Sal Klita Blogger | Muzik impressions

Sal Klita Blogger

Tuesday, May 30

Brightblack Morning Light Debut Album, Out In Matador Records. Individual & Distinctive, This Is Their Sound:

"Everybody Daylight" - mp3

"All We Have Broken Shines" - stream

It was cold so we bundled up to keep warm, saw our breath float into darkness when we stepped outside for fresh air, really fresh air, scents of sea salt and beach wood. This was a year ago. We were in Bolinas, at a place called Smiley's Saloon. We city kids had driven up, booked rooms in B&Bs, driven slowly down dark roads alongside lakes and bays, looking for hand-painted signs, white letters on brown cardboard that said "Quiet Quiet Window Lights." The signs would tell us where to turn, because there were no street signs and landmarks were scarce. It was confusing, but we found the place, parked right in front of the saloon. I remember thinking, "Should we tie the Mazda to this hitching post?"

Smiley's was nearly empty when we arrived, save for a few scattered locals, patrons not accustomed to the flood of twentysomethings about to overtake the only watering hole in this tiny town. We stood around, ordered drinks, waited for things to get started. People trickled in. Joanna Newsom showed up, but her Lyon & Healy harp had been tossed about on the drive up and she was in no mood to talk; she went upstairs to fix it. The band Vetiver set up on the floor in a corner and started sometime around 9 p.m. Singer Andy Cabic purred and played and tapped his foot. His bandmate Devendra Banhart finger-picked his guitar, sang harmonies.

Newsom, having repaired and tuned her harp, went on next. About 50 of us had made the hour-and-a-half drive from San Francisco to Smiley's, filling the joint to capacity. The place served beer in jelly jars. Newsom's strong, reedy voice seemed to pluck the strings itself, all pingy and ringy and wry. It must have caught the locals by surprise, but they warmed to it and yelled for more; today I'm told Smiley's has a copy of one of the harpist's early homemade CD-R's in its jukebox.

We were glowing when she finished, thrilled by the intimacy of it all. That's when the Brightblack Morning Light -- or Brightblack for short -- went on. Frontman Nathan Shineywater stood shirtless, wearing big silver sunglasses and his acoustic guitar, his long greasy hair and frisky mustache completing the picture of an Alabama castaway, which is what he is. So is his best friend, Rachael Hughes, who plays a Fender Rhodes bass-keyboard in the band. Drummer Noah Wilson met Shineywater in Humboldt six years ago, and they've been playing together off and on ever since.

That night at Smiley's the trio played a shimmering set. It put us to sleep, then soundtracked our flying dreams, then woke us up again an hour later, because it was time to celebrate. We bought booze from the bartender and took it to the parlor upstairs, stayed up all night chatting, improvising on a piano and a cello, eventually finding ourselves on a starlit beach splashing about, with the dim glow of the city visible across the bay, a million miles away.

Brightblack is the reason all of this happened. Shineywater and Hughes booked the bands, which were made up of their friends; booked Smiley's, their local pub; and got the word out, which wasn't hard to do, considering the lineup. It was one of those landmark events that no one could have predicted: In the year since Quiet Quiet Morning Light, Banhart and Newsom have released critically acclaimed records and gone on to achieve international success. Brightblack, on the other hand, has stayed pretty much the same, which is really just fine with Brightblack, which prefers to stick uncompromisingly to its bohemian ideals. If that means that sleeping under the stars comes before rock stardom, so be it.

"I need 16 bars of the biggest thing you got," says Jim Lamb, sound man for Café Du Nord, during Brightblack's sound check before its show last Wednesday night. Shineywater thinks about it for a second, confers with his bandmates, and the trio starts playing a buildup of sorts, with Shineywater strumming his acoustic, Hughes fingering the notes of her Rhodes, and Wilson tapping his small kit. The racket gets about as loud as a Lexus engine.

Brightblack makes the slowest, softest music I've ever heard a rock band play; the stuff makes codeine look like crank. At a show at Du Nord that Brightblack headlined last year, almost the entire room had cleared out by the time the group was halfway through its set, most people having shown up for the opener, Vetiver, and unable to make it through Brightblack's narcotic jams full of expansive songs that feel like the still air before an electrical storm. For reference, look to Terrence Malick's Days of Heaven, Mazzy Star, Low, or, as the band itself does, My Bloody Valentine.

"We really got into My Bloody Valentine and Loveless," says Shineywater, settled into a plush chair in a corner of the venue alongside his bandmates. When Shineywater and his best friend speak, they do so in thick, beguiling Southern accents, and they refer to each other strictly as Nay-bob (for Nathan) and Ray-bob (for Rachael). "That record really has the same [consistent] feeling to it. That's been a big push: Pick up on an emotion and try to maintain it rather than hitting all these other sounds."

As heard on last spring's Ala.Cali.Tucky, Brightblack's resulting aesthetic is minimal but not monochromatic, slow but not staid. The songs are anchored by reverb-laden, low-end undulations compliments of Hughes' Rhodes and Shineywater's drop-tuned guitar, gently jolted by Wilson's minimalist drumming. With the sonic bed in place, Hughes and Shineywater layer in their secret weapon: a warm bath of vocal harmonies, sleepy and whispered.

"We like to find the pocket in our harmonies," says Hughes. "You know there's the pocket in anything you do. With harmonies there's definitely a pocket. There's a close relationship with two people who can sing, finding the breath that's the same, so you can pull off a good sound, a sound that's gonna carry out and reverberate."

It's sweet, syrupy stuff, but an acquired taste. And that fact at least partially explains why Brightblack hasn't followed friends like Banhart and Newsom into more widespread success. But there's more to it than that.

"One thing that's important to us is we don't play shows with people we don't know or don't have a kinship to," explains Shineywater, hinting at the beatnik ethic that, for better or worse, keeps the band well below the radar. In addition to handpicking the lineups of their shows (which, as a result, are always splendid, down-home affairs), Shineywater and Hughes rarely manage to hold down real jobs, have spent long stretches living out of their respective cars, and currently live together in a small cabin in Lagunitas. "It looks like it used to be a chicken coop," says the guitarist. "It's smaller than a one-car garage; we sleep on bunk beds."

The pair grew up in Alabama, Shineywater in Birmingham, Hughes in a small town outside Montgomery. At their initial shows together they called themselves Rainywood; the act's first gig was a benefit for the Alabama Green Party that drew 15 people. Among the small group of writers, artists, and musicians living in Birmingham, however, was a gentleman named Will Oldham, aka Bonnie "Prince" Billy, aka one of the most respected and revered folkie types in the country. Oldham took a liking to Rainywood and invited the group on tour with him. He remains one of the band's mentors to this day.

"[Oldham] showed us touring doesn't need to be this laborious, taxing, hell-on-wheels scenario," says Shineywater. "It can be laid-back. Like, the second tour we did with him in the Southwest, we scheduled our shows around hot springs."

Brightblack has done three tours with Oldham, the last of which was a West Coast stint in 2002 that eventually landed the group in Lagunitas, where it's stayed ever since.

"We don't have plans to leave," says Shineywater, "but I don't like to stay anywhere for too long."

Despite the fact that Brightblack finds itself in the middle of, or at least a mere 20 miles north of, San Francisco's so-called "freak-folk" movement, its chances of following in the footsteps of peers like Banhart, Newsom, and Jolie Holland are low in light of the subtler, more challenging nature of its sound. Still, considering how nonchalant the group is about its career (says Shineywater, "If I want a career, I'll go be a dental assistant"), it has had some notable successes of late: Composer Rachel Grimes of Rachel's will be assisting with arrangements on some upcoming songs, and Brightblack was recently invited by a reunited Slint to play the vaunted All Tomorrow's Parties festival in England in February, which will be the first time that Shineywater has ever left the United States.

"Slint's taking Nay-bob out of the country," chuckles Hughes. "I think that's great."

Before that happens, however, there'll be the second annual installment of the Quiet Quiet Window Lights series, this year featuring an even more diverse lineup, including Banhart, Vetiver, psychedelic singer/ songwriter Entrance, local crooner Peggy Honnywell, and more (Bonnie "Prince" Billy was on the bill as of last week, but now his chances of showing are slim, according to Shineywater).

After Window Lights and after Brightblack returns from England, the band plans to seek out a label to help it record a new album. With Grimes involved -- and the possibility of having other name artists contribute (Brightblack has nothing if not a loyal set of talented friends) -- the follow-up to Ala.Cali.Tucky might put the group on the map. Until that time, though, Ray-bob and Nay-bob are keeping their priorities straight.

"The other day Ray-bob told me she wanted to live more primitive, like the Native Americans," Shineywater writes in an e-mail in response to a follow-up question about the band's future goals. "Each summer we sleep in tents because our cabin is so small. Now here in the winter we have to sleep inside. I think that disconnection from sleeping with her back on the Earth's dirt is making her sad. So maybe a goal would be for us to spend next year completely outside when we sleep." Text by SF Weekly

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Friday, May 26

Sixtoo Is About To Release Another Ninja Tune LP? His Output Is Totally Amazing!

The most convicted felon of the 1200 Hobos Team. The Sebutones unofficial cure for loneliness. Material Homewrecker. Loyal chief physician to the broken hearted, desperate and dislocated. Cult-leader. Anticon graduate. Box Cutter-wielding threat to soundmen everywhere. We could feed you the bullshit all day…or we can sell you all the lofty dreams in tonic form.

If you followed the "underground" hip-hop movement in North America during the late 90’s, you may have seen his name on lots of the records, and you probably saw him on stage at many a show around that time. Buck 65, Sebutones, Sage Francis, Peace (Freestyle Fellowship), L’ronius, Aquasky, The Goods, and various Anticon members all have a place in the story. It’s a long story, all there in recorded form if you want to do the work and spend the time. It’s all relevant to what Sixtoo is doing today, but neither him nor any of the aforementioned people tend to dwell on the past. They’re all in their own place now and have come into their own in different ways.

Early 2000 is when it all really started coming together. Just before leaving Halifax he released Duration, a record that, for the first time, took him away from the mic, and put him solely behind the sampler. The results were heralded as an instrumental hip-hop classic, and things started looking up-way up-for Sixtoo.

The following year saw him freshly re-located to Montreal, and signing on with UK based Vertical Form Records. The relationship with Vertical Form saw the release of "Antogonist Survival Kit", a dark-ass record that showcased both sides of his skills : back on the mic for half of it, and hitting the SP for the 2nd half. It was signature Sixtoo production and rhymes, but one also got the sense that his new surroundings in the North end of Montreal were starting to bring something different to the mix.

A lot has been written and speculated about the effect of Montreal winters on local musicians. It takes some long, cold, dark months living by the railroad tracks to produce something like Godspeed You Black Emperor. Alien8 Records, Constellation Records, Mutek Festival. Ever since Amon Tobin moved to the city things have been getting just a little bit denser with his sound. And the same can be said for Sixtoo. By the time 2003 rolled around, Sixtoo had come to the attention of the Montreal Ninja Tune office and he found himself with a fresh new contract, and a turning point on which to really assess his work up to that point and to decide on how he wanted to proceed. All the releases up to that point had reached some type of notoriety, but also were hinting at another level of untapped potential.

So when it came time to record what would become "Chewing On Glass & Other Miracle Cures" a completely new style was employed. Not content to make another record based on mining wax for samples, he set about tapping into various live musicians to get the source material that would ultimately be chopped up and re-arranged for this record. Taking the basic idea of sample-based music but building the samples from live sources, and in some cases just letting the live elements take over. An organic approach, but also one that doesn’t ignore the current movements of microsampling and effects programming. All in all…it’s something else. Can’s Damo Suzuki, Norsola and Thierry from Godspeed You Black Emperor, Matt Kelly, Eric Craven from The Hanged Up, Sixtoo, and many more can all be heard programmed and chopped in the signature Sixtoo dark/sinister way. All brought together to create what is essentially a psyche rock/jazz masterpiece as made by a long time hip-hop producer.

So know this…Sixtoo is on some entirely other shit. Sampling live as opposed to sampling records. Playing as a musician instead of a collage-artist. Working with people that can help to fully realize the ideas within the music, as opposed to strangling ideas in order to keep them contained and manageable. Contained is safe, and safe is played. Sixtoo is out of the box, and it has all just started, again. Text By Ninja Tune

To view the Electronic Press Kit for Sixtoo - means, his working method...Watch

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Thursday, May 25

...Only A Spotlight Of The Last 75 Or Less Review...Sambassadeur New Album Is Sweet Sweet Sweety. Out In The Fine Labrador Label, Home Of The Legends

Sweden is ground zero for charming indie pop. Why it's maintained that distinction has to do with the bands there pushing themselves and their listeners with each successive release. That's what Sambassadeur's been doing, anyway. Coastal Affairs is their third EP (their fourth release overall) and it's as flawless as EP's get. Four songs, three originals and one Bats cover, that fit together so perfectly, one might suspect a bit of divine intervention. Never twee and never grand, Coastal Affairs makes its home in the savory place between the extremes. - paul (75 or less)

Sambassadeur from Göteborg started out in the small town of Skövde in the autumn 2003 where Joachim, Daniel P, and Anna found themselves be studying. The three Sambassadeurs got together as they found out that their taste in music were quite the same. The band of Sambassadeur began one night at Joachim’s small apartment where Daniel and Joachim had got together for recording a song. Despite the fact that they where too shy to even look at each other when first playing their songs, the short session resulted in the recording of the song “There you go”. Later that autumn, Daniel T, a friend of Joachim from Göteborg, joined the band and the days of searching for a bass player were over. After realizing the band having three shows coming up in the spring, Sambassadeur decided to actually start rehearsing. The first show took place at Klubb Mono at Bommens Salonger in Göteborg, and afterwards the band realized their line up with three guitars, one bass, two singers and a cd taking care of the beats actually was working. Now all of the Sambassadeurs are living in Göteborg and after releasing two cd-r´s on their own and a 7” single at Dolores recordings, they have found their home on Labrador - Text From Their Space

Between the lines.mp3

One last remark.mp3

New moon.mpg Video (31,90 mb)

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Wednesday, May 24

The Walkmen Pulled out Cool New Album Just A Few Days Ago...But This Song Is Still, & Probably Always Will Be DDDivine!

"The Rat" By The Walkmen



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Biography by JT Griffith - AMG:

The Walkmen features three members from Jonathan Fire Eater and two from the Recoys. When Jonathan Fire Eater disbanded in 1998, the group took the remainder of their Dreamworks funding and established an uptown rehearsal space in New York City that doubles as a 24-track recording studio where they use a wide variety of vintage equipment. The 900-square-foot Harlem industrial space, dubbed Marcata Studios, was completed in the fall of 1999. (Interesting trivia: Bands that have recorded at their studio include labelmates the French Kicks and experimental rockers Arto Lindsay and Nacao Zumbi.) The Walkmen, some of whom had gigged in the City under the moniker Today Okay, formed in 2000 and consisted of Fire Eaters Walter Martin (vocals, organ, etc.), Paul Maroon (guitars), and Matt Barrick (drums), and ex-Recoys Hamilton Leithauser and Peter Bauer. Like Jonathan Fire Eater, the members of the Walkmen grew up together in the Washington, D.C. area and have played in the same bands since the fifth grade. Perhaps the only way the group could be any closer is if they were all related. (Martin and Leithauser are cousins, so the (semi) merging of bands is also somewhat of a family reunion!) The Walkmen make a conscious attempt to evolve away from the raw, fiery garage sounds of their previous bands.

They incorporate piano into the new songs as well as take the compositions in new directions by experimenting with instrumentation and recording techniques. The Walkmen are influenced by such diverse bands as the Pogues, Joy Division, Bruce Springsteen, Björk, U2, New Order, the Smiths and the Cure. Their new music has favorably been compared to Pixies, Brian Eno and the Velvet Underground with strong hints of U2 and Television. An online advertisement for the Marcata Studios explains that the owners appreciate the sonic recordings on Joy Division's Peel Sessions, Talking Heads' Fear of Music, the Specials' The Specials, and Royal Trux's Singles, among others. The Walkmen released a self-titled, four-song EP in 1999 through the small Brooklyn label Startime International (Brendan Benson) and completed a vinyl-only release to be made available at concerts.

The first Walkmen concert was at Joe's Pub in the East Village in September of 2000, shortly after their EP was released. In 2002, the Walkmen made their proper full-length debut with Everyone Who Pretended to Like Me Is Gone. It was a favorite among most indie crowds and the album led the Walkmen to tour the world in support of it. Bows + Arrows, the band's first for Warner Bros' Record Collection label, appeared two years later. Along with touring and appearing in a cameo on the Fox TV series The O.C., the Walkmen began writing a novel, John's Journey, together. The band returned to the studio in 2005, working with Don Zientera at Arlington, VA's Inner Ear Studio on their third album A Hundred Miles Off and at their own Marcata Studio on a song-by-song cover of Harry Nilsson's Pussycats. A Hundred Miles Off was released in spring 2006, and Pussycats was expected to be issued later that year.

Monday, May 22

After Pulling Out First EP, The Early Years Are Gonna Release This New Single Named "So Far Gone", Soon. Meanwhile, They'r Supporting Electrelane...

The Early Years were born in 2004 when David Malkinson decided to do a solo gig armed with a guitar, an amp and a large number of effects pedals creating a wash of psychedelic guitar noise for 20 minutes in front of about 20 people.

The Early Years vision is to create washes of psychedelic guitar noises meshed in with feedback, drones, distortion and wah set against a strong metronomic beat. The Early Years admire the noises of Mogwai, Acid Mother's Temple, Spiritiualized, all Sonic Booms stuff, Neu, Can, Tortoise, 33.3, Isotope 217, Jeff Parker, Stars of the Lid, The Teardrop Explodes, 60's Garage music and psychedelia.

From there the only way forward was to expand the line up to include two friends Roger Mackin and Phil Raines on guitar and drums respectively. Creating a noise born out of Dave's love for ambient noises and melody (Mogwai, Acid Mother's Temple, Spiritualized), Roger's hankering for 60's Garage, drones and feedback (Television, Velvet Underground, Spectrum & Spiritualized) and Phil's dedication to the krautrock beat (Neu!, Can, Tortoise), The Early Years set off to create the kind of music which stood out against the post-Libertines sound of London at the time.

Since then, they have gone from strength to strength playing a number of successful shows across London and getting a number of plays on Huw Stephens' One music show, Steve Lamacq, and John Kennedy's XFM show. This then led to The Early Years recording sessions for Radio One and XFM. Text By The Label & My Space.

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Saturday, May 20

Double Reissue To Achim & Mschines, Progresive & Insane Kraut Rock From The Early 70's.

Oh boy. A red-letter day at AQ when we got this in. You see, several years ago, we'd stocked an amazing "best of" collection called Echoes Aus Zeiten Der Grunen Reise by this krautrock artist, A.R. & Machines (turns out the A.R. stands for Achim Reichel) that in itself was a far out minimalist psychedelic electronic masterpiece years ahead of its time -- and it was just a "best of"! Everybody here loved it. It's been out of print for years, though, and we'd never come across any other reissues, until now! Hence our excitement about this, a double cd containing TWO of Reichel's albums in their entirety, Echo and A.R. IV.

If you're familiar with that "best of" cd, you'll recognize a few of the songs, but transformed, extended and built upon -- like you're finally experiencing the entire complex film, not just the titillating preview. If you're not familiar with that "best of," then expect a hypnotic, meandering cream dream that any lover of Eno, Cluster, Can, Neu, Bo Hansson, Kraftwerk, and even Wendy Carlos Williams shouldn't miss. Completely groovy.

1972's Echo, which takes up the largest portion of the two cds, is the highlight here. Long before the re-issue, Julian Cope made it a record of the month on his website and it's not hard to see why. It's a meandering four part -- well, we wouldn't even say "piece," it's more like a realized world -- made up of journeying guitars and plodding percussion with the occasional wailing vocals in English that take it well into the stratosphere. At times low-key, at other times frenzied, but always with an intensity that moves it along steadily. By the time you get to the freakout vocal jam of that acts as the come down of Echo, you've been led through so many emotions and states of mind, that you're spent.

Take a break between the two albums since A.R. IV (1973) is another, separate adventure -- still groovy and rhythmic, but a little funkier, a little louder and more focused -- like he's revisiting the territory he covered in Echo but he's more familiar with the place & can take you directly to all the cool places.
Actually, this re-issue would have been a shoo-in for Record Of The Week if only we thought we could get more. But according to our supplier, the forty or so copies we have now might be the last we'll get, as this is apparently an all-too-limited reissue. Ah well. Get it while you can! Text By Aquarius


"Das Echo Der Gegenwart"


More Info

The Dining Rooms Get More Respect With "Versioni Particolari 2". The Remixes Project, no' 2 Much Smooth & Returned Than The First Yet, Still Relevant.

Versioni Particolari 2 is a collection of remixes and unreleased versions taken from 4 vinyl singles that followed the album release of Experiments in Ambient Soul (2005). Ocean is a spiritual ballad almost entirely instrumental, which fuses jazz rhythms with blues guitars. Whereas White riot is an up-tempo, nervous funk tune dedicated to all those who are ready to stand up for their ideals. The Boozoo Bajou remix of "Afrolicious": the German duo took a lot of sounds from the original but in a dubby way and the result is electronically funky with a reggae atmosphere and a western steel guitar. Gecko Turner come from Spain with their P-funk interpretation of "Milano Calibro 9", courtesy of Lovemonk Records, while uptempo cinematic Koom.h delivers an intriguing and stylish remix of the title track "Experiments in Ambient Soul". The two vocal-jazz tracks in the album, written with Don Freeman, are re-shaped to new form by the work of two amongst nowadays trendiest producers: Yam Who?(The World she Made) and Parov Stelar(Destination Moon). In the same dancefloor perspective surely feature the house-funky Milano Calibro 9 by Madrid de Los Austrias and the mid-tempo breakbeat house Diamonds & Comforts produced by Double Beat. (Soul hip hop goes 4/4.) Not forgetting the broken-housy breakbeat of Carmel reworking Afrolicious. Impressions of dancing jazz instead are given to No Problem from the forward thinking, with an old school attitude, 7 Samurai and Thin ice is by our champions Bianchi e Fedreghini. An exclusive and unreleased re-interpretation of Forever’s Not by a secret combo, going by the name of The incognito traveller, terminates the album. Text By Schema Records

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Friday, May 19

Post Modernism...? Or Just Cool Muzik...? Well...

The innovative Kraftwerk with "Die Roboter" or "We Are The Robots" from a german tv show, 1978: Click To Watch The Video

The Aliens, ex Beta Band with "Robot Man" 2006.
deeply inspired by Kraftwerk, 70's funk, psychdelic 60's & mostly: John Lennon, the first post modernist musician ever: Click To Watch The Video

& The Broken Social Scene with "7/4 Shoreline" 2005.
nothing to do with post modernism. just cool, very cool muzik: Click To Watch The Video

Wednesday, May 17

& Here Are The Time Stages...Of The Primavera Sound Festival / Barcelona. Some Of The 'Clashes' Are Preety Painful!

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THURSDAY - June 1:

DRONES - 21h
MOTÖRHEAD - 22,30h
YO LA TENGO - 2,15h
2MANY DJS- 3,45h

WHY? - 23,45h
I'M FROM BCN - 1,15h
FERENC - 3,30h

FIRA stage:
STAY - 19h
MEU - 21h
MAZONI - 22h
12TWELVE - 1,20h

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FRIDAY - June 2:

DINOSAUR JR - 23,55h


P:ANO - 18,15h
MICK HARVEY - 19,30h
ESG - 0h


FIRA stage:
THE HELLS - 20, 10h
TACHENKO - 22,45h
BEEF - 1,20h

YA.COM stage:
UMEK - 3h
DJ RUSH - 4,15h

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SATURDAY - June 3:

BIG STAR - 19h
LOU REED - 21,20h
MOGWAI - 2,15


AKRON / FAMILY - 18,15h
DEERHOOF - 21,20h

SISA - 16h
SHELLAC - 19,30h
LAMBCHOP - 23,30h

FIRA stage:
CLINT - 17h
PRIN LA LA - 18,15h
COCONOT - 20,10h
ANARI - 1,20h

YA.COM stage:
THE MFA - 1h
REX THE DOG - 2,15h
EROL ALKAN - 5,15h

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Friday, May 12

Don't Forget That, Some Of Domino Records Catalog Are On Sale This Month...The Albums U Should Have & Also On Sale:

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- Domino Records -