But in terms of new stuff, here’s what I liked this year, starting with national releases and ending with Cowtown LPs.

1. Strand of Oaks – Pope Killdragon
I didn’t immediately hit repeat when I heard this album, but once I came back to it, I never stopped. Who knew a record with songs about John Belushi (from the perspective of Dan Akroyd), a 12-foot man and JFK could be so engrossing. Devastating, too. If you think Tim Showalter is just another pretty-voiced folkie, the layers of synth and Sabbath-like riffs on “Giant’s Despair” prove otherwise. The best way to get Killdragon digitally or on vinyl is through Strand of Oaks’ Kickstarter page.

2. The Black Keys – Brothers
Ditto Duffy.


3. Anais Mitchell – Hadestown
A folk-rock opera about Orpheus sounds like a terrible idea. Thanks to Mitchell’s clever arrangements & talents like Greg Brown, Bon Iver’s Justin Vernon and Low Anthem’s Ben Knox Miller, it’s a tour de force.

4. Sam Amidon – I See the Sign
Sam Amidon takes old songs and makes them new. Oh, and R. Kelly songs, too. Fans of Nick Drake and Sufjan will dig this. Feb. 18 show at the Wex with Brian Harnetty is icing.

5. Local Natives – Gorilla Manor
No new ground broken, but I’ll take these songs any day over a lot of the big-name, anthemic indies who released albums this year.

6. Deerhunter – Halcyon Digest
People seem to either love or discard Bradford Cox. I love him. Album cover disturbs me.

7. Sufjan Stevens – Age of Adz
I went from disappointed to intrigued to enraptured with this album.

8. Spoon – Transference
I’m still waiting for Spoon to release a bad album.

9. Lost in the Trees – All Alone in an Empty House
Prediction: By this time next year many more people will know the name Ari Picker. He can strip a song down to its bones on one song, then compose a rich orchestral piece the next. Wex show Jan. 30 (more icing).

10. Patty Griffin – Downtown Church
I don’t imagine many Donewaiting readers are into country gospel. (I’ll echo Duffy’s preamble about what makes DW great.) When it’s done this well, I’m a fan. Guests include Buddy Miller and Emmylou Harris.

Mention-worthy:
Justin Townes Earle – Harlem River Blues (underrated b/c of daddy)
Surfer Blood – Astro Coast (kids are all right)
Shearwater – The Golden Archipelago (Meiburg the magnificent)
Mumford & Sons – Sigh No More (It’s in my most-played, so I must like it)
Sun Kil Moon – Admiral Fell Promises (underrated guitarist)
Love Language – Libraries (underrated b/c of …)
Vampire Weekend – Contra (Better than the first)
Kanye West – My Beautiful Dark Twisted Fantasy (“That’s why your Winslow”)
Mavis Staples – You are Not Alone (Legend made even better by Tweedy)
Lower Dens – Twin-Hand Movement (Jana Hunter > Devendra Banhart. Much greater.)
Mountain Man – Made the Harbor (Who needs instruments?)

Columbus albums
Like I said, Gibson Bros., but I’d remiss not to mention Columbus Discount Records‘ two other reissues I loved: Ron House’s Blind Boy in the Back Seat and Nudge Squidfish’s 20,000 Leagues Under Nashville. I liked some EPs, too (Way Yes, Spruce Campbells’ 1st) and a 7″ (TNV’s “No Room to Live”) or two, but I’m sticking with albums here. As usual, I’ll also clarify that I’m not separating these lists because these are somehow inferior or can’t compete with national releases. I just like doing it this way.

1. Super Desserts – Twee as Folk
Can’t say much more about this band and album that I haven’t already said. This is the Desserts at the top of their game.

2. The Black Swans – Words are Stupid
One way the Black Swans have honored the memory of violinist Noel Sayre is to still include him on this album, a meditation of sorts on how language fails us. It’s light, it’s dark, it’s great.

3. Time and Temperature – Cream of the Low Tide
I don’t know if this is an EP or an album, so I’ll say it’s an album. At long last. More from Val Glenn, please.

4. Ghost Shirt – Daniel
I don’t think you want to hear me talk about this band anymore, either. This record was a pleasant, late-fall surprise.

5. Micah Schnabel – When the Stage Lights Go Dim
It makes sense that the songs of the Two Cow Garage front man hold up with just an acoustic guitar.

6. Andrew Graham & Swarming Branch – Andrew Graham’s Good Word
I’m still surprised by how little press this Mexican Summer release got. “Take it Easy on Kathy, at Least she Can Dance” is one of my favorite Columbus songs released this year.

7. Nick Tolford & Company – Extraordinary Love
Soul! At least go download “End of the Night.”

8. The Kyle Sowashes – Nobody
“I threw up at Tee-Jaye’s on Wednesday night/ Pale-faced and clammy I was something of a sight/ We played a show at some basement bar/ And while they couldn’t pay us/ They gave us PBR/ So I took it as a challenge/ I tried to drink them all/ Each one went down better than the last as I recall/ And I’d forgotten to eat dinner/ I realized too late/ I got double dragon before the waitress brought my plate.” Long live Kyle Sowash.

9. Deathly Fighter – Completely Dusted
I remember seeing Deathly Fighter awhile back and being bored. It’s not usually my thing. But this album keeps me coming back. I think I like it for the same reasons I like the XX and Burial. Not that DF sounds anything like those two, but there’s something about a record that’s simultaneously chill and pulsing…

10. Earwig – Gibson Under Mountain
Didn’t get to this one for awhile, but now find myself humming these songs all the time.

Mention-worthy:
Phantods – Creature (need to spend more time with this)
Bookmobile – The New Patriot (bittersweet)
Two Cow Garage – Sweet Saint Me (consistency)

Playing and collecting various synths is almost like a religion for you. So I’m interested, when it comes to making music, do you sway more towards Suicide or the classic Krauts, because I hear both.

MC: Obviously we listen to a lot of that stuff. Overall, it’s the idea that our music is relaxation. Usually it has more to do with the mindframe that the Kraut stuff is done in. But Suicide? You listen to a lot of those songs and as aggravating as it is, it’s also kind of calming. It has to do with all that. We’re not trained musicians by any means, there’s no guitar solos, and as corny as it sounds, it’s all about the vibe.

I guess the better question then is less about your influence and more about what you are trying to accomplish sonically. How much does the production of hip-hop factor in to what you’re doing?

MC: It’s funny that you ask that. Certain people who we’ve played it for hear that. Hip-hop from skate videos definitely play a role, even if we all have different opinions on what we hear. I met Christian through skateboarding with him eight or nine years ago—the original Deathly Fighter. And back then there was just certain hip-hop that fit well on punk and skate videos. When I create drums, it’s like how the Krauts were able to make something funky without it being funky. So I’m trying to find samples, or drum loops and such, that aren’t exactly funky and then try to make them funky.

read more of this interview on Agit Reader.

To say Deathly Fighter’s Depth Charge sounds like the start of the end of the human condition would be very obvious. To say that you want to have outdoor sex on rubble, and run around with expensive robes and looted items is really obvious.
What would you do with lobsters at Krogers? And would you head to Easton, or the Horseshoe? Or would either be too much work to make a “come-up”?
Do you have guns?

Alot of my friends have been going to the gun shows on the low. They don’t even tell me. Do you have any friends that are stockpiling guns legally?
That is weird thing to think about when you are looking at the price of gas.
When someone tells you aliens will land anytime…do you act like you already knew that?
Do you like Obama or 5 Black Isrealites outside saying he is in the Illumanti more?

A.Your girlfriend would rather you shop at Easton.

This song is off Deathly Fighter’s excellent COMPLETELY DUSTED which is now available on Columbus DIscount Records

America’s Number 1 Source for News, Weedsteeler.com is sending two of our finest to an inside-job city in style with a party at Bristol Bar this evening. The music will be provided by the usual cast of total shit-maniacs(sorry only Columbus staffers) ,  Chris Lutzko of the Unholy Two, and Sargent D of Stuff You Will Hate.Com/MetalInquisiton.

The event is hosted by CJ Townsend

CDR SAMPLER:
MP3: Piledriver Nitemare #2 by Dan Melchior und das Menace
MP3: Untitled .WAV File by Deathly Fighter
MP3: Little White Chords by Sandwitch
MP3: Don’t You Look Sideways by Bassholes
MP3: Accidental Space Tourist by Guinea Worms

One of the most foolish notions that has circulated this year is the idea that bands like Karate Coyate, Wing & Tusk, Ghost Shirt, This is My Suitcase and other indie groups exist as a reaction to the existence of Columbus art-rock, art-damage, shitgaze or whatever moniker is out there.

Bands of those types, that reflect the current climate of national indie rock have always existed. I don’t think Ryan Horns wakes up angry at Chris Lutsko.

Call it the 09 We Want Action.
Hopefully a Tiara emerges.

Just as Columbus has always had musicians that were keeping speed with the rest of the nation, it has also had a long-history of weird drop-outs that accidently have a reoccurring appearence.

Columbus Discount Records along with, but not to be confused with the local bands on the legendary Siltbreeze label, obviously would be the current crop of indigenous strange.

Columbus Discount Records is celebrating. For full itinary please check our message board.

What was your first release?

Terribly Empty Pockets – Sexy World Single. That record was like, the best record Flying Nun never put out. I still think it’s a great pop single.

What was motivation behind creating CDR?

At first we were just kind of blindly doing it, like, we knew there was a vacuum that needed to be filled and we had a lot of ideas about Columbus Punk rock as a sort of cultural history or lineage that we felt was being overlooked a lot by dudes in the city and we wanted to not let that happen. Some of that stuff was stuff we could articulate and some of it was just stuff that was intuitive to us. A solid set of ideas on what we were actually trying to pull off didn’t come till a few years ago.

These days, the manifesto is to do anything we can to keep that lineage going and to make records that teenagers and young adults can get their hands on and understand that you really don’t have to go down that right-wing type path. When we were kids, it was punk rock records from Columbus that made us realize that there was an alternative way of life to doing what the sociopaths on the right did. That’s really big underlying goal w/ each record we work on, is to put something into the world that some kid will pick up and understand that it’s a great idea to drop out. As poor people, we really don’t have the power to affect a lot of change, and I’m not allowed to just go behead the Glenn Becks of the world, so you figure out alternative ways to increase the freak power in the universe and you can really do a lot to push back through simple, unassuming things like 7” records.

Why is maintaining and nurturing a Columbus specific culture so crucial to you?

It’s important to have a local infrastructure for every kind of artist, be it a shitty rock and roll band or a painter or a graffiti artist, whatever. Keeping it local, and not really focusing on “making it” on a national level takes steps and people out of the process that make the art bad or plastic or uninspiring. I think local culture is better than big, national culture in almost every case. So it’s important to think about the Cultural History of Columbus rock and roll in a way that is accessible to younger bands so they can find the stuff and can learn from the dudes that owned their city before them. That’s why we’re always digging into the Columbus back catalog, the more stuff from the past that comes out, the better understanding everyone can get of how they fit into it. And it’s important for bands playing in Columbus, OH now to do a little homework and find out about the lineage they are a part of, even if it is only to buck it, that’s good enough. A band that has sort of tapped into that energy and is of Columbus and not just from Columbus is in a way better position to move the people they are playing to, because what is being created belongs to both the audience and the band in a more tangible way.

Why is it a Columbus sound-centric vs. Ohio sound?

We’ll, it’s Columbus sound-centric first then an Ohio sound-centric second. Prolly because the closer things are the more sense they make to you. But man, any of us would stab somebody to release a Pere Ubu or Electric Eels record. Anyway, we just sent a record off to press by a band from Toledo called Puffy Areolas.

Whats the importance of a local economy?

The smaller and more decentralized something is, the more sustainable it is. I remember reading something like “small scale operations, no matter how numerous are always less damaging than huge operations because of it’s scale in relation to the world and it’s small force against the recuperative forces of nature” We press all of our records locally at Mus-i-col these days, they do quality work and it’s just unconscionable to add another shipping leg to what is already a very petrol intensive business. We used to get our records made in the Czech Republic, but we just couldn’t stomach being so tied into the water freight system. I think everybody should grow their food locally, so why shouldn’t we make our records locally. The ideal would be to make records in Columbus and sell them only in Columbus, but that wouldn’t work. It would be great if every mid sized city in America had a small, quality record plant like the one we have in Columbus.

I just copped a car. I have been bumping the old Necropolis album in my compact disc player. One thing I noticed…its not lo-fi. Do you consider cdr a lo-fi label?

No way. We’ve put out plenty of fucked up sounding recordings, but that’s not the idea we’ve built our label on. Tommy Jay and I worked on this T.A. Lafferty song for the Harrisburg Players comp. We re-mixed it from the 4-track tapes, and there was tons of track bouncing going on, but it sounded fantastic. I remember thinking that the recording quality was up there w/ the Beetles Revolver or something. Even the dudes like Rep who are known for doing lo-fi records, never really did lo-fi records, they just did weird records on the stuff at hand.

Why do people confuse the words weird and lo-fi?

I’ve heard Crass called lo-fi and those recordings are brilliantly done. And I’ve never heard anybody call Phil Spector or Brian Wilson lo-fi and there is crazy distortion all over all of those wall of sound type of records from back then. Or, like, Leonard Cohen’s first record is a ball of tape hiss. I think it’s just because the music is crazy and the instruments sound really weird that people call records lo-fi. Calling anything lo-fi kind of implies a lack of quality that isn’t there in a lot of the examples people point to. TNV records sound crazy as hell, but I think calling them lo-fi isn’t fair to their creative impulse. I gotta guess that is how those dudes hear their music. Anyway, I think .mp3’s sound like shit and I think pro-tools recordings sound like ice-picks wrapped in tin-cans i.e. also like shit. To me that is lo-fidelity. I tend to think of Mike Rep and Psychedelic Horseshit records as hyper-fi or something like that.

What is the latest engineer nerd micing trick you have learned?

ORTF mang. Stands for “Office De Radiodiffusion Television Francaise” That shit is amazing. I was on a big Mid/Side Matrix kick for about a year then the head engineer at Mus-I-col, John Hull, says to me, he says “why you doing that? That’s just another circuit to not work, you should try ORTF, it’s the French stereo setup.” It’s the shit. Great for micing nerds.

How important is engineering?

Not very if you are recording yourself. Very if you are not. There is nothing more annoying than a hack engineer that, like, puts a Guitar Center Neumann in front of you and then tries to tell you that it doesn’t sound like shit because of the $4,000 dollar mic pre he ran the mic through then tries to fix the bad sound w/ plugins. That shit if for the birds and it can really put a band on the wrong track. Every hack engineer these days insists on using pro tools and then insists on the editing that comes along w/ it so you’ll get bands that have no idea how to record a record of them standing in a room and playing, and that is no good for the big picture at all. Most bands should be able to stand in a room together and make a record.

I know you guys have recording plenty of professional bands. What are some of the nationals you fuck with?

We’ve done some stuff for the Ugly Suit on Touch & Go, Jandek, we did a Pat Carney solo record a while back, TNV of course.

You also record at Musicol. What do you like about that studio?

That is an amazing studio. Mics from the 50’s and 60’s all over the place, and Studer and Ampex mix down decks, 1176’s and Putecs, an echoplate, a beautiful sounding room. You can cut a record in that place like they did in 1964 – 1975. The high water mark of the recording arts to be sure. The guy that built the place, John Hull is a really remarkable, in his 70’s I’d say, and he built a ton of the gear by hand. The place was basically sitting empty this time last year, which blows my mind because it’s the best studio in Columbus, hands down, and it’s like, $45/hr to record there, which is nothing for a place like that.

How did you feel about the last year of CDR?

This is our last year?! Praise be to Allah, we are free!

I have been to a few BBQ’s. The one I missed was when Daymon and Zach made all those fucked up drinks. Do you remember any of the things they were serving?

I remember them being like booze slushies that were sugary as fuck and this dude being like, “that corn syrup those guys are putting in those is so bad for you” He was a dude that looked real in shape. Real nice though. Daymon kept yelling “ADAM, BJ, DRINK THIS SHIT” whenever he made any crazy ass batch. I think I got a headache from the sugar.

What are a couple memorable performances?
TV Ghost – Year 4 – it was like seeing suicide or something.
Tommy Jay – Last Year – Tommy is an amazing singer and he was really killing it that night.
I remember somebody gave me a che guevera shirt they second year and I wore it on stage when necropolis played and felt like a fucking dork.
UH2 – year 3 – they couldn’t get through a single song because everybody was giving Lutzko such a hard time and throwing stuff on him and stuff.
El Jesus – every year – those dudes are the dudes.

Whats on CDR plate for the next year?

Singles Club year 2 just went on sale to the mailing list about 24hrs ago and it’s about half sold out. Lots of LP’s this year. Guinea Worms double LP, Bassholes LP, El Jesus 7”. We wanna switch to doing mostly LP’s

Any reissues of historical ass records? Who is Nudge Squidfish?

Yeah, we wanna do “20,000 leagues under Nashville” which is a Squidfish record that was an Old Age/No Age tape It’s like the beach boys on bad 90’s drugs. We’re gonna do a Mike Rep bluegrass record. It’s him in the late 80’s/early 90’s playing w/ this really good blue grass band. Real weird but makes perfect sense when you hear it. Plus, Mike is a really talented singer and that record really puts that front and center. I think Old 3C is doing the .mp3’s and we’re doing the LP’s. There are no words to describe Nudge.

Where does Deathly Fighter fit into CDR?

Those dudes are a really great band because it sounds like dudes that have excellent record collections and no idea how to play music learning to play and record industrial music, It’s punk in that respect, and in that respect they are no different from about anybody we’ve ever released a record for. A lot of that Nudge stuff is pretty electro and all the way back to the Razor Penguins or the Twisted Shouts, Columbus has a little bit of a lineage of cool electro music.

Who is Dan Melchior? Rot shit?

Dan is this Brit that lives in North Carolina. He’s kind of Syd Barrett ish, but really he’s so prolific that his music is all over the place. Probably one of the best songwriters of this decade and last. He is awesome.

Rot Shit is a hardcore band from Pittsburg. They are friends of ours and were broken up for a while then got back together to play this show. They talk a lot of shit and have songs like “fuck your dj night” and “rot shit fuck” they kind of sound like black flag. They are awesome.

How much longer do you think you want to do this?

CDR is for sale for $80,000, and I think that is an excellent deal.

MP3: Mature Fantasy by Drummer

The Black Keys‘ Patrick Carney has assembled Drummer, a new supergroup of drummers playing all sorts of instruments besides the kit. Here’s how the line-up is looking:

Singer/Guitarer – Jon Finley (beaten awake, the man i fell in love with)
Guitarer – Jamie Stillman (harriet the spy, party of helicopters, teeth of the hydra)
Bass guitarer – Patrick Carney (the black keys)
Synthesizer – Steve Clements (houseguest)
Drummer – Gregory Boyd (ghostman sandman)

Pat has been working on a lot of interesting projects lately, like scoring an animated video for Art Spiegelman. Can’t wait to see Drummer live.

You can hear more music on their MySpace page. They’ve got their first show in Columbus coming up next week. Flyer magic:

Saturday
MIKE SHIFLET – really interesting stuff. loved the band. he mentioned in our interview with him that he’s hoping to do more shows with a band and i hope he follows up. it’s the making of something really cool.

MIRANDA SOUND – love the new stuff. i like when they play it a little heavier, something they don’t always do…. i think it adds a great extra layer to their music.

EL JESUS DE MAGICO – four years ago if you would have told me that i would have El Jesus play my 5 year party I would have laughed in your face. Things change, and I’m really happy that they did. Set was fucking FIERCE. can’t wait to hear their new album.

BRAINBOW/BLUEPRINT – I had intentionally stayed away from the rehersals because I wanted to experience the show for the first time with the crowd. And put it quite simply, I was stunned. Look, I love music, but this was seriously mind blowing. I felt something that I haven’t felt in a long time.

Instead of Brainbow trying to recreate the music of Blueprint, they approached it from their own point of view. It was Blueprint. It was Brainbow. Neither band sacrificed their integrity or created some sort of Frankenstein rock/rap thing that was only a novelty. I say this with all seriousness, it was epic! When Print said it was their last song, I was heartbroken! I could have used 5 more songs. I didn’t want it to end, and that’s a sign of a good set. Leave us wanting more….

I know it took a lot of time for Print and Brainbow to practice for this event, and I am really thankful that they did. It means so much that they took on this experiment for the 5 year anniversary of the site, and I can’t show my appreciation enough.

PS: Bob Ray Starker and Leslie Jankowski (from Church of the Red Museum) added a horn section in two of the songs. What a nice touch! Oh man. So good.

We did bill this as a one time only thing, and I hope they consider maybe doing it again in the future. Or maybe not. Maybe in this internet age when everything is recorded, Youtubed, and distributed to the world, it’s nice to have a “YOU HAD TO BE THERE” thing. I’d be happy either way.

This was the biggest crowd we’ve ever had for a single donewaiting.com event. It was great.

Update: Youtubed! This is Brainbow/Blueprint performing “Liberated”. Picture quality is dark but it’s the music that matters.

Click here to view the embedded video.

Friday

GRAVE BLANKETS – first time seeing them, won’t be my last. Really good sound. The recorded material they’ve put out there doesn’t do them justice…. they are a great live band.

SINKANE – Ahmed has always been one of my favorite musicians in Columbus and it looks like he’s finally firmed up his vision of Sinkane. Their set was hypnotic. Really cool. And with a solid indie label putting their album out later this year, things are gonna explode! Can’t wait! AHMED I WANT A PICTURE DISC RECORD.

THIS MOMENT IN BLACK HISTORY – haven’t seen them since they opened up for YEah Yeah Yeahs in Cleveland a few years back. Good set, liked the energy. First mosh pit ever at a donewaiting event.

DEATHLY FIGHTER – I am a believer.

This Moment in Black History Video from the Show

Click here to view the embedded video.

MP3: Bloody Cup

Of all the bands on the current Columbus landscape, Deathly Fighter are the most difficult to pin down. Their first show sounded like an SPK groove on repeat. It was a fairly well-received set considering the number of ideas brought forth (1). Their next show was more distorted and antagonistic, clearing the room at Bourbon St. in about ten minutes. Their recordings explore an assortment of black and white sounds from early Hardcore to Industrial, classic Dub to Dubstep to House, without ever fully committing to a single genre. And then there’s the Deathly Fighter aesthetic, which may be more clearly defined than the music itself, with themes of sadomasochism, violence, cassette culture and DIY appearing in their graphic design and general presence. Though it is unclear exactly where Smoke, Christian and Mike will take Deathly Fighter next, one thing is certain: those looking for the same old rock will be disappointed. In the words of Zachery Allen Starkey, “I like Deathly Fighter”.

Deathly Fighter are playing one of the two Donewaiting.com 5 Year Anniversary Shows. They’ll be at the Friday show at Carabar with Sinkane, Grave Blankets, and This Moment in Black History. For more details, click here.

You know it’s not possible to murder all your enemies no matter how wrong and insignificant they are. You know some people think it’s a chess game. And you know that you could prolly take the chess board and break it. You could smile at the one individual that didn’t realize you could take the game, and throw it into traffic, have a car crash, and cover it up, because that’s how out of line the person that was playing chess with you was, and the universe would reflect your natural selection eventually.

Then you realize that wouldn’t even matter. So you try to mellow on some hippie, meditative shit. Like.. this is natural, and I am completely righteous but obvious solipsism renders it unimportant. It wouldn’t even matter to anyone but the most ardent devotee of truth or your best friend. Well, Deathly Fighter is here with their new bass tape, Nothern Aggression.

Bass, because, at the end of the day you don’t care about sentiment or politics (no one does when it counts or is practically applied, it’s cool) but they still have the concept of sensual and aural natural response. So it’s mellow, on some DJ Krush, ambient, I could fuck or cuddle to this but I am waiting for something to happen when I am really bumping my music. Well, Deathly Fighter is the moment in time when you are trying to cool out, and just enjoy relaxing, and that tense, angst in your head has repetitive lash out. The lash is a treble heavy, guitar riff that is constantly heard throughout in this recording. Like, you are chill, but even the cycle of anger lurks.

At the very least it’s the sound of someone getting a swirly at Outland.
I could be projecting.

At the end of the day, this recording is a weird point between noise, electronic music and industrial.
It’s the sound of content with the underlying aspect of the constant of animosity to everything that walks this earth.

Eh..really it’s just a recording by Smoke, Christian Weiland, and Mike Carney, that was done at the 3CB studios in the heart of downtown Columbus, Ohio, the true panoramic of urban renewal. It was mixed by Patrick Carney, Ike Turner’s drummer, and possessor of the cabal’s instinct.

Deathly Fighter is celebrating the release of their tape on Saturday at Cafe Bourbon Street in Columbus Ohio. Unholy Two, who knows the girl that tries to high-post is a cutter, and Swamp Leather, who doesn’t know what to make of either group but feels they fit in with both will be playing, as well.
Lookie Here.

MP3: “Track 2″ by Deathly Fighter