While Anathema are taking an eternity to release their long overdue eight album, guitarist Danny Cavanagh pours out his creative energies somewhere else, going out on solo tours and collaborating with kindred artists like former The Gathering singer Anneke van Giersbergen and long time friend, Sean Jude, who is something of a troubadour stuck in the new millennium. Primarily, the creative vision of Jude, Leadflade’s music dwells on smooth folk ambiences with a strong Celtic/Medieval influence. Each song trails into a gentle acoustic drive exhorting a pastoral quietude and a troubadour feel, like crossing a darker and more despondent The Chieftains with someone like Bonnie Prince Billy. A good effort, ‘Beyond, Beyond’ is not everyone’s cup of tea, and I’m afraid this type of medieval music doesn’t really do much for me. The only knot that ‘Beyond, Beyond’ has in relation to metal music, is merely the presence of Anathema’s guitarist on additional orchestrations and acoustic guitar, so probably it will also be overlooked by most of you. Anyway, if you can endure 55 minutes of acoustic-driven music with plenty of troubadour vocal harmonies, either hummed either chanted, without falling asleep, perhaps ‘Beyond, Beyond’ has something to offer you. (6/10)
France’s Grind-O-Matic welcomes you to grind-o-land, 17 tracks of pure unadulterated, yes you guessed it right, grind. This trio from Paris stick to most of the stereotypes of the genre so there’s nothing here that truly sets Grind-O-Matic apart from a zillion of other bands peddling a similar style of grind. It’s all done by the book, relentless blastbeats, frenzied slightly punkish guitar riffs, animalistic growls and high-pitched screams (there’s also the absence of an audible bass work by the way), and that kind of threw me off at first, but further listens gave me the acknowledge that at least, they do it with a ferocious intent and a fair amount of competence. Occasionally, they hit the brake pedal and let us know that they can chug at a more mid-paced tempo, which is an enjoyable pause from all the frenetic chaos going on for most of the duration of ‘Welcome to Grind-O-Land’. Bottom line, Grind-O-Matic churns out an okay grind that will surely satiate all the famished fans of the genre, but still have a long way to go to reach the high standards of someone like Napalm Death, Maruta, Kill The Client and so on. (6/10)
This doesn’t look promising! Another cheap looking cover with an indecipherable logo showing what it looks to be an inverted cross. And truth be told, it only takes me a few minutes of listening to ‘Everlasting Night’ to realize that Immortal Remains don’t make a positive impression with their music either. Hailing from Germany, Immortal Remains peddle a rather muted and dated symphonic black-metal style that for the most part reminds me of Cradle of Filth and Hecate Enthroned. The quintet however, likes to call it dramatic black-metal. Whatever the hell that is, the only drama I’ve experienced was the fact that I had to listen to it for four consecutive times in order to come up with a fair judgement of the band’s debut full-length record. If the dramatic side of their music goes down to the more ambient and symphonic sections of ‘Everlasting Night’ largely created with the use of keyboards, then they miserably fail to conjure up any sense of drama. Don’t expect the keyboards to evoke that grandiose and almost cinematic feel of Cradle of Filth since the synthesizers sound deceptively simplistic, going aaahhhhhhh and then oooohhhhh for most of the times. For a taste of good black-metal made in Germany tryout Secrets of the Moon and Anael instead. (4/10)
I just don’t know where to start! Perhaps I could mention that, while I was listening to ‘Heart of Darkness’ for the first time, the thing that puzzled me the most is just how on earth these four grown-up fellows apparently with normal lives and steady, above-average jobs have crafted such ferocious and pissed off heavy music. Throughout ten songs, Burnt By The Sun sound as if they’d been carjacked with extreme violence and abandoned in the middle of a deserted region buck-naked and without any means to make it to civilization. Fucking and downright angry! Quite simply, from the rampaging opener ‘Inner Station’ to the scorching pummel of closing track ‘The Wolves Are Running’, ‘Heart of Darkness’ is an aggressive album that clatters along with a ferocious and hungry intent. Stylistically, it sees the four-piece returning to the more mid-paced, streamlined and in your face approach of their debut recording ‘Soundtrack to the Personal Revolution’, though occasionally they throw out some of those frenzied grind riffs that were prevalent on ‘The Perfect is the Enemy of the Good’. However, ‘Heart of Darkness’ is essentially a metal-hardcore album at heart with meaty and heavy riffs powering forward with an aggressive drive, a sledgehammer percussion and anger-filled and vitriolic shouts provided by Mike Olender. Sadly, the band have regrettably announced that this is their last record, so it seems that ‘Heart of Darkness’ will likely become the last of them. If that’s the case, then I’m entirely convinced that Burnt by the Sun are going out in style with their strongest and most intense material ever released. (8.5/10)
Anyone who is familiar with the previous Dying Fetus albums will know just what they can expect from ‘Descend into Depravity’, their latest work. A straight-up and brutal death-metal! Although each new Dying Fetus record presents new faces in their revolving line-up, leader and core element, vocalist/guitarist John Gallagher doesn’t seem to be loosing stem or vigour to deliver exactly what fans are expecting to hear from them. As a result, ‘Descend into Depravity’ lacks none of the essential elements that made Dying Fetus stand out in the first place. It's brutal, groovy, and it doesn't fuck around with any unnecessary breakdowns or fret-board pyrotechnics. Sure, it doesn’t add anything new, but then again, why change a formula that already been tried and tested with successful results right? Damn right! (7/10) David Alexandre
In a time where labelling musical styles is strictly and absurdly necessary, thus getting some ridiculously funny and specific ones - United States Black Metal, Modern (insert metal genre here), Drooone, Cybergrind and Cybercore - it remains a mystery why sludge and stoner didn't suffer the same treatment. I mean, stoner and sludge go for everything: Neurosis, Mastodon, Blue Cheer, Orange Goblin, and Indomitable Iron Sloth. Well, Shrinebuilder are, in their essence, a stoner outfit. But they go really wider, as they have grunge (Melvins), stoner-doom (Om), classic doom (Saint Vitus) and sludge (Neurosis, though they used to play some kind of raw-punk) members. The result in their debut EP is what I proudly call RETRO STONER. Or vintage, for all that matters. What we have here, really reminds me of a classic record, such as Black Sabbath or Vincebus Eruptum: classic and classy production, kick ass guitar solos and a loud, audible noisy bass. And since we have Al Cisneros (from Sleep and Om fame), we can hear some mantras and spirit musical lines as well. Top musicians always do top music. And it was recorded in three days. Put Scott Kelly, Al Cisneros, Dale Crover and Scott Weinrich on a studio and the will produce whatever they want, but always a high pedigree product. It totally takes you to and through the 70's and the whole rock'n'roll development time. They did five songs, but they could have done twenty. What you see, is what you get. But not what you would expect, i guess. Experimentalisms and layers and deviations are left aside, to do classy rock. Or RETRO STONER. Or vintage, for all that matters. Had they a Hammond organ and they would totally slay! (8/10)
North, deep Portugal. Cold, really cold. You can do one of two things: sit by the fireplace or go to your basement and form a band. Well, that's what tends to happen in north Portugal. ThanatoSchizo, Encephalon, Primordial Melody and now Invisible FlameLight (used to call themselves Invisible FlameLight Into a Ghost Planet) are just some examples of the intense musical activity there. ‘Lozenge's First Triangle’ was recorded in 2007, by the living Portuguese heavy metal legends Paulo e Luis Barros (from Tarantula). What to say about this EP? It's not entirely original, but it's a fucking solid start. Combining elements of Pantera, Tool, (good old) Machine Head and King Crimson, these guys deliver some powerful modern thrash/death metal, with some prog moments (great work on the bass). They have great potential to evolve into something even better and to create their own brand and sound - they're actually writing their first full-length. But do not take these as words as bad; these guys have the perfect sound to wake you up while going to work, college or something dull. And believe me, it makes you headbang at the streets, making other people stare at you like you were some freak. Really, try listening to it at 9 o'clock in the morning - or whatever - and it's a guaranteed headbang, air guitar and air drums. It's rock all the way through! Sometimes it's better to stay true to your old faves that try to re-invent the whole metal scene, what eventually will only lead to re-invent a whole new way to write a bad review. Good production - as Rec 'n' Roll studios ever had - and great musicianship. The only thing they have to re-do it's the graphic design: in a time when you need to make visual impact on people, a better MySpace and cover are needed. Besides that, total support! Oh, and I almost forgot: you can download it for free in their MySpace! (7/10)
Prayer Fest - Portugal Associação Recreativa e Musical de Sacavém - 15/11/2009
Altar of Plagues
Black Sun
A Storm of Light
A Storm of Light
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Armed for Apocalypse - Defeat
Comprising former members of Will Haven and The Indomitable Iron Sloth, California’s Armed for Apocalypse is a tough act to pigeonhole. Not because the band’s debut recording ‘Defeat’ has an indescribable and genre-defying sound, but mostly due to the fact it peddles various styles and textures throughout the course of 38 minutes. See, while album opener ‘We Fell From The Bottom’ delves into a cataclysmic and ugly frenzy of brutal riffs, pounding percussion and caveman bellows in a style not too far removed from what is widely regarded as deathcore, the following track ‘The Demon Who Makes Trophies of Men’ sways between a crawling moribund pace and bursts of thrash-chugging. Then, there are times where they also seem to throw out some latter-era Sepultura riffs as heard on ‘Fists of God’, and following that comes the raw fury ‘The Failure’ which has d-beat ring to it. As if Discharge were jamming with Andreas Kisser on guitar. However, for the most part of ‘Defeat’ the four-piece stomps off into a slow sludge pummel where comparisons to Crowbar could easily be mooted. ‘Hero Complex’, ‘Torchlight Search For The Dead’ and ‘A Collapse’ sees Armed for Apocalypse ably engage in a menacing display of heavy and sludgy riffs always with the attitude of someone who woke up on the wrong side of bed. Amazingly, ‘Defeat’ sounds vastly more cohesive and engaging than this ill-sorted assortment of words since Armed for Apocalypse have created a rather good debut record that gives indication of a promising future. (7/10)
"Laudanum (laudanum liquidum simplex), also known as opium tincture or thebaic tincture is an alcoholic herbal preparation containing approximately 10% opium and 1% morphine (the equivalent of 100 mg of opium/10 mg of morphine per mL)." Heavy shit right? That's precisely what Judd and Betty Hawk have to offer with ‘The Coronation’. Their second-full length gives us plenty of noise to suffocate with. Since Runhild Gammaelsaeter and her Thorr's Hammer that I didn't heard a female vocalist with this amount of suffer. The big difference is that Runhild was more of deep guttural growls and Judd prefers the high-pitched shrieks. No problem with that! Musically speaking, you can't say that Laudanum are fresh, or new or innovative. They have a Nadja-based sound, with monolithical riffs and drones. When not droning, their down-tempo and evil music somehow resembles the one made by Corrupted. Only good references, right? But drone and doom are not the only genres you'll hear. Rotten stoner rock - Electric Wizard maybe? - can also be heard. But always pretty dense. So there's density, suffocation and plenty of fucking heavy heaviness. And, must say, far more interesting than Aidan Baker's project Nadja - that sometimes lose themselves in pointless trips. One of the most positive things of Laudanum is undoubtedly the voice duality. Judd and Becky absolutely rule!! Oh, and they're married. Would you just imagine this: unhappily married with the woman of your dreams, making this great, evil, scary as shit with horror movie vibe music. Listen to it before going to bed, on a dark alley, makes perfect sense. A band to follow in the next years, proving that 20 Buck Spin only has good bands in their catalogue. (7.3/10)
In order to find out if this debut record from UK’s Viatrophy might raise some interest in you I only need to ask three simple questions. Is ‘Nocturnal’ by The Black Dahlia Murder one of the most valuable records you possess? Do you fancy the whole atmosphere created by synthesizers on groups like Winds of Plague, Born of Osiris and Bleeding Through? Do you religiously believe that chugging breakdowns is the greatest aspect of extreme-metal music? If you answered affirmatively to all previous questions then I guarantee you that you’re going to dig Viatrphy’s deathcore sound. All the right ingredients are there to please all deathcore aficionados, the low-end chugging riffs, the moshing breakdowns, the guttural vocalizations and the epic keyboard sections. The constant switching between guttural and screeching vocals from Adam Mayes will undoubtedly put Viathrophy in the same league as The Black Dahlia Murder, but I guess that on the overall the Brits have greater predilection for melody as revealed on interludes like ‘Aurora’, and themes like ‘Furious Prayers’ and ‘Mistress of Misery’. Well, as for everyone else there’s just something missing that stops this album from being little more than average. Few riffs stick and even less melodies linger, so unless you’re a sucker for this overcrowded style of music, ‘Viatrophy’ will probably be overlooked and lost amid a endless pile of similar releases. (5/10)
Never heard of this young collective from New Brunswick, Canada before, but something tells me that it’s worth keeping an eye on them from now on ‘cause we’ll be hearing the name We, The Undersigned more often in the future. Mostly it is the prime slice of southern-rock tinged hardcore exhibited on their debut recording ‘Bleed the Constants’ that gives me such hunch. The press release recommends it for fans of Every Time I Die and Protest the Hero and those are pretty accurate suggestions given that We, The Undersigned blends the muscular and groovy riffing of the first with the tricksy and speedy rhythms of the later. The result is seriously heavy and enjoyable, though ultimately not really unique or unheard, but still perfectly capable of avoiding accusations of plagiarism and tribute. ‘Bleed the Constants’ kicks off with ‘IDDQD’, an all up-tempo song balanced between a nimble math-core riffing and a groovy chugging coupled with vocalizations that veers from an angry throated croak to a loud melodic singing. The second track, “Pangaea Mind’, is mellower than its predecessor, leaning towards punk-rock but faster and more abrasive. As a matter of fact, ‘Bleed the Constants’ occasionally exudes a punk attitude, especially in the vocalizations, that verge on screamo. Thankfully none of that whinny style that is in vogue nowadays since that, even in these moments We, The Undersigned display a tremendously heavier and more energetic drive than someone like Thursday for example. With the third track ‘Burning Bodies’ we go back to a more aggressive and crunchy style, and although vocalist Tyler Feeney is ordering us all to relax, the agitated and furious riffing Andy Stevens lets out incite listeners to react and do everything but lay dormant. To sum up, ‘Bleed the Constants’ shows a band with a lot of potential and interesting ideas, even if some of the songs tend to drag a little, clearly destined for greater achievements. So if you’re into bands like Every Time I Die, Cancer Bats and Protest the Hero you’ll need to imprint the name of We, The Undersigned in your memory. (7/10)
First time listening to Majestic Downfall and it gives you this very first impression of great ambiences. Taking the boat ahead to another mind travel as Jacobo (the man behind Majestic Downfall) offers you the chance to contemplate his sorrowed soul, dim thoughts to convey and you’re now wandering completely free, feeling the soft pleasing breeze throughout this beautiful sea of eternal desolation! You’ll definitely get it in you, that ambiance is without a single doubt the highlight of this Mexican one man band and you’re not wrong at all! That peculiar word matches perfectly with Majestic Downfall!!! At my first attempt trying to describe Majestic Downfall; that kind of Scandinavian death metal background on it, mixed up with a doomy and sometimes enthralling atmosphere, surely will remember of bands such as Insomnium and Shape of Despair and even Primordial can possibly pop up in your mind all of a sudden as ‘Temple of Guilt’ naturally evolves and grows in you. Notice that throughout the whole piece, ‘Temple of Guilt’ the CD I had chance to listen; if you’re into this kind of music then you’ll possibly end up drown on a maelstrom of intense feelings, and despair is also greatly present here leading you to a conclusion that this feeling of depression is not a mere act of reflection by the artist behind Majestic Downfall, which in fact pleased me a lot since I’m a huge fan of decadent expression (don’t mind it…just the way I am). To emphasize this concept of solitude, lyrics flood and merge our thoughts definitely buying us a mesmerizing voyage throughout Jacobo’s mind for a pleasant while, at least it sounds like an introspective to his self showing something very personal, something very of his own (only my interpretation of course)! Moreover, I also need to refer the good production that the CD had because it really enforces the aura surrounding this record, some dirty feel flowing into it adding a lot of personality to what Jacobo transmits to his music. Aside from that and despite of being a one man project some melodies should have been better worked out and the solos despite of being well placed aren’t catchy enough either to grab your attention sometimes, which in fact is a pity since they had more potential than how actually they seem to sorted out. The songs are really big as well which may turn up as a boring journey when you’re listening to this band for the first time, repeating off some riffs you simply just don’t want to hear again and again and perhaps that fact could have been avoidable but you know… That’s just my humble point of view, my worthless opinion and it’s not necessarily a critic to this very positive effort by Majestic Downfall because on the overall it is well written and composed. So… guess what? Music is free to be what it is... Nevertheless, a well done job marked by pleasant ideas and as I previously said some catchy ambiances which are definitely the top highlight for this beautiful Mexican act. Recommended (7.8/10)
Echoes of Yul are a two-piece act from Opale, Poland dwelling in a sound balanced between a relatively minimal and trace-inducing down-tempo akin to Jesu and the eerie discordant noise of Godflesh. The convergence of influences from two of the most prominent projects of one Justin K. Broadrick is for the most part extremely enjoyable with the duo comprised of Michal Sliwa and Jarek Lesklewicz presenting us a slow, minimal and repetitive style, with pleasant and simple melodies permeating a disturbing atmosphere punctuated with cryptic electronic effects. Opening song ‘Midget’ forays into the ethereal territory of Jesu. Displaying an intriguing sonic ambience coupled with gentle acoustic chords and a droning, discordant guitar sound that suddenly erupts into an infectious riff cycling endlessly over and over, inducing you into a trance-like state. Curiously, that same riff is rehashed again on a brief instrumental called ‘Everyone’s Midget’. Then there are songs that lean on a more industrial vibe like ‘From Infinity to Infinity’, which starts abruptly with death grunts, harsh, discordant riffs and a heavily distorted bass bringing memories of the bizarre sonic landscapes of the defunct Godflesh. Words are rarely used in Echoes of Yul’s compositions, and they come mostly in the form of grunts, screams, spoken, sampled and effect-processed. The funeral-paced ‘Ape’ and the weird ‘Open’ for instance are fairly dominated by sampled voices. The patterns Echoes of Yul evoke can also be quite hypnotic sometimes and when added with eerie and bizarre effects it gains a haunting and disturbing atmosphere. ‘Walking Skeletons’, probably my favourite song of the album flows in such manner. It starts with a repetitive and infectious bass line, which gradually gets the company of a low-fi droning sound and gentle drums, slowly building in tension to a point where guitars pick up that same repetitive melody, while grunts and screams are added to increase the tension. If you’re into challenging music that dwells in extremes, with a trance-inducing doom contrasting with eerie segments of noise, Echoes of Yul is definitely a band to keep an eye on. (7.5/10) David Alexandre
I had high expectations on the new Katatonia, considering that ‘The Great Cold Distance’ was a true masterpiece. Their past as a doom death metal band is totally gone, and this almost sounds poppish compared with the first times. But do not be mislead by these first lines. Jonas Renske and his boys admitted this to have been one of the hardest albums to write, precisely because it would come after ‘The Great Cold Distance’. Yet, this new record is as good, if not better as its predecessor. They actually make it look easy, to write all the beautiful melodies and the profound lyrics. In general, it follows the line of ‘The Great...’, but it also brings us new things: an entirely acoustic song (Idle Blood) and more experimentation with the electronics and programming, mostly and well used to create the dark and ethereal ambiance aura. Desolation also comes along with songs like ‘Nephilim’ and organs can be heard on ‘Liberation’. And an energic effort on the first track, ‘Forsaken’ the first track given to the world, probably misled too many people in believing that Katatonia have gone heavier and faster on this record. Prog-rock sure made its impact on the beautiful and warm voice of Jonas Renske and gave the guys enough motives to change and experiment some more. All in all, it is a great record from the Swedes. And the production, well, it is the cherry in top of the cake: sublime, intense, well equalized... Awesome, try to hear it with a nice set of headphones or in an expensive surround system (can't wait for the 5.1 mixing), unique experience guaranteed. Also, some Opeth influences are to be expected. But look at it as compliment to their fellows as you can't go wrong with a Katatonia plus Opeth sound, right? It gets an 8 out of 10, it's a unique and intense set of songs. (8/10)
Renihilation: a term coined by band founder and guitarist/frontman Hunter Hunt-Hendrix to refer to the end product of a dissension against dissension, creating something entirely new and clear in the face of destruction. Everybody knows that New York is the perfect scenario for musical creation. And everybody knows that New York is the perfect scenario for experimental musical creation. Well, Liturgy are well aware of that and with ‘Renihilation’ they re-invent the so called USBM (United States Black Metal): triumph and desperation is what you'll feel throughout this brilliant and mind-fucking record. Think of this: Arvo Part composing for a black metal band. And then these kids who look more like they’re coming from the indie scene than trve Emperor or Burzum followers, you don't need to look scary or evil to play trve black metal these days and thank God for that, go to their rehearsal room and play fabulous and intense jams around Part's compositions. Confusing? A little, but it's hard to put this music down in words. Experimenting really comes around in songs like ‘Immortal Life’, but grimness can also be heard, for example on the intense ‘Ecstatic Rite’. Here, we have the post-black metal at its peak, without the acoustic interludes; frenzy blastbeats, multi-layered screams that create just the right amount of tension and suffer and that jazzy and proggy guitar riffs that keep you hooked for the entire record. The influences of Swans, the wall of sound, and Glenn Branca are really present for the whole record. Ordered chaos my friends, ordered chaos. This is the kind of thing you wanna hear if you want to have a real transcendental experience. It kicks your ass. It is proggy, melodic and grim. It will sure be, at least, a cult record. And it is only their first effort! Strongly recommended for open-minded people with urges for tension and totally new black metal. This is how NY indie would sound if they painted themselves with corpse-paints and how black metal will sound in the next years. For sure the black-metal album of this year and one of the top ten of this decade. For now, they're already touring with bands like Krallice and Shrinebuilder. They have the world at their feet. (9/10)
Following up a classic and highly praised debut like ‘Red Album’ can be a daunting task, but damn, not only Savannah’s Baroness have pulled it off they’ve also written an album that’s greater in scope and tops everything the band has done before. With ‘Blue Record’, the four-piece have made a striking, heavily layered and more accessible record without loosing any of their gritty edge. The superbly brisk guitars continue to serve as the backbone for all of the band's compositions, with dozens of sublimely infectious licks that rivals Mastodon’s ‘Crack the Skye’ in terms of bombast and sheer might. The comparisons with their fellow statesman aren’t new and even though Baroness always had their own sonority from the very beginning, they share some of the most appealing traits of former label mates. Both have a special knack for blending epic and infectious melodies with a sludgy crustiness and psychedelic-prog nuances as evidenced on ‘Jake Leg’, ‘Swollen and Halo’ and ‘A Horse Called Golgotha’, all encompassing a classic metal gallop, a beastly propulsive percussion, nimble and meaty riffs, twin lead guitars that exude a NWOBHM feel and robust vocalizations. ‘War, Wisdom and Rhyme’ delves into the same aural landscapes of ‘Red Album’, with powerful and monolithic riffs coupled with John Baizley's raucous vocals, while ‘O'er Hell and Hide’ sees Baroness stepping into a fierce and odd progressive-tinged atmosphere with spoken word verses. ‘Blue Record’ isn’t all blitz and fury, however, as Baroness expand on the swirling Southern bluesy-psychedelics that were already audible on their previous work, adding various instrumentals like the lethargic ‘Ogeechee Hymnal’ and the folk-flavoured ‘Blackpowder Orchard’, and several other nuances to the songs. Take ‘Steel That Sleeps The Eye’ for example, in which Baroness trade in their powerful and thunderous rhythms for trippy and gentle acoustic chords and clean-vocal harmonies submerging the listeners in slow-moving dirge that serves as introduction to one of the best numbers of the whole album, ‘Swollen and Halo’. Oozing a classy and soulful production courtesy indie producer John Congleton, ‘Blue Record’ is an epic and intelligent album that varies greatly in terms of mood and texture from song to song, and even within the same song, yet it should be listened in the context of the whole album for a better listening experience. An absolutely mandatory release! (8.5/10)
While Anathema are taking an eternity to release their long overdue eight album, guitarist Danny Cavanagh pours out his creative energies somewhere else, going out on solo tours and collaborating with kindred artists like former The Gathering singer Anneke van Giersbergen and long time friend, Sean Jude, who is something of a troubadour stuck in the new millennium.
![[Altar of Plagues]](http://lh5.ggpht.com/_jWw5076F9vk/SwWASptJwHI/AAAAAAAAB30/Iol-mcy_U3I/altar_of_plagues.jpg)
![[Black Sun]](http://lh4.ggpht.com/_jWw5076F9vk/SwWATQ5hi0I/AAAAAAAAB34/_lcDw5GYTP0/black_sun2.jpg)
![[A Storm of Light]](http://lh6.ggpht.com/_jWw5076F9vk/SwV-EwOl-SI/AAAAAAAAB3w/wYGQhYcmdxg/a_storm_of_light2.jpg)
![[A Storm of Light]](http://lh3.ggpht.com/_jWw5076F9vk/SwV-EiLLJWI/AAAAAAAAB3s/7OXjFJQKYI8/a_storm_of_light.jpg)
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