Jump to content

Official New Music Thread


Moonraker
 Share

Recommended Posts

I practically stole the Pulse DVD -- Costco had it for $14.29!

Then I overpaid for Dream Theater's Falling Into Infinity ($18.99 at Borders...blech)

And I got Neil Peart's book Travelling Music for $12.99! biggrin.gif

 

so I had a good day yes.gif

 

 

EDIT:

 

OMG PULSE IS f***ing AMAZING!

 

I'm almost done with the second disc (I wanted to watch DSotM first), then I'll start on the first yes.gif

Edited by fledgehog
Link to comment
Share on other sites

Animals came in the mail, and I really like it. It was Pink Floyd's ninth studio album and came out in 1977 as the somewhat bleaker successor to Wish You Were Here. It is currently certified Quadruple Platinum, though it initially wasn't well-received in the U.S.

 

The opening track is very reminiscent of earlier Pink Floyd, such as the pastoral second and third tracks of Meddle. It is entitled "Pigs On The Wing (Part One)" and seems to contain an allusion to 1984 by George Orwell with the line, "Wondering which of the brothers to blame"; in fact, the entire album concept seems to be inspired by Orwell's other literary classic, Animal Farm. This opener is a bit of a throwaway, really. This sort of album deserves a darker, more experimental, more powerful opening piece.

 

The next cut, "Dogs", weighs in at over 17 minutes long. Each of the three extended pieces that are the meat of Animals classifies a group of human beings; the "dogs" are the businessmen and the bureaucrats, who bully and cheat and derive enjoyment from the suffering of others whom they control to feed their own greed. David Gilmour delivers excellent guitar work here, as through the rest of the album. It's not catchy or immediately gripping, and casual listeners won't find much here to entertain them. Listening more closely reveals the reward of this work.

 

"Pigs (Three Different Ones)" was to be the subject of the August 4, 2006 edition of The Word, but...this was sadly not to be. The "pigs" are the people who cite moral, political, spiritual, and/or religious authority and righteousness as their reason for the masses to obey them. Roger Waters, the lyricist for the band, announces, "Ha, ha! Charade, you are..." in mockery, claiming to see through their empty veneer to the despicable, power-hungry, manipulating, conniving, personally motivated souls that they are. This song also probably marks Pink Floyd's first use of the infamous F-bomb, in the second verse, allegedly about British politician and former Prime Minister Margaret Thatcher, a hardline Conservative hated by the band and by Waters especially. This song is catchy and technically very ambitious, but successful in its approach. Probably my favorite Animals cut and one of my new favorite Pink Floyd pieces.

 

"Sheep" concludes this trilogy of animalization of human beings, classifying those who aren't on the ill-gotten pedestals of the dogs or pigs as "sheep". These masses follow the leader blindly unto the slaughter, but towards the end of the song, they rebel and destroy the dogs. The vocals of Waters on this song are blistering and smiting in their style and approach; in terms of sound, this might be the angriest Pink Floyd piece to date. While "Pigs (Three Different Ones)" sounds bitter, "Sheep" sounds like a bitter tirade against the human race. And it is.

 

The album is bookended by "Pigs On The Wing (Part Two)", which seems to describe Waters as a dog who "needs a home / A shelter from pigs on the wing", as the pigs even exploit and use their fellow tyrants, the dogs, as in Animal Farm. Despite this, it's an anticlimactic and lackluster beginning and end for such a deep, dark-gloried work of art and something shorter, but more in the vein of Wish You Were Here's two sections of "Shine On You Crazy Diamond" would seem more fitting here.

 

It's not quite as incredible as The Dark Side of the Moon - but really, what is? Regardless, the album is excellent. The cynicism may alienate many listeners, but to those who are appreciative of this new point of view and perspective on the human race, at once similar to and divergent from George Orwell's take on things, Animals is a masterpiece.

 

Oh, and did I mention that the musical composition and performance are also parfait?

 

 

 

Also got Meddle.

 

Meddle was released in 1971 and was Pink Floyd's sixth studio album, following The Piper at the Gates of Dawn, A Saucerful of Secrets, Music From the Film More, Ummagumma, and Atom Heart Mother. At this point in time, David Gilmour was the pioneer of the band's sound. Gilmour is also probably one of the best guitarists still living and exemplifies the "minimalist" style of playing.

 

The first track, "One of These Days", is an interesting and skillfully woven instrumental that builds up to the heavily distorted, slowed-down, German-accented, almost Satanic-sounding spoken vocal part provided by drummer Nick Mason, "One of these days I'm going to cut you into little pieces!" The instrumental "rocks out" as effectively as Pink Floyd has ever "rocked out" until fading into the sound of wind, which segues into the next track.

 

"A Pillow of Winds" is mostly easy listening. There are a few progressive guitar breaks and key changes here and there, but it doesn't demand the listener's attention nor does it make any attempt to deliberately hook them in. It's not a bad song, but it's not as good as "One of These Days" and any selection from the masterpiece albums of Wish You Were Here and The Dark Side of the Moon cleanly and clearly outdo it.

 

The next cut, "Fearless", features a bit more interesting and rich instrumental work and somewhat more inspired lyrics. Here, Pink Floyd clearly has not lost their psychadelic artsy edge, as it begins with and then fades out to end with a rousing chorus of the traditional English song "You'll Never Walk Alone" by a full crowd at a stadium game. Definitely an album highlight.

 

"San Tropez" is a jazzy number that follows "Fearless". Now, from almost any other band, it'd sound pleasant and relaxing. From a psychadelic prog-rock band like Pink Floyd, it's highly disconcerting and almost creepy. It leaves me feeling kind of cold, even though the song is supposed to be warm and upbeat. Floyd should definitely stick with the darker material.

 

This is followed by a barely 2+ minute affair called "Seamus" after the dog who performs vocals on it. Yeah, that's right. A dog has lead vocals on this song. The band's clearly having some tongue-in-cheek fun here, and it's not a song that's meant to be taken seriously. There's some mellow acoustic-blues stuff going on, but it's nothing to write home about and it feels out of place on a post-Piper Pink Floyd studio album.

 

Side B is the 23-minute epic piece entitled "Echoes", and it is...it is quite possibly the best single song that Pink Floyd ever made. It stays refreshing and engaging throughout the full duration of the song, with brilliantly used guitars and sonic textures seldom sounding redundant in the slightest. The lyrics at the beginning and end are also crafted; the song flows like aural poetry, and it's probably the best single reason for anyone to buy Meddle.

 

As a whole, the album isn't anywhere near as solid as The Dark Side of the Moon, Animals, or Wish You Were Here; it doesn't have as many bright spots as The Wall; still, it remains a worthy album. Multiple listens are key to understanding and fully appreciating the music here, as with other often-overlooked masterpieces as Supertramp's Crisis? What Crisis? and Rush's Grace Under Pressure.

 

If you're already familiar with some of Pink Floyd's work and you want to explore other elements of the sound, pick this album up and give it a fair listen or two.

Edited by Kudzu
Link to comment
Share on other sites

I haven't posted this in awhile...so this is from May till now

 

Nancy Wilson- Elizabethtown Score *Nancy Wilson is my hero*

Death From Above 1979- You're a Woman, I'm a Machine *too bad they broke up*

Fatboy Slim- You've Come a Long Way Baby *beats beats beats*

Elizabethtown- Volume 2 *Awesome! Cameron Crowe rocks!*

Craig Bartock- The Finer Points Of Instinct (Signed by the man himself! biggrin.gif *Heart's lead guitarist*)

Blue Parade- Sarah Slean *Very hard to find this album for some reason...it's good!*

Jethro Tull- Aqualung *what can I say? AWESOME*

Heart- Little Queen *ohhhhhh Barracuda!*

Jefferson Airplane- Surrealistic Pillow *One pill...*

Futureheads- News And Tributes *meh...not the best.*

Led Zeppelin- III *one of my fav led zep albums*

Velvet Underground- And Nico *thanks Lester Bangs and Lou Reed*

Nelly Furtado- Loose *where the hell did the strong songwriter go? The album is alright...but I liked the old Nelly!*

Coldplay- A Rush of Blood To The Head *I like Coldplay...just this album though*

Peter Frampton- Frampton *"I want you to show me the way!"*

Blur- Blur *I LOVE Blur*

Blur- Leisure *see above....P.S the album "13" is very hard to find by these guys...but is my fav! Coffee and TV biggrin.gif

Mishka- Mishka *haven't listened to it yet....but he is mainly reagge

Heart- Desire Walks On *awesome work by the wilson sisters biggrin.gif*

Hot Hot Heat- Make Up The Breakdown *Thanks to snowboarding...I found these guys since the beginning...awesome*

The Datsuns- The Datsuns * haven't played it yet...*

 

Link to comment
Share on other sites

Yeah, so guess what? Gutterflower is still not here. Yes, I am irritated. But I got Heat, Dust & Dreams by my favorite South African music artist instead, so that is good too. Release date: 1993. Currently out of print in the U.S., so you'll have to buy used or as an import. But do buy it if you like worldbeat or African music at all.

 

The opening track, "These Days", kicks off with the buzz of bagpipes and immediately informs the listener that they are listening to some serious fusion here. The styles blended by Johnny Clegg are South African mbaqanga, Western pop, Western rock, Celtic, reggae, and even Indian music, which makes it very hard to define. "These Days" is pretty heavy, with Clegg belting out the lyrics in one of the angriest, most biting tones he's ever done on any song. It makes "Soweto", off of 1982's Ubuhle Bemvelo, sound gentle. And, considering what South Africa and the world have just been through and what the future seems to hold for the tattered Africa, it's appropriate. What is surprising is the absence of hope or celebration even in the wake of the release of Nelson Mandela and the fall of apartheid.

 

The next song is one of the group's best. It's a short, softer piece in memory of a friend and former bandmate - the little note on the lyrics reads simply "For Dudu" - entitled "The Crossing (Osiyeza)". The song deals with the crossing from life into death, and how Clegg feels that it's like "coming home". It also deals with the impression that the departed leave behind. The Zulu chorus is effective, as usual.

 

"I Can Never Be (What You Want Me To Be)" has the subject matter of a man who feels inadequate and unsuitable for the woman that he loves and is bitter that she will never accept him because she's always want him to be someone who he can't be, which is oddly at ease with the uptempo, happy-go-lucky bounce of the instrumentation. Somehow, it works - it's charming and, most important of all, it's honest. Works for the Goo Goo Dolls; works here, too.

 

The next song is...well, it's honestly one of the best songs I've heard recently. "When The System Has Fallen" - even the name is promising. It starts off strong, with the always-awesome jaw harp and then the introduction of excellent, sharp vocals from Clegg, and just gets better, featuring a powerful Zulu-language chorus, which is almost always excellent and is brilliant here. Later in the song, the English and Zulu chorus lines are layered; the ending has downright majesty as the Zulu chorus is chanted over and over. The instruments drop down to drums, then finally the drums fall out and the last ten seconds are chanted a cappella. Definitely a "whoa" moment.

 

The fifth song on the album, "Tough Enough", kicks into gear with some cool concertina playing by Clegg. The lyrics aren't classic, but they work for the song. It's not a brilliant piece, but it's worth listening to and it's on my iPod, even if "When The System Has Fallen" and "The Crossing (Osiyeza)" are a lot better. This rock is fairly political, and has its merits. The bridge, which takes things down a notch, is pretty good.

 

And it's certainly a great deal better than "The Promise", which is weak. Clegg tries singing in a fashion that doesn't suit his vocal style at all, and the lyrics fall flat. It serves the purpose of calling attention to the main theme of the album, which is survival and "making it through".

 

It is followed by "Inevitable Consequence Of Progress". Now, the reviews I read said that this song was "brilliant", and it sounded promising: the perspective of a naive helicopter gunner shooting down native African tribesmen. Unfortunately, Clegg takes the previous bad vocals of "The Promise" to a whole new extreme of awful. There are really no words past that.

 

"In My African Dream" has good verses and a good bridge, but a very poor chorus with female backup singers that sound ridiculously out of place. There's a nice repeating keyboard thing going on beneath the main instrumentation of the song. Overall, the song doesn't hold up well. The chorus is regrettable.

 

The next song opens in a way that really shocked me. There's a heavy Hindi influence here; the usual bilinguality of the songs is between English and Zulu. Here, it's between English and Hindi. It's not that bad of a song, but it's not very good either, and the references to "the story of Ram" give the impression that Johnny Clegg just heard about some inspiring Hindu mythology and decided to write a funky song all about it. Definite slump over these past four songs.

 

Thankfully, "Foreign Nights (Working Dog In Babylon)" pulls it out. It's not a jaw-droppingly amazing or powerful song, but it's a good, solid track and is a marked improvement over the past four.

 

The closing piece is mostly Zulu and is awesome. It's called "Your Time Will Come". Towards the end, the deserved hope and celebration finally breaks through, as if the album itself symbolizes the dark times of apartheid that finally, at the end, break into the future: "I saw the Berlin Wall fall / I saw Mandela walk free / I saw a dream whose time has come / Change my history - so keep on dreaming". And that's a hell of a way to end an album.

 

Despite four songs in a row of "meh", I still have to recommend this for the rest of the album's worth of material. It's not for everyone. If you're only comfortable on the manufactured pop of the '90s and '00s, or the gangsta rap and hip-hop of the recent generation, or the shrieking, growling heavy metal of the U.S. of A., don't bother unless you want to break free. But if you like classic rock music, there's something for you here; if you like world music, it's quite recommended; if you like the bouncy sort of power ballads popularized by bands like Styx, Foreigner, and Boston, give it a go; if you just want to try something new, I can guarantee that it is definitely new.

 

 

 

I may or may not review Kansas' overall poor In the Spirit of Things later.

Edited by Kudzu
Link to comment
Share on other sites

Something else came today.

 

The format of The Wall, a double-album released by Pink Floyd in 1979 under the primary direction of Roger Waters, is surprising - it's not a concept album in the same way that The Dark Side of the Moon and Animals are. It's much more akin to the format and storyline of a rock opera, the likes of which are best represented by the famous Who releases Tommy and Quadrophenia and, more recently, Green Day's American Idiot.

 

The Wall opens somewhat mildly with "In the Flesh?" but it explodes into a heavy, pumping Floyd number less than halfway through. From the moment Roger Waters begins to sing, one gets the Tommy-esque feeling of a rock opera. The album follows the story of a rock star, cleverly named Pink, who builds a wall to isolate himself from the soundaholic world. The song ends with the cries of an infant, as the look into Pink's past begins.

 

"The Thin Ice" is a nice, typically cynical number warning Pink not to be surprised if the thin ice he walks on cracks beneath him. It's not a standout, but little on this album is - it's a rock opera. What do you expect?

 

"Another Brick in the Wall, Pt. 1", however, is a standout. It begins the trilogy of songs based around the same melody and introduces it as a theme, a leitmotif for the increasingly disillusioned Pink and is a very solid, masterful song.

 

It leads into the ironically named "The Happiest Days of Our Lives", which sounds almost apocalyptic with the sound of propellers, the growling vocals of Waters, and the organ playing some theme of doom. The Wall is rich with these sorts of ominous-sounding numbers.

 

"Another Brick in the Wall, Pt. 2" immediately follows, opening with a scream of frustration. This may be one of Pink Floyd's better-known and most often quoted songs, featuring the voices of a children's choir. The song seems to be about the oppressive schooled upbringing of Pink, which tried to blot out his creative expression. The line "We don't need no thought control" is especially indicative of this concept, and is a theme that Waters seems to revisit frequently in his work after The Wall.

 

The sounds of a telephone signal come into the next song, "Mother". It's rather disconcerting, as it takes the image of a loving, nurturing mother and twists it into the image of a mother who is so nurturing that she tries to control everything in Pink's life. It's a soft ballad that forces the listener to pay attention to the meaning, which is prototypical of later Waters works and at the same time reminiscent of the 1971 album Meddle.

 

"Goodbye Blue Sky" again returns to the theme suggested in "The Happiest Days of Our Lives": that of the Luftwaffe bombing of England during the early years of World War II. An innocent English child, over the sound of distant propeller engines, proclaims, "Look, mummy, there's an aeroplane up in the sky!" before the soft vocals enter to ask the "why?" questions of the bombs falling on England. It's a beautiful song.

 

"Empty Spaces" continues from there, pondering what Pink would have to do to fill the holes in his life. Roger Waters, being a rock star himself, doubtless made The Wall somewhat autobiographical - in fact, his father was killed in World War II - and seems to be writing about how empty a life of fame and adoration can be.

 

The next song, "Young Lust", slams into the theme of carnal desire as Pink seeks to fill the emptiness with sex to try to make everything feel better and fuller. It's a pretty good rock number, really, quite atypical of normal Pink Floyd.

 

"One of My Turns" preludes the actual sung vocals with the voice of a groupie talking to Pink and trying to get in bed with him, but Pink is unresponsive, eyes glued to the television. Finally, as the actual song begins, the lyrics indicate Pink's devastating rant about how he feels depressed and lifeless and makes allusions to death, then - as the song kicks into overdrive - begins asking what she wants: "Would you like to watch T.V.? / Or get between the sheets? / Or contemplate the silent freeway? / Would you like something to eat? / Would you like to learn to fly? /Would'ya? /Would you like to see me try?" At the end of the song, the horrified groupie flees from him, and he wonders why she's leaving.

 

"Don't Leave Me Now" focuses on Pink's feelings of loneliness and abandonment. It's a soft-spoken piece that, again, requires concentration. The song ends with more voices and chatter.

 

Again, the scream of Pink - more intense this time - signals the beginning of a new part of "Another Brick in the Wall", now Pt. 3. Barely over a minute long, this vignette illustrates Pink's belief that everyone is a brick in the wall.

 

"Goodbye Cruel World" is also short and difficult to interpret. It sounds as if it could be about suicide, but in the context of the album, it is Pink's farewell to the world as he finishes his wall to shut out reality.

 

Disc 2 begins with "Hey You", on which David Gilmour plays bass while Roger Waters takes over lead guitar duty. The song is an increasingly desperate plea to be felt, heard, touched, helped, and above all else, understood. It's an excellent song and a definite highlight of the album.

 

"Is There Anybody Out There?" is an inquiring acoustic number as Pink wonders if anyone is left. The wall seems to just make him feel even more lonely and trapped than before. He probably should have taken that into account before building it...but then this album wouldn't ever exist.

 

"Nobody Home" contains an allusion back to Animals, with Waters being a "dog", and juxtaposes everything surrounding him with the overall theme of meaninglessness. Nothing holds any value for him.

 

It transitions cleanly into "Vera", about a love that Pink once held who left from his life. He remembers her and wonders what's become of her, ending with the lines "Does anybody else in here / Feel the way I do?"

 

"Bring The Boys Back Home" is Waters's somewhat obligatory vague political protest statement until entering into the setup for "Comfortably Numb", with repeated knocking on a door and the call, "Time to go-o!"

 

This transitions right into "Comfortably Numb", inspired by the feeling of numbness that David Gilmour had when he was struck with fever as a child (the reference is even made in the song's lyrics). It's a fairly gentle, flowing song melodically, somewhat recalling the feel of "Us and Them" from The Dark Side of the Moon. My interpretation of the song is that it's about Pink's disengagement from reality at a concert, echoing Syd Barrett's mental disorder and drug-induced habit of going catatonic, detuning his guitar, and/or playing the wrong song at live shows.

 

"The Show Must Go On", in turn, echoes the resigned determination with which the rest of Barrett's band kept on playing despite their leader's incapacitation as Pink relinquishes his hold on reality. But it's from Pink's perspective as he wonders why he can't just go home and if it's too late to get his "soul" back.

 

Returning to the theme with which The Wall kicks off, "In the Flesh" thunders to life as Pink snaps and assumes the role of a Hitler-esque dictator. The song is heavy and dark; the lyrics begin as this caricatured alterego of Pink renounces relation to his true or former self - "Pink isn't well he stayed back at the hotel / And they sent us along as a surrogate band" - and then begins to insult and deride the minorities in the audience, declaring at last, "If I had my way I'd have all of you shot" before the song segues into the next.

 

"Run Like Hell" begins with funky keyboard effects, then percussion, then the guitar work of Pink Floyd. The band really showcases their brilliance here. Pink breaks down and flees here, but truly the focus of this movement of the album is now on the music. The lyrics are paranoid and manic for Pink's shattered mind, and towards the end of the song the sounds of an angry crowd, squealing brakes, manic laughter, and the scream that opened "Another Brick in the Wall, Pt. 2" can all be heard.

 

"Waiting For the Worms" bizarrely opens with a Doobie-like "ooh-ooh-ooh" section, briefly. Pink has been caught and jailed, and, as the song's name suggests, he's "waiting for the worms" (previously alluded to in "Hey You") to eat through him. The "I Am The Walrus"-like vocal distortion used in Animals' "Pigs (Three Different Ones)" is used for Pink's insane monologuing that echoes the concentration camps of the Holocaust. The "Another Brick in the Wall" leitmotif also makes a reappearance in a few sections. Darkly, the song whispers into Pink's brain, offering him the deluded power that might have taken hold of Adolf Hitler.

 

"Stop" lasts only thirty seconds, but is long enough for Pink to break free of this alterego. He cries out, "Stop!" and the whispers are gone.

 

"The Trial" isn't a personal favorite of mine. It sounds like a scene from a musical, with Pink on trial and lawyers with exaggerated English accents sing-songing the court proceedings and their arguments. Interestingly, the judge is referred to as "worm" along with "Your Honor". The line, "Crazy...he is crazy..." repeats again and again, the familiar leitmotif of "Another Brick in the Wall" appears again, and the voice of the "worm" judge echoes in a sinister way. The song ends with his demand to tear down the wall, echoed by the people gathered in the courtroom over a full, orchestral performance of the ominous theme. The sound of explosions demolishing the wall ends the song.

 

With genuine wonderment, The Wall emerges into its closing song, "Outside the Wall", with Pink narrating the start of his new life outside the wall as the children's choir sings in the background. The song doesn't quite last two minutes, and has no strong musical backing to speak of.

 

In an interesting note, the words "Isn't this where -" quickly spoken at the end of "Outside the Wall" join up with the words that open "In the Flesh?", "We came in?" This suggests that the concept behind The Wall is circular and that the story might simply repeat itself again and again, cyclic.

 

I don't like it as well as The Dark Side of the Moon or Wish You Were Here, or even Animals, and I doubt I ever will...it seems too long, and the whole "Hitler" thing just seems bizarre to me. But it's still a good album, with an especially strong first disc, and is still worth the buy. The Wall really marks the last strong group effort of Pink Floyd, as The Final Cut is (admittedly) a treatise by Roger Waters performed by Pink Floyd.

 

If you listen carefully, you can still hear that old connection to Meddle - the whale song from "Echoes" even makes an appearance. It's a nice throwback and it's good to remember that this is really still the same Pink Floyd, just a few years older and a lifetime more embittered.

Edited by Kudzu
Link to comment
Share on other sites

A friend of mine wanted me to hear the album "Eyes Open" by Snow Patrol. He burned me a copy...I listened to a few tracks today; they seemed a bit too mainstream-oriented for my tastes, but given time it is quite possible that it will grow on me, or it may just be a total flop.
Link to comment
Share on other sites

Yeah, and I just did him the justice of reading all his review (which is really quite good). Um, he has noticed. Me bad for psoting without reading it all.

 

 

Edited by Disco
Link to comment
Share on other sites

On my trip I bought a few CD's

 

Animals - Pink Floyd (Saw this for 10.00)

Piper At the Gates of Dawn - Pink Floyd

Signals - Rush (9.99, had to buy it)

Presto - Rush ( to help complete my dads Rush CD collection)

Grace Under Pressure - Rush ( See Presto)

 

thats all my parents would allow me to buy.

Link to comment
Share on other sites

1:17 minutes left on the D/L meter for Supertramp's Crime of the Century

 

 

EDIT:

 

Syd Barrett- Barrett

 

EDIT:

 

Arcade Fire- Funeral

DT- A Change of Seasons

David Bowie- Rise & Fall of Ziggy Stardust........

Pink Floyd- Obscured By Clouds

Muse- Black Holes and Revelations

Edited by fledgehog
Link to comment
Share on other sites

QUOTE (fledgehog @ Aug 13 2006, 08:05 PM)
1:17 minutes left on the D/L meter for Supertramp's Crime of the Century


EDIT:

Syd Barrett- Barrett

Pick up Barrett's debut also when you have the chance, "The Madcap Laughs" also released in 1970. smile.gif

Link to comment
Share on other sites

QUOTE (madra sneachta @ Aug 10 2006, 05:30 AM)
Muse - Black Holes and Revelations (Brilliant)

I just got this recently myself and I agree, it's fantastic! I'm also excited because I picked up tix for their 9/11 show in Columbus, OH. cool.gif

 

There are some great Muse downloads here including a really good live video of Knights of Cydonia.

 

Muse downloads

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...