The indie rock and blues-based Thornbury, Australia locals called Agnes Blue are back with a new single entitled “‘Pie, Coke, Ciggie.” According to the band the song is “Written tongue in cheek about the standard diets that lead singer/guitarist Jack Blandford witnessed men eating day in and day out on construction sites. The track is an anthemic, fast-paced rock song bound to get heads bopping and stomachs growling.”
The song starts with a solo guitar riff that is quickly followed by bass and drums. Once the vocals come into the mix the guitars go into a palm muted guitar chord progression and an energetic rhythm section. I instantly enjoyed the vocals both in terms of delivery and the lyrics. It did feel playful as well as tongue in cheek but I think it’s also very relatable to the blue collar workers putting in long hours and hard work. Blandford sings “working ten hours straight / get me out of this place.” The chorus comes quickly and is explosive and memorable. It also goes by quickly and the song gets back to the chorus in about a minute. There’s a part in the song where there’s a ripping guitar solo. It’s a killer solo not only displaying some technical skill but also a good amount of creativity. The solo leads seamlessly into one last chorus with the addition of another guitar. “‘Pie, Coke, Ciggie” is around three-minutes long and I didn’t think there was an ounce of fat on it. The song is a blast and unpretentious. It's also very catchy and I found myself humming the lyrics later that day. I will also add that the English accent fits very well. It wasn’t too thick but sounded good for the garage and punk rock flavor this song has. This is the only song I have heard from the band but an entire EP or album is hopefully around the corner. The band has an accessible sound that I think a lot of people will appreciate. Take a listen.
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One is Mike Dasher’s self-produced pandemic project. To pigeon-hole this release in any singular genre would be to do Mike a great injustice. Some people are musicians, and some people are artists. Mike strives to be the latter, offering an experimental musical style that refuses to ever do the same thing twice.
The psychedelic introductory track, "Take It Downtown", is driven by a meaty bass guitar rhythm and warbling electric guitar with a trippy, summery flanger effect. It serves as an upbeat, warm opener to guide us into Dasher’s ethereal musical world. This continues on "Moths To The Flame", which felt simultaneously nostalgic and fresh. I was reminded of ‘80s bands such as The Cure and The Smiths when I heard the forlorn vocals and twangy guitar, but Mike still brings his own psychedelic feel to the track. Like the first track, I feel pleasantly detached from reality as I glide on the trippy guitar lines and thudding drum beats. "Pressure" has a more frantic, present feel than the first two songs on the album, and it’s a welcome change of paced, showcasing Mike Dasher’s various musical influences. He vocal style adopts a more aggressive, punk-fuelled energy, as he sings, “It’s too much pressure,” over a booming beat and stark, distorted guitars. There are still twangs of reverberating guitars in the distance, giving the track the space that the first two songs have, but there’s no doubt that this is something new. And "Pressure" leads into another U-Turn. "The Sound" takes more of a psychedelic approach than the previous track, but it also adopts a much darker tone than the earlier psychedelic tunes on the album. The distant, buried lyrics explain that Mike is “waiting for the sound”, and they echo over glitzy, dissonant guitar-work and a simplistic drum line. The choruses veer into a slightly more hopeful aesthetic than the verses, but all in all, I enjoyed this slightly demented tune. "Systems Fall" opens with a big electronic beat, chugging bass, and guitar that feels reminiscent of ‘90s Brit pop. The powerful vocals are back with a vengeance. Mike puts himself in the foreground, but he still manages to retain the trippy, psychedelic reverb that has been present on every single track, no matter which style he has adopted. I appreciate this consistency from an artist that dabbles in so many genres. On this track in particular, I thoroughly enjoyed the shouty vocals in the choruses and the rather uplifting vibe of the overall melody. It was, by no means, just a Brit pop track; it was Mike Dasher track. "Drowning" is the most flanger-y track on the record. That might not be a word, but it’s the only adjective that can describe the oh-so-pleasing guitar line on this melancholy track. Mike’s soft vocals, drowned in reverb, return on this mesmerising dream-like song. Much like Tame Impala, it works to bury the vocals on a track like this; it gives the music an otherworldly quality. The closing track, "Analyzing Myths", is driven by a rapid, pumping drum beat, distant rhythm guitar, and intimate vocals. I instantly thought of ‘00s indie rock artists, such as Interpol, who have a similarly gentle, dreamy sound, driven by deep, powerful vocals. The screeching lead guitar riff also contributed to that sense of similarity. It’s no bad thing, of course; no indie band has a monopoly on that melancholy yet rock-driven sound. And Mike Dasher does it so well. This is truly an exhilarating journey from start to finish. I really look forward to seeing what Mike can do next.
Wonderland is the latest from Starranko. The prolific artist who has an impressive discography went through a lot of the same things everyone else did over the last couple of years. On Wonderland Starranko mentions the album is “Inspired by events triggered during the pandemic era I looked to create an album that could encapsulate what I was going through at that time and how I coped with things. Wonderland explores the pitfalls of escapism and the personal battles I faced during the pandemic.”
The album gets going with “Welcome to Wonderland (feat. Courtney)” and serves as a proper introduction to the experience. Musically, I was feeling a bit of early Kanye West on this song. I also have to give it up for Courtney who contributes to the hook. Starranko is in top form here. He sounds confident with his delivery as if he has arrived. As much as I liked the opener, “We’re All Mad Here!” was wicked. The rhymes are tight and slick and the production is inventive. It’s an ever changing soundscape of instrumentation. The bass work here is very cool. It reminded me of something you might hear from Thundercat. This has a sweet breakdown as well. This song is a certified highlight . “The Funk” is an appropriate name. This song combines ’70s disco and funk with a contemporary hip-hop sound. It’s undeniably a party song that will make you dance. I wouldn’t be surprised to hear this song in clubs, loft parties and the back of limos. “Rabbit Hole” is a darker song but also seems like it’s playful in some ways. It’s a got a deep beat. Starranko’s lyrics are on point. He sings “I’m out of control / I fell down the rabbit hole.” “The Riddle” has one of the coolest sounding beats on the album. His rapping is relaxed here as if he doesn't have a care in the world. The music on “Bandz” got me amped. I loved the dynamic beat which combined with an exuberant vocal performance. As the album progressed I was seriously impressed by the diversity that Starranko displayed. “America (feat. Natalie)” has fantastic hooks and also gets back into early Kanye West type territory. It also has a great message. “Demons” felt like a song you would spin on the early hours on a site out in the lounge while “Vibes” is melodic and organ infused displaying a unique vocal delivery. “Farewell, Wonderland” is the last song before an excerpt from an Alan Watts speech called “Nirvana.” Starranko is in top form here and in my opinion this is his most refined release to date. Highly recommended.
CT and Boston, MA-based band, Fat Randy, straddle the line somewhere between art punk, jazz and noise rock. Conceived in 2015 by the ever-so wry vocalist and guitarist, Stephen Friedland, along with Connor Lucey (drums) at the University of Connecticut, they specialize in what they consider “gross and noisy music driven by guitar pedals.” Since then, bassist Steve Kolakowski and saxophonist Evan Horn have joined Fat Randy as well, strengthening their jazz-meets-rock template a la Steely Dan but with an edge.
Slow, Incremental Change is the second album they’ve released this year, but the band has also released a debut album in 2017 entitled Reggaenomics, and, as you would expect from this act, that debut is as wild and witty as this new release. After their last outing, (Randy) Alex G, a sharp detour into bedroom pop, Slow, Incremental Change continues the palette of jazz and punk sounds heard on Reggaenomics. Starting with “Intro” and bleeding into “Walgreens,” distinctive saxophone notes along with the noodle-y low-end give way to the album’s noisy core. “Walgreens” may just be my favorite song here, and I’m glad that the band decided to start with this one. Right off the bat, it establishes all the quirks of their style: spoken words, dialogue, unique imagery and echoes of jazz. Of course, you could argue that Reggaenomics essentially does the same, but unlike that debut, “Walgreens” balances the dark comedy with some added maturity. What follows is “Connecticut,” which serves as a lighter counterpart to “Walgreens.” However, this lighter side of Fat Randy is soon eviscerated by the scathing track-- and this is a mouthful-- “Steve Jobs Didn’t Believe in Charity and Used to Double-Park in Handicapped Spaces.” “Capitulation,” Friedland sings. “You’re the sweetest plum I’ve never tasted / I’m not worth / Thirty thousand fuckin’ yen.” I’d also like to note that at one point, when Friedland goes into his falsetto, he sounds just like the guy from Mindless Self Indulgence. Yes, it’s brief, but cool, nonetheless. After a brief interlude comes “Smarter Child,” which has a laid-back, Queens of the Stone Age-esque feel. “Moon River Pageant” is also laid-back, and this time the lead vocalist is a woman (Sarah Berns). Its lush strings arrangement is slow, relaxing and elegant, and evokes something akin to Etta James rather than Steely Dan or even Blackstar-era Bowie. Fat Randy generally skew towards the punk aesthetic, but I get hints of psychedelic rock with the last three songs, those being “Soup for My Family,” “Alice Window” and “I’m Going to Do It.” The latter is the longest track on Slow, Incremental Change, clocking in at just over seven minutes. “Soup for My Family” continues the desert lurch of QOTSA-adjacent bass and guitar, references the myth of Prometheus (“You’re chained down to a rock / Eagle picks at your liver”), and is the heaviest song here, sonically. Lastly, the one-two punch of “Alice Window” which ends with a zany instrumental freakout, spilling over into “I’m Going to Do It” is a fitting way to end this chaotic LP. The varied time signatures, shifting dynamics and even screamed vocals of “I’m Going To Do It” recall post-hardcore, a punk subgenre that is often influenced by jazz music. Just as how the record starts with a big bang, it goes out with one as well! All in all, Slow, Incremental Change is a fun new release from a band that shows tons of promise. If you enjoy the quirkier elements of Fat Randy’s style, then you’ll surely dig this. Perhaps you may also enjoy their entire back catalog as well! Highly recommended.
Strompopper is a Hungarian three-piece rock n' roll band hailing from Budapest. They formed in the fall of 2021 when Gergely Nagy, his brother Ambrus Nagy and Péter Futó decided to rehearse together for the first time ever as a three-piece and agreed to meet for a second time. Then a third, and so on.
What's Wrong With This? is their recent EP which is a pretty straightforward rock infused release which has a good amount of attitude and raw appeal. This is a very live sounding release. I’m guessing there were no overdubs and not much mixing. I think the band wanted to capture what they sounded like and have it be as pure as possible. “Call Any Time” is up first and starts with a syncopated bass groove and solid guitar melodies. The song definitely builds with a thumping energy that crescendos and starts again. The vocals sounded great. Lots of emotion and just enough urgency. They capture the spirit of a band like The MInutemen on “Ain't No Good.” It’s a fun and fast song which encompasses punk rock 101. The song is about a-minute-and-a-half and doesn't need to be any longer. The vocalist sings “A songwriter, a songwriter / We’re all singer-songwriters / With no good words, no good voice / No-good men have no-good songs.” “Stereotype” is the arguable highlight here. Something about this song reminded me of Jack White. There’s a little bit of that hard rock and blues energy that feels unfilitered and as if it is coming from their soul. “Hitting on Her” feels like it continues with that energy. It’s a distorted and energy infused song. One thing I thought was really cool was the panning that was happening on the vocals. There were times where it goes panned hard left to right and then center. “Kill Everyone” isn’t as evil as it sounds. It sounds very tongue in cheek, at least with the vocal delivery. It’s also deceptively catchy. I found myself humming along with the lyrics later in the evening. “Levitate” has some of the nastiest grooves on the EP. This song is pretty wild. In fact you could make an argument for this being the highlight. There’s a sense of cathartic anger coming from the vocalist.“Radio Whatever” is last and is a gnarly song as well. The feedback comes apart at the seams. It reminded me of early material from the band Liars. Strompopper aren’t reinventing the wheel but they have a classic punk and garage rock sound that feels like a force of nature. There’s a lot to appreciate here. Recommended.
If you are a frequent visitor to Pitch Perfect you might be familiar with the artist Scott Woodward. His latest release is entitled Technical Difficulties. Woodward mentions “It's Americana/indie. Sounds a lot like Pulp, but Dylan is a big influence along with Roger Waters. The opening track is very different to the rest of the album. I wanted technology to play a bigger part with more synthesizers, but it ended up more of a mix of what I've done before.”
The opener “Feed The System” begins with a post-punk flavor that feels gothic. It sounded somewhere between Joy Division and David Bowie. I happen to love darker tones and this song gets the job done. Although there are rays of light on this song as it progresses, that come in the form of synths and acoustic guitar, it’s a good sounding opener and I enjoyed the mix of styles. “Technical Difficulties” sheds almost all of the post-punk flavor on the opener. This is a great song and as a huge fan of Pulp I could hear similarities to them. In fact when Woodward sings in a higher register he sounds a bit like Jarvis Cocker. The instrumentation is well done with guitar, brush work on the drums and lead orchestral sounding synths. I loved this song and it is the arguable highlight. Before Pulp came onto the scene there was a band called Roxy Music. “Fallen Star” felt somewhere between Pulp and Roxy Music with Woodward’s own twist. It’s a song that feels both intimate and vast. I think it was the orchestral pads that gave it that kind of scope. The chorus is strong with memorable vocal melodies. “Red White & Blue (means nothing to you)” starts off with a mellow ballad and this song in particular reminded me of Father John MIsty. The piano and orchestral pads sound good and are able to lift certain sections with more emotional resonance. “Fly” felt like a single. It’s got an upbeat energy and the chorus feels familiar the first time you listen to it. I liked the somewhat nihilistic lyrics on this song. The more joyful feeling juxtaposed with those sorts of sentiments works very well. “Drift Away” is a melancholy song that subtly blossoms into something more epic. It’s a bit pensive and ominous but also quite beautiful. The pads on the song felt like wind you hear on a mountain top. “Dignity” is another single worthy song. It’s really catchy and fun. I was tapping my feet and thought the vocal melodies were sing-along worthy. “Doesn't Matter” and “Such a Fool” continue to create a cohesive foundation to the album. Last up is “Time” and Pink Floyd came to mind when listening to this song. Woodward tends to wear his influences on his sleeve but is able to spin them into his own signature sound. In my opinion this is his best release yet. Recommended.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Game Set Match Game Set Match 3.8 Gallows Corner Gallows Corner 3.7 Lazy Realtors Store Bought 3.7 My Enemy Here 3.8 Foster Hilding The Summer That 3.7 Dried The Well
San Francisco’s Lan Miao (pronounced lawn meow) is a singer/songwriter who has just released The Keep, an EP that was twenty years in the making.
Miao was born in Lansing, Michigan, and in fact was named after Lansing. At age seven she began learning Western classical music and theory. Growing up in Taiwan, she listened to Mandarin pop and eventually began writing her own songs. Back to the States in the ’90s, Miao discovered alternative rock radio, and was filled with “new ideas of music and lyrical expressions.” But for various reasons she wasn’t able to devote herself fully to music until 2019. This EP collects songs Miao wrote throughout her late teens and early 20’s. Miao states that these songs “explore my relationship with each of my parents: unspoken yearnings, sadness and anger at their fallout, fear of disloyalty and abandonment. At first, I wasn’t sure about releasing these songs. In the end, I thought the songs serve as a good documentation of where I started on my songwriting journey, and, more importantly, that these are stories that could possibly help someone else through a similar predicament, the way listening to bands and artists like Nine Inch Nails and Tori Amos has brought me solace through the years.” It’s interesting that Miao mentions Tori Amos as an influence, because I was noting echoes of Kate Bush, who is a very similar artist, and I’ve followed them both. During two years of quarantine, Miao recorded these songs in makeshift bedroom studios on Logic Pro in Berkeley and Campbell, California, acting as her own producer for the first time. Mastering was by Scott Hull at Masterdisk in Los Angeles. With the opening “Favorite Things” you know immediately this is going to be a quite different album than you’re used to hearing. Her sound is intimate and confessional, which makes me want to approach her music with care and respect. Miao explains: “Originally, it was going to be Western orchestral strings only. Then one night as I listened back, I kept hearing the erhu (a Chinese two-string violin). It sounds like crying to me, which is what the climax of the song conveys for me.” If what I’m hearing is the erhu, it certainly does sound like crying or quiet wailing! Besides those elements, I’m also hearing a very muted piano, which plays chord progressions that slowly arc downward. Miao’s singing voice is quiet and closeup, and recall both Tori Amos and Kate Bush, as noted. This track is over six minutes long, and Miao creates drama and tension by building her elements carefully, allowing plenty of space and air. “Prayer” is built on a simple, repeating piano pattern in the bass notes, along with an equally simple, insistent drum beat. Miao notes that “My mom had turned to religion for comfort and would often leave me alone by myself at night. I was so hurt by it. The chord just repeats in C minor, barely peaking at F, G. I didn’t understand this until just a few years ago that the chord ‘progression’ really ultimately reflected an emotional numbness.” Though the track has a fairly basic riff, it builds in power bit by bit, and is a perfect backdrop for Miao’s heartfelt vocals. “So you pray to the god above / Try to replace the human love / You knelt down for so long you shut me out / And still things are falling apart.” It’s an emotionally stark track that’s not easy to listen to, despite its opaque beauty. “This Old Man” musically feels similar to the previous track, though at a faster, almost rock tempo. Miao says this is a variation of the children’s song: “I heard Tori Amos cover it and wanted to do something with it too. I wrote it after a night of binge drinking in college. This song came together really quickly in the studio because I always knew it had an attitude! I especially love the guitars roaming in the background - reminds me of PJ Harvey too.” Miao is certainly right about the attitude, and the feral, feedbacking guitars certainly add of layer of weight and menace to the music, along with a more confident and aggressive lead vocal by Miao. A shorter but excellent track. “Rainbow” went through many versions but ultimately came together with a more traditional song structure. Miao says her husband singled this out as “the one song that most represented me as an artist and me as a daughter. I knew in that moment I wanted to treat it with some warm synths.” Like some of the other songs, Miao creates a descending piano riff and builds from there, with her vocals and drums becoming bigger and more assertive as the song moves forward. The penultimate track “Pale Mother” is actually the last track Miao recorded for the project. “The piano and vocal were recorded in the same take, making it the closest to a live performance. You can hear the noise of the keyboard but the emotions were perfectly captured (so) I decided to use the takes anyway.” In an album filled with intimate moments, this is a song that’s almost physically painful to contemplate, but lovely to hear. “I was crying over you / Crying over my loss of you / I was crying, crying for you / How did I end up losing you?” “The Keep” is the closing track and the only one to replace piano with organ, which feels somewhat fitting. Miao fills out the track by overdubbing the organ parts in different octaves. It’s an eerie, almost vibrating sound that perfectly captures the stark quality of the lyrical story. “He gave me my life before I was born / Gave me a plan, gave me my future / Then he gave me this knife, showed me how to hurt.” Miao says this song “still brings me a lot of comfort. I listen to it and feel redeemed and safe. It’s the perfect closer.” Not for the casual listener, this is music created from a deep and vulnerable place in the artist and deserves care and consideration, but is ultimately rewarding for effort.
SKULLKiD’s latest release, Thrill Me, is one that certainly lives up to the title. This pop-punk collective from Rapid City, SD offers an abundance of raw energy and passion on their new album Thrill Me. Inspired by all manner of genres under the rock umbrella (from alternative music to heavy metal), SKULLKiD strives to be as eclectic as possible in their sound.
The first track on the album, “You and Your Friends are Dead,” opens with the ominous beeping of a hospital monitor, before exploding into a punchy drum beat and crunchy pop-punk guitar chords. The screeching-singing vocals and distorted lead guitar lines match melodies, which I found quite satisfying, but one of my favorite things about the song is the transition from the hospital monitor beeps into a synth melody. It was a clever little production flourish that I definitely didn’t overlook. Showcasing their eagerness to transcend the narrow confines of a pop-punk label, SKULLKiD demonstrate their variety of influences on the title track “Thrill Me.” It opens with a haunting, dissonant, but clean guitar line that instantly screams System of a Down. The shout-talking verses fed into this, sounding heavily influenced by Serj Tankian. Somehow, SKULLKiD manages to interweave this heavy metal influence with their existing pop-punk sound, offering upbeat choruses with singing more reminiscent of their introductory track. I particularly enjoyed the synth lead solo during the climax of the song, too. A very strong titular track. “Winter Solstice is an intriguing third track which continues the SOAD influence, both vocally and in terms of the haunting flanger-heavy guitar line. I love the dark, haunting synth chords, which lead into an immensely explosive heavy metal finale, laden with sizzling electric guitar, insane drums and piercing screams. It’s at this point I start to wonder whether pop-punk aptly defines such a heavy sound, but SKULLKiD reverts to a more jovial sound on “Skateparks and Broken Hearts.” A high-fretted lead guitar hook rings over manic drum fills and Blink-182-esque vocals. I’ve never seen a song title so accurately match a song’s sound before. This is certainly a song for a broken-hearted teenager at the skatepark. “Eternal Sigh” could’ve fallen under any genre at this point in the album. I was ready for anything. It ends up being quite hard to pinpoint. Dissonant synth melodies, upbeat power chords and aggressive vocals create quite a unique sound.” I Just Wanna Be” returns to more straightforward pop-punk once more. Fast-paced drumming, distorted power chords and jubilant sing-shouting. Of course, there were occasional rhythm guitar chugs and bent lead guitar notes that reminded the listener of this band’s fondness for metal. The next song, “Sink,” is an unexpected change of pace. This slow, calming song is driven by distant sounds of waves, a continuously-pounding bass drum and a warbling synth bass line. Eventually, an acoustic guitar line enters, matched with barely-audible whisper-singing. The choruses explode into a bluesy sea-chanty. A chorus of singers chant over acoustic guitar. The track finishes on a peaceful guitar melody, fading out over waves. “Missed Call” opened as a melancholic indie track, driven by sombre guitar and a slowly plodding beat. Its occasional splashes of twangy, cheery chords gave it a pleasant breath of fresh air. I loved the intermittent explosions of distorted power chords and frantic drumming, as well. This voiceless track managed to hold my attention, which I rarely find to be the case with instrumental music. The last few tracks on the album offer some explosive moments. “Tiger, Petty” is another pleasing pop-punk banger sprinkled with sparkling guitar lines. Backseat harks back to the raw, early days of pop-punk, driven by lightning-speed strumming. ”I’m A Fuckin’ Bug” is another synth-rock hit with some extremely catchy riffs. “I’ll Wait Forever” is a mellow pop-punk ballad with pretty synth arpeggios. The closing 30-minute (yes, you read that correctly) track could have an entire review on its own. It’s hard to be succinct about such a lengthy magnum opus. “Crypt Keeper” opens with a tentative blues guitar line over background noise. SKULLKiD’s movie fanaticism shows on this song, as creepy spoken word passages erupt amidst the near-silence of this haunting track. Eventually, heavily distorted electric guitar emerges, transforming the song into the first truly metal track on the album, complete with screaming vocals. The track flops back and forth between haunting instrumental passages and electrifying metal passages. Finally, it closes on a stunningly beautiful piano piece. SKULLKiD’s Thrill Me is a listening experience. And it’s not one to miss.
Pygmy Moose is a strictly instrumental collective helmed by Elias Huebner and located in South Central PA. In this debut EP, Moose Call, their snazzy, jazzy take on alternative rock music is quite interesting.
The record only has three pieces, each one mixed and mastered by Bill Trego, but it feels like there are more since each composition has many different components. The meat of the EP may be your standard drums, bass and guitar setup, but what’s interesting is that Huebner is allergic to guitar strings, so instead, some guitar parts were actually played on a piccolo bass! The first track is called “Gone for a Wonder.” I immediately thought of one of those modern jam bands, such as moe. or Phish. Perhaps it’s because Huebner, the main creative vision behind the band, says that whenever he comes up with a bass groove, it’s usually funkier than those of other bands, sometimes unintentionally so. Of course, Huebner’s willingness to experiment with keyboards will likely resonate with Phishheads. “Bombadil” serves as the centerpiece to the EP, and is slightly more guitar-driven. This track has much more of a lounge feel to it, even with the jazzy keyboards yet again recalling Phish. However, at about a-minute-and-a-half into the piece, each of its instrumental layers start to come together. If I were to choose between the three, I’d say this is the best offering from Pygmy Moose’s debut. Lastly, “Available Light” is an elegant number complete with carefree mandolin and violin. The strings really take this track to new heights, and for that matter, so does the rhythmic percussion. Overall, “Available Light” closes this EP on a surprisingly upbeat note, which is likely the reason why it was given that title to begin with. Since all of the drums were programmed on Cubase before being recorded, I feel like the majority of the live percussion from this EP is rather stiff. Despite all the different fills, the drumming still could sound looser and more organic. That being said, if laid-back, instrumental music is something you enjoy, then by all means you should check out Moose Call by Pygmy Moose. |
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