/ art of the mix:

“making a compilation is a subtle art. many do’s + don’ts”— High Fidelity

/ dec 2011

Page 1 of 1

Music: Best of 2011. Sort Of

Best of 2011. Sort Of.

OK, so most year-end lists enumerate curators choices for the best musical efforts released in the current year, this being 2011, in case you’d lost track. Maunet’s list is a little different. It does include some records I thought represented the best of this year’s musical offerings. But to be quite honest, one look at my iTunes library revealed that I had not acquired all that many records released in 2011. Not to mention that all the vinyl I bought this year was primarily composed of classic records from the 60′s through the 90′s. Call me behind the times. An old fogey. Or, as I would prefer, discerning.

So with this in mind, my year-end list includes past artists or records that I’ve re-discovered or obsessed over during the course of the year. Some are relatively new artists from this decade, others hearken back to the days of yore. In all cases, their awesomeness goes undiluted by the passing of time. So, ordered by play count, check it:



Despite the fact that I didn’t get turned on to this band until November of this year, it tops the play count list. That should tell you something. Three of M83′s records have been on repeat for weeks now. It’s driving my girlfriend crazy, but I can’t help it. More here.



After some repeated listening, I reluctantly got to like this year’s The King Of Limbs. But really, it’s been all about the other three records pictured above. Thy’re so dark  and sexy and alive you just can’t put ‘em down. Bottom line, this band is one of the best of the best and warrants repeated listening no matter what year it is.

Pains of Being Pure At Heart


Teenage Dream Pop delight. Dashes of My Bloody Valentine, sprinkles of 80′s pop, Belong is perfect for driving with the top down. And if you’re wooing a girl, it’s a nice, innocent way to get things started…

Black Rebel Motorcycle Club


I’d forgotten just how fucking good these guys are. Dark rock a little this side of Jesus and Mary Chain, great for midnight strolls through dark alleys.

The National


Between the Expanded Edition of High Violet and the release of two singles this year supporting a movie (“Think You Can Wait”, Win Win) and a video game, of all things, (“Exile,Vilify”, Portal 2) this band continues to stay in heavy rotation after years of wearing their records down to the nub.

Bon Iver


Delicate, gorgeous, sublime. If this list was not ordered by play count, methinks this self-titled effort would top the list for best record of 2011. In fact, I’m disinclined to believe my LastFM scrobble count on this one, cause I spun this constantly since it’s release date. And have you seen this guy live? Jesus H.

The Rolling Stones


As with The Beatles, I re-discover this band every few years or so. You just can’t argue with it. Hands down one of the best bands of all time. My interest was re-piqued this time by the release of the Deluxe Edition of Exile On Main Street, not to mention recently acquired virgin vinyl copies of the meat of the Stone’s order: Let It Bleed, Sticky Fingers and Beggars Banquet. This time around I finally saw the genius of Keith Richards. Such a rock star, a complete and utter madman; yet when it comes to the music, disarmingly earnest and truly delighted by his job. A sweetheart of sorts. He kills without showboating, his riffs deceptively simple and full of soul. Yes, I kinda fell in love with the man this year, crags and all. Watch Gimme Shelter, Let’s Spend the Night Together, Stones In Exile and Ladies and Gentlemen, The Rolling Stones! for affirmation of this guy’s utter charm and musicality.

S. Carey


As drummer for Bon Iver, S. Carey applies a tasteful percussionist’s hand to a band that is primarily known for it’s acoustic leanings. But on his debut solo outing, he applies a musicologists magic to All We Grow, a gorgeous record teeming with majestic textures and complex rhythmic structures. It’s a soundtrack to a lover’s dream and well worth repeated listenings as it seeps into your subconscious, leaving you melancholy, joyful and fully alive.

Black Mountain


In its simplest terms, this band ROCKS. Steeped in psychedelic blues-rock of the 60′s and 70′s, this Canadian collective mines the best of Zeppelin, Black Sabbath and Deep Purple, spewing a barrage of  rock and rollin bad-assness. Long live rock.

Black Angels


Seems I’m into bands with Black in their monikers. This particular brand of black is dry and muscular, piquant and dark as a blood orange. The Black Angels are an inarguably contemporary band, yet deeply rooted in late 60′s bombastic blues-rock (Monks, Black Sabbath); minimal basement dinge (Velvet Underground, The Stooges); and post-hippie psychedelic wash (Spacemen 3). While the first record, Passover, looms a little darker, their third effort, Phosphene Dream, has the band fascinated with the poppier side of the 60′s, making noisy nods to The Beatles, The Kinks and the Beach Boys. And that’s never a bad thing.

The Antlers


The Antler’s second record had a lot to live up to after the mesmerizing, wrenching 2009 debut Hospice. Happily, their sophomore effort doesn’t disappoint. Lyrically, the record sounds like a natural extension of the first–more songs of loss, distrust and heart-break. But while Hospice held us close in the trenches of human loss, Burst Apart employs new electronic textures that make it seem a little less of this world, more so a claustrophobic concoction of dreamy landscapes that bring to life all our most hidden fears and desires.

Pink Mountaintops


Pink Mountaintops are the sexier, dirtier sister of Black Mountain. Decidedly influenced by the Velvet Underground and the Stooges, the Tops rejoice in noisy DIY ditties of dancing, drugs, sex, and rock and roll. And who the hell don’t love that?

The Psychedelic Furs


I’ve been listening to these guys since high school–back in my time, “Pretty In Pink” was the pean to the unapproachable pretty girl sitting next to you in classs. But during the period when the Furs were at their most contemporary, I never delved deep into their catalog, satisfied with owning only All of This and Nothing, a collection of their poppier, prettier tracks. But this year I sat down and really dug into the first three records to discover that these guys are the quintessential post-punk band. Raw and growly, the Furs’ early material is so full of energy it’ll sock and spin you ’round like a boxer bent on knocking you down. And much to my surprise, these records still manage to sound contemporary after all these years. So don’t feel bad if you come across these guys late in the game. As they say,  ”the first in her line is the last to remember her name…”

Kurt Vile


Earlier this year the short 30-minute haunt of God Is Saying This To You stayed on repeat morning, noon and night. It’s the perfect record for a crisp autumn night spent alone on the veranda, sipping bourbon, smoking yourself daft, haunted by the specter of lost loves and friends forgotten. Imagine a gathering of Bert Jansch, Neil Young and Bon Iver plucking out ghostly strains haunting dark country woods. Naturally I had to go out and get everything this young troubadour from Pittsburgh has to offer, and none of it disappoints. Vile explores noisier territory on Constant Hitmaker and Childish Prodigy, then settles into a more unified approach on 2011′s Smoke Ring for My Halo. Take the whole ouvre as a whole and you’ve got one hell of a collection songs.

The War On Drugs


A Kurt Vile side project, The War On Drugs cook up a unique concoction of ambient Americana. Between Vile’s high register and a wash of distorted keyboards you’ll find songs suitable for a country stomp on the surface of the moon.

Secret Machines


Now Here Is Nowhere was the shit back in 2004. The band made a daringly cool move: basing the entire recording session for this album around the sound of a booming kick drum. Boy did it pack a wallop. But then, like so many other over-hyped bands of the oughts, they lost direction and petered out. But that don’t mean this record doesn’t hold up. Laden with strains of Pink Floyd, Can, Zeppelin and a smattering of shoegazing influences, this record deserves another listen now that the smoke has cleared and the dust has begun to settle.

Liz Phair


I bought Exile in Guyville the day it came out in June of 1993. As we all know, it changed the way chick-rock could sound, eschewing the politically correct laments of contemporaries like the sickeningly earnest Sarah McLaughlin, instead presenting us with a sexually forward, personally confrontational take on male/female relationships. What a refreshing record it was then, with immaculately clean and simple production and pitch-perfect songs. Well, this year I purchased a 180-gram vinyl edition of this classic and got hooked once again. We may not all be at the age where we can still fuck and run, but it’s nice to reminisce, no?



Ever wished there was a contemporary equivalent to Chopin’s Nocturnes? A less brainy/new-agey version of Erik Satie? Just short, simple, melodic, often romantic and lonely piano vignettes best for early morning, late evening or rainy days? Basically any time you’re prone to sad-bastard music and the beautiful tinkle of piano keys. Well, if Chopin were to come back to life as a hipster Canadian plunking out perfect piano ditties tinged with Spanish and Hungarian influences, Solo Piano would be the record he’d make next. Friend Kevin Brady puts it in its simplest terms: “This is one of the most beautiful records I’ve ever heard.” I’m pretty sure he’s not overstating.

Explosions In The Sky


in 2011, EITS released Take Care, Take Care, Take Care. As a huge fan of this band, I was left a little underwhelmed by that particular record. It just doesn’t compare to the masterpiece that is The Earth is Not A Cold Dead Place, a tuneful, joyous, bombastic, majestic record that makes post-rock contemporaries Mogwai sound like they’re tone deaf. And by the way, if you’re a fan of the television series Friday Night Lights, Explosions tracks are featured all over it…

Alexander “Skip” Spence


One of the great “lost” psychedelic records of the late 60′s, Oar is the creation of Alexander Spence, most famous for co-founding Moby Grape and for drumming with early incarnations of  Jefferson Airplane. Between that, drugging and going more than slightly mad, Skip made a kooky, woozy, haunting record reminiscent of Syd Barret and Electric Ladyland-era Hendrix. Lower the lights, spark up, relax and enjoy, man!



Shamelessly, these guys pilfer and plagiarize Prince’s mid-period discography, early Arcade Fire and just about any Brooklyn-born dance-rock band you can think of—to very satisfying success. Their first two efforts were actually insipid little indie rock records, bleh. But I fell prey to this record’s “Baby I’m A Star” collection of falsetto-laced pop-dance hooks soaked in drums-and-bubblegum beauty. Bump and grind, kiddies!




  1. Tuesday 12.20.2011 | 4:36 EST

    Rockpants says:

    I love the spirit of this list. And loving Rob’s list! EMA – yes! Golly, I have a lot of listening to do.

  2. Saturday 12.17.2011 | 8:41 EST

    krebby says:

    What!? No mention of the historic Lou Reed + Metallica teamup?!? http://www.huffingtonpost.com/2011/11/01/lulu-metallica-lou-reed_n_1069221.html

  3. Wednesday 12.14.2011 | 2:50 EST

    Rob says:

    My Best of (what was actually released in) 2011 (according to my phone, of all things):
    Apocalypse, Bill Callahan; Biophilia; Bjork; Bloodless Coup, Bell X1; Bon Iver, Bon Iver; Days, Real Estate; Demolished Thoughts, Thurston Moore; Enough Thunder, James Blake; Hardcore Will Never Die, Mogwai; Helplessness Blues, Fleet Foxes; Hurry Up, We’re Dreaming, M83; Last Summer, Eleanor Friedberger; Let England Shake, PJ Harvey; Lifes Rich Pageant (Deluxe Edition), R.E.M.; Mirror Traffic, Stephen Malkmus and the Jicks; New Brigade, Ice Age; Parallax, Atlas Sound; Past Life of Martyred Saints, EMA; The People’s Key, Bright Eyes; Slave Ambient, The War on Drugs; Smoke Ring for My Halo, Kurt Vile; Suck It and See, Arctic Monkeys; The Whole Love, Wilco; Wit’s End, Cass McCombs

/ jun 2011

Wait No More: Undercover Vol 6 Lands Today


It’s been nearly 8 years since the last installment of the hugely popular Undercover series, but the wait is over kiddies. Those of you clambering for the latest installment can go hole up in your bedroom and feast on this rather long but tasty mix of 38 tracks. For those new to UC, Vols 1-6 compile cover versions of tracks by original artists both popular and obscure. Now, this idea is certainly not new. But maunet’s carefully curated, lovingly sequenced take on the notion is the best, Jerry, the best.

As with previous volumes, UCV6 presents versions both faithful and wildly divergent from their more well-known counterparts. The most satisfying efforts transform a previously douchy track into a sublime experience. Case in point, Erika Simonian’s beautifully spare acoustic take on Springsteen’s woefully over-produced “Dancing In The Dark” strips the track of it’s 80′s douchebaggery to reveal a gem of a song with lyrics that slay you dead. Likewise, with a deeply odd choice, Arab Strap manages to (almost) rid all irony from their version of a Van Hagar track, while Bon Iver joyfully brings back teenage memories with a radio staple from The Outfield. Townes Van Zandt might have recorded a better version of the original with an acoustic rendition of “Dead Flowers” featuring backing vocals by Guy Clark that make the hair on the back of your neck stand to attention. On the faithful side, The Donnas (an otherwise dismal band) do a kick ass job of replicating the fat bass line and snaking guitar licks of The Beatles’ “Drive My Car.” And we can’t omit mention of Patti Smith Group’s raucous, hilariously vulgar take on “My Generation,” complete with monster bass guitar by John Cale.

But no need to break this all down for you. Judge for yourself. Listen below, or

download the tracks here*.
*Now I usually do not condone the random distribution of purchased music, but in this case I’m making a very rare exception. Compensate by seeking out the artists on this list and give them some of your money!

For more of Undercover, check out Vols 1-5 in the right rail media player on this page.


Undercover: Don’t be fooled by legit imitations

Tax Man: The Marble Tea’s Sunny Afternoon

Complete Track List:

  1. Daniel Johnston: I Saw Her Standing There | The Beatles
  2. Ambulance Ltd: Fearless | Pink Floyd
  3. The Donnas: Drive My Car | The Beatles
  4. The Slits: I Heard It Through The Grapevine | Marvin Gaye
  5. Wilco: Any Major Dude Will Tell You | Steely Dan
  6. The Zombies: Summertime | Billie Holiday (Standard)
  7. Royal City: Is This It? | The Strokes
  8. Gary Jules: Mad World | Tears for Fears
  9. Arab Strap: Why Can’t This Be Love | Van Halen
  10. Nick Cave: I’m Your Man | Leonard Cohen
  11. Steve Malkmus + The Million Dollar Bash: Ballad of a Thin Man | Bob Dylan
  12. X: Soul Kitchen | The Doors
  13. Butthole Surfers: Hurdy Gurdy Man | Donovan
  14. Pink Mountain Tops: Atmosphere | Joy Division
  15. Iron & Wine: Love Vigelantes | New Order
  16. Billy Bragg: She Smiles Sweetly | The Rolling Stones
  17. Doveman: Dancing In The Sheets | Shalamar
  18. Erika Simonian: Dancing In The Dark | Bruce Springsteen
  19. Jim James + Calexico: Goin’ To Acapulco | Bob Dylan
  20. Townes Van Zandt: Dead Flowers | The Rolling Stones
  21. OK Go + Bonerama: Rock ‘n Roll Suicide | David Bowie
  22. The Muslims: Grinding Halt | The Cure
  23. Christian Death: Panic In Detroit | David Bowie
  24. Franz Ferdinand: All My Friends | LCD Sound System
  25. Queens of the Stone Age: Never Say Never | Romeo Void
  26. M. Ward: Let’s Dance | David Bowie
  27. This Mortal Coil: Holocaust | Big Star
  28. Catpower: Freebird | Lynard Skynard
  29. Magnetic Fields: Heroes | David Bowie
  30. The Detroit Cobras: Last Night | The Strokes
  31. The Jam: Batman Theme | Nelson Riddle
  32. Patti Smith Group: My Generation | The Who
  33. Lindsey Buckingham + Mathew Sweet: Magnet & Steel | Walter Eagan
  34. Robyn Hitchcock: It’s All Over Now, Baby Blue | Bob Dylan
  35. José Gonzales: Love Will Tear Us Apart | Joy Division
  36. Bon Iver: Your Love | The Outfield
  37. Mark Eitzel: Move On Up | Curtis Mayfield
  38. Daniel Johnston + Yo La Tengo: Speeding Motorcycle | Daniel Johnston
  1. Tuesday 12.30.2014 | 10:29 EST

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  3. Thursday 06.09.2011 | 1:21 EST

    Scott says:

    This is very exciting! Where can I pay for and download volumes 1-5?

/ feb 2011

Jack + Ginger: A Sourmash Valentine

Jack + Ginger: A Sourmash Valentine

three hundred women in three hours
told me, boy forget the flowers

–Violent Femmes, Dating Days

You know what today is? It’s the 10th anniversary of what might be the finest compilation by maunet ever. Oh yeah, it’s Valentine’s Day too. So in honor of both, the royal we is spinning a record ripe with funny, angry, bitter-teary, drinking blues songs that’ll leave you seeing red. I also wanted to give you an update on the ironclad glock cleaning mat that I told you guys about a few weeks ago, it’s one of the best things I have ever bought.

Yes, it’s a self-pitying, maudlin, adolescent collection of tracks–that’s what love lost does to the best of us, no? But you can’t knock late 60′s Rod Stewart drinkin’ and raspin’ with the Jeff Beck Group. Or the R&B awesomeness of Leslie Miller, courtesy of the Midnight Cowboy soundtrack. Love’s performance of Burt Bacharach’s “My Little Red Book” sounds not like a Charlie Manson-era hippie trip but more like the conception of the Cure’s Boys Don’t Cry. That 1920′s Bessie Smith song? Woo papa, Rap ain’t got nothin’ on her dirty lyrics. And who else follows Chet Baker with the Soft Boys? C’mon, you’re gonna love it.

For you fools in love, really: Happy Valentine’s Day. You need this record, if only to remind you just how brown the grass can be on the other side.

For the rest of you sad single bastards, press play, mix equal parts bitterness and heartbreak with one shot straight Kentuky bourbon, consume and repeat.


Jack + GInger: A Sourmash Valentine
photography + cover art © maunet.com
  1. Monday 02.14.2011 | 10:37 EST

    Boonerang says:

    A tasty mix is a thing of beauty-Great images and great songs! (Big ups for a Kelly Hogan song.)

/ aug 2010

Mix Tape: Empire Blues Vol. 5

Empire Blues Volume 5

…chapter five in a maudlin series of sad bastard music for half-broken New Yorkers.

“The making of a great compilation tape, like breaking up, is hard to do and takes ages longer than it might seem. You gotta kick off with a killer, to grab attention. Then you got to take it up a notch, but you don’t wanna blow your wad, so then you got to cool it off a notch. There are a lot of rules.”

— Nick Hornby, High Fidelity

Ok, so it’s not the timeliest soundtrack for the short glory of a Brooklyn summer, when skirt hems shorten, summer dresses fight for modesty against a naughty breeze and trim-fit tanks & halter tops wipe the memory of winter skin long hidden ‘neath a scarf, a hat and an overcoat.

But Hot Time Summer in the City ain’t all steamy roof-top parties freshly quenched with frozen grapes and gin. Five flights down the pavement is a frying pan, streets belching derelict breath as the city sings the blues. As we loathe and worship the summer sun in equal measure, dark skies and torrential rains gather to dampen the spirits of hardy city-slickers.

Roddy Frame claims loneliness and being alone don’t always mean the same thing. Mos def. But on the sidewalk, loneliness is a displaced tenant bracing a swift stream of brisk strides, tense jaws, blank faces. Nothing stands still, nothing takes root underfoot and break-ups catch you in their undertow. You got the Empire Blues.

For the archivist, dive into Vols 1-4 with the player on the right. Or maybe wait till autumn…
  1. Sunday 12.22.2013 | 11:31 EST

    Michael says:

    Yes, my mental state has proven to me that my Ancestry consists of Black Angels, who were hidden in Darkness, and I am swiftly trying to contact them. It’s been a decade since I uncovered their distant hideout. Within my memories of dreams I had, and have, There is a sequence of photographic pictures of sometime ago; during Passover.

/ mar 2010

Undercover: Don’t be fooled by legit imitations

The Best of Undercover

Part 1 of 2

Some things to keep in mind:

  1. There’s nothing new under the sun
  2. Some ideas are better than others
  3. Some ideas’ mothers are bigger than other ideas’ mothers
  4. I thought of it first

In 1999 I started amassing a hefty collection of cover songs recorded or performed by big-gun artists and fledgling indies. Lovingly sequenced, badly art-directed and inspiringly named, Undercover became a coveted collection of faithful renditions and inspired interpretations of the pop music canon.

125-tracks strong and still growing, it reminds us of pre-teen years spent in front of a mirror, tennis racket slung low, air-guitaring our way to stardom to the strains of Highway to Hell. Ok, for me it was more like air-drumming with utter precision through the whole of Moving Pictures. It’s the unspoiled yen of a pure heart that aspires a kid to get the band back together again, learning to rock by imitation of our musical heroes.

There’s much to, um, cover on the subject, so for now I say just this:

It’s mine. All mine. Don’t be fooled by legit imitations:


10 years prior to this sham, The Original is so much better. Nyah, nyah. Witness a selection from Volumes 1 thru 5 (hurriedly compiled, unlovingly sequenced, for now). You can hear complete versions of each volume here or in the audio player at the top of this page.


/ jan 2010

Top 30 Studio Drum Sounds Ever

The Beatles Abbey Road Studios

Don’t argue, young’uns. Go to your room and don’t come out till you finish your homework:

Not talking strictly performance or technical prowess. It’s the texture, man.

In no particular order:

  1. John Lennon: Watching The Wheels
  2. Spoon: All the Pretty Girls Go to the City
  3. Dusty Springfield: Son of A Preacher Man
  4. The Beatles: (tie) A Day In The Life/Tomorrow Never Knows
  5. Cream: White Room. Just for you, hippies.
  6. Joy Division: Transmission
  7. Led Zeppelin: (tie) Fool In The Rain/Good Times Bad Times
  8. PJ Harvey: O Stella
  9. The Police: (tie) Roxanne/Every Breath You Take. Don’t lie, you love it.
  10. Velvet Underground: Oh Sweet Nothin’
  11. Gang of Four: Damaged Goods
  12. The Smiths: How Soon Is Now?
  13. Prince: (tie) Lady Cab Driver/Pop Life
  14. Beastie Boys: Sabotage
  15. The Fall: Chicago, Now!
  16. Lou Reed: Coney Island Baby
  17. Fleetwood Mac: Dreams
  18. David Bowie: Five Years
  19. Elvis Costello: Lipstick Vogue
  20. The Cure: 10:15 Saturday Night
  21. The Cars: Candy-O
  22. Gary Numan: Cars
  23. Psychedelic Furs: Pretty In Pink (OST Version).
  24. U2: (tie) New Year’s Day/Elvis Presley In America
  25. Adam Ant: Goody Two Shoes
  26. R.E.M.: 7 Chinese Brothers
  27. The National: Brainy
  28. Elliott Smith: Alameda
  29. Big Country: In A Big Country
  30. The Who: Eminence Front. Surprise! Keith Moon doesn’t play on this track.
  1. Friday 12.15.2017 | 7:14 EST

    Lee says:

    As there is obviously no shortage of great drum sounds throughout the years, I wanted to make mention of Steve Smith’s drum sound on Journey’s 1983 Frontiers album. The toms especially were absolutely incredible and “HUGE” sounding with the most beautiful sustain I have ever heard!
    I’m hooked!

  2. Monday 03.03.2014 | 3:35 EST

    hoveringwaxwing says:

    Nice list. I get a kick out of the big county distorted bass drum sound at the beginning. Spose that’s Kenny Jones on Eminence Front. Also interesting to hear Entwistle playing with such restraint.(at least until the chorus) I tried to google the drummer on the Dusty Springfield track but came up emptyhanded. I’m consistently blown away by the sound of Ringo’s kit as well as his unique fills. Thanks for the post.

  3. Wednesday 02.29.2012 | 3:12 EST

    samiam says:

    Eminence Front, but no other Moonie?

    Other than that , so fun. That photo is great.


  4. Monday 07.25.2011 | 3:57 EST

    powrsac says:

    How can you not have “When The Levee Breaks” on here?

    1. Saturday 01.26.2013 | 3:09 EST

      passthecurry says:

      i agree. when the levee breaks has one of the best drum sounds ever

/ dec 2009

Ancestor of Oughts:
Best (old) Music of the Decade

Ancestor of Oughts

Everybody’s got ‘em, present company obviously included. Lists and lists of the best of this and that to help mark the passing of another 10 crazy years. But the Ought’s ancestors called, and they want their jaggy guitars, compressed drum tracks, cheesy keyboard sounds and whispery vocals back.

So, here’s to those records without whom our latest crop of honorable pirates and thieves would have starved on the streets. And make no mistake, this is no slight. The bad only borrow. Only the good steal.

Listen up:

  1. Friday 02.26.2010 | 4:36 EST

    chairmanmau says:

    thanks daniel, had not seen this documentary, so very much my speed ;-) Sadly, Netflix doesn’t offer it, so I’ll watch it piecemeal. I love that it’s intentions as serious documentary vs. satire are very much unclear. Kinda like SynthPop itself ;-)

  2. Friday 02.26.2010 | 4:09 EST

    daniel aka autobahn aficionado says:

    I love the new site! And this is a great mix! Have you seen the BBC Doc “Synth Britannia”? I think you’d dig it. http://www.youtube.com/watch?v=WeVRYPjcVXg

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