http://www.amplesoul.com

https://www.myspace.com/fatjon35





Origine du Groupe : Japan

Style : Abstract Hip Hop

Sortie : 2002

By Paul Cooper  from http://pitchfork.com

Instrumental hip-hop is a tricky proposition. Until DJ Shadow's Endtroducing, the idea of releasing instrumental versions of rap tracks seemed ludicrous. Who'd want to listen to It Takes a Nation of Millions bereft of Chuck D's searing commentary and Flav's wisecracking? Would an instrumental version of Three Feet High and Rising be anything more than just a collection of oddball samples? Endroducing changed the rules. Shadow's curatorish crate-digging made voiceless hip-hop engaging and worthwhile pursuit. Of course, it wasn't too long before less notable and skillful beat-forgers converted Shadow's pioneering endeavor into a budget-priced bandwagon.

Dan the Automator is largely to blame for this. After resurrecting Kool Keith with the Dr. Octagon project, few Automator projects were deemed complete without an accompanying instrumental version. These albums attract me even less than remix albums. At least with a remix album, you might get an intriguing take on a tune you'd previously considered wet shit. Prime example of this is Matthew Herbert's Secondhand Sounds remix collection where he transforms putrid slurry such as Moloko's "Sing It Back" into fascinating concrète funk. But with your usual instrumental hip-hop album, it's the same album, only with the vocals excised-- and without even the expense of hiring Norman Cook to bully his engineer to rig up four samples and roll them into a wire ball of predictability.

It need not be this way! Reggae has a long tradition of released vocal and "versioned" readings of albums, like Burning Spear's Marcus Garvey with its Garvey Ghost dub version, and Johnny Clarke's Don't Trouble Trouble, and the Aggrovators' aptly-titled Johnny in the Echo Chamber. Surely, there's something that can be done about this!

Enter Fat Jon the Soul Physician, the beat creator for the Five Deez crew and a salve to all of us that have been exhausted by waiting for true instrumental hip-hop. Though the cover of Wave Motion may make blatant reference to Stevie Wonder's early 70s third-eye soul, the music is deep and dubby hip-hop cool. This ain't the stuff that'll sell K-Swiss trainers-- nor will Fat Jon be appearing on the glossy cover of Vibe. This, rather, is the stuff that discerning heads will take to their hearts, just as they did with the even more daring Soulmates by Bay Area genius Nobody.

Wave Motion opens almost programmatically with a sumptuous female vocal crying, "To the Sky! Take me home!," as some unidentified hepcat saxophonist hollows his low-down mojo. With these two contrasting elements, Fat Jon states that this record will be a celestially jazzy homecoming. A tight snare creeps in to add just the right amount of head-bobbing funk. With an opening as brazenly self-assured and soulful as this, I forget all my previous notions regarding instrumental hip-hop. "Feel the Void" adds to my enthusiasm. The track creeps up with a liberated bassline that wanders from rhythm to rhythm until a steady pattern emerges. Above these elements, a lonesome flute charts a course through heartache, only to be goaded into lovelorn desperation by occasional bass clarinet farps. Two tracks in, and I've forgotten all about Shadow's over-hyped (not to mention disappointing) The Private Press.

"Visual Music" is not as oxymoronic as its title suggests. It's an uncomplicated, gorgeous téte-a-téte between a restrained drum kit and an array of gently chiming guitars, reeds, and keyboards. "Watch Out" possesses a distinguishing brightness, a feisty club cut after the almost contemplative vibe of the preceding tracks. "For Stress" clothes the Neptunes' tighter-than-spandex snare sound in ambient spangles and Gil Evans horn ensemble lines. "Eyes" continues the jazz without sounding anything like a Digible Planets or Tribe Called Quest clone. "Wet Secrets" vies with "Watch Out" for the club action. "Wet Secrets" will lose out, as the harmonic piano clusters lend the track a meditative quality that will be lost on the Kristal'd and Red Bull'd masses.

And that's the overwhelming thing about Wave Motion. Fat Jon is a conscientious and gifted producer with a talent for creating tracks that work on multiple levels simultaneously. The grooves here are never less than utterly accessible and smartly funky. But like the album's artwork, there's a depth and a melancholy to almost all these tracks. "Feel the Void" is a standout in this regard, but "Depths" aches, too. Wave Motion isn't an accessory or an alternative like so many instrumental albums; Wave Motion is a serious proposition and a statement not only of Fat Jon's studio abilities but also of his introspective aesthetic. With the resilience and the emotional draw to outlast much of what constitutes any variant of hip-hop these days, this record puts Fat Jon on the radar. Expect great things.


Tracklist :
01 Where?
02 Feel The Void
03 Visual Music
04 Watch Out
05 For Stress
06 1975
07 Eyes
08 Wet Secrets
09 Depths
10 Automated Life Machines
11 Surrection
12 Disgust

http://www.akalewube.com

https://www.myspace.com/akaleband





Origine du Groupe : France

Style : World Music , Ethiopic Music

Sortie : 2012

From Official Site :

It is an improbable story: one that reunites, a group of young Parisians with the Swingin' Addis sounds of the seventies. In October 2008, five musicians got together on a wild project: to delve into the repertoire of the ethiopian golden age, discovered through “Ethiopiques”, the famous series of reissues. “The idea was to transcribe songs from this period and rearrange them to the sound of our times. First off, it eliminated the need to write songs that risked falling into ethio-jazz clichés. The aim was not to bring about some artistic revolution through our work but simply to give and take pleasure by performing this music!” Through this retro-futuristic alchemy, the Akalé Wubé quintet was born: a curious name borrowed from a song by the saxophonist Getatchew Mekurya, a bit of an old-fashioned expression which can by translated as “my beautiful” in amharic.

“Since our very first concert in December 2008 we were surprised by the audience’s enthusiasm.” Since then, Akalé Wubé have played a series of concerts, refining a retro sound which resounds perfectly with the contemporary aesthetic of a generation of musicians that juggle genres around. Funk, reggae, jazz, tango... “All of this is found in the vocabulary and aesthetic of the ethiopian productions of the sixties and seventies. It is a cross-bred style of music - so much so, that even by sticking to the repertoire, it can be taken in different directions...” A mix of stripped-down funk soul and smart pop, of garage rock and vintage jazz, this spatiotemporal collision ultimately invites us to a fresh journey in sound, guided by the good sense of groove.


C’est l’histoire d’une rencontre improbable : celle qui réunit, à quarante ans de distance, de jeunes Parisiens et le son du Swingin’ Addis des années 70. En octobre 2008, cinq musiciens se réunissent autour d'un projet fou : s’attaquer au répertoire de l’âge d’or éthiopien, découvert sur la fameuse série de rééditions « Ethiopiques ». « L’intérêt était de relever des titres de cette période et de les réarranger à l’aune de notre époque. Dans un premier temps, ça nous évitait d’écrire des morceaux qui risquaient de sombrer dans les clichés éthio-jazz. Il n’y avait pas de prétention de révolution artistique dans notre démarche. Juste prendre et donner du plaisir à jouer cette musique ! » C’est ainsi, sur la foi de cette alchimie rétro-futuriste, que naît le quintet Akalé Wubé, un drôle de nom emprunté à un thème du saxophoniste Getatchew Mekurya, une expression un tantinet désuète que l’on peut traduire par « ma jolie » en amharique.


« Dès notre première scène, en décembre 2008, on a été surpris par l’emballement du public. » Depuis, Akalé Wubé a enchaîné les concerts sans relâche, affinant un son à l’ancienne qui résonne dans l’esthétique contemporaine d'une génération de musiciens qui fait valser les étiquettes. Funk, reggae, jazz, tango…  « Tout cela se retrouve dans le vocabulaire et l’esthétique des productions éthiopiennes des années 60/70. C'est déjà une musique métissée, si bien qu'en s'attaquant à ce répertoire, on peut l’emmener dans toutes les directions.... ». Mélange de de soul funk désossée et de pop délurée, de rock garage et de jazz vintage, ce télescopage spatio-temporel nous invite au final à un voyage sonore inédit, guidé par le bon sens du groove.



Band Members :
PAUL BOUCLIER : trumpet, mélodica, percussions
ETIENNE DE LA SAYETTE : tenor sax, flutes
LOIC RECHARD : guitar
OLIVER DEGABRIELE : electric bass
DAVID GEORGELET : drums


Tracklist :
01. Marye [04:47]
02. Dodo [04:28]
03. Mata [03:50]
04. Jour de Pluie [02:22]
05. Kasalefkut Hulu [05:24]
06. Almaz Yeharerwa [04:14]
07. Asmarina [03:54]
08. Bazay [05:42]
09. Besetchet [02:39]
10. Sabye [04:37]
11. Tinchel [03:45]

https://www.myspace.com/waitapu

http://www.fresh-poulp.net





Origine du Groupe : Croatia

Style : Electro Dub , Dubstep

Sortie : 2011

Creatives Comons By Nc Sa 2.0 (French juridiction)

From http://www.fresh-poulp.net

Avant de se plonger dans des atmosphères dub, les membres de Waitapu ont commencé depuis pas mal d’années déjà, à faire leurs armes dans des univers bien différents comme le Hardcore, le Metal ou encore le Punk. Avec toutes cette expérience accumulée, ils se sont immiscés dans un dub lourd et profond. Bassonic Lodge est le résultat tangible de cette submersion. Ce premier ep des croates, où l’on retrouve deux remixes de Jah Billah (présent sur Dub Tentacles Vol3) et de Dziga (déjà un poulpe!), a été enregistré au studio Jazbina et produit par Dubolique. Les photos sont de Stela et la pochette par Dorian. Les membres de Waitapu, qui nous viennent précisément de Cakovec, dans le nord-ouest de la Croatie, tiennent à remercier toutes les personnes qui les soutienne depuis leur début.“Un obscure psychédélisme mélangé à une impulsion motorik grâces aux guitares distordues, qui lance la conscience dans un cosmos interne et le corps dans une transechamanique!(Seasplash Festival, Pula).”


Before diving into dub dimensions, members of Waitapu gathered strength and experience for many years in various spheres of hard underground sound such as stoner rock, hard core, hair metal and punk. Taking all that weight with them, they have submerged into deep dub sounds. Bassonic Lodge is tangible result of this submergence. The songs were recorded at Jazbina studio and produced by Dubolique, and ‘remixes are work by Jah Billah (already on Dub Tentacles Vol3) and Dziga (already a Fresh Poulp activist!!). Photos are by Stela and cover by Dorian. Thanks to all who helped and supported Waitapu in any way . The band’s headquarters are in Čakovec, Međimurje county, northwestern part of Croatia.

“This darkened psychedelia blended with a motorik pulse erupts through distorted guitars, launching the consciousness into the internal cosmos and the body into a shamanic trance!“(Seasplash festival, Pula)

Godinama prije poniranja u dub dimenzije članovi Waitapu čeličili su se u raznim sferama života lokalne underground scene i čvrstog zvuka hardcore/punk/metal/stoner glazbenih stilova. Bassonic Lodge je kondenzat skupljan na dodirnoj točki iskustva i otvorenosti novim utjecajima. Kompozicije su snimljene u studiju Jazbina, Dubolique mu je dao dodatnu mračnu nijansu, a remikseve potpisuju Jah Billah (Zagreb) i Dziga (Torino). Fotografiju je snimila Stela, a dizajn napravio Dorian. Zahvala ide svima koji su nam pomogli i bili podrška na bilo koji način. Bend djeluje u Čakovcu, Međimurju, na sjeverozapadu Hrvatske.

‘Mantre dubokih bas linija upletenih u čvrsti linearni ritam i susret zatamnjene psihodelije s motoričkim pulsom dovodi do izboja energije distorziranih gitara, koje lansiraju svijest u bespuća unutarnjeg svemira, a tijelo u šamanski trans’. (Seasplash festival, Pula)


Tracklist :
1 Jeux 3:26
2 Geiger 3:27
3 Truckin’ 3:55
4 Chrom Dioxid 6:21
5 Jeux (Jah Billah’s Dub Reconstruction) 3:23
6 Truckin’ (Remix – Dziga) 4:12

https://www.myspace.com/djshunmelt

http://www.last.fm/music/MABATAKI





Origine du Groupe : Japan

Style : Abstract Hip Hop

Sortie : 2010

Tracklist :
1 tokyo
2 eye
3 oboroge lamp remix ft. PG The Budori
4 NAUMEN
5 gio
6 色 ft. 牛込謙治
7 RIZING
8 woods
9 sonzai remix ft. lee
10 boon
11 girl
12 タラフ・ドゥ・カバル
13 roma
14 piano nostalzia
15 TOKI ft. ジャンベ ナリテツ
16 brain

http://www.deadcandance.com

https://www.myspace.com/deadcandance





Origine du Groupe : Australia

Style : World Music , Alternative , Dark Wave , Trip Hop

Sortie : 2012

From Wikipedia :

Dead Can Dance (sometimes referred to as DCD) are a music band formed in Melbourne, Australia, in August 1981, by Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty; African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras, and art-rock."


Tracklist :
01 - Children Of The Sun
02 - Anabasis
03 - Agape
04 - Amnesia
05 - Kiko
06 - Opium
07 - Return Of The She-King
08 - All In Good Time

http://www.tbhr.co.jp





Origine du Groupe : Japan

Style : Hip Hop

Sortie : 2012

By Ryo   from http://risingsunfreestyle.blogspot.fr

At first glance TOTAL looks like the beginning of a work of art in a studio or perhaps an obscure piece of art in a museum, either way there is no way to judge it by it's cover.

It's been five years since  THA BLUE HERB last released an album and besides a few singles they've been mostly quiet except for touring extensively and releasing two live/tour documentaries. TOTAL has been five years in the making and BOSS has had a lot of inspiration for his lyrics, but can it match their previous albums?



TOTAL starts off with an INTO RAW, an intro that as the title says, has a lot of  raw energy with a mixture of instrumentals that could easily be in any video game or film, it's that good at conveying emotion Definitely worthy of a battle scene in any period film. After INTO RAW we're sent into BOSS's world with WE CAN...

This song makes you feel like you're on a train going through Sapporo in the dead of winter, perfect traveling music with a great vibe. I can see why this played during the TOTAL CM and it showed the perspective of someone on a train in the Hokkaido winter. This song is totally about BOSS repping his home town, lyrics such as "This is Sapporaw. 47 Prefectures ROCK ON ROCK ON Susukino South 7th street At Home. From platform no.5 to the new Chitose Airport" This song is definitely about where Boss comes from and his perspective on life coming from a working class town in the isolated island of Hokkaido.


The next song called Everyday New Dawn starts off like a Herbest Moon song usually would (Herbest Moon is BOSS's side project of nothing but DUBSTEP and Dance music along with Calm), but with BOSS's trademark rapid fire rapping. It's a very good song to dance to, but don't let the mood fool you, this is about the road ahead and Phase 4 is about to begin. (For clarity please see their EP Phase 3 and their latest DVD Phase 3.9). The next song titled FULL MENTAL JACKET is BOSS's attempt as telling us who is he as an artist and his beginnings from B-BOY to rapper. The beat is very catchy and the piano is beautiful.

The 5th track is called Saturday Night, Sunday Morning & Afternoon and it truly makes one think of partying all night and into Sunday. If there's anything Boss loves it's party music and this song is definitely a hommage to that. SNSM is a brillaint mixture of BOSS's rapping skills and the instrumentals of a HERBEST MOON song. You could definitely hear the first half on a DUBSTEP mixtape anywhere in the world. Halfway through it stops abruptly with a crowd cheering and goes into another side of TBH with O.N.O.'s entrancing melodic beats and BOSS's soft and slower rapping.

The next track is called My Loves Town and it's exactly as it says. Boss loves Sapporo. This song has a very soft, but old school hip hop beat to it. His love is very evident with the line " "welcome back" i smile and say "good to be back" MY LOVE TOWN/ DOWN TO LOVE TOWN"

Track 7 is called THA NORTH FACE and it is by far the deepest song in terms of lyrical content especially when BOSS says "BACK IN THE DAYS/'97/serving meals to my customers but I was always hungry. Thanks to friends who didn't ditch me. We were bluffing our best. Nobody had any expectations from the unnoted north. This is how I wanted to be so I don't feel any pain. I don't conform. Took or taken said or not said it's what has fed me these past 15 years"

The next song UNFORGIVEN talks about how the Japanese music business is a very unforgiving place and how one day you're on top and the next day you're not. A perfect example of this is the line "3,000 album sales make it a hit. What a miserable scene it has turned into, not like 15 years ago"

The next song is called LOST IN MUSIC BUSINESS and it's very much like RAGING BULL and it's entirely about how the music executives are greedy and don't care about the musicians or the music they make. Exactly why BOSS started THA BLUE HERB RECORDINGS. The next song GET READY is an extremely deep account of life in 1945 during World War II which very few people in Japan remember these days or will acknowledge, the past is the past after all.

Track 11 is called Stand on the Word and it's a very almost militant track that starts off saying "I'm not your typical Japanese" It's clear from the lyrics that this song is about standing up for what you believe in and being true to yourself.

Track 12, (there's 13 songs) I guess BOSS doesn't believe in superstition, don't blame him (lol) is called BRIGHTER and it's a very optomistic song especially when BOSS says "I don't know when it will be but my friend it will be brighter. I don't know if there will be salvation my friend it will be warmer. I don't know when the end arrives my friend you are still in time. We don't know anything but we wont be afraid. Brighter."

The final track is called RIGHT ON and it's the longest song on the album at roughly 8 minutes long. It starts off with a very upbeat, but deep instrumental, a trademark of O.N.O. as a producer, but once BOSS starts there are periods where it picks up a lot and becomes a very uplifting song and you can feel the emotion pouring out of BOSS as he raps about things he wanted to do but never got the chance and things he wants to do in the future and the beginning of PHASE 4. RIGHT ON has one key subject and that is DON'T STOP! No matter how much life gets you down and people put you down, just get right back up and keep going. I especially love when Boss says "I hear FUCK YOU'S from somewhere far away. I'll just give them a FUCK YOU TOO"

TOTAL has been five years in the making and it shows. It's a very well polished album with the sound you've come to expect from TBH, but with a few new twists to show that they are ever evolving. BOSS has had a lot of time to reflect on his 40 years on the earth and the lyrical content shows. TOTAL is exactly that. Complete. TOTAL could very well be their best album ever or at least equal to the rest of their extensive catalog of real hip hop from the streets of Sapporo.

A little note for people who don't know the group. All of their music is mostly in Japanese, but the physical copies of their music feature translated lyrics. Their website also has an english section wtih links to lyrics, audio samples and interviews. http://www.tbhr.co.jp

4.5/5 A Definite Buy. The only disappointment is that their latest single STILL RAINING, STILL WINNING/HEADS UP is not on the album, but it was a limited release so I guess that makes sense, just a little disappointing for fans though I would think. That is the only reason I could see this not getting a 5.


Tracklist :
01 - INTO RAW
02 - WE CAN
03 - EVERYDAY NEW DAWN
04 - FULL MENTAL JACKET
05 - SATURDAY NIGHT, SUNDAY MORNING & AFTERNOON
06 - MY LOVE TOWNS
07 - THA NORTH FACE
08 - UNFORGIVEN
09 - LOST IN MUSIC BUSINESS
10 - GET READY
11 - STAND ON THE WORD
12 - BRIGHTER
13 - RIGHT ON

http://www.cimarroncolombia.com





Origine du Groupe : Colombia

Style : World Music

Sortie : 2011

From http://www.worldmusicstore.com Percussive strings and maracas, dynamic vocal expression, and full-throttle pace earned the joropo of the Orinoco plains of Colombia and Venezuela its place among the most exciting regional musics of Latin America. On this, its second Smithsonian Folkways album, the GRAMMY-nominated and internationally acclaimed Colombian ensemble Cimarrón distills this excitement into a tightly arranged, even more explosive rendition of their tropical tradition. Through their powerful, moody, and unbridled sound, they live up to the meaning of their name Cimarrón—“wild bull.” This album is part of the Smithsonian Folkways Tradiciones/Traditions series of Latino music albums, produced with support by the Smithsonian Latino Center. Tracklist :1     Joropo quitapesares (Joropo Quitapesares) - 5:31 2     Vine a defender lo mío (I Came to Defend My Own) - 3:24     3     El cimarrón (The Wild Bull) - 3:16     4     Zumbaquezumba tramao (Planned Zumbaquezumba) - 4:19     5     Llanero siente y lamenta (Plainsman Feels and Laments) - 3:00     6     El gavilán (The Sparrow Hawk) - 5:08     7     Llanero soy ( I Am a Plainsman) - 2:18     8     La tonada (The [Milking] Song) - 3:08     9     Mi sombrero (My Hat) - 3:38     10     El guate (The Outsider) - 3:20     11     Tierra negra (Black Land) - 3:16 12     Mi llano ya no es el mismo (My Plains Are No Longer the Same) - 3:25 13     Cimarroneando (“Cimarrón-ing”) - 4:27

http://www.last.fm/music/The+Grassy+Knoll

http://www.sixtyonesixtyeight.com





Origine du Groupe : North America

Style : Trip Hop , Experimental

Sortie : 2003

From http://www.ivibes.nu



The Grassy Knoll's highly anticipated new album, short stories, features vocals by New York performance artist Becca Ayers, and represents the first new Knoll music since 2002's Happily Ever
After on Emigre. Honored by Billboard in 1996 for his now-classic 1994 self-titled Verve release, the Grassy Knoll's Bob Green has continued to enjoy a reputation for uncompromising music that
consistently defies categorization while transfiguring hip-hop, avant-garde jazz, and heavy rock..





Tracklist :

01. Carrie Carrie Carrie

02. The Confounded Bridge

03. My Little Black Book

04. Lipstick Traces

05. Down

06. In the Winter of '72

07. They Found Another Arm Today

08. Burn

09. The Drought

10. Broken Wings

11. Feather Dusted My Face

http://www.opiuo.com

https://www.myspace.com/opiuo





Origine du Groupe : Australia

Style : Glitch Hop , Electro

Sortie : 2010

From http://reviews.headphonecommute.com



What Opiuo‘s music does first and foremost is entertain me. And sometimes that’s what great music is supposed to be – fun, quirky, and [most importantly] intelligent! In all its playful rhythms
and funky beats its Opiuo’s confidence that shines through the grimey bass wobble and synth stabs. For his debut full length release, Slurp And Giggle (Addictech, 2010) Melbourne (Australia)
based producer, Oscar Davey-Wraight, creates dopelicious, psychotronic, and krunkedelic concoction of “tight irresistible grooves, chunk fueled bouncy beats, luscious brooding soundscapes,
dollops of stomach morphing bass, and a bowl of scrumptious glitch.”



With digital releases on  Empathy Digital, Muti Music, Iboga, Colony Productions and Addictech Records, Opiuo’s sound is up there among my favorite mind twisters such as KiloWatts, Cursor
Miner, Tipper, Vibesquad and Mr. Projectile. It’s no wonder that Slurp And Giggle spent a long time at the top of Addictech online store’s most downloaded charts. The upbeat tone of this top
notch production generates a feel-good party vibe, which I’m sure will be confirmed at his upcoming performance. Besides Slurp And Giggle, I recommend you pick up Opiuo’s 4-track The Squiggle EP
released by Addictech in June of 2011. Really enjoyed this one, and highly recommended! File under glitch-hop.





Tracklist :

01. Introvenus

02. Robo Booty

03. Creamy Taco

04. Brain Blow (feat. Sunmonx)

05. Off Chops (feat. Jess Chambers)

06. Tender Wrinkle

07. Water Mouth (feat. Sunmonx)

08. Patchouli Dump Truck

09. Myrtle The Turtle

10. Loist Moinal

11. Spanners

12. Petrichor

13. Slurp And Giggle (Album Mix)

http://www.gridaloforte.com

https://www.myspace.com/bandabassottiband





Origine du Groupe : Italia

Style : Punk , Rock , Ska

Sortie : 2012

From Wikipedia :



Banda Bassotti is an Italian ska-punk band formed in 1987 in Rome. Their songs are generally political in nature, focusing on Communist and anti-Fascist issues. Many are about Latin America, as
well. The band was inspired by The Clash and The Specials. The band was very politically active from the very beginning, attending protests and sympathizing with anti-Fascist movements in Italy.
Their name derives from the Italian version of the Disney characters The Beagle Boys.





Tracklist :

01 - Mané

02 - Ellos Dicen Mierda y Nosotros Amen (Evaristo)

03 - Rum & Polvere Da Sparo

04 - El León Santillan

05 - Siamo Guerriglia

06 - Gasolina Essence

07 - Zuhaitz Askeak

08 - Jail Book

09 - La Banda Del Cimitero

10 - Contenti Voi...

11 - El Cañón De Las Hermosas

12 - Mio Fratello È Figlio Unico