Crushed Hard by 49 Stones

I'm more than pleased to post here today the second in a new cache of coming reviews aimed at sating that thirst I know you've all been building for some time. I'm so excited about this particular band because their's is a sound I haven't heard done so well in some time, and I can't wait to hear what else comes blasting from their speakers on their next record.
But I'm getting ahead of myself. Enter 49 Stones, a new alternative-rock powerhouse that will redefine everything you thought you knew about music in the post-Nirvana age. Hailing from Kansas City, Missouri, 49 Stones stomps onto the scene in true hard-rock fashion. Comprising hard-rocking members Emma Jo (lead vocals and rhythm guitar), Brett Cox (lead guitar and backing vocals), Garrett Cox (bass and backing vocals), and Kyle Scheel (drums), 49 Stones is a hurricane of alternative prowess, combining Pearl Jam-esque guitar solos with Garbage-inspired vocals and a Smashing Pumpkins-like rhythm section.

49 Stones; From left: Brett Cox, Emma Jo, Garrett Cox, Kyle Scheel 

From the start of their debut album Turn It On, 49 Stones has something unique that just drives me to crank the volume up all the way. The first song I listen to from the record is also my immediate favorite. "Crowded" is the song that I'd bet my teeth on is going to launch this band into the stratosphere. The second the meters start ticking, Emma's vocals are haunting and soul-splitting, slick and sultry, but brutal and definitely not to be trifled with. With Garrett Cox's bassline-blasts like cannon-fire coming down around me, Scheel's intense drumming keeps me moving hard through the night of this heavy masterpiece. Cymbal-cracks and snare-snaps ring back against the bass-pumps, and all the while Emma's voice is riding shotgun high and mighty. Then out of nowhere comes Brett Cox's high-octane guitar in a searing spectacle, shredding off whatever preconceptions I might have had before. One of my favorite parts about this song is hearing Brett Cox just make that guitar scream halfway into each chorus. There is nothing I've heard since Alice in Chains that is so hauntingly brilliant, and that would simply be enough for this song to be a number one hit. But 49 Stones are only halfway done, and just as Emma's vocals of "let's dance" ring out, Garrett Cox lets loose on a bass-solo that completely blows my mind. Yes bassists can solo, and fuckin' A does this guy pull it off! With Scheel blasting on his snare in time, the Cox-Scheel rhythm section is one for all other bands to be jealous of. As I sail into the last minute of the song riding the coattails of Brett Cox's guitar notes, Emma has to blow my mind just one more time. The carnal shriek that this girl rings from her body literally makes the hair on the back of my neck stand up. What a wail this girl has, and she nails every single fucking bit of it! "Crowded" has been on repeat in my iTunes since I got this album, and all I can say is that this song is Garbage-meets-Alice in Chains in a cataclysmic mashup of shear power.

49 Stones' debut album, Turn It On

"Are You Listening" has a more hard-rock crunch than "Crowded," but still emits an alternative vibe in Emma's smooth yet firm vocal roar, and alongside Brett Cox's fretwork, 49 Stones make this one of their best performances. Scheel is going crazy all over his kit, and the 3 Doors Down-esque tempo set up by the Cox twins and Emma just kicks down anything standing in their way. Emma's voice is like a sonic battering ram, crashing through my senses like an earthquake of raw power.
Then the earthquake turns into a tsunami of epic proportions as I move to "Indigo," and Emma trades up her battering-ram vocals for something different. With Brett Cox's guitar notes ringing high overhead, Scheel keeps time as my face melts off, skewered by these soon-to-be alternative-rock gods. Another five-star track on an album of five-star tracks, "Indigo" just solidifies my belief in this band.
With other mind-blowing feets showing up all over the album, 49 Stones continue to impress me. Brett Cox's guitar solo on "Devil All Along" is not to ignored in the slightest, and the rhythm team of Garrett Cox and Kyle Scheel bangs life into all parts of this album. Emma's breathy vocals continue to blow my mind even after the album is done, and I have to play it again just to make sure I didn't miss a single thing. The heavy tapestry woven throughout Turn It On is vivid and powerful, and a critical force to be reckoned with. If you're looking for the next big thing on the alternative rock scene, here they are: loud, brash, and brilliant.

Sounds Like: Garbage, Pearl Jam, Alice in Chains, Smashing Pumpkins, 3 Doors Down

Key Tracks from Turn It On: "Crowded," "Are You Listening," "Indigo," "Chelsea," "Cruel and Unusual"

Check out 49 Stones more at: http://49stones.net/, http://www.facebook.com/49stones?sk=info and http://twitter.com/#!/49stones

The Future of Musical Collaborations Is Here

It seems like I've watched this video hundreds of times already and it still gives me chills. When I first found this video on Youtube (completely by accident mind you) I was shocked, intrigued, and most of all, excited for the new possibilities it creates. The video? A full-band cover of Nirvana's "Come as You Are." But that's not the cool thing. What's so brilliant in this rendition of Nirvana's classic song is that every one of these musicians is in a different area of the country (or the world!) and they put this collaboration together completely through Youtube and the internet. I'm reminded of the musical group Florence + the Machine, where the only real member of the group (as in Nine Inch Nails) is English singer Florence Welch. Using a rotating roster of musicians, Welch creates new sounds for every song and album, assuring her music to be some of the most experimental and unique in the modern music world.
Now I'm struck again by musicians taking this idea one step further. Gone are the days of the traditional studio where tracking is done and laid down as one band member plays and the others wait outside. With the tools of the internet and sites like Youtube and Facebook, we've entered a new arena of music collaboration that is sure to be of mind-blowing proportions. As I could say very poetically, I have seen the future of the music industry, and it's the internet.
The first of these collaborations that you have to check out is the cover of Nirvana's "Come as You Are." Featuring the musical talents of Niloy63 on lead vocals, jtodd900 on guitar, jakamake on drums, and with production and bass by tydogg2443 (yes, I only know these guys by their Youtube screen names, and I'm not phased at all by that), this cover of "Come as You Are" is one of the best I've ever heard. Ever.
The intro riff by jtodd900 and tydogg2443 is just as crisp and gripping as the original, albeit with a more prophetic twist to it, like Kurt Cobain's spirit is playing the chords itself. Novoselic's bass-vibe is completely ingrained in tydogg2443's bass rumbles, and as jakamake chimes in on the cymbals, it's eery to be listening to this as a cover; it almost sounds like the original.

But what pushes it over the top for me is Niloy63's vocals: gruff, serrated, and perfectly tuned for the song, Niloy63 could very well be the next great post-grunge vocalist to come out of the underground. His voice gives me chills as I can hear Cobain's wails in the chorus just before jtodd900 talks control and swoons into a blurry and surreal guitar solo. If ever there was a cover to put on a Nirvana tribute album, this is it. In the year of the 20th anniversary of Nevermind, there is nothing so surreal and epic as finding a cover that embodies completely Nirvana's soul and power.
But the cover of "Come as You Are" isn't the only cover by this group of musicians that makes the hair on the back of my neck stand up. A couple of them also participated in a cover of Seether's song "Broken," which featured Amy Lee of Evanescence on guest vocals. For this cover, the lineup is TheTellTaleHeart25 on lead and acoustic guitar, Niloy63 on lead vocals, jtodd900 on rhythm guitar, chusma0 on lead female vocals, tydogg2443 on bass, and jakamake on drums. Again this cover blows me away. The collaboration between each of the musicians is so tight and easy that the flow of the cover makes it seem like their original composition.
The acoustic plucks by TheTellTaleHeart25 showcase a soft touch that builds to a blasting crescendo by the guitar solo later on, and with crashing rhythm support by jtodd900, the guitar section of this song is commendable at worst. At best, it's a tightly-knit flurry of notes and chords that takes me away in a storm of sonic progression. The rhythm section, made up once again of tydogg2443 and and jakamake is pulled-together to create a rushing and blasting feel at all the right parts of the song. Supporting the vocals of Niloy63 and chusma0, the guitar and rhythm sections of the collaboration are brilliant.

Just on top of the instrumentation are Niloy63's and chusma0's intertwining voices that create a fluttering tapestry of epic proportions. With Niloy63 adding to the song a gruff and edgy vibe, chusma0 lets loose with a crashing wail that exhibits this girl's incredible talent. If I were in need of a female vocalist for my band, this would be the first girl I'd go to.
Other covers like one of Audioslave's "Like a Stone" (featuring jtodd900 on guitar again, tydogg2443 on bass (and with production credits), Wannabesi on lead vocals, and jakamake on drums) and one of Alice in Chains' "Rooster" (also with tydogg2443 on bass and production, Pinner420420 on lead vocals, Craigman65 on lead guitar, and DCdrummer25 on drums) showcase just how far these new collaborations are going. What's most exciting, though, are the possibilities that I see jumping from these covers and collaborations. Now, artists can collaborate with each other, with anyone, no matter what the distance or obstacles. Soon the reality will be that artists are collaborating in musical and production projects all over the world, the the guitar player in Boston, the bassist in Johannesburg, the drummer in London, the singer in Toronto, and the producer in Los Angeles. The exciting new possibilities just over the horizon are mind-boggling: soon we'll see a new explosion of music the likes of which could never have imagined.
A new era has arrived. The music market we once knew will be history, replaced by a global music market-exchange system where any and every type of musical expression will now be given full coverage. Artists will now find each other and begin the create volumes of music with each other leading to forms of artistic expression not seen on such a level since the Renaissance. This is a new Renaissance in musical and artistic creation, and I can't wait to see what comes from it. This is going to be brilliant. 

Bangin' on the Bass Drum of Death

In an age where the quality of a band is so many times measured by the number of heads rounding out its lineup, there are few groups that find the strength to soldier on in the true rock fashion of the DIY ethic. Gone are the days of the revered power-trios that blasted out tunes that sounded like full-scale warfare only to shock us to our cores when we realized it was only two or three guys. The reign of bands like Rush and Cream ended long ago, and although they sit forever atop the hill of everything that classic rock and heavy metal is based on, there have only been temporary stop-gaps (like those with The White Stripes and The Kills) where the smaller rock unit has taken the power back.
Yet new heroes are rising every day, and among these are the duo-rockers of Bass Drum of Death, an alternative/grunge machine from the Deep South that's dirtying up the clean and polished pop of the current decade. A project that started as a solo outlet for lead vocalist/guitarist John Barrett, Bass Drum soon started gaining steam and it was time to find a more permanent seat on the drums. Enter Colin Sneed, the new gut-buster behind the kit letting loose in blistering roughness as Barrett throws back riff after riff like whiskey shots on his guitar. A two-man team set to take over the alternative underground, Bass Drum of Death are more than what they seem upon first glance; the group moves uncomfortably away from the Black Keys comparison.
And I'm inclined to agree. The two-man comparison aside, Bass Drum's serrated alternative/grunge sound does little to stir a thought of the Black Keys' blues-punk notes. In fact, the more I listen to them, I think more of very early White Stripes and the gritty grunge of Green River and Mudhoney. Finding a small, albeit grungy, abode in late 80s' grunge mixed with early 90s' garage-punk, Bass Drum carve out a niche all their own among the new alternative powers taking flight.     
Songs like "Heart Attack Kid" and "Get Found" from their most recent effort GB City solidify just what these grunge rockers are about. The riff on "Heart Attack Kid" is simple, repetitive, and hypnotic in the best ways. As Barrett's voice bleeds through the speakers backed by Sneed's head pounding drums, Bass Drum prove themselves a force to be reckoned with. Vocally, it sounds to me as if Barrett is using a butterfly-mic (like Jack White has done so many times), but maybe it's just me. Whatever it is, by the time he reaches the splintering solo, it sound like his guitar is screaming for release, and man does he give it. The attitude that Barrett and Sneed let loose on "Heart Attack Kid" make it one of the must-hear tracks from the album.
Yet even among the grunged-out tuneful tracks of "Heart Attack Kid" and the equally riveting "Young Pros" (a song that serves only to further Bass Drum's party atmosphere, though only in the best way) sits "Get Found," a track that sticks out like a black thorn from a blood-red rose. Clearly I'm not the only one with this opinion, though, as Bass Drum opted to make "Get Found" the center track for their first music video, and performed the song live on The Daily Habit. What strikes me watching the live performance are the movements of the two rockers up on stage: Sneed goes at his kit with the look of controlled fury on his face, and Barrett himself seems just to hide everything, literally. Hair hanging down like a new-age Kurt Cobain, all of my attention is drawn to Barrett's right hand, shredding away on his light blue axe. Truly Cobain would have found Bass Drum to his liking, hovering mesmerizingly between garage-rock sneer and pop-song dynamics.
But it's the power that emanates from Barrett and Sneed that truly make up their sound. I've always been of the opinion that I don't give a fuck how many people make up the band so long as the music rocks hard. Here, Bass Drum of Death have succeeded in letting loose a serrated album with teeth enough to rip you apart and still leave you wanting more. Their music may be muddy and dirty, gritty and grunged-out, but Bass Drum know what their doing, and their rewriting all the rules on what alternative-rock and grunge sound like with every performance. Keep your ears peeled for these guys, and if they start to bleed, then you know something awesomely sick is just over the horizon.

Sounds Like: The White Stripes, Middle Class Rut, Green River, Mudhoney

Key Tracks from GB City: "Get Found," "Heart Attack Kid," "Young Pros"

Check out Bass Drum of Death more at: http://www.myspace.com/johnbarrettmusic and http://www.facebook.com/friends.tv?sk=wall#!/pages/BASS-DRUM-OF-DEATH/295269142164

Right Hand Blue, Left Hand Red

So I've recently written about a group out of New York City with the name Left on Red, and at first glance, this group's name, Left Hand Red, is eerily similar and begs the question if they're just a ripoff band of Left on red (though how you could ripoff their unique sound is a bit beyond me). But the minute these guys crash into their first song on their set-list, I know that it must be just a coincidence at their name similarity.
Out of Brighton, England, U.K., Left Hand Red is a garage-rock, indie-rock experience that will leave you wanting more. Most definitely. Composed of Dan Scully (vocals), Darren Cook (guitar), Barry Bloye (bass and vocals), and Russell Pilfold (drums), LHR's sound combines the melody of The Posies with the forcity and garage-rock funk of The White Stripes.
From their new recording, the Rope Burn E.P., the first track I listen to is the title track. Starting with an alternative guitar riff from Darren Cook, Bloye and Pilfold soon join in on a garage rock rhythm that already sets LHR aopart from other alternarive-rock stylings. Scully's vocals here hover between Pixies and The Posies, while drawing on the bass lines of The Vines and The Strokes. Pilfold's drumming is eerily reminiscent of David Lovering's, making use of the Pixies' loud-quiet-loud dynamic while Scully is, at the same time, appealing to the melodic vocals sounds of The Posies and Smashing Pumpkins. The stripped down sound of the song, though, based very much in Cook's garage-rock guitar riffs and feedback, and Bloye's front-and-center bass lines, gives the track a unique quality that seems unreached since the big garage-rock revivals of the '90s with The White Stripes and The Hives.
The second track from the EP, ""Eagle Road," makes me think even more of the Pixies, but not in the way it did before. While the Pixies influence in the last song was due mostly to the sound dynamic, here it is based solely on the blending of Scully's stripped down vocals with a very melodic guitar progression. Cook has abandoned the sole guitar-feedback sound in favor of a more melodic and tuneful riff which holds a melody all of its own, and blends with Scully's vocals perfectly. In fact, at parts, it seems like Cook's notes dabble a little in ska-punk influences. Meanwhile, Bloye's bass lines are heard throughout, providing a solid stage for the guitar and vocals in a most Krist Novaselic fashion. The bass lines do not exist all on their own, but meld with Pilfold's tom and cymbal hits to create a unique rhythm section. The real jem of this song though, what sets it apart from so many others, is its almost solid stop about 2/3 of the way through. Here, Pilfold stops immediately, and playing on a brand new guitar riff that Cook lays down, builds in slowly with Bloye's bass notes. On top, Scully sings in an almost meditative tone, and it's a surreal experience. Then the drums and bass rev up, and we're shot to the end of the riff that brought us in. A solid track, and one I'd definitely shop around to a label.
The last track I listen to on the EP set-list is "Make a Killing," an eery track that is clealry Vines and White Stripes inspired. With creepy, almost drowned-out vocals from Scully (which seem like a throwback to Kurt Cobain's almost oblique vocals in Nirvana), Cook experiments with his guitar chords, going from a heavy, grunge-like riff to clear notes that just wipe the rust from my ears. Mean while, Pilfold's drumming seems minimalist here, but it works perfectly with Bloye's pumping bass notes, and when I get to the 2/3 mark, I'm floored by Cook's guitar once again. This song in particular has a grunge ambience to it, almost like Soundgarden or Mudhoney, and that's a unique quality I wouldn't trade for anything. then it just stops, and it is a solid wrap-up to a phenominal set-list. Definitely check these guys out. They're experiemental, alternative sound will bring together all those who like The White Stripes, The Hives and The Vines with those who rock out to Nirvana, Soundgarden, and the Pixies. Absolutely brilliant.

Sounds Like: The White Stripes, Soundgarden, Nirvana, Pixies, The Posies, The Vines

Key Tracks from Rope Burn E.P.: "Rope Burn," "Eagle Road," "Make a Killing"

Check out Left Hand Red more at: http://www.myspace.com/lefthandred and http://www.lefthandred.co.uk/

The Room Next Door

The last group I listened to out of Germany was Scorpions, so when I discovered that they and this group shared the same homeland, I was ready for another taste of German hard-rock and alternative-metal.

Out of Siegen, Germany I present to you and your soon-to-be-happy ears Room Next Door, a timeless mix of alternative, rock, grunge, and indie. In the fantastic tradition of the Ramones, these guys (and girl) adopt stage surnames, and frankly I love the way they sound. Made up of Steve Next Door (lead vocals and guitar), Tobi Next Door (lead guitar and vocals), Laura Next Door (bass), and Jan Next Door (drums), these guys know how to make a sound so versatile it goes from The Strokes to Nirvana in no time.

The first song  I listen to from their promo CD is "Get Out on It," a song that boasts the dirty, distortion of Mudhoney's "Touch Me I'm Sick" and the hardcore vocals of Black Flag laid next to smooth, Strokes-like vocals. Jan's simple drum beat reminds me of Meg White's minimalist drumming, which I love by the way, and Tobi's guitar riffs are reminiscent of '60s garage rock. The interplay on this song between Steve's rhythm guitar and Laura's bass is also something that strikes me, as it reminds me of the interplay heard in groups like Pixies and Sonic Youth.

The next track, "Just One Step Away from Here," is a departure from the muddled, dirty guitar, in favor of a more indie sound. Tobi, however, delivers some notes on this with the perfect distortion for me to compare them to seminal acid-rock bands like Quicksilver Messenger Service and 13th Floor Elevators. Steve's vocals on this one show he can be hardcore if he likes, but also slow himself down for a more easy-going song.

The chilled-out aspect doesn't last long though, as I'm soon launched into "Losing the Magic," a song that's got Green River's guitar riffs and U2's vocal style. There's no other way to describe this group with any other words than "different" and "versatile." I love the guitar solo on this song. It just creeps up on you and stabs you in the throat with a sick riff that would make the Scorpions foam at the mouth.  

The last track I'll touch on here is "Lost in This Town." While "Potato Man" is also an interesting track, "Lost in This Town" just screams classic punk to me, living up to the legacy of the Ramones and the Sex Pistols. In fact, not only does Steve's voice and guitar sound like Joey and Johnny Ramone, respectively, but the bass and drums also remind me of those classic punk groups. The only thing that seems to move away from the Ramones ideal is Tobi's great guitar solo. But I'm not complaining; it's sick. Check these guys out. Germany gave us the Scorpions, and now they've given us Room Next Door.

Sounds Like: Scorpions, Ramones, Sex Pistols, The Strokes, The Vines, Mudhoney

Key Tracks from their 2009 Promo CD: "Get Out on It," "Losing the Magic," "Lost in This Town," "Just One Step Away from Here"

Check out Room Next Door more at: http://www.roomnextdoor.de/htm/index.htm and http://www.unsigned.com/roomnextdoor

Dry as a Can

If you're a grunge fan or even if you're not, and you were alive in the late '80s, you've probably heard of Green River's seminal grunge album, Dry as a Bone. This album, if you haven't heard it, was a major step forward for what would become termed the "grunge" sound. Now I know so many critics hate that term, but that reality is that that's what people discern groups like Nirvana and Soundgarden as, whether they like it or not, so that's the term I use. But I digress.

I present to you, one of the best grunge, or post-grunge if you prefer, groups I have ever heard. And they are as far from Seattle as probably humanly possible. 

Out of Paris, France, I give you Dry Can, a quartet specializing in the grunge arts in a way so many have forgotten how. Comprising Antoine Abinum (vocals and guitar), Anne Lupieri (vocals and guitar), Olivier Crescence (bass), and Pascal Desmet (drums), Dry Can just floored me from the first song with how unbelievably they brought the grunge sound back to life. Seriously, Mark Arm of Mudhoney or Jerry Cantrell of Alice in Chains would be floored by this group. Not in so long have I heard such sick guitar, with such heavy bass and drums that was put out by a band post-2000.

From the first notes of "Wherever I Stand," off their EP Something Like That, DC just launches into it, with guitars that sound like Alice in Chains and Mudhoney, while Abinum's vocals would make Eddie Vedder (Pearl Jam and Temple of the Dog) and Chris Cornell (Soundgarden and Temple of the Dog) punch their fists in the air with wild abandon. I think the only thing that makes this song any better is the heavy, Nirvana-like distortion of the guitar that would make Kurt Cobain proud. In fact, for those of you who are big grunge fans, the vocals towards the end remind me of another lost hero: Andy Wood. Something about this song just screams Malfunkshun and Mother Love Bone, and for that alone I'd recommend this EP to anyone. 

But that's not all there is. I quickly move on to "Wild," a song that seems to play with the tempo in a way only Mudhoney might, or even Melvins would. And, ironically, there is evidence of the early '90s, post-grunge, here, with the addition of a melody that makes me think of Gin Blossoms or even Third Eye Blind. But that's only for a minute, as I'm once again plunged into a dirty, distorted guitar solo that makes me sort of drool a little, because I can't believe this band isn't as big as Mudhoney or Green River.

The next track, "Leader," screams Soundgarden and Louder Than Love in a way I thought only Soundgarden could. But there's nothing poseur-ish about this song. It's not trying to be Soundgarden, it's just rocking-the-hell out. Chris Cornell, you better give these guys the respect they deserve. I think I even hear a little Superunknown in there. Brilliant. And then I hear a Sonic Youth/Pixies influence, as Anne Lupieri lays down some smooth female vocals before the song launches into a metal-meets-psychadelic guitar solo.

As the last guitar chords drain out in feedback from "Leader," I'm thrust into the last song, "Ring," with a stunning force. Settling on an easy bass-line for the verse, DC changes it up here, having Lupieri on lead vocals, experimenting with a Sonic Youth/Candlebox/L7 sound. With the sultry style of Kevin Martin (Candlebox), the melody of Kim Gordon (Sonic Youth), and the ferocity of Donita Sparks (L7), Lupieri layers the distorted guitars with a set of almost toxic vocals that just ooze out of the speakers. Quite possibly one of the best EP's I've heard in years. Every song amazingly well crafted, every song an asset. Brilliant. I highly suggest listening to this EP. It will turn your blood to acid and have you begging for more.

Sounds Like: Mudhoney, Alice in Chains, Soundgarden, Sonic Youth, Mother Love Bone, L7

Key Tracks from Something Like That: "Wherever I Stand," "Wild," "Leader," "Ring"

Check out Dry Can more at: http://www.unsigned.com/drycan, http://www.myspace.com/mydrycan and http://www.drycanmusic.com/      

August Redemption

I came across these guys completely by accident, but August Redemption has rekindled my faith in underground rock. A surreal mix of metal, alternative and grunge, August Redemption mixes piercing lyrics with serene guitar riffs, and melodic drumming. Comprised of David Randle (vocals), Luke Bishop (guitar), Glen Jenkinson (guitar), Gavin Arnol (bass), and Emonn Sheehan (drums), the hard rock quintet delivers an almost new wave Doors/Jefferson Airplane sound mixed with the slow pace of Nirvana's "Something in the Way" and the guitar licks of Alice in Chains' "Down in a Hole."

I was reading the band's page and thinking I would skip on to the next group, until the music player loaded, and "Curse" started playing. I was hooked. The surreal motion of the song almost had me swaying as it moved to the next song, "Tales of a Broken Heart," and then I was motionless. Speechless. It was almost as if the underground sound that came out of Seattle that I'd fallen in love with had migrated to Australia, the band's home country. If you haven't heard them yet, get on it. Their site will be below. Listen to their debut EP, Liquid Courage. It's a new sound for a new decade. 

Sounds Like: Nirvana, Alice in Chains, Mudhoney

Key Tracks from Liquid Courage: "Curse," "Tales of a Broken Heart"

Check out August Redemption at: http://www.unsigned.com/augustredemption and http://www.myspace.com/augustredemption