Here is the link to XXL.com where you can get his new tape. And the pre-order page for his EP.
And below I’ve assemble a few essential tracks from Freddie… including some new ones.

mp3: In My Hood by Freddie Gibbs
mp3: Sumthin’ U Should Know by Freddie Gibbs feat. Devin the Dude
mp3: Murda On My Mind by Freddie Gibbs
mp3: How We Do (‘93 Til Freestyle #3) by Freddie Gibbs
mp3: Crushin’ Feelin’s by Freddie Gibbs
mp3: The Ghetto by Freddie Gibbs

MP3: Strand of Oaks- Bonfire

About two weeks ago I went to see a friend play in a basement in Madison, WI.  Before and after the set Tim Showalter, the man behind Strand of Oaks and I didn’t cover anything too heavy.  In a short period of time we touched on the stigma attached to the Grateful Dead, the musical chops of Robbie Krieger, pre and post ‘hair’ Billy Corgan, and Michael Jordan’s retirement speech.  And when I saw him the next night we talked about baseball, Lebron James and whiskey.  In those two meetings it seems that we talked about almost everything except his fantastic new record, Pope Killdragon, that was set to be released as an eMusic exclusive four short days after his three stops in the Midwest.

Now he may be humble and he might have been excited to be amongst friends, old and new, but I can only assume that he wants Pope Killdragon to speak for itself.  An album that blends proggy sytnths with reverb-laden folk drenched in echo can only be expected to recite its own glory.  Or I can assume that after telling him that the first interview I ever did with a musician was full of one word responses and awkward silences, that he saw a week into the future and wanted the interview that I had yet to ask him to do to touch many of the bases that we didn’t cover over those two days.  And that’s exactly what this interview does.

Meet Tim Showalter, the album that is the result of the ‘hardest work he’s ever done’ and some of the many people that he takes with him wherever he goes.

Can you take us through a brief back-story of’ “Oaks’ and it’s many incarnations.  Where it started, what you thought it would be…

Strand of Oaks first “official” show was in the summer of 2003.  It was a three piece and I played the organ.  We didn’t have a vocalist but we played a Noam Chomsky speech over the music.  It was really loud but I remember it being quite good.  I actually can’t take credit for the band name.  My friend Josh thought it up.

Then all the fires and what not took place and all my cool gear was burnt up with it.  So this changed my original “post rock” pursuit of the band.  Not because I liked acoustic more but rather that’s the only instrument I had.  This began the long journey of writing songs, awesome tours, making records, and everything else over the past seven years.  Honestly, Strand of Oaks has been such a consuming part of my life it’s getting harder to sum it all up.  Not that I’ve necessarily done a lot with the band rather it’s just a big chunk of my own biography.

Probably the best way to answer your second question would be to describe the band like high school.  When I started, I was an awkward freshman with absolutely no clue how to achieve the few goals that I had.  Now I feel like a senior.  Obviously I’ve grown in confidence and vision but I’m also constantly aware that I need to move on to college.  I’ve reached most of my initial goals but now I have an entire new set of them to strive for.  It’s exciting but also daunting at same time.

There’s a lot of interesting stories behind your new record, Pope Killdragon, can we start with the title and then can you maybe tell us a bit about the rad cover art?  Someday I’m hoping to see you play out with the cover of this record as a huge backdrop.

Yes!  Now we’re working on the same level, that backdrop would be AMAZING!

Pope Killdragon has been with me for a long time.  The title actually first made its appearance way back in 2005 on a cassette I made for my friend Peter.  I used to record in the bathroom where the reverb was good.  Often I would just make up songs and stories and dictate them into the machine.  The night I made the tape I must have felt extra inspired.  I wrote the basic structure to the songs, Sister Evangeline, Killdragon, and a few others all in one pass.

So the concept of Pope Killdragon started from a random place.  As the years and songs grew, I think that’s when the idea of Killdragon became much more solidified.  It’s all very autobiographical.  Listening to the record I’m still not sure if that’s obvious or obscured by the lyrics.  Either way, I feel like this one has more room for interpretation than Leave Ruin.  I’d prefer to just leave that up to the listener.

The cover art is a perfect example of how this album was created.  Meeting new people and totally trusting in their talent (often blindly).  When I moved to Philly I struck up an instant friendship with Morgan King.  He lives right in my neighborhood and he is the founder of Yer Bird Records.  It’s not often that a folk connoisseur just randomly lives down the street from you.  As Morgan and I become closer I got to know his brother Alex really well.  I quickly learned that Alex is a quiet artistic genius.  As the record started to come together Morgan suggested I look at some of Alex’s work.  Needless to say within five minutes of me being in Alex’s apartment we had the cover art.  It was almost scary because of how perfect his art represented the songs.  We are already planning the artwork for the vinyl release.   The only clue I can give now, is that it will include a map.

Can you talk a little about the recording process and the mixing of it.  You know; Akron, OH, synthesizers, and all that?

I approached recording the same way I blindly trusted the King brother’s talent.  The only plan I had initially for recording was to do it somewhere outside of my comfort zone.  I wanted to really test my abilities in making a record on my own.

The record was recorded in two parts.  The initial tracking was done at my friend Nicolas Lill’s studio in Grand Haven, MI.  I met Nic by chance earlier this past fall and we both nerded out over Billy Corgan.  I instantly loved him for that.  I spent one of the most special weeks of my life living and recording in Grand Haven.  It was during the Christmas season so we spent many late nights after recording walking to Lake Michigan and seeing the lights reflecting off the water.  Nic is very patient and precise.  He is an amazing electronic musician which really complemented the recording.  His personality was the perfect counterpoint to my often extremely manic behavior.  His quiet but confident taste helped me stay focused through the recording.  I ended my time in Michigan with the most beautiful party.  Nic’s family invited me to come to their annual party.  Usually I dislike jumping into other people’s traditions but this was different.  At the end of the party we all sat in a circle and shared what we were thankful for.  Hearing everyone share their stories was something too special to describe here.  That experience in Michigan healed many things in my life that had been wrong for a long time.

The second half of the record was made in Akron.  Again, I randomly met Ben Vehorn while I was on tour.  My tour mate Joe Scott suggested I check out his studio.  Meeting Ben was probably the smartest thing I did all year.  Having just the tracks finished I lacked a clear idea as to how I wanted the finished record to sound.  Going to Akron made this record a reality.  I’m going to let Ben’s inevitable Tape Op interview describe his approach and techniques to recording (I would never do it justice).  I was almost intimidated by how strong of a force he was.  In person, Ben is a gentle, wonderful soul.  But he quickly becomes wizard when it comes to sonic exploration.  He essentially recomposed the record without playing any instruments.  The most important aspect of our collaboration was Ben’s ability to make me feel comfortable with my ideas.  He was able to interpret sonically my insane ramblings of what I wanted things to sound like.  A typical studio conversation between us:

Tim: “Ben, can we make that synth sound like an angel, riding a comet, while yielding a pink lightsaber?”

Ben: “Sure!”

That basically sums up the genius of Ben.  We are already plotting the next record.  I want him to play a much larger role in the process next time.

As for synthesizers, we used probably 20 various vintage keyboards on the record.  I messed up a take once because I realized I was playing a synth that I’ve been dreaming about for the past fifteen years.  His studio is equivalent to me visiting the Playboy Mansion when I was twelve.  A surreal experience.

Leave Ruin was the product of incidents and accidents or devastating things in your life that writing and recording about helped you through.  It was a major look into just what was going on in your world when you were writing those tunes…How would you say that writing this record was different?  Was it more difficult? Challenging?  What was your inspiration this time around?

The writing of this record overlapped with Leave Ruin.  It took so long to make Leave Ruin that by the time that came out, Killdragon was 90 percent written.  Leave Ruin was very singular in content, while Killdragon was pretty expansive.  I like to think that both records are sad in nature but rarely negative.

Actually making Killdragon was more emotional than Leave Ruin.  Killdragon is trying to find healing from much larger topics and issues in my life.  There was a certain desperation in trying to find peace in a lot of the lyrics.

I’m still not exactly sure if there was any main inspiration with the record.  I would say that a major theme was a desire to be a child again.  At a certain point I realized how terrifying adulthood was becoming.  Stable forces in my life were changing rapidly and even dying.  Thinking about it now, Leave Ruin seemed to be hell-bent on escaping parts of my life but Killdragon often desires to return to the safe places.  If that sounds too self referencing I’m sorry, I’m crazy.

Did the move from Wilkes-Barre to Philly effect you in anyway?

Absolutely, I really haven’t been the same since I left Wilkes-Barre.  It felt like I had to leave a wonderful relationship for reasons beyond my control.  Obviously, I will go anywhere my wife needs to be.  She is the center of my world.  In a way, moving to Philly made us much closer.  Our world really just became us then.  That is by far the best thing we got out of moving.

It’s very hard for me to go back to Wilkes-Barre though.  In a way this place saved me and brought upon everything great in my life now.  I enjoy living in Philadelphia, but when the time is right, we will most likely move back the Valley.

The addition of a lot synthesizers is quite a fun experience. I feel that it adds depth and dimension to your sound, where does your love for synth sounds comes from?

I had a really tough adolescence.  I was diagnosed with a severe case of Juvenile Rheumatoid Arthritis when I was about 12.  It was a terrible struggle to even get out of bed in the morning.  Certain joints on my body actually started to freeze.  I had got through intense physical therapy sessions that only seemed to make me feel worse.  I was then over prescribed medication that gave me constant stomach problems.  This on top of puberty made me sink in to some really dark places.  The natural cycle of isolation and rebellion was only magnified by the physical pain.

I’m not telling this to garner any sympathy but to show how much I needed to escape.  In seventh grade I met my friend Dustin Howie.  He started giving me all these incredible acid house, breakbeat, and trance records that just blew my mind.  I would put my headphones on and be able to completely escape into the music.  After a while Dustin got a hold of some gear and we started to mess around with making music.  He was already light-years ahead of me but my main job was tweaking his Novation Bass Station.  We spent next few years playing together and learning more about electronic music.  Since snyths were very faux-pas in the “grunge” years, it was hard to find much information on them.  We eventually got better equipment and actually made some beautiful stuff.  But we ended up moving to different sides of the country so that kind of ended.  Dustin went on to make some exceptional dance music, while I started a folk band.

I will always be deeply grateful to Dustin for those moments in his basement.  It just makes life a weird game too.  I’m certain I wouldn’t be doing any of this if it wasn’t for arthritis.  It made music something much more important than a hobby.  That’s probably why I still take music way too seriously and I always hold in that reverence.

I know that you played a couple of these songs out before you put them to tape; “Daniel’s Blues” and “Sterling” for instance, did these songs go through any changes, major or minor, by the time that they were ready to be put on Killdragon?

Actually, I was very sure of how I wanted most of the songs to be structured.  My main weakness is rhythm though.  So the biggest change was the chance to work with a spectacular drummer (see next question).  As I said earlier I had obscure thoughts of what the record should sound like but no real clue how to get it there.  That’s why it was so important to work with Ben.  I like to compare it to Mike Ditka envisioning how he wanted a particular offense to be run, only to then see Payton execute it to perfection.  Maybe that’s reaching, but I just love the Bears.

Who plays with you on the record?

I wanted to stretch myself for this recording.  In the past I lacked major confidence in my musical abilities.  This was a chance to get over that, so I played the majority of the instruments.  With that said, the record would have been boring without some key outside help.

When I went to Nic’s studio I also had the chance meeting with Kevin Depree.  At first glance, he looks like he is way too young and handsome to be a good drummer.  Again, I had this feeling that he was the right person though.  He was almost too good to play with me.  His instincts were so advanced and he was able to judge the mood of each song masterfully.  I barely gave any instruction.  Kevin also added the bass line to Daniel’s Blues and Giant’s Despair.  This was essential because his playing was extremely unique but paired perfectly with the flow of the record.  He was definitely the secret weapon to Killdragon.

I also lucked out by having Nic’s brother Kaja around.  The talent in Grand Haven is unbelievable.  Kaja studies Music Theory so he added brief notes here and there that added an air of legitimacy to everything.  I also got him to play stand of bass on Alex Kona.

Finally, Ben was the last major contributor to the record.  I don’t want to give away too many secrets but he is going to be credited on the record for, “Echo Composition”.  Let me say it again, he is a genius.

You’ve decided to, for now, to only release Pope Killdragon as a digital release exclusively on subscription site Emusic, can you talk to us a little bit about that decision and the process of it?

This entire year has been about jumping into the abyss and trusting that the outcome will be positive.  Not putting this out with my label was the biggest of all these decisions by far.  La Societe is my family.  But I came to a point in my own growth where I needed to see if I could do things on my own.  Leave Ruin could not have happened without the help of Lou, no question.  I guess it feels like a teenager who has a perfectly loving home but needs to leave it and make his own world.

So after I made that choice, I was then approached by Emusic to sign to their Selects Label.  It’s an amazing opportunity and I’m humbled that they even asked me.  This allows me to take a deep breath and decide what the next step for the record will be.  Obviously a physical release will happen as soon at it makes sense to do so.  But for now I’m beyond excited for people to hear it.

I know from talking to you that you were pretty excited and a also little nervous about Killdragon before and during the recording of it, how do you feel about now that it’s finished and possibly being consumed right now?

Well like everything else in my life, I’m manically excited right now.  But you never know, I could be crying in the bathtub tomorrow.

Making Killdragon was the hardest I’ve ever worked in my life.  I have so many emotions wrapped up into it and I’m just beginning to process it.

What music, new/old, conventional/obscure has been keeping you company on those long drives across the Middle West?  Is there anything that you’ve discovered that you’re sure that WE should be checking out?

Well I almost exclusively listen to Coast to Coast podcasts on the road.  You are missing out in life if you aren’t a member of the “family”.  Recently I have gotten back into actively listening though.

As for old music I’ve been listening to a lot of Popol Vuh, Tangerine Dream, Steve Roach, Kluas Schultz, and ton of other old synthesizer music.  Mostly I’m listening to the same music that I’ve always loved like Pink Floyd, Grateful Dead, and Led Zeppelin.  The records I had in fifth grade.

I’m actually a huge fan of the band Washed Out.  Randomly found his EP and can’t stop listening to it.  I’ve also really been digging Future Islands, Licorice Roots, The Wailing Wall, The Black Swans, Elephant Micah, The Wooden Sky, Soars, and so on.  I think my favorite record by far this year has been Jonsi’s solo record.  I’ve loved everything he has ever done, one of my musical hero’s.

Lastly, if you were could research and write the biography of ANYONE, who would it be and why?

I would definitely write it on my father in law, Bob Gryziec.  I‘m shocked no one has yet.  He’s secretly been involved with almost every musical movement since the sixties.  He started playing bass in garage bands in the 60’s and has gone on to play with almost everyone.  He’s invented a style of playing bass that is all his own.  Beyond his musical ability he is a quiet, intense philosopher that doesn’t waste words.  He doesn’t say something if it’s not important (which is the opposite of me).  I’m not going to say anything more about him, because frankly you should interview him next.  If you want to speak someone who was actively participating in the times that we all view in mythical context, then he’s your man.  He and I are going to be hanging at Levon’s Ramble in a few weeks.  I’m very lucky to have him in my life.

I’m not gonna front, I may be a bit bias when it comes to Jaill, I mean after all Wisconsin’s last claim to fame (that I could associate with) was probably That 70’s Show and honestly I never have and never will find Donna attractive (via lengthy-ness). So clearly I’m rooting for these dudes, but in all honesty Jaill’s That’s How We Burn leaves very little room for dick riding. That’s How We Burn is nothing more or less than what it should be; a concise summer rock album full of booze/drug addled odes to our states lesser seasons, stoned girls; generally speaking a fast-paced lifestyle with little room for regret. Their Sub-Pop debut offers much of the same qualities that entranced us on There’s No Sky (Oh My My), which believe it or not is refreshing, considering a lot of bands nowadays throw too many bells and whistles on their major (indie) label releases. You should all thank Jaill for avoiding this pitfall, however challenging it may be, because they do what they do and do it oh so damn well.

Despite the brevity of the album Jaill manage to subtly display their surprising versatility. On “Stroller” the band teeters between being arrogantly cautious fucks and their usual humble-selves with Vincent Kircher singing “Where are the beggars when I need to look good?” while remarkably retaining the band’s neighborly charm over a fierce guitar riff; the result is bad-ass. Jaill employ various pre-discovered formulas of rock condensed into tablets of speed and lines of cocaine, most notably on “Everyone’s Hip” and “She’s My Baby” where the boys tear through familiar territory (the Strokes), leaving the origins disheveled with little remains. They are a near extinct breed of musicians who aren’t afraid of truly being themselves and whose music is rarely apologetic to where it originated. That’s How We Burn is a rare feat of originality, breathing much needed life into everything between Mason Jennings (“Summer Mess”), resentment (“Thank Us Later”) and surf rock (“Baby I”). Simply put this album is great for sweating your ass off in the summer heat, so keep it real and enjoy.

Album drops today on Sub-Pop and you WILL buy it here.

$!$!$!$You catch them at Turner Hall August 14^th for the album release party!$!$!$!$
(and if you really don’t dig this you can still come and punch me in the face for making you listen!)

Celebrating today’s release of That’s How We Burn, Sub Pop debuted the alien beach themed video for “The Stroller”. The video was shot right here in Milwaukee by The Rock and Roller Remote Controller. I was lucky enough to be at the taping but my stoner dance moves didn’t make the cut. Perhaps the extended edition? Anywho, That’s How We Burn is officially out today. So, go buy some good music.

I’ve been corrected: stoner moves abound at the 1:58 mark.

“2 Shy”, the total stoner guitar rock track, is the next single (‘released today’) off Happy Birthday’s, self titled, Sub Pop debut. Also, we’re hosting the band for a helluva good time, this Saturday (7/31). So, come hang at the Cactus Club.

mp3 – Happy Birthday – 2 Shy

1000 bonus:

mp3 – Happy Birthday – Subliminal Message

Who's the knucklehead wantin' respect?

Ghostface Killah – Beat the Clock

Ghostface Killah – The Forest (listen to Ghost talk about incarcerated cartoon characters)

Here’s two vintage Ghostface jams and a list of things that Ghostface does to chill and calm down (we copped it from his show last night in Milwaukee…oh wait, that didn’t happen):

- sip a mug of coffee

- put a fork in a toaster

- jump over the Empire State building

- drink a bottle of gin and then drive a school bus

- delivers UPS standard ground-shipping mail in one day or less like a fucking maniac

- train for the cup-stacking championships

- wrap a rubber-band around his big finger until it gets all red and swollen

- run around pretending to be an airplane

In the interest of making up for the impressive malaise with which SeizureChicken treats new music by established indie bands, here’s a handful of new singles from established indie bands.

Deerhunter, “Revival”

As usual with Deerhunter’s best work, the juxtaposition between the vibrant, warm and welcoming textures of the band’s instruments and the melancholy of Cox’s voxes is the song’s main selling point – this time, there’s the added benefit of the song’s brevity (including an awesome coda saved for the song’s final thirty seconds), which harnesses the band’s normally blissful, swooning and tentacular* energy into a super-condensed two-minute snack. This song makes me think that Bradford Cox has started listening to the Kinks, which is something that I think I dreamed of writing way back when Bradford Cox was listening to Sonic Youth and blogging about his poops, or pooping on his blogs, or whatever.

* $10 per adjective

The Books, “Chain of Missing Links”

In the most bookworm-y and eclectic way possible, “Chain of Missing Links” swings, like Ratatat’s dad who moonlights as an English professor at UCLA, or Flying Lotus’s much whiter brother or even, gasp whoa sigh, some sort of long-lost agnostic cousin of the nihilistic Richard D. James Album-era Aphex Twin. The Books manipulate the line between “weirdness” and “originality” unlike any other band today (admittedly, I’m glad that they’re back), but instead of trying to defend experimental music in general, just listen to the samples in this song – the meticulous placement and deployment of each, the staggering arsenal of samples at work, and the uniquely beautiful absurdity of the end product – and recognize The Books for being nothing if not craftsmen of an impressive degree.

Interpol, “Barricade”

“Barricade” has a pretty great bridge, an okay verse or two, and a terrible chorus – but these terms are all relative. “Pretty great,” as far as Interpol goes. “Okay,” for Interpol. It’s strange that a band that can be described entirely in self-referential terms can still sound so without identity, so reluctant to take chances – “Barricade” tries but struggles to shake the remnants of the sort-of success of Our Love to Admire, an album that cemented the band commercially but not critically (thereby totally fucking turning the tables on indie-dudes who loved this band in its developmental years). Then again, there’s no easier path to commercial success/critical disdain than the one that involves beating a dead horse.

Panda Bear, “Slow Motion”

I think it’d be really cool if Panda Bear decided to just fuck with people and release something that didn’t sound like Panda Bear – you know, a nice acoustic guitar song about fucking, or a jingle for a toothpaste commercial. “Slow Motion” is neither of these songs, but what it is is (isn’t it though) another song by Panda Bear. This one has a dub-infused two-chord loop and unintelligible vocals in full two-or-three part harmony that sound like they’re bouncing around at the bottom of a well. There are some cool melting handclaps that could be misconstrued as finger-snaps. Hypnotic like house, relaxing like reggae, relentlessly happy like sunshine pop. Not very exciting.

Growing up in the suburbs has always been a somewhat remarkably indescribable phenomenon which tends to leave people somewhere between conventional success and a feeling of mundane isolation. In the Arcade Fire’s case that isolation brings profound wisdom and retrospect upon the world of the mostly under-explored inner-turmoil of the individual, as well as putting it into a global perspective that we can all relate to (regardless of our neighborhood). While the Arcade Fire’s previous albums served as meditations on death (Funeral) and global destruction (Neon Bible) The Suburbs stands as a stunningly cohesive philosophy on life.

The aptly self-titled opener (“The Suburbs”) is an all-encompassing foreshadowing of the album’s individual sentiments all rolled into one remarkably restrained emotional overture. Win Butler reminisces on the “wasted time” of youth and young love as well as charting the swift nature of destruction and loss of identity. Following “The Suburbs” are indulgent examinations of individual facets of an existential crisis. “Ready to Start” suggests failure as a subjective point of recovery or better a starting point to life, while “Modern Man” highlights the arduous task of distinguishing yourself from the pack, as well as serving as an encouraging challenge to self-evolve. While “Suburban War” is a a haunting ode to dependency and the frailty of individuality that climaxes with Win singing “All my old friends, they don’t know me now” as he painfully accepts his self-dependence. “Month of May” re-sparks optimism in the album as a freight-train barrels down the tracks, compelling all to be hopeful. “Wasted Hours” and “Deep Blue” are heart-felt reminiscence of the origins of our current condition that leave you a tad melancholy.

The Suburbs begins to close with a stark observation on the overall lack of patience of the world on “We Used to Wait”, with Win speaking about the rubble and restructuring of life, while contrasting the times with a dueling piano and synth. “Sprawl I” leads you towards darkness but right as you become deeply saddened Régine Chassagne pulls you to the “surface” on “Sprawl II” where the darkness becomes more of a challenging obstacle over sunny synth layerings than an all consuming force. (Synths have never been more appropriately utilized in music than on “We Used to Wait” and both ends of “Sprawl”).

Rarely do albums challenge the listener outside of the confines of the band, and rarely does this quality fuse with challenging the masses. Throughout the album the Arcade Fire’s teachings astoundingly resonate due to balanced instrumental composition and Win Butler’s concealment of conviction, which place his most important warnings in a position of his and our questioning. It’s the questioning that make The Suburbs such a successful album; for the first time the Arcade Fire aren’t forcing their opinions and because of that newfound wisdom they’ve managed to penetrate into each listener on an individual level and if enough get ahold of this work, The Suburbs could transcend conventionality and isolation and potentially change music.

mp3: The Suburbs by Arcade Fire
mp3: Suburban War by Arcade Fire

[right?!?!? photo credits]

mp3 – Dent May – That Feeling

mp3 – Cut Copy – Where I’m Going

mp3 – Wavves- Baseball Cards

mp3 – Ty Segall – Girlfriend

mp3 – Young Man- Fate

mp3 – Panda Bear- Slow Motion

mp3 – Francois Peglau – One minute to midnight dream [So sad]

mp3 – The Best Coast – Boyfriend

mp3 – JAILL – The Stroller

mp3 – The Lawds – Mild Honey Pie

mp3 – Department Of Eagles – While  We’re Young

mp3 – Happy Birthday – Subliminal Message

mp3 – The Fatty Acids – Howl

mp3 – Deer Hunter – Revival

mp3 – CAMDEN – Summergum

mp3 – The Walkmen – Stranded

>> download the zip (if i missed a track or 2 in the zip, let me know, most of these are on the site already)

Ted from Monster Rally sent over their latest EP, Palm Reader. It’s a really nice and easy listen. It’s not re-inventing the wheel or anything but it’s a really great set of sample-based, beachy vibe music. Both Palm Reader and their ST are available free over at God’s answer to myspace.

mp3 -Monster Rally – Birds pt 1.

mp3 – Monster Rally – Birds pt 2.

- previously -

mp3 – Monster Rally – Honey Moon