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And finally, here we are. With only one day left before we begin our final watch, it’s time to go back and recap some of the best episodes in the history of Game Of Thrones. It’s an excessively rewatchable show and as a person who not only has seen every episode multiple times, my last and I just rewatched from the beginning in anticipation for the final season. Having said that, most of these are obvious picks, but it’s only because of the brilliance exhibited by the cast, crew, creators and writers. No other show has ever been able to combine political intrigue, violence, sex, backstabbing, zombies, and Fucking dragons and not done it so well. There is no replacement for this show, and there never will be. And now, before our watch has ended, I present to you the best episodes of Game of Thrones. Enjoy!
5 BLACKWATER (S2, E9) Granted, there were big moments before this episode aired, but this is the point where we get to the large scale glory of battle that has been teased. “Blackwater” is a litmus test for the show, and obviously they succeeded far and wide. We’d been leading up to this the entire season. As soon as news of the illegitimacy of Joffrey's reign is known, were introduced to Stannis Baratheon, whose scowl is legendary and is at this point, assumed to be the rightful king. Obviously he hates the Lannisters, but the victory he prays for isn’t to be. During the battle though, we see the true scope of the world the writers and creators have created for us. The battle of The Blackwater is marvelous to behold and the use of wildfire is a visual feast that hasn’t been seen on the show before. In the end we don’t get the king that was promised, but we end up with more reasons to hate Joffrey, Cersei and all their minions, which I guess is a win. 4 THE WINDS OF WINTER (S6, E10) What a doozy of an episode. I guess that pretty clear based on its inclusion here, but still, goddamn if I don’t get pumped every time I watch it. Fun fact: I HATE religious zealots. Especially those who love to stand on a perch of condemnation under the disguise of moral superiority. This is why the High Sparrow is so repulsive and infuriating. The episode opens with the trial of Cersei, but please, like we ever suspected her to turn herself over to her torturer again. She looks down on them (rightfully so) but unfortunately King Tommen is essentially a little bitch for the entirety of his stay on the Iron Throne. Thus, Cersei takes her revenge against not just one enemy, but many. Sure it’s a shame that thousands have to die, but watching the satisfaction of the Queen Mother as the Sept burns is one of the best things the show has ever featured. Also, Cersei getting her revenge on that Sept maiden is wonderful to watch, even if I know in my heart that Cersei is evil as fuck. But, that’s only half the episode. Thought the episode, there's plenty of justified retribution. We get to see Arya take down the grotesque Walder Frey in spectacular fashion, along with Queen Tyrell joining forces with Allaria and her Sand Snakes. Basically, lots of moving parts coming together in preparation for the final battles to come. As the episode draws to a climax though, we get a bombshell that had been rumored for years. Jon Snow is no bastard at all, and in fact, he belongs on the Iron Throne. The reveal is heartbreaking but also executed perfectly. It’s one of the more satisfying moments of the show, and with that coming near the seasons conclusion, you can’t help to get pumped for what’s next to come. 3 THE RAINS OF CASTAMERE (S3, E9) Arguably the episode that changed everything. Before this aired we were knee deep in a way between the Starks of the North and the Lannister’s from Casterly Rock. While the journey of Arya and the Hound hits a snag at the Frey compound, something else hugely majorly happens. Obviously we’re talking about the deaths of Catelyn, Rob, and his soon to be wife (insert name). It’s not just that they died, but it happens in spectacularly bloody fashion as both the Frey’s and Bolton has a hand in their opponents destruction. I can slightly understand Walder Frey’s Fontenot at them after trying unsuccessfully to get one of his daughters married off, but for real to just kill and entire family, and their dire wolf is just ducked up. Before this episode ends we know the true costs of going back in your word, but it still feels like overkill. But no matter, because eventually, all of the betrayers meet equally horrible painful deaths, and well, you don’t really feel bad for that. You only feel bad because for the better part of 3 years we’ve rooted for the Starks, and just as it’s starting to looking promising in their campaign for the throne, it all gets taken away swiftly and buried in the ground. 2 HARDHOME (S5 E8) This was a difficult choice, but in reality all of these could’ve been the number one episode. The buildup of Hardhome is spectacular, as we’ve seen the Knights watch and the Free folk battling it out for years and years, well before we as viewers start to see the tension. The point of this episode is that being human puts them on the same side, whether they like it or not. Most don’t. I watched this episode at least 3 times the week it aired, and still I can’t find anything wrong with it. The action is tremendously well done, and the palpable danger is flowing through the scenes. It’s also noteworthy because we finally get to see the White Walkers unleash hell as the living try to get away to a remotely safe place. Much of that is futile though, as Jon learns that any person left behind instantly joins the ranks of the dead. Meanwhile we get to see Cersei still being tortured by the Sparrows, and that plot line is reaching its breaking point. You just know that this isn’t going to work out how the Sept wants it to, but it takes then some time to gain that knowledge for themselves. It’s also the episode that Tyrion’s journey finally ends with his formal introduction to the Mother of dragons. All of this is well scripted and acted, but for everything else that occurs in this episode, it’s quickly forgotten as soon as the White Waller’s begin rampaging on the living. 1 BATTLE OF THE BASTARDS (S6 E9) Long regarded as the key episode in all of the seasons, this penultimate hour has so much to love and chew into. We open with Queen Daenerys fighting her way out of Mereen with the help of the unsullied and her children. The opening battle is visually breathtaking, and it’s an important conclusion to this section of the story. But, obviously, this isn’t even the biggest event in this episode. Instead, that honor goes to the Battle of the Bastards, as we finally see Jon and Ramsay do battle. This fight is epic as fuck for a few reasons. Jon and Ramsay are the Batman and Joker of the series. Jon, bound by honor, and built from pain and resilience, he attacks head on, not leaving it to someone else. Ramsay on the other hand, is a deceptively smart violent individual, who sows chaos as easily as he wins battles. Secondly, It’s a showdown like we hadn’t seen up until this point. The filming and plot is ridiculous and inventive, and you agonize over all the details being thrown at you. Finally it’s great in conclusion. Much of this show has been seeing people you love get destroyed, but on this night we get exactly what we hoped for. Ramsay is defeated, valiantly. In a strange twist of Irony, it’s because one of the other most vile people in this universe, Little Finger. Again he has a hand in shaping a desirable outcome for himself. Lastly, the final touch of Bolton being eaten alive by his own dogs as Sana’a walks away smiling is a beautiful moment of sweet redemption and the knowledge that eventually, violent people end violently is a small delight in a world that is dark and full of terrors. For all of these reasons the “Battle of the Bastards” stands as the best episode of Game of Thrones. That’s likely to change as the series concludes in 6 weeks, but we’ll have to wait and see how they top it. Thanks for reading!
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What makes a great villain great? The answer can be many things, but in the world of Ice and Fire, one trait is shared among all the best bad guys and gals. That is, adaptability and the will to survive while your enemies fall. Today we launch into the second round of our Game of Thrones week with the worst of the worst. I hope you enjoy.
*WARNING MAJOR SPOILERS AHEAD* 5 WAIF Let’s start with this question: Who is the Waif actually? That isn’t easy to pinpoint, frankly, but what we do know is that the character definitely has it out for Arya during their shared time together in Bravoos. From the jump this lady (or is she?) seems to despise the very existence of Arya, making things difficult for her around every corner. She’s pompous, arrogant and frankly a flat out bitch. Her strength is also her weakness though. She likes to torment, and she enjoys even more making people she sees as a threat look dumb or untrained. But maybe that was her whole purpose. Perhaps she wasn’t just a dirty bitch trying to suck up in order to rise in the ranks of the Faceless men. Maybe she was herself a trained Faceless man meant to show Arya her true calling. You can’t say for sure, but there’s plenty of evidence to back it up. Either way, she’s presented as a miserable person who enjoys punishing others, and that’s what makes her a good villain. 4 HIGH SPARROW The High Sparrow infuriates me more than nearly all the other villains in the universe of Game of Thrones. It’s not because he’s religious, but rather because he uses that high horse to reign over people who are lost. For me he’s a reminder of all the hypocritical figures we have to pick from in our own lives. The priests who tell us were going to burn because we don’t believe in their vision of god, or the politician who enforce their beliefs while ignoring the wills of the people. The High Sparrow is all of those things. He uses his persuasive abilities to make Tommen believe he doesn’t have a choice. Now, this is the only time I ever wished Joffrey was still king. The Sparrow would’ve have been rightfully killed almost from the jump, but Tommen is a little bitch who follows people he believes are smarter than himself. But in the end, his hubris and holier than thou attitude is what costs him everything. Margary implores him to let everyone out of the High Sept, but in his wisdom he knows better. Also one of the few times the watchers of the show are able to be happy that a horrible plan by Cersei comes full circle. Sure thousands die, but it’s important to remember that all of “Little Sparrows,” as Cersei proclaims, all end up ash as the pain and torture they inflicted is washed away in one giant swoop. They were willing to die for that asshole, and they got their wish. 3 CERSEI It is unfair to the weight of the character to first first address truly How much of a force she is. Individuals like Cersei are bred for nobility, but also strength. Often times she exudes both, making the character and. brilliantly portrayed by Lena Headey. She really is one of the can’t miss characters, even if you do hate her. From very early she’s presented as evil, cunning and most of all, smart. She’s clever this one, but it comes with a price. Children dead, mostly as a result of her continued bad deeds. Her family killed for things she played roles in. Think about it, she hated her brother that much she actively tried to have him killed. Sure she gets punished by the Sparrows, but even that is somewhat short lived. She comes back though with an unquenchable thirst for sweet revenge, which she gets. Whether it’s wildfire, poison, or just sheer brutality, she seeks out what she wants and gets it, eventually. She is a force to be reckoned with, and I don’t expect that to change anytime soon. 2 RAMSAY BOLTON I’ll be honest, these top three choices were more difficult than I thought it would be, but that’s part of what makes this show such a great treat. The villains often are weapons literally used to infect the seven kingdoms with grim. Ramsay is one of the most effective. Early on, he actually presents hope, before his full heel turn comes to dash all of Theons hopes and plans. He methodically tears away what little humanity Theon had left, but well, we know what other parts of Theon he takes for himself. What makes Ramsay so evil is the thrill it gives him. He doesn’t always do it for a victory, but rather for fun. It’s part of his bone and he never ceases to find ways to hurt people. His treatment of Sansa is particularly bad, but he’s still capable of worse. He single handedly takes his entire family down just to be the King. He’s savage, smart and evil to his core, and he’s a monster in a world of men. Even during the Battle of the Bastards he’s cunning to the end. The plan to box them in and smother them is brilliant, but Sansa wasn’t about to let him win again. The Vale shows up, and before long, Bolton is a heap of smashed bones. He never begs for his life, but his screams are enough to make anyone smile. Especially Sansa. 1 LITTLE FINGER As I mentioned before, this was difficult. From afar Petyr Baelish looks like many of those who are high born. He’s not, but he certainly plays the role of advisor well. This helps him tremendously. Who needs to be in charge when those schemes you nurture and then unleash keep all the Kings and Queens fighting each other? Let’s not forget that his lie is literally what begins the Rebellion of Robert, and how Little Finger was able to navigate that. It’s brilliant, but it showcases his smooth talking, agreeable actions. I could take the hours it would take to dissect all of actions, but they run so fluidly through the narratives that it would simply take for more. But, the more time you watch the show the more it makes sense. He has a hand in the killing of Ned Stark, in pitting sister against sister in the battle of attention between the ladies of the Vale, Catelyn and Lysa Arryn. This one scheme also kills Lysa’s first husband, opening up the spot for Baelish to swoop in (albeit years later) and use her own paranoia against her in “saving Sansa” by pushing her out of the moon roof. It’s the same cunning that enables him to get Sansa back to Winterfell, even though it gives her quite easily to the evil Ramsay. He comes out of that nicely, but it’s not long before he has to choose a different side yet again to serve his purpose. But at this point, Sansa has entered the game, and his schemes are becoming obvious to her. This section nurtures Little Finger into a false sense of safety though. Arya, Bran and other soon come along, exposing his scams over the last however many years. What makes Petyr the most cunning villain isn’t his bloodthirsty rage, but rather his slow, purposeful sense of how the world works. He’s ruthless, but never face to face. He’s a snake, and most importantly, he whispered in the dark and gave nudges when needed, all to serve to fulfill his goal, which is to say himself. He’s done more damage than most, but rarely has he fulfilled the action himself. In some ways he controlled the iron throne by being persuasive and careful about his exploits. His lies have hurt many in the Seven Kingdoms, and while thankfully that came to an end with his throat being slit by Arya, who knows when something else will be uncovered, forgotten in the darkness. Finally, Winter has come for us. Nearly 8 years to the day after we first observed members of the Night Watch get brutally devoured and murdered by the White Walkers, we are going to see how this wonderful, chaotic, marvelous and visually stunning story concludes. I don’t normally devote an entire week of entries to television, or anything really, but for me, and likely many of you, this is a big deal. Today we start our week with the best characters throughout the years. Some of these start as horrible people and grow, some go the opposite way. One thing is for sure. All of these characters have been through hell and back, and what they’ve seen in the previous seven seasons has changed them, for better, and for worse. Without further adieu, I present to you the best characters of the Seven Kingdoms and beyond.
EDITORS NOTE: All of these blogs will be in countdown style with five entries each. As always I welcome comments, opinions and sharing. Lastly, MAJOR SPOILERS AHEAD. 5 TYRION When we first see him in season one, Tyrion is firmly enjoying the benefits of being a Lannister. He drinks, knows things, and has a voracious sexual appetite. The problem for the youngest Lion is that he can’t sustain it. He’s nearly killed multiple times, is betrayed by the ones he values most (even if they don’t value him), and is set off on a quest that means unknown trials but ultimate glory. Finding the Breaker if Chains is crucial to Tyrion because it gives him hope. Tyrion is more than likely the most intelligent person in the world, yet with that brain power comes the capacity and unfortunate knowledge that nothing stays positive or good. Darkness always finds a way. For Tyrion, it’s a long, hard journey that brings him to the side of his chosen queen Daenerys. What comes next, we don’t know, but I’m willing to bet his most formidable adversary, his sister Cersei, has an idea of how she wants “the mistake” to be taken care of. 4 DAENERYS, MOTHER OF DRAGONS I’ll be honest here. I was never really a fan of her during the early years. Much of this might of had to do with how she was presented in the novels, but for better or worse I wasn’t a fan. What turned me to her was the sheer will she possesses. Continually, unflinchingly and at times heroically she renewed faith in the high born and sought to bring peace to the forgotten souls. Whether it was the devastation of Slaver's Bay, or the triumphant way she dismantled the armies and ships of the Masters after they ignored the agreement they had initially, she's thoroughly bad ass through and through. Yes she has her negatives (such as always having Missandrie announce all 85 of her self given titles) but she overcomes these obstacles by being not just a talking point but by ensuring her people she will always have her followers best interest at heart. Not to mention, her dragons are Fucking incredible and oh my are they so fun to watch. 3 JON TARGARYEN By now we all know the truth. “The Bastard from Winterfell” isn’t a bastard at all. Rather, Jon Snow finds his way in the dark terror filled world by not only being resilient but also by being the best man he could be. This all starts with his Uncle Ned Stark. Think about it: the Stark's are proud, strong and perhaps too trusting for their own good, but all this serves the purpose of making Jon perhaps the fiercest warrior in ASOIAF. he suffers daily taunts and is ridiculed by his own family, is ignored and pushed aside by his “step mother,” and after that he finds his place at the wall as part of the night's watch. This ends up being fatal to him, but clearly, the Lord of Light wasn’t done with him. He triumphs over the traitors that killed him for doing the right thing, survives Hardhome and the battle of the bastards. But he’s still not done. He goes through despair at the feeling of wanting to do the right thing in a world of wrong, but his perseverance is a mandate he can’t let go of. His story and how it ends will be a huge deal in the coming weeks, but for now, we know he’s ready to face the Night King, and won’t stop until the life has been sucked out of his lungs, for what’s likely to be the final time. 2 JAIME LANNISTER What would you do if the woman you loved lost her mind? Well, if you’re Jamie of House Lannister, you stand beside her until you can’t. When we meet the Kingslayer in season 1, you hate him immensely. He’s rich, smug, and worst of all, blond. Yet, over the course of 7 seasons he’s come to stand as one of the most honorable men in Westeros. You’re likely to still have a bone to pick with him over the whole almost killing Bran thing, but there’s so much more to him. You also have to remember that during the opening season he was still desperately trying to hide the fact that not only is he banging his sister, but all of her kids also happen to be his, thus making the basis for Ned reaching out to Stannis all the more vital and important. Over time though, we learn why he killed the Mad King, and the reasoning is sound and logical. He literally didn’t have a choice. The key moments for him though comes with the separation of his sword hand from his arm. He’s quoted as saying “I was that hand,” and it’s true. But in losing his hand, Jamie changes, and becomes a different type of person. His reasoning becomes more sound and less about saving his house. He’s still trying to save Cersei, but by the end of season 7, he abandons her because of the word he gave to Jon and all the others to help destroy the coming storm. That’s what makes him honorable, and ultimately an insanely interesting character. 1 ARYA STARK Really, where to begin. Simply put she's a bad ass hell bent on bringing the glory back to her house. When we first meet her she feels very much like a person meant for great things. However, she’s the wrong sex in the medieval sense. In the world of Fire and Ice, women aren’t meant to be warriors, but rather waiting hands to strong men with desires for power. That all changes with the death of Ned. Instantly she’s plucked away and begins a years long journey. She has a list, and while she’s gradually building up her talents for killing she’s also keeping the names on her list front and center in her mind. The introduction of the Hound to her journey at first seems like a death sentence, but she learns from him, even while still wanting to kill him. The two of them together are a force to be reckoned with, and when that concludes (after the Hound is seemingly killed by Brienne of Tarth) her journey takes her to Braavos, and that’s when things get even trickier for her. She’s torn between becoming “No One” but also honoring her family and seeking vengeance. She learns a great deal from the House of Black and White, but that all comes to a head with the fight against the Waif ( or rather, a faceless man meant to push her to her limits). In the end she becomes stronger than ever before. She manages to take the lessons to heart and to become a faceless man, albeit not in the traditional way. She chooses the Stark crest while still embracing the the lessons she learned from Jaqen. In doing that she manages to escape with her life and a strong purpose. From there she heads north. Some of the best Arya moments come after that. Her killing of not only Walder Frey but literally everyone else in House Frey is a maddening moment where we get to see her drive and, quite darkly, her joy at dismantling the enemies that had long forgot her. The North remembers, and it’s in Arya's journey that we see that idea put forth over and over again. She still has names on her list, and she’s primed to seek bloody vengeance. It’s been a fascinating journey for her, and the girl is now a warrior. For all of these reasons, Arya is the best character in this heartless, cruel world, and the story is that much better because she’s part of it. I almost never do just a routine album review anymore, but something about the weird nature of Bradford Cox and his Deerhunter cohorts got me in the mood to do a rare and simple review. It’s been four years since “Fading Frontier,” And much has changed for the band and their unique sound.
“Why Hasn’t Everything Already Disappeared,” the 6th overall studio album by the band finds the group in an awkward spot in their career. Not that the music is awkward at all, but rather after years of going from one style to another, where does a band like Deerhunter go? They’ve done indie rock perfectly when determined, they’ve gone weird and into the darkness with an album like “Monomania,” and yet they’ve still produced records that are both off the beaten path yet easy to envelop yourself in. “Disappeared” is no exception. There are many standout points during the run-time, but honestly it may not get better than the opening track “Death in Midsummer.” It’s got this jingle, lightly textured songwriting quality to it but it doesn’t come off as joyous at all in its lyrical context. That’s sets up an interesting juxtaposition throughout the song. It’s a bittersweet track that while fun from far away, gets more despondent the closer you get to the source. Cox and Deerhunter have this way about them that both embraces changing styles yet keeps the core of their creations firmly in the “this sounds like Deerhunter” corner of things. There is a chance that this recognition has to do with the signature way Bradford’s voice always sounds, or the intricate way he can weave a song. If you’ve been a DH fan for awhile like me, you start to notice the restraint and creativity flowing through all of the records. Some are most obscure, while some have bigger moments in the songwriting structure. For the most part, this record wanders away from that and is far more experimental and low key. It’s never gets to be too much to handle though, and the gradual easy going nature of the instrumental sections help to bring you to a place where you can clearly judge the record. “Element” has this opposing drum beat interwoven around the dreamy guitar and the voice of Cox that when mixed properly (like it is here) seems to be surrounding you at once, slowly circling you in a dream like sequence that reminds you why you’re a fan of weird alt rock to begin with. Much of the record continues to do this, exploring territories the band hadn’t ventured to before. As the finale approaches, we get one last look at exploration. The track, “Plains,” has all the elements of a successful song, but there’s something else that jumps at me. There’s this element in the song that reminds me of a song from the Arcade Fire “Reflektor” album. The beat in the background is similar enough to catch your ear, but it actually comes off better than what the AF attempted to do. Not that the AF record and song is bad or even not that great, but when it’s done under the Deerhunter frame of reference, it frankly just feels more natural and easy to accept. Overall though, this is another album that speaks to me as an avid fan, and while not all of their choices pay off, it’s a challenging and ultimately rewarding listening experience. Basically, it’s par for the course when delving into the weird, abstract, thoroughly enjoyable world that Bradford Cox occupies in the space of music that we call Deerhunter. It’s not their best record, but it’s still likely better than a majority of the records music fans will get their hands on this year. Over the course of more than twenty years, Dave and his Foo’s have rosen in the ranks to become one of the biggest and most consistently entertaining bands.Today we’ll be discussing the band’s best records, and reliving all the great moments that we’ve been blessed with since their inception.
5. ECHOES, SILENCE, PATIENCE, & GRACE, 2007 After years of growth, some stumbles, and more than a few high notes, the band’s maturity began to show. ESP&G begins with “The Pretender,” And from there it covers all the normal bases a Foo Fighters fan desires. It rocks hard, Grohl screams his guts out while the rest of the band create that classic thumping sound the band is known for. Tracks like “Let It Die” begin with a murmur then explode into a menagerie of heavy hitting sounds, while others such as “The Ballad of the Beaconfield Miners” expose something different, albeit bluegrassy in nature, but still quite good. It’s not a masterpiece, but it’s a solid record all the way around. 4. FOO FIGHTERS, 1995 If you’re Dave Grohl, music is part of your blood and soul, so it seems natural that you might feel compelled to keep going on your musical journey, say, if you were in a huge band that suddenly ended. Either way, Grohl recorded this entirely on his own, and well the rest is history. “Alone + Easy Target” is the type of song that makes you want to bounce, but the real strengths throughout the debut record are the more popular tracks. The first three tracks are all doozies and hugely well-known, but as a package there aren’t three better songs sequenced together on any FF record. Opening the album with “This is a Call,” “I’ll Stick Around,” And “Big Me” is a brilliant move as all three songs are powerful but also different. With a record like this it’s no wonder they became one of the biggest most well loved bands of the last twenty years. 3. THERE IS NOTHING LEFT TO LOSE, 1999 This record was the moment where it became obvious these guys would end up filling stadiums. This type of record can be tricky though. Sure you want to remain vital as a unit, but you also want to stretch your skills. “Nothing Left” has all of those qualities rolled into one. Songs like “Stacked Actors” is a fuck you to hopeless people who need attention, while “Breakout” might also be about a certain blonde the band knows well. Either way the music speaks for itself. It has this garage recorded vibe floating through it, and it works to the band’s advantage. It’s a thicker more full sound, but it also has tender moments. “Learn to Fly” is a sweet, easy going song (not to mention a hilarious video), while “Next Year” is a slow, sorta trippy track that sounds just as at home here as it would had it been done by a pop “rock” band like Train or Maroon 5. 2. WASTING LIGHT, 2011 By this point in their career, the Foos had a built in fan base that was always eager to go wherever Dave and company felt compelled to go. From the opening moments of “Bridge Burning,” the whole record is focused, strong and melodically encapsulating. Tracks like “Rope” And “Arlandria” both have soaring choruses that sink their nails into the listener, while a track like “White Limo” sees the band get gritty with a heavy drum section and Grohl screaming his heart out. Late in the game, it’s not so normal for a band to make a devastatingly effect rock album, but with “Wasting Light” the band did just that. As the record ends with “Walk,” you’re also reminded that at their core they can write a song that’s both reflective and honest about being a full time band always gone in the pursuit of bringing your music to the nations front doors. For this reason and all the others I’ve named, “Wasting Light” lands at number two. 1. THE COLOUR & THE SHAPE, 1997 Could there have been any other album to get the number one spot on this list? I know it was a somewhat easy choice for myself, but when you look back at how well regarded the band became after this master stroke, it’s hard to argue with this being their best. What the album has in huge singles is apparent, but some of my favorite moments come from the songs that didn’t get huge radio play. “Hey Johnny Park” is a sprawling rock anthem with a killer finale explosion, but other songs are just as worthy of attention. “February Stars” is gorgeous layered and mesmerizing, but in the end the big numbers ultimately steal the show. “Monkey Wrench” is a rocker full of attitude, while “My Hero” is perhaps the most vibrant example of a feel good moment during the run time of the record. But then, of course, we get “Everlong.” Even 22 years after the song was released, it’s still one of the best songs I’ve ever heard in my life. It’s full of speedy intensity, and the vocals and guitar arrangements bring the song to the crescendo that is fitting for the entire record. It’s an incredible song on an amazing album, and it helps to make the album the best the band has ever done. I wouldn’t count them out though. They could always return with another amazing album that keeps the band in the bright light of the music world. Thanks for reading! There are moments when a certain collection of music comes into your life and mixes itsinspiration with the nature of your soul. For me, this is true of the second album by Tame Impala,”Lonerism.” It’s has this perfect spectrum to it. For that reason we’re going to be discussing the valuable and timeless album of my life, “Lonerism” by Kevin Parker, aka Tame Impala.
One essential component that never changes in the world of Tame Impala is the process of making the actual music. Entirely done by Parker, it offers thoughtful observations into his psyche. Does he prefer doing everything himself, or does he just feel like he can better get the ideas out in his own time and journey? It’s hard to say and while both arguments could possibly be valid, I think the end results justify the means. This guy doesn’t make bad music, and on “Lonerism” you can see a more clear picture of a musical genius emerging from the background. It all starts with the whirling, hazy yet fluttering opening of “Be Above It.” Being the first song on any record is important, as it sets the tone and stage for what’s to come. I imagine this track being made from an amalgamation of the other ideas, after they’ve been put into a blender to make something that’s colorful and full of energy. The best never changes or diverges from its early beginnings, but rather expands in density and thickness as all the beats are explored and brought into one harmonious rhythm section. The whirlwind, psychedelic elements only start on “Above It,” but when you hear Parker’s voice creep in over the musical section of “Enders Toi,” you know the first track was only the musical representation of going up a roller coaster, waiting for the actual adventure to begin. Parker lets the music do the talking more than the scattered vocals, but it allows the music to breathe properly, which in turn makes the song better. By the time the thumping drum beat of “Apocalypse Dreams” come in, the listener is submerged in deep sounds that fill up a room like a light being shown in a dark field to help illuminate on your path to view the stars above your head. The drumming is crucial here because while it sets the pace, it also gives pointed motives for the rest of the music to become as good as it can be. It’s hard to imagine Parker doing all this himself, but that’s the reality, and none of us will ever be this good at doing something ourselves. It’s ok, I’m come to live with the knowledge that Parker is just not human. The breakdown towards the conclusion of the track is euphoric and beautiful, even if you can sense the remorse in Parker’s lyrics. It’s one of the early moments on the album that strike me as utterly beautiful. It just works and the full, lushly produced music flows effortlessly through the speakers and captures your body and soul as you surrender to the beats and arrangements. This happens over and over again during the duration, but it never gets old. Each and every song has this kind of deep texture running through it, and the lo-fi production quality only helps to make a record that is as entrenched in heart and soul as it is in imaginative pysche rock. On tracks like “Mind Mischief” is extremely obvious, but it’s also obviously brilliant and thoughtful, which makes it all the more enjoyable to get lost in. I got this record a few years ago for my birthday, to this day it’s remained one of the best gifts I’ve received in terms of cool music. Throughout “Mischief” Parker reminisces on a nameless women he was captivated by. It’s only at the chorus and conclusion that it becomes known that in fact “she remembered my name,” which for any guy who’s thinking about a lady all while being unsure if she even knows you exist, it’s a huge moment of positivity and gratefulness. It’s timing and moments like this that make the album feel like an extension of yourself, and makes you feel even closer to the spirit under which the album was created. Just to throw this out there, but this album is full of almost nothing that doesn’t pull you in. Every track is a banger, but the middle section is where the road meanders into a truly trippy section of the record. “Music to Walk Home By,” is a thinly vailed attempt at making the drums and synth the focus of the track, but again because it works so well you don’t really care that the vocals are mixed low and muddy in the arrangement. For me it always goes back to how you want to service the song. You don’t always need the vocals to be forefront, but Parker manages to write lyrics that are easy to follow along with, should you choose that path. If you don’t that’s fine too because the instrumentation is pulling at you like nature pulls a helpless victim into a beautiful lush garden you might end up being a part of. To me, that doesn’t sound all that bad, as long as I have this album to accompany me. It’s a pushy album in how it embraces the next gorgeous moment and that push helps to keep it fresh and ever growing. Middle tracks like “Music” and “Why Won’t they Talk to Me,” both work well as intermissions between the more solid sounds surrounding it on either side. These tracks are great, but to me it’s more about where we’re going and not where we’ve briefly found ourselves as listeners. Not to downplay the significance of this song and the former, but it feels like the bridge that crossed over two seperate sections. In that regard it works great. After that though, the record spirals out in a wave of euphoria, starting with the band’s first taste of mass appeal. “Feels Like We Only Go Backwards” is a monumental track that harnesses the power and emotion of a doomed relationship. Parker’s vocals are clear and the pain expelled fills the mostly upbeat instrumentation with a certain murky, unsure quality that really brings out the humanity that Parker was going for. I could listen to this song over and over (and I have), but it never loses its luster. It’s bright in arrangement and the heartache is palpable. There’s a reason it’s a massive hit, this wasn’t coincidental. From there the album continues with what has been proven to work, which is more drums, easy going guitar parts intermingled with a low but gorgeously inspired Beatles vocal style. Parker got a bit of heat for “ripping off Lennon” in these early days again, and well, he does sound like Lennon, but to me the difference is Lennon had three other members to lean on, and Parker is doing this all on his own. At this point pretty much no music can be claimed at “totally original,” but Parker has this knack for taking everything he’s ever heard, laying his own twist on it and coming out the other end with something that is as original as anything being played on radio right now. One great example of this is the track “Elephant,” found as we get closer to the albums conclusion. It’s a thumping, heavy track that starts easily enough with a crunchy beat and a roaring appetite. The simplicity in the song is one of its strong victories, in that while it diverges to become part of a fuller sound, the drum beat never changes. Like it’s namesake, it’s driving, forceful, and determined. It never loses sight of that as a song, and that’s why it works so brilliantly. The lyrics are also fantastic. It’s somewhat nonsensical in that it isn’t a song about some deep loss or vulnerability. However, it does have the always timeless wordplay of “He pulled the mirrors off his Cadillac (yeah) ‘cause he doesn’t like it looking like he looks back,” which to me is cheeky, adversarial and too cool for school. The high energy featured during the track is a perfect detour from some of the other more slow, thoughtfully full sections of music we get during the rest of the record. As the album finds its conclusion, we’re treated to a song that’s literally perfect for the ending. I picture the album being a journey through the darkness of the soul, but with “Sun's Coming Up,” it feels like the awakening of a new day. At this juncture, the pain felt throughout “Lonerism” can be happily discarded as you embark on an entire new day as you shed the difficulties of the past. The music also helps obviously. It’s slow at first just featuring a piano and Parker’s voice. For all intents and purposes, it works and the embrace you feel during the track is like an old friend hugging you after a stressful time. It’s easily the slowest song on the record, and it’s placement is crucial because it doesn’t get lost in the same way it might have been placed somewhere else. It’s still a sad track that makes you think, but it’s a pretty, and ultimately fitting end to what really is a remarkable album that I’m able to share my soul with. Thanks for reading. These days, the art of modern rock takes resilience, the right amount of swagger and musicianship. It’s also rare when bands can get more than five albums worth of catchy, popular hits that still get people excited. Led by brothers Matt Shultz, rhythm guitarist Brad Shultz, lead guitarist Nick Bockrath, guitarist/ keyboardist Matthan Minster, bassist Daniel Tichenor, and drummer Jared Champion.
Hailing from Kentucky, the band has managed to release only great albums. We won’t go going in depth on these too much, but rather talking about their growth and the ability to make a song that has something for everyone. I mean seriously, their first album has what’s likely the band’s biggest hit. The track “Ain’t No Rest for the Wicked,” features a loose country twang running of the vocals, and the vocals are delivered with almost a hip hop type of flow. The tale is morbid, sad and the reality of some of our lesser fortunate. Basically based on the strength of this track, the band got recognized. The band would evolve on that with their next album “Thank You Happy Birthday.” Even from the second track “Aberdeen,” you can tell how much the band embraced the idea of being the next big thing in indie music. To fill a vast amount of space you need the right type of artist, whose sound can elevate themselves and bring in the big crowds and paydays. “Aberdeen” proved that it was possible for them. It’s a strong anthemic song and all the parts work effortlessly together. There’s just so much to enjoy with this band it’s hard to decide which aspect is the best. Even the sneakiness and sarcastic nature of a song like “Indy Kidz” works better than it should. I mean they’re literally talking shit at a demographic that could have made or broken them. In that regard they get points for bluster and bravado, and it oozes out of them. Then you have a sweet lovely song like “Shake Me Down.” It’s reminiscent of pain but also salvation. When Schultz talks about keeping his eye “fixed on the sun” I see it at as a metaphor for the band’s pursuit of acknowledgment. Then the instrumentation opens up and your mood goes up in happy remembrance. The “even on a cloudy day” section is simply gorgeous, and for me at least, it’s impossible not to smile. The band can also get heavier and more frenzied. The next album, titled “Melophobia” opens up with the scorcher known as “Spiderhead.” It’s one of my favorite songs they’ve ever composed, and it invokes images of a gorgeous strong woman dancing in a field with her arms in the air. It’s just a fun booty shaking track. It’s easy to lose yourself in the song; when I belt this song out in my car after a long day, all the stresses of life fade away. Having said that, the band’s other two best known and popular songs are the ones that eventually the album became known for. “Come a Little Closer” and final track “Cigarette Daydream” are heartfelt moments, but “Daydream” is the emotional conclusion of the album, and the heart of everything that came before. The soft guitar works wonderfully amidst a vocal section dealing with reluctance and pain at the thought of being lost in the passage of time. Finally, three years ago, the first record on the big scale was released, and naturally, the band got bigger and better at their craft. The songs on this album didn’t end up being their best of all time, but there’s plenty to love about the entire duration. “Mess Around” is a 60’s era psych rock song arranged in the spirit of their Kentucky garage roots. It’s masterful and dance-able, both things the brand excels at by now. “Cold Cold Cold” is a dangerous darkly thematic track, but the real show stopper to me is “Punching Bag.” The story of a woman fed up with her abusers bullshit, it has a revenge plot running through it, but honestly, those fuckers deserve to be dealt with. It has an intentional type of danger to it that I enjoy. Rock n Roll needs to be more dirty and unsafe than it’s been in recent years, and this track proves that this band is capable of that, even if they only brush on the area. All in all, this band is going to get bigger and (hopefully) better as the delve into new and exciting parts of the musical spectrum. The new album will be out soon, so we’ll all find out shortly I guess. Thanks for reading. During the early aughts, a groundswell of garage based, mostly indie rock came bubbling up after the death of new metal. Bands like the Hives, White Stripes, and maybe most notably, the Strokes helped to usher in a new age of rock n roll. Hailing from NYC, the capital of American attitude, the five piece consisting of Julian Casablancas, Albert Hammond Jr., Nick Valensi, Nikolai Fraiture, and Fabrizio Moretti on drums released an album that was defined by its devil may care logic in quick, punctuated music that touched on issue of being reasonable, lost in thought, and more notably, fun times spent laughing about the memories, good and bad. I haven’t done one of these “Albums of My Life” in awhile so I thought it would be great to discuss one of the overall best albums of the last 20 years, without a doubt. Here are my thoughts on the Seminal album by the Strokes, “Is This It?”
I hope you enjoy. At 35 minutes, this album is quite short, but what it lacks in duration is quickly forgotten because nearly every song is a classic anthem and perfectly exemplified everything that was amazing about the early indie movement. The opening title track starts with a mild electronic beat before becoming a very evenly paced instrumentation section. It’s only made better by the slow murmurings of singer Casablancas. Much has been made of the bands seemingly lax relationship with how normal bands do things, but from the start they made that known, and have basically stuck to their guns in the following 18 years. Musically, the opening is a nice teaser for a more immediate next track “Modern Age.” It’s easily one of my favorite songs the band has ever recorded, the guitar part is contagious, and the song takes off like a coaster on Coney Island. It’s one of the more fun energetic tracks on the album, and overall is a masterpiece. It’s powerful, defensive and ready for attack. I think that’s what I like about it most. Many of the songs on this album stay with you for way longer than they maybe should. Much of what was released during those years of the garage rock revival has been forgotten, like any fading genre, but this record always seems to get classier with age. As the album progress, we get a solid round or so of songs that would end up helping the band become such a well known act. “Someday” is filled with this sense of longing and regret, which I think is still relevant of the times. The lyrical content is used from points of frustration and apathy, but also of redemption and finding the strength to be the best person you can. Following that we get the massive hit “Last Nite,” the song that was the first big break the band got on radio and (even then) music videos on MTV. I think the song is good but not the best in their arsenal. Having said that, it’s hard to be as great as you can be when the next track “Hard to Explain” blows everything out of the water. It’s a fast paced but beautiful song of remembrance. I have a friend who was going through a difficult time, with a lady, and he described to me the freedom of flying down the interstate on New Year’s Eve, blasting this song and being freed of all the burdens of the last year and the Strokes played it, seemingly just for him in that moment. It’s stuff like that that always stays with me. It’s the power of music, and while this album has many high points, “Hard to Explain” is not only the best track on the album, but more than likely the band’s best overall song. I hope you enjoyed this. Thanks for reading. When At the Drive In broke up, leading members Omar Rodríguez-López and vocalist Cedric Bixler-Zavala made a left turn so surprising that many were uncertain. However, it worked, in spades actually and The Mars Volta became one of the great post rock, almost demented jam bands of the early 2000’s. Today we discuss the bands ten best songs, and try to make sense of it all. Enjoy, and wish me luck!
10. ABERINKULA, THE BEDLAM IN GOLIATH One of the best mechanisms the band has is the ability to whirlwind this retro avant-garde prog rock with a type of trippy Spanish influences. Over and over again they mix the two to become a band that is as creative as they are free wielding shape shifters. This track is a perfect example of that artistry. It’s King Crimson meets Santana, and that mythological influence captivates everything in the song. 9. VISCERA EYES, AMPUTECHRE Drawing an audience has never been a problem for this band, but I doubt they care immensely. This gives the band cause to do whatever they want. “Viscera Eyes” is a perfect example of that. Mixing Spanish and English lyrics captures both sides of the band while still expanding their sound. At over nine minutes in length, it’s another in a long line of adventurous tracks that make you feel like a fever dream setting out for your prize. 8. CICATRIZ ESP, DELOUSED IN THE COMATORIUM Quite a few of these selections come off the seminal full length record, and all these years later the album is still mesmerizing, along with this song which finds us at number eight. It’s got quite the drum beat, but the real show is the guitar work, which I think was done by Frusciante of the RHCP. It has this middle section that welcomes the calm before the storm, then welcomes the storm itself while Baxter screams “defender.” It’s a powerful moment for sure, and a great song to boot. 7. TETRAGRAMMATON, AMPUTECHRE Easily the longest track to make this list, this sixteen minute journey exemplifies how the band delves into otherworldly grooves and hooks and never looks back. It meanders between weird Latin infused arrangements while embracing the prog rock nature of the band itself. At this point in the band’s career they were basically operating freely and away from normal operating procedures for most successful bands. Trusting their instincts and making something that is wide ranging yet thought provoking is what got them to where they ended up, so why not keep trusting it? 6. TEFLON, OCTAHEDRON I remember hearing this song when they album released, and quite frankly it had me spellbound. It’s hypnotic and captivating in leaps and bounds. The swerving mechanics bringing forth the twilight zone-sequel instrumental section, while again the vocals roam like a once caged but now free animal. It’s curious and darkly mesmerizing and it’s one of their best, weirdly mid tempo classic. It’s even better to experience live, as I did finally at Bonnaroo 2009. 5. INERTIATIC ESP, DELOUSED IN THE COMATORIUM Maybe their best known song, but also their mass welcome to the music world at large. It starts with a bang and doesn’t let up for the entirety of nearly four minutes and thirty seconds. The drumming, coupled with the madness of the screeching guitar make it a truly dynamic song. Much of the vocals and words are non sensibility, but that finds its way into this band pretty often. It honestly works though. Sometimes, for certain songs I feel like the lyrical content isn’t as important as the overall quality of the song. But, this is part of where they thrive. We don’t have to understand everything. 4. METATRON, THE BEDLAM IN GOLIATH I’ve used this before to describe this band, but the wild , free wielding nature is one of the best attributes of the Mars Volta. Strange unorthodox soundscapes lay the groundwork for a song that’s as heavy and verbose as anything the band has ever done. Much of the lyrical content is jumbled into an abstract context, but the real winner here is the drum work, I believe by Jon Theodore( they change members quite often) is electric and pummeling all at the same time. It’s one of the best aspects of the song, and it helps “Metatron” land at number four in the countdown. 3. ROULETTE DARES(THE HAUNT OF), DELOUSED IN THE COMATORIUM Many songs on “Deloused” are navigations into uncertain waters, but “Roulette Dares” actually ends up being one of the more straightforward, albeit jammy tracks on the record. The gradual opening begins with drums and off the wall guitar renderings, but with an explosion of other instruments joining the fold, the song becomes more epic than any other song found in this countdown. Cedric's vocals are strong and soaring, but he’s also able to bring it down a notch when needed. Honestly the contrast between the two vocal stylings show how powerful and capable he is as a vocalist, and the song is better because of it. 2. THE WIDOW, FRANCES THE MUTE After a huge debut like the band had, it was somewhat expected for most fans to be underwhelmed by what they cooked up next. It’s not because of the end product is bad, but rather I think it had to do with the length of the album and how many of the songs seemed to be one big long piece that had to be played as one. Thankfully, the second track on the album,”The Widow,” is a song that hides hardly any mystery and has few drastic changes throughout. This juxtaposition helps the album to find some common ground in its arrangement. It’s more of a straight ahead track than what the band is known for, but it also ends up being one of the best the band has ever recorded. The agony in Cedrics voice is obvious, and with all the other parts working together the song is able to become profound and ultimately engaging and rich. 1. TELEVATORS, DELOUSED IN THE COMATORIUM I’m not sure when this ended up being my favorite song by this band, but during the years I ended up falling in love with this band “TELEVATORS” always stood out to me as an imperfect masterpiece. It’s weirdly arranged but still maintains a more linear songwriting approach than many of their other contributions. The slowly building background sections are gorgeously layered, and when Baxter suggests that “the chalk outline will circle this city,” you get the feeling he’s weapons for a divisive culture on the edge of collapse. It’s a sobering song in a heap of exploratory songs that shows that the band isn’t all weird and alien like. In the end it ends up being the band’s best overall song, which is why it ends our countdown at number one. Thanks for reading, I hoped you enjoyed! Artists by nature are allowed to be chameleons to a certain extent. The album or songs you write as a 20 year old might draw from very different places than it will when you’re gaining in years. It’s all part of the growth and maturity that comes with being a performer and an adult, as a matter of fact. That’s where we find the inspiration for today’s post, about up and coming, potential superstar in the making, Mitski.
Since arriving modestly in 2012 with her album “Lush,” her music has been about personally engaging emotions that overwhelm while also waking you up to how these deterrents can be fought and ultimately conquered. The record, along with her next self released album “Retired from Sad, New Career in Business,” are both engaging and worth a listen. On “Retired,” we get a more orchestral movements along with her silky yet sullen voice whispering from the darkness, trying to lull the listener into a dark, albeit engaging emotional place. One of the best tracks on the album, “Shame” features violin chords that cut deep with tension and a foreboding that is often not heard outside of film scores or during haunting symphonies. It’s an early testament to her pushing herself musically, and even without a huge budget and no name recognition, it stands proudly as an early sign of excellence that portents to what future Mitski works will showcase. In 2016 though, at the age of 26, right as most adults are still trying to gain traction and make a name for themselves (in whatever field they happen to be in) Mitski took that dive and released a record that was not only hailed by indie music types, but also caused people to take notice to this soft spoken but direct Japanese American songwriter named Mitski Miyawaki. That record, “Puberty 2,” explores the dense and intimidating nature of things like growing up racially obscured in terms of how to balance the concepts of cultures that often wildly misalign in how events are felt, showcased and ultimately handled. Her experience in this is likely normal for others like her who grew up walking the line between having a profound culture from one point of view while still trying to fit in in whatever culture you spent more time. It’s a struggle that bleeds through the whole record, but it doesn’t ever get black and white in terms of what’s right and wrong. I’ve found in dealing with culture clashes there often isn’t a “this is right or this is wrong” standpoint. Certain people just do things differently from how my family might do it, but it’s not wrong or right. It’s just how it is. Songs like the powerful opener “Happy,” are engaging in their sexuality but also frank about the turbulence of any potential romantic relationship. Her lyrics are dirty in message but they way she manipulates the words ends up being more romantically cathartic than perhaps it’s meant to be. It’s another example of her word play when she talks about “happy came into me,” as she’s describing the bliss of love making with the person of her choosing. Other songs like “Dan the Dancer” brim with immediacy courtesy of the rhythmic guitar sections. It’s moments like this that capture the listener while also making departures that an unknowing fan might not expect. It’s this variance of sound that’s makes difficult to anticipate what might come next. At least it’s exciting thought provoking music though. One of the best, standout tracks on “Puberty,” “Your Best American Girl” finds its entrance about fifteen minutes in, but it’s musicality, vocals, and lyrical content stand as the best on the record. The trepidation composed throughout the track is palpable and agony driven. At the root of the track is the regret and uncertainty of being in love but of also feeling like the way you were brought up isn’t in line with what others perceive as being the best way. Again this speaks to the culture clash of being a Japanese born American and having to navigate the difficult task of being from two juxtaposing worlds and ways of life. “Puberty 2” ended up getting accolades from various indie music blogs, justifiably so, but Mitski’s next trick would be more eye opening and raw than anything else she has released thus far. Released last year to widespread acclaim, “Be the Cowboy” has everything her fans have grown to love, but it’s pouring with dark pop tendencies. Take the first track “Geyser,” it’s a blustering harmonization of dinky lit synth, with Mitski’s voice calling from the darkness for us to join her. From there the album delves into what the artist Mitski has described as her “saddest record” to date. And boy let me tell you she wasn’t joking. Over the 38 minute run time, you feel her pain and desperation. Tracks like “Washing Machine Heart” might seem more upbeat than others but the lyrical content still makes you want to weep with her and tell her it will be ok. Albums like this can be difficult to get through. Mostly what it boils down to for me is how closely do I want to be engaged to these forbidding, often deceptive thoughts. Many of the songs here simply work, like “Remember My Name” with its pure vocals and walloping drum section, it’s vaguely heartbreaking in scope, with the listener hoping for recognition in a world that pretty much lets everyone ignore everyone else at will. It’s small moments and observations like this that gave the album growing room and high praise. It’s also why among many publications and websites this record, this “Be the Cowboy”, came bursting through and landed atop most of the year end albums lists of the year just completed. Hell even this very website named it the top album of 2018. For some that classification speaks to what was perceived as a lukewarm music year, but to me it means the album was incredible and moving. To get to a point where your album is named “the best” means that you’re taking risks in your creation. That point brings me to the track “Lonesome Love.” It’s a bittersweet piece about attempts to convey your happiness through your outward beauty but then being let down. Included during the vocals is a line regarding how well she can take care of herself sexually. Twenty years ago a female musician likely would’ve been chastised for being “too graphic” or any of the other things bullshit men who don’t want women being too overly sexual to be. The point I’m trying to make is that to stay strong and independent and well, human, we have to be able to convey our feelings and to do so without being frightened of perception. The album is seething with these types of abandoned or pushed aside emotions, but in its final minutes Mitski takes a leap and manages to pull all the other messages during the album into one last, gorgeously layered track. This track, “Two Slow Dancers,” is the type of song that breaks into your heart, making you remember all the times you were wrong, ill informed, or downright fucked over. I can feel the pain of being part of something that ends tragically or miserably- and in that moment we’re transported to a time where lovers held each other under soft lights. The picture she paints here is regrettable, not because we don’t want to deal with it, but because we all already have, and the weight of the pain in going back is just too much for our souls to handle. When Mitski harmonizes “To think that we could stay the same,” it brings moments fluttering into your subconscious. Moments that you’ll never forget, even if you want to, and also the joys and free wielding nature of being in love during the early highs of our 20’s, without a care into the world. That can’t last of course, and even though we hear the beautiful vocals of Mitski as she exclaims that “we get a few years and then it wants us back,” we know that life is filled not with ultimate second chances, but of regret and sadness. Like I said, the record is incredibly sad and vulnerable, but the best music was never made from a confident, happily reassured place. But rather from a place deep within us as we try to move past our own hang ups and mistakes. Thank you for reading. |
AuthorLandon Murray is a New Orleans native, who thrives on painting the world he interprets through the useful forms of all types of art he feels connected to. He's seen over 1000 bands, and had loved mostly every minute of it. He has an amazing 10 year old dog, and is loving life. Archives
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