Phoenix-Wolfgang Amadeus Phoenix

I was almost uncontrollably excited when I heard “1901” a few months ago. The aspect of a new Phoenix album on the horizon brightened my day like a ray of sunshine. Sure enough, the album came out, and it is my favorite release of theirs to date.

            Their music is the definition of European chic to me. It’s as though their music is dressed up in a tight leather jacket, skinny jeans, puffing on a slender cigarette with that effortlessly hip attitude.

            But these Frenchies aren’t just style, and they have a heck load of substance. Dubbed as a European Strokes, they have proved themselves more reliable than their NYC counterparts, crafting alternative rock as polished as a 70’s Corvette. They don’t disappoint with the new stuff either.

            The glossy “1901” paces back and forth over a fuzzy disco beat and zigzagging guitar. “Lisztomania,” the leadoff track, is as catchy as a cold, and songs like “Lasso,” “Rome,” and “Big Sun” show that the band refuses to let off the brakes as the cruise to a close.

            As glitzy and captivating as this record is, you’d be doing your self a disservice to not pick it up. Who knows? Maybe a little bit of that European cool will rub off.

 

Passion Pit-Manners

Discovering Passion Pit a few months ago with their EP “Chunk of Change”, I had high expectations going into their full-length release. They surpassed every hope I had.

            A must have for fans of MGMT and the like, Passion Pit’s “Manners” feels like a much more complete version of “Oracular Spectacular” with songs ranging from dance floor burners to full blown electro rock anthems. The whole record has the essence of being recorded in the depths of the ocean, splashing and diving with the glimmer of the moonlight overhead.

            The music bounces along like lighting through a thunderstorm, silver shimmers dancing across a gloomy skyline. They kick things off with the remarkable “Make Light” before throwing back to the 80’s with “Little Secrets.” “Sleepyhead,” a hold over from the debut EP, dazzles and splatters for a truly unique listening experience. Highlights come in the form of “Moth’s Wings” and “The Reeling,” which both uncover a glimpse of what feels like the future of music.

            If you feel like dancing, nodding, bouncing, kicking, rocking, and hopping, then this is the record for you. It’s got something for everyone, and everything if you want it all.

Miike Snow-Miike Snow

Miike Snow- Miike Snow

            This Swedish outfit provides the perfect summer cool down with their debut release. The side project of producers Bloodshy and Avant (the men behind releases from Christina Milian, Kylie Monogue, and even Britney Spear’s “Toxic”) enlisted friend Andrew Wyatt to create a sort of Scandinavian N*E*R*D*.  The result is a record that is unmistakably beautiful and undeniably cool.

            These boys must have been saving the best beats for themselves. The songs sound just as poppy as the music they had produced before, but with a much cooler edge. Frost tinged beats and icy swirls of synths make you feel like you are partying at an Antarctic dance club.

            “Black and Blue” glides around at a frantic pace, while “Silvia” sounds like the best OneRepublic song they never wrote. The band is firing on all cylinders with the two leadoffs to the album: “Animal” and “Burial.” “Animal” blips and hops along with an unforgettable hook. Then the blurry “Burial” whirls around like a blizzard viewed outside an icy window. The song won’t leave your head for days, and you won’t want it to.

            Miike Snow’s debut is a testament to how good unpretentious pop songs can be. Just leave it to the Swedes.

 

Silversun Pickups- Swoon

 

            Silversun Pickups will always carry around the stigma of being the new Smashing Pumpkins. Many love their music, others claim that is just a rip off. Either way, you have to acknowledge that this L.A. crew is making a show of it.

 

            The world was introduced to Silversun Pickups a few summers ago with their debut album “Carnavas” with the surprisingly mainstream single “Lazy Eye” and even more notable track “Well Thought Out Twinkles.” Their mix of glossy garage rock and high pitched vocals filled a void left by the then disbanded Smashing Pumpkins.

 

             I cannot help but think that Silversun Pickups are currently doing a better impression of the band than they are currently doing themselves, what with there being 1/4^th of the original lineup and Billy Corgan preoccupied with schmoozing with Live Nation executives, and there’s no shame in building upon the creation of another.

 

            “Swoon” picks up where “Carnavas” left off. There have been very few tweaks to their sound, and I wouldn’t have it any other way. Their brand of fuzzed out garage noise is just hard enough to nod your head to and imaginative enough to not leave you bored.

 

            They kick off the album with the catchy “There’s No Secrets This Year,” the perfect launch to a fun record. The album slows down for a bit before kicking back up with the hazy “Panic Switch” that is sure to incite well-mannered moshing for years. “Sort Of” marches off with a progressive tempo and the noteworthy “Substitution” starts off slow before zig-zagging about, dizzying you with the swirling vocal and guitar.

 

            “Swoon” lacks the punch of the debut, but is overall a more well-polished product than its predecessor. We see them venturing off from the lustrous garage rock sound a little more, which is a shame because rocking out is what the band does best, but it makes for a unpredictable listening experience.

 

            In an age where musicians are more about being “artists” than making music, something is very refreshing about the straightforward music of Silversun Pickups. Complaining about the Smashing Pumpkins resemblance is misinformed, and if anything, I wouldn’t mind them attempting to sound more like their wayward big brother.

Yeah Yeah Yeahs- It's Blitz

The new Yeah Yeah Yeahs album cover features Karen O’s arm outstretched, veins erupting. She has just shattered an egg with her clinched hand, the lucid yolk and splintered shell splattering across the gray frame. No words, just that instantly classic image. I can’t think of anything more punk: violent and ugly. Even the album title alone screams anger. What I expected was the hardest Yeah Yeah Yeahs album yet, instead what I got was the ol’ bait and switch; I am far from disappointed.

 

Much more pop rock than raw angst, the YYYs show that sometimes the best solution is to dance it out. With this album as proof, I cannot help but agree. The album suffers through a lag here and there, but they always manage to pull you right back in.

The instant earworm “Zero” kicks off the album; it’s a grunge-infused disco anthem with Karen O’s signature raw, shimmering vocals helming the reigns. “Zero” gives way to “Heads Will Roll,” the best Gwen Stefani song she never wrote, and the low key, dripping “Softshock,” sounding as though it was recorded in an Antarctic CBGBs. The slow marching “Skeletons” and delicate “Runaway” show just how vulnerable Karen O can be. Then “Dull Life” reminds you just how badly she would kick your ass.

The YYYs have, and always will be, all about Karen O. As talented as Brian Chase and Nick Zinner are, their job is to provide a strong backdrop to Karen O’s Mona Lisa. The most notorious front-woman in rock today, she is what any female musician should aspire to be: beautiful, edgy, and powerful.

Sure, the album is not what you anticipate, but nothing is more punk than the unexpected. Perhaps Karen O smashing a glowstick would have been more appropriate, but maybe the YYYs are just saving that for the remix.

Kyle Andrews- Real Blasty

You may have not heard of Kyle Andrews yet, but you are sure to hear more and more from him in the future, and many of us are being first introduced to him with his newest release Real Blasty. The record is light and fun, drizzled with electronic piano, dizzy synths, and a thick precise beat. It is a pleasurable listen, but Kyle manages to lose himself on several occasions. The record opens with the superb “Sushi,” an ode to hipsters, with a glowing rhythm and irresistible melody as well. The song hooks on to you and won’t let go. Up next is the almost equally stellar “Naked in New York,” adding acoustic guitar to the electronic backdrop, slow building before imploding into the loud, blistering chorus. We find Kyle at his most introspective and delicate with “Polar Bear,” as radiant as snow and just as gorgeous. The tracks following the first three tend to hit and miss. With “Tennessee Torture Dream,” Kyle sounds like a dance rock Conor Oberst, and getting a little gritty with “Wavering Between the Real and the Abstract.” However, in between we see Kyle getting a little formulaic (“Put Your Hands Up”), too noisy (“Blow It Out”), and even a little boring (“Take It to Heart”). The last highlight of the album comes with “Cut and Paste,” a well-crafted pop song with just enough sparkle. We can see that Kyle has some talent, but he will definitely need to polish his skills a little bit before making that next step towards fame. Sometimes Real Blasty comes off real boring, but he shows that he can definitely blast off with songs like “Sushi.” He might have me hooked, but he still needs to reel me in.

Key Tracks: “Sushi” “Naked In New York” “Polar Bear”

7.4/10

Friendy Fires

This newest buzz band out of England has more than lived up to the hype with their self- titled debut. Friendly Fires are crafting a unique sound, mixing equal parts electronica, shoegaze, and indie-dance rock, both refreshing and interesting. Sounding a little more abstract than MGMT, yet more pop grounded than Cut Copy, we have Friendly Fires striking a perfect balance and dazzling the entire way. The first single and opening track “Jump In The Pool” feels both spacey and immediate, demanding attention but allowing you to explore for yourself. The jangly guitars and heavy synth create a watery backdrop to the musings of plunging into a new life, the ideal soundtrack to rebirth. The jittery groove of “In The Hospital” dares you not to shimmy, with “White Diamonds” sounding like a modern recreation of “Tainted Love,” both haunting and alluring, and also featuring a chorus that grabs on to you and won’t let go. “On Board” can’t help but draw comparisons to the Rapture, yet they twist the sound into something of their own. The wispy “Photobooth” will have you both nodding your head and tapping your feet, with the blipping, shaky “Skeleton Boy” having you do more of the same. Friendly Fires really hit their stride with the anthem “Paris,” a song of promises and hopes of a better life, the luscious chorus, bouncy synth, and quick beat forming the perfect compliment to the song’s message. This debut has an overall tone of hope and new life, something that I believe we are all full of. Sometimes this music will hit you at the perfect moment, and when it does it is such a surreal experience. Friendly Fires aren’t so much creating music as they are creating moments, and with continual growth and experimentation, we may find these boys creating the perfect dance rock record.

Key Tracks: “Jump In The Pool” “Paris” “White Diamonds”

9.5/10

The Broken West- Now Or Heaven

If you are looking for something light and fun, melodic and straightforward, the Broken West is the band for you. Their debut “I Can’t Go On, I’ll Go On” left many people excited about the potential of this band. They were something new, unashamed of pop aspirations while maintaining a low-key, natural feel to their music. Letting the Broken West do what feels natural is working out very well for the band. On Now Or Heaven, we see the Broken West maturing a little, but still staying breezy and warm. “Gwen, Now and Then” opens up the album, unassuming and innocent, can’t help but capture your attention and dance around your head. The delicate “Auctioneer” picks up where “Gwen” left off. Vocalist Ross Flournoy’s delivery is leisurely and amiable, a delight to listen to. “Elm City” drags out a bit, but “Ambuscade” quickly picks it back up with a beautiful, iridescent guitar line. The Broken West let loose with “Perfect Games,” one of the most lively, entertaining songs of the album. The song won’t leave your mind; the paired vocals, lucid beat, and angled guitar matching up to complete song writing perfection. “House of Lies” is vivacious, yet discreet, sinking its claws into you with little chance of escape. On “Terror for Two” we hear the band doing what it does best, writing pop songs for the intelligent. “Embassy Row” closes out the album, a wonderful, glistening song that is modest and alluring. The Broken West have crafted a gorgeous indie-pop album. It is far from perfect, and the album features a few lulls, but overall it’s a pleasurable experience. It’s not the type of record you completely focus, but it’s the perfect companion, and will leave you feeling warm and cozy inside.

8.3/10

Key Tracks: “Gwen, Now and Then” “Auctioneer” “Perfect Games”

Murs- Murs for President

Murs has been coasting under the radar for several years now. An underground hero, Murs is honest, relatable, and confident without being cocky, refreshing in a world full of overly confident rappers. Murs is rapping about what he knows. The world he grew up, one that needs to change. He narrates the life he is living in a new, fresh way, a way you can’t help but want to hear. Murs picks eccentric beats that suit his off-beat demeanor, and we see him at his weakest when trying to make that commercial hit, like in “Lookin’ Fly” with will.i.am. When he is feeling natural with effortless flow and his unique beats, we hear Murs at his strongest. Obviously, from the title, we can tell that this is a very political record. He begins with “I’m Innocent,” a call for attention to the injustices in the world, feeling urgent and brash. “The Science” begins with jazz flute, thick drumming, and a scratchy, twisting chorus. “Everything –Murs” is the most beautiful track of the album. A beautiful piano and turntable infused song, with a truly magnificent chorus pairing Murs’ flow over emotional vocals that will demand several listens. “Road Is My Religion” starts hot and heavy with deep bass and a guitar riff, Murs rhyming in perfect sync with this rock beat. “Soo Comfortable” sounds bubbly and sexual, and “Time Is Now” is soulful and showcases verses from Snoop Dogg. “Think You Know Me” is slow and drowsy musically, but clear and deliberate vocally. A 70’s-esque sample kicks off “Me And This Jawn,” but then a dizzy, cavernous beat takes over, with Murs sounding strong and demanding over this shaky foundation. If you are looking for a fresh rapper, and an even more refreshing rap album in a world of copycat emcees, Murs For President is right up your alley. Every song is reaching out for greatness, not all grasp it, but some seem to have some sort of hold. Why not Murs for President? His campaign is the most intruiging of them all.

8.6/10

Key Tracks: “Everything –Murs” “Think You Know Me” “The Science”

Dear and the Headlights- Drunk Like Bible Times

Dear and the Headlights are sounding like a band on a mission with the release of their newest disc Drunk Like Bible Times, the follow-up to Small Steps, Heavy Hooves. The album title alone demands attention, and each track warrants just as much. Sounding much more urgent than their Small Steps, Heavy Hooves, Dear and the Headlights pick up the pace of this album, while still maintaining the effortless beauty of the debut. There seems to be a heavy Modest Mouse influence on this record, several songs sounding like they would fit in perfectly with Good News For People Who Love Bad News. In the first part of the disc, we hear the heavier influence. They start off with “I’m Not Crying. You’re Not Crying, Are You,” beginning slow, and rocketing off into a swirl of guitar and drums. Vocalist Ian Metzger sings with such passion that you are immediately hanging on every lyric pouring from his emotional voice. Ironically enough, we hear the biggest Modest Mouse influence on “Bad News.” They seem to paint a picture with this song, displaying whirling acoustic guitar, gentle drums and precise vocals, only to splash into chaos, settling on the canvas only at the very end. We witness Dear and the Headlights at their heaviest with “Carl Solomon Blues,” and keeping pace with the cascading “Wiletta.” The single “Talk About” is a standout, bouncy and light, zigzagging up and down. The contrast between the layers of noise and abundant cutouts make the track very intriguing. The piano-based “Saintly Rows” paces up and down, before going into a full sprint, and “Now It’s Over” features an interesting, rolling beat, and we find Dear and the Headlights trying a new song format that suits them well. With Drunk Like Bible Times, Dear and the Headlights seem to be moving in a new direction, more upbeat and fun than its predecessor, every track is a joy, but there is just never a moment of complete amazement. Good record? Yes. Great? Not quite, but Dear and the Headlights are a young band, and I have a feeling they will be stealing the spotlight in the near future.

8.4/10

Key Tracks: “Talk About” “I’m Not Crying. You’re Not Crying, Are You?” “Bad News” 

TV on the Radio- Dear Science,

TV on the Radio isn’t content with the indie club circuit, they seem to have aim on something greater. With legendary live shows, and near perfect records, the band is on its way to becoming the arena headliner most indie bands are afraid to become, and from the sound of Dear Science, TV on the Radio aren’t frightened at all. Dear Science, is sure to go down as one of the top albums of 2008, and maybe even the decade, featuring trancey hooks and hypnotizing rhythm. The album never lulls, and while it keeps its odd, seemingly dysfunctional feel, this album is much more palatable than any of their previous efforts. Every track is immediately listenable, and tracks like “Golden Age” “Crying” and “Dancing Choose” are downright danceable with pop-aspirations. “Halfway Home” launches off the album, sounding expansive, soaring and roaring for five minutes.  “Crying” demands you to put on your dancing shoes, featuring a hasty, bouncy rhythm and Adebimpe switching between narrating and falsetto yelping. “Dancing Choose” features a gorgeous interchange of Adebimpe’s and Malone’s vocals, and gives you little choice other than dancing. The hopeful “Golden Age” draws comparisons to David Bowie, and the optimistic, upbeat rhythm is both infectious and entertaining with brass sprinkled upon the song’s electric base. The melancholy “Family Tree” is beautifully haunting, with the anti-war “Red Dress” swiftly picking up the pace afterwards. “Love Dog” is another poignant, elegant song that tugs at your heartstrings. Then “Shout Me Out,” starting soft, and ending loud and distorted, builds into yet another amazing track. We hear near rapping in the crunchy, twisting “DLZ,” one of the most intriguing songs on the record. Dear Science, draws to a close with the brassy, shimmering “Lover’s Day” ending just as strong as the album began. TV on the Radio may have begun their career under the radar, but just like their songs, they are building and expanding into something great. Keeping their dysfunctional, yet impeccably beautiful music, while making the tracks more accessible and straightforward, suits the band well. If they continue at this pace, TV on the Radio are sure to become legends of the arena, leaving us all in their wake.

9.7/10

Key Tracks: “DLZ” “Golden Age” “Dancing Choose” “Halfway Home”

Kings of Leon- Only By The Night

We often hear bands trying to grow and change their signature sound. Sometimes this pays off, other times it doesn’t. Kings of Leon might most exemplify this trend. Their first two discs, Youth and Young Manhood and Aha Shake Heartbreak, seeped of sexuality and youth, and earned them the nickname “the Southern Strokes”. However, Because Of The Times, saw the Followill boys growing up, sounding darker, harder, and more ambitious than they ever had been before. Only By The Night, continues that trend, and depending on which Kings of Leon you prefer, this album may leave a funny aftertaste in your mouth. The album starts off brilliantly, “Closer” pulls you in, “Crawl” draws you closer, and then “Sex on Fire” unleashes on you. “Crawl” is full of stunning guitar riffs that recall Led Zeppelin, and is by far the most musically superior song on the album. “Sex On Fire” features Kings of Leon at the top of their game, with a slow build to a climatic chorus showcasing Caleb Followill’s powerful, unique howl, with dueling guitars and thumping bass throughout. The problem with these three powerhouse tracks kicking off the album is that the band can never match these songs; the album has peaked after 10 minutes. The arena-anthem “Use Somebody” begs for someone worthy of Caleb’s love, and “Manhattan” is a beautiful, relaxed narrative about love and corruption that provide some of the final highlights of the album. In “Revelry,” “I Want You,” and “Cold Desert” have the band wearing their Southern roots on their sleeve. The problem is that none of these songs quite grab your attention like the beginning of the album. The song “Be Somebody” may be the darkest, most ambitious track off the record. It’s vicious and snarling, beautiful as it is brooding, and saves a fairly droll finish to the album. On the whole, the record, while it doesn’t exactly let you down, doesn’t quite live up to expectations either. Only By The Night would be considered a great album by any other band, but because it’s from Kings of Leon, one tends to want a little more.  The verdict truly depends on which Kings of Leon you love: the youthful, reckless band, or the ambitious, mature one. Here’s to the Followill family finding something in between.

8.5/10

Key Tracks: “Sex On Fire” “Crawl” “Use Somebody” 

Cold War Kids- Loyalty To Loyalty

Cold War Kids burst onto the music scene with their 2006 debut Robbers And Cowards and their hit single “Hang Me Up To Dry,” showcasing a blues-rock band with swagger and piano to boot. With their sophomore release, Loyalty To Loyalty, do more of the same, without sounding stale and repetitive. The album is a joy throughout, and will have you grooving and nodding in no time. “Against Privacy” kicks off the record, sounding murky and bluesy. “Mexican Dogs” picks up the pace, with thick drumming, reverb guitar, and Willet bearing his soul through his strained vocals. “Every Valley Is Not A Lake” is intense and soulful, and “Welcome To The Occupation” dares you not to shimmy, with bongos, cowbells, and shimmering guitar, along with some of Willet’s most pleasing vocals on the record. “Something Is Not Right With Me” is Loyalty To Loyalty’s first single, within good reason. The song is irresistible; the piano is pulsating perfectly with the precise drumming, emotional singing, and grooving bass. “Golden Gate Jumpers”- an ode to suicide- leisurely strolls along with unhurried, effortless vocals and delicate piano, with “Avalanche in B” continuing along at the same pace. “I’ve Seen Enough” picks things back up, with a catchy beat and melody, showcasing a near salsa tinge. The song “Every Man I Fall For” is sung through the viewpoint of a girl, emoting "Every man I fall for drinks his coffee black/love and hate are tattooed on his knuckles/And my name is on his back.” Hillet grasps at his loss of youth in “Dreams Old Men Dream,” which features yet another irresistible hook and a very cavernous, atmospheric feel. “Relief” is a breath of fresh air, combining the CWK basics with a synthetic undertone that nearly mirrors Ghostland Observatory, and makes for one of the most interesting moments on the album. Cold War Kids gently bow out with their final piano-driven song “Cryptomnesia,” capping off a great record. There isn’t a boring moment on the record, and while it may not feature as many stand out tracks as Robbers And Cowards, the album, as a whole, is far superior. Every track is a good listen, and things are only looking up for Cold War Kids, as Loyalty To Loyalty is sure to snag the band many more loyal fans.

8.8/10

Key Tracks: “Something Is Not Right With Me” “Mexican Dogs” “Relief”

The Stills- Oceans Will Rise

Montreal product, the Stills haven’t quite broken through to top tier band status quite yet, but this album, along with an upcoming tour with Kings of Leon and We Are Scientists could very well do the trick. Their newest disc, Oceans Will Rise, is the follow-up to the disappointing Without Feathers, and picks up where Logic Will Break Your Heart left off. “Don’t Talk Down” opens up the album with seesawing guitars, grooving piano, and Tim Fletcher’s beautiful voice, evoking thoughts of Interpol throughout. “Snow in California” sounds much like the title; a siren going off in the middle of a snowstorm with swooping guitars and precise, tight drumming. “Snakecharming The Masses” is a dark and broody tale of confusion, while “Being Here,” the album’s single, opens up fantastically and the chorus displays what amazing potential the Stills possess. “Being Here” can quite simply get stuck in your head for days. “Everything I Build” is one of the most hauntingly beautiful songs from the album, but afterwards the Stills seem to start holding themselves back, though “Eastern Europe” and “Statue Of Sirens” are worth several listens. The Stills show what they are capable of with Oceans Will Rise and hopefully with their next release, they will rise to their premiere band potential.

8.3/10

Key Tracks- “Snow In California” “Don’t Talk Down” “Being Here”

Ra Ra Riot- The Rhumb Line

Ra Ra Riots debut album is full of promise and beauty. Buzz has been building on the Syracuse-based band since their self-titled EP released in 2007 and several impressive showings at SXSW, and with The Rhumb Line, Ra Ra Riot proves they are worthy of the hype. Though they mix equal parts Vampire Weekend and Arcade Fire, their sound is one of their very own. The album swells up and simmers down seamlessly, always demanding one’s attention. The Rhumb Line might just be the ultimate “study rock” record of the year. The opener “Ghost Under Rocks” builds and builds into a dramatic crescendo, featuring breathtaking violin that steals the show. “Each Year” has to be one of the best songs of 2008, simply beautiful and captivating in every way, violin shimmering and vocals glimmering the entire duration. “St. Peter’s Day Festival” sounds straight out of a Shout Out Loud record and “Winter ‘05” is the most poignant song on the album. We witness Ra Ra Riot picking up the pace with “Dying Is Fine” and it is one of the most enjoyable songs on The Rhumb Line. Watch for Ra Ra Riot in the future, make sure to catch them live if you can, and definitely pick up this album.

8.7/10

Key Tracks- “Each Year” “Dying Is Fine” “Ghost Under Rocks”

Bloc Party- Intimacy

London rockers Bloc Party make sure not to disappoint on their third full-length effort, Intimacy. Combining the frenzied, rocking guitar and powerful choruses of Silent Alarm, and the electronic sensibilities from A Weekend In The City, Intimacy becomes, according to lead singer Kele Okereke, the record Bloc Party has always wanted to make, and an absolute must-own in my book. “Ares” launches off the record, beginning with eerie echoes, followed by frantic guitar, booming bass, and Kele switching from distorted shouting to a delicate whisper halfway through the song, only to come roaring back. Matt Tong’s drums sound drum corps-esque, and when combined with Kele’s vocals, transform “Ares” into a call to arms. The single “Mercury”, a sure to be a hipster dance club staple for the next several years, features looped vocals and an infectious rhythm, and can easily be lodged in one’s brain for days. “Trojan Horse” is a tortured farewell to an ex-lover, featuring some of Kele’s best singing and rip-roaring guitar. The highlight of the album is “Halo”, a song of love and lust, that is so catchy and rocking, that it’s near impossible to not sing along. Bloc Party loses a little steam at the end of Intimacy, but all the songs are all still enjoyable, and picks back up with “Better Than Heaven”. Overall, Intimacy is one of the most entertaining Bloc Party products yet, and acts as proof that Bloc Party will be around for a long time.

9.0/10

Key Tracks- “Halo” “Ares” “Trojan Horse”