Galaxy Juice - How Wide is the Sun

Galaxy Juice is a psychedelic indie band based in the sandy and sunny Gulf nation of Kuwait. The Khaleej (Arab Gulf) nations aren't exactly the first to be associated with psychedelia, though a landscape defined by stark and sweeping deserts punctuated by spires of palm and glossy skyscrapers, sands that blend seamlessly into crystal blue water concealing pearl lined floors, and human culture dating back to antiquity could in fact epitomize the surreal. Kuwait is a nation with deep musical roots, based largely on the seafaring heritage of the nation, characterized by unique rhythms and influence from the Swahili coast and South Asia. One example of Kuwaiti music is fidjeri, the songs sung by pearl divers backed by clapping and drums. This unique flavor of rhythm and song, a direct human interpretation of that liminal landscape between earth and sky, is what drew psychedelic indie band Galaxy Juice out of space to settle in Kuwait. They were gracious to fill us in on their history, what drives them musically, and their plan to save the human race.

What is it like in space?

Space is very wide with infinite possibilities just like our music. We are always from one place to another in terms of styles and sound and we are always trying to discover ourselves on different planets.

Where in space are you from, and why did you choose Kuwait?

We came from the Whirlpool Galaxy, also known as Messier 51a, about 23.16 million light years away from Earth. We chose Kuwait because of its obscurity in terms of music, and we wanted learn the rhythmic percussions of the desert and sea.

How did you all get your names?

We got our names from the families we adopted ourselves into, and our nicknames we gave to ourselves.

How did you guys get together?

We met way back in high school. We used to play in two rival rock bands that eventually became Galaxy Juice around 2013, almost 10 years later.

In "Let's Hide in the Dust (Of Our Own Town)" the Khaleeji influence is obvious, with the Kuwaiti clapping and rhythm. Is traditional music generally an influence? 

This track is an all-time favorite in our country. Yes traditional music is one of our main influences as we try to infuse that with elements of electronic and rock.

What is behind the choice to write lyrics in English as opposed to Arabic?

We are reaching the whole world with our music and we think English is understood by more people in the world, but that doesn't mean that we will never use Arabic in our songs - anything is possible.

What is the music scene like in Kuwait?

The music scene in Kuwait is in constant growth. When we first started in 2013 there were hardly any bands or shows but nowadays there are almost two shows happening every week, from all styles of music like jazz, rock, acoustic and such. We are glad to be part of this growth period.

Tell us a bit about the video for "Awaken the Sunshine." Where was it filmed?

Shooting this video was quite a trip. It was in Jal Al Zour desert in the middle of nowhere. It was directed by our friend Minature, and it was very tiring but was worth it in the end.

What are the main inspirations behind your music and aesthetic? 

We are inspired by '80s sci-fi as this was the period we were all born into. Also surrealism like Salvador Dali and Alejandro Jodorowsky. We are very interested in film and art and we like to experiment with those fields as well.

Have you guys toured internationally?

Yes, we played in a few counties outside of Kuwait like Bahrain, UAE and Thailand.

Any music coming out soon?

We are currently working on our third album and working on a new live music and visual experience. We will announce all that soon.

Any plans to come to Egypt?

Yes we would love to play in Egypt and would love to see the Pyramids of Giza and Wadi El Hitan.

How do you plan to save the human race?

We will save humanity with the power of love and music. A lot of people underestimate the power of music and how it can change a person, so we are hoping that our music can change and influence people to be better versions of themselves. and that will help the world become a better place.

From: https://scenenoise.com/Interviews/galaxy-juice-from-space-to-kuwait

Linda Thompson - Mudlark

Linda Thompson is best known as a singer and interpreter of someone else’s songs. A specific someone else: Richard Thompson, her ex-husband, with whom she made a few of the greatest British folk-rock albums ever as a duo in the 1970s and early ’80s, lending dignified poise to his tales of suffering and strife. Linda made one album after they broke up, then began struggling with a condition called spasmodic dysphonia, which causes involuntary contractions of the larynx that can make it difficult to sing or speak. She focused on family life and released no new music until the early 2000s, when treatment with Botox relaxed her vocal cords enough for her to make a careful comeback. The three albums she’s released since then are remarkable not only for the renewed power of her voice, but also for her emergence as a songwriter, a craft she honed when it seemed like she might never sing again.
Thompson’s dysphonia has since worsened. Proxy Music, as its title cheekily suggests, is a collection of songs she wrote for other people to sing, inverting the composer-performer dynamic of her best-known work. With a few exceptions, the music, largely co-written with her and Richard’s son Teddy Thompson, could fit onto any of those classic ’70s records, with stately acoustic instrumentation and melodies that wind patiently without flashy pop hooks. Her sensibility as a lyricist is informed by the folk tradition, and she writes often about the sort of heartbreak and regret that also characterized her songs with Richard.
But she’s also funny—sharper and daffier than she ever got to be as her ex’s melancholy mouthpiece. In “Or Nothing at All,” a piano ballad about unrequited affection performed tenderly by Martha Wainwright, Thompson describes true love’s deliverance not in terms of high passion, but absurd clinical precision: “A hundred men in their white coats/Would check you with their stethoscopes/And hand you straight to me.” “Shores of America,” sung by Dori Freeman from the perspective of a pioneer woman leaving a lousy partner behind in the old world, contains a zinger so good it’s hard to believe no one’s gotten to it before: “And if it’s true/That only the good die young/Lucky old you/’Cause you’ll be around until kingdom come.”
Perhaps inspired by the unusual rotating-singer format or her years spent inflecting someone else’s words and melodies with her own personality, Thompson is playful and probing with notions of authorship and authenticity of voice that many other songwriters take for granted. She is especially attuned to the gradations of difference in perspective between a song’s writer, its singer, and the constructed character of its narrator. Proxy Music opens with “The Solitary Traveler,” an emotionally complex waltz whose lyrics, about a “wicked” woman who has lost her voice and the love of her child’s father, seem drawn from Thompson’s biography. But they also gesture in the direction of a folk-song stock role she was occasionally asked to play earlier in her career: the fallen woman, undone by her own bad choices, an object of both pity and scorn. By the end of the song, Thompson has turned this misogynistic archetype on its head. “I’m alone now, you’d think I’d be sad,” sings Kami Thompson, Linda and Richard’s daughter, brassy and assured. “No voice, no son, no man to be had/You’re wrong as can be boys, I’m solvent and free boys/All my troubles are gone.”
“John Grant,” delivered by former Czars frontman John Grant, has a narrator whose heart has been stolen by a man named John Grant. It is both a Being John Malkovich-style metafictional hall of mirrors and a sweet portrait of the mutual quirks that develop in long relationships. “A moment on the lips/A lifetime on the hips” is how Thompson recounts the couple’s shared love of sweets. Later, we learn that they’re tree-huggers, an identity they take literally. “It chafes the arms a bit,” Grant sings with a sort of auditory suppressed smile, “And we don’t know if they’re into it.” He also contributes some pleasantly noodly electronic keyboard lines, sounding a bit like Jerry Garcia when he used MIDI to turn his guitar into a synth in the late ’80s and ’90s. It’s a strange incursion on an album otherwise committed to rustic instrumental textures, but a welcome one, heightening the uncanny aspect of the song’s premise.
Proxy Music’s other experiments with relatively contemporary accents aren’t always as successful. The reverb-enhanced stomps, shouts, and claps of “That’s the Way the Polka Goes” serve to make its asymmetrical rhythm seem much more generic than it actually is, bringing an otherwise fine song dangerously close to Lumineers territory. “Three Shaky Ships” also has too much reverb, its cathedral-sized echoes and Rachel Unthank’s quietly portentous delivery evoking another mid-2010s musical cliche: It sounds like one of those spooky covers of famous pop songs you used to hear all the time in trailers for blockbuster movies.
The album’s stunning closer is “Those Damn Roches,” a tribute to the titular singing sisters and various other famous musical clans, with lead vocals from Teddy Thompson. The delicate arcs of lead guitar sound a lot like Richard’s own, which may not be coincidental. The guitarist is Zak Hobbs, Richard and Linda’s grandson, son of their eldest daughter, Muna. Richard himself, who has contributed in various ways to all but one of Linda’s post-comeback albums, sings backup. (He also plays guitar on “I Used to Be So Pretty” and co-wrote “Three Shaky Ships.”) Inevitably, the subject turns to their own family in the final verse. “Faraway Thompsons tug at my heart/Can’t get along ’cept when we’re apart,” Teddy sings. “Is it life, or is it art?/One and the same.”
Life and art have long been entwined with unusual intensity for Thompson. Shoot Out the Lights, her final album as a duo with Richard, was filled with songs about bitterly dissolving relationships, many of them apparently written while things were still happy between them, and released just as their real-life breakup was bringing their collaboration to an end. Proxy Music entwines them again. Turning Linda’s absence as a singer into a flickering subject of the music, rather than just an unfortunate circumstance of its creation, it is a strange and sometimes brilliant album—one that only Linda Thompson could have made, whether or not you can hear her singing.  From: https://pitchfork.com/reviews/albums/linda-thompson-proxy-music/

Derek And The Dominos - Anyday

Derek and The Dominos was a very short-lived band that only released one studio album in its entire career span, which only lasted just over a year (1970-1971). That album, "Layla and Other Assorted Love Songs," is still heralded as one of the great moments in Eric Clapton's career and classic rock history. The band broke up during the recording sessions that was supposed to become their second album.
The band had an immense amount of talent and inspired decades of bands that would come after them, including Elton John, who wrote about the band in his autobiography, "They were phenomenal. From the side of the stage, I took mental notes of their performance. It was their keyboard player Bobby Whitlock that I watched like a hawk. You watched and you learned from people that had more experience than you." The album even featured lead and slide guitar work from Duane Allman, who passed away shortly after, in 1971.
In a 2017 interview I did with Bobby Whitlock, who co-wrote "Bell Bottom Blues" with Clapton, I asked about the day the Dominos broke up, to which he replied, "Well, Jim [Gordon] and Eric [Clapton] were having kind of a war and we were all doing too much alcohol and drugs. Jim had got a new kit of drums – it had two kick drums, it had like twelve drums in this thing and cymbals all over. We're in a big room at Olympic – the same room I was in when I did the piano part on 'Exile [on Main Street].' Jim had put these drums together and was banging on them for four or five hours. We were all sitting around, waiting on him to get his brand-new drums all tuned up right and everything like that. We're waiting patiently and drinking and smoking and waiting and waiting and waiting… I can still see Eric sitting there on his amp with his leg crossed and his guitar on his lap. So finally, Jim got his drums tuned up the way he wanted them – there were a dozen drums in this thing and each drum he would have tuned to a piano key so I was sitting there playing one note on the piano. Jim is a really musical drummer. But it was getting so monotonous."
"Finally, he got it exactly right and Eric went to tune up his guitar – we didn't have guitar tuners in those days like we have now. He got like two strings tuned up and Jim says, 'Hey man, you want me to tune that thing for you?' I went 'Oh shit'. Me and Carl looked at each other and knew that was the wrong thing to say. Eric got up and slammed his guitar up against the wall and went out the door he said, 'I'll never play with you ever again.' That was it. And he never did play with him again except on my solo record, but Eric had his back to him, and Jim was in the drum booth and never came out. Eric had his back to the drum room the entire time. That was the end of it."
Some songs from the sessions for the second album have been released, some haven't. But the band seemed to be on a trajectory for success in spite of a lukewarm initial critical reception of the album and rampant drug abuse. In 1983, Jim Gordon, who had undiagnosed schizophrenia at the time, killed his mother with a hammer during a psychotic episode. He was confined to a mental institution in 1984, until his death in 2023. Still, the band's "Layla" album remains a classic, and perhaps the band stands as a cautionary tale about the things that can get in the way of functional band dynamics.  From: https://www.ultimate-guitar.com/articles/features/the_day_dominos_fell_the_story_of_how_derek_and_the_dominos_broke_up-158431

Bettie Serveert - Ray Ray Rain

I was halfway through a menthol cigarette (blech!) when I heard the electric guitars of Bettie Serveert’s Peter Visser and lead singer Carol van Dyk through the open doors of Brooklyn’s Southpaw. So I flicked the foul scourge into the street and hurried inside, sickeningly refreshed and buzzed from the nicotine — this would have to do since, as far as I know, pocket lint is not accepted at most establishments as valid beer money. But the need for such mundane trappings dissipated once I feasted my eyes and ears on these Amsterdam-based rockers for the very first time. I was instantly won over. Visser’s indie cowboy-nerd playing counterpart to van Dyk’s sexy dishevelment, adorned with matching silver glitter guitar straps, formed the perfectly disparate sonic canvas for a Stills-Young-style guitar wrangle, but with a softened brashness plucked from any number of post-punk bands. The Pretenders, with their pop take on punk rock, come to mind but so does Lucinda Williams — the latter not only in the country inflections and van Dyk’s delivery (she also heads up a country-rock outfit called Chitlin’ Fooks), but by gum, she could be her younger sister from the looks of her. I am not the first to make these comparisons but they cannot be so easily eschewed. In spite of that, the band’s influences are actually quite sub-textual, appearing more intermittently between the choruses and deep into the jams. Two guitars piled in with Herman Bunskoeke’s bass lines and percussion courtesy of Stoffel Verlackt (their third drummer) collectively create an original sound that is equally as adept at light-hearted pop songs as it is at full-force rock. Pervasive melancholy underpins every one of Bettie Serveert’s songs, folded into layers of jangly guitars and peppy drums that make you feel like swaying from side to side, letting the tears well up as you remember a past love or wallow in the realization that you’re an outsider in a world of insiders. Yet at the same time you feel like bouncing around and waving your pigtails just like van Dyk, who cheerily makes it seem alright to feel down; a trampled heart ends up all the more resilient for its ordeal in “Private Suit”, rendering a palpable picture of this duality. It’s also a testament to the outsider status that van Dyk clearly feels she lays claim to. The ode to aimless losers “Wide Eyed Fools” and the self-doubting “De Diva” explain not only how Carol van Dyk feels about herself but also how the band no doubt feels after being dropped from the Matador label at the end of the ’90s due to bad reviews of their second album Lamprey and waning popularity. They were thrown out on their bums only to get back up, brush themselves off in valiant fashion, and return with a great set of new songs. Matador’s loss indeed. So it’s no surprise that their material directly reflects their own history, although they’ve been employing this happy-sad formula effectively since their 1992 debut Palomine. Bettie Serveert’s hard-working, talented, under-appreciated, puppy dog, rock-band identity might have instilled pangs of guilt in me which, in turn, might have unwittingly forced me to like them simply to spite the record industry and in spite of any real feelings I might have harbored for the music. I would want to hold them up as underdog champs, you know, on principle — yes, rock critics sometimes have hearts and principles too. But all preconceptions escaped my thoughts as I shifted my focus away from the trivia surrounding the group and concentrated on the massive, wailing sounds coming from the little stage. How could anyone feel bad for a band who gleefully rock out in such a glum but fun manner? Van Dyk and Visser are all smiles and seem to genuinely enjoy what they do. For them, the down times, as much as the up times, are all part of the process: material for more songs, character building, and most importantly the freedom to experiment without constraints from their label. Definitely unafraid of the long jam and its many potential repercussions in the ears of the wrong crowd (read: snooty indie rockers), this band makes indie rock for Heads. A recent Rolling Stone referred to the legendary Television as being akin to the Grateful Dead, of all bands, because of their prolonged, lyric-less jams which recall Jimi Hendrix’s delightfully psychedelic excess, but filtered through the urban grime of early ’70s proto-punk. Visser likewise channels the psychedelia of both Hendrix and Neil Young but in an even more rudimentary way — close your eyes and you’re not at an indie rock show in Brooklyn, you’re at Kansas City’s Royal Stadium, 1974, witnessing Neil Young duke it out with Steve Stills for improvisational guitar jam supremacy. At times even the surf rock of the Beach Boys can be heard beneath it all. And just before it becomes a retro rehash, van Dyk will step back into the jam, as unexpectedly as she departed, to resume belting out her raw but tender voice, switching up the focus of the song and easing us back into the present with lyrics about the “pre-fab world” we’re all living in. Style, tempo and mood change from one minute to the next — what seems spontaneous is in fact spontaneous. In a recent interview with Venus magazine van Dyk said “we threw our book of rules out the window,” referring to the making of their newest album, Log 22. While this is true for the album, the spontaneity is best felt at a live show. Over their almost 14-year career Bettie Serveert have survived a brief moment of super exposure and rave reviews, then vicious criticism and artistic slumps and a subsequent breakup with their record label, but they have emerged fresher than ever, with an energy achieved only by throwing caution to the wind. This structure-less approach (I am loath to say “organic” for fear of attracting throngs of jam-band followers) to making music is precisely what needs to infiltrate what Joni Mitchell, another stubborn individualist and record label rebel, dubbed “the star maker machinery behind the popular song.” Bettie Serveert have thankfully returned to assist in that effort.  From: https://www.popmatters.com/bettie-serveert-031008-2496087357.html

The Jayhawks - Live on German TV 1995

 Part 1

Part 2

With the roots music explosion of the last decade, it’s past time to reappraise The Jayhawks, one of the pioneer bands of the genre. By reissuing their late career renaissance through the record trilogy of Sound of Lies, Smile, and Rainy Day Music, it once again becomes clear just how influential and genre-bending a group the Jayhawks were in their prime. In the mid-‘90s, co-founder Mark Olson had moved onto a solo career, and so co-founder Gary Louris transformed his group’s musical vision. No longer were the Jayhawks following Olson’s folk/country instincts and the stoic Americana of the Midwest. Louris instead guided his bandmates toward a more experimental kind of music, blending his Brit-Invasion pop-inflected roots with a lusher, psychedelic sound.
If the Jayhawks’ early career peaks, Hollywood Town Hall and Tomorrow the Green Grass, reflect a grainier monochromatic depth, then Sound of Lies embodies Technicolor vision, writ large. It’s still my favorite Jayhawks record, and from its panoramic, opening tone-setter, “The Man Who Loved Life,” to the haunting, weary title cut, the songs spill forth in imaginative textures and glorious melodies.
With sole leadership of the band, Louris blooms, and his songwriting takes on a more dynamic, aggressive approach. Think mid-period Beatles, say Revolver, and a similar spurt of fertile growth echoes through this trilogy. It’s a joy to hear the sheer, crunchy exuberance of “Big Star.” Between Louris’s reinvigorated lead guitar and the fresh harmonies of new members, keyboardist Karen Grotberg and drummer Tim O’Reagan, The Jayhawks reach for and achieve a new career high. Country rock no more–this feels more expansive and charged: electric 12-string heartbreak and harmonies firing on all cylinders.
Smile continues this transformation, but goes even further in its eclectic sound. With its radio-friendly pop sheen produced by Bob Ezrin, it’s ironically the Jayhawks’ most commercial release—and yet at the same time—their most provocative record. The title track is a beaut: day-glo washes of harmony and reverb stacked to the sky–a sunshine anthem shot through with blue blasts of melancholy, Brian Wilson territory. “I’m Gonna Make You Love Me” should have been a major contender on radio, its chiming chorus rings out like a lost, vintage power-pop nugget from the ’70s. Mechanized drum loops infiltrate weaker songs like “Somewhere in Ohio,” and you can almost hear hardcore Jayhawk fans gasping in protest at the creeping electronica. Bonus reissue songs, such as “A Part of You” and “Great Garbo,” showcase their abundance of quality songs.
Rainy Day Music closes out this stirring trilogy in spare, rustic tones steeped in brilliant songwriting. Acoustic guitars and gentle CSN-like harmonies dominate deep cuts such as “All the Right Reasons.” Tim O’Reagan still provides a strong counterpoint to Louris here with harmonies and several worthy song contributions such as the hushed, travelogue reverie, “Tampa to Tulsa.”  From: https://americansongwriter.com/jayhawks-sound-lies-smile-rainy-day-music-reissues/

 

Solstice - Sacred Run - Live 2023

English outfit Solstice have made a name for themselves as an act playing melodic progressive rock with strong leanings towards neo progressive in sound, classic 70's symphonic rock in expression - tinged with elements from folk music. Similarities to Camel, Yes and Mostly Autumn have been drawn when describing the band. Formed in 1980, English band Solstice is first and foremost the band project of Andy Glass (guitar), the only musician participating on all the band's productions and the main composer for the band in it's various guises.
Apart from recording the demo cassette "The Peace Tape" Glass and his companions didn't produce any recordings in their first years of existence; concentrating on playing live in these early years. Come 1983 and the band had already seen vocalists Sue Robinson and Shelly Patt come and go, and when they hit the studio it was with a line-up consisting of Glass, Marc Elton (violin, keyboards), Mark Hawkins (bass), Martin Wright (drums) and Sandy Leigh (vocals). The result of the studio time was issued as "Silent Dance" in 1984. The band started breaking apart shortly after this release though, as Leigh and Hawkins left. Barbara Deason (vocals) and Ken Bowley (bass) replaced them, but by 1985 the band effectively broke up, with a one-off comeback for a charity event in 1986 the initial swansong for this outfit.
Six years later a real comeback took place. Glass and Elton were the sole remaining members from the formative years, this time joined by Heidi Kemp (vocals), Craig Sutherland (bass) and Pete Hemsley (drums). 1993 saw this line-up issue a CD aptly named "New Life". More line-up changes followed this release, and the next time the band hit the recording studio Kemp and Hemsley were gone, replaced by Emma Brown (vocals) and Clive Bunker (drums, formerly of Jethro Tull, Pentangle, Gordon Giltrap). The end result this time around was a production named "Circles", issued in 1997. Shortly after this release more line-up changes were afoot however. Sutherland left, and Elton had to give up playing live due to a hearing ailment. New musicians in were Jenny Newman (violin), Steve McDaniels (keyboards) and Rob Phillips (bass).
In 1998 this version of the band hit the Cropredy Festival, and equipment was set up to capture this live show, planned to be released as a live album shortly after. It turned out that the sound quality of these recordings weren't the best though, so the band opted to record a live in the studio version of the concert instead, eventually released as "The Cropredy Set" in 2002. The pause between recordings and release was at least partially the result of the band yet again entering hiatus; and it wasn't until 2007 that Solstice yet again emerged - this time around with only one minor line-up change; former drummer Pete Hemsley taking the place of Clive Bunker. 2007 saw the entire back catalog of Solstice - 4 productions in total - reissued in definitive editions with bonus material added; and a live DVD attached to the 2002 album "The Cropredy Set" arguably the most interesting of those. At the same time Solstice started touring again, and plans for a fifth album are in the making as well.  From: https://www.progarchives.com/artist.asp?id=937

Vibravoid - Wake Up Before You Die

Every single note has the effect of LSD and Vibravoid bring LSD to all their shows – LSD, that’s a Lightshow Society Düsseldorf, who project a unique and mind blowing illumination that gives an enlightening impression of how the 1960s had been.
Once again, a description that makes me grin and which I therefore had to quote... And I realise that I have known Vibravoid's music on record for years, but somehow I haven't managed to see them live yet. Well, that's where I come from with the new CD that I have, which is also available on LP (sometimes as splatter vinyl), in some versions with four live bonus tracks. It is called "Wake Up Before You Die", which could well be relevant to today. On the back cover is "Make Love Not War", a saying that became popular in 1967 during the hippie era as a statement against the Vietnam War and whose message is still relevant today. Maybe even more relevant than ever. When reading/hearing what feels like more and more reports of terror, rampages and other unpeaceful things, combined with hate postings on social networks, sometimes the desire for peace arises, for a harmless, innocent world that is simply colorful and playful. In the 60s, one of the most critical phases of the Cold War, psychedelic rock was one option as an alternative to the fear of a world war caused by the Cuban missile crisis. For a trip back to the 60s, there is Vibravoid, who manage to transport psychedelic sounds from that time into the present. It is retro and modern at the same time, poppy and spacey somehow, contemporary psychedelic rock. In addition to guitar, bass and drums, there is sitar, mellotron and other instruments. On the one hand, the songs seem quite short and snappy, on the other hand, as expected, they contain many crazy parts that seem to come from a crazy wonderland. Exuberantly colorful images play out in your head. Vibravoid distance themselves from washed-out stoner rock; their sounds are clean and clear in places, but there is also distortion and a certain amount of weirdness - this creates a musical journey through a distorted world, often rather floating, but sometimes surprisingly grounded. Some sounds are dreamy and beautiful, and in places dissonances are sprinkled in (apparently intentionally). Anyone who can and/or wants to let go can experience a fascinating trip here, regardless of whether they are looking for it for it’s own sake or as a contrast to the reality of the media and the grayness of everyday life. But not just because of cheap entertainment, "Wake Up Before You Die" asks you to consciously take part. It's a shame that there are no lyrics in the booklet, after the song titles I definitely get the impression that there are statements to be found in them. Without printed lyrics there is room for your own interpretations, inspired by the scraps of words you hear, which is probably what was intended. Of course, you can also simply follow the motto "Just Let Go" and immerse yourself in the music.  Translated from: https://www.rocktimes.info/vibravoid-wake-up-before-you-die-cd-review/