Ayreon - The Theory of Everything (2013)

With Ayreon,  Arjen Anthony Lucassen has created some of the most impressive progressive metal albums of all time. “Actual Fantasy”, “The Universal Migrator” and “01011001” are my personal favorites. I always felt that some of the albums such as “Into the Electric Castle” and “The Human Equation” overstayed their welcome. They just weren’t that interesting. Or it could be the fact that the space themed albums are what Ayreon succeeds at. Since 1995, Ayreon has been one of those bands that tries different things and doesn’t always succeed. Wait a minute, hold it. For those who don’t know, Ayreon is masterminded by Arjen Anthony Lucassen. Every album has different members and different storylines. Ayreon is the central character (not for a while though). I’m going to keep referring to Ayreon has a band in this review, not just one person. Anyway, Ayreon experiments a lot and most of the time succeeds at creating incredible landscapes of music. When I first heard the news of a new album in the works, I didn’t know what to think. Would it go back to the “Actual Fantasy” sound or would it sound like “Into the Electric Castle” again? Well I was way off. It does go back to the more organic sound found on “The Human Equation,” but it completely obliterated my expectations for an Ayreon album. Welcome to “The Theory of Everything.” Welcome to the future of progressive metal.

“The Theory of Everything” is divided into four movements. "Phase I: Singularity,” "Phase II: Symmetry,” "Phase III: Entanglement,” and "Phase IV: Unification.” Each part runs about twenty minutes and they each have smaller parts that could make up individual tracks. I like the fact that the songs are long but you can also skip to your favorite part of the song. Although it’s not recommended to skip through each phase, it’s just a nice addition. At first listen to this phase, it’s evident that pure love and care went into this album. There isn’t one misstep or low point on the entire album. The recurring songs “The Theory of Everything” are all mind-blowing. Through the album the one basic track keeps evolving until it ends with “The Theory of Everything part 3” which is one of my personal favorites on the album. That’s what this entire album does perfectly, evolution. The album starts and ends the same, so it gives it a full circle feel, with the middle of it transcending music. This isn’t just musicians getting together and making something off the top of their heads, this is pure musical genius that comes from deep within the soul. Tracks like “Potential” and “Dark Energy” are cleansing for the body and mind. I’ve never felt emotions like this through music. The album also has heavier tracks like “The Teacher’s Discovery” and arguably the best rack on the album, “The Lighthouse.” The variation of this album is outstanding. No song sounds the same but the flow is immaculate. Not one song is out of place and not one vocal is in the wrong spot. “The Theory of Everything” is Arjen Anthony Lucassen life’s work rolled into one album. Nobody does it like him and I don’t think they ever will.

As I’ve said before, Ayreon’s albums have been very uneven. “Into the Electric Castle” still doesn’t do anything for me. However, I’ve always been a fan, but now I’m a huge fan. I could go on and on about how groundbreaking this album really is, but I thought I would stop myself before I sound like an ass, unless that already happened. But I really don’t care and I’m not going to avoid the obvious. “The Theory of Everything” is without a doubt the future of all progressive metal and should act as a blueprint. Again, there is not one part out of place and not one track is boring. Different genres and sounds all combine to make something extraordinary. This is more than an album. It’s emotions, love and passion made into sound waves. “The Theory of Everything” is as close to perfection as you can get. It’s a master-class album that will be remembered for years to come and it’ll make bands wish they were this good.

10/10

Facebook - https://www.facebook.com/ArjenLucassenOfficial

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Leka - Catopia (EP) (2013)

Anyone who has been fortunate enough, or unfortunate enough depending on your viewpoint, to have a pet has surely wondered what goes on in their minds. Cat owners, in particular, have to wonder what kind of plans are being hatched in that furry dome. With their popularity on the rise thanks to the various channels of the internet, it only makes sense that world domination is on the docket each and every day. Leka, a one man progressive death metal project from Finland perpetrated by Juuso Leinonen, has invested a good amount of time into this possibility. And through his melodic death compositions, he has concocted a satirical tale about the rise to power of our furry overlords, and their rule over all of mankind. Roles now reversed, with us as the pets, and them as the owners, a new world order is in place. And with the five tracks of "Catopia," their story will be told for generations to come.

With guest appearances attached to much of the album, not the least of which is the beautiful voice of Elise Karlsson, there are a lot more pieces at play than just one mind. But as "Offering to The Fluffy One" proves, this is no joke. If you aren't bruised and battered by the neverending stream of double kicks and machine gun snares, the high levels of distortion will surely catch up with you. But between savage beatings, Leinonen infuses a healthy amount of avant jazz stylings, something you would never expect here. Their effect is felt, but it cannot derail what is otherwise a blistering assault on the ears. "Hail The Evil" is no different, employing the full armory of weapons at his disposal. As the clean vocals of the verse give way to the explosiveness that follows, Leinonen may have found a perfect storm to sweep you up. Lyrically, the cat has risen, "An ancient evil, older than time itself, worse than the antichrist." The contrast of the early part of the track is not lost here, with that repeated clean passage setting up each subsequent explosion. By track's end, a chorus of voices, clean and harsh, chant together.

More than the other tracks, though, "The End Starts Now" is the perfect mix of metal and satire, with Leinonen crafting a track that is musically diverse, but also punishing when it needs to be. A true album highlight comes just before the two minute mark, as Karlsson and Timo Olkkola duet in a Vaudeville style, one that brings to mind recent works of uneXpect in it's bizarre nature. Once again, the creativity in the lyrics shines through, as Leinonen drops the bombshell line "It's useless, like dolphins, converting to Christianity, with no reason why." The words may poke fun, but the delivery is applause worthy. It would be damn near impossible to pick out a track that stands out more than the others, but the marriage of opposites on "Turncoat" might take the proverbial cake. In the verse, you have a blackened death metal delivery that rivals the best acts in the business; showing once again that satire may be tongue in cheek, but this isn't a gimmick. But you also get a soaring chorus, a  dynamic and powerful vocal component. You have the story at your disposal throughout the album, concluding with the aptly titled "The Purge." Every bit of blood and guts that is coming is captured in both the instrumental and the vocals, a terrifying means to an end.

It's no secret that metalheads are notorious for their love of their pets. As I sit writing, I have two sets of eyes fixed on my jugular, waiting for the time to strike. But this project, this work by Juuso Leinonen, has brought together many of the things we hold most dear; our pets, our music, and the crippling fear of being overthrown. It can't be stressed enough that subject matter does not disqualify an album under any circumstances, whether it be about Christianity, Goblins, or even cats. If you can't reconcile the lyrics and themes here, you would be more than welcome to digest what is one of the most intensely successful instrumentals we've heard in recent memory. But adding in the well thought out lyrics and story, you have an album that is something else entirely. Leinonen characterized the album as a "story about cute demonical creatures seizing the control over mankind," and he has done more than enough to get that across to us. But every riff is followed by a sly smile, concluding "Catopia" with the lyric that seals the deal; "It's so fluffy, So fluffy I'm going to die."

9/10

Bandcamp - http://leka.bandcamp.com/
Facebook - https://www.facebook.com/Lekaband

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Russian Circles - Memorial (2013)

You might never see them on a late night talk show, or even hear their name mentioned on any radio or TV broadcast, but that doesn't make Russian Circles any less of a musical revelation. Their work in the post rock and post metal genres has allowed it to take shape over the years, expanding to new reaches with every album. In 2011, they released an album that would have seemed to push the boundaries as far as they could possibly go without fracturing or breaking; they had found clarity in all aspects of the process. They were, in fact, one of the first modern metal acts that proved vocals were a luxury, not a necessity. But when you find that niche, that home amongst your peers and competitors, you never stop moving forward. And some two years later, they've gone even further into the unknown corners of their craft, bringing the art of the music back in earnest. Ad inside their artwork, another eight tracks of expansive, ethereal metal known as "Memorial," you will be reminded of why you loved music in the first place.

While not unheard of in Russian Circles albums past, "Memoriam" takes delicate to new places, softly plucked guitar strings cascading through your speakers with ease and care. But it would be foolish to assume this was a new direction, and the first kick drum in "Deficit" puts your mind at an immediate ease. The drumming here is intensely accurate and abundant in scope. Even with the guitars providing the main melody, it is the drums that are the driving force, be it through a series of toms and snares, or a simple snare build. It also is a constant reminder that small doses of unbridled heaviness can do wonders for the depth of the mix, surprising you by throwing a bit of caution to the wind and mercilessly hammering down from above with a set of monster riffs. But the greatest success in a track like this is always finding your way back to the main street, in this case that almost eerie calm before the storm. It has worked so often in a growing career arc, whether that return comes in the beginning, middle, or end.

In "1777," it is the building from the first note that sets it apart. The intensity is always there, but it comes in and out like the tides; one minute it is a smooth flow, the next it crashes down like waves on the rocks. The melodies are infectious in their simplicity, and memorable in their depth of sound. The outro, as it winds down, is a fitting end. Unlike many other bands in the genre, Russian Circles have always shown a knack for crafting a visual style of music. In "Cheyenne," they make a track that clocks in well over four minutes, and turn it into a crying guitar line that feels like mere moments. Again, it isn't insanely complicated or contrived, but it speaks volumes. It moves you, and moves with you, up through the final fading strings. And yet, a single breath later, and you are knee deep in a song that could certainly be described as having a touch of evil in the mix. It may not be the next Satanic anthem, but there is surely more than a sprinkle of darkness in "Burial," captured so carefully in it's howling guitar leads.

But with another tectonic shift close at hand, you find yourself riding a wave of sheer terror to it's completion, landing you squarely on the soft, coddling "Ethel." It boasts a beautiful post rock atmosphere,a  melodic soundscape that builds you up so easily, without even a hint of letting you fall. It lays down the tablecloth and silverware for the final movement, a pair of tracks that couldn't be more different or more the same. "Lebaron" comes first, it's periods of chugging and distorted guitars feel so precise, yet so reckless over the drums. It is, of course, the logical progression of an album with so many logical progressions. But it, in the scale and flow of the album, may be a throwaway, due in large part to what came before, and what comes after. Because while "Ethel" set the table, it is the title track that clears it, without so much as a meal in sight. This collaboration with Chelsea Wolfe, this breathy, airy work that no one outside of the band's inner circle could have seen coming, is as charismatic a tune as you could find, without ever rising above a simmer.

We've delved deep into the world of reconciling musical expectation with musical reality before, to varying results. And the main thing that we, as fans digesting media, forget, is that these albums, this music we hear, is art. Sure, bands would love to sell a few millions albums at a time, and live comfortably as a full time collective of musicians. But the landscape of the music industry has changed so drastically, that that isn't a viable option for rock and metal. This is the genre where, with exceptions, of course, the men and women within our favorite bands can make music to be proud of, to express themselves. Russian Circles have always been high on the short list of groups that need little to no vocal component to say what they choose; their work has done so much for the post-music sub sects of metal. But never before has their voice been so united, so clear, and so well represented as it is on "Memorial." They gently push and pull you along, leading and showing you the way to a different sort of end. And with that collected voice, they say more than ever.

10/10

Official Site - http://russiancirclesband.com/
Facebook - https://www.facebook.com/russiancirclesmusic

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Black Soul Horde - Tales Of The Ancient Ones (2013)

What do you do when your side project is just as good as your main band? Such was the conundrum faced by Jim Kotsis and John Tsiakopoulos, when their newly found Black Soul Horde was coming together. Combining their love of classic heavy metal, the new wave of British heavy metal, and modern melodic metal, this now rounded out five piece are not the embodiment of their artwork. The black figure that stands on the mountaintop might indicate, to the uninitiated masses, that you have stumbled onto the latest folk metal powerhouse from Greece. Alas, friends, this isn't another folk hopeful; but a driving force in the next wave of heavy metal. In the cyclical world of music, everything is bound to come back at some point down the line. Whether you embrace it or ignore it is up to you. Kotsis and Tsiakopoulos have chosen the former, adopting the sound of the many bands that came before them without resulting to mindless hero worship and recycled riffing. As a result, their debut album is a breath of fresh air, with a familiar smell. Young or old, "Tales Of The Ancient Ones" is a battle cry for the very origins of the genre.

It isn't a stretch to hear a lot of classic metal sounds on "Let The Valkyrs Ride," which would seem to be the natural intention. From the driving riffs to the battery of drums that flank them, it takes you back to a different point on the metal timeline. The drums gallop ahead, like a horse into battle. But this isn't a contrived take on folk metal; vocalist Kotsis wails over the top of it all, his voice capturing the old meets new ideology. He pushes his vocal limits at times, hitting the high side of his register. But his counterpart, guitarist Tsiakopoulos never seems to reach the end of his talents. The speed and accuracy in the opening to "Reborn In Fire And Blood" is not to be trifled with. Joining in lock step with his rhythm section, Tsiakopoulos sets the tone. That tone, break neck and intense, is mirrored in everything the band does here. You may not find miles of depth here, but what they lack in subtlety, they more than make up in chemistry. Tracks like "Hour Of The Dragon" are the prime example of a band in their comfort zone. Additional vocal harmonies do wonders for Kotsis, while the rhythm section of drummer Jim Zafiropoulos and bassist Stelios Dogas flex their collected muscles time and time again. Perhaps the most fitting piece of nostalgia comes in the form of "Demonon Tagmata" which combines all of the things we loved about metal in the formative days; you can hear Iron Maiden, Black Sabbath, and Judas Priest here, reaching out from the past, surrounded by wave after wave of catchy riffs and memorable hooks.

More than any other, though, "Ancestor Of The Ancient Gods" is a song that goes above and beyond the call of duty. Kotsis hits a groove both vocally and lyrically, adopting a more dynamic melodic style that would surely incite more than a few lighters to go up. Make no mistake; there is not a ballad anywhere it sight. Instead they balance melody and driving riffs in one arching track. If one must find any fault here, it is in the length of the track, clocking in over six minutes long. By no means is it padded out with filler, but Black Soul Horde operate most efficiently in shorter bursts, like the one on "Horns Of War (Evermore)." The energy hits a high, and the band throws caution to the wind in favor of another driving anthem. Kotsis, despite a shaky beginning, has seen his voice grow over the course of the album, now commanding the room like never before. As a result, Tsiakopoulos has the freedom to unleash a flurry of deft fretwork. I would be remiss in failing to mention rhythm guitarist Costas Papaspyrou, who holds down the fort when his counterpart goes wandering. There is a great deal of Ozzy Osbourne influence to be found on "Coming Home (Call Of Gaia)," a real platform for Dogas to work some much deserved bass magic. His work, along with the dueling guitars, are just as expressive and rich as the vocal lines. That notion is the real victory of the latter half of the album, especially the finale track, "The Light." It leaves a lasting impression, an epic portrait of a band who knows exactly what they are, and what they can do. One last dazzling melodic passage and you cruise to a dramatic finish.

Most of us aren't fortunate or talents enough to have one band that people would want to hear. Kotsis and Tsiakopoulos, thanks to their talents and drive, now have two. There are a lot of different elements at play on this album, most of which would sound familiar to anyone who has delved into the history of metal. But their familiarity doesn't mean they are overused, or even past their prime. Black Soul Horde have taken hints from the past, and used them to piece together the puzzles of the modern age. For every bit of influence you hear in the riffs, in the varied and balanced vocals, you hear just as much of the new school of musical thought. That isn't to say that this is a perfect blend of the two, or the best you'll hear from this band. There are kinks to be worked out here and there, mainly in the evenness of the mix; balance isn't true balance if the levels aren't spot on. But outside of that, you have an album that is catchy, high octane, and ready to roll. Throw out the artwork, throw out the name; Black Soul Horde is modern classic metal without a hint of irony or cliche. And that is a recipe for success.

7.5/10

Bandcamp - http://blacksoulhorde.bandcamp.com/
Facebook - https://www.facebook.com/blacksoulhorde

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Cult Of Luna - Vertikal II (EP) (2013)

For the mere mortal bands, the ones who have not fully embraced the rocky road known as a career in the music industry, one album every few years might be enough. A consistent schedule of touring and  album release, followed by downtime to accept accolades and praise. But for the true iron men, it's never enough. After lying dormant for five years, Cult Of Luna awoke from their self induced slumber to tell the tale of a city on the verge of ruin. The first installment of the "Vertikal" series was a revelation; they managed to capture the desolation and class struggle of a futuristic city in mere beats and notes. How they did it is anyone's guess. But the story wasn't finished, and the band had more to tell. The second part, recorded during the same sessions, may not match the first in length. But what it does is bring the story to a neatly wrapped conclusion without losing any of the blustery energy and rough around the edges style that the first was so high on. Their second offering this year, and a stunning means to an end, "Vertikal II" is tension incarnate.

Ominous and somewhat haunting tones, which were plentiful on the first installment, become a key component early in the second. Despite the mechanical nature that "O R O" brings to the table, it feels natural; the swaying vocal melodies don't come off as manufactured. But that same sense of foreboding and despair rings true throughout, from the vocals to the echoing cry of guitars. It isn't until almost five minutes in that the teeth of the track emerge, a set of calloused screams cutting through the ambient energy. What was a minimalist approach becomes a grating, metal on metal cry for reason. One look at the waveform for "Light Chaser," the beautiful upward slope of sound, and you begin to fully appreciate the approach here. A repeated guitar melody is the lead, in a sense, but the relationship between light and dark is the true star. The clarity with which each instrumental piece is delivered provides one half of the equation, while a fragmented screamed vocal supplies the other. They would thrive perfectly on their own; but together, they are an exercise in the harsh arts. By track's end, the overwhelming distortion engulfs all. The longest, and not coincidentally most complete, track on the album, the twelve minute "Shun The Mask" is an apt conclusion to this musical venture. It rises and falls, exploring both the crushing blows of percussion and voice, and the moving joining of melody and ambient sounds. As the drums fade in for the final assault, nearly nine minutes in, no one could prepare themselves for the terror of those blood curdling screams.

There is a danger in being so prolific; if your second is not as well received as your first, fans and critics will wonder why more time wasn't taken to perfect the pieces of the puzzle. Cult Of Luna knew the risks before they slapped the labels on the EP, and they felt strongly enough about the material present to go ahead. Looking back, there is not one reason to think they shouldn't have. On music alone, "Vertikal II" is every bit as terrifying as it's predecessor. They, once again, put class struggles and city struggles onto recorded media in the most profound of ways. But the most impressive aspect in the series is the way they take hopelessness and despair, and translate it into a series of riffs and drum patterns. I, much like many of you, have not passed the Rosetta Stone lessons necessary to make this leap from emotion to musical language, nor will I ever truly be able to decipher the subtleties and nuances. But here, on the second half of a milestone in modern metal, it doesn't matter. Cult Of Luna have done the work for you.

9/10

Official Site - http://cultofluna.com/
Facebook - http://www.facebook.com/cultoflunamusic

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Assignment - Inside of the Machine (2013)

Space themed power metal has always been a cherished treasure for me. Being a fan of sci-fi, space metal is a no-brainer and bands like Ayreon just excel at it. It’s been a while since I’ve heard good metal in the same vein. Well, that is until now. On their third album, Assignment creates a well written and epic album. Does it borrow from other bands? Sure it does, but that doesn’t make it bad. The influence from Ayreon is present, but it doesn’t make them sound like a rip off. They add enough of their own style to break away from being called an imitator. On “Inside of the Machine,” Assignment is more focused and skilled than ever before.

 The album opens up with “Upload the System” which couldn’t be more perfect of an album opener. The instruments have a mysterious sound and the choirs give the song an extra push that lays the road down for the journey ahead. “The Intrusion” has a very Symphony X vibe to it and is a perfect continuation of the opening track. “I am the Machine” and “Resistance” continue the progressive flow with “Resistance” having some really impressive keyboard and guitar work. “Love Between Heaven and Hell” is a decent song that sort of misses the mark. It tries to be an emotional ballad, and while it does succeed in certain aspects, it ultimately falls flat. “The Betrayal” is another low point on the album that can be skipped. It doesn’t do anything that hasn’t been done on the past few tracks. “Messiah’s Fall” brings the album back on track complete with great vocals and spot on musicianship. “Ending Love” is one of the best tracks on the album, hands down. The keyboard intro leads into an awesome riff and the transition couldn’t be more perfect. The chorus is also one of the best on the album. “Another Sacrifice” has a crazy keyboard outro that has to be heard to believed. “Walk Alone” and “Eternal Silence” are tied for best track on the album. Both are incredibly well done and have some really impressive guitar work. If I had to choose though, I’d go with “Eternal Silence.” It’s the track where everything comes together in a complete package that won’t be forgotten. “Bug in the System” is a perfect instrumental bridge between “Eternal Silence” and the closing track, “End of the Machine.” The closing track doesn’t do anything new and it’s not quite as good as the last couple of tracks, but it does end the album well.

“Inside of the Machine” isn’t a perfect album, but it’s damn good. The few missteps it takes are made up by the sheer variety the other songs offer. There are so many different styles of music crammed into one album, and that is a hard feat to pull off for any band. Assignment knows how make an album that really feels like one big idea. The songs never stray from the general sound and everything has its place. As I’ve said before, the musicianship is outstanding. Some of the best sounds this year. “Inside of the Machine” is a fantastic album that might give Ayreon’s new one a run for its money. Fans of progressive space metal, rejoice. Your album has arrived. 

9/10

Facebook - https://www.facebook.com/AssignmentMusic

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Aylwin & Černá - Split (2013)

The concept of a split might still be foreign to most people; it isn't a new process, but it is far from mainstream. However one may come about - be it by the collected minds of the bands, a label, or just a compilation - there have been some interesting collaborations in the past. But when you see the names of Aylwin and Černá on the same disc, you are getting two of the brightest stars and most talented musicians in the new wave of black metal sub sects. Aylwin, on one hand, stays true to the genre, opting for the rough recording and machine gun drums that have made it a cult favorite for decades. Černá, a one man project that, by our count, has one of the best albums of the year in "Restoring Life," is a example of finesse in the face of brutality, combining the old and new schools of thought. Separately, they are at the top of their respective scenes. Together, you have roughly twenty five minutes of varying and eclectic metal that is sure to be a testament for the future of the genre.

Aylwin's contribution to the split begins with the most subtle of beginnings. Strummed acoustic guitars only last so long before the raw black metal sound pours through your headphones to unsuspecting ears. As harsh as the sound may be, it is also somehow refined, even containing a melody hidden just below the surface. It is organized chaos, with crushing blows coming at every turn. But when the tempo is dialed back, even in short doses, it does wonders for the mood. There is something somber, yet reassuring in the opening to "Always And Forever;" the combination of chords and plucked strings sets the table perfectly for the crying guitar that dominates the latter half. Snares drums snap down in rapid succession, a true black metal tenet. But the soulful guitar solo that launches the final minute is anything but traditional. The minute long interlude, "Pale Watcher," is enchanting in it's own right, a fragile piece of clean guitar work. As it fades, the rumble of distortion returns, with two layers of guitars fighting for space with a massive drum sound on "The Taste Of Lips." Every passage is more intense than the last, bolstered further by the clean vocal presence of Michael Korchonnoff. It seems almost unreal how much his voice impacts the sound, but as the second half comes, it all falls into place. The cleanest of outros, for the most emotional finish.

Needing only one track of his own to be felt, Černá mainman Cody McCoy uses his entire arsenal in his effort. The ease with which he crafts the intro to "Zavis; Lost" is phenomenal, floating through an acoustic piece. But his talents don't end there, as we well know. The crisp mix accentuates all of the flourishes of sound, from the drums to the multiple layers of melodic guitars. The balance between distortion and melody is one that is barely attainable, but rewarding. By using a spoken word portion, this particular one talking about the dangers of addiction, he adds another level of meaning to the track. He uses his creativity to his musical advantage, surrounding himself with more and more depth of sound. The soundscapes created here are incredibly detailed, with seemingly more layers than one could count at any one time. But whether or not you find meaning in the full circle finish is key. The track winds down, returning back to the simple clean guitars for which it came.

If you're out and about, wandering through your favorite record store, and you happen to see a split LP by one of your favorite artists, pick it up. Take a long look at what's there. A b-side? Unreleased? Acoustic? Chances are, it'd be more than worth the money to hear it. Aylwin and Černá are more than capable of putting out discs on their own; Aylwin alone has been a part or the whole of four releases in the last twelve months. But in this format, they can lend each other a helping hand, giving the audiences of one to hear the other. And with the advent of the internet, which occupies most of the word of mouth sect of music sales, that chance is invaluable. They are giving the fans what they want, that being new music, without making them waiting a year, two years, three years for another full length. Four tracks from one, one track from the other, and we have an EP length release that stands up to a lot of the full lengths released this year. And more than anything else, we've had a chance to see the best and brightest of modern blackened metal, toe to toe. Two for the price of one? You can't beat that.

9/10

Aylwin
Bandcamp - http://aylwin.bandcamp.com/
Facebook - https://www.facebook.com/aylwinblackmetal

Černá
Bandcamp - http://cernamusic.bandcamp.com/
Facebook - http://www.facebook.com/OfficialCernaMusic

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