Review: Monique Angele – Alive


Monique Angele returns with new record Alive featuring both classical and pop elements that help bring her music up to the next level.

It’s always good when you find an artist that’s passionate and brave enough to follow their own sound, rather than following the crowd and creating something generic. Monique is one of those artists, with each song on new record Alive jumping headfirst into raw emotions on a backing of classical and pop connotations. Her previous EP Answers was a slow burner, but Alive changes things around and throws you into her world of passion, complexity and strong melodies.

Pink Coloured Sky and its pop/classical nuances hit you right from the very start with gentle piano set against Monique’s soft and sensual tones, working in perfect harmony. Drums arrive out of knowhere to change the vibe and feel of the track completely which works well and sets up for the rest of the record. The chorus lifts up the piece and takes it further into pop territory as the track progresses.


Our Paradise is fast-paced with up-beat piano set against sombre vocals, sounding like something Disney would love to use for one of their animations about a princess – maybe for the next frozen movie? Once again the drums creep in to change the feel of the song and keep things interesting, with Monique’s vocals getting stronger and more technical as the track thunders on.

Forever Strong is the first truly empowering ballad based around being yourself and not caring what anyone else wants in order to be free. There are hints of the 80s and a gentle comparison to Annie Lennox in Monique’s voice as she takes the track by the scruff of the neck and pulls along the melody. It’s soulful, emotional and empowering. An album highlight.

Rare Girl’s melodies are among some of the strongest on the album, with no need for anything else apart from vocals and piano. This shows off Monique’s skills in songwriting, and that she can do both simplicity and technical pieces in equal measure. Reflection and hope are the main themes in this track, which are also carried over into the soulful Hold On, with its Kate Bush connotations and penchant for mercilessly changing the direction of the track at the drop of a hat.

Alive is an impressive album, able to bring both classical and pop elements together is a seamless fashion where others have failed. The underlying soul elements on some of the tracks work really well to create a theme, with Monique throwing her whole self into every song and tailoring it to her inner thoughts, whether it be hope and passion, or depression and love. The songs and melodies are strong enough to shine through on their own merits, rather than be covered over by layers of instrumentation, which is credit to strong songwriting and not falling into the trap of overproduction suffered by many. Monique should be proud of what’s been created here and expect to have a bright future, if Alive is anything to go by.

Score: 4/5

By Jamie Parmenter

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Review: Nocturnal Animals – Writing On The Walls


Nocturnal Animals aim for Indie-pop rock perfection with new record Writing On The Walls, bringing in influences from early noughties bands to tailor their sound.

It’s not easy being an indie-rock band these days. In the 90s, anyone with a guitar and a few chords could make it big. The 2000s had a revitalisation with bands such as The Strokes and The White Stripes at the forefront, but over the years this style has ebbed away, almost becoming over-saturated with the rise of social media and easier methods of releasing music. But, for bands that love indie-rock, there is nothing else they’d rather do, even if they have to work harder to get to where they want. Nocturnal Animals are one of those bands that have this passion, with new album Writing On The Walls showing off their quality and willingness to prevail.

The record starts off with track Fake Love; think of early Sabbath and late Queen and you’ll get the picture. Crisp guitars and vocals drive the track along in a fun and fast-paced opener with the main riff reverberating throughout, and the band getting more settled and confident as the track continues. Lead singer Mason Jones then screams down the mic as the instruments recoil and gather around him to great effect. 


Shiver, with it’s cleverly echoed vocals creates something different and pleasant amid a light rock sound, before the chorus ups the ante, with wisps of Weezer set against Panic At The Disco setting in. Great use of stops and breaks ride over the track as it ebbs and flows forwards.

Previous single Margot is an album highlight, finding comparisons with British stalwarts Arctic Monkeys. Off-beat melodies and clever lyric placements see the band managing to find rhymes and rhythms where others wouldn’t. It still has that American glitz in production rather than the grimy British feel of the Arctics, but this is not a bad thing as it makes the track feel more their own.

Dirty Eyes portrays feelings of the early 2000 rock revolution. Another English comparison would be Muse, with their playful rock sound that spins off in all directions as the track progresses. Fever Dream also takes tips from the seminal British act, reminiscent of their thumping track Uprising as it marches on to the beat of a drum. They could both do with a little more kick in places to really bring them alive, but the melodies do enough to keep them interesting and its where the bands skills really shine.

Writing On The Walls is a strong effort by a band that are clearly on the verge of finding their sound. The comparisons are kind, and their love affair with indie is worn on their sleeves for everyone to see. With strong musicianship and a true love of what they’re producing, it will be interesting to see if they can up the indie ante as they’re fan base grows.

Score: 3.5/5

By Jamie Parmenter

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Review: Neurotix – Save Me


Neurotix release their first full-length album Save Me, full of grunge punk tracks that will remind you of the early 90s, ripped jeans and baggy jumpers.

Lead singer and guitarist Dominic Tonozzi didn’t play music for around 10 years, before he suddenly felt the need to start a band. Not only a band, but a grunge band. It’s always a hard genre to get into the mainstream these days due to comparisons with Nirvana that will always be there. Nirvana had this cataclysmic start, followed by their swift destruction with the death of singer Kurt Cobain making them a hard act to follow. This steeped them in mystery and conspiracy theories, all backed up some truly wonderful music. I guess people are scared to touch this genre, but its been over 20 years, so why not? Neurotix have taken the brave step to doing just that, with the release of their new record Save Me.


Service Me kicks in straight away and you know what you’re in for. Heavy distorted guitars, mumbling, angsty singing and back and forth chord progression – grunge by the numbers. Dizzy sees lead singer Dom Tonnozzi on top scowling and spitting form as he shouts his way through the fuzz-laden track, not caring if slightly off key or stepping away from the mic. It’s very punk rock and purposefully cobbled together to give it that makeshift sound that all punk rockers love. Bad Night once again starts of with the obligatory two chords of any decent grunge or punk song as Dom scowls: “there’s something wrong tonight, i can see it in your eyes.” It turns into a chorus full of venom, anger and angst. We then have a nice guitar over-cutting the top of the track that gives the listener relief from the heaviness and something outside of the genre.

But this moment of invention is fleeting, with some tracks happy to cruise along in a kind of grunge memorial service. Drive Me Crazy is a little monotonous, with a change in vocal style making it feel out of place, and a few of the weaknesses in Dom’s vocal range are more apparent as you can hear it much clearer. He’s got the attitude but struggles here to find the correct vocals for the track.

Although there is a clear need to bring something new to the genre, what the band do, they do very well. Album-titled track Save Me’s sombre and slow tone is a highlight with strong lyrics of pain and regret coming through, and Girl on the Street’s raucous sound is perfectly paced to be an ideal live crowd pleaser. It borrows from Nirvana in areas, but some parts show a little more invention.

Save Me is an album caught between the passed and the future. The band were brave to try and revive a genre dominated by one band over 20 years ago, but Nirvana had such a great sound that anything that resembles them just feels like the same thing. There are some great sections on the record, and you can see what they’re trying to do, but they just need a few more ideas of their own to bring the genre back into the limelight. It’s a good start and it will be interesting to see where they go from here.

Score: 3/5

By Jamie Parmenter

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Review: Patrick Grant – FIELDS AMAZE and other sTrange music


Patrick Grant Re-releases FIELDS AMAZE, now featuring “other sTrange music” on Peppergreen Media, reminding us how bizarre and unique music can be.

If you listen to the radio for too long, you can get a feeling of the generic – especially if you just stick to one station. It’s always good to mix things up a bit and broaden your horizons, and if you really want to go out there and try something really different, you need to check out Patrick Grant’s re-release of the 1998 album FIELDS AMAZE and other sTrange Music. Before any keyboard warriors think my spellcheck is on the blink, this is how the album title is spelt, and it’s the perfect visual cue for the craziness, uniqueness and ‘non-bowing to tradition’ that the album throws in the direction of the listener throughout.

If you’re unfamiliar with Patrick Grant, he’s a Detroit-born American composer that has a penchant for the strange. With an immense amount of influences, style changes and shying away from the norm, Grant had created music that will be difficult to listen to for some, interesting for others, and revolutionary for many. The great thing about this re-release is that the tracks don’t seem to have aged one day. Take opening track Keeping Still as an example; instruments and off-beat sounds filter though from every direction, from keys to bells and wooden accompaniments, blasting out random twists of musical styles including Jazz, musical, Chinese, and rock. The song is anything but ‘keeping still’, and because the music is like nothing else, there’s not much to compare it to, and so it can’t feel old.


The interesting thing about this record is the sheer mindedness and the way it sometimes sets out to make the listener uncomfortable as its main aim. Fields Amaze turns a great heavy rock melody on its head by pulling a blanket of lesser known instruments and sounds over the track to create something much more original and organic, whereas on Everything Distinct_Everything the Same you can really feel the tension and suspense with heavy tones set against high outbursts, but backed up with world music melodies. Grant truly is one of the masters of confusion and the uncomfortable that brings everything together.

A Visible Track of Turbulence I once again turns the album on its head. A Classical and pretty start to the track is far away from anything experienced so far as you really feel a change in direction that rocks the boat, with low-end piano disrupting the calm and tranquility leading to chaos and a change in pace. Turbulence II kicks in two track later as a sombre track that repeats itself into inexsistence – it can be hard to listen to, especially with everything that’s come before with the uncomfortableness is upped a notch. However, at the end of the track you can hear the breathing in of the flutist which is a nice touch and used to create more mood and pressure before it ends.

Then we have the horror aspect of the record, which really makes it come alive. Imaginary Horror Film – Part 1 has a beginning straight out of ‘rocky horror’ or a cheesy 80s scary movie, where the girl has to say ‘I’ll be right back’ before being brutally murdered. It’s a clever piece and one of the more melodic tracks on the album, breaking it up nicely. Part 2 then goes even more all out, still remaining fresh in the same vein as Part 1, but with more great movements and guitar to push the track forward. The amount of imagery and feelings it creates in your mind can be overbearing, and this is testament to the skill and dexterity of the writing.

FIELDS AMAZE and other sTrange music is an interesting piece that is worth listening to. It won’t be everyone’s cup of tea, but it’s not supposed to be. It’s supposed to be for those looking for something out of their comfort zone. If you let yourself go, it is a truly amazing piece that is heightened by the addition of ‘other sTrange music’. The sound has not aged at all since its release 20 years ago, frankly because there is nothing to compare it to. I can’t even imagine how Grant organised everyone to record this, but that’s just the magic of the record and best not to think about but just enjoy. If you have the right mindset and want something completely different in your life, this is the record for you.

Score: 4/5

By Jamie Parmenter


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Review: The Slang – Desperate Times EP

the slang

The Slang return with new EP Desperate Times, and with it bring a taste of Nashville sporadically littered throughout the tracks against an indie-rock backdrop.

One of the things the Slang have prided themselves on is recording in different cities and studios, so each time they release new music they try to capture the vibe and feel of each city. New EP Desperate Times was recorded at Ocean Way Studios in Nashville, and although the overall feel of the record is still indie rock through and through, you still get these little country rock flourishes that are embedded into the veins of the record. This is helped along by Mark Needham on mixing duties, creating an EP that is more varied than previous efforts, and refreshingly doesn’t stick to one certain idea.

Back To The Fact is the perfect opener that throws you directly into the indie-rock foray that the band delight in – it’s the kind of track the band can play in their sleep as they pluck away at electric guitar with a high speed pace throwing the listener along. Notes of British group Snow Patrol are echoed in singer John Bobo’s voice, as he works his way through tales of heartbreak, youth and revolt. It’s a strong and catchy start that feels like home.

desperate times

Breakdown slows things down before a thumping chorus kicks in from nowhere. This song is for a grungy live venue with warm beers in plastic cups and a feeling of anticipation in the air as the band control the crowd, egging them on in a sweaty and cramped atmosphere. Guitar work is strong enough to push the track forward, and the break up three quarters of the way through keeps things interesting, giving you a chance to catch your breath.

Harm mixes things up with a more acoustic intro, which actually brings the track out of its shell and shows that the band’s melodies are strong without the heavy guitar and production. It’s nice to hear the bass shine through a bit more, with Bobo’s vocals feeling much stronger in the contemplative atmosphere. They’re a high-adrenalin indie-rock band there at heart, but some of their strongest work is when they’re calming things down a bit and concentrating on melody.

Is It Any is another track that’s full of angst and turmoil, and finally we get to see a bit of that Nashville country flair seep through in the music. Guitars cut in and out amidst a backdrop of fuzz either side, as Bobo belts out “Give me one more chance before you walk away”. This is one for the adolescent teens to listen to when trying to get through one of those tough breakups that will litter their youth. If Nashville rears its head on Is It Any, it’s captured in full body on EP closer Head Start. It’s got that Nashville guitar sound and a country beat that’s covered over in an indie-fuelled blanket. It’s a fantastic way to finish the EP and the strongest track on the record. Gentle keys change the vibe, and a great heavy fuzz solo reminiscent of 90s Weezer set it alight. Backing vocals make a fleeting appearance before everything but guitar and vocals cut out to finish off.

Desperate Times is an EP that flares up at the end where it relies more heavily on the influences of it’s studio base in Nashville. The record starts of strongly with the music by numbers sound of The Slang, and as the country influences blend into the music by the end of the record, it feels stronger. It would have been nice to have this at the forefront of the record, but I guess the band wanted to just dabble for now to see what the reaction was – they needn’t have worried as it works very well. It’ll be interesting to see where they record their next music and how strong the influences will be compared to Desperate Times.

Score: 3.5/5

By Jamie Parmenter

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Review: Deb Montgomery – All The Water EP

deb montgomery

Deb Montgomery’s new EP All the Water takes a step forward into the alt-rock/folk-rock foray, and brings with it a record that ebbs and flows.

Seattle artists are renowned for their creative freedom, and records from there always feel that little bit different from other American cities. I don’t know whether it’s the atmosphere or something to do with the live scene, but a lot of the time they seem that one step ahead of the curve, or more willing to introduce change in their music. This is true of Deb Montgomery, as on new EP All the Water, with the help of producer Mikel Perkins, they manage to craft a heavier record with electric guitar that although keeps her signature sound intact, it accentuates the music at the same time.

EP opener All The Water instantly washes over you with interesting drums fading in and out, urging the track forward like a gently flowing stream. This ‘stream’ flows throughout as the music gains momentum, before once again trickling along, before the current once again strengthens with grit and determination that’s picked up in Montgomery’s vocals and lyrics: “if you can sail, then walk on water with me now”. It’s the perfect song title for the way the track develops, with strong and turgid sections that handover to the calm and solace in the blink of an eye.


Dig for Diamonds once again has the EP’s penchant for heavy drums front and centre, but it’s Montgomery’s vocals and melody structure that impress most on this track. You can hear The Cranberries in there somewhere, as once again the artist shows off the ease in which she can switch from grit and sheer mindedness one minute, to vulnerability and self reflection the next. Hold On also relies heavily on this structure, but with more of an 80s melody, whereas Wake Me’s slow, almost marching beat benefits from a tried and tested indie-rock vibe. Although nowhere near as dark, sombre and heavy, the fellow Seattle-based band Nirvana can be heard in the structure of this track, showing that certain musical qualities are embedded into the city’s music. The build up is the strength, with the production amplifying the track to give it more heart.

Album closer Mend is a soft and sultry effort with gentle guitar that saunters along at a slow pace. Its interesting chord changes work well against the sporadic vocals and the live feel pays off as a pretty way to finish the EP.

Based on the fact All The Water is an EP, Montgomery has stuck to the same idea throughout to keep it tight and tailored. It was brave for the artist to try out a heavier sound, and it’s really helped her to stamp authority on the sound, and take things to the next level. Although this works well, it would be nice to see what the artist has to offer in a broader range. This will hopefully be explored on her next full album because Montgomery definitely has something here that would benefit from a longer running time.

Score: 3.5/5

By Jamie Parmenter

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Album Review: Crooked Flower – Blooming – The Light Rail Sessions

crooked flower

Hot on the coattails of previous EP Darkness and Light, Crooked Flower release new live record Blooming – The Light Rail Sessions,  treating the listener to tight playing amid psychedelic wonderment.

It’s a sign of a band with hunger when they release music in quick succession. Crooked Flower released their first 3 albums between 2016-17, with all showing strong promise of things to come and a raw talent to be nurtured. With new Live Album Blooming – The Light Rail Sessions, this talent has been used by combining the psychedelic with funk and unique experimental structures, whilst feeling like they’ve found the perfect way to showcase their skills under the ever watchful eye of the ‘live’ red light.

The record kicks off with 6 minute wonder Came to me in Dreams (Pt.1). Reminiscent of the opening to Pink Floyd’s Shine On (You Crazy Diamond), the track then spins its own web of psychedelia as it cascades into a funky beat as lead singer Angie Dang’s sultry vocals slide in. Great use of silences against tight drumming keep the track interesting as guitarist Dan Ingberman jams his way through to the conclusion.


Go Back Go Back strolls in with a 70s hammond organ which turns into one of the most melodic tracks on the record, as Angie reminisces about the easiness of days gone by, whereas Who You Are (Do I Want You)’s bass riff forms the basis for a slow and sultry song with a haunting quality that’s taken forward by a strong guitar solo that’s never overwhelming. This is in stark contrast to Losing Time (Don’t Like Mondays) where the tempo ups and the band sounding like they’re having fun. The pacey, funky vibe could be filled out with a bit more guitar, feeling a little empty in places where you really want it to make a big impact, but it does break up the album nicely.

Coming back To You moves us into ballad territory with Angie’s vocals at their strongest. Once again, hints of Pink Floyd seep in, and the band give their own unique twist on this, just like the opener. Considering this is a live release, the tightness and perfection of instrumentation and vocals on this track is extremely impressive with the band giving out a strong and emotional performance.

Crooked Flower are a band born to be live. Their talent for strong structures and committed instrumentation is shown off in Blooming, with Angie’s vocals strong as ever, and cleverly knowing when to just sit back and let the band jam, before entering back into the fray with strong verses and imagery. There are a few rough edges and drops in sound that don’t always work, but overall this is a great live album from a band with a bright future.

Score: 3.5/5

By Jamie Parmenter

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News: Joseph Malik to release new record ‘Diverse Part 2’ on Vinyl


Vocalist Joseph Malik is set to release his new record ‘Diverse Part 2’ on our favourite format, blending vintage 60s R&B, blues, soul and jazz on his first album outing in 12 years.

Not messing around with a new and clever name and opting for a pretty obvious follow up title to original album ‘Diverse’ seems to show that Malik had other things on his mind – namely creating quality music to follow in the footsteps of his high-selling debut. Growing up with music and buying his first record at 7 (that’s young, even by an enthusiasts standards!) and Djing at parties from 14, it’s no wonder he wants to get this out on wax as soon as he can.

The new record sees Malik continue in his refusal to be stereotyped, this time going all out with 60’s RnB influences, soul tracks, jazz ballads and blues tones all playing a part and influencing the singers outlook on life.

Diverse Part 2 is released on 12th October 2018 on vinyl, and you can check out the new video for lead single ‘Take a Left’ below:


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Album Review: Get the Blessing – Bristopia


Following on from their 2015 album Astronautilus, jazz-rock pioneers Get The Blessing return with their mesmerising new record Bristopia.

Bristol is one of those ‘upcoming’ cities in England at the moment. In fact, many see it as an ‘alternative London’ with a free spirit, entrepreneurial atmosphere, and a great place to live. New record Bristopia is kind of a homage to this, but also delves into the seedy atmosphere as well as the highs, which comes through in the music. The band were born and bred there, so they know a thing or two about the city and invite the listener to find out more.

Opener If It Can It Will sets of the brooding tone of the record as it flits around unknown territories with jagged brass patterns and long monotonous notes keeping the listener intrigued, with is pushed further when the sax is let loose later on in the track – the only thing you could call it ‘heavy metal jazz’.  

Not With Standing takes things down a notch with its mesmerising melodies that shouldn’t work, but somehow do. It feels creepy and puts you on edge, but in a good way. I’ve not quite heard anything like this, and you can tell that experimentation plays a big part in these tracks when they’re in the rehearsal studio. It ghosts along at an ambling pace, creating a strange atmosphere that is hypnotic and fraught with the mystical; a truly strange but compelling track.


Rule of Thumb’s gradual build up with misplaced notes and flourishes add a dynamic to the music that’s  missing on some previous tracks, and feels like the band are really letting themselves go, whereas Tuathal manages to be both melodic and distant at the same time – the brass section holds the song together as the band swell around a central idea that grows until ready to burst in a crescendo of sound.

The Vinyl edition reviewed really made the record come alive compared to alternative formats. Jazz works really well on vinyl, and you can tell the mixing on this record has been tried and tested so it works to the best of its ability on wax. You can also get a picture disc featuring a take on the album’s cover which is pleasing to the eye and doesn’t seem to effect the sound.

This is a powerful return for Get The Blessing, and if they can round off a few rough edges, they are truly onto something here. It’s a dirty love letter to Bristol that doesn’t stop giving, and a truly unique listen that sets the pace for the current UK Jazz revival.

Score: 3/5

By Jamie Parmenter

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Album Review: Gideon King and City Blog – Upscale Madhouse


We take a look at the new record from Gideon King and City Blog, with their unique mix of jazz fusion/funk that takes them to the next step.

There’s no mistaking the keen musicianship when it comes to Gideon King and City blog. Just like their first record – 2015’s City Blog -, new record Upscale Madhouse features a myriad of contributors, all plying their trade wonderfully and vying for the top spot in a way that only jazz can do. That’s the beauty of jazz. You can tell that Gideon King wanted to bring this level of gentle camaraderie and competition to the forefront on this record, and that many hours were put into making this happen. With obvious and unabashed comparisons to Steely Dan (and members helping out), the record tries to bring compelling harmonies and improvisation to the forefront, and has a penchant to surprise, as you get deeper into the album.

Opener Straight To Hell gently guides you by hand into the world of the abstract, with steady jams set against jazz drums and tight playing. Vocals are as smooth as 80s Michael Jackson and just as appealing. The instruments dance around each other with the track being enlightened by rich backing vocals to bring it out of its shell.

Album-titled track Upscale Madhouse is up next, where you get a feeling of serenity embodied. Norah Jones would be proud of the chilled-out vibe created with controlling lyrics of regrets, anger and emotions that create a beautiful contrast to the laid back sounds. This is, in fact, a defining feature of this record – contrasts. The trick again is repeated on the brilliant So Evolved, with Grace Weber’s passive/aggressive lyrics sounding compelling against a lounge music vibe that really makes you sit up and listen.


The musicianship throughout the record is, without a doubt, stunning. You get to listen to artists on top form throughout, and it really feels like they’re pushing each other to bring out the best. This is one of the great by-products of jazz, and can be heard best on Love You, Love You, Love You as instruments continuously steal centre-stage from each other amid influences from Earth Wind and Fire to 70s funk fusion. The five minute running time gives plenty of room for a ‘battle of the solos’ half way through before settling back down and relaxing into a strong finish. Gun To My Head must also be mentioned in relation to musicianship, with its high intensity pulling along the harmonies, and wonderfully placed timing changes and guitar work bringing the track alive.

On top of this, the record also plays host to new ideas and social commentaries in tracks such as Fake it on Facebook. This is new ground for the band but they pull it off well. The opening electronic drums accompanied by walking bass and piano create a lively atmosphere similar to 70s Stevie Wonder. This is set against lyrics based around the ridiculousness of social media, and the dangers and mental degradation it can cause. It’s not preachy, but done in a light-hearted way throughout, and the catchy melody makes the track a real album highlight.

Upscale Madhouse is a compelling record of unique ideas and contrasts that plays heavy on musicianship, but also hones it’s focus on lyrics and subtle flashes of brilliance. This works much better than the previous debut, and allows the record to create more of a swagger and finesse; everybody involved is having fun and it shows. There are not many bands around these days with that Steely Dan-esque sound, but Gideon King and City Blog pull it off here, bringing it bang up to date with a great record that stands out amongst the crowd.

Score: 4/5

By Jamie Parmenter

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  • Artist: Pink Floyd.
Record: The Wall.
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