Saturday Single: The Fierce And The Dead-"Truck"

Bad Elephant Music
2018

Formed in early 2010, UK instrumental rock band The Fierce And The Dead is currently comprised of Matt Stevens (guitar, synth, loops), Steve Cleaton (guitar), Kevin Feazey (bass), and Stuart Marshall (drums). Available to download for free at the following site, "Truck" is the first single from the band's forthcoming album, "The Euphoric". At just over four minutes in length, "Truck" falls somewhere between progressive rock and (jam band) hard & heavy rock. It is somewhat catchy and has a great vibe going for it. Now, it might just be me, but the track "Truck" also reminded me of vintage video game soundtracks. I realize that is going to sound odd on paper. Maybe I'm in the minority here, but I'd love to hear other people's feelings on the matter. Either way, "Truck" is a fun listen that had me hitting the replay button several time over. I'm looking forward to what the group's next album has to offer.

Red Morris-Lady Rose

Self-Release/Independent
2015

The recently-released "Lady Rose" is the full-length debut album from Italy's Red Morris. The brainchild of Brescia-based guitarist Maurizio Parisi (who dedicated this album to his wife Rosa), Red Morris is as much a rock guitarist with a solid reputation in his home country as he is the driving force of this genre-jumping instrumental four-piece. On "Lady Rose" Red Morris/Maurizio Parisi is joined by bassist Renato Mombelli, keyboardist Beppe Premi, and drummer Claudio Amadori as well as two guest contributors in the form of Lou Longoni and Alberto Parisi*. The resulting album is a testament to guitarist Maurizio Parisi's youthful studies of classic guitar as well his devotion to classic rock bands such as Pink Floyd, Led Zeppelin, and Cream and the work of Carlos Sanatana! On "Lady Rose" you'll find solid rock numbers like "Golden Angel", "Lady Rose", "Independence", and "Black's Eyes" nestled alongside the progressive "Mystery" (which is a jazz rocker of the highest caliber!), the Celtic "Celitica" and the bluesy "My Life Blues (Go Go)". It all leads up to the excellent "My Sea's Echoes" which closes out this heartfelt album in style! With a run-time that is over the 30 minute mark the soulful "Lady Morris" simply covers a lot of ground genre-wise. Even in-between the individual tracks on this instrumental album you'll find different genres dancing together in harmony. And yet "Lady Rose" is still very much a rock album. Every cut on this album has a simple rock groove which keeps you intoned with the action at hand. With "Lady Rose" only the first of hopefully many it will be fun to see where this Italian band goes from here. Red Morris is one band that I plan to keep an eye on! 


*Lou Longoni provides minimalist vocals on the jazz-infused "Mystery" while the apply-titled "My Life Blues (Go Go)" features rhythm guitar courtesy of Alberto Parisi.  

Insect Ark-Portal/Well

Autumnsongs Records
2015



Formed in late 2011, Insect Ark is a one-woman experimental/doom/drone project from NYC-based freelance animator, designer, and musician Dana Schechter. Known for her time spent as a touring bassist with Michael Gira's Angels of Light, Dana Schechter has also recorded and performed with the likes of Botanica, April March, American Music Club, Keren Ann, Bertrand Burgalat, Tarnation, and Toby Dammit! As if that wasn't enough this (frankly amazing) composer/multi-instrumentalist (and California native) also has her own band in Bee and Flower which she put together back in 2000! Tinted about as black as can possibly be without being some sort of black metal experience, "Portal/Well" is Insect Ark’s (dark) full-length debut and sure enough this instrumental soundtrack is every bit as bleak and ominous as one would imagine it to be! This all-powerful recording was assembled piece by loving piece in Dana Schechter's own Brooklyn studio and while it is might just be devoid of spoken word it effortlessly speaks volumes about Dana's skills as both a musician and a producer. Not that there was ever a shadow of a doubt to begin with! Based solely on her touring record as a bassist for hire Dana is arguably one of the most-rounded musicians out there these days with the remarkable "Portal/Well" merely her latest example of music as a living form of art! This ambient and often-times deeply emotionally album follows in the footsteps of 2012's "Collapsar" 7" single and a 2013 EP called "Long Arms" and it was recorded over the course of one year's time. At times the album can have the same jolting effect as a person suddenly dumping a large bucket of screws, nails and bolts onto the floor of a pitch-black windowless room. Other times you can just about pick up on sound that this unearthly creepy crawler makes as it it slowly works it's way over to you inch by maddening inch! Even if it doesn't quite reflect just how far it goes towards disarming your senses that is still how I would go about describing a number "Lowlands". Or at least it's a start. Truthfully this one left me as speechless as it is wordless!  Like all good electronic doom/drone albums "Portal/Well" is all at once eerie, abrasive and nerve-rattling. It also achieves it's goal of haunting you. And that right there is the real charm of such experimental projects as you are never quite sure what to expect other than something unexpected! Seeing as Dana Schechter's impressionable teen years were spent in San Fransisco (where she was surround by and enthusiastically took to that area's legendary heavy metal scene!) the harsh and heavy sound pieces on display here make a lot of sense. Doom metal fans should find much to appreciate when it comes to the album's gloomy title track. As if one nearly seven minute track wasn't enough there's also the imposing "Taalith"! And let's not forget about "Octavia" with it's eight minute plus run-time! Eventually it all leads you to closing number "Low Moon" and as the Insect Ark's first full-length album wraps up you find yourself coming to an important realization. As much as this album serves as a triumphant moment for it's creator (in regards to making a innovative doom/drone sound scape) Insect Art's experimental vision has also created the perfect study of the dark nature of humankind! Having played "Portal/Well" a few times over now this atmospheric work of art is every-bit as clever and intelligent as it is doom-laden! Insect Ark illustrates a story for which no words need to be spoken. There's a outstanding degree of depth here and as a musician and storyteller Dana Schechter is simply brilliant! One can only hope that Insect Ark is not only here to stay, but that it will become more a full-time band with "Portal/Well" simply the first of many great releases! Fore more information on this amazing project be sure to check out Insect Ark's official site.

Edoardo Napoli-Eternal Bleeding

Tunecore
2013

Edoardo Napoli's "Eternal Bleeding" is a huge undertaking. Let me just get that point out of the way first and foremost. At close to two hours in length(!) and with twenty-three total tracks this release, which is the debut solo album from this Italian muti-instrumentalist, is grand in it's undertaking if nothing else! Here on "Eternal Bleeding", with it's one (simply) sinister cover artwork, Edoardo Napoli (ex-Honourblast) handles everything and, style-wise, this a case where everything gets sampled into the mix. Other then a scant few numbers where there are lead vocals (which incidentally come across as a grittier Tom Araya)  the bulk material of this expansive collection is instrumental in nature. Either way though Edoardo Napoli shows that he's more then capable of taking charge of it all (vocals, guitar, bass, keys, drums, etc.) and then presenting it in such a manor as to offer a lot of bang for your buck! After two (highly effective) tracks that tackle the subject of thrash metal (or even progressive thrash metal) head on ("A.A.D. Cosa Nostra" and "Against the Cross") we find ourselves treated to a combination of classic Judas Priest and "Back In Black"-era AC/DC in the instrumental "Beyond the Shades of Fear". And yes, a number like that has quite a bit to offer in the appeal department! From there we move on to "Darkness Descends", which is progressive hard rock/heavy metal in all of it's (catchy) glory, and then such numbers as the Steve Vai-infused "Fly in the Space" and the heavy, Accept meets Dio cut "Fog". And that's only the first part of this album! Those couple of numbers put you at about 1/4 of way through and there is so much more to go! But, when you've got the album that's this good and (damn-right and damn-straight) interesting it's not as if you are going to complain! Whether it's piano-driven hard rock you're looking for ("I need to understand"), cool bluesy-hard rock ("Nexxus") or balls-out Metallica-like thrash ("Get the hell out of here") this album has you covered! There's more Dream Theater/Rush-like progressive material to be found (for sure) on "Eternal Bleeding" besides "Darkness Descends". Within cuts like "Let yourself fly away" and "Steal of your Dreams" Edoardo Napoli shows how he could easily step-right into a band like Dream Theater and contribute from day one if needed! The same could be said about any progressive/melodic power metal band that might need a helping hand on guitar as evident by "My Immortality". But then those Tom Araya vocals come into play on the Slayer-like "How did we come to this?" and the evil-incarnate, Deicide-influenced "Violence is my life"! The somewhat gothic thrasher (Metallica meets Type O Negative) "Living Nightmares" comes from out of left field, but again, so does a lot of the material on an album like this! The longest number here is the eight minute-plus "The Fight of the Unholy One" (epic instrumental heavy/power metal anyone?) while "When Spirits shook my Hands", which is technologically-advanced heavy & hard rock, falls in at just a hair over three minutes! Finding a favorite number would be nothing short of impossible as Edoardo Napoli is just so insanely talented at everything he does! Whether he's chilling out on a number like "I'll never let you flow away" or letting his hair down somewhat on a number like "Turbo!" all of the material here works in it's own way! It will be interesting (to say the least!) to see where Napoli goes from here as he has (apparently) assembled a full-fledged band and will (soon enough) be releasing a new album in the form of  "Roads to Nowhere". In the meantime though you can check out most of this album's (very cool and highly recommended!) 23 tracks at the bandcamp link below.  

http://edoardonapoli.bandcamp.com/album/eternal-bleeding

Mike Kerr-The Fire

Self-Released/Independent
2012

We're going to re-wind the clock a bit with this one folks. As you can see it's from "way back" in 2012 (June of 2012 to be exact) and it's the debut-release (and so far only release) from guitarist/composer Mike Kerr. Who you may be asking is Mike Kerr? Good question my friend and thank you for your participation! Mike Kerr is a Brazilian guitarist who has been calling the US his home since 2001. According to his official(?) website he "had access to the knowledge of the great masters of guitar such as Joe Stump, one of the fastest guitarists in the World according to Guitar Player magazine and professor at Berklee College of Music, and Arlen Roth, the famous blues guitarist, who shared the stage with Mike Kerr in Edgartown on the summer of 2009." Well, there you go. Oh, and he's also recognized by major companies such as Voodoo Amps, D’addario, Planet Waves, Graphtech, Dimarzio, Floyd Upgrades, Road Rage, Wampler, Rjm, Eventide and Graphtech. All of which is fine and dandy (as mid-day brandy) I hear you saying but what about "The Fire"? Instrumental rock is the name of this game my friends. Yes, instrumental rock. Funny enough this is actually my second review of an instrumental recording this week! The previous one, "Pictures Of A Broken Heart", was from guitarist Kosta Vreto (Wardrum, Horizon's End, Vavel, Jade Star) and showcased some pretty sweet instrumental metal. In that regard they are a bit different. You know, metal verses rock* and what not. Still, I've gone months without having one instrumental recording cross my desk and here I am this week covering two! Crazy stuff. Anyway, Mike, who worked with producer/guitarist Jota Vox on "The Fire", is backed here by a solid group of musicians that features the lovely Kumari Miker on bass, guitarist Ven Thangaraj (sporting a wicked Havok t-shirt in his Metal Archives profile pic!) and drummer Joe Bertola. Guests include the likes of Joe Stomp, Eduardo Ardanuy (who plays in a band called Dr. Sin), Kristen Capolino and guitarist/producer Jota Vox himself. As far as this being Mike's debut album you'd be hard pressed to guess that given the fantastic job done by all involved. From the musicians who backed up Mike to this album's production it's all stellar. "The Fire", which runs over an hour in length(!), sounds great and the heavy rock on display here is top-notch. While I'd hesitate to call this one a heavy metal or shred release like the Metal Archives does it still offers plenty of "crunch" and the lead solos, well, let's just say that in regards to everyone involved in said department they are freakin' furious! For those who love emotional playing where it feels as if the guitarist is pulling out his or her own heart and putting it on display with their performance then this is one album that you need to hear! Instead of just going off half-cocked and playing the kind of over-the-top solos that are impressive but meaningless Mike plays with passion and that comes across crystal clear with "The Fire". That's not to say that his playing is any less impressive. There's an obvious reason he is recognized by all kinds of major companies. The guy can play. I mean, he can seriously play! As in "Light up the sky!" play. All of which makes "The Fire" that much more enjoyable! While I would love to see what he could do with a talented lead vocalist in place I do understand the joy that a lot of these great guitarists get from just playing their music as is. This is another recording that I'll be returning to soon enough trust me!

*The more I listen to this one the more it feels like a hard rock release or maybe even a hybrid of rock, hard rock and some heavy metal. Whatever you personally choose to call it though it's still a cool release and one that keeps the listener engaged and interested!

Unbeing-Unbeing

BLK COQ Music

2013

Montreal, Quebec sure seems as if it's hiding a treasure trove of excellent metal bands. The latest one to emerge is instrumental act Unbeing. This one time self-release was originally issued back in 2011 and now it's seeing a vinyl re-release courteous of  BLK COQ Music. "Progressive" is one way to look at this metal act and it is sold as such. The thing is what's being served here on this self-titled release is more then merely "instrumental progressive metal". For one thing there are numerous tracks here that border on the heaviness of  power metal while other times Unbeing present passages that are overflowing with beautifully strange and intriguing avantgarde rock! So, putting these guys in a tiny box seems utterly unfair. There's much here to enjoy on this 40 minute plus LP and with each new listen you'll pick up things that you can't believe you missed out on. Sometimes dark and sorrowful and other times hopeful and optimistic this is a release which will allow your imagination to run wild all while keeping you grounded with it's hypnotic essence. If all of that wasn't enough it does get even better! These guys are awarded extra points as they pay tribute to the main man himself on the track "Chuck Norris" (oh yeah!). It's a small gesture of appreciation for one of Hollywood's coolest guys and it has helped the band's (so far) only album  earn an extra dose of publicity. While fan's are likely clamoring for new material (this album is two year's old after all) at least this LP re-release should help Unbeing get more word-of-mouth publicity which, in turn, should lead to new material sooner then later. And if and when that happens I'll be on the lookout as this LP, all 40 minutes or so of it, showcases a one of a kind band with loads of potential! 

Seagall-Hidden Ego

recordJet
2013

Around 10 years ago Seagall first saw the light of day and took flight. This Moscow-based 4-piece was originally brought to life to be a solo undertaking for highly touted guitarist Elena Seaglova, but that all changed with the addition of a group of similarly talented musicians. Elena, who (per the promo bio) is the winner of multiple guitar festivals and is an international endorser of Siggi Braun guitars and ENGL amplifiers, has manged to make Seagall into a rather jazzy (or should that be snazzy?) instrumental group. Good instrumental rock is not the easiest thing in the world to pull off as the lack of vocals can and, frankly speaking here, often do, expose flaws in the actually music. Little things that might otherwise be missed are magnified under the bright spotlight and exposed for all to see by attentive listeners. Of course that's just the first potential pitfall to be had for these sorts of groups. Just take a sneak peak at the other side of the coin where we might very well find music, when stripped down into vocal-free recordings, that fails to hold the listeners attention for long. When "Hidden Ego" is held up to the light of the day by a discerning public it just might be that some of this blurs together even when we're talking about highly creative compositions.  at first listen it might appear that Seagall isn't that concerned about listener interaction, but a repeated listen or two might be in order with "Hidden Ego". Two times through for me and I was happy enough with the direction this group, which is filled out by guitarist Alexander Sinitsyn, bassist Dmitry Shtatnov and drummer Ilya Lipatov were heading. If you find yourself in the market for a cut and dry "who do they sound like" I'm afraid this review will be of little help. Peppered with the familiar sounds of their home country, which works on several different layers, our friends in Seagall cover straight-up rock, hard rock and yes, even heavy metal. Most of the material present on "Hidden Ego" has a distinct classic rock vibe and when this group starts to pick up steam their helped out greatly by going for tried and true heavy metal riffs. As this might just be Seagall's first recording to see an "official" release outside of Russia it has just the right amount of highlights to make people stop and take notice. Find out more about this instrumental 4-piece at their Facebook page below.



https://www.facebook.com/SeagallBand 

Australasia- Sin4tr4

Golden Morning Sounds
2012

When I started writing for Heavy Metal time Machine there was no way for me to foresee the unusually  large assortment of instrumental demos and albums I'd be asked to review. For someone like me (who didn't really appreciate instrumental rock or metal for a huge chunk of my life) it's been this enlightening moment where I've come to not only appreciate rock and metal sans vocals, but actually embrace numerous acts within the field. Australasia are one such act in that I truly appreciate what they are going for on "Sin4tr4" (the bands debut-album) and the way in which it unfolds (even if this 7-track EP is not perfect per say). This Italian group features two musicians (Gian handles guitars, bass and synths while Rico handles the drums) and musically it's a tale of two cities. Half of this is heavy (incorporating a hodge podge of extreme styles from post-metal to black metal) while the other half is heavenly (blissful alternative rock/shoegaze). You see this is in the album's opening numbers as "Antenna" is this melodic and beautiful power rock/alt rock track while "Spine" is just HEAVY post-metal with an emphasis on heavy. On some tracks (such as the unholy/death-tinged "Retina") the band digs deep within to create a true sense of unease. This gothic number stands in stark contrast to songs like "Apnea", "Satellite" and "Fragile" which are all so innocent and happy. As such there is enough here to entertain whatever mood you might find yourself in. Of the 7 cuts my favorites would have to be the post-metal, twisted stomp of "Spine" and (even if it does stand out a bit from the EP's other tracks) the dreamy, pop-like "Apnea". These two numbers are at opposite ends of the spectrum, but each resonated with me. As the EP flows back and forth, the heavy to the heartfelt, you'll discover that Australasia are equally adapt at utilizing modern electronics as well as vintage synths (and even organs!). Also, in what most certainly was a case of  choosing atmosphere over something overly glossy, shinny and glossy, the band's debut-EP has this almost subtle production job. It isn't raw of rough by any means. No, its more like the band kept things simple as far as the production went so that the music never gets all fanciful. Since I previously mentioned how this wasn't a perfect recording it should be noted that it takes a few listens to get to a point where you appreciate all the subtle differences between a few songs. On my first run-through I noticed that some of the tracks blurred together, but repeated listens cleared this up. As technically savvy as the pair are there is still this simple elegance to "Sin4tr4" to be appreciated and, with time, there's no telling what wondrous creations this post-rock/post-metal duo could give us. Find out more below.


Website: http://www.australasiamusic.com
Facebook: https://www.facebook.com/australasiamusic
Bandcamp: http://australasia.bandcamp.com
SoundCloud: http://soundcloud.com/australasia
Last FM: http://www.lastfm.it/music/Australasia?ac=australasia
YouTube: http://www.youtube.com/user/Australasi4
Itunes: https://itunes.apple.com/album/sin4tr4/id542593421


Videos:

“Spine”: http://www.youtube.com/watch?v=seZgDPCBdLU

Roger DeCarlo-Lost Horizon

Self-Release/Independent
2012

When it comes to music Roger DeCarlo is a jack of all trades. With a career that has spanned some 30 years he has managed to cover a lot of ground as both a musician and song-writer. He's played everything from the well-loved, and always appreciated, classical, improv style of guitar rock to heavier stuff like thrash and death metal! That's something when you think about the extremes required to pull both off successfully. With that said it's rather obvious that he's talented. More then that I'm just going to call it as I see it (or rather hear it!) and say that it's not just that he can play well, but he's one of those talented individuals who can make a guitar speak to the listener. For that reason alone "Lost Horizon" is a damn near perfect example of how instrumental rock should sound! Some guitarists just get that while others worry more about playing overly technical rock then making an album that is enjoyable to listen to. This CD was released last December and was/is being promoted as "Joe Satriani meets Carlos Santana". That's an almost spot of description of "Lost Horizon". As Roger is both a professional musician and songwriter this instrumental album is simply sensational from start to finish. I've always been one of those people who could take or leave instrumental albums, but this is one of those releases where the overall vibe is what makes it work. The album takes hold of you firmly and never really lets up. Instead of wandering off aimlessly into overly technical solos, filled with a thousand different time changes (you know the kind of guitarists I'm talking about), Roger captivates the listener with emotional rock that is carefully assembled and perfectly executed. What could have been an exercise in patience is instead a remarkably soothing listen filled with uplifting vibes that just seem to lift you up higher and higher and higher and, well, you know what I mean! "Lost Horizon" just leaves you in a good place as it feels emotionally positive. That's not to say that Roger's skills are not up to par with some of your more common household names in the instrumental scene. Over the course of  these 9 tracks the variety offered is only matched by the way in which Roger makes his guitar speak straight to the listener's ears. "Lost Horizon" is both a instrumental album for guitar enthusiasts (considering the technical skill level involved here) and a emotional journey for the casual listener. For a guy whose career has included stops in some rather sinister sounding heavy metal bands "Lost Horizon" is also one of those albums capable of satisfying a wide range of individual tastes. Whether your personal tastes in rock tend to lean on the more mellow side of things or you prefer things to have a little more of a "punch" there's more then enough of both on Roger DeCarlo's instrumental album to satisfy both camps. It's not a heavy metal release though so be warned and if you're looking for some shred guitar playing you'd be better served to look elsewhere. But, if you're looking for some great instrumental music that offers just the right mix of guitar rock and soulful playing then "Lost Horizon" makes for the perfect soundtrack. Without question this solo-release from Roger DeCarlo is highly recommend!




http://rogerdecarlo.bandcamp.com/

Joe Matera-Creature Of Habit

WAR Productions/Mercury Fire Music
2012 

When Australian independent guitarist Joe Matera contacted me recently, to see if I'd be interested in reviewing his new album "Creature Of Habit", I have to admit that I was unfamiliar with his name. Having made it a mission to never turn down a review inquiry though, especially from independent artists/underground bands, I gladly accepted the request and set about familiarizing myself with the instrumental guitarist in question. Now, since I am being honest about having never heard of Joe Matera before this I feel that I must also be honest and state that I've never been a huge fan of instrumental rock albums to begin with. Off hand, as the passing days and the ever growing collection of gray hairs slowly go about disposing a lifetime of music-related memories, the only instrumental album I can recall having ever enjoyed was "Surfing with the Alien" by Joe Satriani. Regardless, having armed myself with an open mind, I went about listening to Joe's new album as he created the soundtrack for the evenings activities. That soundtrack ended up being damn near perfect in retrospect. "Creature Of Habit" is the sort of album that makes me question  my position when it comes to instrumental rock releases. I'm not going to suggest that I will suddenly run out and pick up every instrumental rock LP I can get my hands on, but I will say that "Creature Of Habit" hit all the right notes for me. Without a doubt what makes "Creature Of Habit" work so well is it's soulful take on instrumental rock and roll. Not soulful as in soul music though. Rather, Joe Matera recorded an album's worth of material that finds the emphasis, rightfully and perfectly, placed on playing great rock music that is full of emotion. Thankfully, this album stays as far away as possible from any neoclassical nonsense that. while technically solid, is all but devoid of any real emotional attachment. With "Creature Of Habit" it's a feeling of relief for me to have been wrong about any preconceived notions about instrumental rock. As I've now listened to this album several times through, all of this since having only downloaded the album last night, it's a safe bet to say the well-crafted, perfectly executed rock music on display here is a winner. The album is full of catchy material that expertly conveys a colorful rainbow of emotions. With the addition of numerous guest musicians this melodic rock album left a good feeling all around. Among the musicians who backed up Joe on "Creature Of Habit" are Tony Dolan (Yes, the same Tony Dolan of Venom, Mantis fame) who handles bass duties on three tracks, The Angels' Rick Brewster (Guest solo on "No Way!") and Smokie's Mick McConnell ("Outland" features a great guitar solo from Mick). Both Brewster and McConnell appeared on Matera's 2011 EP, "Slave To The Fingers" and on the new album their contributions do not go without notice. Additionally, Fred Mascherino (Taking Back Sunday, The Color Fred, Terrible Things) provides a killer guitar solo on the cut "Endless Summer" and co-producer/Angelic Rage member James Strickler pulls double duty by playing drums and handling bass duties on several songs. These guests didn't go through the motions though. The end product is much more then just effective rock. With a real sense of purpose and a sound that is genuine and honest (One need only listen to the album's sole vocal track the sincere "Fallen Angel" to hear this) "Creature Of Habit" is simply a great listen start to finish. Speaking of "Fallen Angel", which has it's own video (See link below), this cool song has a wonderful Tom Petty meets eighties hair metal balladry vibe to it. Joe's vocals create a real sense of honesty to the number and help "Fallen Angel" cut to the heart of the matter. Hopefully Joe will be convinced to sing a bit more on future releases. To order your own copy of "Creature Of Habit" see the link below. As I close this review I just have to say I'm glad that Joe, who just returned from a European tour in support of the new album, gave me a chance to listen to a album that makes me rethink my feelings about instrumental rock. If more albums had the same kind approach, where the music is both melodic and full of muscle, I could really start to get into the genre.



 To order and purchase your copy of 'Creature of Habit' go here: www.joematera.com/store.cfm







 . http://www.youtube.com/watch?v=4OsVBL1Punk&feature=plcp