• The Universal Migrator I: The Dream Sequencer

    Ayreon - The Universal Migrator Part I: The Dream Sequencer (2000)

    Floating in Space

    When I bought Ayreon's double-album The Universal Migrator Part I: The Dream Sequencer and The Universal Migrator Part II: Flight of the Migrator as a teenager one and a half decades ago, I expected an epic heavy and power metal firework with guest singers from renowned bands such as After Forever, Helloween, Iron Maiden, Primal Fear, Rhapsody and the likes. Initially, I was slightly disappointed when I got an intellectual progressive rock opera instead but the two records started to grow on me as time went by.

    The first part of the duology can't be categorized as progressive metal at all. What we get here is atmospheric progressive rock inspired by the genre's most legendary outputs in the seventies. This album is recommended to fans of Camel, Emerson, Lake and Palmer, Jethro Tull, Kansas and Pink Floyd. The album has a cohesive alien, dragging and smooth flow from start to finish. The warm production blends in perfectly. Highlights are the eerie, floating and numbing ''My House on Mars'' with gloomy vocals by Tiamat's Johan Edlund and haunting backing vocals by After Forever's Floor Jansen, the atmospheric, electronic and sluggish ''The Shooting Company of Captain Frans B. Cocq''  featuring rather unknown vocalists Maurice ''Mouse'' Bom and Lana Lane and the dreamy, fragile and mysterious ''And the Druids Turn to Stone'' featuring a versatile Damian Wilson.

    The record however also has numerous lengths. The conceptual overture alone cracks the five-minute mark and overstays its welcome. The fact that there isn't one single energetic, fast and surprising song makes the different tracks sound interchangeable, predictable and repetitive. With lengths close to seven minutes on average, the material presented here is hard to digest at first contact and takes some concentration, dedication and focus to open up after some spins.

    In the end, you will appreciate Ayreon's The Universal Migrator Part I: The Dream Sequencer if you are longing for smooth progressive rock inspired by genre classics of the seventies. If you expect contemporary, innovative and powerful music, you will probably prefer the much heavier successor The Universal Migrator Part II: Flight of the Migrator. After initial disappointment, this atmospheric, creative and intellectual record has grown on me and if imaginative space opera concepts sound intriguing to you, then you should give this release a few spins as well.

    Final rating: 75%

    The Universal Migrator II: Flight of the Migrator

    Ayreon - The Universal Migrator Part II: Flight of the Migrator (2000)

    Journey to the Dark Side

    Ayreon's The Universal Migrator Part II: Flight of the Migrator is quite different from its immediate predecessor The Universal Migrator Part I: The Dream Sequencer even though both records were released at the exact same time. This second part is much darker than the predecessor, the keyboards provide dystopian sounds, the guitar work is heavy, the rhythm section is both powerful and playful and the guest singers perform with much energy. While the predecessor qualified as progressive rock album rooted in the seventies' genre stylistics, this output here is a contemporary progressive metal output that pushes the boundaries as it can't be compared to anything released before. 

    Some people might argue that both records complement one another perfectly but the truth is that they represent two extremes and don't sound cohesive at all despite the lyrical concept that ties them. As a matter of fact, it's entirely possible that someone who loved the predecessor's airy, dreamy and smooth sound could despise this album's dramatic, oppressive and vivid tone or the other way around. In my case, I liked this second output right from the start while the first part needed some attention, patience and time to grow on me.

    The album includes multiple highlights and my favourite song is ''Dawn of a Million Souls'' featuring Symphony X's Russell Allen. The song comes around with cinematic, dramatic and epic keyboard fanfares, sinister backing vocals, heavy riffs, pumping rhythm section and passionate vocals culminating in a memorable chorus you won't get out of your head. Russell Allen has participated in numerous projects and released many great records with his main band but as far as I'm concerned, this song is the best performance of his career as we speak. 

    The playful, meandering and creative ''Journey on the Waves of Time'' is perhaps the most progressive song on this release. The dynamic keyboard sounds stand out yet again and Ralf Scheepers delivers one of the most versatile performances of his career. He continues to be one of the most underrated metal singers who is given the chance to underline all his talent in this tune.

    The heart piece of this album is the ten-minute epic ''Into the Black Hole'', sitting right in the middle of the album and being subdivided into three parts. It's a gloomy, haunting and mysterious tune with eerie sound effects and futuristic keyboard layers that give Iron Maiden's Bruce Dickinson the occasion to unfold his talent like few songs of his main band manage to do. 

    The remarkable thing about Ayreon's mastermind Arjen Anthony Lucassen is that he is able to craft songs that manage to fit his project yet sound perfectly tailored for the individual singers. This is something similar artists like Avantasia's Tobias Sammet aren't always able to achieve. You might find Ayreon's music too complex, intellectual and lengthy but nobody can deny the artist's dedication, precision and talent.

    In the end, Ayreon's The Universal Migrator Part II: Flight of the Migrator is quite different from its predecessor. While still being progressive and conceptually related, this album is gloomy, heavy and vivid from start to finish. Not every song works perfectly but the album's highlights are unforgettable. Anyone who likes heavy and power metal singers, progressive music and dystopian science-fiction concepts should try out this ambitious album that has aged very well.

    Final rating: 90%

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  • Nine Inch Nails - Ghosts I-IV (2008)

    Ghosts I: A Disturbing Journey

    It's rather surprising that a band as unconventional, experimental and courageous as Nine Inch Nails was ever able to achieve mainstream success but the unique band around controversial art director, performer and producer Trent Reznor somehow managed to make the improbable possible. The band from Cleveland, Ohio that has been around for more than three decades now has released two brand new records today to motivate people throughout the terrible Coronavirus Pandemic. These records are entitled Ghosts V and Ghosts VI and it only makes sense to listen to the first four parts as well to grasp the bigger picture.

    The first part was released twelve years ago and recorded thirteen years ago. It consists of nine nameless songs revolving around the three-minute mark. The songs are entirely instrumental except for some incomprehensible vocal fragments in the eighth track. The material is vaguely described as dark ambient. Some songs focus on fragile, melancholic and slow piano sounds as the opening and closing tracks that come full circle. Other tracks are much uneasier such as the fourth tune with its heavily distorted guitar sounds and the even less accessible eight tune that flirts with the noise genre as the instrumental sounds blur into one another. There are obviously quite a few experimental tunes such as the third one that works with tribal drums, simple electronic beats and domineering bass lines and might surprisingly still be the most accessible tune despite its unusual style because it has at least a hint of conventional concept, rhythm and structure.

    To conclude, the first part of Nine Inch Nails' Ghost series isn't easy to digest. It's very diversified, experimental and unconventional. Distorted noise sounds meet industrial rock patterns and uneasy ambient tones. In its radical execution, the album makes me think of releases by Lou Reed throughout the seventies. If you have an open mind for radical electronic and rock music, put your headphones on, close all the lights in your room and go on a most disturbing journey. Despite being overtly complicated, meandering and radical, this release has unique atmosphere, fascinating entertaining values and is obviously absolutely unique and unlike anything you have ever heard before.

    Final rating: 65% 

    Ghosts II: Mysterious Ghost Riders in Electric Funeral Fog

    Nine Inch Nails' second Ghosts record, released simultaneously with the first, third and fourth parts, looks quite similar to its predecessor on paper. Once again, we get to listen to nine tracks. The track lengths vary between one minute and a half and five minutes and a half. And yet, this is a quite different beast if compared to the first series of songs.

    There are a few similarities however. The songs are yet again entirely instrumental. The genre could be defined as dark ambient. It provides a quite creepy, gloomy and uneasy atmosphere. Discordant guitar sounds meet melancholic keyboard patterns.

    However, this album has a much clearer guiding line than the diversified, meandering and unpredictable predecessor. The songs here venture gothic ambient territory. They are calm, introspective and melodic. The haunting piano melodies are inspired and provide a wonderful soundtrack for long rides through rainy territories. The gentle guitar work is simple technically speaking yet efficiently atmospheric.

    ''10 Ghost II'' sets the melancholic atmosphere right from the start as highly efficient opener. ''12 Ghost II'' adds some elements to the rhythm section. ''13 Ghosts II'' employs some smooth electronic background vibes instead. The closing ''18 Ghost II'' entertains through five and a half atmospheric minutes with danceable psychedelic keyboard patterns and guitar riffs inspired by dark country music. This creative tune summarizes the preceding tracks very well but manages to add new elements as well. This is easily the best song on this second part of the release.

    To keep it short, Ghosts II is superior to Ghosts I thanks to a more coherent guide line in form of calm, gloomy and mysterious atmospheric vibes transmitted by electronic sounds inspired by pioneer bands such as Kraftwerk and Tangerine Dream and occasional dark country sounds that could be inspired by the most sinister records of Johnny Cash and George Jones. If you feel like embarking on a sinister but inspired journey, Nine Inch Nails' Ghosts II would be your ideal soundtrack.

    Final rating: 75%

    Ghosts III: Riding through Dark Waves in the Sanatorium's Basement

    Nine Inch Nails' third Ghosts record consisting yet again of nine tracks varying between one minute and a half and four minutes in length is different from the first two parts in this unusual series. The first part was unconventionally experimental while the second part was almost appeasing and calm. This third part can be situated somewhere in between these extremes. Uneasy distorted guitar sounds meet dynamic darkwave passages and atmospheric piano parts in the different songs.

    If you take the songs one by one, they sound quite coherent. ''22 Ghosts III'' for instance would be the perfect song for the soundtrack of a gloomy horror movie as you can picture a figure clad in shadows wandering through the dark hallways of an abandoned asylum. ''24 Ghosts III'' focuses entirely on danceable electronic music with a few vocal samples and one would rather picture an ecstatic crowd celebrating an Electronic Body Music band on the stage of a gothic festival. ''27 Ghosts III'' seems to offer an uneasy ride through a tormented mind with heavily distorted guitar sounds and menacing rhythm patterns.

    While the tracks sound interesting one by one, the only element that connects them is the fact that you have to expect the unexpected. This third part of the Ghosts series offers some gems but the song writing isn't as coherent as in the two preceding parts. It's all over the place and hard to digest even by Nine Inch Nails' experimental standards. 

    My suggestion is to listen to this part of the series a couple of times, choose your favourite tunes for a diversified playlist and listen to the more coherent predecessors instead.

    Final rating: 70% 

    Ghosts IV: A Drug-Addicted Country Musician Having a Near-Death Experience

    This fourth part of Nine Inch Nails' dark ambient series was the final part released twelve years ago. Once again, it consists of nine separate tracks with running times between two minutes and six minutes. The songs are overall more coherent, detailed and vivid than tracks from the three predecessors. This fourth part is easily the most diversified, dynamic and entertaining. It's still experimental at all costs but more accessible than its predecessors.

    ''28 Ghosts IV'' is probably the most imaginative and memorable song of the bunch. The song features acoustic guitars evoking American country music, gloomy electric guitar riffs and only few electronic background samples. This song would fit perfectly on the soundtrack of an experimental western.

    Another great tune follows immediately after with ''29 Ghosts IV'' that focuses on vivid electronic music with eerie sound effects that combines the band's accessible and experimental sides in one single tune.

    ''31 Ghosts IV'' is heavy and noisy with domineering electric guitar sounds and uneasy electronic effects that make for a nightmarish alternative rock vibe. You shouldn't listen to this song when being in an anxious, negative or nervous mood.

    ''32 Ghosts IV'' blends in fluidly and includes samples that remind of a patient on a respirator in a hospital that sound quite creepy.

    After a much diversified fourth part of the series, the final ''36 Ghosts IV'' completes the tetralogy on piano sounds that are fittingly both appeasing and uneasy. This approach goes back to the very first song of the first part of the series and appropriately comes full circle. It shows that despite numerous changes, the concept combining these two extremes is the guiding line of these four initial releases.

    As mentioned earlier, this fourth part of the series is dynamic, entertaining and imaginative. It ultimately qualifies as the most accessible, coherent and recommendable part of the unusual series. If you don't have time to listen to all four parts with a total running of one hundred and ten minutes, you can simply check out this fourth and final part to verify whether this uncompromising project could be of any interest for you at all.

    On a closing side note, there are two bonus tracks that are particularly hard to find. ''37 Ghosts'' has an epic, mysterious and spiritual vibe that clashes with chaotic, fast and noisy electronic samples. ''38 Ghosts'' combines numerous interesting electronic samples but lacks coherence, flow and structure.

    Please note that this unusual series would only continue twelve years later with the calm and soothing ''Ghosts V: Together'' and the dark and unsettling ''Ghosts VI: Locusts''. 

    Final rating: 80%

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  •  Ladies and gentlemen!

    Elis is one of the very best gothic metal bands of the first decade of the new millennium. I was introduced to this band by my father back in 2007 and quickly became a fan myself. I'm still listening to this band as we speak. The band's timeless music is worth your attention if you like calm, melodic and poetic gothic metal that inspires to dream, relax and think. Please read my reviews of the band's releases below to get a better idea of this overlooked band from the tiny country of Liechtenstein.

    God's Silence, Devil's Temptation (2003)

    Elis - God's Silence, Devil's Temptation (2003)

    Great Potential but Terrible Production

    God's Silence, Devil's Temptation is a decent but not outstanding debut for gothic metal quintet Elis from Liechtenstein that would later on release genre classics such as Dark Clouds in a Perfect Sky, Griefshire and Catharsis. Despite being the band's weakest output, it shows lots of promise and talent and is definitely worth a spin for genre fans.

    The band has numerous charismatic strengths. Its elegant, gloomy and longing sound serves as guiding line throughout the album. The poetic lyrics in English and German blend in perfectly and add important creative, emotive and intellectual components. The programming gives some songs an almost danceable electronic vibe but also provides some nearly cinematic soundscapes as these elements offer much diversity and entertainment. Sabine Dünser's vocals are outstanding as she has the kind of voice one would recognize among thousands. She sounds emotional without being melodramatic, she sounds grounded without sounding flat and she sounds variable without sounding unfocused. She's the type of singer any female-fronted gothic rock or metal band would like to have.

    This album also has a few downsides however. The guitar play is at times generic, simple and uninspired. Don't expect any gripping riffs or stunning solos here. The guitar play simply supports the atmosphere of the different tunes without attempting to stand out. The rhythm section is serviceable instead of spectacular. The bass guitar is hardly audible and the drum play sounds slightly mechanical as if inspired by industrial rock and metal. The production is also below average and a little bit too loud and unbalanced as only the vocals and keyboards sound really great here. Especially the guitar play rushes by in a blur.

    In the end, fans of female-fronted gothic metal bands from the early millennium should certainly check out Elis' God's Silence, Devil's Temptation. It's the most difficult Elis record to find these days but perhaps you could get your hands on it in a second-hand store. The song writing is decent enough to deserve a remastered version one day. The initial production is certainly the album's biggest flaw. The band's greatest strengths are however the emotional vocals, intriguing lyrics and dynamic keyboard parts.

    Final rating: 70%

    Dark Clouds in a Perfect Sky (2004)

    Elis - Dark Clouds in a Perfect Sky (2004)

    As Smooth as Gothic Metal Gets

    Elis was a band that stood out for numerous reasons. First of all, the group came from the small country of Liechtenstein that isn't exactly known for producing renowned metal bands. Secondly, the band didn't jump on the bandwagon of female-fronted symphonic metal bands but rather focused on gothic metal with mid-paced and slow musicianship. Thirdly, late singer Sabine Dünser had a truly unique voice which is very calm, enchanting and almost fragile. Dark Clouds in a Perfect Sky underlines the band's unique trademarks and should please any gothic metal fan.

    Produced by Atrocity's Alexander Krull who also worked with the similar sounding but more vivid Atargatis, Dark Clouds in a Perfect Sky is a smooth and melancholic record that develops a quite unique atmosphere from start to finish. The guitar riffs are simple and often slow and slightly melodic, recalling not only early gothic metal but also traditional doom metal influences. The bass guitar transmits smooth background vibes. The drum play is grounded and precise as it always serves the individual tracks well. The occasional piano sounds give some tracks an even more melancholic touch, the few electronic experiments are employed with precision and some harsh male vocals honor gothic metal music of the early nineties appropriately.

    The sum is greater than its parts on this hypnotizing effort but some tracks stand out nevertheless. The enchanting "Anger" represents Elis best as this might be the smoothest song ever about anger with angelic vocals, melodic electronic sounds and melodically distorted slow guitar sounds. The almost medieval keyboard sounds and unusually fast guitar riffs and drum patterns make "Die Zeit" stand out. The almost nightmarish "Black Angel" with its paralyzing guitar riffs, old-fashioned keyboard sounds recalling gothic rock bands from the early nineties and multiple vocal layers has an extremely strong atmosphere that evokes numerous images on your mind. "Are You Missing Me?" might be the most diversified track with some unexpected changes in pace, slightly distorted male vocals and a few electronic darkwave sounds. The most unusual track might be the closing "Ballade" that works surprisingly well by focusing on Sabine Dünser's charismatic vocals with only simple electronic beats and piano sounds as backdrop.

    It's difficult to give this album a precise grade as its consistency is quite close to the other Elis records. However, I actually might prefer this release for its immersive atmosphere without any weak spots. If you like smooth and melancholic gothic or doom metal, you should give this overlooked band a chance and could start your journey with this beautiful release.

    Final rating: 80%

    Griefshire (2006)

    Elis - Griefshire (2006)

    A Testament to Calm Melancholy

    This last album with legendary singer Sabine Dünser who collapsed and died during a rehearsal for this record is a dark and melancholic testament with a more or less important conceptual story. The positive thing is that the songs also work as single tracks and this is no overloaded, overambitious or overwhelming record. The depressive and calm atmosphere is an important foundation of this solid funeral album.

    In comparison to many other bands of the genre, Elis create a sound that is more down to earth. They don't employ big orchestras, unnecessary male growls and guest musicians that play strange folk instruments. Dark and melancholic guitar riffs and a few piano sounds gather around Düner's charismatic, calm and fragile voice that is technically a little bit thin but nevertheless easy to appreciate and a great alternative to operatic voices. The problem is that neither her voice nor the musicians vary very much and that's why this album is at times stuck in mediocrity in its second half and sounds too repetitive.

    The greatest songs on this record turn out to be the two German tracks. "Die Stadt" tells a very creative and poetic story about a lost town and the music is as mysterious and melancholic as the vocals are. The song creates many images on my head and the brilliant lyrics are very inspiring. "Seit dem Anbeginn der Zeit" is another rather calm song that convinces with an exotic and slightly orchestral folk ending that leaves me thinking, dreaming and relaxing as if I got hypnotized in the end.

    The number of straighter songs are rather limited on this record like the solid opener "Tales from Heaven or Hell", the more stereotypical and slightly traditional "The Burning" or the rather disappointing Black Sabbath cover song "Heaven and Hell". Instead, this album focuses on smooth ballads like "How Long" and "Forgotten Love" that gothic metal fans with a weakness for down-to-earth piano melodies, decent classical orchestrations and catchy pop music should greatly appreciate. These aforementioned ballads are catchy and they won't get out of your head no matter if you happen to like them or not. These skills are based upon the good songwriting and the catchy vocals by Sabine Dünser who turns out to be one of the most talented female vocalists and most creative lead singers of the genre. She has a very unique and intellectual approach to music and sounds like a mysterious fairy. This album really underlines that her death is not only a big loss for the band but also for the whole gothic metal world.

    In the end, this record is a great testament and defines Sabine Dünser as a unique, calm and catchy vocalist and an introspective, creative and intellectual songwriter. You should really try out some of her songs as this album isn't that much comparable to similar bands and shows us something new. But if you happen to not be entirely pleased by her voice and her lyrics, then there is no glimpse of a chance that you might like this record as this is her personal musical testament. On the other side, the fans that always thought that the vocalist of the band was great and unique but the music sounded rather limited might consider this record as their favourite one of the band though even if there are a few mediocre songs in the second half. Nevertheless, I would like to underline once more that this record is one of the most interesting ones of its kind in the past years and something fresh that is worth to be discovered.

    Final rating: 79%

    Show Me the Way (2007)

    Elis - Show Me the Way (2007)

    Farewell and Welcome

    Elis' extended play Show Me the Way was released to accomplish two tasks at once: bidding former singer Sabine Dünser farewell and welcoming new singer Sandra Schleret.

    The title track was one of the catchiest tunes from the very good previous studio album Griefshire. It was recorded again with new singer Sandra Schleret and exists in a full version and a radio edit. The sound is a little bit crisper here and focuses more on powerful guitar riffs than atmospheric elements. This is a welcome change since Sandra Schleret sounds more energetic than Sabine Dünser as well. If you prefer the gothic side of the band, you will prefer the gloomy original version with Sabine Dünser but if you care about the metal side, Sandra Schleret's powerful performance might be your favourite. The band made the right choice by opting for a singer with different qualities instead of finding someone who would simply attempt copying Sabine Dünser's unusual atmospheric style.

    This release includes three tracks recorded by the former line-up during the Griefshire sessions. ''Salvation'' surprises with choral elements as the atmospheric female vocals are supported by energetic, epic and melodic male choirs. Crisp growls add further diversity. This is also the kind of track that could come from Leaves' Eyes. It's probably the greatest of the three unreleased tunes.

    ''These Days Are Gone'' focuses more on symphonic elements and sinister guitar sounds that make for a mid-paced gothic metal tune that goes back to the genre's early era in the early nineties. It slightly recalls the style of Theatre of Tragedy. Genre fans will certainly like this song even if it lacks a truly catchy, imaginative or memorable element.

    ''In einem verlassenen Zimmer'' is a ballad focusing on harmonious vocals, string sections and harp sounds. Everything sounds appeasing, dreamy and timeless until the horrible electronic drum patterns kick in. They don't fit at all here and the song would have sounded much more efficient without them.

    In the end, Elis' Show Me the Way is obviously the band's least essential release but it isn't a bad output either. The two new versions of the title track aren't of much interest but the three final tracks featuring Sabine Dünser should please genre fans with ''Salvation'' being the best track here. If you like atmospheric gothic metal and can get your hand on this rare extended play for a fair price, don't hesitate to purchase it.

    Final rating: 68%

    Catharsis (2009)

    Elis - Catharsis (2009)

    Going through Changes

    This fourth album of Liechtenstein's best band Elis is a new beginning after the sudden death of their calm, hypnotizing and unique singer Sabine Dünser that was replaced by Austrian singer Sandra Schleret. She is not as unique and charismatic as the late vocalist but from a technical point of view she is more skilled and does her very best here. The music has also changed with all those changes and moves away from the rather calm and hypnotizing sound of Griefshire to head for a heavier sound in the tradition of popular symphonic metal bands. It's because of the band's high degree of diversity that it doesn't get drowned in the masses of endless popular bands of the same genre. They successfully defend their acquired place and reputation with this record.

    The success formula is rather simple and unites styles and skills from the band's past efforts. We have rather dark, heavy and especially atmospheric pieces like the great "Twinkling Shadows" or the slower and epic "Warrior's Tale" featuring singer Michelle Darkness from German gothic rock band End of Green. The latter surely isn't the best track on here but a good experiment and it could have been a rather popular song if the band had decided to release it as a single or make a video clip for it. It's the same thing for the catchy Jennifer Rush cover "I Come Undone". In addition to the aforementioned songs, the band convinces once again when they use German lyrics. The elegiac "Des Lebens Traum, des Traumes Leben" is dedicated to Sabine Dünser while "Das kleine Ungeheuer" tells a dark little tale with many interesting changes in style that create a great atmosphere.

    The problem with this record is that there are some fillers and a lack of continuity and coherence that made Griefshire so special and outstanding. This album is full of ideas and emotions but a true soul is missing. The band tried to vary more and focus on its strengths as well as on new experiments which is a positive point but this plan didn't always work out in my book. The record is though still better than most of the releases of other genre bands. I would like to recommend the purchase of the special edition of the record which includes two good bonus tracks as well as a great little concert where eight songs from the past two albums are performed in a very good way by the new line up. 

    Ultimately, it was a good decision for the band to carry on after the death of its late vocalist but this would also turn out to be the group's last release. The band went through another line-up change soon after, changed its name to Zirkonium and even announced an album but the band folded before it could really get started. It's a shame that Elis didn't survive and the group would have deserved more attention in hindsight. If you feel like revisiting one of the best gothic metal bands of the first decade of the new millennium, give their great records a chance.

    Final rating: 76%

     Here's a list of my ten favourite Elis songs:

    1. Die Stadt

    2. Show Me the Way

    3. Das kleine Ungeheuer

    4. Salvation

    5. Die Zeit

    6. Phoenix from the Ashes

    7. Engel der Nacht

    8. Warrior's Tale

    9. Black Angel

    10. Are You Missing Me?

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  • Powerful Passion Podcast

    Second episode: Lin Fu Di's The Master and the Kid (1978)

    Download it right here: Powerful Passion Podcast II

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  • Powerful Passion Podcast

    First episode: Dan Simmons' The Terror (2007)

    Download it right here: Powerful Passion Podcast I

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