Musta Paraati, (Black Parade) was an originally short lived yet highly regarded old-school Finnish Goth band, making music before their countrymen Russian Love, Two Witches, and The 69 Eyes.
In the spring of 1983 the band released their Peilitalossa ( In the House of Mirrors) an LP that is prized by collectors and traders.
After gaining popularity with live and televised performances, the band burnt like a roman candle, quickly dissolving, but not before releasing a followup record in 1984’s Käärmeet ( Snakes).
Musta Paraati made one comeback gig in 1987 featuring original vocalist Jore Vastelin, who sadly died of a cardiac arrest in 1993 at the age of 30.
Jyrki 69 from The 69 Eyes had been championing the band stateside during his DJ sets, which along with love from the the band’s original label Svart Records, helped contribute to the band’s resurgence in popularity.
“In the end this good reception has totally surprised us, ” explains the band’s guitarist Saku Paasiniemi in a recent interview conducted in Finnish. “We hear there is an underground scene in the States where the bands seriously dig Musta Paraati. They’re just like going around saying that ‘their biggest dream is to see the home town of Musta Paraati and play shows with Musta Paraati’. I recently got a message from Cleopatra Records, and in the picture they sent Glenn Danzig is holding our album Peilitalossa.”
Saku continues, still awestruck,
“I was just talking to a musician that had been touring in the USA, and he had happened to run into some taxi driver for example who’d said that ‘Musta Paraati is the best thing ever.’ he was super pumped that Svart Records had re-released Käärmeet. Apparently you can also find Musta Paraati shirts and pins and so on in rock shops/music stores. Excuse me? Seriously?”
Musta Paraati reunited in 2015 with a new lineup, and are currently in the studio working on new material.
Out now via Cleopatra Records is a special 23 track deluxe reissue of Peilitalossa featuring bonus material from Käärmeet.
March 7th is International Women’s Day, and we are celebrating by acknowledging our heroes in post-punk and goth who just so happen to be women.
Some may argue that the first post-punk single was Magazine’sShot by Both Sides, which came out 40 years ago on January 20th. But many musical scholars insist that honor in fact goes to a woman.
Siouxsie and the Banshees debut single Hong Kong Garden was a game changer. Released on August 18th, 1978, the Steve Lillywhite produced song created a sound that everyone took inspiration from. This invariably caused lazy journalists would then begin the sexist epidemic of writing most women daring to be as creative as Siouxsie as sounding exactly like her, which no one did.
Meanwhile in Germany, Nina Hagen made her debut with singing in a hybrid style of opera and punk with “TV-Glotzer” (a cover of “White Punks on Dope” by The Tubes), developing a persona whose influence reverberates to this day.
We would be remiss if we were not to mention the importance of Debbie Harry, Nico, and Patti Smith, who preceded post-punk and goth by a generation. We also do not want to over look punk singers like Poly Styrine, whose classic punk anthem “Oh Bondage Up Yours!” set the tone for the feminism to follow.
Each of the women listed below is selected from the original generation of artists that came out in the late 70s and 80s, and has undeniably made an important contribution to post-punk and goth, so much so that there deserves to be a book on the subject.
From their first gig opening for the Ramones in 1975 until the (eventually permanent) hiatus that followed the release of Naked in 1988, the Talking Heads released eight albums of music potently attuned to the absurdities and anxieties of late 20th century living. As they evolved from the sweaty post-punk weirdos that mesmerized audiences at CBGB to the well-oiled (and expanded) funk automatons depicted in Jonathan Demme’s seminal 1984 concert film, Stop Making Sense, the band never lost sight of their guiding principle: that being alive in the postmodern world is a deeply strange, deeply unsettling proposition.
While the message rarely changed, the means of delivery did. Listen to the eight albums the band released in those 11 short years, and you’ll cross sonic landscapes that take you past nervous New York punk and no wave, the irresistible grooves of contemporaneous R&B and funk, and exit pointing towards country-western, glam, and nearly every other dominant subgenre of the era. With a catalog that sometimes sounds like a wild spin of a radio dial, it’s easy to lose your way. Luckily, we’ve done some of the work for you and assembled a rough ranking of the Talking Heads’ body of work. You may still find yourself living in a shotgun shack, but with this guide at the ready, you’ll at least know how you got there.
Just remember: this ain’t no party. This ain’t no disco.
Iceage returned in February with a song called “Catch It”. Turns out the single is off the Copenhagen outfit’s newly announced fourth studio album, Beyondless, due out May 4th through Matador Records.
The 10-track effort follows 2014’s acclaimed Plowing Into the Fieldand is said to see Iceage “finally catching up with their ambition, all the while retaining the rich character of the band’s brash beginnings.” It was recorded all-analog by Mattias Glavå at Kungsten Studios in Sweden and features production from the band with assistance from Nis Bysted. Additional instruments (violin, trumpet, saxophones, trombones) were also brought in during the sessions.
To coincide with the album news, the punk group — that’s Elias Bender Rønnenfelt (vocals, lyrics), Jakob Tvilling Pless (bass), Dan Kjær Nielsen (drums), and Johan Wieth (guitar) — have shared “Pain Killer”, a collaboration with Sky Ferreira. Hear it below.
Beyondless Album Artwork:
Beyondless Tracklist: 01. Hurrah 02. Pain Killer 03. Under the sun 04. The day the music dies 05. Plead the fifth 06. Catch it 07. Thieves like us 08. Take it all 09. Showtime 10. Beyondless
Iceage have also mapped out new concert residencies in the cities of New York, Los Angeles, and Tokyo. Set for March and April, they come just a few weeks before the band is set to embark on its previously announced North American tour.
Iceage 2018 Tour Dates: 03/22 – Brooklyn, NY @ Kinfolk 03/23 – Brooklyn, NY @ Kinfolk 03/24 – Brooklyn, NY @ Babycastles 03/25 – Brooklyn, NY @ Secret Project Robot 03/29 – Los Angeles, CA @ Gold Diggers Bar 03/30 – Los Angeles, CA @ Gold Diggers Bar 03/31 – Los Angeles, CA @ Gold Diggers Bar 04/01 – Los Angeles, CA @ Gold Diggers Bar 04/03 – Kyoto, JP @ Metro 04/06 – Tokyo, JP @ Duo 04/08 – Tokyo, JP @ Vacant 05/02 – Copenhagen, DE @ Hotel Cecil 05/04 – Berlin, DE @ Private Club 05/05 – Amsterdam, NE @ Bitterzoet 05/06 – Brussels, BE @ La Nuit De Botanique 05/07 – Paris, FR @ Petit Bain 05/08 – London, UK @ Scala 05/10 – Seattle, WA @ Nordic Museum 05/16 – New York, NY @ Bowery Ballroom 05/17 – Philadelphia, PA @ First Unitarian Church 05/18 – Washington, DC @ Union Stage 05/19 – Richmond, VA @ The Camel 05/20 – Carrboro, NC @ Cat’s Cradle 05/21 – Nashville, TN @ Mercy Lounge 05/22 – Atlanta, GA @ The Earl 05/23 – Birmingham, AL @ Saturn 05/24 – New Orleans, LA @ Santos 05/25 – Houston, TX @ Rockefeller’s 05/26 – Dallas, TX @ Club Dada 05/27 – Austin, TX @ Barracuda 06/05 – San Diego, CA @ The Casbah * 06/06 – Los Angeles, CA @ The Regent Theater * 06/07 – Felton, CA @ Don Quixote’s International Music Hall * 06/08 – San Francisco, CA @ Great American Music Hall * 06/09 – Sonoma, CA @ Huichica Music Festival * 06/11 – Portland, OR @ Mississippi Studios * 06/12 – Vancouver, BC @ The Astoria * 06/14 – Spokane, WA @ The Bartlett * 06/15 – Bozeman, MT @ The Rialto * 06/16 – Salt Lake City, UT @ Kilby Court * 06/17 – Denver, CO @ Bluebird Theater * 06/18 – Omaha, NE @ Waiting Room * 06/19 – Minneapolis, MN @ 7th St Entry * 06/20 – Milwaukee, WI @ Cactus Club * 06/22 – Detroit, MI @ El Club * 06/23 – Toronto, ON @ Lee’s Palace * 06/24 – Ottawa, ON @ The 27 Club * 06/25 – Montreal, QC @ La Sala Rossa * 06/26 – Portsmouth, NH @ 3S Artspace * 06/27 – Boston, MA @ The Sinclair * 06/28 – New York, NY @ Market Hotel *
* = w/ Mary Lattimore
Punk icon Richard Hell also wrote an essay on the new album titled, “The New Iceage”:
I can totally imagine myself as a kid lying in my closed-door room in the dark, listening to this band and getting what I need, the way a band can make a person feel seen and bring confidence, sometimes even represent an ideal. Or maybe I’m already all defiant and self-certain, and I identify with Iceage because they are too, and they’re who I want to represent me in music. It’s a weird combination of qualities that a rock and roll band and their recordings presents to their young crowd, imparts to them. The music being pure emotion, the strong emotions of youth—anger, sadness, contempt, longing—as well as energy and sex, and the band’s demonstration that it gracefully owns and provides those things, consoling their followers in all the confusion.
What is it that Iceage in particular brings? A large number of extraordinary things. (Poetry! But more about that later.) The band members were childhood friends, which is always good news. They’re like a small urban gang, faithful to each other, suspicious of outsiders (of which music journalists like me are the most suspect examples). At the same time, they seem mature and competent, which is almost too much to hope for. They not only play and compose well, but the production of their records, from the very beginning, and at the music’s most chaotic, is impeccable. Their presentation is as hardcore anarchic as any, but much better played, mixed, and recorded than most.
And then there’s the poetry and the intelligence. The members of Iceage are not only smart but hyper literate. Interviews with E. Rønnenfelt, the lead singer and lyricist of the band, find him mentioning Carson McCullers, The Heart Is a Lonely Hunter; Georges Bataille, Story of the Eye; Peter Shaffer’s Equus; Mishima, The Sailor Who Fell from Grace with the Sea; Genet’s Thief’s Journal and Miracle of the Rose; The Torture Garden by Octave Mirbeau; Henry Miller on Writing; and James Agee’s A Death in the Family, and that’s in a total of four interviews. It’s not that he flaunts it; he’s simply honest and naturally acknowledges it.
The lyrics of Iceage songs have the most sophisticated vocabulary I can remember finding in rock music. Here’s a favorite example, from “Pain Killer” on the new album:
Praying at the altar of your legs and feet Your saliva is a drug so bittersweet I’ll arrogate what’s there to take In an evanescent embrace
…“Arrogate”??? I half know the word, but I had to look it up to be certain. It means “to claim or seize without justification.” It’s funny because its Latin root also underlies the word “arrogant,” which one might be tempted to apply to Rønnenfelt for the contempt he shows for people who try to understand him. But I sympathize. It is extremely annoying to be characterized by other people. And the shading of meaning of the word “arrogate” brings a subtlety to those lyrics of his that “take” or “seize” or “claim” wouldn’t. Frankly, though, what I really like about those lines is the concept of praying to his lover’s feet. That’s good. It makes me think of a similar instance in another poet, Charles Baudelaire, who wrote in his “Hymn to Beauty”:
Who cares if you come from paradise or hell, appalling Beauty, artless and monstrous scourge, if only your eyes, your smile or your foot reveal the infinite I love and have never known?
John Lydon, aka Johnny Rotten, left the Sex Pistols in 1978 and formed the post-punk band, Public Image Ltd. In celebration of their 40th anniversary, the English group has announced “The Public Image is Rotten” tour spanning the UK, Europe, and Japan.
The 32-date UK and Europe leg of the tour kicks off in Bristol on May 30th and includes performances at Holland’s Retropop Festival, Poland’s Jarocin Festival, and a headlining set at London’s Camden Rocks Festival. The Japan dates will be confirmed in the near future, as well as a “very special London date.” No word on US tour dates.
PiL will also mark the anniversary with a career-spanning box set later this year, as well as a documentary sharing its name with the tour. The Tabbert Fiiller-directed documentary premiered at the Tribeca Film Festival and will be shown at select cinemas at a later date.
Public Image Ltd. 2018 Tour Dates: 05/30 – Bristol, UK @ O2 Academy 06/01 – Bournemouth, UK @ O2 Academy 06/02 – London, UK @ Camden Rocks Festival 06/04 – Coventry, UK @ The Copper Rooms 06/06 – Norwich, UK @ The Waterfront 06/08 – Brussels, BE @ Ancienne Belgique 06/09 – Holland, NL @ Retropop Festival 06/10 – Den Haag, NL @ Paard van Trojoe 06/12 – Newcastle-Upon-Tyne, UK @ O2 Academy 06/13 – Glasgow, UK @ O2 ABC 06/15 – Sheffield, UK @ O2 Academy 06/16 – Manchester, UK @ O2 Ritz 06/18 – Hull, UK @ Asylum, Hull University 06/21 – Cardiff, UK @ The Tramshed 06/23 – Exeter, UK @ Lemon Grove 06/24 – Wrexham, UK @ William Aston Hall 06/26 – Reading, UK @ Sub 89 06/27 – Frome, Somerset, UK @ Cheese & Grain 06/29 – Nottingham, UK @ Rock City 06/30 – Southampton, UK @ Engine Rooms 07/13 – Prague, CZ @ Lucerna 07/15 – Jarocin, PL @ Jarocin Festival 08/05 – Blackpool, UK @ Rebellion Festival 08/19 – Hardwick, UK @ Hardwick Live Festival 08/25 – Bangor, UK @ Bangor Marina 08/26 – Dublin, UK @ The Tivoli 08/28 – Inverness, UK @ The Ironworks 08/29 – Aug Aberdeen, UK @ The Assembly 08/31 – Dundee, UK @ The Church
Parquet Courts have announced a new album called Wide Awake!. Due out May 18th via Rough Trade, the full-length follows last year’s collaboration with Daniele Luppi and Karen O, MILANO, and 2016’s Human Performance.
The 13-track effort was produced by Brian Burton, aka Danger Mouse, who actually initiated the collaboration. The mega-producer’s offer was providential, as the Brooklyn garage rockers were looking for a way to push beyond their comfort zone. “I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records,” said singer/guitarist A Savage. “I liked that it didn’t make sense.”
Illogical as it may have seemed, the collaboration led to an album that perfectly expressed the band’s current feelings of both ferocity and vulnerability. “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love,” explained guitarist/songwriter Austin Brown.
That anti-nihilistic search for serenity is well represented on the album’s lead single, “Almost Had To Start A Fight / In And Out Of Patience”. The track is a shambolic post-punk revivalist jam that’s held tightly together by Burton’s board work and drummer Max Savage’s taut percussion. “I want I want I want I want/ Not to feel numb about death,” Savage yelps poignantly. “Finding finding finding finding/ Peace is not an easy task/ We need we need we need we need/ To see if there’s any left.”
Take a listen via the lyric video below. Pre-orders for Wide Awake! are available here.
Wide Awake! Artwork:
Wide Awake! Tracklist: 01. Total Football 02. Violence 03. Before the Water Gets Too High 04. Mardi Gras Beads 05. Almost Had to Start a Fight/In And Out of Patience 06. Freebird II 07. Normalization 08. Back to Earth 09. Wide Awake 10. NYC Observation 11. Extinction 12. Death Will Bring Change 13. Tenderness
Parquet Courts will support Wide Awake! on their forthcoming tour, including a new batch of summer dates with Goat Girl. Find their complete docket ahead.
Parquet Courts 2018 Tour Dates: 02/22 – Santa Cruz, CA @ Coconut Grove Ballroom * 02/23 – Los Angeles, CA @ Masonic Lodge at Hollywood Forever ^ 02/24 – Los Angeles, CA @ Masonic Lodge at Hollywood Forever # 04/24 – Houston, TX @ White Oak Music Hall 04/26 – Austin, TX @ Stubb’s – Levitation % 04/27 – Norman, OK @ Norman Music Festival 04/28 – Dallas, TX @ Sons of Hermann Hall 04/29 – Englewood, CO @ The Gothic Theatre 05/05 – Atlanta, GA @ Shaky Knees Festival 05/23 – Boston, MA @ Royale & 05/24 – Providence, RI @ Fete Ballroom & 05/25 – Portland, ME @ Port City Music Hall & 05/26 – Montreal, QC @ Theatre Fairmount & 05/27 – Toronto, ON @ Phoenix Theatre & 05/28 – Detroit, MI @ El Club & 05/30 – Madison, WI @ Majestic Theatre & 05/31 – Minneapolis, MN @ Fine Line & 06/01 – Lawrence, KS @ The Granada & 06/02 – St Louis, MO @ Ready Room & 06/03 – Nashville, TN @ Basement East & 06/05 – Asheville, NC @ Orange Peel & 06/06 – Carborro, NC @ Cat’s Cradle & 06/07 – Washington, DC @ 9:30 Club & 06/08 – Philadelphia, PA @ Union Transfer & 07/04 – Berlin, DE @ Festsaal Kreuzberg 07/05 – Hamburg, DE @ Molotow 07/06 – Groningen, NL @ Vera 07/08 – Hérouville saint Clair, FR @ Festival Beauregard Festival 07/12 – Bilbao, ES @ Bilbao BBK Festival 07/14 – Beccles, UK @ Latitude Festival 07/15 – Kortrijk, BE @ De Kreun 07/17 – Duedingen, CH @ Bad Bonn
* = w/ Thurston Moore, Heron Oblivion ^ = w/ Mary Lattimore # = w/ Anna St. Louis % = w/ Ty Segall & = w/ Goat Girl
Origins, our reoccurring new music feature, finds an artist reflecting on the various influences for their latest single.
After relentless touring and releasing two noisy albums over the last eight years, Ed Schrader’s Music Beat were ready for a shake up. They’d seen plenty of accolades and success with the pattern they’d been following, but in any situation, repetition can lead to boredom, and the post-punk duo were looking for something new. So when it came time to record their third full-length, the upcoming Riddles, they tapped Dan Deacon to produce, arrange, and co-wrote, and set out in a fresh direction.
The record’s latest single, “Seagull”, reflects that desire for forward momentum in all its forms. Structurally, the track is all about building towards something greater, opening with slinking bass and the jazzy snaps of a musical street gang. As it inches onward, layers of taut percussion begin to beat in the background, pushing louder until the entire song tears the tension into a full charge of violent shakes.
“‘Seagull’ is about a person who fears all the trappings of complacency, and to whom the term ‘settling down’ is like kryptonite,” Ed Schrader himself tells Consequence of Sound. “It is about that irrepressible road warrior in all of us that needs to feel the flame and skinned knees of adventure! The young, idealistic artist who prizes content over currency! Within the song though we see the cost of that freedom: ‘Leaving is such a mess/ But I’m tired of just hanging round.’”
Take a listen:
Riddles arrives March 2nd via Carpark Records. For more insight into “Seagull”, Schrader has detailed some of the track’s Origins, from Han Solo to Sonic Youth.
The lust for the road, fame and the wild places it takes the character transforms them to a hardened journeyman who ultimately knows they must join the pack to infiltrate and reset it completely, like when Han Solo dresses like a Stormtrooper! I always emulated Han Solo growing up cause he’s a hustler and an outsider. I always felt like an outsider myself, and I still hustle to this day — between selling Cats On The Lake T Shirts, flipping burgers, doing a talk show, plus a cartoon, playing in a band and I have a pop-up called Pasta The Gathering… I’m always hustling .
Sonic Youth — Sister:
I wanted to do something that was like Sonic Youth’s Sister meets weird Sinatra! Sonic Youth were always this band that everyone else got but me, until my friends Bill and Andy made me listen to them. My friends Mike and Alan got me further into the Sonic Zone as well with the album Sister. I always loved the visceral sadness implied about a fellow sibling suffering through something via minimal expressionist prose and fuzzy jangled guitars. My brother has autism and I always feel like we see each other but there’s this wall. Sonic Youth depicts that well in their masterpiece.
David Bowie — “Little Wonder”:
There’s some “Little Wonder” in there for good measure. “So wiiiiiiide” — that was a song from Bowie’s Earthling album. “Little Wonder” to me feels like an older self talking to a younger self saying, “Hang in there and ya’ll ain’t gonna believe what’s next!” I feel a bit like that now. See, younger self — I told you it’d be cool someday!
Radiohead — Kid A:
I was also revisiting Radiohead’s Kid A at the time, which I guess you can hear a bit.
I also once ordered seagull off a menu without realizing to Devlin [Rice]’s complete amusement — I’ll get him back one day! Tasted like chicken.
Danish punk rockers Iceage have returned with their first new material since their excellent sophomore album, 2014’s Plowing Into the Field of Love. It comes in the form of a self-produced new song, “Catch It”, which was recorded to analog by Mattias Glavå at Sweden’s Kungsten Studios.
The track features haunting vocals by Elias Bender Rønnenfelt and builds toward a thrashing breakdown of guitars and crashing percussion during the latter half of the song. “Time moves forward quickly,” he sings. “Moves in twenty-four-hour segments/ Racing for the soul to grab chokehold.”
“Catch It” arrives with an accompanying Adam Hashemi-directed video mostly shot on 8mm film in Los Angeles. Watch it below.
Iceage have also announced a two-month long tour with Mary Lattimore in support, during which they promise to preview more fresh material. It kicks off on May 10th in Seattle after a handful of remaining European dates and runs through June 28th in New York. Along the way, the quartet will play cities including Nashville, New Orleans, Los Angeles, and more. Check out the complete itinerary below.
Iceage 2018 Tour Dates: 05/02 – Copenhagen, DE @ Hotel Cecil 05/04 – Berlin, DE @ Private Club 05/05 – Amsterdam, NE @ Bitterzoet 05/06 – Brussels, BE @ La Nuit De Botanique 05/07 – Paris, FR @ Petit Bain 05/08 – London, UK @ Scala 05/10 – Seattle, WA @ Nordic Museum 05/16 – New York, NY @ Bowery Ballroom 05/17 – Philadelphia, PA @ First Unitarian Church 05/18 – Washington, DC @ Union Stage 05/19 – Richmond, VA @ The Camel 05/20 – Carrboro, NC @ Cat’s Cradle 05/21 – Nashville, TN @ Mercy Lounge 05/22 – Atlanta, GA @ The Earl 05/23 – Birmingham, AL @ Saturn 05/24 – New Orleans, LA @ Santos 05/25 – Houston, TX @ Rockefeller’s 05/26 – Dallas, TX @ Club Dada 05/27 – Austin, TX @ Barracuda 06/05 – San Diego, CA @ The Casbah * 06/06 – Los Angeles, CA @ The Regent Theater * 06/07 – Felton, CA @ Don Quixote’s International Music Hall * 06/08 – San Francisco, CA @ Great American Music Hall * 06/09 – Sonoma, CA @ Huichica Music Festival * 06/11 – Portland, OR @ Mississippi Studios * 06/12 – Vancouver, BC @ The Astoria * 06/14 – Spokane, WA @ The Bartlett * 06/15 – Bozeman, MT @ The Rialto * 06/16 – Salt Lake City, UT @ Kilby Court * 06/17 – Denver, CO @ Bluebird Theater * 06/18 – Omaha, NE @ Waiting Room * 06/19 – Minneapolis, MN @ 7th St Entry * 06/20 – Milwaukee, WI @ Cactus Club * 06/22 – Detroit, MI @ El Club * 06/23 – Toronto, ON @ Lee’s Palace * 06/24 – Ottawa, ON @ The 27 Club * 06/25 – Montreal, QC @ La Sala Rossa * 06/26 – Portsmouth, NH @ 3S Artspace * 06/27 – Boston, MA @ The Sinclair * 06/28 – New York, NY @ Market Hotel *
The Prids, Portland Oregon’s stalwarts of the post-punk, shoegaze, and indie scenes have premiered their charming video for Lie Here, a track culled from the band’s recently released 4th studio LPDo I Look Like I’m In Love?
In contrast to the previous video for the joyful and dreamy single Summer Cult,Lie Here features a cute little animated ghost like character who is haunted by a tedious daily routine that is bookended by colourful partying and hangovers that break the ennui of a broken heart.
Vocalist and Guitarist David Frederickson spoke to Punk News about the track, stating:
“‘Lie Here’ is a breakup song, where the world weary and broken hearted take refuge in the rejection of ones life, in the sad attempt to feel in control.”
The band’s new album Do I Look Like I’m In Love?came out January 12th via This-A-Way Records
While lead single “Maybe I’m Crazy” was a growling stomper of a tune, this new cut sees the Brooklyn punks trying their hand at jangly and jammy psychedelic rock. Per a statement from vocalist and guitarist Nick Chiericozzi, the song “came out of a Spanish guitar lick, a radar weather map, a poem and maybe a few other things. It has a good title; one that creates a definite mental image but could really be about anything.”
Hear it for yourself down below.
Drift Tracklist: 01. Maybe I’m Crazy 02. When I Held You In My Arms 03. Secret Light 04. Rose on Top of the World 05. So High 06. Killed Someone 07. Sleep 08. Final Prayer 09. Come to Me
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