Noah Lawson is a composer, producer and multi-instrumentalist from Northumberland, UK. Composition has always driven Lawson’s musical interest with his earliest songs written at the age of nine. He enjoys improvisational music, in particular contemporary jazz, and formed the jazz duo SubWoofer with percussionist Dom Kilsby in his teenage years. Trained as a classical pianist and drummer, as well as being a self-taught guitarist and banjoist, Lawson went on to the University of Oxford to study music, and obtain his BA, where he explored his emerging minimalist and electroacoustic contemporary classical compositional style. He was appointed the Composition Scholar at St Anne’s College in 2018, studying with Professor Martyn Harry and Dr, Eugene Birman. At Oxford, Lawson discovered his interest in music production while recording his first EP. This prompted him to move to the University of York to get his master’s in music production. Lawson’s solo projects aim to draw upon this range of influences to make music that is accessible and stimulating, emotive and thought-provoking.
To Restore What Has Been Lost draws on Lawson's wide range of influences, from Sufjan Stevens and Plini, to Brahms and Tigran Hamasyan. The result finds acoustic, banjo-based songs moving into dense synth solos, rubbing shoulders with choral polyphony and contemplative piano ballads. It’s Lawson's first full-length album and it reflects on the last two years of his life – from his conversion to Christianity, the breakdown and restoration of relationships, to the issue of loneliness and the value of friendship. A large majority of the album was recorded and mixed in Lawson's bedroom and garage, aside from the drums on the opening track which were recorded in the professional standard studio at the University of York. It was recorded using Reaper– the only mainstream DAW that accommodates Lawson's visual access software – and was mixed in the box with mostly the package reaper plugins.
The opening track “Even in the Cold” has a lofty and light sound – steady piano rhythms are accompanied by light, “soundscape” styled keys and hypnotizing vocals. The drumming comes in after a few more measures, reminiscent of a little Coldplay and Radiohead. Overall, a very inspirational sounding opener that “sounds” like the cold. “The Walk Before I Run” takes us out of the tundra and into the bayou with crickets and other swampy creature sounds, among the rolling, soft sounds of the banjo. Speaking of ‘soft sounds’ the singing is magnificent, very soothing and inviting. This one really had a special, tender quality about it. Switching gears yet again, is “The Run” – with its beginning ‘sci-fi movie’ sound. The offbeat rhythm of the drums, arcade game-like keys, over the low droning second keyboard sound, made me feel like I was inside Tron again.
Playing off of that sci-fi, futuristic style is “Hold You” – a journey into all things ambient and spacey. The intro begins with Lawson’s voice being put through some kind of electronic voice enhancer, which makes your voice literally sound not like a human’s, and then the rest of the song is purely instrumental. Next up, is “Always” which begins with typing sounds a la a laptop, I assume, followed by an acoustic guitar, synths, bells and a warm, rolling rhythm section. One of Lawson’s longer pieces, “Always” moves nicely along with dynamic vigor, filled with both high and low climatic moments. “She Loves You” features bell sounding keys, that are coupled with orchestral, violin-string keys, and some kind of repeating “mantra” if you will. A steady beat follows on the rim of the snare drum with an interesting mix of pop, contemporary classical and indie styles. Further in, more keys are layered, along with a heavier drum beat. I would recommend listening to this one.
“Pointless Changing” has a piano and vocal beginning. This one “felt” like watching the snow falling down during winter – must have been the way Lawson played his piano. The drums added just enough “break” to give this number greater dimension and texture. “Hunting Crayfish” threw me for a loop – at least the beginning did. The mix of key/synth sounds were a feast for the ears – so many ranges of styles, it was hard to keep track of what I was hearing, but I was diggin’ it. The drums were sharp and forceful, just a great contrast of sounds overall between instruments and voice – another song I would highly recommend. “Another Day with You” has a tender and melancholy feel to it – something that sounds like it was written around Christmastime or the dead of winter. If you like the sounds of a piano with voice, and a little extra synth effects on the side, this song is for you. “Reprise” might be up your alley as well – carrying on the piano/synth pairing, along with futuristic “robot-like” and “choir-like” voices, church organs and other ambient style details – this one was very dynamic. I mean – wow!
And last, there is “Nervous” – another venture into the sounds of the banjo. This is Lawson’s longest song on the album by far, and it includes horn and organ-like keys, crisp drumbeats, whispering “in the round” vocals, dramatic crescendos and a killer keyboard solo, that totally made me think of “Lucky Man” by Emerson, Lake and Palmer.
What can I say about Lawson’s first full length album? Well, it’s about as well produced as any album I’ve ever heard, not to mention it’s rich with complexity. I would recommend it for sure. You may hear a few more layers of something in between another listen or three – recordings like this offer a wide array of styles and influences. You may not hear them right away, but give it time – there’s some really good stuff going on in this debut.
Sunbourne Rd is back with a new EP entitled Xie. He explains this EP was a little different in approach and I really liked his explanation. Basically, the artist wrote the music but the producer was in charge of the sound. I thought it sounded great and this is arguably his strongest release.
The song starts with “Told Mara” which harks back to post-punk but really aligns more with bands like Interpol and The Killers than Joy Division. It’s a solid opener with catchy melodies and an explosive chorus. I could argue this is the most single worthy track in the batch.
“Let It Go” was my favorite song in the batch. I was getting more of a ’60s vibe on this song and it reminded me specifically of The Beatles on this song. The vocals are great throughout this EP but man do they shine against this type of delivery and more ballad like approach to the songwriting. I think the piano and vocals alone were pretty incredible sounding.
“Xie” is next and is a little more dark and perhaps a more Radiohead type of vibe with some delicate guitar picking that is juxtaposed against a rocking rhythm section. “In Dependence” was another slight change in direction. The music on this song didn’t feel rock oriented. It’s moody and there are some synths and percussive elements which add to that quality. Last up is “Landscape Fantasy” which is a warm and reflective ballad. There are some inventive transitions and some fantastic guitar licks on this song.
The EP is only sixteen minutes but really filled to the max with quality tunes. There are a number of different flavors and the artist and producer in this case were talented enough to make each song shine.
Overall, this is a great release and a very welcome addition to an ever growing discography. Recommended.
Trauma, mental health and depression are far and away the most sung about topics from artists in recent years. I would say as high as sixty percent of the albums I have reviewed over the last couple of years have revolved around these sorts of topics.
Trauma by Olmo & Friends is the most recent release to revolve around these issues. The music is darker hip-hop. I found the beats and music to be fairly straightforward but well formed. It revolves around 4/4 beats and a lot of elements you find in hip-hop such as a prominent big kick drums, splicing techniques and more.
“Last Year Featuring Foley (Prod Pendo 96)” is the best produced track. The song tries to create a sense of mystery with a haunting choir and piano. There is a guy who is not exactly rapping and often comes off like spoken word. He paints a picture of a young indignant guy who could probably benefit from meditation. The rapper sings about his rage and even calls himself a scumbag and monster. In all honesty this reminded me of how some guys act in their 20’s where they get jealous and don’t know how to control their emotions.
Next up is “Lately (Prod Kane Shaw & Olmo Milnes)” and the fidelity takes a noticeable dip in quality for some reason. The music is again sort of haunting but the guitars give it more of a Linkin Park type quality. Thematically, the song is similar to the first. There’s a lot of nihilism and self-loathing with maybe a sliver of hope that things will get better.
On “See In Your Eyes (Prod Michael Howe & Olmo Milnes)” there is a lot of splicing on this song. The song is grating at times which was fine and he balances that with softer moments. “Stockholme (Prod Kubsy Beat)” was the highlight and my favorite song by a large margin. The mood is more subdued, meditative and pensive; it pays off very well. This song is the sound I would encourage him to go after in the future. The hook on this song is also just really good. “Trauma Featuring Jade Grundy (Prod Caps Ctrl)” is a solid song as well with female vocals.
My main critique is that I so wanted the band to hand the mixes to a professional mastering engineer. The songs are noticeably different volumes and the fidelity is different from song to song and this fixable. A mastering engineer who knows what they are doing can fix these types of issues with things like multi-band compressors. M/S processing and EQ.
Overall, there were some cool ideas and a couple really great songs. I wish the band luck with their new style.
Blue Yüth is the creative project of Pierce Cole of Vancouver, British Columbia who was inspired to start making music after hearing “Being Boring” by the Pet Shop Boys. Cole is also a fan of John Maus, Lust For Youth, Black Marble, Light Asylum, Molchat Domas, Q Lazzarus and Depeche Mode (this relative old timer also caught whiffs of Gary Numan and Berlin).
Blue Yüth is an EP of five songs, and runs about 21 minutes. Cole created his music using the Elektron Analog Keys sequencer and an MPC Live drum machine. The tracks were mixed by Paul Stewart at Vancouver’s Watch Yer Head Studios and mastered by Harris Newman at Grey Market Mastering in Montreal. Aside from the aforementioned credits, Cole is a little stingy with background info, so we’ll have to depend on the music itself.
For the synth pop genre, Cole’s vocals are excellent and on-the-nose, both solo and in harmony with himself. The songs are vocal heavy with pleasingly retro synths, almost always percolating at medium speed. This pattern is set immediately with “Oedipus” which features a beat and urgency that reminded me of Billy Idol’s Dancing With Myself. “Jonathan Taylor Thomas” is a minor pop classic that I prefer to call “In Your Motorcade,” thanks to the lyrical conceit: “Won’t you take me away with you tonight / while my dreams are bright and yearning / you can call me, I’ll come running / and we’ll drive away / in your motorcade.” The energy here brought pleasant memories of “Metro” by Berlin. I also love this wry couplet: “Look at your pretty picture, I wonder where you are / I’ve got my CD playing, my favorite - Wonderwall.”
“My Pretty Girl” is a slower, heartfelt tune that feels constructed around the lyrics and not vice versa. Musically this song takes a few unexpected turns and nearly loses the thread, but ultimately seems cohesive. “O My Lover” has a similar construction where the music does whatever it can to sell the lyrics, though perhaps in a more scattershot fashion.
“Mexico” concludes the set with a bit of a changeup, feeling like a song from a movie taking place south of the border. Lots of robotic drum rolls here along with horn-like synth patches. “I wanted my heart to break / Down the door to your sweet home / Kicked in by an earthquake / Like the Federales of Mexico.”
Ultimately this set features some strong tracks and a couple that might fall just a hair short, but overall Cole has succeeded in creating new and enjoyable songs in the electronic genre he so obviously loves.
God’s Unwanted Children is a rock band that directly brings to audiences a dark alternative vibe filled with theatrical vocals backed by jolting beats, catchy riffs and symphonic overtures. The band is releasing their self-titled album God’s Unwanted Children, a ten-track spree through the minds of founder Brent Kinder (baritone guitar/drums/keys/backing vocals) and Dana Detrick (vocals,/lead & rhythm guitars/words) as they with Alejandro Olivares (bass guitars) unleash to the world their dystopian take on alternative rock through the ‘80s and ‘90s, transforming the genres with their style of rock that reels you in from the get-go.
God’s Unwanted Children starts off with “Begin,” where tinny synths add a touch of radio-activeness. Detrick’s vocals are operatic, brimming with a theatrical aspect. I enjoyed the drama her vocals embellish on this track. The music is driven and I loved how together everything sounded. Rumbling bass rolls forth on “Chrysalis” as guitar riffs sound out overhead. Once Detrick’s vocals come in, her vocals add a softness to the edginess, making for a smooth delivery. The rock vibes are undeniable. Thunderous bass lines greet “NMWR.” The energy on this song is immediate. The guitar solo is above all epic. The band really goes all-out here and I enjoyed the rush of sounds.
The band goes into the direction of a more pop-based sound with “The Swerve.” The catchy riffs and theatrical quality to the vocals felt like something that would be appropriate for the Broadway stage. It had a sing-along vibe to it that would feel great as show tunes music. The band dives into a more stripped sound with “Replay.” The sparse guitar riffs eventually open to a fuller band approach with a sauntering beat and more guitars. The music feels very soft and is a respite from the harder edge energy from before. The sounds of strings add to the backdrop. Beats and bass adds to the dark sounds on “Broken Sea.” A melee of guitars addresses the start of this track. You can feel the wealth of emotions underneath Detrick’s vocals as she sings with attitude and flair.
The band frees themselves from their darker riffs into more pop-oriented territory on “Larmes du Minuit.” The song felt vibrant and catchy. I greatly enjoyed the vocal harmonies and how the guitars sounded here. More strings add a dramatic layer. On “Authentic Beast,” the keys sound melodic and energized all at once. The combined guitars roll forth on this exciting ballad. I loved the expansiveness that this song delivered. This felt like another track that belonged on Broadway. Simple guitar riffs slowly ebb and flow through “Dead Man Charity.” Off to a sauntering groove, Detrick’s vocals wind in with full theatrical force. Her showmanship is at its best as she commandeers the song. The instrumentals really come together as they coalesce to great effect. This album ends with a huge bang.
In full rock n’ roll spirit, Detrick takes full command of these tracks with her searing showmanship. She really takes these tracks by the reins as you can feel her powerful voice incorporate an added punch to the overall dynamics of the songs. Consistently throughout these tracks is an unbridled rage that flows throughout these sections. The energy is ill-contained and as you listen on, you can most likely feel the dark riffs undulate over these tracks to the point of overpowering. This dark vibe feels very gothic in nature. The band embraces their dark and gothic sides on this album and what comes across is a sound that is very immediate and in your face. Unrelenting and keeping things consistent throughout, the band never lets up but throws themselves full-throttle into the music. This was a great start and I look forward to seeing what’s up next for the band.
Monsters Who Sleep is the solo project for Joshua Richard. He recently released Beyond The Inevitable Murmur. The album combines acoustic guitar with soundscapes. I thought Richard’s more natural sounding voice veered towards what I hear on pop punk. That being said he changes his affectation from song to song and often in a song. Take for example “Yellow” which begins with grating vocals and then is quickly manipulated using different effects.
The mood is all over the place on the album but is often dark. The emotive qualities often felt on the line and could go in any direction very quickly. I honestly didn’t know the emotional intent on some of the songs which could be a good thing. Take for instance “Counting Wolves” which is an example of the heaviest affectations on the album. It starts with him lamenting in pain and then whispering. The delivery is so dramatic it becomes comical and once I heard the spoken word which sounds awfully close to the cookie monster I had to laugh. This is not a knock on the artist. I often have the same reaction to David Lynch (whom I adore) films that dance on the same line.
There are other songs which are straightforward. The very next song “Ravens” is basically just guitar and vocals. He strums a couple of major and minor chords, sings and also puts in some atmosphere in the form of synths.
Richards often utilizes synth strings such as on “Death Eater,” “Ivory Tower” and many others. This aesthetics creates more of a bedroom artist type of quality to the record. It reminded me of Your Blues from Destroyer.
As the album progressed the sequential order felt a bit scattered. He attempts a lot of different approaches. Perhaps the most notable was the pop punk infused “Deadworld” into “My Heart Is Somewhere Else” which sounds more like a composition you might hear from Max Richter. I say that as a compliment as Max Richter is one of my favorite composers.
I give the artist massive kudos for attempting this out of the box approach. Some of it worked and other times I had a harder time going along for the ride. Overall, there are some really interesting ideas and I encourage you to take a listen. I have a feeling there will be varied reactions. Recommended.
Wes Hlebichuk (vocals/guitar), Shawn Thompson (guitar/keys/bass/violin/cello/vocals), Phil Calvert (bass/guitar/keys/vocals) and Rick Sloot (drums/percussion) are Birch Riley. The band apparently formed in 2000 and recently released Fragments of Space-Time.
The band explains “Fragments of Space-Time is a concept album that depicts the personal accounts of a deep-space explorer who is helping to establish a colony upon a new world. He quickly discovers that this seemingly barren planet hides technological clues to a civilization long gone, and, most impressively, an intelligent computer that can take on the form of a human woman through advanced holograms…” As with every concept album I’ve ever listened to, the “story” feels nearly impossible to keep track of the narrative, especially if you are going with no knowledge there is a story to keep track of. I had a hard time making out the lyrics on occasion. Take for instance “Dog Lies' ' where the singer often sounds like he is going through an ayahuasca experience. That being said it might be beneficial to your experience to keep the concept in mind.
The album is fifty-seven minutes long and contains fourteen songs. There are a lot of different styles and approaches. I give the band kudos for attempting such grand and epic leaps on an album but I have to admit at times it felt overwhelming if you are listening from beginning to end. The vocalist is a bit of a chameleon but for the most part the affectation is very dramatic in some way throughout the songs. I really didn’t feel much levity from this sort of intensity that ran through the album although sometimes when they indulgde in prog the mood seemed to lighten up.
Musically, the band is primarily rock but they jump around multiple sub-genres and other styles as well. Take for instance “I Expect” which sounds somewhere between Tool and various bands from the grunge scene. The next song “One Life to Live” is more prog based and I would argue more ’80s sounding.
Then you get a song like “In Disguise” which is an epic ballad with orchestral strings. The band sounds like closer to a pop/country blend band on “Lone Gun” and even sounds similar to The Dave Matthews Band mixed with an alternative act on “Dead Wrong.”
My main critique as a producer for twenty years I would have told the band to scale things back a tad in terms of the styles, textures and tones. In my opinion less can be more and often more powerful. There are some occasional hard turns they do here such as the transition from “Dead Wrong” to “How Far Will You Go?” where it sounds like two different artists. After the very earthly sounding tune that sounded like I was at a rock concert they decide to explore space with a mysterious sounding soundscape. Both were cool individually. Generally speaking, I prefer it when albums have a seamless quality from track to track (which this album has during some transitions), where the differences are there but not too much that it makes me feel like I was listening to various artists.
Any way you slice this is an epic album and the band obviously put so much work into it. The recording quality is exceptional and the band's technical skills are also top notch. I enjoyed most of the songs which were all well written. I’d say since there are such differences in style it will come down to personal preference.
Overall, a very good record from a talented band. Recommended.
Andrew David Weber is a multi-instrumentalist living and working in Milwaukee, Wi. Last year we reviewed The Voice Of Experience and he is back with The Howl of Insanity. I think it’s important to mention the concept of this release since it’s very specific. Weber mentions “The album follows a character that Andrew refers to as "The Soldier". He goes to war, leaving behind his somewhat struggling relationship. The ensuing story sees him through battle and, as a result, a deteriorating mental state.”
The album starts with “Battleship Gray'' and is a high energy rock. It explodes without much warning once you press play and transitions into a verse with subdued power chords. The song follows a rock structure and progresses with an anthemic chorus.
“Murder” is next and this is an intense song as well. The song rolls with heavy hitting drums and distorted power chords. It’s an epic sounding song complete with a killer guitar solo. “How Bad Could It Get?” is a change in mood and style. This is closer to folk songs that revolve around acoustic guitar and pensive orchestral string which sound like a cello. I loved this style of him but it did feel like a 180 turn.
Next up is “The Howl” and I would classify this more as metal and prog rock. In fact there is an ’80s vibe I heard on this song that wasn’t there on the previous songs. “Moods” is a ballad and off kilter in a good way while “Galaxy” brings up the energy and reminds me of Mumford & Sons.
“Regardless” had its moments but I really loved the soulful “Promise Me (feat. Andii & Audible Kink)” which has some ’70s style male and female vocals that work out great. “Weight (feat Mitch Martell)” is a rocking tune that again feels very epic in execution. In another 180 quick turn the album closes with the country-esque like closer “Life Boat.”
My only critique is the album jumps around quite a bit. It was hard for me to form a signature or singular sound with this release which is something I endlessly mention. On that note he pulls off the different genres but the slower, folk ballads in my opinion was his strength.
Overall, this is a really good album with some great songwriting and delivery. Recommended.
Randy Ludwig (vocals/guitars/bass), Tony Robles (guitars) and Amos Przekaza (drums) are Radio Fiction. The band recently released Dizzy Box Nine. Apparently Dizzy Box Nine is a limited edition EP which features "Show Me Everything That You Are" and "GPA" from the upcoming album Last Call Before The Fall, which is slated for a spring 2021 release.
The album starts with “Show Me Everything That You Are” which is a summer pop type of rock song and sounds somewhere between Smashmouth and Jimmy Eats World. It’s a straightforward tune that has an accessible quality.
The band continues with “GPA” which is faster moving song with motivational overtones while “Anytime Anyplace” is the one of the highlights and has more aligned with ska in some ways minus the horns.
“20 Seconds” is another solid song that embraces indie rock 101 type moves. The EP continues with “I Feel Alright,” “Crystal Rae” and the more ballad like “I Won’t Let You Down” which is another highlight. The band embraces a more summer pop vibe again with “Yeah You” and the more pensive and folk inspired “My Last Day.”
This album was well produced and engineered. The fidelity was quite good. As far as the songs it was more hit and miss. I had some personal preferences in terms of style which was a mix between the more ballad like songs and also the harder hitting songs. The songs felt predictable without any surprise, good or bad.
Overall, there were some solid songs in the batch from a talented band.
Blu Ruckus is the performing name of New York-based artist and songwriter Nolan Mendoza. Mendoza began creating music at a young age when a friend gave him an old MIDI controller, which ultimately led to his electronic music style. “By sampling and distorting sounds,” Mendoza writes, “Blu Ruckus creates a juxtaposition of acoustic and processed sounds that transports the listener into the glitchy world of magic and machine. These seven songs are influenced by Radiohead, Jack Antonoff, The 1975, David Bowie, M83, Grimes, The XX and more.” Regarding his band’s sound, he adds: “I always loved the DIY, imperfect tones of early independent productions, the way you used to be able to hear what was going on in the background of the studio if you listened really closely. I wanted to make it feel like you were tuning into some sort of Alien Radio.”
2019’s Poor Kid Orchid was an introduction to the world of Blu Ruckus, and was about “an extraterrestrial who is feeling for the first time he is not human.” In this 2020 release Kid Orchid, the kid learns that he, in fact, is not a human, and begins his next chapter. “I was feeling like giving up on humanity,” Mendoza admits. “I started dreaming, and thought we (humans) might be better off if we were actually in some E.T. simulation. This album was extremely healing and got me through some personally shitty and tough months.” These tracks were recorded in New Jersey, New York and Arizona, and mixed and mastered in NYC.
Right off the top, I have to say that Mendoza succeeds in his desire to create a malfunctioning computer simulation world, and his various glitches and distortions are tastefully placed and quite beautiful. Without a lyrics sheet I was unable to decipher more than a few phrases here and there, which is unfortunate because the ongoing saga of Kid Orchid is obviously quite important to Mendoza. Left to my imagination, the temptation is to see the Kid Orchid story as a rough parallel to Bowie’s Ziggy Stardust and Alladin Sane, or Radiohead’s Kid A. That said, the vocals are performed quite well and display a large variety of arrangements, from intimate solos to space age choirs and all points in-between.
“Arrival” is a short preview of what’s to come with a slow flowering of synths, keyboards and digital drums; the vocals indeed sound like they’re calling in from another dimension. This track is only one minute and 24 seconds, but is good enough to have continued for another two or three minutes. With a sudden stop, we move on to “Hell Of A Man” which features an easy rock beat and various cool vocal treatments. At this juncture Kid Orchid appears to have his feet both in our world and another universe far away. “We’re floating through the afternoon / You’re rolling me a joint or two / There’s so much I want to do / We’ll make a home up on the moon / For me and you / It seems so new.” Mendoza has a nice touch with his keyboards, mixing them close enough to make their statements, yet far enough away to maintain his open, spacey atmosphere.
“A Message” is another short bridging track with slow, swirling synths and a fractured voice trying to break through the distortion (but not quite succeeding). Another full stop and we’re into “Advice,” another uptempo rock tune with folky acoustic guitar and harmony vocals, accompanied by sweet melodies on the guitar and keys. “At sixteen my best friend was a witch,” Mendoza sings, “And she told she could fix it / But I said that I’m all right / Don’t take advice / they’ll kill your heroes twice / and I’m so paralyzed / Until you’re home.” This song shares many of the charms of “Hell Of A Man” without being too stylistically close.
“Virgo” initially reminded me of Prince both instrumentally and vocally (especially the chants of “I just want to love you”), and features electronic drums that recall the old Mattel Synsonics units that were ubiquitous in the ’80s. Very cool pulsing background melodies here. Halfway through, most of the instruments drop out and then slowly regather, along with occasional, distant seagull sound effects.
“Stains” is a song anchored both by acoustic and “lead” piano that is either electronic or pushed to the absolute maximum EQ. In other hands, such an effect might have you yanking off the headphones, but Mendoza has a knack for making noise and distortion listenable and beautiful. “I Think I Think Too Much” ends the album like a slow-paced electronic symphony, over which Mendoza sings with a voice worthy of Peter Gabriel’s weirdest tracks. All the strengths of the previous songs are present, including a seemingly endless variety of processed beats and effects.
Despite Mendoza’s fealty to his ongoing story, I enjoyed this collection more as a trance album where I didn’t have to think too hard. If I could make any suggestion (aside from printing the lyrics), I’d advise that the trance style might be better served with fades between songs instead of dead stops, but that’s Mendoza’s choice and it works either way. Worth checking out!
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