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Grave Human Genuine

SKU: SR3041
Label:
Sensory Records
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Following two highly successful tours with established Progressive metalists PAIN OF SALVATION and two years of exacting work, DARK SUNS have finished their third album "Grave Human Genuine."

"Grave Human Genuine" – this unconventional title was chosen with care and purpose, as it represents the three characteristic elements of this work: "Grave" signifies darkness, the sinister force, and the inevitable fate. "Human" is synonymous with the music’s inherent soul-depth, while "Genuine" means "real" or "authentic" and hence refers to DARK SUNS’ uncompromising approach to music.

But what about the music? DARK SUNS don’t merely pick up where the successful predecessor "Existence" (2005) left off, they present themselves as many-facetted as never before. A clear nod to Doom, complex polyrhythms, unusual and diverse instruments and, last but not least, drummer NIKO KNAPPE’s characteristic yearning vocals comprise the album’s cornerstones. The variety of sounds stretches from angular Metal riff attacks via atmospheric ambient soundscapes and Techno reminiscences to Avant-garde influences – despite this complexity, an accomplished musical mosaic of enormous expressiveness.

Exciting nuances are created by the incomparable bass of Pain Of Salvation’s long-time member KRISTOFFER GILDENLÖW, a friendly turn that resulted from the tours mentioned above, and DISILLUSION’s SCHMIDT’s guest vocals in "Flies In Amber."

With "Grave Human Genuine," DARK SUNS have created a haunting album full of autonomy and instrumental class, self-consciously charting new musical territory. In this, the band from Leipzig embodies the essence of every true progressive band: compositional genius coupled with advancement. The dark suns radiate: gloomy, human and egregiously genuine.

Product Review

Buy or Die,,, enuff said.....
- 2010-06-08 10:01
This album is phenomenal. A complete steal at $6.00! Buy now!
- 2012-01-11 00:56
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  • Remixed and remastered edition comes with a bonus CD with instrumental tracks and demos."Death was unquestionably one of the, and arguably the primary innovators of the death metal genre, but it was with this album that Death truly built their legacy as one of the greatest metal bands ever. This marked a new phase for Death, turning them from a band into essentially a Chuck Schulinder solo project, with every song on this album, and all future Death albums, being written by Chuck alone. This also marked the beginning of a series of releases of rare, extraordinary quality culminating in the release of the phenemenol Sound of Perseverance, which I consider to be the best Death album, and one of the few greatest albums ever recorded by anyone. If you haven't heard any Death, that is perhaps a better place to start, but this fantastic release still belongs in any metal fans collection, and is probably my second favorite Death album.Though Death was initially a pure Death metal band, this release and all future Death releases are better described as progressive death-thrash, perhaps leaning a bit more towards the thrash side. It's difficult to say why this is, other than to say that it feels more like thrash than death, to me anyway. Though it maintains much of the increased brutality of death metal, the riffs are very thrashy structurally, and they are always clean and crisp, not blurry and noisy as they tend to be in fast death metal. As a whole the riffs come a cross as a stylistic melding of those found in Reign in Blood and Beneath the Remains. Similarly, the drumming tends to be more thrashy, avoiding the blast-beat style drumming also common to death metal. Speaking of the drumming, Sean Reinert of Cynic is a fantastic drummer, though I prefer the later work of Gene Hoglan and Richard Christy. Sean doesn't seem to have as much personality stylistically as do those 2. To his advantage, he is probably the most accomplished double bass drummer I've ever heard, with even more extensive use of them than the latter 2. He can do them incredibly fast, but still mixes up the tempos more than any drummer I've heard. The rhythm guitar work is excellent as well, some of the fastest and most technically accomplished work around. Chuck seems unable to write an uninteresting riff. The solos/leads are good, but not great, and not nearly as good as they'd become just one album later. They still have their moments, particularly on the instrumental Cosmic Sea and and Lack of Comprehension. The bass is, sadly, pretty much MIA except on the aforementoined Cosmic Sea, where he does a nice, if short solo. Chuck's inimitable vocals fit the music very well, and he writes some thoughtful lyrics.The only real conceivable complaint against this album is that other than the relatively mellow instrumental it has little variety. The intensity rarely relents, and it tends to focus on the extremely fast tempos, though every track drops down to more mid-paced tempos at leat occasionally. However, though it lacks variety, it is very consistent, with the track quality ranging from very good to brilliant. The opener, Flattening of Emotions is probably my favorite track, and is the fastest and most unrelentingly intense track on the album, though it still has a very memorable chorus. The next track, Suicide Machine, is another standout. A bit slower, though it still knows when to kick it up to speed and its got another strong chorus. Lack of Comprehension is another speedy number, with some nice stuttering, jumpy riffs and short leads thrown in as well.(It also has the best solo on the album.) Anyway, enough about the individual tracks. They all rule.Thats really about all I got to say. Truly, a great metal album. Get it."
    $13.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • "While Ki was a rambling, spacious and highly melodic trip through a futuristic world of transcendental art rock and Addicted was a sparkling, sugar-drenched turbo-riff glitter bomb, the final two parts of Townsend’s latest masterwork take both him and his legion of listeners on a far less expected and disorientating journey. Part three, Deconstruction, is arguably the most deranged, complex and extreme record that Devin has ever made. Fans of Strapping Young Lad will almost certainly feel at home with its bug-eyed maze of riffs and breathtaking dynamics. Fans of Devin’s more mellow work will have to grit their teeth and hold on for dear life."
    $16.00
  • Vocalist Silje Wergeland has been fronting The Gathering since 2009.  She has developed into a more than able replacement for Anneke Van Giersbergen.  The Gathering's music is far removed from the early death and gothic metal days.  They have firmly moved into the post-progressive rock genre.  Their music deals more with mood and tension - textures and atmosphere.  Think of a more rock oriented version of Portishead. 
    $15.00
  • "Three years after Ai, Taiwanese symphonic power metal band Seraphim is back in strength with the well-titled Chinese language record Rising, which was also released with English lyrics to the international market one year later. A lot of things have changed between the third and the fourth (and up to now, last) records from the band. Guitarist Lucas Huang, drummer Simon Lin, bassist Jax Yeh and even singer Pay Lee left the band for numerous reasons. Band leader Kessier Hsu was responsible for guitar and bass duties on this release. The new singer Quinn Weng had joined the band back in 2004, and new drummer Van Shaw completed the trio in 2005. Bassist Mars Liu only joined the band shortly after the recordings in 2007, while second guitarist Thiago Trinsi from Brazil came to the band in 2010.Despite all these changes, the fourth record is typically Seraphim, with all the trademarks that distinguished the first three records, and only a few minor differences. The clean male vocals and death growls are less present on this release, and the music focuses on the vocal duties of new singer Quinn Weng. She had quite a difficult task in replacing the unique and powerful voice of Pay Lee, but does a very solid job. Her vocals are very grounded, but nevertheless variable. They are less operatic and spiritual than those of her predecessor, but I think she appeals to a wider audience, as her vocals rock more and fit more neatly into the power metal genre. This being said, the new record has less symphonic elements and focuses on more power metal sounds. The songs have become faster and heavier than ever before, and the drumming in particular is a killer on this release. Just listen to an energizing song like “Spring Wind” and you will understand what I mean. The music makes me think of the Liechtenstein gothic metal outfit Elis or Germany’s Xandria at times.The softer tracks are much less prominent on this album, but once they finally appear they are very strong. “No More” is a dreamy and transcending rock ballad with some commercial potential (and I mean this in the most positive way). The track has an amazing guitar solo, but it’s the calm parts that make me think of a symphonic new age epic. Let me add that Quinn Weng gives her best performance of the record on this track, truly equaling Peggy Lee. She sounds almost as heavenly as her predecessor did, but adds her very own touch upon this track that sends shivers down my spine. This song is definitely one of two highlights of this release, and also one of the strongest tracks in the band’s entire discography, as far as I’m concerned.My personal highlight of the record is nevertheless an epic symphonic piece that goes back to the style of the previous records and takes it to a new level of greatness. The stunning title track “Rising” is easily among the best of Seraphim’s catalog. In almost ten minutes, the song never gets boring, and features very elaborate song writing with catchy parts and diversified changes, as well as folky passages and heavier instrumental parts with tight riffs. This track is a firework of diversity and an absolute must-hear anthem for fans of gothic, power, and symphonic metal alike.In the end, this record is generally much heavier and obviously power metal-oriented than previous releases. Gone are most of the heavenly symphonic elements, but Rising is a lot faster and really rocks. Despite this new direction, old and new fans alike should be kept happy, and funnily enough, the two most outstanding songs are the ballad and the self-titled epic. The new line-up sounds fresh and promising, and I still hope for a new fifth release that might arrive in coming years. The band members are now living all around the world in Canada, Iceland, and Taiwan, but they are bound to meet again this year, and will hopefully work on new compositions. I will certainly keep in touch with Seraphim, and suggest that you do so as well, as well as (re)discover their back catalog while we wait for new things to come!" - Black Wind Metal
    $13.00
  • "The world has lost a great musician and gifted vocalist, when the legendary Ronnie James Dio passed away almost 5 years ago. He was a hero and inspiration to many musicians, such as Lars Ulrich (Metallica), Doro Pesch or Axel Rudi Pell, and rumor has it that he's the main reason why every metal head worldwide is familiar with the sign of the horns. Now it's time some of our bands pay tribute to him as well! CRYSTAL BALL, MESSENGER, GUN BARREL, GLORYFUL, THE ORDER, METAL INQUISITOR, CIRCLE OF SILENCE, BURDEN OF GRIEF, LOVE.MIGHT.KILL, REBELLION, IRON FATE and WIZARD all covered Ronnie James Dio songs to honor this exceptional musician."
    $16.00
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $6.00
  • ""Two years after Iridule, finally the italian band Yugen comes back with its first live album. The cd captures the show at RIO Fest 2011, in Carmaux, France, and presents the group in an extraordinary seven-member line-up.As Sid Smith writes in the liner notes, Mirrors is "a dizzying cavalcade of turn-on-a-dime rhythms, intriguing harmonies and striking, anthemic melodies that have a habit of drilling down deep into the consciousness of the listener"."Yugen represents an exciting forward-looking trend in European music", Smith underlines, "marrying both intellect and emotion in one seamless and coherent partnership. How successful they are in this endeavour you can judge for yourself by playing this remarkable and frequently thrilling live souvenir.""
    $15.00
  • "After CYNTHESIS and its amazing second recording, the pertinently titled album, “ReEvolution”, the ultra talented Californian geminis Brothers, Troy & Jasun Tipton (ex ZERO HOUR), are back with another chapter in their instrumental project discography…ABNORMAL THOUGHT PATTERNS and once again the expansion of their genuine style and the maturated development is terrific, the release date is set for late June…The band broad universe is so extended that the term "limitless" seems underrated and non-representative of their extraordinary and unstoppable musical dominion!The young Guitar God Jasun Tipton, owner of a great fat tone, perform in his finest way as you would have expected, fluid, majestic and without effort (“Blindsight”), quite easy to understand why this man is worshiped by Guitar enthusiasts everywhere, but more than ever, it seems that his brother the Bass maestro Troy Tipton takes a even bigger role, while playing his typical two hand tapping licks, also some more ambitious melodic lines and sharing some hallucinating unison amazing arpeggios between Bass & Guitar (“Distortions Of Perception”)!This instrumental trio is apparently becoming a quartet with the recruit guitarist Richard Shardman, still featuring the former ex ZERO HOUR's drums expert Mike Guy (ex DEATH MACHINE), is providing everything, from stripped down ambiance to a flurry Shredding parts (“Delusions”), in a complementary unreal association, a syncronization similar to something that is identical to the special and unique twin brothers spirit/relationship (“Subliminal Perception”).The Bass guitar realm of low frequencies is honored with the superb track “Synesthesia” (An awareness of synesthetic perceptions that varies from person to another with confusion of colors/numbers and shapes, born from a neurological phenomenon that leads involuntary experiences in a second sensory or cognitive pathway to a disinhibited feedback triggered by specific sounds) where Troy is duelling with two other Bass monsters, namely the legendary Fretless player Michael Manring and the criminally undervalued John Onder (remember the great Shrapnel’s releases like “Infra Blue” by Joey Tafffola (???)/”Extreme Measures” by Vitalij Kuprij or 2000’s “Machine” by ARTENSION and even MSG’s “Adventures Of The Imagination”) another patented mix of elusive etheral soft moments that develops before entering again in a frenzy of note under a Neo-Classical style, built in total opposition with the hypnotic middle break in a new age approach!To prove their absolute artistic freedom ABNORMAL THOUGHT PATTERNS dare to break the all instrumental rules by adding some harsh lead vocals performed by the BETWEEN THE BURIED AND ME singer Mike Rodgers, in the detuned “Nocturnal Haven”…But at the slot N°6 they offer us another superb rendition of the same theme, but this time in a fully instrumental version with some additional solo spots by Canadian citizen Tim Roth from INTO ETERNITY, however both tracks contains some lava sweeping avalanche by seven strings rising star Jeff Loomis (ARCH ENEMY/ex SANCTURAY/ex NEVERMORE)!While their latest CD “Manipulation Under Anesthesia” was more extreme and ferocious than hell, pushing the intricacy at the maximum with some almost bio-mechanism rhythmic method and improving in the ultra-hi-tech reaches onto stellar and virgin territories: “Altered States Of Consciousness” is a concept album centered around neurobiologic sensations, in coherence it's a more enriched atmospheric disc, more spacey, groovy, layered with organic textures and full of emotional sequence, with still plenty of sudden bursting of agressive triplets-staccatto-trick, but clearly more accessible and not restricted to please a bunch of Guitar-Fretboard geeks, obviously the talent and the technical ability of the virtuoso musicians involved here, is still head and shoulders up above the level of the average new generation of Prog Metallers…The abnormal musical thoughts are welcome!" - Metal Temple
    $15.00
  • Pain Of Salvation started it, Opeth followed, and Steven Wilson capped it...we thought. Dark Suns continues to evolve with no two albums sounding alike. Grave Human Genuine found them moving into an avant metal/progressive rock direction. Orange now finds the band wholly embracing 70s progressive rock. There are heavy moments but the band shows its hand offering up Hammond organ and Mellotron. The heavier tunes feature angst driven vocals that will scratch that VDGG itch. Melodic and intricate Dark Suns has somehow managed to come up with an album that will appeal to fans of old school prog, modern prog, and even the quirky side of metal. Highly recommended.
    $11.00
  • Mind Colours is the debut album from this instrumental Italian quartet.  The band features the former guitarist and keyboardist from The Watch - Ettore Salati and Fabio Mancini.  While there may be some traces of fusion around the perifery, Soulengine's stock in trade is symphonic progressive rock.  Salati's leads are very fluid, reminding a bit of Steve Hackett (not surprising).  Mancini contributes Hammond organ, analog synths and of course Mellotron.  There are stretches where you will feel transported back to the 70s listening to a Genesis jam session.  Very nicely done.  Highly recommended.
    $16.00
  • Respected band from Florida create a bruising powermetal concept album based on the Spawn comic character.
    $11.00
  • Its been quite a long time since we've heard from Magic Pie.  They went through lots of trials and tribulations getting this album finished but now its finally arrived.  If you are not familiar with this band here's the deal: Magic Pie are a Norwegian band with a retro 70s sound.  The music is a bit of a high wire act balancing the neo-prog sounds of The Flower Kings with the heavier elements of classic Uriah Heep.  They also seem to be the darlings of Rosfest having played there multiple times."It's hard to believe it's been 10 years since these proggers from Norway released their promising debut "Motions of Desire". At that time, their music struck me as an enthusiastic combination of classic prog and classic hard rock. (Think Deep Purple for the hard rock side of that equation.) At their best, they offered memorable passages and pieces that sounded like they very well could have been long lost recordings from many years ago. At their worst, they sometimes fell short of filling the big shoes of the legendary bands whose music they strove to emulate. That's actually not bad for a debut album from a new prog band. I found much to like and looked forward to hearing from them again in the future.Checking back in on them a decade later, I must say that I am very impressed with how they have developed and matured. No longer do I get the feeling that certain sections of songs are direct homages to any particular band from any one particular decade of prog's illustrious history. Their influences, while still very present and valid, are now more varied, including a greater percentage of modern reference points. More importantly, their influences are just that--merely influences rather than templates or even primary reference points.The sound quality on "King for a Day" is superb thanks in large part to the enlistment of sonic genius Rich Mouser (whose resume includes similar work for prominent contemporaries like Spock's Beard, Transatlantic and Dream Theater).Keyboardist Erling Hananger is an excellent addition to Magic Pie's recipe. His keyboard parts are expressive, dynamic and integral to the music. When appropriate, his leads seamlessly blend, harmonize, and work synergistically with electric guitar.The lyrics have a melodramatic and somewhat tragic flair this time around, but this is prog so you should be accustomed to the musical ride including a few tragic tales from time to time by now, right?OK ' so it's time for the "magic" question... A decade after their debut album, how has my impression of Magic Pie changed?On "King for a Day", I now hear a band which has found "its own voice", one that resonates confidently in the space somewhere between classic arena rock of yesteryear (on prog-steroids of course) and modern melodic prog of the 21st Century (like Spock's Beard and The Flower Kings). Add a few dashes of modern prog-metal to taste and you, my friend, have baked up a very nice confection indeed... MAGIC PIE!If you love modern prog anthems with big harmonies and 'sing along' choruses, give "King for a Day" a listen! I'm glad I did!" - ProgArchives
    $14.00