Artwork by: Ingrid Kao

Style: Video Game Music, Progressive Rock, Jazz Rock (mostly instrumental, clean vocals)
Recommended for fans of: Koji Kondo, Danimal Cannon, Powerglove, Mitch Murder, Kavinsky, Timecop 1983
Country: New Jersey, United States
Release date: 7 April 2025

In James Cameron’s 1994 blockbuster True Lies, Arnold Schwarzenegger plays mild-mannered computer salesman Harry Tasker who, unbeknownst to his wife Helen (Jamie Lee Curtis) and teenage daughter Dana (Eliza Dushku), is actually a highly-trained spy for the US government. While the movie plays its deceptions for largely comedic value, I always thought discovering such a secret about a loved one would be anything but funny. Well, in 2025 thought became reality for me.

That’s right. My father, who for the past three decades I believed to be a similarly mild-mannered branch manager, has been lying to my family. Imagine my shock—nay, my horror as I was innocently perusing the tunnels of The Progressive Subway in search of review-worthy material and discovered CRT Dreams by none other than… Chuck Salamone. I confronted him that very evening, demanding to know how he could have lied to us for so long.

The audacity.

All jokes aside, the artist behind CRT Dreams bears no actual familial relations to our particular clan. Besides, I’ve never written my dad’s name in bold, and don’t plan to start. Chuck Salamone (Amigos, Amigos!), the man, hails from New Jersey; a multi-instrumentalist and co-owner of His & Hers Music, where he teaches private music education alongside his wife, Diane Aragona. As Chuck Salamone, the artist, he has produced two LPs. In Plain Sight, released in 2024, was a prog rock-focused platter of original tunes featuring nearly 20 different musicians combining elements of jazz, hip-hop, and flecks of metal. Imagine “royalty-free prog-rock,” and you’re close to understanding the listening experience. Competent musicians, toothless production, saccharine vocals. Honestly, some of it would have fit perfectly on a mid-00s Sonic the Hedgehog game.

Fitting, then, that for this year’s CRT Dreams, Salamone has turned his sights toward video game compositions—specifically, with the goal of creating new interpretations and arrangements. From classics like HyperZone, Sonic 2, Final Fantasy VII, and Yoshi’s Island, to more current entries like Final Fantasy XV and Legend of Zelda: Breath of the Wild, there’s a healthy reach to the selections. And I can’t lie, making a funk medley out of a bunch of Sonic 2 tracks (“Off the Hilltop”)—with a Hammond organ, too—is kinda sick.

However, there’s a central problem that undoes almost every composition on CRT Dreams, whether that’s the latin jazz intermezzo smashup of “Yo, Fungo Kass,” “Fifteenth Sunset’s” classical introspection, or the Koji Kondo worship of lofi-jazzhop medley “Koji Gets Lost for Awhile.” Part of what makes video game music click is its context; how it connects to and informs the player of the characters, story, world, etc. It’s not to say video game compositions can’t stand on their own (I own several of Michiru Yamane’s Castlevania soundtracks, not to mention Doom 2016’s), but more often than not most video game OSTs feel diminished when separated from their host medium. Couple that with a similarly tepid production job as In Plain Sight (individual instruments come through clear but there’s no real dynamics), and CRT Dreams quickly begins to fade into the background like so much disposable muzak. It’s clearly designed to be a celebration of video game music, but this lack of aural force leaves the album with an impact akin to listening to retail radio.

There’s also a novelty factor to consider, too. While listening, I was reminded of similar video game or soundtrack-focused acts like Danimal Cannon and Powerglove, or even “joke” bands like Austrian Death Machine or Dethklok. They’re fun for a time, but eventually the novelty runs out and I’m veering back towards more “serious”¹ music. And even if video game music is your jam, the languid tempos and soft production make it easy to suggest sticking to the originals.

I hate to pen such a harsh review of Chuck Salamone’s latest work, because he’s my dad well-intentioned and promotes the positivity of music. Wafer-thin production aside, I think the compositions are (mostly) fun across the board: just listen to the electronic bop of “HyperGround.” Or “Off the Hilltop’s” smooth vibes and sultry saxophone. The truest misstep is closer “Pollyambria”—a mashup of “Pollyanna” and Coheed & Cambria that’s so saccharine-sweet as to be artificial, with thin vocals and milquetoast prog riffage.

Video game music absolutely deserves to be celebrated, and I’ll always applaud those spreading the love. But, the worst thing music can do to me is feel disposable, and sadly that’s the overriding sensation I’ve had while listening to CRT Dreams. Maybe if the production was more lively, less tucked into the recesses, then perhaps I’d be keen on some New Game Plus runs. But considering how quickly it all fades from memory even while listening, I just don’t think this is a game I’m going to spend more quarters on.

Recommended tracks: Off the Hilltop, HyperGround
You may also like: Ian Cowell, Ro Panuganti / Game Raga, RRGEMS15, Feras Arrabi, Lost in Lavender Town
Final verdict: 4.5/10

Related links: Bandcamp | Spotify | Instagram | RateYourMusic

Label: Independent

Chuck Salamone is:
– Chuck Salamone (all instruments/arrangements, vocals)

1. I like Battle Beast and Sabaton, okay? It’s not that serious. ︎

The post Review: Chuck Salamone – CRT Dreams appeared first on The Progressive Subway.

Style: progressive metal, djent (instrumental)
Recommended for fans of: Arch Echo, Angel Vivaldi, Liquid Tension Experiment, RichaadEB, Video game music
Country: United Kingdom
Release date: 23 February, 2024

Heavy metal and video game soundtrack covers go together like Necrozma and Solgaleo. The shared intensity of their fusion fuels an expression of the simulated struggle that makes interactive games so uniquely compelling, combining the heart-pounding subject matter with appropriately expressive soundscapes, as demonstrated by popular video game metal cover artists like RichaadEB. Although Lost In Lavender Town produce original compositions rather than direct covers of video game soundtracks, the inspiration they draw from gaming-related subjects nevertheless provides that same core intensity, evoking scenes of the games in question even when the music has no direct connection to them. Despite the band’s Pokémon nomenclature, throughout their discography they’ve played with content from video game culture as a whole, and On Tonight’s Show pulls from the Final Fantasy series of JRPGs in particular.

The Final Fantasy series already has its own ties to progressive music, as famed series composer Nobuo Uematsu was not subtle about his love of Emerson, Lake & Palmer in his compositions for the franchise. On Tonight’s Show is likewise filled with not-so-subtle Final Fantasy references, featuring track titles referencing game concepts like limit break names¹ (“Blitz Ace” and “Braver”) as well as musical nods to the series’s soundtrack, almost directly quoting a specific Final Fantasy X track and frequently evoking the iconic “Prelude” arpeggios. After a cute, jazzy intro which echoes the album art’s depiction of a guest musical performance on a TV talk show, “Blitz Ace” kicks the EP into overdrive. Although the track quickly shifts into more standard instrumental-prog fare, the intense piano intro is lifted almost exactly from “Assault,” a memorable entry in the FFX soundtrack both for its pounding rhythm and the climactic story moment which it scores. Its usage here by Lost In Lavender Town injects the same sense of urgency and tension that a player might feel in the game, setting expectations for the rest of the track (and indeed the album) where the wholly original parts pick up that same energy and carry it forward.

Primarily, Lost In Lavender Town present a style of instrumental music popularized by Arch Echo and also seen in Asymmetric Universe, with relatively light touches of djent’s signature chugs, mostly found in the rhythm guitar. These artists instead show greater evidence of jazz influences in their chord progressions and favor high, relatively undistorted guitar melody lines rather than forcing generic, unexciting rhythm parts into the spotlight as might be expected of more djent-focused bands like TesseracT. That said, the third track “Plate” shows no shame in the band’s djent roots, with a deep, chugging intro that progresses through a longer section of borderline discordance before the track finally breaks out into a gentler, more melodic section led by bright keyboard arpeggios almost certainly intended to mimic Final Fantasy’s iconic “Prelude” despite being set to a 7/8 time signature. Indeed, the complex time signatures throughout On Tonight’s Show are its greatest departures from the overall genre of video game music, which more commonly sticks to simple time signatures, helping the player focus with a steady groove.

The only small stumble, if it even qualifies as such, comes as On Tonight’s Show reaches its conclusion. The final track “He Spin,” odd and inscrutable in its naming, also misses out on most of the excellent songwriting that has thus far made up the EP, and lacks a clear thematic focus or even any direct musical or game-related references to act as a point of entry for the listener (although at one point the inclusion of accordion lends it a bit of a RuneScape “Sea Shanty” quality). Still, the musicianship is strong and the elements are individually enjoyable, so as a low point for Lost In Lavender Town, it’s hardly catastrophic despite being the final impression one receives, and an epic piano break around the midpoint offers just enough cool factor to latch onto.

Lost In Lavender Town offer their original homage to video game music, inspired by (and sometimes quoting directly from) the greats of the genre but still expressing LILT’s own takes on instrumental metal and the musical moods and textures that make video game soundtracks cook. Much like Feather’s Eternal last year, this short but sweet EP makes clear homage to the game composers that inspired it, but also makes for good listening on its own even if you have no greater context for the soundtracks that it references. On Tonight’s Show combines conventions of two seemingly unrelated genres in metal and video game music, but these two great sounds sound great together, and the shared tendency for intensity amplifies the forceful, thrilling instrumentation.

Recommended tracks: Blitz Ace, Plate, Braver, Clancy
You may also like: Feather, Asymmetric Universe, earth7, Deeply Woven, No Ostriches
Final verdict: 8/10

Related links: Bandcamp | Spotify | YouTube | Facebook | Instagram | Metal-Archives page

Label: Independent

Lost In Lavender Town is:
– Rob Moseley (bass)
– Jard (drums)
– Christopher Bowe (guitars)
– Muni (guitars)
– Rowan (guitars)
– Jono (keyboards)

1. Yes, I know, Blitz Ace is actually an overdrive, not a limit break. They’re effectively the same thing, you pedant. ︎

The post Missed Album Review: Lost In Lavender Town – On Tonight’s Show appeared first on The Progressive Subway.

Style: Progressive Rock, Progressive Metal, Video Game Music (Instrumental)
Recommended for fans of: Sithu Aye, Danny Baranowsky, Yasunori Mitsuda, Nobuo Uematsu
Country: Washington DC, United States
Release date: 16 August 2024

A longstanding aspect of the metal community is its undying seriousness: all it takes is the lightest quip about Dave Mustaine’s silly voice on “Sweating Bullets” or a friendly jab about how campy and over-the-top classic Iron Maiden album covers are to have three hundred angry men jumping down your throat¹ about your abhorrent disrespect for metal and its iconography. Thankfully, many figures in modern metal eschew this machismo grandstanding² for a more tongue-in-cheek approach, like Devin Townsend and his proclamation of, “Well, it’s just entertainment, folks!” on Terraria’s “Earth Day,” or his piss-take of Homeric proportions on “Deconstruction,” featuring manic pontification on cheeseburgers interrupted by literal diarrhea sounds. It’s a little much for me, but metal as a genre is undoubtedly better off with this imparted sense of silliness. While not going quite as far as Heavy Devy, Feras Arrabi is happy to take a lighthearted spin on metal with his latest EP, The Grind, relying on late 90s video game aesthetics to create a fun and easygoing experience: does it whisk the listener away into carefree JRPG escapism, or is The Grind more akin to grinding gears?

From its introductory synth arpeggios and charming MIDI bass tone to its maximalist SNES album art style, The Grind leans heavily into 90s video game musical choices and juxtaposes them against instrumental prog and jazz fusion: for example, tracks like “Level 2: Random Mouse” combine crunchy and compressed guitars with smooth fusion licks and the bleeps and bloops you’d hear while shopping for helms in Chrono Trigger. Follow-up “Level 3: Boss” takes a more restive angle, pitting the listener against a looming evil boss with up-front guitarwork, tense synthesizer stabs, and frenetic keyboard arpeggios. The Grind oscillates between calm and anxious moments, loosely following the story of a protagonist who finds a magical guitar axe (get it?), honing their skills in anticipation of defeating a wizard who is terrorizing the kingdom. Certainly nothing we haven’t heard before, but as a story it’s sufficient at defining The Grind’s narrative structure, appropriately lending itself to its musical motifs.

The Grind is at its most engaging in the solo sections: the video game music backbone does a decent job of creating interest without demanding the listener’s attention, but the the glossy fusion guitarwork on “Level 2” and the urgent keyboard/guitar interplay on “Level 3” demonstrate that soloing is without a doubt Feras’s wheelhouse. Even though the attention demanded by the VGM and the metal are a bit asymmetrical in favor of the metal, Feras has the songwriting acumen to integrate them in a way that feels natural and cohesive: “Level 3”’s introductory guitarwork, for example, clearly suggests a battle to the listener through its composition, but the focus on melodies that convey determination over anger or overwhelm wholly lend the track to The Grind’s aesthetic while also melding with the MIDI-esque instrumentation beautifully. Moreover, story ideas are conveyed in interesting and fun ways, such as on opener “Level 1: Minimalist” when the protagonist finds the axe of interest and the track employs a riff remarkably close to the Ozzy Osbourne classic “Crazy Train” to denote the moment, integrating this riff into later parts of the track. The Grind takes many opportunities to signal the care that Feras put into tying aesthetic ideas and music ideas together.

Feras’s dedication to staying within the boundaries of The Grind’s world is admirable and one of the biggest strengths of the album but also betrays its biggest weakness, as many moments come off too safe: “Level 1: Minimalist” does a sufficient job of establishing the experience, but much of its runtime meanders despite its interesting narrative moments. “Level 4: The Grind Part 1” suffers similarly, its few engaging ideas undermined by a lack of a central focus, resulting in not only a grind for the protagonist, but also for the listener. Conceptually, it makes a lot of sense to have these unfocused downtime moments as free exploration is fundamental to many video games, but in practice, the end result doesn’t translate as well into a listening experience as The Grind’s weaker tracks degrade into easy listening at the hands of incohesive song structures.

The Grind is a decidedly cute experience that sells the video game aesthetic hard, and would likely make a great soundtrack to whatever grind the listener may find themselves in. I greatly appreciate how well executed The Grind’s concept is, from the full-of-personality album cover to the dedication to overarching themes of lighthearted adventure. However, closer inspection betrays some stumbles in songwriting, particularly an imbalance between whimsical charm and musical interest, that hold me back from giving a fully glowing review. With a bit of grinding of his own, I am confident that Feras Arrabi can deliver something closer to a triple-A experience in the future.

Recommended tracks: Level 2: Random Mouse, Level 3: Boss, Level 5: The Grind Part 2
You may also like: Andy Gillion, Lucid Planet, Pleasures
Final verdict: 6.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram

Label: Independent

Feras Arrabi is:
– Feras Arrabi (everything)

1. And not in the way I want, either. ︎
2. 90s power metal also began to move away from this hyper-seriousness, though it could still be argued that a lot of sensibilities in power metal come from the same hyper-masculine ideals as NWOBHM and thrash. ︎

The post Review: Feras Arrabi – The Grind appeared first on The Progressive Subway.

Style: Prog Metal, Synthwave (Instrumental)
Recommended for fans of: David Maxim Micic, Volkor X, Chris Christoudoulou, Magic Sword, I Built the Sky
Review by: Ian
Country: France
Release date: 30 September 2023

One of the things I’ve become increasingly cognizant of over my two-plus decades of listening to music is that different tunes are made for different contexts. Dynamic, lush mixes made for audiophile vinyl setups may not hit as hard when played through car speakers on a highway. A song may go in one ear and out the other as background noise while working, but absolutely destroy when played in a crowded concert hall. Perhaps the most context-dependent form of music, though, is the soundtrack. While they can certainly be gorgeously composed on their own merits, the fact of the matter is that soundtracks are, by definition, not made to stand alone. By design, they often are more atmospheric and repetitive than traditional albums, with melodic hooks used sparingly for the moments where the music takes center stage. Without the context of the media they accompany, there’s a risk that the emotional peaks and valleys won’t hit quite as hard.

These concerns were floating in my mind when I delved into Eternal, the sophomore album from French instrumentalist Anthony Stinson, aka Feather. While the album itself is (mostly) an original project, it is heavily inspired by Risk of Rain, a game series I have not played. This isn’t a matter of simple influence either- its YouTube stream directly describes it as “a Risk of Rain fan-album”, with a linked mod that enables the album’s tracks to be played in-game, and Stinson even covers one of the first game’s tracks in “Coalescence”, an unusual move for an instrumental project. As an outsider to the franchise, will Stinson’s blend of instru-prog and synthwave create a powerful listening experience in its own right, or will it simply be a pale imitation of its influences?

Thankfully, even knowing very little about the game that inspired it, Eternal is a fine piece of rock-solid instru-prog. The core of the sound on offer here is a compromise between djenty-yet-melodic riffs and dreamy synth soundscapes; think David Maxim Micic gone synthwave. Though Stinson describes his sound as a “unique sounding mess”, the influences are all tastefully balanced, with separate styles taking the lead at different points in order to keep the overall whole varied and engaging. At times, a darker synthwave style takes over, such as in “Blood is Heat” or “Eternal”, which would both feel right at home soundtracking some neon-tinted cyberpunk dystopia. Tracks like “Soul Shaft” and “The Simulacrum”, meanwhile, open with echoing synth arpeggios that call to mind the mysterious sonic atmosphere conjured by games like Tunic or Celeste. 

But Eternal seldom stays atmospheric for long, and one way or another, guitars and drums inevitably make their entrance to give each track a degree of metallic edge. The rhythm guitar work is as varied as the synths, ranging from flowing walls of sound to support the lead work (“Windblown Dream”) to punchy, downtuned riffage that can serve as the primary focus in its own right (“Shattered Frost”). Said riffage is ably supported by bass work with a tone thick and meaty enough to provide an appreciable low end without hogging the spotlight and, blessedly, real, non-programmed drums courtesy of Andrew Scott. His drumming plays a key role in adding to the immediacy of the heavier material, with crisp cymbals and just enough rhythmic complexity to keep listeners on their toes. Last but not least is the solo work, which, as with most instru-prog, is the star of the show. Not only does Stinson himself provide numerous complex yet tasteful instrumental leads on both guitar and keyboard, there are three guest features to switch up the style, my favorite of which is Sayasack Inthavong’s Guthrie Govan– esque shredding on “Shattered Frost”. Combined, these factors give a welcome dose of energy and punch to the proceedings- most notably in the Risk of Rain cover, “Coalescence”, in which the original’s soft, mysterious synth melodies and slow-burn climax are amplified to larger-than-life levels by Stinson’s chugging riffs and Scott’s walloping percussion.

Speaking of slow-burn climaxes, Eternal is excellent at constructing emotional arcs and hooks to its tunes that keep the listener engaged. Instrumental rock albums often run into the pitfall of becoming impressive yet forgettable due to the absence of the melodic and emotional structure that comes with writing lyrics and choruses to a proper song, but Feather readily overcome this, with soaring melodies aplenty and a keen understanding of how to continually ratchet the intensity of a given piece up or down in a way that makes sense musically. Whether it’s one monolithic build and release, as in opener “Windblown Dream”, or multiple shifting peaks and valleys, as in labyrinthine nine-minute jam “M.I.R.O.R.S”, layers of orchestration enter and exit seamlessly enough to avoid any jarring whiplash while continuously pushing the compositions forward. Perhaps my favorite of these moments comes towards the end of album standout “Galaxy’s Largest Snowflake”, in which a simple yet heart-stirring synth motif makes itself known above the crashing waves of guitar and percussion beneath it, growing more and more layered with guitars and evolving into a more elaborate arpeggio over a progression that intensifies until I feel ready to punch a goddamn mountain in half.

All in all, Eternal is an excellent instrumental prog album. It’s a fine example of two tastes that taste great together- the synthwave and video game soundtrack influences help the prog metal side feel unique and exciting amidst the legions of bedroom guitar virtuosos putting albums into the void, while the heavier guitar and drum work lends dynamic heft and a feeling of stakes to the vibey synth landscapes. I will concede that despite its wealth of musical ideas and ability to make repeated motifs feel fresh, the album is a tad bit longer than it needs to be at 68 minutes, and by the time I reach tracks like “P.A.D” I get the sense that, well-executed though it may be, it’s just going over musical territory the album’s already explored. But all is forgiven by the time we reach the appropriately-titled closer “Desolation”. The least heavy track on the album, it focuses instead on building layers upon layers of elegiac yet hopeful-sounding atmosphere, and the slow, weeping guitar leads at its climax never fail to send chills up my spine. Like the best roguelikes, Eternal feels slightly different each time I go through it, revealing new layers on each play, and my only complaint is that it’s a bit too much of a good thing. I highly recommend fans of instrumental prog to check it out, whether or not you’re familiar with the game that inspired it. Hell, it may even inspire me to dig Risk of Rain out of my Steam library- I know it’s in there somewhere…

Recommended tracks: Windblown Dream, Galaxy’s Largest Snowflake, Shattered Frost, Desolation
You may also like: Leviathan Owl, Gloom Influx, Zack Brannon, Etrange
Final verdict: 8.5/10

Related links: Bandcamp | Spotify | Instagram

Feather is:
– Anthony Stinson (guitars, bass, keyboards)

with
– Andrew Scott (drums)

The post Review: Feather – Eternal appeared first on The Progressive Subway.

Style: Progressive/Symphonic Death Metal, VGM (instrumental)
Review by: Sam
Country: Austria
Release date: September 9th, 2020

Instrumental metal usually bores me. The inherent limitations of only using a guitar to provide melody often results in very static, predictable compositions that turn into a shredfest more often than not. Because what else can you do? Metal riffs lose a lot of their expressive power without a vocalist giving some variety. Having aggressiveness as your only mood is just too monotonous for instrumental music. Hence the key to making instrumental metal (or ‘instrumetal’ if you will) interesting is using other genres and instruments to spice it up. Ever since The Night Watch managed to keep me hooked to an ‘instrumetal’ album for over 70 minutes with their stunning record An Embarrassment of Riches last year I’ve been a lot more open to the genre. So when I found Seth Angerer on Bandcamp with a seemingly varied (and competent!) ‘instrumetal’ album, I just had to review it. Can they keep me hooked?

Yes they can. Utrotningen (which is Swedish for ‘eradication’) is a very symphonic album that incorporates dozens of genres and different instruments into its largely symphonic death metal framework. I believe everything is synthesized (except the guitar playing), but it’s done well enough not to form a detraction. If anything, it’s all mixed really well as you can hear each element crystal clear and the volume mastering is pleasant. Tonally it sounds exactly like what you expect a bedroom VGM/instrumetal project like this to sound like, which is as much a positive (or a negative) as you dig other VGM (= video game music) metal production. I enjoyed it an any case.

But production is not the main reason I like this album. Its largest strength is in how dynamic it is and how cohesive the compositions are. It knows when to be epic, when to be dreamy, when to be fun, when to swell, and when to shrink. All the different sounds used to emphasize the different moods keep you on your toes, but he keeps it consistent by using recurring themes and motifs. I wouldn’t be able to mention all the genres this incorporates since my genre knowledge basically evaporates once we leave the wider metal sphere, but I can take a shot at describing the instruments and soundscapes used. The meat of this album is in your typical symphonic/VGM epic sounds, and while it doesn’t leave the VGM framework much, I’ve also detected use of the flute, the xylophone, a violin, and even an accordion in spots. In any case, the album has bunch of really nice surprises to elevate it from being just another VGM/instrumetal album.

Unfortunately I have to say that “just another VGM/instrumetal album” is a pretty accurate description of a lot of its core sound. The riffs especially I found very lackluster, going not much further than basic bitch Fleshgod Apocalypse style symphonic death. For all the work that went into keeping it varied, I wished Seth would have put in similar effort to make the riffs worthwhile by themselves instead of just being content with keeping them as a support tool. Make ’em meaner, more explosive, slap them in my face like you promised with the album title. Instead they feel like an afterthought. Another thing that irked me is that the more epic synths are very run of the mill on the record. Maybe it’s just my relative ambivalence to the VGM genre, but those choir-y epic sounds to me always sound more epic than that they actually make me feel epic. Because of this, the record lacks peaks that feel earned. There’s no moment on this that blew my socks off. The best moments on this album are when he throws a curve ball at you, but those ultimately don’t have the impact they could have because the core sound of this album is lacking.

Overall Utrotningen is not nearly the best thing I’ve ever heard, but it’s certainly an enjoyable album that avoids the common traps of instrumetal riff and/or shred-fest monotonicity. However in return for that increased variety, it falters in the other direction, often neglecting its metal roots, ultimately making the album a somewhat shallow experience. I do recommend this for background music though.

Recommended tracks: Erövring
Recommended for fans of: VGM, Fleshgod Apocalypse, background music
Final verdict: 6/10

Related links: Bandcamp | Spotify | Facebook | Instagram

Label: Independent

Seth Angerer is:
– Seth Angerer (everything)

The post Review: Seth Angerer – Utrotningen | Symphony No. 2 appeared first on The Progressive Subway.