Chimpomatic

The Flaming Lips

Hammersmith Apollo, London

Having seen Midlake a week earlier at the ULU and found them disappointing, simply because the sound quality was very poor, I luckily decided to get to this gig at the Hammersmith Apollo early - and it turned out that Midlake would also be supporting the Flaming Lips. Seeing them again at the Apollo was so encouraging - you could really appreciate Tim Smith's voice and their nostalgic sound, which really resonated across the room. Sadly, no one had a clue who they were. Van Occupanther's fantastic songs like Roscoe, and Head Home came and went without any fuss, unlike at ULU - where the crowd clearly adored them, singing along to every word. It was sad; a great band like Midlake can really appeal to a wider audience, and even though the sound quality was better at the Apollo, the uninformed crowd wasn't quiet sure how to receive them. They had driven all the way from Paris especially for the show, and afterwards had to drive back to Lille to perform another gig the next day. Let's hope they had more success across the channel.

I had heard the Flaming Lips really put on a show - a friend once saw them live where they gave out mini radios for everyone. A local radio station would be broadcasting a song live, and when that song was performed everyone had to switch on their radio so they could hear it in stereo. Back at the Apollo, balloons were hovering above our heads as the crowd diligently played 'keepy upy' with them. The band came on stage accompanied by mass eruptions of cheering, shouting, confetti, more giant green balloons, and mirror balls - 3 mirror balls.

Opening the set with The Soft Bulletin's hit single Race For The Prize, Wayne Coyne got into his translucent giant balloon and walked across the crowd. My god, it was friggin amazing. As the show moved on the balloons really began to irritate, and you soon noticed popping sounds, as they were very quickly eliminated. More confetti was fired into the crowd, with the never-ending audience sing-a-long lasting from start finish - ending with Bohemian Rhapsody - Flaming Lips style.

Ever-articulate circus leader Wayne Coyne marshalled proceedings, first encouraging everyone to celebrate the recent mid-term defeat of George Bush's Republican Party, then apologising and praising how wonderful a crowd we were - how he has subjected us to all this confetti and balloons, and singing along to surreal lyrics - yet we didn't boo him once. He went down on his knees and thanked us all, watched on by a crowd of Santas on the right and green aliens on the left, holding touch lights. The rest of the band was dressed in super hero outfits. I can't think of another band that has put so much effort into making sure they entertained us.

#Music
#Gig
#HK

6th Dec 2006 - Add Comment - Tweet

Zoolander

(dir.Ben Stiller)

Paramount

I watched Zoolander last night after being constantly told how much I'd love it. It was shit. No redeeming features. If there was an option for zero stars it would get it. What's the dealio yo?

#Film
#CSF

6th Dec 2006 - 2 comments - Add Comment - Tweet

Robert Gomez

Closer Still

Bella Union

Robert Gomez is a singer songwriter from Denton, Texas. There must be something in the water there, as Gomez is the 5th Denton signing to London's Bella Union Records - following on from Life To Experiance, Jetscreamer, Mandarin and Midlake, who he supported in London in last month.

Title track Closer Still uses a punchy, driving bass line which fills out with strings and even a bit of brass to end up as a rich, textured epic. Gomez' low voice has a smoky, restrained power to it - and the arrangements of tracks like She's A Dog often bring to mind 70's Tom Waits. Pretty much every instrument you can imagine pops up somewhere - strings, brass, even a Xylophone, and while that adds a lot to the sound, occasionally the arrangements seem too large for Gomez' voice.

Shaky Tom Waits comparisons aside, Gomez' sound and voice are best compared to indie veteran Elliot Smith, and his distinctive voice works just as easily with sparse arrangements such as the closer When They Were So Brave, although the less distinguished Stuck Inside provides a hesitant note that sometimes sparse just isn't enough.

There's range and breadth in the song writing here, and Closer Still provides a tasty taste of what we can expect when new album Brand New Towns arrives in January 2007.

#Music
#CSF

1st Dec 2006 - Add Comment - Tweet

Willy Mason

If The Ocean Gets Rough

If you liked Where The Humans Eat, you'll like this... More earthy folk from Mason: no surprises/no duffers either.

#Music
#chimp71

30th Nov 2006 - 1 comments - Add Comment - Tweet

Dan Sartain

Join Dan Sartain

One Little Indian

This is the second full length from the Alabama based musician and at 24 Sartain has managed to create a timeless piece of work that oozes bitterness but is delivered with an upbeat confidence. Recorded partly with a mariachi band and partly with The White Stripes producer Liam Watson, Join Dan Sartain is a lighthearted and refreshingly honest example of one man doing what the hell he feels like.

The great success of this record lies in it's subtle air of defiance. The 15 songs here represent a polite two fingers up to just about everyone in Sartain's life. As the last notes of the closing track Love Is Black ring off you can imagine Dan Sartain, with the arrogance of a young Johnny Cash, throwing his guitar at the mixing desk and storming out of the building mumbling "fucking record that, see if I care." The music isn't at all aggressive and it's hard to pin down just where this defiance comes from, but the effortlessness with which Sartain delivers his short little ditties is a good place to start. The furious pace of the opening track Drama Queens set's Sartain's agenda from the outset. At one and a half minutes it's a tightly packed bundle of forked tongue bitterness and it hooks you in good and proper. And talking of tongues, Sartain's seems firmly in his cheek as he skips through many different genres from the dirty grunge of I Wanted It So to the spanish love song Besame Mucho, originally recorded by Elvis. The warmth of the mariachi accompaniment of Flight Of The Finch is contrasted nicely by the fierce musings of two of the albums highlights, Gun Vs Knife and Hangers On.

It's great to hear an album that obviously comes from a rich tapestry of sources and though many of them will instantly spring to mind they will be wiped clean just as quickly and the lasting impression will be be a work very much its own. The arrogance of the music is reflected in the title of the album and if this is Dan's raleigh call to join him then I for one am in. I say that but at the same time get the impression that you can pledge allegiance as much as you like but the final decision lies with Dan himself and after hearing this record I am left with the immortal words of Eddie Murphy ringing in my ears, "This is my house, if you don't like it, get the fuck out."

I like it, I like it.

#Music
#BC

30th Nov 2006 - Add Comment - Tweet

120 Days

120 Days

Smalltown Supersound/Vice

120 Days is a fair assumption of what might have happened had Ian McCulloch or even Bono turned up for the post of Ian Curtis' replacement instead of Bernard Sumner. Fusing driving 80's beats, tight guitar arrangements and soaring vocals, Norway's 120 Days have crafted a tidal wave of sound with their debut LP. Their intention to 'go large' is evident from the 9 minute techno opener of Come Out. It's long, sprawling, cold, impenetrable, it's late night motor-way driving, it's Michael Mann and it sums up the grand vision of this record. Taking the best bits from the 80's indie scene and injecting a bit of Kraftwerk here and there this is a most satisfying debut and although they never reach the intensity or raw passion of bands like Joy Division or Neu! they still manage to create a grandeur that at times is quite thrilling.

They tend to stick to a tried and tested formula with each track creeping in on a swirling, astral synth wave making way for the hard, bass heavy drum-machine beat to kick in. This driving techno-like structure provides acres of space for the dark vocals as they slowly building us up to majestic heights. The stand out moment is Get Away, and with it we see a brief emergence of a more rock orientated structure with the sweeping synths making way for soaring guitars and Adne Meisfjord's vocals break out from their electro confines to embrace a more passionate level of intensity. This all culminates with the epic 11.5 minutes of closing track I've Lost My Vision. Often a closer of this length means an annoying hidden track that follows 6 minutes of silence but here it's beats all the way home. The vocals have the luxury of starting 2 minutes in and then slowly dropping away to let the music span out over this vast landscape only to return later to remind you just how awesome this song is. Then just as any self respecting track would be called in for their dinner, 120 Days plays on with a soaring 2 minute guitar finale.

The albums formula can seem repetitive at times but it sounds intentional and adds to the high speed-4 am-sprawling-Autobahn vibe. The synths echo the sweep of street lights as they pass over head every second for miles and miles and the beats become the evenly spaced motorway repair lines that bump the wheels over and over. It all becomes quite mesmerizing at times and this debut should be accompanied by a government warning not to listen to it while driving.

#Music
#BC

29th Nov 2006 - Add Comment - Tweet

Ratatat

Classics

XL

You may be wondering how the hell this NY duo managed to make a greatest hits album after only one record. Answer: Classics is just a witty title for their follow up to the 2004 debut, and yet after the first listen you start to imagine that this title could quite easily come into it's own as each song is packed full of catchy hooks, beats and melodies that it can't be too long before the media pick up on this and adorn every advert with a Ratatat riff just as they did with artists like Royksopp.

Ratatat are Mike Stroud and Even "E*vax" Mast and they make eclectic instrumental music using predominantly guitars and electronic beats but back up these grand statements with sampled textures. Classics was born out of their extensive touring with bands like Interpol, Franz Ferdinand and the Killers and brought about the shift from the stripped down, looped sound of their debut to the fuller and grander feel of this record. "Audiences usually responded way more strongly to our louder, more aggressive songs," recalls Stroud. "So this time in the studio, we were more conscious of trying to please a crowd, without selling ourselves short. Also, playing so many gigs inspired us to make the new record sound much more live."

I would certainly agree with this statement on many levels. Classics does sound like an album made very much with an audience in mind. It steers away from any challenging curve balls and often plays safely into the listeners hands. But just as this is a criticism it is also the albums strength. It may occupy the safe middle ground but it does so with the pride and is of the highest quality. The reason many of the songs could make it onto adverts is because they are so good and give you what you want straight away.

The beat-heavy thud of 'Lex' will have your hands clapping and toes tapping in no time, while the sweet melodies of Tropicana reveal the boys admiration for bands like The Beatles and The Kinks. Much of the album was recorded at Bjork's upstate New York rural retreat and sounds like it provided the duo with much needed focus. It also explains the various animal noises that pepper these songs like the tigers on 'Swisha', the birds and bug noises on 'Tacobel Canon' and the impressive roar that provides the back bone to the stand out track 'Wildcat'. 'Loud Pipes' moves expertly from the rewind plodding beat to the tip toe tinkle with a gracefulness that makes this record easy to listen to but not easy listening.

It's hard to pin down what separates good instrumental music such as this with all the bland dross that serves to numb all creative impulses we may be lucky enough to receive and after listening to Classics I still don't know but there's enough honesty gone into this record to tell me that this is one of the good ones. The title may scream of misplaced arrogance but the music doesn't.

#Music
#BC

24th Nov 2006 - Add Comment - Tweet

Jay-Z

Kingdom Come

HOVA comes out of retirement with mixed success. A few very good tracks but otherwise average. Chris Martin features (!)

#Music
#CJ

24th Nov 2006 - Add Comment - Tweet

Steve Turner & His Bad Ideas

New Wave Punk Asshole

"No-one gives a shit what you think. No-one gives a shit what you do. No-one gives a shit what you say, so you might as well do it anyway." - 'No-one Gives a Shit' - Steve Turner.

From the opening track on his new album, it appears that Steve Turner has decided to take a piece of his own advice. Much like Graeme Coxon had to separate himself from Blur to make music more to his liking (which coincidentally sounds a bit like Steve Turner) it seems that Mudhoney guitarist Turner has a creative itch he can only scratch when the rest of the band aren't looking. So off he went and recorded this, his 3rd album.

Musically, it is unsurprisingly from the same gene pool as Mudhoney but with less fuzz and more keyboards. Less Grunge, More Garage. Like his suprising and good previous album 'Bad Ideas' (not suprising that it was good, suprising that that's what a Steve Turner solo project sounds like) New Wave Punk Asshole continues Turner's apparent preoccupation with an approaching middle-age. Where 'Bad Ideas' was slightly melancholic, 'New Wave Punk Asshole', as the title suggests, is more self-deprecating, a shrug of the shoulders and a grumble at the ageing process.

All the songs have a certain charm and some are genuinely funny, Turner would make a great narrator in a sitcom. Here he is trying to get laid on Sex Date Saturday Night "We're not getting any younger, our relationships are pretty much failures, we might as well do it together" or this fantastic salvo on Stupid Blues "My friends are stupid, some of them are morons, I don't understand how we got to be so boring." A depressing thought for the rest of us when you think he still tours and records with Mudhoney.

A fine record of 16 little gems coming in under 35 minutes. Like the sitcom, I look forward to seeing what Slightly Grumpy Steve is up to in series 4.

#Music
#chimpovich

23rd Nov 2006 - Add Comment - Tweet

Chin Up Chin Up

This Harness Can't Ride Anything

This is the second album from Chicago's Chin Up Chin Up and sees them make slight yet important improvements on their previous LP. 2004's brilliantly titled We Should Have Never Lived Like We Were Skyscrapers was a great piece of understated indie bliss and The Harness Can't Hide Anything is a similar story only singer Jeremy Bolen has brought his vocals more to the foreground changing his hushed tones to a more raw, unpolished delivery. As a result their sound has become a lot less polite.

From the outset you can feel the sound being more in-focus as the title track gets things off to a good pace with it's driving guitars and fast drumming. Although most of the songs tend to employ a repeated vocal and guitar rhythm as their home straight the sound never becomes repetitive.

I Need A Friend With A Boat is probably the best song on the album. It chimes in with Cure-like guitars and steadily builds to a fantastic crest of driving bass lines, piano and violin. Blankets Like Beavers follows similar suit until half way through spews out a glorious synth drive that takes the song off to new heights of rhyhthmical Spoon territory. Landlocked Lifeguards shows it's teeth a bit more finishing off with a din of screeching guitars and crashing cymbals which sets up the beautiful Stolen Mountains. This is the most delicate song on the album revisiting the hushed vocals of their previous work. It has a gentle, plodding rhythm as its structure but nicely turns into a drum/string medley with a bit of glockenspiel thrown in as well.

The Harness Can't Hide Anything is a similar story to White Whale's WW1 in that it is all really solid but as a result doesn't have any obvious highlights - but also has no low points either. On the final song Trophies For Hire Bolan sums up the album very well when he says, "These lakes are not oceans, these trees are not forests," but in his defense, sometimes the grand, dramatic landscapes which he hints at are not always what is needed and Chin Up Chin Up haven't aimed for that but have produced a quality piece of indie rock, what more could we want?

#Music
#BC

22nd Nov 2006 - Add Comment - Tweet

Don Caballero

Scirroco, Madrid

9 Reasons why this gig ruled hard.

1. Three excellent musicians, concerned more with the tightness of sound rather than the tightness of denim.

2. No singer. Led instead by one of the best drummers I have seen.

3. High Riff percentage - was like the best bits of Slayer and Slint.

4. Even when they broke it down and went light on our ass, they still rocked.

5. The support band was Spanish and didn't suck.

6. They are called Don Caballero (pronounced Cabayero) - a cool name anyway, when translated it reads 'Mr Gentleman'.

7. The small venue was so crowded that a lot of people just gave up trying to see and sat on the stairs just getting into the music.

8. Their pre-gig rider appeared to consist of Twixes, Kit-Kats and Coca-Cola.

9. Hard Riffs + incredible drummer(squared) - singer x 1 1/2 hours = Awesome performance.

#Music
#Gig
#chimpovich

22nd Nov 2006 - 1 comments - Add Comment - Tweet

Mudhoney

Under A Billion Suns

Sub Pop

I owe a lot to Mudhoney. Listening to their self-titled 2nd album many years ago, took me away from a West Midlands world of Megacity 4/Neds Atomic Dustbin and onto a beer-fuelled journey into independent American music - a journey that has shown no sign of slowing down over the subsequent 16 years. The superfuzzed bigmuffed mayhem of tunes like 'This Gift', 'You Got It' and 'Flat Out Fucked' opened my eyes to a "Screw you we are going to get loaded" attitude that played soundtrack to much of my teen years.

But, as often happens with many of your oldest friends, you inevitably lose contact after a while. So, on the first listen to Under a Billion Suns, the first new Mudhoney material I've heard in a while, it's something of a surprise to hear a joyous brass section, working its way from the background to the fore in the opening songs 'Where Is The future?' and 'It Is Us' as well as closing the album on 'Blindspots'. Very Californian for these archetypes of the Seattle sound. It's like that old friend has turned up on your doorstep after all these years and, well, he's wearing a dress! At first, you'd perhaps be like 'Err, ok!' But once the shock subsides and you get a chance to sneak a look up that dress - bingo! There's a Big Muff, as in your face as ever. Open up that handbag and - yep! - there's some beers, so fuck it, let's party like the old days.

All those things that made you want to hang out with Mudhoney in the first place, are here. The sleazy, sludgy guitars, underrated solo work, Mark Arm's sneering vocals, Dan Peters driving drums and all the snotty attitude that made them the scourge of parents - before they presumably became parents themselves.

Whilst the sound remains the same, the band (Arm?) themselves seem to have become polticised. It's a pretty damning indictment of George Dubya, when perennial slackers and party animals Mudhoney feel the need to weigh into the debate about how much of a Chief he really is. In 'Where Is The Future?' Arm wonders what happened to the promised future of his late 60's childhood "I want a world run by giant brains, instead of small minded arrogant fools" the theme continues on the faster 'It is Us' "I've seen the enemy and It Is Us!" Muff vs. Bush! Even the war gets a look in, but with a particular Mudhoney spin on things "Hard-on for War" is pro-war in the sense that; with young men serving abroad, it's left to the dirty old men to have the pick of the young girls left behind. Whilst it's nice to hear their take on current affairs, the highlight has to be the instrumental 'A Brief Celebration Of Indifference" - a 2 minute supercharged throwback to 1990.

All in all it's a welcome return to the speakers for these Seattle legends. Whilst they may have lyrically grown up (just a bit though) the sound and energy that blew me away all those years back, is still very much in place.

#Music
#chimpovich

21st Nov 2006 - 1 comments - Add Comment - Tweet

Robert Pollard

Normal Happiness

Must Destroy

The ever-prolific Robert Pollard is back (again) with a new solo LP Normal Happiness. The press release explains how The Beatles or The Who might release two albums a year and that was the norm in those days, and should not be frowned upon now. They seem to be overlooking the fact that between 2005's Beneath A Compound Eye and this second official post-Guided By Voices solo album Pollard has put out another 3 side-project albums on which he is clearly the captain of the ship - The Takeovers, The Keene Brothers and Psycho And The Birds. Plus that Bubble soundtrack mini-LP.

Putting side-projects aside for a moment, this is clearly a Robert Pollard solo album and the closest thing we're going to get to a new Guided By Voices record for the foreseeable future. Where the side-projects are defined by their lack of definition, Normal Happiness is a fairly coherent record - featuring 16 concise chunks of pop-rock which barely clock in at over two minutes each. It follows the late-GBV era of Half Smiles Of The Decomposed in style, playing clever lyrics off against musical themes and concepts. As usual it's a roller-coaster of variable quality, but rather than me giving you a general consensus, let's get specific.

1. The Accidental Texas Who - Near perfect. Bob's outrageous comedy English accent at the start sets the tone for the album and makes the track seem like throw-away brilliance, effortlessly changing gear. 5 stars.

2. Whispering Whip - A moody opening starts the song well, but once that trump card is played it looses a bit of direction. 3 stars.

3. Supernatural Car Lover - A future Song Of The Day. Flawless power-pop, with a catchy underlying guitar lick powering it along. 5 stars.

4. Boxing About - Effortless and beautiful. 3.5 stars.

5. Serious Bird Women (You Turn Me On) - Megaphone vocals undermine this ballad, which stretches a bit thin. 3 stars.

6. Get A Faceful - Catchy, but slightly plodding. Like watching Carl Lewis do the 100m in 13 seconds. 2.5 stars.

7. Towers And Landslides - Starts and ends abruptly, once the mission of the song has been accomplished. 2.5 stars.

8. I Feel Gone Again - A low-key number that starts acoustically and builds into 70's sounding power pop of the Toto calibre (but about 8 minutes shorter). 3 stars

9. Gasoline Rag - Quirky stop-starting number with good production and a galloping chorus, but it's a bit thin on the lyrics. 2.5 stars.

10. Rhoda Rhoda - Average musically. M.O.R. 2.5 stars.

11. Give Up The Grape - Plodding, but nice key changes and a more lyrical drive. 3 stars.

12. Pegasus Glue Factory - Blending in musically from the previous track, the album is now coming back together. This great-title of a song could be a Genesis b-side, building up to an improv sounding jam. 3.5 stars.

13. Top Of My Game - Finger picking and lyrical. A fresh start. 3 stars.

14. Tomorrow Will Not Be Another Day - Starts in the middle, like a back-from-the-break lick on the Dukes of Hazzard. Would have liked it to be more of a Skynyrd 10 minute jam. 3 stars.

15. Join The Eagles - Contemplative and lyrical. A possible tuba on the end. 3 stars.

16. Full Sun (Dig The Slowness) - With simple lyrics recalling his own GBV songs (the carpenter's and their wives), there's little room for vocals here - giving way to a superbly building musical jam, packed with bleeping synthesizers. Back to the best. 4.5 stars.


So, there we have it. 50.5 out of a possible 80. 3 stars. Tracks 1, 3 and 16 make it into my ever expanding best-of-bob-projects playlist. The record seems to literally reference Guided By Voices themselves in several places (both musically and lyrically), bringing a nostalgic feeling to some of the records like a magic wand. As we've recently seen with GBV's lo-fi peers Sebadoh and Pavement, when is more too much? If I'm honest I'd be hard pressed to name any GBV record as a flawless classic, but the flaws are what made them classics, and this just follows that same logic.

#Music
#CSF

21st Nov 2006 - 2 comments - Add Comment - Tweet

Joanna Newsom

Ys

OK, you're going to have to bear with me on this review as I am breaking a strict rule of mine while writing it - and that rule is to never embark on a review until you know what the album is about. To mislead the hoards of readers we have on this site with knee-jerk opinions would be a dreadful misuse of responsibility. So from the outset I will be honest and admit that I haven't got a clue what the hell is going on on this second full length from the enigma that is Joanna Newsom. The reason I am not waiting until I do know more is that I get the impression that that day will never come, but as I have firmly made up my mind that this is a work of unrivaled genius I think that is justification enough to start the review.

Clocking in at just under an hour and boasting only 5 songs, the longest being almost 17 minutes, Ys certainly is a commitment. Starting this album is an experience akin to standing at the foot of a massive mountain. You know you want to climb it but the view from the bottom makes you question whether you have it in you and it's not until you've completed the first leg of the opening 12 minutes of Emily that you start to realise what an epic journey you have ahead of you but the view from there is so special that to reach the summit fills your heart with excitement and you push on. Those who do reach the top are rewarded in ways too profound to mention. Not only is there the sense of pride on having made it this far but the strange compulsion to go straight down to the bottom and do it all again is overwhelming.

So despite not knowing anything about the meaning of this work we have established that it's quite good and so can distract ourselves with some background facts concerning it's conception and production. It follows in the footsteps of 2004's critically acclaimed debut The Milk Eyed Mender and takes it's title from a mythical Breton city that was flooded as punishment for the decadence of its inhabitants. Newsom describes dreams she had after having written the record that the title had to have a Y and an S in it and should only be one syllable, after coming across a reference to this myth she knew that Ys, pronounced 'Ees', had to be her title. The album features a whole host of stars backstage. It is engineered by Steve Albini, produced by Jim O'Rourke and all but one song is given full orchestral arrangement by Van Dyke Parks, it also has the occasional backing vocal by boyfriend Bill 'Smog' Callahan. But it's Newsom herself that ultimately makes this record what it is. Her voice achieves a much more expansive range here going from booming depth to ear-piercing squeaks to a floating beauty that is simply heart melting. Her debut had her lumped in with the acid-folk of Devandra Banhart which in my opinion didn't do her any favors. This record will undoubtedly put an end to all that as its richness and awesome scope makes it near impossible to label. Comparisons to the work of Bjork and Kate Bush are valid only in terms of vision and shear single mindedness. As time moves on it will be impossible to guess when this album was made, it has a timeless quality and no references to modern times whatsoever. (I thought I found one on Emily when what I supposed was the lyric "The media writes just what causes the light and the media's how it's perceived," turned out to be "The meteorite's just what causes the light and the meteor's how its perceived.") You get immersed in the vivid descriptions of nature and stories that are told with such a beguiling use of language that you stop trying to follow their meaning and sit back content to let your heart dance in the warmth and ease with which these magical words tumble out. There is little point in going through the album song by song as this is a piece of work where each element has to be seen in the context of the whole. It's not just the length of the songs that makes them so daunting, they feature no standard chorus structure, there is virtually no let up in the flow of expertly pronounced poetry or free flowing harp and Park's orchestration sweeps you up and catapults you across his epic cinematic landscape and each song leaves you exhausted. But the profundity of this exhaustion comes from the honesty of the artist, none of this album seems contrived or pretentious. It's one of those rare moments of originality that is self made.

You can arm yourself with as many facts as you like about this album but none of them will help you on your journey, they will only weigh you down. Just as Luke bravely put away his mechanical means of navigation on his assault on The Death Star so must we turn off logical thought on our long trek towards the summit of Mount Newsom and let some other force guide us. To do this is the only way to reach the top and once there the view will be more spectacular than you could possibly imagine.

#Music
#BC

20th Nov 2006 - 6 comments - Add Comment - Tweet