Cancons Per a un Lent Retard

[Etude Records, www.etuderecords.com]

Escondido Dreams

[Drip Audio, www.dripaudio.com]

Without Number

[Silber Records, www.silbermedia.com]

Hera Ma Nono

[Thrill Jockey, www.thrilljockey.com]

Turntable Soul Music

[Tru Thoughts, www.tru-thoughts.co.uk]

Homo Sacer

[Sillon, www.sofamusic.no/sillon]

All is Well

[Bedroom Community, www.bedroomcommunity.net]

Old Town School of Folk Music Songbook - Volume Two & Three

[Old Town School/Bloodshot Records, www.bloodshotrecords.com]

The Objects Don't Need Us

[Sub Rosa, www.subrosa.net]

Verklighet & Beat

[Hapna, www.hapna.com]

Letters Letters

[Type Records, www.typerecords.com]


[12K, www.12K.com]

Live at the Village Vanguards, Vol. 1

[Winter & Winter, www.winterandwinter.com]

Up With the Larks

[Marina Records, www.marinarecords.com]

Latin Jazz

[Putumayo, www.putumayo.com]

Separated by the Sea

[Peace Frog, www.peacefrog.com]

Underground Wobble

[Jarring Effects, www.jarringeffects.net]

Cutter Heads

[Intakt, www.intaktrec.ch]

Downtown 81 - Original Motion Picture Soundtrack

[Recall Records, www.recallrecords.com]

Lost & Found (1998 - 2000)

[Shitkatapult, www.shitkatapult.com]

Under the Balcony

[Monika Enterprise, www.monika-enterprise.de]

Take Two

[Translation Loss, www.translationloss.com]

Panta Rhei

[Ilk, www.ilkmusic.com]


[Bruce's Fingers, www.brucesfingers.com]


[Non Visual Objects, www.nonvisualobjects.com]

Movement Soul - Volume 2

[ESP Disk, www.espdisk.com]


[Nawal, www.nawali.com]

The Soul in the Mist

[Ictus Records, www.ictusrecords.com]

Live at Olympic Café & Jazz a Mulhouse

[Ayler Records, www.ayler.com]

The Watery Graves of Portland and/et Genevieve

[Marriage Records, www.marriagerecs.com]

Jerks and Creeps

[Accretions, www.accretions.com]

Seven Sorrows

[Cold Meat Industry, www.coldmeat.se]


[Die Stadt, www.diestadtmusik.de]

No particular unifying factor to all of these releases, other than to say, words come and language fails at critical times. That's when we're left with very few words which would adequately describe the music at hand - music that is all too crucial to be passed by the side of the road.

Spanish guitarist Ferran Fages makes it clear that "Cancons Per a un Lent Retard" [roughly translating to "Songs for a Slow Death"] was driven by his father's slow decay. If any word could describe his pieces, it would not necessarily be sad [though they fit that category], but rather persistent and angry. In every tuning of his acoustic guitar, one hears unmistakable anger and fury. Every few seconds, Fages pauses as if to recall something about his dad. It's as if he tries to access his mind's memory banks and retrieve bits and pieces of his father's life. Pensive, but absolutely barren, with a drive that's greater than strength of a burning sun, Fages makes an absolutely convincing statement full of naked humanity.

Vancouver based cellist Peggy Lee, guitarist Tony Wilson and saxophonist Jon Bentley got together back in April this year to record "Escondido Dreams". To say the album drips with relentless energy is an understatement. In fact, Lee's cello is an impetus for many of the album's finer moments, while Bentley's tenor and bass clarinet suites sound other-worldly. Add to this Wilson's self-contained electric guitar mayhem motifs and you've got one mean trio out on a mission to uncover a more potent side to the world of all too stale jazz.

Plumerai's Elizabeth Ezell has a persuasive set of vocal chords. If anything, she could pass for a harsher Kristin Hersh or perhaps a more decisive Tanya Donelly. Musically, the quartet is an abrasive post-rock, neo-gloom version of some of the college bands on the circuit in the US during the late 80's. While the choppy guitars go hand in hand with the rhythmically pounding percussion, it's the band's use of the accordion and keyboards that they get an A + for. I want to rave about the release - I really do - but the subject matter wears me down each and every time. Recommended for those under the influence of the just arrived colder weather.

Second album "Hera Ma Nono" ["Love in Vain"] from Kenyan and American quintet Extra Golden continues to amaze and delight every step of the way. New vocalist Opiyo Bilongo [recruited to fill the void by the early death of Otieno Jagwasi] has vocals that are just as sweet, while the rhythm section grooves as heavily as on the band's debut. Guitarist Ian Eagleson rides over sparse territory. Result is mesmerizing in its willingness to groove and its ability to sustain interest. In one word - groovalicious!

London trio Belleruche has a simple definition for their sound - "Turntable Soul Music". Vocals [Kathrin deBoer], guitars [Ricky Fabulous] and turntables [DJ Modest] makes up the skeletal line-up of the band. Though sparse in head-count, the sound is very rich in funk, blues and jazz. Orchestral and horn borrowings on the turntable ensure the sound is thick, while deBoer's vocals keep proceedings sultry and inviting. The album will go over particularly well with those who miss the glory days of Talkin' Loud.

Who would've thought saxophonist Martin Kuchen was capable of conjuring up sounds that were this alien? Recorded late last year "Homo Sacer" [Latin for the sacred man] sees Kuchen conjure up images of lost civilizations, underground gatherings of unruly characters or simple field recordings. Music can't really be pinned down to any time-frame or musical genre though, which makes it all the more revelatory. Title track features heavy use of pocket radio, along with austere blows into the metal tubes of his sax. Novel in its ability to transport the listener to another timeframe and another place altogether, Kuchen has another winner on his hands.

Stars Like Fleas alumni Sam Amidon delivers a solid album on the ever adventurous Icelandic Bedroom Community imprint. "All is Well" isn't your typical folk music. Sure, you can expect to hear lots of acoustic guitars, banjo, fiddle [all played by Amidon] along with piano played by Nico Muhly, viola played by Eyvind Kang, but there are also non-folk elements that creep their way in here. Ben Frost's programming on "Little Johnny Brown" makes the track come to life in a stupendous way, while Valgeir Sigurdsson's [who produced the record] electronics and harmonium add a layer of consistent warmth and agility. Amidon's voice is warm, though it retains a layer of someone who is inherently weary. "Little Satchel" turns out to be a highly positive number, which glows in its minimal glory. In retrospect "All is Well" is a quiet folk album that screams with positive vibe at every turn.

Regardless of its age, folk music is a basic tenant in much of today's rock music. Knowing the source is oftentimes a key step in understanding the future. Very inclusive "Old Town School of Folk Music Songbook, Vol. 2 & 3" is an essential part of that understanding. Including key figures in folk music - Ted Parrish, Amy Allison, Scott Besaw, Chris Farrell, Steve Doyle, Jacob Sweet and countless others - the two CD set goes up and down through Americana songbook. From the tender version of "Hard Times" as done by Jacob Sweet through to The Zincs' moving rendition of "Simple Gifts", the collection is essential in any serious music collector's library.

Perhaps a bit of a surprise to find stuff as subtle as Phon°Noir on the Belgian Sub Rosa label. I am in awe of its directness and struck at how beautifully lethargic Matthias Grubel's music sounds under the premises of electronic guise. Not just electronic sounds mind you, as Grubel plays cello quite effectively on the record. Imagine an even more dire Talk Talk with electronics added to boot and you're about there. Ideal music for those upcoming cold, winter nights.

Sagor & Swing alumni, organist Eric Malmberg is infatuated with all things pretty. The melodies on his second solo release "Verklighet & Beat" are pretty, the symphonic movements are gorgeous and the underlying musical sensibility is fairly handsome too. With so many gorgeous things in a span of a fairly brief release, the music could qualify as either a soundtrack to a runway show or a soundtrack to a mock documentary about Sweden. This album is all about simple melodies without any pretentiousness or a need to be grandeur.

Letters Letters is a new trio made up of producer Mitchell Akiyama, vocalist Jenna Robertson and producer/singer Tony Boggs. Preferring to look backwards into time, the trio zoom in on early 80's no-wave scene as their source of inspiration. Much of the music is full of lo-fi guitars, off-key vocals that roll circles around early video-game effects and sampled, echo-chamber cheap drums. Especially pleasing if you're trying to re-live years of your youth. Guaranteed to keep you feeling young and confused as fuck.

Giuseppe Ielasi's fourth release "August" is to my ears his strongest work to date. In using instruments as varied as guitars, synths, shortwave radio, Hammond organ and piano amongst others, Ielasi was able to put a layer of definitive warmth in his sound. Not a second of alienation rings through these sounds. In fact, if anything, I get the idea Ielasi cares about the recipients of these sounds too dearly to go off on any radical tangent. Heimo Wallner plays sustained trumpet tone on one track, while Renato Rinaldi utilizes a reel-to-reel recorder on another piece. Warmly inviting and completely involving, "August" will be the album by which future Ielasi releases will be measured.

It's been over a dozen years since Paul Motian played at the Village Vanguard with tenor Joe Lovano and guitarist Bill Frisell. This time around, his band includes tenor saxophonist Chris Potter and bassist Larry Grenadier. Special guests on that particular night were alto saxophonist Greg Osby and pianist Masabumi Kikuchi. The music isn't full of many surprises - this is the same, reliable Motian that is good at leading a band - there are still a few moments of rallying cries. Kikuchi's pointilistic framework provides a nice counter-point to the rhythm section, while Osby is quite good at rallying up the rest of the band and pulling them off into another sphere altogether. "Live at the Village Vanguard, Vol. 1" is an excellent album full of well-versed talent and tight discipline to boot.

Scottish outfit The Pearlfishers return with album # 6. "Up with the Larks" is a tender, highly melodic pop album that puts melody first, ahead of anything else. Not a false note of pretentiousness rings through on here. David Scott's vocals posses an unmistakable tender quality, which are dipped in a thick layer of sugar coating. Whether it's ballads or pop songs, The Pearlfishers hit all the right notes. If these simple pop tunes don't put a wide grin on your face, then I'm afraid it's time for you to refill your prescription of Prozac.

Certainly not the first Latin jazz collection, nor the last, Putumayo has gelled together quite an impressive line-up on "Latin Jazz". Everyone from Machito, Tito Puente, Ray Barretto, Chocolate Armenteros to Hilton Ruiz make an appearance on the compilation. Problem is with only ten pieces making the final cut, it's difficult to point out any real short-comings. All I wish for is that this was a multi CD box set that was more encompassing. For what it's worth, the album acts like a real fine teaser. You need to expand on this knowledge. Start buying records from these [and other] Latin jazz artists to further your own education.

Findlay Brown comes from the generation of new folk singers. Persistent and warm enough to sumptuously eat you up with his vocals, on the debut full length, "Separated by the Sea", he conjures up memories of Simon & Garfunkel and even early Neil Young. All instruments are played by Brown, with an exception of a few tracks, where pedal steel is played by Melvin Duffy, electric piano is played by James Mathe, while the banjo is played by Rob Jesse. If anything, Brown's vocals are highly evocative, while the lyrics are as deep and as close to soulful as anything Nick Drake has ever written. Here's hoping Brown will produce many other quiet gems such as this one.

Back with their fourth album, French outfit High Tone come up with an ideal mixture of dub, hardcore, hip-hop, electronic elements and even metal dabbling. If this wasn't a weird enough mix in itself, there are a number of tracks where industrial element and turntabilism sneak their way. After more than 70 minutes of disjointed sounds, one is sadly missing something absolutely crucial for this album to make sense and work - soul.

Mills College comrades, guitarist Fred Frith and pianist / electronics guru Chris Brown unite for a unique duo session. Liner notes state that "a good head-cutter knows it's not what you play, but how you play it". Having said that, each lengthy track takes on a certain motif and the duo start to play off each other. While Brown strikes high-pitched piano notes, Frith counters with striking guitar motifs. There is rarely anything as satisfying as hearing a common language developed as early as it is on this CD. When electronics emerge, they're tastefully done and Frith counters in an equally collaborative fashion. I have a feeling the two could switch seats [and instruments] and not miss a beat in the process. Truly mesmerizing session that leaves one wanting more.

There are soundtracks and then there are original motion picture ideas for a movie that go beyond. Conceived as a soundtrack to "Downtown 81", which starred a 19 year-old Jean Michel Basquiat, before he even mounted his first exhibition, the period say New York at the time to be the cradle for some revving music. Everyone who was anyone in the underground scene is featured here, from Kid Creole & The Coconuts [with two tracks], Tuxedomoon's ultra-hip "Desire", Liquid Liquid with their pre-d'n'b "Cavern", James Chance with his straight, no-wave "Sax Maniac" and the classic "Contort Yourself", Lydia Lunch's crucified-self on "Closet" to The Lounge Lizards ultra-hip "I'm a Doggy" and "Bob the Bob" [which was actually recorded a few years after 81]. With such an unqualified pool of talent, it's impossible to pick any favourites, nor would that be fair. Whether you've seen the film or not is irrelevant. Do yourself a favour and pick up "Downtown 81" without delay.

It's great to see minimal-electronic innovator Max Loderbauer in the spotlight once again. First up is the project he co-shared with Tom Thiel, Sun Electric. "Lost & Found (1998 - 2000)" is touted as the never released follow up to their 1998 release "Via Nostra". Band is excellent at perpetrating a thick layer of multi-faceted beats, off-colour key changes and rhythmic patters that seem to contort a few times per minute. I wouldn't refer to Sun Electric's music as ambient. Rather, I would say what they did in their heyday was minimal rhythms, with a touch of the quirky. While The Orb were busy putting us to sleep, Sun Electric was shaking our heads long through the night.

Moving to the present, Max Loderbauer is one half of Chica and the Folder, a band that was actually began by Chilean DJ/chanteuse Chica Paula [Paula Schopf]. Their second album "Under the Balcony" is an off-the-wall conglomeration of techno, electronica, soul and pop. Even world music elements are heavy on the agenda. Most surprising is the heavy pop track "Perfect Day (Sometimes)". In perfect choral harmony, the duo set up a happy atmosphere. Speaking of happy, Jorge Gonzalez guests on vocals on the absolutely thrilling beats of "Happy". Excellent release that only gets better with repeated spins.

By the second album most bands still have no idea where they're going. The self-definition stage has not fully been completed. Quips are no different. The quartet know they want to rock out in that harsh sort of way. They know they need to let go of their anguish and let it all settle at the bottom of their minds. Problem is they're still searching. Given Michael Prout's hoarse vocals, they are quick to jump the gun into the aggression game. But wait, they do slow down - as on the blues-soaked "Laray" and "Lady Powerline" - and this is when they go from good to great. Here's hoping the next album will be even fuller of introspection.

It's hard to define originality. Is someone original because they don't remind your ears of anyone you may have heard before? If so, they may sound like someone else that other people are familiar with, though you've never heard them. Danish pianist Jacob Anderskov is one such original voice. His particular approach doesn't immediately remind me of anyone that I can grasp immediately. He's too introspective to be a follower of Paul Bley and he's more keen on melody than someone like Irene Schweizer. With that, we're faced with just over 40 minute of solo piano, where at every turn we're listening for new turns, for new way of expressing what was done so many times before. Subtle yet very forthcoming, "Panta Rhei" [Greek for Everything is Flux] is one of these solo albums that the musician can easily use as their own calling card.

Moving onwards into more adventurous territory, we find British pianist/composer Philip Thomas. He explains in the liner notes his personal choice for the album's title "Comprovisation". "As a term it suggests more what the music is not rather than defining what it is (the world of music does not need any more labels!), bringing together a sense of shared interests, possibly shared aesthetics, and certainly a desire to explore and investigate." The album features fully notated pieces from the world of free improvisation. Thomas interprets the music Mick Beck, Chris Burn, Simon H. Fell, Michael Finnissy and Paul Obermayer. The only composer from outside of the improvised genre is John Cage, whose "Variations II" gets a truly fresh reading. The most effective appraisal is the player's take of Chris Burn's "Pressings and Screenings" [which is divided into four, shorter parts]. Convincing, though never really dangerous or pretentious, "Comprovisation" is an album which I hope will give Thomas a bigger chance at finding new musical partners on stage.

Composer/novelist/teacher Tomas Phillips and I are around the same age. Both he and I were influenced musically by Dischord Records in the mid 80's. Phillips admits openly to having Rites of Spring as being a big influence. Such a large influence it was that all source material [with exception of the piano, which is supposed to stimulate chord progression] on his latest record "Drink_Deep" was taken from Rites of Spring tracks. Knowing his other work, it's no surprise to find how ethereal it is. A great thing is Phillips is still able to surprise as he adds layers of awkward chilling noises to the mix. Otherwise, it's ultra-minimalism with a hint of the dangerous lurking underneath a thick surface of floating stillness. Absolutely stunning record from beginning to end.

"Movement Soul" was an especially effective audio document of the Civil Rights era as heard through the voices of those who took part first hand during the monumental changes. The second volume builds on the original album and moves on from there. We are given generous amounts of speakers on various civil rights topics, prayers, news reports as well as songs. If you're not moved by the authentic emotive power of The Helen Robinson Youth Choir and their rendition of "Sit Down Children", then you're probably six feet under. No matter how you slice it, this is an essential document.

Translated as "peace of the soul", "Aman" is the second record from Comoros Islands native Nawal. Choosing to be a completely independent artist [self-produced], means Nawal is able to get her message across in the most direct, the least diluted manner possible. Nawal splits her time playing guitar and gambusi [string, oud-like instrument]. Being a female of Sufi Muslim convictions means Nawal is faced with obstacles in musical terms. In fact, she's one of the first ground-breaking women who took her music in front of the public. Her vocals are sturdy, without a hint of frailty, while the rhythm section - Idriss Mlanao on bass and Melissa Cara Rigoli on mbira dzavadzimu and percussion - ensure the proceedings are kept lively. While Nawal does offer a number of mournful tunes, this is truly music that if full of joy, brimming with abundant faith.

Sometimes it's not all that important who initiated a particular formation. All that matters is the finality of sound. On "The Soul in the Mist", percussionist Andrea Centazzo collaborates with clarinet player Perry Robinson and pianist Nobu Stowe. The finished sound is as mystical as it is all encompassing. Stowe tends to play choppy piano motifs [or individual key stokes inside the piano], while Centazzo counter attacks with glimmering of cymbals and a great deal of work on the keyboard. In addition, he even throws some samples into the mix. Real magic and unifying force comes in the form of Perry Robinson. Not only is his clarinet playing warm, it's also highly melodic. The trio exhibit absolute communication on some sort of cosmic level. Rewards to the listener are immediate with every repeated listening.

Taken from two concerts, the 2 CD set "Live at Olympic Café & Jazz a Mulhouse" sees the French trio The Fish at the height of their powers. Olympic Café date from 2005 is perhaps a stronger contender. Over two nearly 40 minute pieces, the band has a greater opportunity to truly stretch out. Alto saxophonist Jean-Luc Guionnet blows with true wild abandonment, producing swirling lines that are as jagged as they are warm and graceful. Rhythm section made up of bassist Benjamin Duboc and percussionist Edward Perraud are oftentimes heard right up-front with the leader, creating a true dialogue of the highest order. A superfluous release that goes to show scorching jazz is not anywhere close to being dead.

Portland trio The Watery Graves of Portland got together with French chanteuse Genevi?ve Castrée for a collaboration. Pianist Curtis Knapp, drummer Adrian Orange and bassist Davis Lee Hooker make sounds that are simplistic, though never simplified. Theirs is a world of darker, gloomier moods. Add to this the haunting vocalizing of Castrée and you've got a nice balance of partially haunted and partially confused vocalist, who sounds as if she's dabbling her way around the atmospherics. At the end of it all, one can only hope there's more of this collaborative spirit left for these two factions to put something down on tape again soon.

Recorded during Marcos Fernandes and Bill Horist's Japanese tour in 2005, "Jerks and Creeps" is what some would call an experimental feast for the ears. It's a lot more than just that of course. With Fernandes in charge of electronics and phonography and Horist on guitars and electronics, the duo also adds Haco on vocals and electronics, trumpeter Masafumi Ezaki, electronics guru Bunsho Nishikawa and bassist Tim Olive. Spread over two long pieces [around the half-an-hour mark and one short tid-bit] the ensemble rely heavily on development of a common language. Unfortunately, most of the time the development is like grinding nails on a chalkboard. This means only one thing - the further one proceeds into the record, the more coherent the sounds become. Improvised music with a heavy electronics tangent, "Jerks and Creeps" is only for those who enjoy their music rough and dirty.

In its many permutations, industrial music also has a misery quotient thrown in for good fun. Swedish Desiderii Marginis falls into that sub-category. With ominous string section and shifting drone landscape, the music oftentimes breaks into a heavy drift full of harsh guitars. Spoken vocals add an authoritative element that is equally scary and fascinating all at once. If the band mellowed out somewhat and toned things down, they could actually come up with a decent doom-ambient record.

Second in a trilogy, "Amen" is a grand statement by David Jackman and his Organum moniker. Not much happens on the two lengthy 20 minute pieces, which is precisely the point. Church organ and some large bells that are stuck at precise moments is the meat of both tracks. The phrase "Amen" is repeated over and over at exact intervals - every few seconds to be precise. The deeper you dig into the pieces, the more addictive the music gets. It's nearly impossible to end the album prematurely. Another highly spooky, drone piece from Organum that strikes all the right chords. To that I can only say a most hearty Amen.

Tom Sekowski

<<< poprzednia recenzja  


+ Robag Wruhme - The Lost Archive 1998 - 2007
+ Rick Wade - Nights Tactics
+ Cristian Vogel - The NeverEngine
+ 10 Years Treibstoff - The Compilation
+ The Seasons - Undone
+ Pupkulies & Rebecca - Beyond The Grace
+ A Number Of Small Things
+ Inaqui Marin - 19
+ Lerosa - Design
+ Kiln - Dusker
+ Guillaume & The Coutu Dumonts - Face A L`Est
+ Einmusik - De'Medici
+ Terrence Dixon - Train Of Thoughts
+ Dirt Crew - Raw
+ Best Kept Secrets
+ Deadset - Keys Open Doors
+ Boys Noize - Oi Oi Oi
+ From Antenna To Antenna 1
+ Alter Ego - Why Not?!
+ Clara Hill - All I can provide
+ Ithaca - A Game For All Who Know / White Noise - An Electric Storm
+ Devendra Banhart - Smokey Rolls Down Thunder Canyon
+ Damo Suzuki - The Fire of Heaven At the End of Universe. Live at UFO Club
+ Alexandre St-Onge - Mon animal est possible
+ Robert Wyatt - Comicopera

- - - - - - - - -

>> FERRAN FAGES - Cancons Per a un Lent Retard /WILSON / LEE / BENTLEY - Escondido Dreams / PLUMERAI - Without Number / EXTRA GOLDEN - Hera Ma Nono / BELLERUCHE - Turntable Soul Music / MARTIN KUCHEN - Homo Sacer / SAM AMIDON - All is Well / VARIOUS ARTISTS - Old Town School of Folk Music Songbook - Volume Two & Three / PHON°NOIR - The Objects Don't Need Us / ERIC MALMBERG - Verklighet & Beat / LETTERS LETTERS - Letters Letters / GIUSEPPE IELASI - August / PAUL MOTIAN TRIO 2000 + 2 - Live at the Village Vanguards, Vol. 1 / THE PEARLFISHERS - Up With the Larks / VARIOUS ARTISTS - Latin Jazz / FINDLAY BROWN - Separated by the Sea / HIGH TONE - Underground Wobble / FRED FRITH / CHRIS BROWN - Cutter Heads / VARIOUS ARTISTS - Downtown 81 - Original Motion Picture Soundtrack / SUN ELECTRIC - Lost & Found (1998 - 2000) / CHICA AND THE FOLDER - Under the Balcony / QUIPS - Take Two / JACOB ANDERSKOV - Panta Rhei / PHILIP THOMAS - Comprovisation / TOMAS PHILLIPS - Drink_Deep / VARIOUS ARTISTS - Movement Soul - Volume 2 / NAWAL - Aman / ANDREA CENTAZZO / PERRY ROBINSON / NOBU STOWE - The Soul in the Mist / THE FISH - Live at Olympic Café & Jazz a Mulhouse / THE WATERY GRAVES OF PORTLAND AND/ET GENEVIEVE - The Watery Graves of Portland and/et Genevieve / MARCOS FERNANDES / BILL HORIST - Jerks and Creeps / DESIDERII MARGINIS - Seven Sorrows / ORGANUM - Amen
+ MARIMBA CHAPINLANDIA - Chapinlandia - Marimba Music of Guatemala
+ WILD BILLY CHILDISH AND THE BLACKHANDS - Play Capt'n Calypso's Hoodoo Party
+ SPLATTER 3 + N - Clear the Club
+ CONTINUUM - Continuum 2
+ OREN AMBARCHI - In the Pendulum's Embrace / SUN - I'll Be The Same

- - - - - - - - -


+ Raw'n'dirty - fotorelacja z koncertu SCORNA w Firleju
+ A new statement - wywiad z Johnem Selway'em
+ The disco therapy - wywiad z Christianem Fuchsem i Suzie On The Rocks z Bunny Lake