Mansions and Junipers

Plastic Paradise Party / Littlefield / Friday February 24

2012-02-21T13:16:00.000-08:00

Mansions and Junipers will be performing a series of modernist speed psych / nu-surf compositions < 50% of which nobody on this planet has ever heard before > @ a series that we're going to take the liberty to call the "Plastic Paradise Party" this Friday at Littlefield in Gowanus, Brooklyn.

Littlefield is a fantastic space, with a fantastic vibe, and fantastic sound, a fantastic bar, fantastic people, fantastic drinks, and fantastic music. They may even have a fantastic green roof at this point. We don't know... but we do know that those are their fantastic intentions. This is just going to be like so fantastic!

In addition, we will be playing with the fantastic Mattison...

In the meantime, enjoy a free download of Mansion Beach @ mansionsandjunipers.bandcamp.com.

And please join us this Friday to share brand new material to be featured on our forthcoming sonic document :::

Peace and Upcycling,
MAJ

facebook.com/mansionsandjunipers
mansionsandjunipers.bandcamp.com
@mansionjuniper

Free Wednesdays in February!

2012-02-01T14:14:00.000-08:00

Download Mansion Beach for free from mansionsandjunipers.bandcamp.com every Wednesday in February! There's nothing more exciting than free new music (at least we think so). Please feel free to share this with your friends. Sharing is caring!

A Word On 2011 / The Dawn Of 2012

2011-12-27T11:06:00.000-08:00

2011 was the first year of existence for Mansions and Junipers. The few years preceding the conception of M+J were wrought with an intense roller coaster of musical, emotional, and spiritual experiences, all myriadically laced with bits of wisdom, virtue, and love, as well as detachments, lost highways, and identity crises alike. The community of M+J, those who have contributed creatively and spiritually, those who have led themselves by their own love of and respect for music, art, performance and the standards of society they pursue and spearhead in these respects, those who have shunned the apathy that we so often encounter on the superficial fringes where our churches meet their industry, have inspired me beyond the limits I had so unknowingly established for myself. I hope that everything we pursue going forward lies beyond the facades that performers often employ to patronize you, the community, and we will do our very best to honor your support, generosity, and respect in 2012 and beyond.

May we truly endeavor to always value the opportunities that you provide for us to to engage in our passions, may you hold us accountable when we fail, and may our failures help us to do away with limits and pursue dreams together.

Please join us in the romantic dawn of 2012 on Jan 7 at Littlefield in Brooklyn. We will be extending the performance with four new epics!

M+J @ The Rock Shop / Sat ::: 12.3.2011

2011-12-01T09:10:00.000-08:00

Mansions and Junipers will be delineating asymmetrical frequencies in a right-angled space on this Saturday the 3rd of December. We will be joined by psychedelic folk/pop-rockers, Backwords.

http://www.therockshopny.com/event/77271/

Special guests TBA!

::: We are currently navigating a massive songbook, much of which we have already tracked, in order to strategize our second second sonic document. You will hear a healthy dosage of this new material. Join the collective :::

Reflections / Refractions

Mansions Beach / Bandcamp

2011-12-01T09:06:00.000-08:00

Mansions Beach is now available for download in its entirety at mansionsandjunipers.bandcamp.com/album/mansion-beach

Laetitia Sadier w/ MANSIONS and JUNIPERS

2011-10-12T11:52:00.001-07:00

Greetings :::

Mansions and Junipers are honored with severity to be performing in support of Laetitia Sadier, vocalist, songwriter , and instrumentalist of the legendary post-rock ensemble, Stereolab, this Thursday October 13!

We'll be ushering in the evening with an entirely new set of energetic and heavy neo-electric and electronic-psych to be featured on our forthcoming LP, Paradise Purgatory, which is currently in production. Ms. Sadier will then elevate the nitetime with her own modern brand of sultry and utopious melodic narratives, not to be missed! Dawn and dusk. rock dichotomy, and social symbiosis!

We'll also have sharp new fashion-fitted T-shirts (design by evol) for sale, with which you receive a free promo copy of our debut album, Mansion Beach.

Mercury Lounge
New York, NY
217 E Houston St.

Thursday October 13 @ 9pm

Reserve your tickets ASAP. This will sell out.
www.mercuryloungenyc.com/event/63859

drowning in chlorine,
MnJ

Mansions and Junipers w/The Robin Electric

2011-08-06T10:56:00.000-07:00

Mansions and Junipers will be performing a dramatic rock set @ The Rock Shop / Brooklyn, NY, Saturday 8-13-2011, wholly comprised of new material from the forthcoming release tentatively entitled "What do they call us and how do we find each other?" To feel <> To reveal

Glasslands w/ Xlos, McDonalds, Flashlights

2011-05-12T10:55:00.000-07:00

Thursday May 12 8pm >

We're very excited to be sharing the stage with some fantastic bands at a rockin' venue... We're also playing three newbies!

Won't you join us?

Talking Heads - Slippery People

2011-03-31T12:36:00.000-07:00

Exploitation of a Crisis

2011-03-29T11:22:00.000-07:00

For the past few days, I have been researching the partial meltdown at the Fukushima Nuclear Power Plant for a project in my Energy Management M.S. program at NYIT. In my googling of anything having to do with the Japanese crisis, I can't help but notice that I keep clicking through the results to sites where the sought after articles don't exist, but links and adverts for various products and retail companies do. In other words, I'm finding many more "ghost" sites that have nothing to do with the Fukushima meltdown than legitimate news articles.

Just a little background, if you don't know, google rankings have everything to do with how many other sites your website is linked to. For years, companies have devoted resources to rigging the results by creating "ghost" webpages by the thousands merely to place links to their main site. This is illegal in Google terms, but they can barely keep up in order to police the practice.

Regardless, I wanted to make mention of the fact that many legit companies from whom we make purchases everyday are exploiting a major disaster merely to improve their search rankings on google and direct more consumers to their sites. These companies have departments devoted to utilizing the most popular search terms to their advantage, while disregarding socially moral implications. If these corporations, upon which we bestow so much power, are allowed to operate within an internal culture shielded from social responsibility and a broader societal moral code, how can we ever expect the nuclear power industry to take the extreme and necessary measures to implement safe technologies and procedures to adequately protect the public from harmful radiation and nuclear waste? It may seem like a stretch to you, but to me it often seems like there's no one representing the people, and exploitation of the public is just a systematic reality in a flawed system.

MANSIONS AND JUNIPERS / Her Vanished Grace / Religious To Damn

2011-03-28T11:23:00.000-07:00

Union Hall > Friday April 1 > 8PM

Russ Marshalek curates a night of Shoegaze, Lo-fi, and dark/dreamy pop in a 4AD style.

Walker Brothers - Love minus zero 1966

2011-03-01T06:57:00.000-08:00

March 1 / The Rock Shop

2011-02-23T11:43:00.000-08:00

Aloha Friends >

Mansions and Junipers' Mansion Beach was conceived in the spring of 2011. It will be birthed on Tuesday March 1.

Tuesday, March 1 • 7:30pm • $8 • Quiet Lights / Mansions and Junipers / For A Minor Reflection (from Iceland)
The Rock Shop > 249 Fourth Ave > Brooklyn

soundcloud.com/mansions-and-junipers
myspace.com/mansionsandjunipers
mansionsandjunipers.blogspot.com
www.facebook.com/pages/manage/#!/pages/Mansions-Junipers/152369261440347

Revolutions Are Analog
Cabanas Are Psychedelic

a limited promotional copy .

2011-01-24T11:46:00.000-08:00

Addendum to the Addendum

2010-12-29T12:11:00.000-08:00

I have recently been writing and organizing my thoughts on the changing paradigm of the music industry and potential opportunities for artists and entrepreneurs. I was up late last night reflecting on some of my writings and thoughts, and although I've been practical in speaking about new organizational structures, new revenue opportunities, and so forth, I may have missed some important core things.

Yesterday I posted some thoughts about clothing companies starting record label offshoots. I was generally positive about the new trend. I see little harm in art and music in compliment with fashion and lifestyle. The concept is actually not new at all, but as an artist, preserving the integrity of your work hinges on tasteful and effective execution, and therein lies success and virtue or danger and collusion.

So, how does one tastefully and thoughtfully execute this public relationship, where your music represents a brand and that brand represents your music (it sounds so cold)? Well, this is what I've failed to effectively discuss so far. It's about working with great people; people who understand your plight; people who believe in you; people who support you. Organizations can be restructured. Revenue can be creatively located. Your record could come out on Vans, Inc. or 4AD, but it really doesn't matter if you aren't supported by people of your same tribe, sharing the same goals, driven by the same beliefs. To build a strong culture around art and music, the artist must first build an internal culture of belief. I have failed so far to illustrate the importance of people... structure is replaceable... people are not.

Why is this relevant to my previous writings about clothing-company-record-label-offshoots? Well, because I wonder if the real music people, the pure artist-entrepreneurs are actually working for clothing companies. In other words, would it be best to just leave the music to the music companies and leave the clothing to the clothing companies? On the other hand, I can ask the same questions about the record labels: are the real music people actually working for the big labels? I guess the answer is that it really doesn't matter. Expertise and authority is often an illusion anyhow. The only thing you can really have a sense of is your own close-knit community, from where you can build a structure of genuine integrity.

What does this mean for young artists trying to break through? Well, start with your friends. They're resourceful and they believe in you. They not only like your music because it's good, but they love it because it represents them as well. They'll fight for it more vigorously than those self-important scene-ster vampires. The strongest form of marketing in music is word of mouth. Build your community, play shows, create a sincere and meaningful culture around your music, and things will come together naturally. Like any successful organization, build a strong core wrought with integrity, and you'll be able to weather the failures and rejections. No matter how amazing you are, the music world is wrought with failure and rejection. Being prepared to stay the course means being surrounded by great people and good coffee.

Best wishes to all of us in our joyfully riotous efforts.

An Addendum to 'Shifting Paradigms'

2010-12-28T12:46:00.000-08:00

‘Record Labels’ or ‘Lifestyle Labels’

We are more commonly witnessing the launching of ‘record label offshoots’ from large lifestyle-esque corporations. For instance, in 2008, Vans officially launched a record label to compliment the Vans Warped Tour. My thoughts were initially quite cynical about this trend, like somehow being associated with pop-culture fashion is compromising to the integrity of art-culture. But in the midst of a music consumerist revolution, I have begun to consider how this new type of record label could benefit the artist and listener, as well as mainstream and cult music culture.

With rampant music piracy being commonplace for more than a decade, and record sales in severe decline, the traditional revenue model has been virtually annihilated. This has forced record companies, along with artists, to seek other avenues for sustained income. These include licensing, publishing, performance, and so forth. This means that labels must become much more resourceful and multi-dimensional to provide access to these opportunities, and ultimately re-model the traditional record contract hopefully changing the dynamic of artist-label relationship to more of a long-term partnership. In other words, this organic consumerist revolution could actually cause the industry to foster a business-creative environment that nurtures sustainable artist’s careers rather than the vampirous practices that have traditionally infiltrated the inner workings of the industry. Ultimately, these natural market conditions may actually introduce some ethics into the forefront, but I digress.

In this new paradigm, it is natural for fashion companies to represent musicians, and musicians to represent the brands. Clothing helps people identify themselves socially, as does music. I see no reason why the line between fashion, pop-culture, music, art, creativity, and expression shouldn’t be blurred. In the end, it’s all a matter of how one chooses to identify themselves with society. As much as we can be concerned with identifying differences between superficiality and purity, art and entertainment, we also have an opportunity to infiltrate the mainstream with the avant-garde by ‘hiding the pill in the meat’.

Companies like Vans, Inc. may have resources and revenue opportunities in advertising and licensing that the traditional label does not. Regardless, both the artist and entrepreneur need to embrace new non-traditional opportunities if they’re serious about being a successful sustainable social entity.

An Intimate and Flattering Reflection on Mansion Beach

2010-12-23T11:54:00.003-08:00

... And she’s hollering don’t pave... my... my [beach]...
Mathew Filler is not afraid to come home at 3am and, with metronome precision, patiently ring sleigh bells over a track recorded earlier that day. In the late summer and fall of 2010 I would look forward to our meetings where new tracks from the forthcoming Mansion Beach were aired in my small apartment, the sonic details bouncing off the walls, sometimes played lower with explanation, often times played loudly over and over again. A recurring hollow pop turns out to be a drumstick hitting a can of pomade, the psychedelic loop a 12-string guitar in reverse, the chant a reminder that the summer sun is tracking us throughout the album. Mansion Beach is house built around the psyche, that knows your steps and remembers your childhood, the floor creaking around you despite knowing all the quiet spots. Mansion Beach is a place where once the sun sets bonfires are lit, a ravenous party begins full of green-eyed shakedowns, dancing alone you know it’s you who ain’t fast enough to cut the air, and in the cold sand of the late night the intrepid hero will ask to use your telephone. In a full listen, the next far-off dawn appears and the confrontation of the city skyline in one direction and the endless beach in the other fills bleary minds with remembrances, perfect and scary dreamscapes, dark fantasies and yearning love. Mansion Beach is a Ulyssean synthesis of our youth, exploring the emotional time and space between that first Genesis dawn and our last. It delivers us, like rich blue jet-set sea-glass, to that high-watermark of experience where all of the above meet. If played correctly, Mansion Beach with infiltrate you. It will destroy your discipline.
Peter Costanzo New York City December 2010
Peter is a renowned book and fine arts specialist, an arts historian, writer, auctioneer, and public renaissance gentleman.

R. Stevie Moore - Sort of Way (1987)

2010-12-15T10:35:00.000-08:00

Swimming Upstream: A Paradigm Shift in The Music Business

2010-12-14T13:04:00.000-08:00

These are the facts. The industrial culture of music has undergone a paradigm shift, at the direction of the consumer enabled by modern technologies. Record sales are no longer the primary source of revenue for the record label or the artist, but we continue to retaliate against this reality, stubbornly swimming upstream, without any regard for consumer behavior.

People are downloading music digitally, and most often, illegally. The Recording Industry Association of America (RIAA) has spent countless dollars, immeasurable amounts of time, and an exhaustive sum of resources filing copyright infringement lawsuits against the very people who sustain our careers as artists and entrepreneurs. I do not condone the illegal downloading of music. It is akin to casually strolling into a gallery and walking off with an oil painting, and feeling entitled in doing so. But when the music industry starts telling the public how to behave, as if it’s a matter of moral integrity, it’s downright laughable.

After nearly five decades of vampirous control, where large companies had solidified vertical and horizontal integration across almost all elements in the supply chain, often limiting the artist and the listener, engaging within a business model that sustains the few while inhibiting the careers of others, like turning over tables in a restaurant, the old model has fallen apart, at the behest of the consumer. So, now we have an opportunity, as artists and entrepreneurs, to leave complacency at the wayside and assemble a new model. With the advent of new technology and innovative distribution and marketing solutions, the artist now has the ability to work outside the traditional music business model. This ultimately reduces the value that the traditional label can offer to many artists, especially those in the mid and lower tiers.

So, what does the musician want? Well, I can speak for myself and hope that I represent many. As a recording artist, songwriter, producer, and performer, I want a partnership. My needs for career sustainability and growth should equal those of my representation. Our interests should equally benefit both of us. This may seem obvious, but historically, business has been shady and unbalanced. Now, with new opportunities on the horizon, we can share our risk and share our rewards.

Marketing is what labels have always done best, and I believe it will continue to be the core of a labels duties. There is no way the listener can reasonably sort through the millions of new songs being released as digital downloads every year, and an experienced record label’s value resides in its marketing expertise in helping the public identify where they can find what they want. As an artist, there are certain tribes of which I’d like to be a part; certain band rosters with which I’d love to be associated. Many focused artists, void of vanity, simply want to be a part of a collectively sustained creative movement, one that modestly pays the bills and allows them to connect with people. With a new business model, this is totally attainable. Simply observe consumer behavior, and it is obvious that they want it also. For us to concede that we live in a philistine society, and that there is no place for a legitimate entertainment career outside of elusive pop stardom, is a nonsensical copout.

So, what will the new company model look like? Well, we can already see it coming to fruition. New music organizations cannot function as record labels with marketing, licensing, publishing, production, and management departments. On the contrary, they must exist as music groups with marketing, licensing, publishing, production, and management companies, all under one umbrella. Or they can model as virtual organizations, where they have close contractual relationships with other companies that specialize in these areas. When an artist signs on to the roster, they will have access to all of these creative and financial opportunities, licensing for television and film, producing, and so forth. The music organization should act to facilitate an environment for the artist to develop both creative and business relationships. Sustained artist growth and development should be in the best interest of the music organization.

In the interest of capitalizing on the new paradigm, record companies must stop thinking in terms of the immediate bottom line. Instead, it’s about resources and development.

“I like this artist, but will their record sell immediately?” Whereas the attitude should be, “I have resources that this artist can benefit from. If this artist were working with so and so in such and such capacity, the product is something that I would like to represent, and it will lead to sustained success for all of us.” In other words, the modern music entrepreneur must think in terms of management and career development, as record sales prove to no longer be the primary means of financial gain.

I am not a music business professional, and I would expect that those who own record labels would probably say, “Hey… I’m not in the business of artist development. Leave that to managers and such. I’m in the business of selling records.” Well, I understand, but the problem is that the artist has the resources to release their own records these days, while be represented by good management, and they facilitate relationships and opportunities with booking agents, licensing, and so forth. So, where is your value? The value is in your brand. And how do you elevate your brand? With a roster of great artists. And how do you assemble a roster of great artists? By offering those artists an opportunity to develop a career. And how do you offer those artists an opportunity at career development? With expanded expertise. And how do you make money from this? By restructuring the traditional record contract and deservedly charging for services that will benefit everyone.

This is no longer about the vampirous act of immediate financial gain and quick roster turnover; that is the unsustainable model of the past. The music business infrastructure has already changed, and now the music organizations and artists must pioneer a new way of doing business, to everyone’s benefit. Revenue splits and rights will be very different, and music companies will have to capitalize on other opportunities to generate revenue. Ultimately, these different sources of revenue will influence record companies to allocate more resources to long-term artist development. This is an exciting time to be on the streets. The end of an excessive, cannibalistic, and archaic era in the music business breeds rare opportunity for the recognition and sustained success of young and creative entrepreneurship.

Welcome to Mansion Beach

2010-11-22T10:37:00.001-08:00

Mansions and Junipers

Mansion Beach

You are about to meet Mansions and Junipers, the auditory conception of Matthew Filler. Radiated from the heart and mind, Mansion Beach is a memorial for youth, embracing past’s purity and crafting sensory memories into meticulously detailed sonic themes.

After years of touring, working, chameleonizing, and being ruled with an iron skyscraper, Filler returned to the studio with clarity and ferocity. On May 2, 2010, he simultaneously commenced writing and recording for Mansion Beach. By July 2010, Filler had written and recorded twenty-two songs. In late summer, tracking was finalized and mixing began on the twelve track LP.

Through this process, Mansion Beach developed as a fiercely unapologetic art-pop document wrought with dichotomy: epiphany and solitude, apology and ego, sexuality and androgyny, crooning and whispering, and an imperfection that ultimately bread accuracy, both in abstraction and architecture. What resulted is dense memory-pop psychedelia; a lifetime of influences thematically coalesced into a dream of modernity; “a protest against a culture of primitive hearts and an embracement of bared souls rioting in joy and melancholy alike.”

After years of honing his craft as a guitarist, vocalist, and composer for various ensembles, from the furious grit and accuracy of avant-prog/punk group Friendly Bears, to the impeccably crafted cinematic pop of the Brooklyn-based Monocle, to the highly intricate orchestrations of the modernist pop electric music collective Mahogany, Filler has sensitively married skill and artistry, composition and sound design, and ultimately, art and modern pop.

“In the spirit of moving forward and bringing my memories with me, I began to write with more of a clear voice than I had in the past. I was documenting everything and not worrying about perception at all. I was wide-open for the first time in recent memory. What has resulted is sort of like a sonic interpretation of an impressionist oil. The subject is clear, but the context is filtered through your memory. Like a lucid dream, it is vivid and controlled. It feels like reality, but not quite. It’s pulse is a little off and its tonal center is a bit ambiguous; it’s your house but it’s not; it’s an idealization, and a really psychedelic one at that. It’s going back to make things right simply by going forward.”

From the album’s inception, The Side Porch, to the stream-of-consciousness-driven-big-party-in-a-small-brooklyn-apartment, Sun Power, to the dreamy romantic mythology of Sacrificial Grains, Mansion Beach is a severely engaging document, from the heart, and void of vanity.

“My job is to listen to how we’re feeling as a culture, organize it into sounds, and then give people their feelings back and hope they embrace it for what it is.”

Matthew is joined on stage by Rich Bennett (Monocle), Tim Keiper (Vieux Farka Touré, Cyro Baptista), DJ Boudreau (Dirty On Purpose), Michael Flis (Magdyn Osh), and Andrew Frawley (Midnight Magic).

Drive-in Saturday + Interview

2010-11-13T09:10:00.000-08:00

David Bowie - Oh You Pretty Things

2010-11-13T08:50:00.000-08:00

The Side Porch by Mansions and Junipers

2010-10-28T11:28:00.001-07:00

The Side Porch by Mansions and Junipers

Frank Zappa - Inca roads

2010-10-23T11:19:00.000-07:00

Just unreal... The performance is mind blowing... The clay-mation narrative spliced in is totally coherent... Frank Zappa ALWAYS gave his fans an unbelievable product -> nothing cute or derivative, and especially nothing musically patronizing (unless you don't understand parody). Enuf! Watch and enjoy!

Frank Zappa explains the decline of the music business

2010-10-23T11:00:00.000-07:00

Sacrificial Grains by Mansions and Junipers

2010-10-17T14:23:00.001-07:00

Sacrificial Grains by Mansions and Junipers

Fischerspooner - The 15th ( Wire cover )

2010-10-13T10:47:00.000-07:00

Mansion Beach > Compleach

2010-10-13T10:41:00.000-07:00

Record is done, folks.... mastered trax in 7 days. Two verbs - Paul + Mahajan -> In the English language, these are verbs that refer to the action of frequency sculpting.

In other news, Garrett Morlan is currently working on our visual representation ---- ummm.... artwork.

French Friends/ Pepper

Mixing #4

2010-09-03T11:56:00.000-07:00

Currently mixing the track depicted in this fine image ///

The Side Porch by Mansions and Junipers

2010-09-01T10:27:00.000-07:00

The Side Porch by Mansions and Junipers

::: a link for YOU -> listen to 2 noooo trax by MnJ

Mixing Mansion Beach

2010-08-30T20:42:00.000-07:00

Aloha-

We've been spending our time these dayz mixing Mansions & Junipers' debut LP, Mansion Beach, with the man, the myth, the sonic beast, Paul Mahajan -> this serious frequency sculptor just made the first 1/4 of this record infinitely laarrrrrgggggerrrrr. AND in one week, half of Mansion Beach will be infinitely larger. AND in one month, the whole of Mansion Beach will be infinitely larger. The bottom just crept its way under this sucker.

Paul has recorded and/or mixed and/or mastered and/or produced some incredible records by the likes of Yeah Yeah Yeahs, The National, TVOR, Liars, Dirty on Purpose, and he was gracious enough to play a number of his other works for me this evening, all of which was amazing (J.A.C.K. > modernist heavy rock with an incredible vocals, odd arrangements, and controlled youthful aggression.... Wolff -> solo tuba looped, overdubbed, and processed live > Can meets Morricone all executed with synthesized tuba). I'm enthused for our next mixing session followed a new listening session, and maybe some Texas hold 'em.

you want me to post a track?

Best,
M

Talk Talk - Today - UK TV 1982 - RARE!

2010-08-25T21:15:00.000-07:00

Talk Talk - Give it up

2010-08-25T21:13:00.000-07:00

The Juan MacLean - Happy House (Live @ The Double Door) [Part 2]

2010-08-20T14:34:00.000-07:00

Obliterate Religion

2010-08-19T12:54:00.000-07:00

Obliterate Religion (the last song on the LP) now has incredibly wide moody patient saxophone... i'll sample ya soon... lonely NYC nighttime SAX! Think Red Shoe Diaries....

Recording Sax

2010-08-18T16:07:00.000-07:00

I'm incredibly excited to finally be throwing down some sax tracks tonite at Sean Marquand's (engineer / producer / DJ / musicologist / of Phenomenal Handclap Band) studio with saxophonist Stefan Zenuik.... I actually never gave much thought to recording sax in a rock/pop environment (in fact, I've avoided it for years), but I've recently realized that I've written a number of songs that somehow depend on some sweet moody brass/woodwind stylings in order to reach their full potential... I'm certain that these recordings will make a leap forward tonite. In a couple of weeks, I will leak a mix or two, and then we'll have something tangible to discuss.

Best,
M

Keep it Dark - Mama Tour - 1984 - Genesis

2010-08-18T13:13:00.000-07:00

I'm on a Genesis kick... keep it dark is unreal

Genesis - the Carpet Crawlers live

2010-08-18T12:56:00.000-07:00