tom moody

Archive for the ‘music – tm’ Category

Disc Formation (new Bandcamp release)

Am pleased, and yet, humbled, to announce a new LP on Bandcamp: Disc Formation.
10 songs, mostly previously-unpublished but with a couple of older tunes remixed to bring them in line with what I'm doing now.
These songs are less about modular gear (like many modular users, am still reeling from the shocking unveiling of Billy Corgan's vanity synth) and more about softsynths and arrangements on the PC. Experiments with field recordings begun on the 40 Yards from the Machine release continue. Your support in the form of buying the LP or songs would be very encouraging, but all the material can be streamed.

- tom moody

March 31st, 2014 at 7:21 am

Posted in music - tm

Disc Formation - Liner Notes

Notes for the Disc Formation LP on Bandcamp. These are mostly tech jottings so I remember what I did. Any thoughts, questions, etc on the music itself are welcome at the email address on this about page.

1. Every Single Person 01:50

The vocals came from a field recording of a recent walk to the local deli and back. Chopped up you can hear "Every single person who comes in on this crew is off tomorrow," me saying "thanks" and "you can keep the penny" to Mr. Lee, and his "OK" in reply. Most of the synth sounds are a Linplug percussion softsynth called Element P, played with Cubase's in-house midi echo and arpeggiator effects.

2. Squeaky Arpeggio (Granular) 01:54

The granular whine running throughout, with and without reverb, was made with the Qu-Bit Nebulae granular synth/sampler module. As accompaniment I wrote a piano part -- quasi-Modernist variations on a quasi-Caribbean theme. For the LP version, I added notes to the piano part and used it as a score for other synths, which replaced the piano almost entirely.

3. The Other James Taylor 02:54

A "groove" made with some scratch samples, drum hits, and various effects on the Octatrack sequencer. The main effects -- delay and comb filter -- are running on Track 8 as a master track.

4. Pernicious Percussion (Massive) 01:29

See notes re: Pernicious Percussion below. This version runs the Vermona file through a mastering effect called "Post Filter," which is a comb filter adding octave jumps to the pitch, among other changes. This is interrupted twice with a mock-chorus consisting of layered softsynth riffs (NI Massive and Steinberg's Retrologue).

5. Titanthropic 01:37

Written and performed entirely in the Octatrack sampler/sequencer. The bass and lead synths are sampler-altered versions of Reaktor Titan riffs I made and loaded in the Octatrack.

6. Snaps and Claps 01:32

More snippets from the same field recording used in "Every Single Person," as well as live recordings of snap and clap sounds from my hands. Synths are Element P and Massive.

7. Frame Jam 03:14

Most of this was done with a granular synth from the Reaktor user library called Frame. Some Massive riffs were added.

8. Tesseract Ranch 2014 02:20

Considerable reworking of a tune from 2007 done with the Electribe rhythm box and Vermona Perfourmer analog synth. Added were an NI Massive riff (the lofty pad) and Element P (randomly arpeggiated bass notes).

9. Pernicious Percussion 02:18

Written and performed on the Octatrack sequencer, using recordings previously made with the Octatrack's MIDI controls driving the Vermona DRM1 Mkii, a vintage analog drum machine. The Octatrack's arpeggiator is triggering random clap, snare, and cowbell sequences at 150 bpm. There is some actual live knob turning in the distorted toms.

10. Calypsum 2014 02:26

One of the first tunes I did in Cubase, nine years ago, "Calypsum 2," completely tightened up and reworked. Was pleased to discover that the original synths (Free Alpha and Kontakt 1.5) are still playable with a little jiggering from the older version of Cubase I used (SE). Am pretty sure this started as a MIDI drum pattern, playing pitched samples in several instruments (if so, a kind of found, accidental melody).

- tom moody

March 31st, 2014 at 7:03 am

Posted in music - tm

New Bandcamp Releases

Am pleased to humbly announce two LPs on Bandcamp: Squeaky Arpeggio and 40 Yards from the Machine.
It's 20 songs, split into two groups (apologies to previous buyers for double emails). "Squeaky" is sort of pleasant song hooks; "40 Yards" is more spiky and digital.
"40 Yards" has more previously-unpublished songs than "Squeaky" but the older tunes on both LPs got tweaked to make the LPs consistent overall.

- tom moody

February 17th, 2014 at 10:26 am

Posted in music - tm

40 Yards from the Machine LP - Liner Notes

Notes for the 40 Yards from the Machine LP on Bandcamp. These are mostly tech jottings so I remember what I did. Any thoughts, questions, etc on the music itself are welcome at the email address on this about page.

1. Cave Man Sample Dump 03:07

After owning Elektron's Sidstation for a few years, am finally buckling down to programming patches in it instead of merely tweaking presets. When I first acquired the thing the LED menus just seemed too obscure and daunting. I think a couple of years working with modular hardware has helped me understand what I want to program in the SID, which gives me the incentive to get in there and dig around in all those nested subcommands (on a tiny green screen). Having said all that, this is not sophisticated tunesmithing, owing more to the Troggs than Les Paul. As for the vocal samples, processed with Doepfer's A-112 sampler module for Eurorack, it's kind of a first for me to be doing this Art of Noise thing that was beaten to death in the '80s, e.g., using the "duh" in "dump" as a repeated percussion hit. Suddenly, now, I want to hear this again.

2. Bitter Incumbent 02:44

Reaktor's OKI Computer 2, a chiptune-esque wavetable synth, sequenced with the Monoliner virtual sequencer and overtracked, spins out the opening and closing segments. Sandwiched in between is a bazooka blast of arpeggiation emanating from the Sidstation, using two of its oscillators as the alto and the soprano and kind of shamelessly transposing away. Shameless because it's so easy to do -- but I love those harmonies. The basic note-on patterns are coming from the Octatrack.

3. Have Gear Will Geer 02:30

Used the Expert Sleepers ES-4 module to trigger and LFO-sculpt various modular patches. At the end I had a collection of patterns that were too diverse to beatmatch or melodymatch into a proper song, so I made a "suite." The title has nothing whatsoever to do with Will Geer's amazing performance as an evil Colonel Sanders-cum-Dick Cheney CEO in John Frankenheimer's film Seconds.

4. Lapdance Landscape 03:47

This started out as an industrial throbber done live with the modular synth (making use of various oscillator-type modules and assorted envelopes), but then a wistful tune was added. The latter is the Massive (wavetable) softsynth, starting from a blank preset and building up a chord (0-2-7 -- what is that?) with some modulation and effects. The only canned sounds were some hihats but even those got effects.

5. Your Toy Army 01:34

Pure Sidstation sounds, driven by MIDI notes from the Octatrack. The opening is the preset "Chordmemry," with jiggered LFOs. Other sounds are patches I made from scratch, including the noisy wavetable one that sounds like an ancient computer game -- which one I couldn't say.

6. Texas Sawtooth Massacre 02:33

Sounds from the computer_controlled_rack (the name I gave my modular on the Modular Grid gear fetish website), MIDI-triggered, sampled, and arranged in the Octatrack. The main excitement here is a gritty wavetable sample originating in the WMD Gamma Wave Source module, sampled by the Doepfer A-112 in wavetable mode (with CV-sweeping of the table at my barbaric skill level), played as a MIDI controlled synth (with hi, lo and notch filters), sampled in the Octatrack, then "sliced" and rearranged to make 10 or so patterns. There is also a bass line and the reappearance of the most famous beat in the history of electronic music. This is kind of rough going at the outset but gets better as it progresses IMHO.
Note: after the above was written I remixed this, with a hand-crafted substitute breakbeat (before and after the redo, it's slowed down about 30 bpm for this song) and also EQ'd to removed some high pitched spikes that were drilling through my eardrum.

7. House Dwellers 02:40

All-Octatrack-and-Eurorack rendition of a House-like tune. This is pretty crunchy, what with all the low-bit-depth and low-sample-rate sampling going on. Am happy with the way this came together, using the Octatrack to MIDI-trigger and sample 1- to 4-bar motifs that are layered and arranged. One modular synth riff was borrowed from an earlier track, "Soul Fusion Disassembly."

8. The Enveloping Shape 02:37

Long chains of random percussion sounds were edited down to discrete loops and layered. The idea was to find musicality in noise. The percussion originated with some Reaktor beats individually manicured and played in the computer_controlled_rack's two lo-fi sampler modules, the Doepfer A-112 and the ADDAC wav player. LFOs were used to scramble wav order, sample start time, loop size, sample rate, etc -- all the classic tricks you can do with these units -- and the output went to modular filters and delays that were further LFO'd. Seductive as the output was, it was further wrangled to make blocklike patterns that could be assembled in Cubase into a composition. Am thinking more of music these days as a process like filmmaking, where you do all your shooting and then retire to the editing room to make the film. The title comes from a plugin I used to reduce certain transients from explosive, speaker-rending pops to something more listenable (Steinberg's "envelope shaper").

9. 40 Yards from the Machine 03:09

Spoken word sample ("some forty yards from the machine," randomly read aloud from Charles Fort's book Wild Talents) recorded in the Doepfer A-112 sampler module in "wavetable record" mode with the Expert Sleepers Silent Way LFO (20HZ Sine Wave) modulating the CV at the input stage. Despite the manual's promise of "drastic" effects resulting from this, so far all it seems to do is add a crackle to the recorded wav. Am probably doing it wrong but in wavetable mode it doesn't really matter what the sample "sounds like" because it's just repeating small snippets of the waveforms. On playback, Silent Way LFOs set to various speeds, waveforms, and ranges modulate the wavetable output, yielding mangled vocals and staccato pulses that resolve into pitched buzzes and hums. This raw output is then snipped and rearranged in Cubase to make musical patterns and severely damaged-sounding robotic vocalese.

10. Ambigious Anthem 00:41

NI Massive synth preset "Ambiguous" played over Sidstation beats from a Battery kit I made a while back. Some sampler module texture near the end of the track.

- tom moody

February 17th, 2014 at 10:22 am

Posted in music - tm

"Squeaky Arpeggio (Granular)," "The Other James Taylor"

I have two LPs I haven't put up on Bandcamp yet (20 songs total) but in the meantime here are a couple of recent "non-commercial" efforts.

"Squeaky Arpeggio (Granular)" [mp3 removed]

The granular part, running throughout, with and without reverb, was made on the fly with the Qu-Bit Nebulae granular synth/sampler module. As accompaniment I wrote a piano part, quasi-Modernist variations on a quasi-Caribbean theme. [Update, Feb. 22: bumped the gain and reposted.]

"The Other James Taylor" [mp3 removed]

A "groove" made with some scratch samples, drum hits, and various effects on the Octatrack sequencer. The main effects -- delay and comb filter -- are running on Track 8 as a master track.

Update: James Taylor and a much-reworked version of Squeaky are on Bandcamp now.

- tom moody

February 15th, 2014 at 1:42 pm

Posted in music - tm

Squeaky Arpeggio LP - Liner Notes

Notes for the Squeaky Arpeggio LP on Bandcamp. These are mostly tech jottings so I remember what I did. Any thoughts, questions, etc on the music itself are welcome at the email address on this about page.

1. Squeaky Arpeggio (Gate Expander) 02:09

The sequencing is done in the Cubase MIDI piano roll (General MIDI drum setting). From Cubase, Expert Sleepers' ES-4 Gate Expander software sends the note-on and -off signals through my sound card's SP/DIF (2 channel digital audio) to 8 separate control voltage "outs" on the ES-4 Eurorack hardware module. Each socket connects to a separate voice in the modular, in real time. Pretty much everything in the rack that makes sound is drafted into service here. The sequence plays twice, with slight changes to the modular settings the second time. The lead synth line from "Squeaky Arpeggio" (see below) is overdubbed in, with varying amounts of glide.

2. Buzz Monument 01:37

Employs the same Vermona Perfourmer chord patch used in an earlier song, "Carbon Credits"; here I am switching among the Perfourmer's mono-, duo-, and polyphonic modes. (Which basically stack and unstack the chords.) The unpredictability of those modes doesn't always work out so I recorded long-ish runs and edited down to a few parts, snipping out bum notes as I went. This song resembles a waltz even though it's 4/4. For a couple of measures it veers into jazzy Nino Rota-ish territory. I like that "the machine did that."
Am also processing the synth through one of those skeumorphic "guitar rig" cabinets of amps and pedal FX arranged in preset chains. The timbre changes dramatically, but the amp sound isn't monolithic. Fairly light tweaks to the Perfourmer knobs, such as altering the "key track" settings, will also change the timbre of the amp.

3. New Wavs 01:30

I "played" this live at Apex Art in NYC, at the 2012 Disquiet Junto event. It's all done with the Octatrack sampler, editing and timestretching various loops and hits from the hardware modular synth and Reaktor instruments.

4. Tiny Horns 02:22

Have been using the Octatrack to sample other gear: in this case the Korg Electribe rhythm synth is MIDI-slaved to the Octatrack, which records several bars of audio when you hit "play." Then other sounds can be added on top of those beats. As recording fodder, I am using some of the Korg preset patterns, cutting out what I don't like and rewriting some of the beats. Once recorded, it's much easier to string together a song in the OT than it is in the Electribe itself, owing to a more generous display and better programming.
Why use the Electribe at all? For an inexpensive box it has a wealth of interesting, knob-tweakable, analog-modeling DSP sounds.
The LP version of this tune replaces a "70s breakbeat" in the middle section with some percussion hits of mine that follow the same essential groove.

5. King Sprout 01:33

Some more riffs made with the Vermona chord patch from "Carbon Credits"; this starts out robotic and the tunes get sweeter as it progresses.
Am also using Reaktor Krypt rhythms from earlier tunes -- cutting them up and moving them around.

6. Riveter II 02:53

Several new riffs, generated in Krypt by granularizing (granulating?) samples from my self-made Reaktor "sample maps" of modular synth recordings, were then loaded into the Octatrack sampler and combined with various other riffs and percussion hits.
The piece starts out as minimal techno, gets sort of lush and gothic with fake harpsichord and '60s pop string section bits, then closes minimal again.
The original "Riveter" uses those same not-really-strings chords.

7. Squeaky Arpeggio 01:57

Running throughout are beats treated with NI Spektral Delay, some of which sound as if they are playing backwards (they aren't). Wacky percussion hits from the Linplug RMV's tweakable rhythm synth pads were added in the middle. The first melody is the Massive synth, played with Cubase's factory arpeggiator; the second is a modular tune, reprised in "Squeaky Arpeggio (Gate Expander)" above.

8. Tiptop Harmony Variation 02:05

More Octatracking of modular synth recordings. Here a group of loops were recorded to the Octatrack's compact flash storage, for reassembly by the sequencer into a sort of mini-house song, playing different combinations of the loops (sometimes varying start and end times to add more wrinkles).
Have been listening to old Steve Reich compositions where he used tape recorders. I bought the vinyl of "Violin Phase" because all the versions after that used live players. Humans, bah.

9. Wherefore and Who For 02:55

Another of a series of three minute all-Octatrack-and-Eurorack tunes done in Fall 2013. This is less crunchy than "House Dwellers" (coming on a later LP); more analog filtering was used.
The Doepfer A-112 module's sample rate control was engaged to make the sped-up spacy "sweeps" that occur throughout. The LFO'd, filtered cymbals in the middle section use the Octatrack's inboard FX. The main melodies are WMD's Gamma Wave wavetable oscillators, tuned a few semitones apart, independently CV-WT-swept, mixed together, and filtered.
No analog oscillators were used - it's all analog processed digital, re-sampled and arranged in the Octatrack.

10. Fidgety Twister 03:08

Here am playing with the Octatrack's slicing tools as a way of rearranging notes. You can do this in Cubase but it's a pain, cutting and pasting and dragging files around with a mouse. The Octatrack is designed so you can get in and move notes around and change pitches and sample rates with buttons and knobs and it's faster. Probably about the same as an Ableton control surface but I've avoided Ableton as not "classical" enough.
What's time-consuming is the writing. Each bar is tweaked so it's not just a numbing sequencer grind. An added note here, a pause there, a slight delay, a backwards riff...
The raw material came from an earlier track, titled "Rack Dance 3 (Atonal Variations)": I guess I tried to make them more tonal. Also bulked up with added bass lines and familiar jaunty breakbeats.
For the LP version I remade the breakbeats from the well-worn '60s and '70s originals using new drum samples and a combination of my ear and MIDI groove maps. It was kind of like sketching from the old masters, but I added some of what I consider improvements. I made the loops with identical lengths and filenames as the originals and swapped them out in the Octatrack audio folder.

- tom moody

February 4th, 2014 at 5:55 pm

Posted in music - tm

Silent and Spectral LP - Liner Notes

Notes for Silent and Spectral LP on Bandcamp. These are mostly tech jottings so I remember what I did. Any thoughts, questions, etc on the music itself are welcome at the email address on this about page.

1. Silent and Spectral 02:45

The Expert Sleepers module and related Silent Way software allow you to run a modular synth from a PC. The ES-4 converts audio from your sound card into calibrated control voltages, eliminating the need for a midi-to-cv converter for LFOs, envelopes, pitch and gate functions. The timing is tighter than midi-to-cv and the LFOs are more configurable than hardware LFOs. It's the devil to install in Cubase, however, which isn't flexible in its routing possibilities. So in this tune I was stacking some of the CV outs so they were out of tune or overlapping, because I had multiple instances of the plugin open. I think. The main revelation was using the ES to play tunes solely in filter modules, from the input of sustained single notes from oscillators. Tiptop Audio's Z3000, SID GUTS (the crunchy rhythms in the middle), and possibly some other modules generated the raw sounds.
The beat that runs throughout is a drum loop I made, playing through the Spektral Delay effect, as described below.

2. Silent but Gutsy 02:33

Used the Expert Sleepers ES-4 module and Silent Way plugins to trigger modular synth patches, then recorded and arranged them in Cubase. Writing these notes a few weeks after the fact, I already can't reconstruct the specifics, or which modules I used. I'm guessing the SID GUTS for the SID-sounding stuff. The infectious piano sample thing at the beginning was, I'm pretty sure, the ADDAC wav player. The beats were done separately in Reaktor using Beatslicer with delay and compression FX, then cut and pasted into the song. Feeling like the whole was too thin, texture-wise, I probably overcompensated with the boomy "sub bass" basslines, using the Linplug Alpha synth.

3. Rack Dance 3 02:34

Using the Octatrack as a MIDI sequencer triggering four channels in the modular synth.
The recording is done in Cubase and edited as a single mono file, then mixed down to stereo.
The other "rack dances" have drums but this is four distinct synth voices. The sequencer pulse provides the rhythm. Might do another version with drums.
The appeal for me here is the always-slightly-drifting-out-of-tune quality of the monosynths against fairly tightly organized musical (harmonic) patterns. Some steel drum/gamelan associations without being particularly "world."

4. Two Rhythms 02:29

This started out as two different beats, each in its own section, made using a delay that Native Instruments no longer offers (Spektral Delay), ported in from an older PC in real time as an external hardware effect (note: about 150 ms of latency).
Then I cut it into loops, moved it to the Octatrack, and added older (Reaktor Titan) synth riffs sliced into new patterns. Went a little overboard with the "loop" function where a single note repeats in a stutter but have never done anything quite like this, ultimately.

5. Fog Computing Variation 02:50

Spent some time crafting a bleep in the modular. An LFO was triggering it about 127 bpm. I added pitches and made a tune, recorded it, and then played it twice, four steps apart, to create a delay.
Then parts from "Fog Computing" were added, and some beats. It needed more so I wrote some softsynth tunes as counterpoint and imported them into the Octatrack. The USB cable is moving a fair amount of audio back and forth between the Octatrack and PC these days, at least until something is finalized in one or the other location.
This is pretty spare, robotic, and demo-like, but that's intended.

6. Slow and Go 01:18

Octatrack playing modular patch(es) with some overdubbing/multitracking in the sequencer.
In the patch an LFO is opening a filter frequency control in one synth on the upstroke and closing on the down, the inverse of the same wave is opening and closing a volume gate on another synth.
While this is going on continuously a 1V/OCT signal plays a tune.
Things I learned doing this:
How to use a "scene" in the Octatrack arranger to switch delay effect on and off in a single track.
Slicing an LFO-d wave into 64 slices and then muting every other slice to get an additional gating effect.
Tempo changes in the arranger to make these "gated" slices play faster and slower in sync with the percussion.
This is mostly analog but sounds computer-gamy due to MIDI-triggering and "simple waveforms."

7. The Lost Gig 01:41

The insectile buzzing background thing is an FM-modulated LFO sweeping a high pass filter (modular/hardware). Graphically the waveform resembles a Slinky flexing.
The "lead" is another LFO sweeping a wavetable in a chord (softsynth). The lament is half digits, half voltages.

Dedicated to friends slapped down hard by the Invisible Hand just because it can.

8. Three Note Bass 02:58

This piece rings some changes -- at a fairly basic compositional level -- with the Tiptop Z2040 filter module. A low-fi sample plays through the filter at three different settings, all with gain cranked up in the clipping level, which causes pleasing distortion. The settings are: frequency knob at 2:00, frequency knob almost all the way open, and frequency knob at 2:00 with resonance cranked (causing that eerie whine).
There is a gratuitous dubstep interlude to make one appreciate the bass variations, then back to those variations, then fin. Played and arranged in the Octatrack sequencer; monaural recording mixed down to a stereo file.

9. Small Rack Duo 01:30

A duet or duo between two modular synth patches plays continuously (with some post-production to fix things such as dropped notes in the live recording). It seemed too thin (again) so I added a synth bass line, and then some percussion halfway through.

10. The Lost Gig (Acid House Version)

Continuing to experiment with Octatrack features and effects:

--Altering sample rates of drum samples (for example, the tom roll is a slowed-down clap)
--Using a "neighbor machine" for a primitive effect chain (as in two effects, but hey, I'm still learning, and had been wondering how to apply delay and reverb to the same track)
--Autopanning two tracks using inverted LFO waveforms so two loops crisscross throughout the song (the bubbly sounds are some "Fog Computing" riffs run through the Mutator filter and sampled).

The NI Massive tremelo-y patch I wrote and used in "The Lost Gig" makes another appearance halfway through. That's me playing the numerals 3-5-2-3 on my alphanumeric computer keyboard.

- tom moody

February 4th, 2014 at 11:01 am

Posted in music - tm

New tunes and Bandcamp page

My song output for November and December (minus a couple I haven't posted yet) is now available for streaming or purchase (!) on Bandcamp.
The LP is called Silent and Spectral.
If you've been a reader/RSS follower this is a way to support the blog without me having to do annoying fundraisers. Obviously if you're here for visual art rants and have only been politely tolerating the constant music posts over the years, this isn't for you. I'm working on a way to dun you -- perhaps economy-model Epson prints on Etsy.
Bandcamp is pretty low key: it's essentially a host with payment features that are easier to set up than having to run it here myself. They take 15%, and expect artistes to do their own promotion.
It may turn out to be the classic incredible journey scenario where a startup is bought by a big obnoxious company but we'll burn that bridge when we come to it.

The music has gelled for me recently such that it was easy to pick 10 tunes that "went together." Am using tags to describe it to unsuspecting newcomers: "16-bit electronic classical electro modular synth sampler New York"

Have been gradually removing older mp3s I've posted, earliest first, so am now up to September 2006. (Meaning, most tunes from 2004-2006 are gone.)
Will probably continue to post songs here that don't lend themselves to LP-clumping, and will keep blogging about studio miscellany. Otherwise I'm behind the stream/paywall. Until I'm not.
Please help me make this a success of the micropayment model.

(Designwise I obviously put a lot of thought into the bandcamp page. The truncated logo is just a placeholder while I think of something better.)

- tom moody

January 2nd, 2014 at 10:59 am

Posted in music - tm

"Two Rhythms"

"Two Rhythms" [mp3 removed -- tune is now on Bandcamp]

This started out as two different beats, each in its own section, made using a delay that Native Instruments no longer offers (Spektral Delay), ported in from an older PC in real time as an external hardware effect (note: about 150 ms of latency).
Then I cut it into loops, moved it to the Octatrack, and added older (Reaktor Titan) synth riffs sliced into new patterns. Went a little overboard with the "loop" function where a single note repeats in a stutter but have never done anything quite like this, ultimately.

- tom moody

December 21st, 2013 at 10:32 pm

Posted in music - tm

"Marching Morons (2013 Mix)"

"Marching Morons (2013 Mix)" [3.5 MB .mp3]

Revisited a tune from 2005, now retired from its duties as a bot-magnet (owing to the unique extension "mp3"). I liked the sensual sound of the SID chip's 8-bit-with-analog-filter-processing so I just had a repeating figure going up and down an octave while a drum machine chugs along underneath. It essentially still does that but I added some dropouts (which sounds like a contradiction), some delay, some Afro-Cuban percussion, and couple of sing-songy synth motifs at the end. "The Marching Morons" is a 1951 science fiction short story by C.M. Kornbluth.

- tom moody

December 16th, 2013 at 9:18 am

Posted in music - tm