the 12 minute mark. The hypnotic quality is also of note. It achieves the rare quality of sonic time dialation. It ends, and I can't convince myself that the thing is longer that 1o minutes, although the track actually goes on for 23 minutes.

You're not going to do too much better than this if you're on the prowl for new psychedelia (at least not of the hypnotic type). Everything here is finely crafted, and the instrumental tracks in particular will provide some mind transportation for your entertainment and enjoyment.

Magical Power Mako - 1975 - Super Record

Quality: 4 out of 5
Trip-O-Meter: 4.5 out of 5

This is a pretty strange collection of tunes, but in comparison with Magical Power Mako's debut, Super Record is much more conventional. There's a lot of diversity with Mako trying out different world folk styles along with a few space rock freakouts. The album, however, doesn't veer off into musique concrete like the previously album does.

"Andromeda" comes across as a variant of the style of jamming that early Ash Ra Tempel employed. There are unique touches, though; especially in the way the midsection of the track seems to disintegrate and then reintegrate. I'd say that the name of the tracks is often a good pointer to the sound with "Tundra" having a positively icy sound and "Silk Road" having the sonic texture of a caravan (with an acid rock guitarist in tow) traversing the Gobi Desert. I guess "Woman in South Island" continues this mold if we consider that southern island to be part of India. It's probably worth mentioning that this album is almost entirely instrumental. There are some wordless vocals on "Pink Bitch," but that woman sounds half insane. The last four tracks of the album all have the same intro, but they don't seem to be a song suite. They do, however, continue the festival marching rhythms, with each track getting progressively stranger. The band amps up, threatening to dive into one last power freak out on the closing "Sound, Mother Earth," but they never quite get there.

Realistically, this is a far more listenable album than the debut. You can actually follow what's going on, but it doesn't make your jaw drop in disbelief quite as much. They stay pretty weird inside their more defined instrumental bounds, though. If you've exhausted your experimental kraut-rock outlets, Magical Power Mako is probably a logical next step for you.

Buy Me:
Magical Power Mako - 1975 - Super Record

Magical Power Mako - 1973 - Magical Power Mako

Quality: 4 out of 5
Trip-O-Meter: 5 out of 5

First off: YES, THAT IS THE REAL ALBUM COVER. I confirmed this only through years of painstaking research.

I'm at pretty much of a loss to describe this one. While a large percentage of Japanese pop music is simply tired echoes of Western sounds, a few bravely trudge on in the other direction and make some of the more extreme music that you're likely to hear. This debut from Magical Power Mako is about as weird as you're going to get for psychedelic music in 1973. While there are hints of a rock band on the album, any semblance of a recognizable framework goes flying out the window as we mix in found sound, Japanese folk tones, odd electronic noise, children singing, and more.

Let's see if we can't take a quick tour of the album. We start with a news report a little like Hendrix's "ESP," but without the screaming flying saucer guitar sounds. This plunges directly into what sounds like a Japanese summer festival at its drunken height (and probably the ingestion of the wrong kind of mountain mushrooms), interrupted by a variety of odd noises and found sounds that eventually envelop the song. It's practically indescribable and completely unclassifiable. It has the potential to actually drive you mad. The next track, "Tsugaru," manages to scale things back with a wild koto and strange muttering. In fact, nothing here is identifiable 'rock' until a bit of space jamming at the end of "Flying," which is the sixth track. "Retraint. Freedom," while still completely demented, sound positively normal in this context with its discernible drum rhythm and churning guitars. This is immediately followed by what sounds like a Japanese "You Can't Always Get What You Want" backed by a local elementary school. After a few more tracks of various flavors of oddness, "Look Up the Sky" takes twelve minutes to shift from solo piano, to something kind of Berlin school-like, to an utterly strange wall of sound.

Nothing I write is really going to capture the tone of this album. It's a completely unhinged journey into whatever trip as flowing through Mr. Magical Power at the time. I can't promise that you're going to dig it, but something here will managed to bend space-time and blow your mind; probably frighten you a bit as well.

Buy Me:
Magical Power Mako - 1973 - Magical Power Mako

Damaged Tape - 2009 - Psychedelic Anthropology

If you would allow me, I'd like to take you on a trip through mythological history. Using state-of-the-art-technology, Damaged Tape has electronically recreated some of the sounds that once graced lands such as Atlantis, Shangri-La, and the holy kingdom of Priester John.

I've spent the fall working on this collection of music, and possibly sacrificed a bit of my sanity making it. The tracks here are heavily layered and include things such as ghost melodies hanging just underneath the surface while rhythms cross each other in a uneasy alliance. The main focus here was on analog synthetic pomp, but you'll find things like curiously haunted guitars and acid-house beats lurking around in the mix too.

My collaborator on the other side of the world for this one was Scott Atkinson, my pal from down under. Both of us are history dorks, avid connoisseurs of things psychedelic, and we were more or less on the same trip for this one. Beyond his very tripped-out artwork for Psychedelic Anthropology, he has contributed some haunted spoken-word beat poetry on the first and last tracks to fill in the thematic blanks. If you dig his contributions, more of his work can be found here: www.redbubble.com/people/floatingworld

As usual, I'd love to hear your thoughts and comments and I hope you dig the tunes.

Listen to Me:
Damaged Tape - 2009 - Psychedelic Anthropology

Glaze Of Cathexis - 2009 - Cloud Machine

I haven't been recording much rock lately, but I'd like to share with you some recording that were left off of previous albums for various reasons. This isn't to suggest that the songs here are scraps. I'm actually quite happy with many of these tracks; they simply didn't fit on the previous albums. In fact, "Endless Sky" and "Running Into the Ground" are among the few Glaze of Cathexis songs that I've had the opportunity to play live. Many of these have a little more of a synth-pop/new wave vibe than the other albums do. "Mystery to Me" is still one of my favorite tracks with its blend of Talking Heads, Echo and the Bunnymen, and Television. The first two tracks seem to have unconsciously tapped into the early Cure sound. I could never really decide if instrumentals like "Cloud Machine" and "Voodoo Doctor" were destined to be Damaged Tape or Glaze of Cathexis tracks (until now of course). "Every Day" was supposed to be the closing track on Tokyo Rainbow Bridge, but I didn't notice the omission until the thing had already been released. "Something to Bend" was left off of The Holographic Universe because I felt like it had a similar vibe to "Frigid Season." I find "Never in Synch" and "Out of Step" slightly embarrassing for some reason, but not enough to keep them under wraps. I'd love to hear your comments about these tracks as I'm finally getting around to recording new Glaze of Cathexis material (check out Dr. Schluss' Best of 2008 for a little preview).

Kadura - 1997 - From the Depths of the Other Space

Quality: 4.5 out of 5
Trip-O-Meter: 4.5 out of 5

Here's a Japanese band that treads similar folky/spaced out sound to their countrymen in Ghost. I'd go as far to say that I actually prefer these guys at the end of the day. Although I wouldn't say their vocals are the best, they do fit in that 'monk-screaming-at-the-temple' sort of vibe, and the music has no problem working that angle. These guys are pretty loud, but they pretty much avoid the 'metal' tag entirely and instead dabble in a very loud psychedelic Japanese folk style.

"Beginning to Eternity" is a very darkly hued invocation to the strange ceremony that these folks are about to commence with. "Travel to Faraway" does just that with its 12 minute running time, the massive sounding percussion mingling with the warbling vocals. Kadura has no issue sticking with a psychedelicized Japanese folk groove. "Oceanic Element" gives us a sea of shimmering guitars, and move is like a short tour of hell. I keep equating these tunes with dark imagery, but I think there is a high enjoyability factor present in this music. "Inner Trance" blasts you back above the surface, only to float with the storm clouds of "Sky Heart." The closing "A Distant Land" brings in a bit more of the noise, recalling the sludgy freak-outs of Acid Mothers Temple (although I wouldn't say Kadura is quite as extreme).

This album is like a journey through the bleaker corners of Japanese folklore. That is to say that while it definitely evokes a dim palette, there's more than enough character and groove in these songs to keep you from getting depressed or anything. It's like a mystical event occurring right at the edge of your peripheral vision.

Brainticket - 1972 - Psychonaut

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

I guess that for all intents and purposes, this is Brainticket's pop album. It's lacking the extreme freak outs that color Cottonwood Hill, and while it pushes against the envelope, it doesn't gleefully plow through as the band tends to do on other releases. What we do get here are top notch, assured performances, and by far the band's best songwriting. This is pretty awesome, 70's-style psych rock. It's not a bad introduction to the band; sometimes it's nice to become somewhat comfortable with musicians before they completely blow your mind.

The first couple tracks are very liquid and chill. I especially dig the chiming piano line and delayed percussion that grace "One Morning." Things pick up noticeably for the balls out "Watchin' You." Dawn Muir's vocals cut through the thick brew, piercing with absolute conviction. It doesn't hurt to have a nice face-melting guitar solo thrown in the middle too. "Like a Place in the Sun" is a jazzy display of the band instrumental prowess while Muir is at her wackiest for this particular album. "Coco Mary" is a very pounding, driving track with a cool marimba break catching the listener off guard.

This is probably the most consistently listenable Brainticket release. The catch is that you're not hearing their 8th ring of Saturn, cosmically deranged sounds, but you do get some fine songs and
a band playing with almost telepathic communication. I suppose that in Can terms, this would be their Ege Bamyasi, and I don't feel that's a bad thing at all.

Entheogens - 1995 - The Gnostic Mass

Quality: 4.25 out of 5
Trip-O-Meter: 4.75 out of 5

I'd say that the band's name is a pretty dead give away that we're going to find a pretty psychedelic slab of music on this release. Now, information about the Entheogens is not the easiest to come by, but from what I can gather this is a Swedish collective, with this album being a series of jams. I envision that they are spending the winter in a Swedish cabin, buried in snow, but with an enviable collection of acoustic instruments and a seasonal supply of magic mushrooms at hand. It's worth noting that I didn't realize that this album is an almost a completely acoustic affair until several listens in. These folks create a very tranced-out and dynamic vibe that we typically expect with more electronically manipulated music (although I guess the Indians often hit that mark acoustically). I think there's only electric guitar deep in the mix and we occasionally get an organ blast.


"The Dance of the Priestess" a slowly building dervish melody. It's a little of a drum circle vibe, but as done by experts rather than stoned weirdos in the park. "Fire at Will" is the shortest and most conventional thing here; the sound is much more smoothed out and slick, reaching towards more of a new age vibe. Fortunately, they don't get all the way to new age land, and once again show their skills at achieving a satisfying, extended, musical buildup. The 22 minute long best is saved for last. "10 Pan" is one of those transportative tracks that open up doors in your mind with it's evocative and image-inducing sounds. We get several build-ups, walls of percussion, and a couple blasts of acid-seared wah guitar.

This album seems to have fallen deep between the cracks, but is fully deserving of your attention. It really does seem to make your listening space become the stage for some sort of psychedelic, pagan ritual. The cover is enticing enough; won't you step inside?

Limbus 3 - 1969 -Cosmic Music Experience

Quality: 2 out of 5
Trip-O-Meter: 4.25 out of 5 (but it's a bad trip)

When you get right down to it, krautrock had a pretty steep learning curve. The first efforts from folks like Tangerine Dream and Kraftwerk (as Organization) were pretty awful, and even Can showed some serious improvement over their first few records. I'd happily admit that Amon Duul is an exception to this rule as their first release is classic, but not these guys. Track down the Limbus 4 album (on this site if you wish) for an enjoyable cosmic music experience. This release, however, is more of the plinking and plunking trial and error and questionable experimentation that the krautrockers had to get out of their systems. I'd say that this is probably a little better than the truly cacophonous Electronic Meditation by Tangerine Dream, but it's really comparing rotten apples with moldy cheese.

Anyway, "Oneway Trip" is one I'd like to stay home for with the track's free jazz bass mingling with horrific and annoying bowed sounds. "New Atlantis" is more of the same, but more manic... for 22 minutes. Sandwiched in between are a couple of short tracks I find more enjoyable. "Valiha" recalls some ancient market place with mysterious dulcimer-like tones and simple percussion. "Breughel's Hochzeitstanz" is back to the screeching strings, but at least it's only two minutes long. So I guess it's not so much that I like it as that it goes away quickly. This means that I only really enjoy about three minutes of this album.

No, I'm not really giving this any sort of recommendation. The reasons that I'd imagine you'd listen to this is that you're a krautrock historian or completist, or you're simply mentally cracking. I think I fit in the former category.... hopefully.

The Taj Mahal Travellers - 1974 - August 1974

Quality: 4 out of 5
Trip-O-Meter: 5 out of 5

This music is pretty far out there, and seems to me to be the Japanese equivalent of the most deranged kraut rock. Using a variety of acoustics and a barrage of electronic instruments, the Taj Mahal Travellers attempted to reach as far into the sonic frontier as they could on an album side. Live, I can easily imagine that they'd continue until they simply passed out.

I have a pretty high appreciation for this album, but as the "4" rating above suggests, something doesn't completely click for me here. When we consider music this ambient and/or avant garde, it's often hard to put a finger on it, but I think it has something to do with their use of jarring noises in the middle of otherwise relaxing passages. I'd prefer to float into the ether. Another very subjective criticism would be their occasional tendency to throw in everything including the kitchen sink. That said, the first track probably ranks as the most etherial one with panning. buzzing electronic noises on top of a sea of ringing bells, marimbas, and electronic tones. Eventually some spaced-out wordless vocals enter the mix too. The second tracks produces a wall of shimming, amorphous sound (complete with kotos deep in the mix) before thinning out into a 'monks of doom' sounding choral section. "III" plunges into really avant garde sounds ala Can's "Peking O," while the final track makes me think of a prototype, way more experimental version of something Kitaro would have done when he was making music that didn't suck.

There is a lot of avant garde variation at work on this album, and it definitely one of the more psychedelic bits of music to crop up from Japan. Use it as aural room decor and see if it fits or not. It costs about the same as room decor with the current Amazon price tag of $359 for the 2001 vinyl reissue.

Maurice McIntyre - 1969 - Humility

Quality: 3.75 out of 5
Trip-O-Meter: 4.5 out of 5

I keep getting the wrong name for this album, calling it Insanity instead. I'd wager that this is a legitimate Freudian slip as Maurice McIntyre's attempt to fuse Coltrane/Sun Ra-like free jazz with somewhat American Indian sounding chanting is often pretty insane sounding. It probably doesn't help that McIntyre often sounds more like a crazy dude on a street corner than a shaman, but it does make for a pretty entertaining listen.

There's not a whole lot of sonic variation on this album. We typically get a very Sun Ra like backing with Coltrane style leads (and Sun Ra cohort John Gilmore would also be a clear antecedent), sprinkled with the aforementioned chanting. The good news is that if you dig the first track, chances are you'll like the entire album, and if you don't, you can feel safe flinging it out your nearest window. Sure, there are some compositional differences. "Pluto Calling" could fit directly on a mid-60's Sun Ra album, while "Humility in the Light of the Creator" provides a lyrical, "Love Supreme," sort of saxophone line. Then for all out free-jazz freakiness, I refer you to "Life Force" and the extended "Ensemble Fate."

McIntyre's Humility feels more like a tributary than a mainline expression of avant-garde jazz. If you're already into that sort of thing, you'll likely find something interesting here. If nothing else, the oddball chanting must be heard to be believed.

William Basinski - 2001 - The Disintegration Loops I-IV

Quality: 5 out of 5
Trip-O-Meter: 5 out of 5

This collection of sounds really rates more as an experience than music. The concept at work here came about purely by accident. Basinski intended to simply convert some loops from tape to digital. Unfortunately (at first), his tape machine was slowly destroying the tapes. In a stroke of inspiration, Basinski simply let the tapes run on to their end, and that's exactly what we hear on this album. No music is really being legitimately played, and we hear only the sounds of slow decay. As a strange coincidence, Basinski converted and thereby intentionally destroyed some of these tapes with the smoke of 9/11 billowing over his NYC apartment (I think I saw a very well done 9/11 documentary that used this and ambient street sounds alone on its soundtrack to account for the events of that day; unfortunately I saw the doc on TV before becoming familiar with these discs, so I'm not entirely sure). Far from exploitational, this drives home the concept of mortality as the tapes degrade. This makes the music potentially depressing, but I find the loops far more intellectually stimulating than simply being depressing would entail. I think it's best to view this as a zen experience as we hear something beautiful fade away into absolute oblivion.

The loops themselves are mostly ambient sounding orchestral bits. Yes, this are intensely repetitive sounds, and just by listening, you would notice little change. If you skip around, though, you'll find that over time there are major changes to the loops until they finally sputter beyond the veil of any defined sounds. The tracks go on as long as is needed for the sounds to disintegrate. The shorter ones run out of gas in about 10 minutes or so, but some of the loops go on for more than an hour. All in all, there are four distinct loops heard in various stages on different tracks

This is the last thing that you're going to grab for your next party, and I would wager than this is best experienced in solitude. If you put in the effort to really listen to these very avant-garde sounds, I think you may find the dividends very rewarding. If you have any interest in ambient drones (like Coil's Time Machines), you very well may consider this an absolute masterpiece. As the rating above suggests, I do.

Dr. Schluss' Best of 2008

Here are my top ten albums for 2008. Pretty much all of them have at least some kind of psychedelic flourish, but I do run a psychedelic blog. With all the older music I review on this sight, I think it's important to keep in mind all the great music that's being released in the present. I've included a few of my own recent compositions, too. It's not that I think they're the best of the year as I do with the other tracks, it's just my shameless ploy to get more listeners.


Here's a rundown (in order) of my favorites from 2008:


10. Alegranza by El Guincho - With the electronic freak-folk of Panda Bear's already classic "Person Pitch" as a starting point, El Guincho turns psychedelic atmospherics into a wild, percussive party in the pulsing heart of Barcelona.




9. Real Emotional Trash by Stephen Malkmus and the Jicks - Malkmus seems to be comfortably settling into some kind of indie jam band mode. I'm not typically one for jam bands, but his songwriting is top-notch and I have to admit that I prefer this to Malkmus' former band, Pavement.



8. Smile by Boris - Boris continues to be the best current metal band out there, and the psychedelic accents, especially on the tracks with Ghost's guitarist Michio Kurihara, really make this the thinking man's metallic noise. While this album is exceptional, it still doesn't compare to their live barrage of sound. See them if you get the chance.

7. Preteen Weaponry by Oneida - These in-your-face walls of mostly instrumental sound produces an intensity that no one else quite matched this year. Bury your mind under these sheets of guitar and pounding percussion. It ends up in a sweet spot between post-rock and noise band aesthetics.



6. High Places by High Places - With plunking production and cute-in-a-good-way female vocals, High Places' debut LP comes across as island music transmitted from Neptune.



5. Let the Blind Lead Those Who Can See But Cannot Feel by Atlas Sound - Brandon Cox (of Deerhunter) shifted his main band's guitar driven atmospherics into the world of electronics and managed to create what may be the trippiest album that showed up this year.



4. That Lucky Old Sun by Brian Wilson - Brian Wilson may never again scale the heights of "Pet Sounds" again, but at age 66 he has managed to make music that matches the Beach Boys' 1965 pop prime, and that's more than good enough. This is the best sunshine pop you'll hear in the 21 century.


3. Microcastle/Weird Era Cont. by Deerhunter - Deerhunter takes their hazy guitarscapes and blends them well with 60's AM pop sensibilities. It's like being stuck between two amazing radio stations. See them live for an even more mindbending experience.



2. Skeletal Lamping by Of Montreal - Kevin Barnes' stumbles into uncharted territory as he melds his trademark psych-pop and electro-pop with his deranged alter-ego of a middle aged, transsexual, black funk singer. The disturbing thing is it works really well. The music changes often and drifts through about every possible pop genre, so hold on tight.


1. Just a Souvenir by Squarepusher - These are the electronic results of a wild and trippy dream about a surreal 'ultragig.' The results do not disappoint, nor do Squarepusher's phenomenal string bass skills. How could you go wrong when your concept revolves around a giant, glowing coathanger?



This are new releases, so I will not be treating you to the full albums, but you're more than welcome to the following sampling:

Track Listing:
1. The Release Will Come Soon - Glaze of Cathexis (3:02)
2. An Eluardian Instance - Of Montreal (4:35)
3. Vision's the First - High Places (3:37)
4. Operation - Deerhunter (4:04)
5. Antillas - El Guincho (5:28)
6. Planet Gear - Squarepusher (4:02)
7. Gardenia - Stephen Malkmus and the Jicks (2:53)
8. Live Let Live/That Lucky Old Sun (reprise) - Brian Wilson (2:34)
9. Paradise Drone - Damaged Tape (4:19)
10. Cold as Ice - Atlas Sound (3:33)
11. Flower Sun Rain - Boris (5:35)
12. Preteen Weaponry Part 2 - Oneida (11:26)
Total Time: (55:08)
97.3 MB

Listen To Me:
Dr. Schluss' Best of 2008