Wednesday, June 30, 2010

REVIEW: Wavves - King Of The Beach





Wavves - King Of The Beach

Release Date: July 13th, 2010/Auguest 3rd 2010
Label: Fat Possum



9.4






ZACH THAT:

Respect the Wavves, I do not. Love their albums, I do.

“King of The Beach” is not just any other album; it’s an extraordinary release that marks a giant leap forward for the San Diego lo-fi wizard Nathan Williams. Before I praise Williams for one of the best albums of 2010 (so far), I would like to take a few seconds to explain why I really don’t want to experience this band outside their physical releases.

DISLIKE: Not only is Williams a complete asshole, this being documented by a string of juvenile events last year (fights and festival meltdowns), but his ego gets bigger with each interview I read. Be that as it may, I don’t really give a shit how “rock stars” act, just as long as it doesn’t come back to hurting fans who support a musician/band. This is where Williams really pisses me off. The guy is just awful live. He lazily makes his way through the motions, off and on time, missing chords, and generally not giving two shits. I will never fault anyone for not being talented and going in front of a crowd to perform music they love, but Williams gives absolutely no effort to improve his lackluster shows. Yes, a lot of his fans go nuts at his live shows, but for those who are trying to see how the music translates from album to live, it’s a guaranteed disappointment marked by his uninspired approach to playing the guitar.

LIKE: “King Of The Beach”. Scratch that, I love it. The album is sun drenched with thick, dripping hot, sweaty guitars that perfectly klang around with Williams' all out vocals. It’s an albums album; each song twisting into another with such ease that one can’t help but be impressed. The albums greatest strength is the extreme focus on every element of the song. On the amazing track “Post Acid”, Williams adds this gorgeous bouncy guitar at the end of his vocals on the chorus that calls on the genius of Pavement or the Pixies. With the addition of these little beautiful touches, Williams has graduated from fun songwriter to someone who needs to be taken very seriously as a master craftsman of melody.

It would have been so easy for Williams to hide behind his low-fi production that was displayed on the first two albums…let’s face it, we cut people slack if they don’t have the high production value available to them. Wavves went out on a limb (dug up the whole fucking tree more like it) and are better off for the risk. The mix on this album is stunning, sounding like no album I’ve ever heard. It’s packed with tons of influences ranging from The Kickstands all the way to a more current band like Animal Collective. The perfect example of this is on the track “Baseball Cards” where simple bouncy 60’s choruses are complicated and expanded upon by experimental shifts in melody that demand repeat listens to crack its complexity.

Not only is the music extremely catchy, accessible, and a basket full of fun…it’s smart, complicated, and challenges the listener to really investigate all the microscopic sound brush strokes Williams uses to create a near perfect record. The restraint, patience, and pure genius displayed on this album makes me want to rethink my position on Williams, but seeing him live twice and reading his interviews keeps me at arms distance. That’s the thing we all must remember: an album stands alone, everything that happens outside of the speakers is just unnecessary noise. I may not ever want to be friends with the Wavves, but the music on “King Of The Beach” can be the best man at my wedding anytime.

NPR's Top 50 of 2010 (So Far)

HANK ALTOGETHER:

NPR listeners hath spoke -- Gorillaz is the best album of the year. Wait a second what was that? Oh, yeah, this is pretty much totally what NPR is about. Don't bash it. Just lap it up.

Go here for a full list and to download the .pdf.

Tuesday, June 29, 2010

Pitchfork Eats Blogs

HANK ALTOGETHER:

A while back, I sent an email to Pitchfork (about the same time they re-designed the site) complaining that the site was suffering an identity crisis -- it was becoming less of a site and more of a blog. Well, today, with the announcement that 'Fork was creating a sister site: Altered Zones which is meant to focus on DIY, experimental, and "leftfield pop," Pitchfork has stayed true to its roots while expanding into the indie media empire that it has become.

Among the blogs included are WLFY favs Gorilla vs. Bear and Raven Sings the Blues.

We've done our fair share of P-fork bashing on this site, but mostly out of the side of our mouths the way you bad mouth that really cool popular kid at school, because your respect him. Let's face it facts are facts and a mere mention by Pitchfork bumps hits, album sales, and cache. Rather than having an identity crisis, Pitchfork has become the 800 pound gorilla in the room by merging everything that you need -- tracks, reviews, videos, twitter feeds, news mentions, interviews, even a music festival -- into one behemoth of a site that, now, can control the indie universe. Well, maybe not fully, but it's pretty damn daunting to look at.

Calling Altered Zones a "blog collective" offers a serious opportunity to drive traffic to sites that do fantastic work. But, excuse me if I'm dubious about umbrella sites claiming democracy. I know we're all stealing from one another out here in the 'net wilds, but that's a fine line. The benefit of blogs (in what's essentially a post-blog world with the advent of Facebook, Twitter, and Tumblr) is the same thing as having a buddy in the crows nest -- it's a personal relationship (in over 140 characters) that allows for a personal, in depth analysis. One of the reasons Zach and I have stayed doing this for so long for those 300 or so folks who read on a daily basis. When that opinion is compromised by a corporation or even a mother site, I fear that if you're in for a dime, you're in for a dollar.

We'll see how Altered Zones behaves, but let's hope that Altered Zones keeps the POVs of those who started the blogs. That the Pitchfork pinata stays full of musical candy, and they don't mind taking pot shots from us lowly, unaffiliated folk. Especially if they fuck it up.

Altered Zones launches July 7.

Janelle Monáe - "Let's Go Crazy" (Prince Cover)

HANK ALTOGETHER:
In other pseudo-Outkast related news, Janelle Monae covered Prince's still astonishing "Let's Go Crazy" on the BET Awards. I didn't even realize BET was still around, but then again, I haven't seen "Hell Date" in a while. The cover's pretty spot on and works Monae's flair for the theatrical along with her ability to take R&B chestnuts like James Brown and now Prince and pull them off surprisingly well. It's ballsy that's for sure. I mean, who covers "In the Aeroplane Over the Sea" (besides Phish)? Ok, so bad example. But, you get what I'm saying. Not only that, but she does that IN FRONT of Prince! If for nothing else watch for the cut to Prince in the crowd. It looks like he just puked in his mouth.


Head over to YANP for the mp3.

Stream the new Big Boi Album Now!

Just go here and listen to the thing that might give me hope in hip hop again...

Monday, June 28, 2010

Big Boi - "General Patton" (MUSIC VIDEO)

ZACH THAT:

Probably my favorite rap song in the last three years and in my top five tracks this year.
(Video is out of sync...will reup correct version when they fix it).


Flux Rad's 100 Fav. Albums


HANK ALTOGETHER:
I've been following with interest Flux Rad (aka Paige Macguire) as she lists her 100 fav. albums of all time. Today brought the capper, a really solid choice to fill out the list. What's gorgeous about Paige's work on this is that like all great lists, it seems to be in itself an autobiography with the words written in music.

See the whole list here.

Friday, June 25, 2010

REMINDER: WLFY NORTHSIDE SHOWCASE

New of Montreal - "Coquet Coquette"

HANK ALTOGETHER:

Listen to those wet, wet drums. Yummy.

Check it at Stereogum.

Rare Modest Mouse Demo Tape

ZACH THAT:

Modest Mouse – Tube Fruit, All Smiles and Chocolate (1993) 320k

An extremely rare self-released Modest Mouse recording.

Only a few copies in existence. First demo tape.

1. An Apology From Dog to Cat Concerning a Comment Made Earlier ‘Bout
Cats Breath
2. Tossing Your Weight
3. Measure My Sleep
4. Bliss Phones Explanation
5. Custard Toothed Alpha Bet
6. Race Car Grin
7. The Gravity Involved in Climbing
8. Leaflets Gave
9. Super Saver Day
10. Thinking Lead to Suspicion
11. Piggy Tails Buries Corborador in the Desert
12. Go On Out, Come On, Carry Off (On)
13. Less Thought Then Sleep
14. Livin Your Life In Two
15. The Naive Chocking On a Shallow Line
16. Unvited
17. Slave Trade Definition Transfer
18. Immigration Office Spelling Bee
19. Ignoring Each Other, Together For It
20. My Name on a Letter in the Mailbox
21. Bulldozers on High
22. Crow Bar
23. Novicain – Peppermint
24. Candy Blue
25. Favorite Horse at the Tracks

We don't encourage illegal downloading or host download links, but if you happen to go HERE, you might find something you like.

Wednesday, June 23, 2010

Where Have all the Good Lyrics Gone?

HANK ALTOGETHER:

Over spinning the garagey-goodness of the new Beach Fossils record a couple days ago, I posed to Zach an interesting question: "When was the last new band (2 or less albums) that you were really wowed by the lyrics?"

It wasn't meant as a stupefying question. But it is.

Seriously, when was the last time that you were hanging on the next word of a band? When you went -- "Damn, that's good." When you made your friends shut up and listen to what they say here? And why haven't bands brought that to the fore?

Listening to the game-changing opener "Tell 'em" of Sleigh Bell's debut gives a bit of a hint: everything's so loud and produced now. Think about how many noisy electronic bits and blips layered over panic-attack guitars on top of live drums, drum machines, anything that can beat. It's not a conducive atmosphere for lyrics. Lyrics need time. Storytelling structure. The audience to pay attention. Most bands are ADHD -- more, louder -- upping frequency and tone might make the hipsters ironically shake their butt, but what's this "Pink Champagne" all about?

And, if your favorite new group isn't doing that electro clash assault, perhaps they're like Beach Fossils, weaving spindly guitar lines with muffled vocals so that the voice is more of an instrument than something to understand. Even though its approximating lo-fi, the effect is so glossy that it's hi-fidelity lo-fi, compared to the early works of Smog & The Mountain Goats, which were almost purely lyric driven and you had to get past the tape fuzz to get to the words.

Granted the mix isn't to blame. Regarding the reissue of The Rolling Stones' Exile on Main Street, CBS's Sunday Morning correctly reported that one of the geniuses behind the album was that you couldn't tell what Jagger was saying until you turned everything up really, really loud. What is glaringly apparent is that bands aren't focusing on the words so much as the sound these days. And while that's lead to some wonderful work, those who rely on words to hook in (myself being chief among them) are finding ourselves at a smorgasbord with no food we can eat.

"What comes first the music or the words?" Used to be the claim, but now it seems that at the very least, the words are being left in the wake. Story through lyrical expression has become an afterthought in recent years.

So, here's my question to you: What am I missing? Are there new-ish bands whose lyrics astound? Whose stories are as interesting as the music they're making? In other words, where have all the good lyrics gone?


Friday, June 18, 2010

Arcade Fire - Suburbs (Track List)


01 The Suburbs
02 Ready To Start
03 Modern Man
04 Rococo
05 E mpty Room
06 City With No Children
07 Half Light I
08 Half Light II (No Celebration)
09 Suburban War
10 Month Of May
11 Wasted Hours
12 Deep Blue
13 We Used To Wait
14 Sprawl I (Flatland)
15 Sprawl II (Mountains Beyond Mountains)
16 The Suburbs (Continued)

Thursday, June 17, 2010

Cults - "Go Outside" (Brainbheats Remix)


ZACH THAT:

BIO: Brainbheats is the producer alias of pianist and composer Brian Healey. As an in-demand pianist, keyboardist, and member of a variety of projects, Brian has toured the country and performed alongside a wealth of top musicians from various genres, including: Paquito D’Rivera, Maceo Parker, Delfeayo Marsalis, Charlie Hunter, Benevento/Russo Duo, Clark Terry, Andy Narell, Johnny Neel, Bobby Lee Rodgers and the Codetalkers, Diego Urcola, Ben Sollee, and The Lee Boys. Brainbheats is a new studio project that combines Brian’s loves of all things music, sound, and technology into an organic blend of traditional instrumentation and electronic programming. Influences range from the drum and bass mayhem of Aphex Twin to the rich harmony of Debussy, from the powerful melodicism of Sigur Ros to the exotic textures of Bjork, and beyond.

Cults - "Go Outside" (Brainbheats Remix)

TWITTER

Wednesday, June 16, 2010

Of Montreal Uploads Video Of Kevin Barnes and Piano

ZACH THAT:

"hindlopp stat ve tha rute plume hg handerell
ghurstwhile as the son creates webpages and mythologizes his mama."


Monday, June 14, 2010

MGMT - "It's Working" (MUSIC VIDEO)

ZACH THAT:


We Listen For You NYC Northside Show


ZACH THAT:

We're very excited to announce our showcase as part of Northside Fest at Glasslands on Saturday June 26th. Tickets are $10 at the door and free for Northside badge holders (highly recommend buying a badge as the festival is Brooklyn's SXSW and has an amazing amount of can't miss shows). Here is a look at the four bands we're excited to feature. (Here is the facebook event page for the show)

Family Trees
I just found out about these guys a few weeks back and their music immediately won me over. They have this 50's dream pop twisted into a nightmare sound that is both catchy and dark. WLFY slapped the Required Listen tag on them and we expect 2010 to be a breakout year for Family Trees.

Family Trees - "Dream Talkin"

The Zookeepers
This band is insane. I've been wanting to see them live since we gave them Required Listen a year ago. Explosive energy and beautifully twisted tunes should make for a can't miss set.


Slow Animal

This is my band to watch for 2010 as their free EP (grab it HERE) basically took over my iTunes. In a hypnotic state I played the five tracks over and over and recommended it to everyone and anyone who would listen.


The Pass
They're obvious WLFY favorites as we post everything they do. One of the best live shows I've seen this year, every set is an automatic dance party with five synths being played in the band. They're an 80's throwback with a Passion Pit/Phoenix feel. This is their first NYC show and I'm more than pleased to introduce them to the big apple.

Broken Social Scene Covers Pavement

Fucking Awesome.


"Make it louder!"

Friday, June 11, 2010

First Hand Experience: Conan and Jack White @ Third Man Records

(photo via Team Coco)
ZACH THAT:

The journey starts with four guys sitting around a table drinking beers in Louisville, KY. Joey (all photos were taken by Joey for WLFY see more on twitter @changingmyplea), Chris and Nick from backseatsandbar.com and I gather around an iPhone to take a look at breaking news (see the video) out of the Third Man Records camp. The video shows Jack White (The White Stripes, Raconteurs, Dead Weather) hanging up a poster on the front of Third Man Records, located in Nashville. The poster details an event with Conan O’Brien and say Thursday June 11th, first come first served. The video ended and the four of us looked at each other in silence. We all had the same thought but nobody said anything. Finally one of us stood up and said, ok, let’s leave in thirty minutes. It was all the needed to be said, everything was understood. Thirty minutes later I’m behind the wheel, a Honda civic packed with expectation, hurling deeper into the dark of the night that should really be called morning. It was 1am and Nashville was the destination.

Third Man Records is a building that looks out of place in a “rougher” part of downtown Nashville. The structure has a small room that opens at 12pm most weekdays and sells all sorts of Third Man merchandise. Two large garage doors are painted yellow and red (the yellow door for load in and load out and the red door is where White parks his Mercedes). Basically the building looks like a set piece straight out of Michelangelo Antonioni’s “Blow Up”. Across the street is a large homeless shelter and up the street a train track where loud noises radiated every thirty minutes on schedule. I pulled the car into the Third Man lot where there is only four parking spots and noticed two other cars waiting. The cars had two die hard fans waiting who we would spend the rest of the day with and become friends as crazy experiences like this tend to do. The girl had been there since 8PM the night before, the guy 11PM. When all was over, they both logged in over twenty-four hours to experience the intimate show.

Next to the building was an alley way and a large gate where this sign hung:
I sat on the curb, in a delirious state from the lack of sleep and waited. I was hungry, tired, wanted to take a shower, miserable. This is what the next five hours looked like:
The next day was a blur and reading about doing nothing but sitting is just as exciting then the sitting itself. Friends were made, beer was consumed, music played, and then from above Jack White began throwing water bottles to fans. (NOTE: He is throwing to the back of the line, people who just showed up…you can hear the die hards who had been in the sun for hours angry that he is rewarding the wrong group…none the less it was cool seeing a king throwing hydration to his peasants.)



The organization of Third Man was great but I have one big gripe and will get that out of the way before turning everything into sunshine and rainbows. With about an hour to go before doors the guest list line begins to fill. The regular line runs about 2,000 people deep at this point. The capacity for the Third Man venue is anywhere between 250-400…we’ll say they let in 350 people. They guest listed 94 people! Running this blog I do the guest list thing all the time and sometimes at huge venues each band is allowed four to five spots. The poster above says first come first serve but this was not the case as guest listeners showed up literally at 8pm, fresh, clean, and rested…while I sat there sunburnt, exhausted, and pissed off at these easy riders. I took my anger out on the first two guest listeners who ignored me for the most part. They completely shocked me when they saved us spots in front of the stage and literally allowed us in front of them once in the venue. This made me feel bad about being an jerk to them, but my anger was directed at Third Man because I know at least 350 people deserved to be there over the 94, they put in the time and put up with the heat. Now this didn’t change anything for 256 of us, but 94 people we’re bumped who sat outside for over seven hours. But enough griping, I’m in the venue and front row center. Can’t complain.

I fold my arms on the stage and rest my head on my hands. Closing my eyes I begin to debate what I’m more happy about: the fact that I’m about to see Conan and Jack White play some tunes or the fact that the air condition is going full force. The doors close and a large cheer goes up, we are the 350 people who will be able to tell our children, we were there…it’s an automatic moment not to be forgotten. The lights go down and Jack White jumps on stage to introduce Mr. Conan O’Brien:



THE SET LIST:


We all know Conan is the king of contemporary comedy but I had no idea how incredible of a musician he is. He’s a showman and his backing band was tops. On “Polk Salad Annie”, Conan put his own twist on the Tony Joe White classic (made famous by Elvis) by changing the story to a boy from Brookline, Massachusetts struggling with the perils of growing up as upper middle class and the shame of having lowly parents struggling to make it through life as an attorney and epidemiologist. Conan continued to dazzle with older standards, taking breaks to show off his unmatched wit and sharp banter, once going into a Tears For Fears song to appease a fan who joked he was there just because Conan tweeted that he would be only doing covers from TFF. The room exploded when Conan smiled and said “This ones to pay the rent” and blasted into a mind-blowing instrumental of “Seven Nation Army”. One of the stronger moments came from Conan doing a Thom Yorke impression by doing his version of “Creep” The joke at hand is that Conan said he can only do the impression by acting like an English chimney sweep…and continued the joke by changing the lyrics to fit the bit. In the middle Jack White threw a top hat on Conan’s head took the skit over the top, the run busting from laughter.

The Jack White returned for the last song of the night and words wouldn’t and couldn’t do justice for the experience. Two legends who are the top of what they do, sharing the stage, back to back shredding on the guitar and feeding off an insane crowd. The room was close to spinning off the earth and into vast universe. Hopefully a video will be posted because you need to see this last song.

The show was over...and I caught a Conan pick:

The entire show was recorded on reel to reel and made available for vinyl pre-order for the 350 people who attended the show.
We waited in line for an hour, saw Andy Richter leave, the whole band, and finally Conan…who after all he had done for us, tried to shake everyone’s hand, take photos, and sign these cards:


I placed my order for the vinyl, trudged back to the car and made the three-hour drive home. I arrived back around three in the morning, a twenty four hour trip plus some change, some 36+ hours without sleep, dehydrated, two hues of red all over my neck and arms. So, was it worth it? Yes, without even a spec of doubt. As I went to sleep I dreamt the whole event over again, but when I woke up I wasn’t depressed…it wasn’t a dream, we really experienced it all.

(excuse the typos, this is freehand, "i'm too tired to edit")

Tuesday, June 08, 2010

REVIEW: The Henry Clay People - "Somewhere On The Golden Coast"





The Henry Clay People - Somewhere On The Golden Coast


Release Date: June 8th, 2010
Label: TBD




9.1





ZACH THAT:

About seventeen minutes into the new album from The Henry Clay People, “Somewhere On The Golden Coast”, frontman Joey Siara exclaims: “This aint a scene, it’s just a generation caught in between.” After a few beautiful moments of a slide guitar he goes deeper: “This aint a scene, it’s just a place to be.” This is the perfect summary of the current musical climate and why an amazing band like The Henry Clay People will struggle to get “cred” from hip blogs like Pitchfork. You see, “hip blogs” get caught in this typhoon of sounds/genres that mark a specific time. Right now, the majority of us bloggers are focused on the low fi/chillwave/electro movement. That’s all good and fine, but there’s amazing music out there going unnoticed. After hearing the new release from The Henry Clay People, I’m convinced that not only is “Somewhere On The Golden Coast” the best straight forward rock and roll album of the year…it might be the most honest collection of tunes I’ve heard in a long time.

Don’t get me wrong, I love music in all categories, but when was the last true rock and roll indie album? Remember, it was all the rage in the 90’s with Pavement, Built To Spill, Yo La Tengo, the list goes on forever. Now it seems you need a costume, a bunch of effects, neon lights, and it helps if you wear skinny jeans. There is something refreshing to hear an album for the music and not have any exposure to outside elements that might poison the tunes (looking at you Mountain Dew).

“Somewhere On The Golden Coast” is one solid song after another, each overflowing with a unique personal touch from Siara’s thoughtful approach to his lyrics. Call me crazy but Sierra is a young Paul Westerberg/Stephen Malkmus hybrd. Siara’s younger brother Andy is in charge of lead guitar and absolutely stuns on this new record. With the amount of synth music I’ve been exposed to (and loved) over these last few years, I forgot how powerful the traditional is when executed properly. Two guitars, Joey’s ripping vocals, drums, bass, and piano…that’s it.

This is the section in the review where I single out a few songs and show some strengths and weaknesses….but this is one of those albums…that is actually a start to finish album. Do you remember those? Yeah, I know it’s been a while, but “Somewhere On The Golden Coast” allows you to drop the needle and play it out until the last guitar pick. The album does a nice job mixing the tempos and there is a lot of maturity shown on this album, especially when they show a more emotional side on the tracks “Two Lives At The End Of The Night” and “A Temporary Fix”. For the all out Henry Clay fans, don’t worry, in addition to their older songs “Working Part Time” and “This Ain’t A Scene”, “Slow Burn” and “End Of An Empire” are all out rock songs that will have you listening over and over with constant tapping of right or left or both feet.

What’s funny and sad is that a blog like Pitchfork will ignore The Henry Clay People because of their genre and the fact that a clear focus is put on Brooklyn and not Los Angeles (don’t blame them, but LA constantly gets a raw deal). Pitchfork, as I’m writing this, still has not posted one track, reviewed one song or album, and this is baffling. I imagine we will see a medium score review here in the next few days, but THCP deserve better. The Henry Clay People have been around for years now, played SXSW several years in a row, had three nation wide tours, signed to TBD (Yeah, Radiohead, White Rabbits…kind of a big deal world)…yet they go ignored by New York/Chicago based publications. Ask any music blogger in Los Angeles who is the hardest working band that puts on the best live show…99% of them will point you in the direction of the venue Spaceland to catch one of the many The Henry Clay People’s sets. As I’m typing, my words don’t seem to be matching my emotions, so I will leave you with this: This is a damn fine band with an amazing new release. It’s time for the world to realize that The Henry Clay People are one of the most important new bands in the last few years. The Henry Clay People play their hearts out, play the music they want to hear, and never once apologize for not being the type of music that is buzzy at this moment. I think I found the simplest words for my emotions now: If you like good music…you’ll like The Henry Clay People and “Somewhere On The Golden Coast.”


Grace Potter & the Nocturnals - "Tiny Light" (Music Video)

HANK ALTOGETHER:
Seemingly pulled right out of "Almost Famous," Grace Potter and the Nocturnals have been around for a surprising while, but their new album shows a slicker-looking Grace, and the same old 70s style that may make you want to pant or puke.

Patti Smith on a Kids Game Show

fo serious:


FREE SAMPLERS!

HANK ALTOGETHER:
Largehearted Boy has another great roundup of a bunch of free samplers from labels like 4AD, Sub Pop, & Merge.

Check it here.

Friday, June 04, 2010

REQUIRED LISTEN: Family Trees


ZACH THAT:

I've always been jealous of the teens from the late 50's early 60's. They cruise around in cool cars, drink from flasks, and have prom music that is both beautiful and eerie. The time was marked by straightforward songwriting that seemed romantic, but after close inspection the music had layers of darkness behind the klangy struck guitar chords.

Brooklyn's Family Trees isn't helping my jealousy as they are putting out music that plays off this late 50's idea of gorgeous melodies with shadows of deeper meaning. Family Trees are doing their own thing and it just so happens it's my thing too. I really hope this style of music catches on and with the buzz of The Morning Benders and now Family Trees stepping onto the scene it seems we're only at the beginning. The music from Family Trees is sincere, controlled, and has this unique aura that demands you give their sounds a spin. As far as new faces in 2010 are concerned, Family Tree is tops.

Family Trees - "Dream Talkin"

Order their debut 7" Dream Talkin
(Highly recommended)

MYSPACE

The Best Live Drummer Of All Time

ZACH THAT: