_:_ D E F _:_ __ | | __ __\/_____|_ _______ _|_____\/__ __.._\_\/ | ____\ \_ | \/_/_..__ \_|| \/ | ______/ /________: \/ ||_/ +-----' :___\__ \___ / /_\ | `-----+ | ...... | / / / / _____| ...... | | : ...:...... | / / ______/ ___/ .....:... : | | :.::.: : | / /__/ | | : :.::.: | | . :: ......:...|___________/ |______|.........:..... :: . | | :: :: : /_____________| : : :: | | : :::::::::: ------------------------------------ ::::::::: : | | . | :: : | . | | | :: Philip Glass - The Complete Sony Recordings : | | | . | :: : | . | | | ::::::::::::::::::::::::::::::::::::::::::::::::::::: | | | | ..::.. | | | |__ ___ __ ___ ___ _____ ___________________| |__. | _\_ \_ _\ \_/ / _\ \__\_ \__\ _/__\ \_ | | | |_/ __ /__/ / / /__/ / / /\__ / / / - I N F O - | | | |\ \ \ __/ / ___/ / / / / ___/ | | | | \___\____\____\__/\____\/_____/______/____\_________________| |__| | | | | | | artist: Philip Glass | | | | album: The Complete Sony Recordings | | | | label: Sony Classical | | | | cat num: N/A | | | | genre: Avantgarde | | | | year: 2016 | | | | website: N/A | | | | | | | | rls date: 03.2017 | | | | source: CDDA | | | | quality: VBRkbps / Joint Stereo | | | | tracks: 140 | | | | length: 20h 15m 18s | | | | size: 2.0 GB | | | | | | | | ------------------------------------------------ | | | |__ ___ ___ ___ __ __________________________| |__. |___/ /___\_ \_ _\_ \__/ _/ / /__ _\ __/_ | | | |\_ __/ _ /_/ / / / // /_\__ / - T R A C K S - | | | | / / / / / / /__/ _ / / / | | | | \__/___/____/_____/\____/__/___/_____/______________________| |__| | | | | | | CD01: Glassworks | | | | | | | | 01 Opening 06:25 | | | | 02 Floe 05:59 | | | | 03 Islands 07:40 | | | | 04 Rubric 06:04 | | | | 05 Facades 07:21 | | | | 06 Closing 05:59 | | | | | | | | > total playtime: 39:28 | | | | | | | | | | | | CD02: Glassworks (Special Remix For Compact Cassette | | | | (MC) Player) | | | | | | | | 01 Opening 06:26 | | | | 02 Floe 06:00 | | | | 03 Islands 07:42 | | | | 04 Rubric 06:06 | | | | 05 Facades 07:22 | | | | 06 Closing 05:59 | | | | | | | | > total playtime: 39:35 | | | | | | | | | | | | CD03: An Interview With Philip Glass With Selections | | | | From Glassworks (Interview By Peter Gordon) | | | | | | | | 01 Introduction 00:50 | | | | 02 Part I 12:27 | | | | 03 Part II 07:31 | | | | 04 Part III 06:06 | | | | 05 Part IV 11:43 | | | | 06 Part V 05:56 | | | | 07 Credits 00:38 | | | | 08 Rubric (Short Version) 03:28 | | | | | | | | > total playtime: 48:39 | | | | | | | | | | | | CD04: The Photographer | | | | | | | | 01 Act I: "A Gentleman's Honour" (Vocal) 03:17 | | | | 02 Act II 16:25 | | | | 03 A Gentleman's Honour (Instrumental) 03:22 | | | | 04 Act III 19:20 | | | | | | | | > total playtime: 42:24 | | | | | | | | | | | | CD05-08: Einstein On The Beach (1976) | | | | | | | | CD05 - Einstein On The Beach CD1 | | | | | | | | 01 Knee Play 1 03:53 | | | | 02 Act I, Scene 1. Train 17:20 | | | | 03 Act I, Scene 2. Trial 23:19 | | | | | | | | CD06 - Einstein On The Beach CD2 | | | | | | | | 01 Knee Play 2 06:50 | | | | 02 Act II, Scene 1. Dance 1 13:40 | | | | 03 Act II, Scene 2. Night Train 13:52 | | | | 04 Knee Play 3 05:38 | | | | | | | | CD07 - Einstein On The Beach CD3 | | | | | | | | 01 Act III, Scene 1. Trial/prison 18:17 | | | | 02 Act III, Scene 2. Dance 2 17:10 | | | | (Field With Spaceship) | | | | 03 Knee Play 4 06:45 | | | | | | | | CD08 - Einstein On The Beach CD4 | | | | | | | | 01 Act IV, Scene 1. Building/train 07:31 | | | | 02 Act IV, Scene 2. Bed 11:49 | | | | 03 Act IV, Scene 3. Spaceship 13:23 | | | | 04 Knee Play 5 05:31 | | | | | | | | > total playtime: 02:44:58 | | | | | | | | | | | | CD09-11: Satyagraha (1980) | | | | | | | | CD09 - Satyagraha Act I (Tolstoy) | | | | | | | | 01 Act I, Scene 1. The Kuru Field Of Justice 18:47 | | | | 02 Act I, Scene 2. Tolstoy Farm (1910) 11:01 | | | | 03 Act I, Scene 3. The Vow (1906) 11:41 | | | | | | | | CD10 - Satyagraha Act II (Tagore) | | | | | | | | 01 Act II, Scene 1. Confrontation and Rescue 14:44 | | | | (1896) | | | | 02 Act II, Scene 2. Indian Opinion (1906) 11:32 | | | | 03 Act II, Scene 3. Protest (1908) 15:19 | | | | | | | | CD11 - Satyagraha Act III (King) | | | | | | | | 01 Act III. Part 1 15:35 | | | | 02 Act III. Part 2 16:06 | | | | 03 Act III. Part 3 08:26 | | | | | | | | > total playtime: 02:03:11 | | | | | | | | | | | | CD12: Songs From Liquid Days | | | | | | | | 01 Philip Glass / Paul Simon - Changing 09:57 | | | | Opinion | | | | 02 Philip Glass / Suzanne Vega - Lightning 06:43 | | | | 03 Philip Glass / Suzanne Vega - Freezing 03:16 | | | | 04 Philip Glass / David Byrne - Liquid Days 04:46 | | | | (Part One) | | | | 05 Philip Glass / David Byrne - Open The 06:59 | | | | Kingdom (Liquid Days, Part Two) | | | | 06 Philip Glass / Laurie Anderson - 08:10 | | | | Forgetting | | | | | | | | > total playtime: 39:51 | | | | | | | | | | | | CD13: Dancepieces | | | | | | | | 01 In The Upper Room - Dance I 01:11 | | | | 02 In The Upper Room - Dance II 05:42 | | | | 03 In The Upper Room - Dance V 03:25 | | | | 04 In The Upper Room - Dance VIII 04:58 | | | | 05 In The Upper Room - Dance IX 08:12 | | | | 06 Glasspiece #1 ("Rubric") 06:04 | | | | 07 Glasspiece #2 ("Facades") 07:21 | | | | 08 Glasspiece #3 ("Funeral" From Akhnaten) 08:54 | | | | | | | | > total playtime: 45:47 | | | | | | | | | | | | CD14-15: Akhnaten (1983) | | | | | | | | CD14 - Akhnaten CD1 | | | | | | | | 01 Act I, Prelude. Refrain, Verse 1, Verse 2 10:44 | | | | 02 Act I, Prelude. Verse 3 00:41 | | | | 03 Act I, Scene 1. Funeral Of Amenhotep III 09:00 | | | | 04 Act I, Scene 2. The Coronation Of Akhnaten17:14 | | | | 05 Act I, Scene 3. The Window Of Appearances 09:09 | | | | 06 Act II, Scene 1. The Temple 12:48 | | | | 07 Act II, Scene 2. Akhnaten and Nefertiti 10:12 | | | | | | | | CD15 - Akhnaten CD2 | | | | | | | | 01 Act II, Scene 3. The City - Dance 02:30 | | | | (Beginning) | | | | 02 Act II, Scene 3. The City - Dance 05:10 | | | | (Conclusion) | | | | 03 Act II, Scene 4. Hymn 13:41 | | | | 04 Act III, Scene 1. The Family 11:35 | | | | 05 Act III, Scene 2. Attack and Fall 07:43 | | | | 06 Act III, Scene 3. The Ruins 07:29 | | | | 07 Act III, Scene 4. Epilogue 10:38 | | | | | | | | > total playtime: 02:08:34 | | | | | | | | | | | | CD16-17: Dance Nos. 1-5 (1979) | | | | | | | | CD16 - Dance Nos. 1-5 CD1 | | | | | | | | 01 Dance No. 1 19:20 | | | | 02 Dance No. 2 22:59 | | | | | | | | CD17 - Dance Nos. 1-5 CD2 | | | | | | | | 01 Dance No. 3 18:36 | | | | 02 Dance No. 4 23:31 | | | | 03 Dance No. 5 20:16 | | | | | | | | > total playtime: 01:44:42 | | | | | | | | | | | | CD18: Solo Piano (1989) | | | | | | | | 01 Metamorphosis One 05:41 | | | | 02 Metamorphosis Two 07:21 | | | | 03 Metamorphosis Three 05:33 | | | | 04 Metamorphosis Four 07:01 | | | | 05 Metamorphosis Five 05:11 | | | | 06 Mad Rush 13:48 | | | | 07 Wichita Sutra Vortex 06:53 | | | | | | | | > total playtime: 51:28 | | | | | | | | | | | | CD19: Songs From The Trilogy (1989) | | | | | | | | 01 Protest (From "satyagraha") 04:21 | | | | 02 Evening Song (From "satyagraha") 04:11 | | | | 03 Hymn To The Sun (From "akhnaten") 06:17 | | | | 04 Trial/prison 02:51 | | | | (From "Einstein On The Beach") | | | | 05 Akhnaten & Nefertiti (From "Akhnaten") 04:17 | | | | 06 Kuru Field Of Justice (From "Satyagraha") 06:09 | | | | 07 Knee 1 (From "Einstein On The Beach") 03:33 | | | | 08 Tolstoy Farm (From "Satyagraha") 04:58 | | | | 09 Window Of Appearances (From "Akhnaten") 04:25 | | | | 10 Bed (From "Einstein On The Beach") 03:42 | | | | 11 Epilogue (From "Akhnaten") 04:23 | | | | 12 Knee 5 (From "Einstein On The Beach") 05:11 | | | | | | | | > total playtime: 54:18 | | | | | | | | | | | | CD20: Itaipu (1989) / The Canyon (1988) | | | | | | | | 01 Itaipu - I. Mato Grosso 11:41 | | | | 02 Itaipu - II. The Lake 10:03 | | | | 03 Itaipu - III. The Dam 11:48 | | | | 04 Itaipu - IV. To The Sea 05:48 | | | | 05 The Canyon 16:32 | | | | | | | | > total playtime: 55:52 | | | | | | | | | | | | CD21: Glass Organ Works (Donald Joyce) | | | | | | | | 01 Dance No. 4 20:40 | | | | 02 Mad Rush 10:47 | | | | 03 Dance No. 2 24:32 | | | | 04 Contrary Motion 12:13 | | | | 05 Satyagraha: Act III, Part 3 09:26 | | | | | | | | > total playtime: 01:17:38 | | | | | | | | | | | | CD22: Naqoyqatsi (2002) | | | | | | | | 01 Naqoyqatsi 07:56 | | | | 02 Primacy Of Number 06:52 | | | | 03 Massman 09:48 | | | | 04 New World 03:04 | | | | 05 Religion 09:01 | | | | 06 Media Weather 07:54 | | | | 07 Old World 03:09 | | | | 08 Intensive Time 08:09 | | | | 09 Point Blank 11:18 | | | | 10 The Vivid Unknown 07:08 | | | | 11 Definition 02:51 | | | | | | | | > total playtime: 01:17:10 | | | | | | | | | | | | CD23: Philip Glass & Ravi Shankar - Passages (1990) | | | | | | | | 01 Offering 09:47 | | | | 02 Sadhanipa 08:37 | | | | 03 Channels and Winds 08:00 | | | | 04 Ragas In Minor Scale 07:37 | | | | 05 Meetings Along The Edge 08:11 | | | | 06 Prashanti 13:39 | | | | | | | | > total playtime: 55:51 | | | | | | | | | | | | CD24: Recent Recordings | | | | | | | | 01 Concerto For Violin and Orchestra I. 06:55 | | | | Crotchet = 104 | | | | 02 Concerto For Violin and Orchestra II. 09:10 | | | | Crotchet = 108 | | | | 03 Concerto For Violin and Orchestra III. 10:33 | | | | Crotchet = 150 | | | | 04 Dreaming Of Fiji (From "The Truman Show") 01:40 | | | | 05 The Poet Acts (From "The Hours") 03:34 | | | | 06 Melody For (Alto) Saxophone No. 10 02:36 | | | | 07 Opening (From "Glassworks") 07:17 | | | | 08 The Windcatcher - Part III 05:40 | | | | 09 Facades (From "Glassworks") 06:24 | | | | 10 The Windcatcher - Part I 01:47 | | | | 11 Melody For (Baritone) Saxophone No. 12 02:48 | | | | 12 Melody For (Tenor) Saxophone No. 5 01:37 | | | | 13 Video Dream (From "Powaqqatsi") 02:33 | | | | 14 The Olympian: Lighting Of The Torch and 03:18 | | | | Closing | | | | | | | | > total playtime: 01:05:52 | | | | | | | | ------------------------------------------------ | | | _|________ ___ ___ __________________________| |__. | \__ _ \_________/ /___\ \__\ __/__ | | | | / / / /_ __/ / /\___ / - N O T E S - | | | | /___/ / / / / / / ____/ / / | | | | | /___/______/ \__/ \___/ \______/____________________| |__| | | | | | | | | | | This massive box set offers perhaps the definitive and | | | | most comprehensive collection of Philip Glass' work | | | | ever assembled. | | | | | | | | | | | | In 1976, composer Philip Glass and director Robert | | | | Wilson executed an ingenious end-run around the | | | | cautious classical music establishment of their day. | | | | After a short workshop and tour in Europe, the creative | | | | partners decided that Einstein on the Beach-a four-hour | | | | plus, non-narrative opera-was ready for its American | | | | debut. So they rented the Metropolitan Opera house for | | | | two nights. | | | | | | | | It was more than a sold-out success. It was a decade- | | | | defining sensation in New York's artistic community. | | | | The brief run also set Glass and Wilson back nearly | | | | $100,000. (Renting the biggest opera house in the | | | | country wasn't cheap.) In the immediate aftermath of | | | | Einstein's American premiere, Glass famously went back | | | | to driving his cab. But the pinnacle of this composer's | | | | early, hardcore minimalist period-which relied on | | | | hypnotically long, not-quite-repeating melodic lines- | | | | would lead to a major-label deal before long. | | | | | | | | CBS Masterworks reissued Glass' independent studio | | | | recording of most of the music from Einstein in 1979. | | | | Glass had shortened some scenes for the first LP issue- | | | | on the logic that without Wilson's stage tableaus, | | | | trims were advisable. But everything that made the | | | | recording still clicks. The synths have a snarl that's | | | | appropriate, given the opera's Downtown New York | | | | parentage. The big ensemble riffs motor along at | | | | thrilling tempos; the "trial" scenes unfold with | | | | otherworldly ease. The spoken vocals produce deadpan | | | | surrealism. (Check out the delirious syllabic layering | | | | in "Knee Play 2.") And the instrumental performance of | | | | the Philip Glass Ensemble-which included wind | | | | instruments and a small chorus-is locked in beyond | | | | belief. | | | | | | | | Forty years on, this first recording of Einstein has | | | | never been bettered as an audio-only experience of the | | | | opera. A booming live performance from 1984 comes | | | | close; a "90s re-recording that restored the excised | | | | music isn't anywhere as energetic or as charming. The | | | | only rival way to experience this avant-garde triumph | | | | involves doing so with Wilson's dazzling staging added- | | | | something that's now possible, thanks to a home-video | | | | version of Einstein's most recent revival tour. Still, | | | | the inaugural Glass recording remains the ideal way to | | | | put the melodies and rhythms into your ears. | | | | | | | | After reissuing Einstein, CBS Masterworks signed Glass | | | | to an exclusive contract as a performer. Over the | | | | following decade, Glass delivered nine albums to the | | | | label: a haul that included two other stage pieces from | | | | his first opera trilogy, an iconic solo piano set, and | | | | several long-form works for the composer's house band. | | | | Those protean sessions form the core of The Complete | | | | Sony Recordings. (That title reflects the subsequent | | | | corporate acquisition of CBS Records; stray Glass | | | | recordings for Sony that postdate his CBS years are | | | | also included.) | | | | | | | | This 24-CD box also offers a few exclusive bells and | | | | whistles meant to entice collectors-some of which prove | | | | revelatory. But in a classical marketplace clogged with | | | | reissue sets, the key selling point of this one is its | | | | contextual comprehensiveness. Full librettos, stage- | | | | action summaries and various liner notes are provided | | | | not just for Einstein, but for every album here. Most | | | | importantly, the box's accompanying book provides key | | | | information on two of Glass' most important dramatic | | | | works: the Gandhi opera Satyagraha and the ancient | | | | Egyptian tale Akhnaten-a piece that saw Glass writing | | | | for a traditional opera company, for the first time. | | | | | | | | Though it didn't immediately take the opera world by | | | | storm in 1980, Satyagraha is now acclaimed as as one of | | | | Glass' milestones. The commission allowed Glass to | | | | leave his various odd jobs behind and to focus on | | | | composing full time. He responded with a magisterial | | | | score that dramatized Gandhi's time in South Africa, | | | | and that also reflected the thinker's broader journey | | | | from newspaperman to activist to political philosopher. | | | | The second act's climactic "Protest" has a galvanic | | | | force, thanks to Glass' strange-but-stirring union of | | | | string orchestra and synthesizer. In the third act, | | | | Satyagraha looks ahead to the subsequent legacy of | | | | nonviolent direct action, as extended to Martin Luther | | | | King, Jr. Glass' score closes with an ascending melody | | | | that, with its simultaneous suggestion of vulnerability | | | | and determination, makes for one of the most soul- | | | | stirring moments in contemporary opera. | | | | | | | | In an abstract theatrical touch, the entire libretto | | | | for Satyagraha is adapted from the Bhagavad-Gita-the | | | | Sanskrit text of which creates a spiritual | | | | accompaniment for the opera's stage action. To follow | | | | the narrative on a recording, English-speaking | | | | audiences need a track-by-track translation of the | | | | Sanskrit, as well as summaries of each scene's onstage | | | | particulars. Akhnaten works similarly, through multiple | | | | ancient languages. And Einstein's blizzard of English | | | | fragments is also better studied with a printed lyric | | | | sheet. Prior budget-CD reissues of all the early Glass | | | | operas have ignored this. Consequently, the small | | | | hardcover book included with The Complete Sony | | | | Recordings feels as though it's worth its weight in | | | | gold. | | | | | | | | A lovingly produced reissue set of the opera trilogy | | | | alone could have fetched a high price. (After all, | | | | those recordings occupy ten of the CDs here.) But this | | | | box wisely expands its purview to include everything in | | | | the label's vaults-including shorter, oft-forgotten | | | | theatrical works like The Photographer. As a result, | | | | this set allows listeners to re-encounter the decade of | | | | Glass' rise to a position of pop-culture prominence. | | | | | | | | While Glass was often sensitive to the idea that he was | | | | betraying his classical training by become a | | | | "crossover" artist, the Sony recordings do shed light | | | | on his fascination with the way different audiences | | | | might absorb contemporary composition. His first album | | | | under the exclusive contract with CBS, 1982's | | | | Glassworks, was a consciously scaled-down look at his | | | | aesthetic. Instead of presenting multiple hours of his | | | | gradually morphing themes, the suite of six compact | | | | pieces plays in just under 40 minutes. The standard mix | | | | is perhaps the most well-known and ubiquitous of all | | | | his recordings. But since 1982 was also the era of the | | | | Walkman, Glass and his sound designer created a version | | | | of Glassworks "specially mixed for your personal | | | | cassette player." | | | | | | | | The inclusion of the "cassette mix" in this box marks | | | | its first digital release. Bursting with low-end thump | | | | and a punchy, less-separated stereo sound, this bonus | | | | mix of Glassworks blows away the more genteel, familiar | | | | version. Here, the album's first emotional swing-from | | | | the pensive "Opening" to the mechanized march of | | | | "Floe"-registers even more grandly. Better than any | | | | other CD in the Sony box, it comes closest to | | | | representing the potent live sound of the Philip Glass | | | | Ensemble, when amplified in a large venue. (This mix of | | | | Glassworks also prefigures the strategy of contemporary | | | | classical imprints like New Amsterdam, which work to | | | | produce recordings in ways that will appeal to all | | | | sorts of listeners.) | | | | | | | | Not every experiment from this period paid off. Songs | | | | from the Trilogy was a useful compilation, back when | | | | recordings of Glass' early operas represented a more | | | | substantial physical-media investment. Now it's a | | | | curiosity. And Songs from Liquid Days is a strange | | | | misfire. Its harmonic progressions and ensemble tempos | | | | seem consistently alienated from the pop-song lyrics | | | | (written, variously, by David Byrne, Laurie Anderson, | | | | Paul Simon and Suzanne Vega). And the vocal | | | | performances-by the Roches, Linda Ronstadt and the lead | | | | from the cast of Satyagraha-often sound equally | | | | uncertain of the appropriate texture to pursue. Still, | | | | it's a fascinating look at a composer with a long | | | | corporate leash, and a willingness to play around. | | | | | | | | More successful are albums for Glass' ensemble, | | | | originally commissioned as scores for dance | | | | performances. These include the miniatures found on | | | | DancePieces and the opulent, side-length statements on | | | | Dance Nos. 1-5. And the composer's popular reputation | | | | hit a new level with the release of Solo Piano-still | | | | one of the most fervently beloved entries in his vast | | | | catalog. This record gave fans an intimate encounter | | | | with Glass' solo-instrumental style, and also offered | | | | premieres of major pieces like "Metamorphosis" and | | | | "Wichita Sutra Vortex." The former is a piece that has | | | | been admired and performed by Blood Orange. The latter | | | | is a work that many elite classical virtuosos fail to | | | | pull off with exuberance of the more technically | | | | limited Glass. | | | | | | | | In 1993, Glass jumped from CBS/Sony to Nonesuch-a label | | | | that he'd been sneaking movie soundtracks to, on the | | | | side, for some time. Before long, Glass would establish | | | | his own imprint, Orange Mountain Music (which remains | | | | the place to find his latter-day chamber music, operas | | | | and symphonic statements). But Sony has also stayed in | | | | the Glass business, here and there. It recorded | | | | Itaipu/The Canyon-one of Glass' early forays into | | | | orchestral writing for its own sake-in 1993. (Glass | | | | would quickly outstrip this effort with several later | | | | symphonies.) Thanks to the label's association with Yo- | | | | Yo Ma, this box gets to claim Glass' fine soundtrack to | | | | Naqoyqatsi (on which the cellist performs). | | | | | | | | Sony also has the rights to Passages, Glass' 1990 | | | | reunion with Ravi Shankar, his onetime mentor. On that | | | | album, each composer arranged themes by the other. Not | | | | everything there comes off seamlessly, but it's a blast | | | | to hear Shankar's adaptation of Glassian melody. The | | | | box also gathers obscure sets like Organ Works-an | | | | interesting series of Glass arrangements, performed by | | | | Donald Joyce. There's also a rarities collection titled | | | | Recent Recordings. It's a fun listen, even if it | | | | contains some recordings that aren't all that recent. | | | | (A short Glass Ensemble performance at the 1984 | | | | Olympics torch-lighting ceremony? Sure, let's have it!) | | | | | | | | Aside from the obscure "cassette mix" of Glassworks, | | | | however, the exclusive material advertised on the | | | | packaging doesn't have much to do with the true value | | | | of this box. The real attraction is the half of the set | | | | that sits in the excellent-to-iconic zone of Glass' | | | | catalog. A lot of that material has been widely | | | | available for years-though often without important | | | | contextual material that can aid deeper immersion. This | | | | reverent, smartly produced set fixes that problem. In | | | | doing so, The Complete Sony Recordings represents a | | | | worthy completion of the company's original investment | | | | in a young composer. | | | | - Pitchfork | | | | | | | | ------------------------------------------------ | | | _|_______ _________ ______________________________| |__. | \_ _ \_\_ \_ \ ______\ ___/__ | | | | / / / / / /_/ /\___ / - N E W S - | | | | /___/ / ____/ / / / / / | | | | | /___/____/ \___/____/_________/________________________| |__| | | | | | | hi2u! go to the show, buy the records, stop whining | | | _|______ ____ ___ __________ ________________________| |__. | \_ ___/__\__ \__\_ \__\_ \_ _/__\ _/__ | | | | / \_ / _ /_ / / / / /\____ / - H E L L O - | | | | \___ / / / __/ ___/ / / / | | | | | /__/__/____/__/ \__/ /__/__________/___________________| |__| | | | | | | 13 1way aeroholics agw bass bcc berc bnp boss ct cmc | | | | d2h ddb diss divinestylers dl dps ethnic fmr fnt fwyh | | | | hit2000 hm hqem hta hushhush i8 impg jazzman kinky kw | | | | maem mbs njs noir nuc nuhs radial sb sever shelter | | | | pyt siberia soup sour sq tr trt usr | | | | | | | | ... thank you for the music and/or the good fun! | | | |_________________________________________________________| |_. | | nfo & design by #MONk!# of diViNE sTYLERS! | | | | _ |---------------------------------------------------------| _ |-' |/ \| |/ \|