Posts Tagged ‘Whitey’


Deadmau5 Presents: How to Kill It in the Digital Age

February 4, 2011

Deadmau5 – Dr. Funkenstein (Danny Jay Remix).mp3

I rant a lot about the music industry. And it never fails to give me plenty to rant about, especially when label execs and major label apologists insist that something must be done to allow them not only continued employment but that their industry be legislated back to its former glory.

However, if there’s one thing the music industry has proven it’s unable to do, it’s connect with its customers. Most major label artists are pretty much silent partners with their label-supplied publicity team. Sure, they may fire up the occasional blog or tweet a thing or two, but these additional avenues are often paved with identical “Buy this!” posts and tour date announcements.

Yes, fans do appreciate this information but this isn’t really a connection so much as it is targeted advertising. And it’s redundant advertising. Music fans usually have accounts at iTunes, Amazon, etc. so diminishing returns on these updates are almost immediate. The live gig announcements are also useful but again, most music fans will have found a better aggregator like tourfilter to alert them when a band they like is coming to their town (and presumably assisting them with partying down).

The problem is that hundreds of smaller artists are running their business the same way. I like (with as capital “L” and an upturned thumb) over 100 bands/artists on Facebook.

First, a quick primer on Facebook for the .004% of readers who are not Facebook members; “Liking” a band adds their stream of status updates and posts to your feed, which allows you (the fan, or “Liker”) to see all of these updates in real time, scattered amongst your friends’ announcements of mood swings and where specifically they need help on their farm.

So, I have a lot of indie artists supplying me updates periodically throughout the day. The problem is most of these feeds are indistinguishable from a publicity feed set up by a major label. I would say that easily 90% of the feeds I subscribe to do nothing more than loop “click to buy” links and announce tour dates.

Because so many of these bands use this connection tool for nothing more than advertising, their information becomes subject to “ad blindness” by regular users. We begin to tune out their posts much in the way we tune out banner and sidebar ads. Pretty soon their “connection” is reaching no one.

There are very few exceptions to this unfortunate misuse/underuse of the biggest platform available to new artists. Whitey’s feed is usually entertaining but he doesn’t have an artist page so you’ll actually have to be his Friend to get it on it. A few others will post videos from other bands they like or single out something that happened on tour, but for the most part it’s always tour/buy/repeat.

And then, just when you figure that the new boss is a lot like the old boss, even when they’re their own boss, you stumble across someone of sheer brilliance who gets what this is all about and revels in the limitless possibilities of a direct line to a few million fans:

D E A D M A U 5

The man lives on Facebook. He posts everything. He uploads videos. He has photos. For everything. He spouts random shit. He gushes about new equipment. He asks questions. He posts notes thanking his fans for being awesome. He’s consistently entertaining.

Basically, Deadmau5 invites you into his life. He knows he’s living the dream and it seems like he’s still as awed by the whole experience as his fans are. So he uses his online existence to allow everyone to live vicariously through his detailed and frequent posts.

There’s never any dismissiveness or jaded attitude. He’s just genuinely thrilled to be in the position he’s in. And as you read the posts and view the massive amount of photos, you catch some of the jittery “holy-shit-can-you-fucking-believe-my-life” vibe that pours out of every post.

Check out Deadmau5 geeking out during a conversation with Jim Carrey!

Look, it’s Deadmau5’s cat, Meowington!

He loves that cat! How do we know? Peep his neck tat!

Check out this hunk of electronics! It makes “pewpewpew” noises apparently!

LOL! Live Windows fail!

How can you not want to support this man? He lives and breathes and loves music. He wants you to be as close to being him as is humanly possible.

But that’s not all. He actually enjoys hanging out with his fans and works hard to repay their loyalty.

Deadmau5 has carved out his own island in the ether of shit-hot indie world-builder Minecraft. While that’s impressive on its own, he also sprung for 20 copies of the game for his fans. How many artists have purchased copies of a game just to get more people to hang out with them? That’s a fucking connection. Tell me that investment won’t pay off.

He also keeps close tabs on his online presence. If something seems a bit “not him,” he’s fixes it, going so far as to remove the label’s publicity team from the Administrators’ list. He has no interest in being pimped into irrelevance by a thousand pushy label-created ads.

This is how to make the digital world work for you. He’s also on Twitter and still maintains a “well, it was already there” Myspace presence, but he has conquered Facebook. And why not? 500 million registered users is a whole lot of potential fans.

Every artist, indie or not, needs to be taking notes from Deadmau5. Once you’ve seen it done right, you’ll wonder why you’re giving your fans and potential customers so little.

Take more pictures. Digital cameras are cheap. Show them what happens away from the stage. Talk to them as people rather than some loosely connected group of open wallets in search of spending suggestions. Find a common interest away from the music and explore that. Just say whatever comes to mind even if it doesn’t seem to be “closing the deal.” Facebook is full of random statements and observations. People know when they’re being treated like the business end of a mass mailing, no matter how “interactive.”

You make music and you have anywhere from a few hundred to a few million people who love you for it. You’ve already won over their ears. Grab their brains and their hearts. Their wallets will have no choice but to follow.

(Hat tip to Techdirt for their recent article on Deadmau5 which allowed me easy access to the label v. mau5 battle. Big, big tip of the oversized novelty mau5 head to Deadmau5 himself for, well, being himself.)


Top 50 Tracks of 2010: Whitey – Liars, Vipers, Jokes and Fakes

December 26, 2010

7. Whitey – Liars, Vipers, Jokes and Fakes

A healthy dose of cautionary cynicism from one of the finest electro-rockers in the business. No one else quite sounds like Whitey and Whitey really sounds like no one else. With Liars, Vipers, Jokes and Fakes, Whitey lures you in with curiously innocuous Caribbean cruise deck sounds. The drums kick in shortly thereafter, letting you know he won’t just be ironically samba-ing all over the place.

The second verse introduces a discordantly growling guitar which lurks just out of sight. Then comes the bridge, a fierce, buzzing, electronic, stuttering burst which stands alone briefly, connecting the breezy opening with the more aggressive back nine. The pace amps up, covered in fuzzed-up bass and carried along by a crashing, hi-hat riding, near-tribal beat.

The machinations of the music match Whitey’s rising anger, turning what might have been just another shaking-your-fist-at-the-world track into a righteously pissed rock monster.

Stick it to the man: Buy more Whitey.

Stay in touch with Whitey.

The rest of the Top 50.



Heavy Rotation Vol. 38 – “Representing Whitey” Edition

April 4, 2010

Welcome back to the Heavy Rotation, now in its 38th edition. This week’s edition will be just like its previous 37 incarnations, with the notable exception of being frontloaded with an album review. In other words, almost completely unlike any other volume. In fact, completely unlike the rest. Except for the music. The music will be excellent. More excellent, perhaps. Certainly no less.

Previous album-review-free versions here:
The Heavy Rotation Archives

As you are already aware, Whitey released his long delayed second album on April 1st. If you haven’t tracked down a copy yet, by all means, finish reading this review and then head right out. (Links will be provided.)

Canned Laughter is a bleak, disillusioned album. Not that Whitey was ever the most cheerful boy in the studio (see also: Made of Night, The Light at the End of the Tunnel is a Train), but his latest bears the marks of someone burnt once too often by life itself.

But as much as Canned Laughter drips with revulsion for those in power and their propensity for fucking everyone and everything for as long as they can, Whitey’s latest speaks (perhaps only to me) volumes about getting old.

Leading off with Dinosaur, which approximates vintage New Order (think Confusion/Blue Monday) and grabs a bit of Shriekback’s punk-funk for color, Whitey fatalistically watches the march of time turn even the greatest men into nothing more than dust.

From this jumping-off point, we lurch into Times Up, whose chaotic drumwork is buried beneath a nightmarish electro-calliope. The circus-from-hell tones meld with what sounds like an actual cello as Whitey points out what we all can’t ignore:

It’s the end of the line
Time’s up
And it’s too late to clean up
And everything’s used up

Count Those Freaks opens up with jungle noises, Tusk-like drums and Dixieland horns, all riding an insanely catchy bassline. Once again, the us vs. them motif appears, once again taking the form of “the way we used to be vs. the way people are now.” As a former nightclub DJ, these lines in particular speak to me, as I increasingly feel this way with each passing year:

We tread a careful line
Between the creatures of the night
Because we’re not completely sure
Who goes to nightclubs any more

It goes on from there, one blisteringly beautiful/bleak song at a time. A grown-up look at life and the damage done. The Genius of the Crowd takes aim at incomplete people whose inability to feel completely turns them into weapons of mass destruction. The narrator intones this emotionlessly, turning it into the anti-Everybody’s Free (to Wear Sunscreen) and replacing the starry-eyed feel-goodisms of Baz Luhrmann’s hit with an incriminating warning.

Liars, Vipers, Jokes and Fakes rides a blissful island rhythm into dark waters, filled with every evil in the world, perpetuated by those who have the power to change things. Everyone else just gets to pay for it. Send Out the Clowns attacks the same subject matter with a different metaphor and even brings along some more tortured calliope tones for good measure.

Whitey slips in a few jokes as well, between all the anger. Check out I Had a Wonderful Night (It Just Wasn’t This One) if only for the title. You’ll find yourself sticking around to sway along to the jaded beauty and the cutting turns of phrase (“You had a wonderful night/But I’ve had better“). Or ride along with an amazing tune and slum it with the “junkies on the corner” while singing along to Whitey’s ode to “gutter aristocracy” The Up Sound for Down People.

Altogether an amazing album, well worth the wait. So. Don’t wait. Click below and follow through. (They’ll open in a new window.)


Here’s a taster. (Lyrics here.)
Liars, Vipers, Jokes and Fakes

Shocking Pinks – The Big Cutout.mp3
Travelling stylistically along the same heavily-percussed road as Holy Fuck and the Fuck Buttons, Australia’s Shocking Pinks take the listener for a harrowing ride through a starless night, an unlit drive to escape something unnameable and ominous.

Grave Babies – Gouge Your Eyes Out.mp3
Sounding a lot like Faith-era Cure riding shotgun with the death disco of SALEM, Seattle’s Grave Babies deliver the languidly brutal message that no matter how bad your day was, the night promises to be unimaginably worse. Claustrophobic in the way that all the best goth bands were claustrophobic. (Think Bauhaus’ Bela Lugosi’s Dead or Upside Down by Creaming Jesus.) Still, you could conceivably hum the melody line…

Palermo Disko Machine – Theme of Palermo Disko.mp3
Channelling Giorgio Moroder and Vangelis while borrowing from Plastikman’s 303-noodlings, Italy’s Palermo Disko Machine boldly wear their influences on their impeccably-styled sleeves, cobbling together a dancefloor destroyer that manages, at the very minimum, to be the sum of its impressive parts.

Adam Freeland – We Want Your Soul.mp3
Operating with the same distorted breakbeats as his Marine Parade labelmates, Evil Nine, Adam Freeland takes his punk ethics to the airwaves via a vocodered female proxy, delivering the inarguable message that the world gives you so little and asks so much in return.

Appeals to the anarchist in all of us, dragging us off the walls and onto the dancefloor, where we can shout anti-everything slogans while we seek to change the world by drinking, drugging and fucking.

It’s a blast and way more focused than the MC5. Plus it samples Bill Hicks, so that’s about +10 on the enjoyment scale.


[All music posted on Fancy Plans… is kick ass and too awesome to be contained. All music is also posted temporarily and, due to its high level of ass-kicking, should not be distributed without a prescription and care should be taken while operating heavy equipment or dancing around the living room (clothing optional, but do remember that the blinds are open/kids are still awake).
Should you wish to have your brilliant artistic statement forced back into confinement, please email me at Feel free to leave a comment, as that will probably be noticed sooner.
By all means, if you like what you hear (and you will), please support the totally rocking artist(s) by purchasing some music or heading out to see them live.]

Who Loves Whitey?

March 26, 2010

You know you do. Say it loud and proud.

A nearly-anonymous tipster informed me in the Heavy Rotation Vol. 36 comment thread that Whitey is back. And blogging.

Needless to say, he’s been added to the blogroll. Stop by and give the man some love. And free up April 1st. His new album will be up for listening and purchasing over at his MySpace site:



Whitey, JK Rowling and How Not to Operate the Internet

January 8, 2010

Un fucking good musician.

Electro-rocker supreme and all-around good guy, Whitey has been producing high-quality music since 2004. Despite an appearance on the Grand Theft Auto IV soundtrack, this hasn’t caused him any sort of trouble in the “too much of it and what to do with it” sort of way.

In fact, he’s not even signed to a label at this moment, which is a damn shame. As Overconfident Orientalist astutely pointed out in the Heavy Rotation Vol. 30 comment thread, 1.) he’s “bleeding talent all over the internet,” and 2.) everything other than The Light at the End of the Tunnel is a Train is impossible to get ahold of.

This may be due to his lack of label support. But this may also be due to Whitey’s lapse of judgment.

Here’s the situation: Whitey’s follow-up, Great Shakes, was due to be released in 2007. However, some piece of shit publicist decided to dump his unreleased album on the internets well before Whitey was ready to release it. It’s a fucked up situation. The whole story (more or less) is here, along with a great interview, in which Whitey does not cease drinking or smoking once.

Whitey’s response was to pull the album and rework some of the songs, which would be released under a new title supposedly in 2008. As this is 2010, we all can figure out what happened. No album yet and most of his catalog is now only available in illicit pirate form.

Without a doubt, a fucked-up situation. But let’s take a look at things from another perspective…

Has also written under the name "Tits McGee."

J.K. Rowling
As the author behind the multi-million-dollar cottage industry that is magical, scar-faced teens, Rowling is also on the run from the spectre of piracy. According to an article at, “J.K Rowling has thus far refused to make any of her Harry Potter books available digitally because of piracy fears.”

Basically, Rowling has decided that the possibility of piracy would damage her immense wealth and therefore, will not give her fans the opportunity to shower her with more money by purchasing yet another version of the same book they probably already have in hardcover, softcover and collected special editions.

This is a pretty typical response from most hugely successful authors and their respective publishers. They won’t sell e-books because 1.) they don’t like the price point, which is driven by intense competition and the lack of any real distribution cost and 2.) the pirates will win (again).

So by not providing an electronic version, Rowling has cut herself completely out of a market and wishes to lay it all at the feet of faceless, nameless internet thugs who only wish to take and take and take.

The Fancy Plans Art Department once again defines "adequate..."

“Lost Sales”
Here’s where both of these artists converge. On one hand, we have a truly talented artist who is underexposed and lacking in distribution “muscle.” On the other hand, we have J.K. Rowling. Both are concerned that their product has been devalued by being passed around the internet without a price tag.

In Whitey’s case, he decided to cancel the release of Great Shakes. Other artists have done the same when their albums were leaked. In Rowling’s case, she won’t even put the product out. But why?

Lost sales.”

Let’s say some die-hard Potterist decides to bust out the OCR software and scan in one of her books. After all the work of scanning and processing, they dump their labor of love over at the nearest Geocities LiveJournal Rowling fanclub site. Somebody else slaps it onto the nearest torrent site and the numbers come rolling back.

Rowling opens up her email one day and is alerted that 10,000 “illegal” electronic versions have been downloaded in the last day over at the Piratebay. In her mind (and her publisher’s), she has just “lost” 10,000 sales.

But she hasn’t. To assume that every one of those downloaders would have purchased a copy, if available is not just ignorant; it’s arrogant. Let’s be a little more realistic and say 5% would have purchased a copy. So she lost 500 sales.

Let’s repeat that together for clarity: SHE LOST 500 SALES. Read it again. J.K. Rowling, by not offering an electronic version of her book, lost 500 sales. She can blame it on piracy all she wants, but by not providing an e-book, all she guarantees is that she’ll never make a single dollar or pound or whatever from fans who wish to buy an electronic version.

Whitey is making the same mistake. Rather than just releasing the album and relying on interested fans to pick it up, he pulled it instead. This only guaranteed that the only version of Great Shakes available would never make him any money. His EPs are impossible to find. You can get a copy of the Individuals EP from a UK shop, purchased in pounds. That’s it. And that’s assuming the record store’s website and database are up-to-date.

He should have just released the album or sold individual tracks through Amazon or his MySpace site or pretty much anywhere that would host them (Beatport, etc.) Instead, he tries to create artificial scarcity by refusing to put his official Whitey stamp on the pirated material.

The Fancy Plans Art Dept. may now consider themselves on "adminstrative leave" pending their upcoming dismissals.

The Point to All This Rambling
The various media forces need to understand that they can’t stop or contain piracy. Thousands of small, unsigned artists are releasing their music for free and providing premium packages to earn money. Touring and ancillary businesses are the name of the game.

Authors are releasing free PDF versions of the same books they’re selling on Amazon and watching sales increase rather than disappear.

The best thing you can do in this day and age is put out a cheap (or free) electronic version of your creations as soon as possible. Sure it will be pirated. But it will also get your name out and your talent in front of eyes and ears you’ll never reach in the local brick-and-mortar store.

And please don’t give us an inferior product. Big media pushers are always tainting their electronic products with crippling DRM, bullshit EULAs and limited transferability. Why would anyone want to pay more for an electronic file that is more limited and less useful than the one they can get for free?

Why would I spend $1.29 to get a song that I can keep on only one hard drive and transfer to only one mp3 player (if that)? If I get the pirated version, I can dump it on all the mp3 players and computers in the house. I can stream it to my PS3 or move the file there as well. I can burn it to as many CDs as I want.

These industries need to stop presenting litigation and legislation as a business plan. If your future efforts in the digital market consist mainly of suing grandmothers and holding bitchfests on Capitol Hill, your industry can’t die fast enough.

Stop treating your fans as thieves and stop wishing you could turn back the clock. Make the most of what little time your industry has left. The more you attempt to wrest every dollar out of every person out there, the more animosity and contempt you earn from the next generation of disposable income.

Good luck in the future, Whitey. If anyone deserves a big break, it’s you.

J.K.: Just go count your money somewhere out of the limelight for a while and refrain from issuing ill-informed opinions. People liked you better when you were a surprising success story, rather than a petulant millionaire.

What Makes It Worth Reading All the Way Through
Another kickass track by Whitey, which can only be found on YouTube. (Case in point…)



Heavy Rotation Vol. 30

January 3, 2010

Nothing going on here but the music. No tenuous threads tying these tracks together. Just good, solid tunes with what gamers refer to as “high replayability.” Like Peggle for your ears, I suppose.

Previous versions here:
The Heavy Rotation Archives

Sparks – Frankly Scarlett, I Don’t Give a Damn
The worst moustache in the business meets some of the brightest and smartest pop in the world. The Sparks take on a Southern legend with the purest of worst intentions, taking the jilted and none-too-pleased side of things. Catchy as hell and with some of the best couplets/triplets(?) ever written:

That soft southern accent
Delivered without the slightest trace of a British accent
Even that’s starting to wear on me

and this, which I’m dying to use out of context somewhere:

We cut each other so much slack
That we were both falling over backwards

!!! – Take Ecstasy With Me (Magnetic Fields cover)
The most plaintive of love songs, wherein love is replaced with lust and lust is altered chemically. New York’s funksters !!! take Stephen Merritt’s ode to the downside of unpopular lifestyle choices (“we got beat up just for holding hands”) and turn it into an ode to the simple pleasures of getting fucked up with someone else. Loads of additions to the original lyrics drive the point home:

I’ve got a new kaleidoscope and I’ve got a stack of records
It’s all in your head so don’t doubt it
We could have fun just listening to your pulse

Balkan Beat Box – Bulgarian Chicks (INSPKTR Bootleg Mix)
Normally when I hear the phrase “world music,” I start looking for the exit and elbowing my way past Paul Simon fans and various members of Vampire Weekend. The Balkan Beat Box, founded by ex-Gogol Bordello member Ori Kaplan, takes all the chin-stroking and masturbatory SWPL-ness out of it and shows everyone (including me) how all these disparate ingredients can rock the dance floor. Funky, fun and highly recommended to close-minded bloggers everywhere.

Soulwax – Any Minute Now (Vote Whitey Mix)
Time to combine two of my favorite things: the dance-rock express that is Soulwax with the main man of all things fucking great, Whitey. Prepare to have your lids flipped by Whitey’s undeniable backbeat and general electronic wizardry.

Whitey – Individuals
Speaking of fucking great, here’s yet another fucking great track from Whitey. Just another day at work for the master, combining an a distorted electro loop that defines the word “crunchy” with some great drumwork and a great set of cynical lyrics directed at all those people who insist on showing their uniqueness by doing what everyone else is doing:

I see places
Fashionable places
Where all the smart people go to stand in line
Stand in line
Makes their lives
All perfectly designed
For killing time

I see people
Fashionable people
Go where the right people go to watch themselves
For themselves
All for one
And none for all
Stand against the wall
Cause you’re so over it all

So this is nothing personal
I ain’t got nothing against you all
But if you can’t select something that’s really your own then why bother selecting at all
And if there’s anyone actually listening now who finds this uncomfortable
Just wait for the end of the music

All files in a smartly-ZIPped jumpsuit and armed with a harpoon gun:
Heavy Rotation Vol. 30
(link opens in new window)


[All music posted on Fancy Plans… is kick ass and too awesome to be contained. All music is also posted temporarily and, due to its high level of ass-kicking, should not be distributed without a prescription and care should be taken while operating heavy equipment or dancing around the living room (clothing optional, but do remember that the blinds are open/kids are still awake).
Should you wish to have your brilliant artistic statement forced back into confinement, please email me at Feel free to leave a comment, as that will probably be noticed sooner.
By all means, if you like what you hear (and you will), please support the totally rocking artist(s) by purchasing some music or heading out to see them live.]

Heavy Rotation Vol. 14

September 13, 2009


Yo La Tengo – From a Motel 6
From out of New Jersey, the original indie critics’ darlings (take that Vampire Weekend), who hold forth with their combination of folksy guitar picking, squalling feedback freakouts and a lot of stuff that falls somewhere in between. From their shoegazer masterpiece Painless. A lurching buzzsaw of bitterness and rejection and a general “haven’t we all been here before” feeling. The guitar sounds are magnificent, rising and falling like turbines.



Pulp – Mile End
Hidden all the way at the end of the Trainspottingsoundtrack lies this beautiful tune by Pulp. (It’s right before the Sean Connery-lovin’ throwaway track by Blur.) Jarvis Cocker conjures up all the frustration, desperation and random violence of living the slum life. Not so much about drugs and gunplay as it is about decaying buildings and the pointless brutality that accompanies living under the poverty line and under the radar.

One thing that Cocker absolutely has nailed (other than him deflating a self-important Michael Jackson with a well-timed mooning) is that there is no inherent nobility or wisdom in being poor. It just fucking sucks.

Nobody wants to be your friend
’cause you’re not from round here
as if that was something to be proud about
The pearly king of the Isle of Dogs
feels up children in the bogs
Down by the playing fields someone sets a car on fire
I guess you have to go right down
before you understand just how
how low
how low a human being can go



Syntax – Pride
Some dark electronic loveliness by two former members of Fluke. This track has been used in a variety of television shoes because it just has that perfect soundtrack feel. Abused actually, by yet another Law and Order offshoot and The O.C., to name a few offenders. But who could blame them? If I had a key scene that was a little sad, a little wistful or just needed an elegant but propulsive tune to dial it all in, this would be the one.

Presumably Syntax formed because Fluke wasn’t “dark enough.” I beg to differ but I will hash this point out in a future Heavy Rotation.



Toecutter – Best Party Ever
From the dark and moving to the ass-shaking and disruptive. Toecutter (recording as a very thinly disguised Troecutter for this one — oh, and named for a Mad Max character) takes Kool & the Gang’s “Tonight” and slaps it all over the dancefloor, using pitch shifts, Bmore bass, bells, whistles, bangs and some very effective chopped and blocked vocals. Periodically, some virtually unaltered Kool will escape (with some of the gang) before Toecutter shoves the whole mess into the trunk and does high-speed donuts in the parking lot (around the 2:50 mark).

Just keep holding on. You’ll trip across a few vocal samples and a smattering of Madonna before T(r)oecutter returns the banged-up tune to the dance floor, with the pounding 4/4 beat somewhat intact (around 3:40).



Whitey – Stay on the Outside
Some outstanding electro rock from the mysterious Whitey. Starts rather low key with Whitey’s subdued singing, a little organ and some sparse handclaps. It proceeds along in a rather orderly but catchy fashion until around the 2:50 mark, when the floor drops out (and into a faux-fade) only to be replaced with a whoosh and a banging return to the original beat. An augmented original beat.

Various electronics join the commotion and the tempo shifts as does the tone of the song, going from a plaintive to pissed off (protagonist to antagonist). Stick around for the whole thing.

Previous Heavy Rotations can be found here: Heavy Rotation Archives

All mp3’s in an vacuum-packed zip file:
Heavy Rotation Vol. 14 (link opens in a new window)

[All music posted on Fancy Plans… is kick ass and too awesome to be contained. All music is also posted temporarily and, due to it’s high level of ass-kicking, should not be distributed without a prescription and care should be taken while operating heavy equipment or dancing around the living room (clothing optional, but do remember that the blinds are open/kids are still awake).
Should you wish to have your brilliant artistic statement forced back into confinement, please email me at Feel free to leave a comment, as that will probably be noticed sooner.
By all means, if you like what you hear (and you will), please support the totally rocking artist(s) by purchasing some music or heading out to see them live.]