L’album est dans les bacs depuis le 5 septembre, et In Flames nous gratifient d’un nouveau clip parolier à tendance comic book pour « Everything’s Gone »

Track-by-track OFFICIEL !

Le site RevolverMag a récemment posté un track-by-track en quatre vidéos de l’album, fait par Anders et – occasionnellement – Peter. Il vous faudra changer votre adresse IP pour pouvoir voir les vidéos. Par ailleurs, le site ArtistDirect propose une interview avec Björn, qui revient sur quelques morceaux également.

Ci-dessous, la retranscription maison des vidéos + l’ajout des parties de Björn en un track-by-track officiel. Tout est en anglais et fidèle à la source.

Merci à Svadek pour l’info.

Anders: « First I have to say, to me, how the album is put together is very important. I know people today might use streaming services and listen to a song here and a song there whatever. But I’m oldschool in a way I nedd my album to sound in a certain way, all the way through. »

01. In Plain View
Anders: « I felt In Plain View was a great opener. It was something that got the listener into feeling « okay, this is In Flames, I recognize this, but at the same time we’re going into a verse that is slightly different. And then you have like a big straight-up chorus that we’re long for these days so it works. »

Björn: « To be honest, that’s not the obvious opening track for In Flames. We’re not Dream Theater or Meshuggah, but it’s got a little bit of that twist and turn in the rhythm part to a degree. That was the main idea to begin with. That was the first thing I played around with when I started writing that song. Then, we thought we should put something more straightforward as a chorus in there and make it a little bit more interesting when it comes to certain things and then be more straightforward when it comes to the obvious. It’s a little bit of an experiment, but when you listen to it, you’ll hear it’s In Flames. In the end, it turned out to be a good opener. »

02. Everything’s Gone
Peter: « Everything’s Gone was really going back to how we used to run through the songs basically. It’s very very down tuned and it’s a fast song and it’s a lot of riffs so it’s kind of hard to hear all the notes being done. When I got the demo -for I was supposed to learn it- I was sitting with Björn in front of me and we were riffing it. As we were sitting like this and we were just playing and jamming, I just got this whole kind of nostalgia feeling of how we used to run through a lot of the songs. I think this song really has an extra-oldschool feeling to it. »

Anders: « Everything’s Gone is the second song. I think with this track, what Björn wanted in the beginning, I think he’s in this imaginary Death Metal band side-project that he got. He gets a bunch of riffs that are really heavy straight-forward Death Metal riffs. I think he tried to compose that type of song with the In Flames touch. But I never felt that I could scream all over the place and do the song justice. I wanted the chorus to be really really heavy like a screamy-sing along type of chorus, where you feel desperation and you feel the words that are written. To me when I listen to the song, I see a person driving on the road in his Ford Mustand and open window and hands out screaming « Everything’s Gone ». »

Björn: « That’s more of an old school nod to death metal. It’s partly where we come from. Sometimes, we really enjoy playing it. It’s a little bit more of a challenge when it comes to the drums, but Daniel Svensson loves the challenge. We wanted to make it as hard and brutal as possible and still have it sound In Flames. We’re not Suffocation. We’re not Malevolent Creation. We’re not Cannibal Corpse. All of those bands are artists we listen to and love. They’re part of what we do in the end. It was like, « Let’s see if we can do that and put the In Flames clothes in it and see what happens ». It’s got some Slayer vibes in there. I’m a huge fan of them! »

03. Paralyzed
Anders: « First I don’t like describing this song because when you are watching this or listening to the album you’ll be « okay that’s waht it is » because I want it to mean something for you. But Paralyzed I think it’s somehting that we as In Flames are known for these days. There’s a groovy verse and a big big chorus. I think it sounds great. That’s stuff I’m gonna say about all the songs really. It’s meant to be listened to loud. »

04. Through Oblivion
Anders: « With every album we create, I want to throw our fans off-guard a little bit. They shouldn’t know exactly what they want but obviously I want them to feel they have In Flames. Therefore we always bring our history with us but we take it to a different level, a different place. With Through Oblivion, I think this is a song that will throw some of the fans off-guard a little bit because it is slightly different from what we’ve done before but, at the same time, it has the In Flames guitar work, but it just – with vocals, how it sounds, it is in a different costume, you know. I’m super proud and I think it’s a really good song – I’m gonna keep saying – but every song is a great song. »

Peter: « Through Oblivion for me was very very fun to record. In the beginning there was this hammering part that I had a lot of..- it took me some times to actually get it into my system. It wasn’t that hard to play but it was hard to get it into playing my way kind of. So some of the stuff in the verse I kind of rid it a little bit, Björn made it more simple but also something I could cope with and I think it made the song more into my style, as far as the bass playing goes obviously. It was a really interesting to record because there was lots of parts that you could experiment with and I kind of went with as it was recorded. I didn’t have all of my parts. I kind of figured out before I went it, I just had the demo that was done of the guitars and the bass and I kind of went in that way, and just tried to figure it out as I recorded it, which made it way more fun than before. »

05. With Eyes Wide Open
Anders: « With Eyes Wide Open, that’s one of the slower tracks. We got two on the album. Before me and Björn, we’ve been having one of this type of songs every other In Flames album. This time around I was in Björn’s house in Göteborg listening to the songs and he had those sort of riffs and he asked me « Can we have both…? » « Yeah yeah yeah… ». You know back in the day in the eighties all the big Metal bands they all had the slow song on side A and a slow song on side B – A and B that’s vinyl as you know – and yeah, this one of them. I think it’s meant to be played in an arena with a lot of people winging the chorus back to me so I can just stand here and listen to everyone. »

Peter: « With Eyes Wide Open was a very special song for me to record as I’m a huge eighties fan, I love eighties ballads, I love eighties Metal especially and I think that this captures a lot of the feeling that was back in that day mixed with In Flames sound obviously. We came out with a song that really captures In Flames on 2014. Fantastic song. »

06. Siren Charms
Anders: « Siren Charms, the title track. Also like a different In Flames song. Calm verse, heavier and screamier chorus. Done in a couple of minutes. It’s a great song. »

07. When The World Explodes
Anders: « When The World Explodes took a little bit of a turn in the studio cause on this one we have really really good vocals delivered by Emilia Felt on the chorus. While I was doing the chorus – I actually didn’t have ladies voices or girls voices in mind – just I was screaming the chrous and it didn’t do anything to me, I didn’t get goosebumps and it was just mehh, whatever…. And then Daniel Bergstrand was like « well I know this girl » and we’ve been checking her on Youtube and I was « woah that’s perfect, that can take this song to the next level, that’s what we needed ». It’s a heavier track but she can mix it so much better. And obviously at the very end the song takes different turns, go into a more electronic vibe, a whole electronic vibe with some vocals, and it’s great middle of the album type of track. It will sound great live…if she’s there. »

08. Rusted Nail
Anders: « Rusted Nail is the first single, the first song people gotta here from this album. And it’s pretty much like In Flames new, it describes where we are as a band today. Has a slightly longer verse than we normally have, we had some people from our fanclub Jesterhead that are singing on the bridge and it’s cool. It’s also one of those ‘drive your car’ – you shouldn’t drive your car very fast but you know what I mean…not too fast – and yeah, drive your car pretty past and scream out loud and have a good time.

Peter: « The song Rusted Nail for me was different from other older In Flames songs. The way that it was built up, I got a strong Kyuss (??) vibe. It was also integrated very well in the In Flames sound obviously and I think it was a lot of fun to record that song cause, for me as a bass player – I didn’t write any of the riffs – it gave me a lot of room to experiment with my playing and I got a lot of ways to play cause it’s a lot of open chords and those stuffs and I kind of actually play with it. i had a lot of fun with it. »

09. Dead Eyes
Anders: « Dead Eyes, that’s the next of those slower songs. A heavy track, very melodic and, some kind of way, I think that, as with « With Eyes Wide Open » it sounds really really good live. Huge chorus and can’t wait to play it live. »

10. Monsters In The Ballroom
Anders: « That was just like the old title, but it is what it is. I think Bjön’s intention from the beginning, he was trying to have a Thrash type of song. I think he was even calling the song like « Thrash », not like it was supposed to be called « Thrash » but we had the working title, and the working title really don’t…you know what I mean. Yeah, so it’s really riffy hard guitar work, and fast picking and straight-forward. Yeah straight-forward, fast, basically. It’s more singing than screaming. It turned out great. That’s also a good song. »

11. Filtered Truth
Anders: « Filtered Truth, the ending of the album. It took a few turns in the studio. I think we got stuck on the writing process and didn’t really know where we should take this song. And throwing things around a little bit on computer and « ok let’s start like this » and then « oh doesn’t that sound a little bit like too much like AC/DC? » We were all like « what’s wrong with that? AC/DC are great » and just let’s do it, don’t be afraid. So it’s our tribute. But then we turned it into – for me at least, the chorus – I saw myself in a Britsih pub with a bunch of friends after, or before, a game of soccer and everybody was – you know – screaming and singing together. Type of the chorus I was aiming for – that feeling. And yeah, that’s the album Siren Charms. »

Björn: « There were two songs on the album where we had to work a lot to get the arrangements right. One was « Siren Charms », the title track, and the other was the ending track « Filtered Truth ». It was a sort of a bitch to get it right because it came in so many shapes and forms. We had an extremely hard intro. We thought, « Maybe that’s too much and we should strip it all away? » Then, we came down to this and that, thinking we should do an acoustic start. It was a big struggle. All of a sudden, when everything came into place, the vocals just flew in there. It was effortless as soon as we got the arrangements right. It’s a cool thing. It’s a sing-a-long without being cheesy. It sums up the album. It’s got a nice little solo I’m happy with. »

In Flames vient de dévoiler le clip de son deuxième single :

Vous pouvez également précommander l’album dans une variété de formats :
– sur Emp (exclue zippo) : bit.ly/1mrL4XU
– sur Nuclear Blast (exclue magnet) : bit.ly/1kgUgtK
– sur Amazon.fr : http://amzn.to/Xm8hlh
– sur Bengans.se (exclue autographe) : http://bit.ly/TSRRPu

Le clip de Rusted Nail a été dévoilé hier :

Sans nouvelles de Sony dans les prochains jours (où est le track-by-track officiel ?), et avec certaines critiques déjà publiées sur la toile, nous remettrons le nôtre en ligne.

In Flames devrait publier un track-by-track officiel dans la semaine.
Sous demande de Sony Music, nous avons choisi de retirer notre track-by-track publié en exclusivité mondiale le 19/06/2014 jusqu’à la publication officielle.
Nous tenons à préciser qu’aucune menace n’a été faite !

Merci de votre compréhension 🙂

—————————————————————————————-

In Flames will write an official track-by-track of Siren Charms in the coming week.
We were then asked by Sony Music to remove the world-exclusive version we published on the 19th of June as long as theirs is not online.
We’d like you to know no threat was made!

Thank you for your understanding 🙂

EXCLUSIVE Track-by-track !

MYSWEETFORUM.FR is proud to offer you this worldwide exclusive track-by-track of Siren Charms, two months before it is released.

First, let’s give you some intel about this new album before you read the track-by-track review.

Siren Charms is different from anything IN FLAMES had ever done. We mean you will be shocked on your first listen. Unlike the previous albums – and the change Reroute To Remain was – there are very few familiar elements.

Siren Charms is more of an (Indie) Rock record with some heavier parts although really calm and somewhat spacey on a whole. Production-wise it’s excellent, cristal clear and all the lines have room in the mix and the album is homogeneous. Anders uses clean vocals for the most part. There are overdubs and some other effects when it’s chorus time to have this denser effect you sure know of. As for audio mixing, rythmic tracks are generally upfront which creates a tougher and at times rigid sound, as was Sounds Of A Playground Fading. All the tracks are mid/low-tempo tracks.

1. In Plain View [4:07] : Starts with dark electro synths and a buzzing riff. Then comes a catchy harmonized lead plus a snoring bass guitar. The track is going well until the suprise: verses are in a clean and lascivious voice, and choruses are sung with clean harsh vocals. Ends with a rhythmic bridge and some riff from « Take This Life ». That’s the kind of song members of Passenger and Engel could have written…
    
2. Everything’s Gone [3:26] : This one is really Neo/Metalcore with all the pounding rhythmic and double bass drumming. Singing on verses is spoken and a bit nasal à la Korn, pre-choruses are screamed but muffled, and choruses are plain clean. There’s a breakdown after the chorus. Constant tempo and simple riffs (« The Puzzle », « Darker Times »). When the track ends, it’s like it hasn’t got to really build up.
    
3. Paralyzed [4:17] : A lighter and 70s’-Rock-oriented track. Catchy rhythm section. Clean verses rotating between bass guitar/synths sections and modern riffs. Choruses are clean and spacey. The songwriting is a bit repetitive although the chorus builds up and is more powerful and moving each time. Rhythm bridge with a quite rigid solo (Wah-wah predal) from Björn.
    
4. Through Oblivion [3:40] : You already know this one. It’s a ballad starting with riffs reminiscent of « The Mirror’s Truth » and having full of synths melodic and aerial choruses à la « Come Clarity ». Extremely Pop and surprising, like a quieter mix between « Ropes » and « Liberation ». Anders seems uninhibited when singing here.
    
5. With Eyes Wide Open [4:00] : It starts with some 80’s-Hard-Rock/soft-Rock clean guitar with string bendings. Calm verses with harmonized acoustic notes à la « The Jester’s Dance »/ »Bullet Ride ». Chorus is clean and higher-pitched with all the instruments playing. There’s a peaceful feeling on this track, only getting uptight at times. Some random acoustic break toward the end.
    
6. Siren Charms [3:07] : Another calm track. It might be the one where Anders’ clean voice sounds the more natural. It sounds like a ballad too with calm/acoustic verses and choruses going loud with some synths. Rhythmic bridge with Björn soloing and using Wah-wah pedal again. It feels a bit random for a title track.
    
7. When The World Explodes [4:41] : Starting heavy and agressive. Anders uses his rasping harsh vocals, somehow sounding like Nathan J. Biggs of Sonic Syndicate. There are massive and Metalcore-oriented verses until the chorus kicks in. There’s a lady (no name for now) singing, but nothing like « Dead End ». It’s more aerial and sensual with lyrical feminine vocals upfront and Anders (or is it Martin Rubashov?) doing some light backing. Synths and tapping are backing the whole chorus. It’s something you’ve never heard before. Then it comes back to heavy verse, chorus again, and a pretty long outro on synths (sounding like the one of « My Sweet Shadow ») and lyrical voice. This is the most surprising track on the album.
    
8. Rusted Nail [4:56] : You all know this lead single too. It sounds like different songs crammed altogether. Too many different voices appearing, a loose rhythm and a riff coming straight from « Superhero Of The Computer Rage ». The chorus is catchier and is the more familiar one sounding like it could have been on Sounds Of A Playground Fading. Björn again uses its Wah-wah pedal when soloing, resulting in some very mechanical execution.
    
9. Dead Eyes [5:25] : That’s another track going slow like a ballad lead by synths/drums with bass/guitar breaks. Riffs are very familiar. Singing is mostly spoken with acoustic guitar and the chorus sounds like it’s from a boys band « This is my world nooooow / I can’t let you bring me doooown ». The track is building up slowly on a wistful atmosphere. There’s a lot of synths and acoustic, and it is really slow. The bridge is more diverse than the previous ones but ends with some random tapping that feels out of place.
    
10. Monsters In The Ballroom [3:55] : The heaviest track on the album. Rhythm section is all crushing and buzzing. The riffs are thick while Anders is speaking/singing over. The chorus is really soft and spacey, and heavy on synths. Kind of cheesy. Then Anders is screaming in a way reminding « A New Dawn ». Another heavy crushing break, followed by a Wah-wah solo from Björn.
     
11. Filtered Truth [3:33] : It sounds like Punk Rock in the beginning with clean arrhythmic riffs. Verses are heavier and the pre-chorus is like the one in « Disconnected ». Then the chorus is totally exploding with harsh vocals and catchy melodic lead. Verses are more common. This time the bridge has got a more complex solo (still with Wah-wah) ending in a dual harmonized lead. When it’s time for the chorus to kick again, it is harsher and more powerful. That is the more dynamic and uptempo track on the album. You should keep that in mind for when the single is out.
     
     
    It’s not over! There are two more bonus tracks. We don’t know yet on which edition they will appear though « The Chase » is on iTunes.
     
12. The Chase [5:01] : This track has got a more dynamic range with a great modern Melodeath lead and harsh vocals from the start. Singing then goes more Hard Rock and the choruses are quite soft. Rhythm section is uptight. Then comes a solo which is longer, more melodic and better played than all the previous ones. There’s a one-minute outro on synths and piano.
     
13. Become The Sky [4:01] : The grooviest track on the album. It’s much closer to what we might expect from a modern In Flames. Strong rhythm section, powerful riffing and a great dynamic overall. Verses are often drum-driven which gives kind of an explosive tone. As for the vocals it goes from 30 Seconds To Mars-like clean chroruses to the usual scream. The solo is more common but still is smoothier and better written.

Obviously each and everyone will feel this new record and its musical shift differently. We were really disturbed on the first listenings because we couldn’t find any familiar elements from In Flames. Yet we’ve come to appreciate this album in its own style, even though we don’t understand why the bonus tracks are mere…bonus tracks.
Still we think this album should have been released as a side-project.

Thanks for reading, Siren Charms will hit the stores on September 5th, on Epic Records.

We’d appreciate if you dropped us a comment in case there’s some big grammar mistake….

You also can register on our forum whether you want to talk about the new album or everything else. We’ve got a place for English speakers even though there’s none

– Brought to you by MSF –

Track-by-track EXCLUSIF !

En exclusivité mondiale, MYSWEETFORUM.FR est fier de vous présenter un premier track-by-track de Siren Charms, deux mois avant sa sortie.

Quelques petites infos essentielles sur le ton global de l’album avant de vous plonger dans la lecture de ce track-by-track seulement descriptif.

Siren Charms est totalement différent de tout ce qu’a pu faire IN FLAMES. Dans le sens où l’écoute est déroutante. Contrairement aux albums passés (et au virage Reroute To Remain), on ne retrouve que peu d’éléments familiers.
Siren Charms est avant tout un album de Rock (Indé), parfois un peu plus lourd, mais dans l’ensemble plutôt posé, voire planant. La production est très bonne, claire et aérée, et l’album est très homogène. Anders y chante majoritairement en voix claire, et a souvent recours aux overdubs et effets sur les refrains et autres pistes vocales pour donner ce côté dense au chant. Le mix privilégie la rythmique, ce qui donne un côté un peu brut et rigide, comme sur Sounds Of A Playground Fading, avec la mélodie souvent en arrière. Tous les morceaux sont mid/low-tempo.

1. In Plain View [4:07] : Intro électro sombre et riff bourdonnant. Puis lead harmonisé accrocheur et basse ronflante. Morceau efficace d’entrée. Puis la surprise : couplets clairs lascifs sur rythmique discrète et refrain hurlé clair. Pont rythmique avec un riff semblable au refrain de « Take This Life ». Un titre qu’auraient pu faire des membres de Passenger et d’Engel…
    
2. Everything’s Gone [3:26] : Morceau Néo / Metalcore, avec rythmique plus pesante, et double pédale. Chant parlé nasillard à la Korn sur les couplets, crié et étouffé en pre-refrain, et clair sur les refrains. Breakdown en sortie de refrain. Rythme constant et riffs simples (« The Puzzle », « Darker Times »). Le morceau se conclut sans jamais avoir vraiment explosé.
    
3. Paralyzed [4:17] : Plus léger et Rock 70s’. Rythmique accrocheuse. Couplets en clair avec basse et synthés alternant avec les riffs modernes. Refrain clair planant. Structure répétitive, mais le refrain gagne en puissance. Pont rythmique avec un solo de Björn à la Wah-wah un peu rigide. Refrain entêtant.
    
4. Through Oblivion [3:40] : Celui-là, vous le connaissez. Une ballade qui commence avec des riffs à la « The Mirror’s Truth » et propose des refrains mélodiques aériens bordés de synthés, façon « Come Clarity ». Très Pop et étonnant, croisement entre « Ropes » et « Liberation » en plus calme encore. Anders y est assez désinvolte.
    
5. With Eyes Wide Open [4:00] : Un peu de bending assez Rock FM/Hard Rock 80’s au niveau de la guitare. Couplets calmes sur notes acoustiques harmonisées façon « The Jester’s Dance »/ »Bullet Ride ». Refrain qui part plus haut dans le ton clair, avec toute l’instrumentation en saturée. Titre plutôt serein, s’énervant par moments. Break acoustique lambda vers la fin.
    
6. Siren Charms [3:07] : Morceau de nouveau posé. Peut-être le titre où Anders est le plus naturel en voix claire, tout du long. Allure de ballade avec couplets calmes/acoustiques, et refrains qui s’emballent. Pont rythmique rigide avec solo en Wah-wah de Björn. Quelques effets mélodiques du synthé sur les refrains. Titre éponyme pas assez marquant.
    
7. When The World Explodes [4:41] : Démarrage plutôt agressif et lourd. Anders en voix éraillée aspirée. Sonne un peu comme Nathan J. Biggs de Sonic Syndicate. Couplets massifs et côté Metalcore, jusqu’à l’arrivée du refrain. Guest féminin (pas de nom) ; totalement différent de « Dead End ». Refrain aérien, sensuel, où la femme pose une voix lyrique, et Anders (ou Martin Rubashov ?) en backing léger. Tapping lead/synthés électro en soutien. Retour au couplet lourd, puis refrain qui enchaîne sur une longue outro avec une ligne de synthé (type outro de « My Sweet Shadow ») et vocalises lyriques. Le morceau le plus surprenant de l’album.
    
8. Rusted Nail [4:56] : Vous connaissez aussi ce titre. Premier single, et impression de plusieurs morceaux compactés ensemble. Trop de voix différentes qui se mélangent (voix de fans), un rythme décousu et un riff à la « Superhero Of The Computer Rage ». Le refrain est plus accrocheur. C’est celui qui ressemble le plus à ceux de SOAPF, et qui a le plus de ferveur. Björn abuse de la pédale pour un solo trop mécanique.
    
9. Dead Eyes [5:25] : Un nouveau titre qui part sur une allure de ballade synthés/batterie avec quelques coupures basse/guitare. Riffs modernes familiers. En dehors du refrain très boys’ band « This is my world nooooow / I can’t let you bring me doooown », le chant est majoritairement parlé sur guitare sèche. Construction progressive, avec une mélodie et ambiance mélancolique. Beaucoup de claviers/acoustique, et tempo vraiment lent. Pont varié, avec un coup de tapping sorti de nulle part.
    
10. Monsters In The Ballroom [3:55] : Rythmique ronflante et écrasante. La plus lourde de l’album. Anders en parlé clair sur des riffs gras. Refrain très doux et planant, sur tout un fond de synthés. Assez mielleux. Sortie de refrain semi-hurlée sur des plans similaire à « A New Dawn ». Break lourd qui donne sur un solo à la Wah-wah.
     
11. Filtered Truth [3:33] : Feeling Punk Rock au début, riff clair saccadé. Couplets plus chargés rythmiquement. Riff de pre-refrain façon « Disconnected », puis explosion du refrain avec Anders en semi-hurlé. Lead accrocheur. Couplets plus classiques. Pont avec solo plus complexe (en Wah-wah) qui finit en duo harmonisé. Et reprise du refrain plus mordant. C’est le titre le plus dynamique de l’album. Gardez ça en tête lorsqu’il sortira en single.
     
     
    Et ce n’est pas fini ! Il y a deux morceaux bonus ; on ne sait pas sur quelles éditions ils seront. « The Chase » est déjà listé sur iTunes.
     
12. The Chase [5:01] : Plus dynamique, avec un bon lead Death Mélo moderne, et hurlé dès le début. Retour à un chant plus Hard Rock, et refrains clairs plutôt softs. Rythmique plus nerveuse. Un solo plus mélodique, plus long, et mieux exécuté que ceux de l’album. 1:00 de synthés en outro, avec piano.
     
13. Become The Sky [4:01] : Le morceau le plus groovy de l’album. Plus proche de ce qu’a pu faire In Flames par le passé. Une rythmique puissante, un riff fédérateur et une excellente dynamique. Couplets qui alternent batterie seule, puis rythmique complète. Ambiance musclée. Chant varie entre hurlé et clair à la 30 Seconds To Mars. Solo plus classique mais là encore plus fluide et travaillé.

Il est évident que chacun réagira différemment à cette évolution drastique. Cela dépendra de la façon dont vous aborderez l’album. Nous même avons été très surpris, aux premières écoutes, en y cherchant la patte d’IN FLAMES. Puis on y a trouvé un disque bien ancré dans son style, même s’il paraît étonnant d’avoir fait des bonus de simples… bonus justement.
On pense tout de même qu’il aurait été préférable de faire un side-project pour sortir cet album.

Pour rappel, le disque sortira le 5 septembre 2014, via Epic Records.

Vous pouvez lire des avis plus détaillés, et personnels sur notre forum.

N’hésitez pas à vous inscrire, que ce soit pour parler du groupe ou de tout autre chose.

– Une exclusivité MSF –