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Topics - drone on

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Just released by Sweden's Gterma label, "Uttarakuru" presents some "new" old music by king of drones Mathias Grassow, and some relatively "new" music (from 2010) on "Dammerung."  Both are percussion-less and drifting drone fests from the Master Grassow. 

"Uttarakuru" is a 2-disc set combining two long-form pieces released in 1999 and previously only available as CDR's.  The music here has been remastered, although I can't comment on the remastering as I never had the originals.  Disc One, "The Empty Sky," sustains an electronic drone (as opposed to the singing bowl type found on many of his releases) for its 74-minute duration, and over the top of this drone is some high-pitched flute sounds, played to eerie effect.  There's not a lot of diversity on this disc, and is a fairly static piece, with subtle and minimal changes throughout.  "The Empty Sky" is decidedly from the "Himalaya" (one of Grassow's more well-known albums) school of drone, and is quite similar to "Himalaya" in this respect.  Disc Two, "Distant Light," also employs a sustained electronic drone and weaves in, low in the mix, sounds of Tibetan horns, monks chanting, and other subtle environmental sounds.   I found both these long-form pieces to be very gloomy, dark, and static.  Nothing wrong with these characteristics in and of themselves, but compared to the HUGE body of work by Grassow, these two pieces are nothing particularly special.  I would highly recommend HEADPHONES listening on these, in order to pick up on the very subtle ambient sounds riding above the base electronic drone. 

"Dammerung" is a 6-track disc of music recorded in 2010, and this one is more in the vein of "Expanding Horizon" (minus the percussion) and other more stratospheric space music Grassow has done like "Mercurius."  The drones here are "lighter" and more ambient, and just kind of drift on forever.  I enjoyed this album more than "Uttarakuru" but it is also not among his very best in the scheme of things.  Again, headhpones listening highly recommended. 

The artwork/nature photography on these packages is first rate; if you liked what Amplexus was doing in the 90's with their design, these Gterma releases will greatly appeal to you. 

Final analysis: these are a pair of good Grassow releases that I can mildly recommend to the more hardcore fan base, but for newcomers there are more significant gems to seek out.   

"Live on Earth" is a brand new live album by UK synthesist Phobos (aka David Thompson), which was recorded October 22, 2011 at the Awakenings festival in the UK.  Self-released by Phobos, the album is available via download and for a limited time as a physical release on very professionally packaged CDR.  I would highly recommend the physical edition, with superb quality booklet, cover art, disc label, lots of gig photos, in a jewel case.  Fantastic job!  Phobos I think is known to most here and has been quietly gaining momentum over the last few years with several releases, including for labels like Ambientlive and Dark Duck, and now this, his fourth self-released project.  His musical influences/inspirations (Oophoi, Steve Roach leading the pack) are no secret I think to those familiar with his work.  With this phenomenal live album, Phobos is proving to be a major force among the "heavyweights" in the deep space ambient style perfected by those like Oophoi, Tau Ceti, Seren Ffordd, and of course Steve Roach.

Consisting of one long 50-minute track with seven movements, the album explores the most ethereal and quietly intense realms of the cosmos.  This is no "background" space music, but rather seriously deep listening that engages and rivets the listener from start to end.  I can't emphasize "quiet" enough, as well.  In fact, upon the first few listens, I found myself thinking the recording levels should have been louder, because I really wanted to crank this up, the music is so amazing.  But I really think the somewhat low volume was intended to suit the mood of this recording, and it is actually quite effective. 

Opener "ECG" is appropriately named as the track begins with a heartbeat sound.  Soon, spacious drones and spiralling deep space sounds enter the mix, and I am reminded of Redshift's recordings starting in similar fashion, where you know you are in for a deep space ride.  Unlike Redshift, however, this music doesn't get bombastic; you remain in the float zone for the duration.  Tracks "There's No Place Like Drone" and "Spacial Awareness" slowly unfold from here with continued hovering drones.  "In Space, No One Can Hear You Cry" (great title!) contains a stunningly beautiful section of deeply expansive synth harmonics, with a yearning quality to it like the best space music.  "A Moment of Abnormality" begins with heavily distorted but melodic piano chords in reverb; soon space drones return to the mix with the piano.  This sounds like a piano player performing in Zero G.  It's lonely, mournful, yet peaceful.  Excellent track!  "There May Be a Storm Coming" begins with faint storm/thunder sounds.  Things get spooky now, with metallic-like whispers, eerie, cavernous moans, and echoed organic creaks.  This track is the closest the album gets to "dark ambient."  Finally, we conclude this fascinating journey with "A Kind of Peace," a masterpiece of a space hymnal, of a quality on par with Brian Eno's "Apollo: Atmospheres and Soundtracks."  Here the previous "storm" is over and we float blissfully on a calm sea of black space, protected by an unseen cosmic intelligence.  The album concludes with audience applause and announcer (I'm assuming it's John Sherwood, organizer of "Awakenings") proclaiming "A magnificent piece of music there."  And he would be exactly right. 

I loved everything about this release, from the fantastic artwork, gorgeous music, even the track titles (something I normally don't care about these days, but these track titles are exceptionally great and fit this release).  "Live on Earth" gets my highest recommendation.  Don't miss it.     

Independent Music Reviews / Drone On's review of "Euterpe" by Austere
« on: June 13, 2012, 10:42:22 AM »
I looked forward to this with great anticipation as the press release/artist statement proclaimed it was their best work to date, and also something about giving it to your mom as a birthday present.  OK!  "Euterpe," released recently on Relaxed Machinery, is as far as I know their newest work since the excellent Hypnos release "Solyaris."  I thought "Solyaris" was phenomenal, except for my small gripe that the mastering was too loud.  So, on to "Euterpe."  The first three pieces are relatively short, around the 6 minute mark.  Opener "Polyhymnia" (hmmm, wonder where they got THAT title from?) consists of a faint electronic pulse with female vox awash in reverb and echoes.  This track was OK, but I've heard it before done better.  The sound quality isn't great, either; a little "rough" like most of the album, giving the impression these are demos instead of the final version(?)  Both "Roseate" and "Wadan" are beautiful and ethereal little gems, with some female vox and field recordings informing the latter.  However, annoying distortion (recording levels too high?) really blemishes these tracks.   4th track, the 16 minute "Sunshone," sounds really familiar.  Upon not-so-close inspection, turns out this is almost exactly the same track as "Seraphim" from the Solyaris CD! What the...?   I found this interesting in light of the statement "no paths retraced" in the press release.  Next up, 17-minute "Totonality" (gtr by Freq Magnet) is a sound collage type track that I found really bizarre and frankly grated on my nerves.  "Advenire" follows, and again upon not-too-close inspection this is just a shortened version of "Nictitate," the final track on the Solyaris CD.  At this point I am starting to feel slightly gypped (that 20 min. of this CDR is from a previous release under different names).  The track "Betroven" (flute by R. Johnson & glurp) features drones, flute soloing through heavy 'verb.  It's a nice track, yet again not one of the most original tracks of its kind. 

The sound quality issues on this release, and the rehashing of material (which borders on dishonesty) was quite disappointing.  Unfortunately for these reasons I cannot recommend this release, unless you are a hardcore Austere fan and must have everything.  :(     

Other Ambient (and related) Music / Ride and Stone Roses
« on: June 09, 2012, 11:49:53 PM »
In rock news:  Stone Roses have re-formed, Mark Gardener formerly with Ride recorded an album with Robin Guthrie.  Any opinions on these?  I'm a little stunned to hear about both actually.

Other Ambient (and related) Music / New Robert Fripp album, but...
« on: June 07, 2012, 08:10:52 AM »
he doesn't actually play on it(??)! This is a trend I'm not fond of.  Peter Gabriel did it recently (to awful effect):  orchestral interpretations of (progressive) artists' work.  Somehow a droning cello just won't have the same effect as Fripps stratospheric guitars.  Saw a video review on YouTube of it.  I was convinced to save my dough.  ;D

Armed with just an electric guitar and effects, and some choice field recordings placed here and there, Bobby Jones (aka I've Lost) has crafted an exquisitely beautiful release for Relaxed Machinery.  "Sc'ath M'anam," released in 2011, comes in a slimline jewelcase with some enigmatic artwork (thanks to Hypnos who produce the physical product--it's also available as a download of course).  The scant liner notes include just the track titles and a "thank you" list, but no mention of Mr. Jones or his equipment list.  The music is quiet, minimal, very melancholy bordering on gloomy, highly atmospheric, and extremely personal and emotional.  This intimate nature almost feels like you're eavesdropping on someone's personal thoughts.  The album is divided into just two tracks.  71-minute "I Wish I Could Fly" goes through eight distinct movements, and varies from abstract, stratospheric soundscapes to more recognizable (but still heavily effected) guitar notes and chords.  Anyone who has appreciated masters of the electric guitar like Fripp, Guthrie, Pearce, Saiz, etc. will find much to their liking here.  My only complaint about this piece is that it should have had index points for the eight movements.  The final track, the appropriately titled "Ghosts on the Wind" (and I say appropriately titled because the whole album has what I would describe as a ghostly quality), consists of heavily reverberated, echoed plucked notes, with a quite meditative, reflective, and uplifting quality, like a beautiful lullabye.  This is an amazing album, and definitely one of the best, if not the best, release I have heard from Relaxed Machinery!!!         

I know a few on the forum are going to disagree with me here, but to be honest I've found it very hard to get into Caul's Hypnos debut "Let the Stars Assume the Whole of Night."  This album almost became the second Hypnos CD I never bought (the other one which I still haven't bought is Herion's "Out and About").  Like the Herion disc, "Let the Stars" is, to me at least, very far away from my notions of ambient/electronic music.  Instead, it's a very structured "electro-acoustic" sounding recording (although the acoustic instruments seem sampled/synthetic), with elements of world, classical, and soundtrack music.  Yes, it indeed does remind one of an alternative soundtrack to a David Lynch film, as mentioned in the press release.  The excellent film composer Cliff Martinez also comes to mind.  I would characterize the album as "avant-garde soundtrack music meets post-rock, with a gothic/classical element."  In general, let me say, the music is very well done, and I can appreciate it from a technical standpoint.  Tracks like "Radiance Falls" and "The Sparkling Snow is Full of Roses" sound like the legendary post-rock UK band Bark Psychosis, with the dusky jazz drums and twangy guitar, and employing other sounds like wordless female vox, cellos, bells, and piano.  The mood here is "subdued."  A couple of the tracks reminded me of Dead Can Dance and are very good: "We Are LIke Heartless Shadows" and "Words of Praise Arise, Like Flowers" employ gothic Lisa Gerrard type vocals with a funereal drum beat on one, and the jazzy Bark Psychosis drums on the other.  "Just One Autumn For Ripe Songs" reminded me of Harold Budd with its piano phrasing (speaking of Budd, I think he would KILL for these poetic track titles!).  Only a couple tracks--"Upon the Vines" and "Bells Ring Softly in the Twilight Air"--employ the dark ambient spooky electronic drone sounds one would expect of a Caul release.  So, overall I did enjoy this album, however I'm not sure it's something I would go back to again and again.     

I bought this as a download as the sound samples were so arresting I couldn't wait for the CDR version (coming soon to Hypnos, as far as I know).  Anyhow, "Landfall," released in 2012 on Relaxed Machinery, is an album chock full of absolutely MAMMOTH drones of such quality that Mr. James belongs right up there with colleagues like Grassow, Oophoi, and Roach.  There are just 3 tracks: Relocation (7:12), the album's centerpiece Landfall (35:37), and Separation (17:14).  The first two pieces are the kind of earthy and expansive droneworks with a decidedly shadowy feel but never veering into dark ambient realms.  They are simply beautiful drones of a very high quality, and very ethereal.  Lots of stratospheric layering which sounds incredible on headphones!  The final piece, however, does take a cliff dive off the mountain into a dark ambient pool of industrial-tinged bleakness.  Due to its slightly noisier character it could have been quite at home on a label like Cyclic Law.  It is a good track bringing some balance to the "lighter" first two pieces.  All in all, "Landfall" is an essential purchase for drone fans, and another strong release on the wonderful Relaxed Machinery label.  This year I've "unearthed" quite a few excellent newcomers in my ambient archeological digging (see my other reviews for Beta Cloud and I've Lost), and Peter James is definitely on this list.     

I've been meaning to write this for the last almost two months after literally stumbling across this gem on iTunes (you know, the "people who bought this also bought_____" deal).  I had heard the name previously.  The artist, Carl Pace, had a release on Relaxed Machinery (in fact I think it is a free download).  "Lunar Monograph," released in 2010 on Laughing Bride Media, is his third release, which is on a pressed CD (nice!) and was mastered by James Plotkin.  The track titles are all named after lunar marias (seas); there is also a sort of album concept that Pace explains as: "The album addresses our own perceptions of our lives; the world around us, the moon above, and what lies beyond that; the waxing and waning of our own personal existences."  Pace very effectively achieves this concept through the lush mix of environmental sounds, atmospheric guitars, piano, floating synth drones, and even drums and bass on one track.  I would call this music "earth based space music" in that there is a yearning quality to leave Earth's atmosphere yet there is also one foot placed firmly on, well, terra firma.  Effective opener "Marsh of Sleep" begins with radio sounds and someone flicking a Bic (wonder what they were smoking?); slowly ethereal synth chords waft in and a plaintive, melancholy electric guitar cries out over the environmental soundscapes.  Next up, 22-minute "Sea of Rains" fuses reverb-drench piano chords with rainy street sounds.  Again we have the feeling the music could be a simultaneous soundtrack to downtown Seattle on a rainy day or on the lunar surface.  The repetitive nature of this track and its length suggest it could have been edited down a bit, but it has such a narcotizing effect that you literally get lost in its gorgeousness.  Third track "Marsh of Epidemics" takes a radical turn and is a rocket ride into outer space with propulsive drums and expansive shoegaze guitars with the volume turned up to eleven.  We have officially left Earth.  What a great track!  I am reminded of the opening track on Solitaire's Recycle or Die album "Fearless," which employed a similar drum n' bass idea with heavy atmospherics.  In fact, if you like that album as much as I do, you will love "Lunar Monograph" as the overall feel of the entire album is very similar.  Track four, "Sea of Tranquility", is another mammoth 21-minute epic.  Here we are in spacey drone territory a la Oophoi with eerie soundscapes that last for several minutes; the track then lightens up with some organ-type sounds and dub effects such as echoed voice samples, heavenly choirs, and field recordings, bringing the listener's other foot back to Earth.  Finally, the 9-minute closer "Bay of Billows" returns to where the album began with the melodic and quite emotional guitar tones and environmental sounds that started the journey.  In summary, a phenomenal gem of a recording that I can highly recommend to all ambient space music heads out there.  I am really looking forward to hearing more in the future from this excellent sound sculptor.     

The debut CD on Hypnos by Spanish ambient maestro Bruno Sanfilippo could not possibly be any more impressive.  In fact, to these ears it is one of the finest discs Hypnos has released in the last 15 years.  "Urbs", a strange title which makes sense when you discover the urban theme of the music, plays like an alternative, and more ambient, soundtrack to Ridley Scott's 1982 masterpiece "Blade Runner."  The striking cover imagery of a photo of Berlin taken through a bus window gives a hint of the surreal soundscapes contained within, which could describe both an urban city and all its stories and emotions, or simultaneously the landing of a spacecraft on a barren and undisturbed extra-solar planet.  Sanfilippo utilized only the Korg Radias synthesizer, samplers, and field recordings (of churches, cityscapes, subways, and bars), focusing on the "less is more" approach to sound design, making the music feel open, spacious, and uncluttered.  And seemingly, not a sound is out of place as the music unfolds like a radiant dream, a dream which you never want to end.  The album is broken up into four tracks but plays like one long track, the first three averaging 20 minutes a piece.  This kind of urban environmental ambient has been done before by other artists--check out Paul Vnuk's "Silence Speaks in Shadow" on Hypnos, or Pete Namlook and Charles Edwards' "Create" series on Fax--but "Urbs" never sounds derivative of those or cliched in any way.  And that's probably because the sounds employed on the album are just so jaw-droppingly, viscerally ethereal and beautiful that "Urbs" actually should have been the album to inspire those works.  The first two pieces, "Urban Flow" and "The City Reflected," set the stage with gritty, shadowy (but not dark) sound design;  "The City Reflected" then morphs into some melodic synth motifs that are incredibly pastoral and calming (I am reminded here of Namlook/Inoue's classic "2350 Broadway" album, which explored similar urban themes).  The third piece, "Chaotic Order," the longest, at over 25 minutes, begins with lush, beautiful melodic sine waves over city soundscapes of streets, voices, etc; here I'm reminded of Steve Roach's classic "Structures from Silence."  Slowly, some ultra-ethereal blips echo in and out (Tetsu Inoue fans take note) as the track continues its majestic path, pulling you from downtown to the Moon and back again.  Later in the piece, some glitchy sounds add some grittiness to the rainy streets.  The final 7-minute piece, "The Gray Umbrella," opens with heavily reverberated field recordings of voices in a train station, followed by some incredible metallic sounding synth tones that continue the pastoral feel of the album and create a perfect close.   What a phenomenal album!  "Urbs" has my highest recommendation, and is easily the best ambient album I have heard so far in 2012.  Congratulations Bruno Sanfilippo on an instant classic and unforgettable masterpiece.   

Everything and Nothing / Male menopause
« on: May 23, 2012, 12:20:52 PM »
I turned 44 a few months ago, and I've noticed some things going on with my body that I'm starting to realize may be a form of "male menopause."  I guess this is a controversial subject as some believe it's B.S. but some doctors are backing it up with research.   Anyway, my symptoms are low testosterone (I had symptoms of it such as low libido and worsening depression, tiredness, irritability, etc. and got it tested.  It was below 300, where "normal" range is 300-1200 I believe), and recently, a noticeable loss of height (I used to wear size 32 length pants, now I have to buy size 30).  I got to the point recently where I finally "woke up" out of my and realized I better start doing something about my health before it's too late.  I'm about 50 lbs overweight with a big gut which I got from excess sugar consumption and carb consumption, no exercise, skipping meals, overeating at times, and smoking about a pack a day.  So I quit smoking a week ago and have changed my eating, exercise, and sleep habits.  It's been hard but I can already feel the benefits.   

I was wondering if anyone is/has gone through this and whether "male menopause" is reversible through making lifestyle changes? There is a testosterone replacement therapy but apparently the side effects can include fertility problems, heart disease, increased risk of prostate cancer, among others.  The endocrinologist I saw was not willing to do the therapy and talked me out of it.  Any opinions on this greatly appreciated.  :) 

Other Ambient (and related) Music / Dead Can Dance 2012
« on: May 09, 2012, 10:19:02 AM »
Any DCD fans wondering what happened to the album Brendan and Lisa were supposed to be working on last winter?  Their summer tour tickets have already been on sale but there is no info anywhere about a new album.  Brendan's website has had no news, and I can't find anything when I do a Google search. 

It's looking like the 2012 tour will be similar to the 2005 tour in that there was no new material.  Much as I love DCD, I really think a tour should be supporting new material, otherwise it starts feeling like a nostalgia trip to make some quick money, like many 80's bands have been doing.  Don't know about Lisa, but judging from Brendan's solo tour last year, which was hands down one of the finest live performances (performance and sound quality) I have seen to date, I'd say the inspiration and ability is as strong as it ever was. 

If you have any info. on this planned 2012 release (whether it's happening or not), please let me know.  Thanks! :)

Everything and Nothing / "Album only" tracks on iTunes
« on: May 07, 2012, 01:10:54 PM »
Does it bug you when you have to buy the whole album on iTunes just because a track you want is more than 10 minutes long?  I think iTunes should do away with this practice as it's going to not generate as much revenue.  Think about it:  you don't like every song except the 11:00 one.  So you don't buy the album.  But if they'd let you purchase that song for 99 cents, that's 99 more cents in somebody's pocket. 

Everything and Nothing / How much are you willing to pay for a CDR?
« on: May 07, 2012, 01:06:53 PM »
I know this has been brought up before, but:

I buy a lot of music, and still greatly prefer replicated CD's, which do not deteriorate over time, to duplicated CDR's, which are not 100% reliable.  With most labels moving away from using the "sticky labels" now, CDR's going bad isn't as big of a problem anymore.  But there's still the concern...

Since I prefer replicated CD's, I tend to buy them much more frequently.  And due to the high volume of artists/labels I regularly support, CDR releases by obscure and lesser known artists get placed way down on my "want list" usually.  Because the artists are obscure and the releases are on "second-choice" media, I am also not willing to shell out the same amount of cash as the more established artists' releases on standard CD. 

Bottom line: I think $10 is reasonable for these type of releases.  And labels like Hypnos Secret Sounds and Relaxed Machinery are making it fair and feasible to collect more music.  However, when I see 2-CDR sets that sell for $19.99 when the single discs are $9.99, I don't think that's reasonable, or single disc CDR releases going for $13.99, $14.99, etc.  Also, when I see a CDR release selling for $12.99 or $13.99 at the Hypnos store or CDBaby, but I can get it on iTunes for $9.99, I'll get it from iTunes.  To me a paper insert and slimcase isn't worth the extra dough (plus add on shipping).  I admit I did spend about $25 on the new limited Aglaia, but I didn't realize you could download it.  Had I known that, I probably wouldn't have spent the $$.   

I guess it may not be a concern for those who are not CD addicts and are more economical about their music purchasing, but I'm more apt to buy music when I think I'm getting a good deal.  Does anyone else feel this way?

Can someone tell me what instruments were used on I've Lost's Relaxed Machinery album?  I know nothing about this artist but really impressed by this release.  Thanks.  :)

You've heard of people noticing "11:11" but over the last few years I've really noticed "9:11" displaying on clocks when I happen to look at them, and I'm not an obsessive watch checker or anything.  Really weird.  Any supernatural theories???

Available via, "Out of the Way" is a limited edition of 99 copies release in handmade digipak.  This package is a true work of art--a colored, textured paper-mache type 6-panel digipak with cover art insert attached on front and back, tray artwork, with black CDR signed on the silver-label side by Gino Fioravanti.  (For those who just want the music, it is also available on iTunes as a download).  Of the many Aglaia projects released over the years, the music here is some of Aglaia's strongest to date, reminding me of my favorite of Gino's which is "Reverberant Skies."  Like that album, "Out of the Way" pieces are incredibly tranquil, with drones that hover gently and soothe like a soft rain.  Pieces like "Northern Lights" and "Amaranthine Days" fall into this category.  "Night Glow" goes into darker, more surreal territory with a haunting theme overlaying the ambience.  Some of Aglaia's past albums, like "White Maps" and "Naked Movements," were quite a bit more experimental and challenging.  If you want a classically-ambient experience in the vein of Brian Eno, mixed with today's best drone artists like Alio Die and Oophoi, you can't go wrong with this very strong release! 

Hypnos Label Releases / Sublabels for Hypnos
« on: April 11, 2012, 10:18:36 AM »
Suggestion: create a new sublabel for Hypnos for more "structured" and/or electro-acoustic music.  Some releases on Hypnos sound quite "un" Hypnos-like.

Question: Whatever happened to Binary?

36 (pronounced "three six") is a UK artist who also runs his own small label, 3Six Recordings.  Starting in 2008 he released the first in a trilogy of albums called "Hypersona," followed in 2010 by "Hollow," and culminating in the 2012 release "Lithia."  All have been released in limited editions on pressed/silver discs.  I ordered the trilogy recently based on the strength of sound samples I heard from the "Lithia" release.  I'd have to say overall I was pretty disappointed with the trilogy as a whole.  The first part, "Hypersona," is pleasant enough instrumental electronic music, but of the 12 tracks contained within, nothing impressed me enough to want to listen to it again.  I'd categorize it as pretty ho-hum soundtrack music, and not exactly what I'd term "ambient."  Any by soundtrack, I mean slightly sterile, non-descript background music that isn't of much interest on its own:  think someone trying to sound like Cliff Martinez but not quite getting there.  The second installment, "Hollow," has 13 tracks and only three interested me, as these three tracks were somewhat darker and had an edge to them, bringing them into the ambient realm we all know and love.  The final and latest installment, "Lithia," has more than several phenomenal haunting tracks that define the term "ethereal."  I am reminded of the sort of yearning, melancholy feel achieved by Bvdub, but minus the beats, containing processed samples, grainy waves of cascading synthetics, looped ad infinitum.  So, "Lithia" is a vast improvement over the other two chapters and by far the most interesting musically.  And it is resolutely an "ambient" album, and I hope he will continue in this vein.  All in all, I'd recommend "Lithia" quite highly but can't say the same for the previous two releases.     

Other Ambient (and related) Music / Rapoon "In This World" Box Set
« on: March 29, 2012, 02:05:13 PM »
1 LP, 1 CD (2CD's on the more limited edition), 1 DVD, poster, artcards.  Does anyone have this?  I cannot find any reviews.  Thanks.   8)

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