Monday Morning With Munk

EPR009_jonas_munk_pan_0No, I spelled it right. Not Monk, but Munk. Jonas Munk that is. He’s just another stellar musician/songwriter/arranger in the El Paraiso canon. Well, he’s also one of the founders of El Paraiso Records as well as being on the roster. His main gig currently is guitar wizard in Causa Sui, but before that he had a pretty good gig as the electronic artist Manual. With Manual he created electronic music in the vein of Tycho, Washed Out, and even a bit of Moby, albeit a much more organic version of those artists. When Munk got things rolling with Causa Sui the Manual output slowed down a bit. In 2012 he took a break from creating some of the best psych rock around with Causa Sui and made an album under his own name called Pan. Although an electronic album by definition, it’s really more of a living, breathing creation that pulsates and drives like a space-aged rocket ship on a 30 year trip to the furthest regions of the universe. Leaving behind the slicker, more modern elements of Manual, Munk went the analog route with Pan and created a group of synth-driven compositions that take you on an aural journey. A journey to wherever your brain allows you to go.

Munk’s longtime pal and Causa Sui drummer extraordinaire Jakob Skott does something similar on his off time with Causa Sui; he creates solo albums steeped in analog synth warmth and tube-driven tones. But where Skott’s music is more of a dystopian, post-apocalyptic vibe, Munk’s Pan isn’t so foreboding. It’s lulls you on a cloud of orange hues and flies you into a chromed-out sunset. He dabbles in futuristic visions, but his are of the vibe that mankind’s struggles have given way to a brighter future. Skott’s Amor Fati is the soundtrack to the struggle, and Pan is the score to a new beginning.

As I listen to tracks like “Orca”, “New Dawn”, and especially “Current”, I can’t help but think of NEU!’s Michael Rother when I hear Munk’s guitar tones. There’s very much a Krautrock vibe on this album, albeit without those motorik beats we love so much. Also in the synth pulses and swaths of analog colors I can almost picture hearing this coming off some long lost Kraftwerk album. It’s a great sound Jonas Munk has created here. And especially in a short-but-sweet track like “Blue Dawn” there’s hints of Vangelis’ Blade Runner score. “Senses” lulls you into a trance with its Tangerine Dream-like wall of atmosphere, which leads into the beautiful and dreamy “Pan”. Most would laugh at this, but “Pan” actually puts me in mind of Joe Satriani. Yes, that guitar guy from the 80s that sued Coldplay. Now, I love Joe, and he was a huge inspiration to me when I was a 14 year old guitarist and I still hold a dear place in my heart for albums like Surfing With The Alien, Flying In A Blue Dream, and The Extremist. Besides being able to just melt my mind with his extremely fast playing, he also would create these smaller pieces of calm and peace on his albums. “Pan” reminds me of that calm and peace. “Schelling” is the sound of docking on the space station and searching for survivors. A synth pulsates throughout as the track builds upon itself with a bubbling arpeggiated melody line. “Sea Of Orange” ends Pan with a sense of mystery. A sunrise or sunset in some far off future? A bomb detonating taking out mankind? With the vibe of the rest of Pan in mind, I’d definitely go towards the former and not the latter.

So yes, El Paraiso are a force to be reckoned with. Pan is another stellar record from this Danish record company. Jonas Munk, like his pal Jakob Skott, has made one of my favorite records of 2014. Sure, he made Pan in 2012. But it’s new to me this year. If you’re a fan of Kraftwerk, NEU!, Tangerine Dream, and the Blade Runner soundtrack you’d be a fool not to buy this album. You’ll love it. I promise.

So far, this Monday hasn’t been too shabby.



Of Montreal’s ‘Skeletal Lamping': Kevin Barnes’ Dark Horse

skeletal-lamping-by-of-montreal_267871_fullOut of all the Of Montreal albums that have been released in the last 10 years(there have been a lot in case you weren’t counting) Skeletal Lamping seems to be the most divisive one. When it came out there seemed to be a universal “ugh” that emanated from the mouths of critics,(some)fans, and the occasional Kevin Barnes dabbler. For me, it was the complete opposite. I’d bought the album and listened to it before reading any reviews or hearing any sort of feedback and I loved it. LOVED it. After listening to it twice I was convinced it would be heralded as a masterpiece of funked up, sexy psychedelic weirdness. It opens with “Nonpareil of Favor”, which starts up like it could’ve come off Of Montreal’s previous masterpiece, 2007s Hissing Fauna, Are You The Destroyer. It was fun, bouncy, poppy, and filled with Barnes’ ever-present maze of Willam S. Burroughs-inspired freaky vernacular, and singing like a lovelorn alien. Then about halfway the song slows down a bit and gets kinda funky before the songs begins to melt into a wall of white noise. Something like Ministry as a garage rock band, or Skinny Puppy attempting to break into the paisley syndicate. It’s like going from a great high into this endless bad trip. This was not the Kevin Barnes of yore. This is not twee folk Kevin Barnes, or the indie dance pop Kevin Barnes, or even the psych folk indie dance pop twee Kevin Barnes. No, this was something completely different and I loved it.

But I seemed to be in a minority, and I didn’t understand. Ever since I first discovered Of Montreal in late 2007(I was a late bloomer) when I picked up Hissing Fauna, Are You The Destroyer on a whim one post-Christmas trip to Borders I feel like I’ve just gotten Kevin Barnes. He just seems like this incredibly creative and flamboyant artist that has a closet full of different hats that he wants to wear all at the same time. A guy that has so many ideas it hurts until he can get them out. Since getting into Of Montreal I’ve since gone back and pillaged their back catalog and I have to say things really didn’t start getting interesting until 2004s Satanic Panic In The Attic. With that album Barnes sounds as if he gave into his EDM demons and said the hell with being just another member of the Elephant Six Recording Company. He did a great job of balancing his love for 60s pop and skronky dance floor boogie, creating something kinda new. His music felt like he built his own brand of white boy funk from the ground up. The Sundlandic Twins and Hissing Fauna, Are You The Destroyer took those elements and perfected them, allowing Barnes to exorcise personal demons through his lyrics. And lyrically, it’s quite a ride. I mean, it seems Kevin Barnes has created a whole new vocabulary in his songs. It’s almost like reading A Clockwork Orange and having to check the dictionary in the back of the book to see what the hell I was reading. In the case of an Of Montreal album there is no appendix to go to and figure out what Kevin Barnes is really saying, but after repeated listens you start to get the gist.

So back to Skeletal Lamping. We know a lot of folks didn’t care for this album, and I feel sorry for them. I really do. If you don’t take the time to truly soak this record in you’re not going to like it. Or get it. Or want to get it for that matter. It’s what those folks that can’t admit that their favorite album isn’t very good call a “grower”. As in “What??? You don’t like Skeletal Lamping?? Man, you have to listen to it a few times cause it’s a grower.” In this case, though, it’s true. Honestly. It’s not an album with songs to enjoy at parties or while you’re sitting at Starbucks studying for an exam. This is an album you play from start to finish and let it soak into your brain. It’s more like a mixtape made by snippets of Barnes hedonistic raves that happen in his mind. It’s this raunchy cut and paste album that moves from weird moments of caustic skronk to little chunks of pop strewn about the dank living room where some drug-induced orgy occured the night before. When it first came out in 2008 I likened it to Paul’s Boutique-era Beastie Boys making Sign o’ the Times with Prince. There are moments of pop bliss and mainstream dance, all of them strung together with these snippets of weed and Special K-stained beats and bass lines. It’s at times like The Delfonics and Parliament, at times The Rocky Horror Picture Show and Caligula. “Wicked Wisdom” opens with the line “I’m a motherfucking headline, oh bitch you don’t even know it” sung in this falsetto that would’ve sounded right at home on Controversy. Then there’s talk of a black she-male(Georgie Fruit, of previous Of Montreal songs.) Georgie is the alter-ego Barnes writes as on this album. This is his Ziggy Stardust album, I suppose. As this character he sounds uninhibited and open to whatever comes into his head. Songs morph from pop and funk to psychedelic scourges in the blink of a fake eyelash. “We can do it softcore if you want, but you should know that I go both ways” Barnes declares on “For Our Elegant Caste” then he makes a reference to Voltron. It’s nuts. Don’t get too comfortable though, we go right into “Touched Something’s Hollow”, a short moment of melancholy piano balladry that goes right into the pop fun of “An Eluardian Instance”, the closest cousin to Sunlandic Twins-catchiness. “Women’s Studies Victims” is skinny white boy funk with a healthy dose of sexy bits thrown in before morphing into the 70s soul of “St. Exquisite’s Confessions”. This track is like Curtis Mayfield jamming with the Thin White Duke on Mars. There’s even reference in the lyrics to The Brothers Johnson’s “Strawberry Letter 23″, before a lovelorn Barnes sings “Maybe I’ll blow you….whatever kind of kisses you want.” What’s not to love about this? It’s beautiful, catchy, filthy, and high art of the highest order.

Have I talked about this album long enough? Probably. I guess I’m hoping that someone will read this that didn’t really dig Skeletal Lamping the first time around and will possibly sit down with this album again and give it a front-to-back listen. Don’t skip around for the catchy song(if you have to skip, “An Eluardian Instance”, “And I’ve Seen a Bloody Shadow”, “Mingusings”, and “Id Engager” are great standalone tracks if you must.) Just let this album move around you, touch you, slap you around, caress you, and freak you out. Just let it take you over for an hour. Have a drink, or whatever. Open your mind a bit and let Georgie Fruit take your hand. You might like what happens.

Next up, why Paralytic Stalks is the best album no one gave a s**t about. It’s genius, btw.


Editors Note: If before even hitting play on this album you are not a fan of Of Montreal I can’t promise you will be afterwards. If you like creative, adventurous artists that say f**k it and do what’s in their souls on their albums and say to hell with the consequences, then buy the ticket and take the ride. Thank you. JH







Alvvays :: Alvvays

LPjacket-finalReally, there’s nothing to not like about Alvvays debut self-titled album. It’s breezy, melancholy, sweet, and longing jangle pop. Vocals that sound like a teenage girl pining for a lost summer day, or a lost summer love. Lyrics that talk about how it rained all summer and asking guys named Archie to marry them, all done up in music that sounds like The Strokes and Belle and Sebastian having a love fest in some nondescript, humid Toronto garage with the walls lined with empty cans of Lucky Lager. Molly Rankin sounds like Camera Obscura’s Tracyanne Campbell being backed by a Reckoning-era REM at times; but sweet, sad, and earnest all the time. The songs are tight and concise, with a hint of basement grime over the production to give an overall aged, sepia-toned feel to an album already brimming with nostalgia. In other words, if you’ve ever been in love, heartbroken, sad, happy, hopeful, desperate, and have a beating heart this album will do something for you.

Alvvays hails from Canada; Toronto to be specific. I’m not sure that their geographic location holds any real secret regarding the band’s penchant for short, poppy, and slightly melancholy sound, but let’s assume that all the great beer may help the songwriting process. Speaking of beer drinking, “Adult Diversion” is a great opener. A bouncy song that jangles and moves like Real Estate on happy pills. “Archie, Marry Me” starts out with the line “You expressed explicitly your contempt for matrimony” before the guitars punch through like Teenage Fanclub circa 1991. There’s a lot of Teenage Fanclub in this great song. It makes an old guy like me swoon. “One Who Loves You” is a sweet, sad tune dipped in plenty of distant reverb and a great bass line that carries the song along. “Next Of Kin” sounds like the Strokes in happier times(were they ever happy?). Molly Rankin has a voice that’s sweet, simple, and earnest. She could pretty much sing the phone book and you’d sigh and think of that guy or gal that broke up with you in the 10th grade. She sings, but she delivers the lines more as if she was having a heart to heart conversation with you rather than singing a song. You feel like you’re hearing her read her diary. “The Agency Group” is a song where you get that feeling of longing, both from Rankin’s vocals and the band’s excellent lilting flow. This song was made for Camera Obscura to cover. Somebody let them know. “Atop A Cake” sounds like a cross between Real Estate’s “Days” and Nina’s “99 Luft Balloons”. It’s a beautiful combination, in case you were thinking otherwise.

As I said before, there’s nothing here not to like. It’s some of the best jangle pop I’ve heard since Real Estate’s Atlas came out earlier this year. It takes all the best from REMs IRS days, a little Teenage Fanclub here, a little Camera Obscura there, and throw in some garage rock for good measure. There’s even some great synth stuff happening in the album closer “Red Planet”. Are you still wondering if you’ll like this album? Okay, check your pulse. Got one? Good, go buy Alvvays now.

7.8 out of 10


My Childhood With Robin Williams

used-2013-10-07-robin-williams-alkhall-sobriety-recovery-01Don’t misconstrue that title to mean I knew Robin Williams. I have, in fact, never met the man. I mean, he was on my pajamas when I was 5 and my older brother wore a pair of suspenders based on Mork’s famous ones. But I didn’t know Robin Williams. I did indeed grow up with him, though. He was a constant in my childhood. Sure, my brother and I loved Robin Williams on Mork & Mindy, and especially in Robert Altman’s bizarre Popeye movie. Going back and watching that movie today I see how that entire crew might’ve been coke-addled and out of their minds, but Mr. Williams stayed true to the Popeye of those early Max Fleischer cartoons I ate up as a little kid. But more than those it was his comedy that always got me. He was the first comedian that my whole family loved and followed like a rock star. My parents rented his comedy specials in the 80s and despite them being pretty adult routines I sat as a 9 year-old and watched them, laughing until I was wheezing and had tears streaming down my cheeks. He was manic and all over the place. He referenced everything from politics to Hollywood to his childhood to his own personal demons. All was open for discussion on the stage. There he exorcised those demons and let a crowd of fans and drunks watch the proceedings. For me, he was the funniest person in the world.

Anything he made I would watch. It didn’t matter if the reviews were bad. The World According To Garp, Survivors, Moscow On The Hudson, Dead Poet’s Society, Good Morning Vietnam, Club Paradise, and The Best Of Times were just a few of his films that I loved growing up. The World According To Garp especially had an affect on me. It showed him being funny, but serious. My adolescent mind didn’t know you could be both, but this guy was. He was everything. His late night visits to Johnny Carson, and especially David Letterman, were worth staying up to 11:30pm for….or at least talking my dad into setting the VCR to record it so I could watch it after school the next day. I’d felt like I’d been punched in the gut after seeing him on Letterman. You could tell there was a real friendship there. They came up together doing comedy and that showed every time Robin Williams showed up on Late Night With David Letterman.  

As I got older his film roles got better. He made two movies in-particular that had a lasting affect on me. Awakenings and The Fisher King. Two movies that showed a depth to the guy that I never knew he had. Awakenings I liked for more than just the movie itself. It has sentimental value to me. It was my junior year in high school and my girlfriend of three weeks had broken up with me. At first I thought it’s no big deal. Whatever, right? Then after about a week I started to get pretty bummed out about it. Then out of the blue my ex-girlfriend gives me a note in the hallway and says she wants to talk about things…or something like that(it was 23 years ago, folks.) Anyways, on a Sunday afternoon my girlfriend came and picked me up(she had her license…I was a late bloomer) and we went to see Awakenings. I really liked that movie, but I really liked the company even more. You could ask my girlfriend what she thought of it, as she’s my wife of 18 years now.

The Fisher King was the movie that just blew me away. It felt like something far deeper than just a popcorn flick. It felt more human than anything I’d seen up to that point. I was still in high school, and this movie made me feel like I’d matured by the time I walked out of the theater. Robin Williams was amazing in it, and it was a precursory role to a career that would show the amazing depth the man possessed….and possibly the darkness he carried throughout his life.

I don’t know. I could go on and on about all the amazing roles and what an amazing actor Robin Williams was, but you could go to a million spots on the interweb and read that shit. Mr. Williams was a huge part of my childhood and a huge part in helping to form that all important human “thing” we call a sense of humor. My mom and dad are first on that list, followed by my brother and chimpanzee birthday cards. Then Robin Williams. Today I’m sad. For the loss of a truly beautiful mind and artist. For the loss of a funny, funny human being. For the loss his family is enduring right now.

I wish I still had those suspenders.


Bear In Heaven :: Time Is Over One Day Old

bearBear In Heaven make music that create both icy, blue moments of detachment and bright, technicolor sheets of emotion. Their debut album, Red Bloom of the Boom, was this collection of odd, industrial-esque dirges bordering on experimentation. They hinted at what was ahead. 2009s masterpiece Best Rest Forth Mouth kept some that darkness and translated it into a tribal, viseral mix of Suicide and Tangerine Dream with an industrial sheen that mingled desire, loneliness, and a doomed hopeless romantic. 2012s I Love You, It’s Cool lost much of the band’s dark, tribal punch for jagged synth lines and a dance vibe that while worked, lost a bit of the bite Bear In Heaven had honed previously. It’s been over two years and Bear In Heaven have returned with what is a perfect mix of darkness and light. Time Is Over One Day Old is a sparser, leaner album than I Love You, It’s Cool and has the vibe of earlier albums while still not getting into any heavy dirges. Bottom line: Bear In Heaven have honed in on their strengths and kept things simple.

“Autumn” opens the album on a robotic beat and a hard-driving bass line that carries this great tune into dark, desolate space. It has everything you’ve come to love about Bear In Heaven: strong, driving rhythm, icy synth, and Jon Philpot’s distant, yet ghostly innocent voice carrying you along. This is a great way to start an album. “Time Between” rolls in and takes you back to 2009 all over again. It’s reminiscent of Beast Rest Forth Mouth’s “You Do You”. The tribal drums and big, foreboding synths hang in the air as Phipot humanizes the scene with his vocals. If there was a DNA strand showing Bear In Heaven’s sound this track would be it. “If I Were To Lie” has a bit of a shuffle to it, giving this song something unique in the Bear In Heaven canon. “They Dream” mixes both the dark and light quite nicely, bringing some of the second half of I Love You, It’s Cool into the fold. The synths have more of an ambient feel to them, with some of those great rolling toms filling in the empty spots. But just as the song gets going it melts into this atmospheric, dream-like segment that lulls you into a quieter head space. It’s a great moment. “The Sun and the Moon and the Stars” floats by on a cloud of early 80s Echo and the Bunnymen while “Memory Heart” gets dark with a prominent bass line and some tribal drums reminiscent of early Cure before the chorus opens enough to let just the slightest bit of light in. “Dissolve The Wall” is this great atmospheric track that glides right by your ears, once again with a great bass line and Philpot’s vocals hanging in the background in a curtain of reverb, while “You Don’t Need The World” is strangely uplifting. A perfect song to end a great album on.

With Time Is Over One Day Old Bear In Heaven have found their way back to that magic they created on Beast Rest Forth Mouth, this time honing it and making the songs more compact and in a pop song structure. At times I feel some of these songs could’ve been even longer and more expansive, but that’s just me being difficult. Bear In Heaven have made a great album that gets better with each listen.

8.5 out of 10


Sunday Slag

fireIt’s been a pretty lazy Sunday. I mean, I’ve done stuff. I watched some of a documentary about Divine called I Am Divine. I really liked what I saw but had to shut it off as the kiddos started to wake up and they had just gotten into Divine’s history with “The Cockettes” in the film. It didn’t seem like something I wanted to explain to the children over a cup of coffee and cinnamon toast.

I went outside and mowed the 50 square feet of yard that actually had grass that needed cut. It’s been pretty dry lately and most of my yard crunches under my feet, which is fine since I didn’t really feel like playing “lawnmower man” today. No offense, Jeff Fahey.

After my ten minute mowing excursion I went over to my parent’s house to assemble a couple shelving units I was building for my daughter’s bedroom in the basement. She currently has no closet, so these will help to create one for her. It’ll make a huge difference in the room, and also a nice spot to store her giant collection of books. She collects books like I collect vinyl(that’s to say she obsessively collects books.) So I went over and drilled and nailed the units together(these were from scratch, btw. my own design. none of these kits to assemble here, fella.) I think they’ll look pretty nice once I get them sanded, primed, and painted. One step closer to an actual storage area in her room.

Once I got home from being “Johnny Carpenter” I played a little badminton in the backyard with my two youngest. I wish they would’ve discovered the joy of whacking the birdie around the backyard sooner than two days before school starts up again. It would’ve been fun building their badminton skills. We headed in as it was hot as hell out. I took a shower then made some lunch. My son and I watched the animated movie Batman: Mask of the Phantasm. Love the old Batman: The Animated Series cartoons. Some really great stuff there. When that finished I started falling asleep in my chair. That stint outside didn’t do my allergies any good. Benadryl began working its magic on me.

I grabbed a glass of iced coffee and got to work on some writing work. Now here I am, whining about Sunday slag.

Maybe it’s just that feeling that summer, for all intents and purposes, is nearly done. Another year is blowing by quicker than I have time to enjoy it. My kids are getting older(and so am I for that matter), and that means those fun, innocent days are fading. Don’t get the impression I’m depressed or anything like that. It’s not that I’m depressed, it’s just that I’m starting to stop and smell the roses a bit more these days. I realize that those roses are a bit more valuable than they used to be, and that those moments I can actually stop and take stock in all the good in my life is getting thinner and thinner as well. I guess that just means I need to savor those moments even more now, regardless of how short and infrequent they may become.

So in short, it’s been one of those days I’ve been attempting to smell the roses, despite how hard Mother Nature makes it to do so.

Tangerine Dreams and Prog Rock Nightmares

photoI recently acquired three albums by Tangerine Dream. Prior to these three albums I had already owned four other albums by these German prog/ambient/film score dudes. What does this mean about me as a human being? As a man? In my head it means I’m a well-rounded lover of music. It seems, though, that when discussing “prog-rock” in certain circles you get that look like you should be wearing a wizard cap, glittered robe, and a copy of 2112 under one arm and Lamb Lies Down On Broadway under the other. I agree that certain bands got a little heavy-handed with the narratives and themes with their concept records, culminating in the great concept album catastrophe of 1983, known simply as Kilroy Was Here. That album pretty much maligned the idea of progressive rock and concept albums for a long time. There were still bands doing concept albums and well, though more under the radar and not so blatantly. Saga, Marillion, and yes even Rush could still write themed albums but make them feel more like just a rock record. I think concept albums have since been redeemed, with Arcade Fire’s The Suburbs being one of the most well received and reviewed albums of 2010 being proof of that(in case you aren’t aware, that was a concept album.)

So what does all of this have to do with Tangerine Dream? Well, I happen to love early-mid 70s Tangerine Dream as well as their 80s film scores. Their albums in the 70s were these long instrumental excursions that felt like you were falling into this endless void. There wasn’t anything cutesy or tongue-in-cheek about their albums. There were no overwrought lyrics about space odysseys or battles of good and evil. Just these synth drones and electronic pulses that were completely open to interpretation. Without lyrics to push you in a certain direction their albums are completely open to take you wherever your big dumb head would allow them to. I think that’s why over the last couple years I’ve drifted more towards instrumental albums. Away from the confines of pop music and story-based songs and towards atmospheric, instrumental-based music. Tangerine Dream was the start of that for me I think.

The first Tangerine Dream record I ever bought was Tangram back probably 4 or 5 years ago. I snagged it for $1 at a Half Price Books. My only real experience before that with them was their soundtrack for the 80s movie Firestarter, based on Stephen King’s book and starring the cute and adorable Drew Barrymore(prior to being a coke-addled Hollywood starlet.) I remember even as a kid that the music affected me. It was soothing and disturbing at the same time. So since I was looking to find something different on that trip to HPB and it was only $1 I figured why not? Glad I did as that album really appealed to something in me. It was the beginning of a new musical path for me. This led to getting into bands like Explosions in The Sky, Godspeed You! Black Emperor, Zombi, all those great Italian Horror soundtracks by Walter Rizzati and Fabio Frizzi, and my ultimate obsession, Boards of Canada. I feel like with these albums I can think clearer. If there is something called being “in the zone”, then I feel these synth-driven albums put me there. As of late, albums by Jakob Skott, Jonas Munk, as well as their collaborative band Causa Sui have allowed for further mind-expanding excursions. Skott’s Doppler and Amor Fati and Munk’s Pan albums are very much in the spirit of Tangerine Dream, as well as a hefty chunk of BoC, NEU!, and Kraftwerk thrown in for good measure.

But without that purchase of Tangram, I don’t think I would’ve followed the rabbit down the rabbit hole.

Since Tangram, I’ve expanded my Tangerine Dream collection to include Stratosfear, Cyclone, Force Majeure; with this week’s additions being Ricochet, Rubycon, and Phaedra. I have to say, these last three are their masterpieces, with Phaedra and Rubycon being the ultimate examples of their musical power. Exquisite nuggets of progressive and ambient electronic music. You really can’t go wrong with them. While not original pressings, they are 1981 Virgin International represses and they sound amazing. My buddy John at Karma Records of Warsaw hooked me up.

Stop saying prog-rock, people. When you say “prog-rock” it sounds ridiculous. When you say “progressive rock”, then it sounds like something. It’s all in a word. Change those prog rock nightmares into Tangerine Dreams.

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