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The Tea Club

Crossover Prog

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The Tea Club Grappling album cover
4.05 | 212 ratings | 12 reviews | 23% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2015

Songs / Tracks Listing

1. The Magnet (6:07)
2. Remember Where You Were (7:43)
3. Dr. Abraham (8:11)
4. The Fox in the Hole (4:45)
6. Wasp in a Wig (6:16)
7. The White Book (9:57)

Total Time 42:59

Line-up / Musicians

- Patrick McGowan / vocals, guitar, keyboards
- Dan McGowan / guitar, vocals, keyboards
- Reinhardt McGeddon / keyboards
- Jamie Wolff / bass, violin, cello
- Tony Davis / drums

Releases information

Artwork: Kendra DeSimone

CD self-released (2015, US)

Thanks to mbzr48 for the addition
and to Quinino for the last updates
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Buy THE TEA CLUB Grappling Music

THE TEA CLUB Grappling ratings distribution

(212 ratings)
Essential: a masterpiece of progressive rock music(23%)
Excellent addition to any prog rock music collection(38%)
Good, but non-essential (28%)
Collectors/fans only (8%)
Poor. Only for completionists (4%)

THE TEA CLUB Grappling reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Mellotron Storm
4 stars THE TEA CLUB's latest offering continues down the same path as their previous album "Quickly, Quickly, Quickly" although to my ears this is more dense and more proggy. There's just so much going on at times that it's almost overwhelming. We also get wholesale changes with a new drummer, keyboardist and bassist on board while the McGowan brothers continue to lead this club writing the compositions along with playing guitar and doing the vocal parts. Oh and thankyou Dan for the free digital download.

"The Magnet" opens in an energetic manner before it settles down with vocals. The guitar is relentless as it builds. It's the guitar/ drum show before 3 minutes and check out the instrumental sound a minute later! It settles back but not for long, nice prominent bass here as well. Vocals are back after 5 minutes. "Remember Where You Were" has a laid back intro including relaxed vocals. I like the synths here as well as the organ 2 minutes in. Passionate vocals follow then they settle back along with the sound. Great section 5 minutes in followed by a killer instrumental passage. How good are the vocals when they return 6 minutes in.

"Dr. Abraham" opens in a dark and powerful manner then it calms right down as the theatrical vocals arrive. Some interesting lyrics here. It's so intense 2 minutes in followed by spoken words. It's intense again with so much going on before 4 minutes, almost avant sounding. Another calm follows with whispered vocals. It sounds like mellotron 5 minutes in then it all starts to build until chaos hits us. Great sound before 8 minutes to the end. "The Fox In The Hole" is led by theatrical vocals, drums and violin early on and check out the instrumental section after 2 minutes. So good! There's an interesting instrumental conclusion to this track as well.

"Wasp In A Wig" is my favourite song on here. Man I feel so good just hearing the intro each time as the vocals join in. Some avant leanings 2 minutes in then it turns all instrumental. The vocals are back after 3 minutes. I really like the sound after 4 minutes right to the end. "The White Book" is the almost 10 minute closer. A spacey start to this one as mellotron and vocals then join in. A GENESIS vibe takes over before 2 1/2 minutes and it's more powerful here. Vocals are back but more passionate this time. A calm before 3 1/2 minutes and vocals follow. It's spacey again before 5 minutes then kicks back in before 7 minutes. A calm before 8 1/2 minutes to the end.

I still feel that "Quickly, Quickly, Quickly" is my favourite from this band but this album is going to take some time to soak in. Certainly this is one of the better modern Prog bands out there and their whole catalogue is well worth checking out.

Review by Conor Fynes
5 stars 'Grappling' - The Tea Club (87/100)

The Tea Club's Quickly Quickly Quickly was probably the finest progressive rock album released in 2012, and I made no effort to hide my enthusiasm for it. In my eyes, they merged the modern with the traditional par perfection on that album. They did for me what most others couldn't; that is, prove that traditional 70s prog could be harnessed to suit a cutting-edge sound. More exciting that was possibly the fact that The Tea Club showed earnest potential to be one of the few from the progressive rock underground who could possibly earn serious attention from beyond the close-knit prog scene that's mustered together as the years have gone by. Like the best parts of The Mars Volta and The Dear Hunter were paired up with the pastoral warmth of Genesis and cerebral overload of Gentle Giant, there was plenty of reason to feel excited for this band, even if (no, especially if) a listener had spent most of their lives listening to the style already.

So yeah. With Quickly Quickly Quickly, I thought relatively widespread attention might be on the trajectory for The Tea Club. I no longer think that about the band come Grappling. This has nothing at all to do with the false assumption The Tea Club are somehow less deserving of accolades than before. Nor will I say that Grappling is a completely new ballgame for the band I've called the best working band in US prog rock. No. For what it's worth, Grappling is an intense continuation of the band's sound. They have never sounded this dense and harrowing. If it was even somehow possible (apparently it is) the musicianship on Grappling makes the frantic instrumentation on Q3's "Firebears" almost sound soothing by comparison. It should be stated before anything else that The Tea Club have unleashed another masterpiece here, and it doesn't even fall short when compared to the modern classic that preceded it.

Yet The Tea Club have still distanced themselves from widespread success on this one, now probably moreso than ever. They've moved towards ever-increasingly complex and vintage territory, most likely to the glee of self-proclaimed proggers and the chagrin of everyone else. It's an interesting thing, really; I would usually peg a retrogressive 1970s revival as being inherently tame compared to something new, but The Tea Club have managed to sound more challenging than ever as their sound becomes more vintage. The result of which is an intensely multi-layered album that doesn't give itself up easily to a listener. Grappling is another amazing album from these guys, and even if it has more of its foot in the traditional than I've heard from them before, it is most certainly fresh new ground the band is exploring here.

Comparisons with the old guard only do so little in the case of modern reviews, but I would like to say how much I felt reminded of Gentle Giant throughout listening to Grappling. The Tea Club are easily more emotionally in touch here than Gentle Giant ever were, but I imagine a similar creative process of trying to build up each arrangement to the absolute brim. Compare that to Q3 or even Rabbit, where the prog rock fireworks were moderated by a subtle pop tendency. I wouldn't say The Tea Club's fundamental songwriting approach is much different than its been on past records, but as composers and arrangers, it's another game entirely. Even on the most pastoral and pop-oriented track "The Fox in the Hole", The Tea Club are continuously trying to test the boundaries of how much density they can get away with.

The overwhelming complexity isn't a good or bad thing on its own but it does largely define the experience of Grappling, especially when it's set up in comparison with the band's past work. I will say that I am glad I've given the album as much time and patience as I have. Some technically-inclined music reveals itself immediately, but there is little instant gratification here. Even if you're a prog veteran, be unsurprised if the first few listens leave you cold. On the first listen, I certainly knew I was listening to something great, but wasn't feeling it the same way the first spin of Q3 left me on my ass. Sure enough, repeated listens start bringing sense to Grappling. "The Fox in the Hole" and "The Magnet" probably stand out as personal favourites, if only for the fact they remind me most of Q3. Amid the constant pyrotechnics, it's an added accomplishment that each of the six labyrinths here has a character of their own. "Dr. Abraham", for instance, is hectic and angular. "The Magnet" has a quirky optimism, whereas "The White Book" sounds desolate by comparison.

Do I really endorse the increasingly complex, proggy direction The Tea Club are going down? Even loving Grappling as much as I do, I'm not sure I have an answer to that. Suffice to say, it offers its own experience that is distinct-- though not separate-- from their past achievements, with all the pros and cons that come with an artist's evolution. At the end of the day, I think it's just inspiring to hear a band play to the absolute limits of their abilities. And considering I can think of few in progressive music today that play together as well as The Tea Club, that is saying a lot.

Review by Ivan_Melgar_M
SPECIAL COLLABORATOR Honorary Collaborator
5 stars A couple months ago received a mail from Dan McGowan who plays guitar in THE TEA CLUB, telling me that he had sent a copy of their latest album Grappling to my apartment, the time passed and never came, so after Christmas and all the movement of those days forgot about the record. In January Dan sent me another message asking if I liked what I heard, but I had to tell him that it never reached Lima, so he sent another one that received two days ago. Now after three months of waiting playing it like 20 times in 4 days, I feel comfortable reviewing it?.So let's go.

Every time I listen a new TEA CLUB album I get impressed with the maturity they keep acquiring, but when I stated to play The Magnet was absolutely shocked with the change. Even when they still play in their usual style (in general terms), the band is much more aggressive and musical than ever. But now they add radical changes, excellent vocals and amazing percussion that are like candy to my ears?I don't know how it's possible for the guys to keep improving with every release, but this time they shoot the ball out of the park with this complex and amazing song.

Remember Where You Were begins soft and atmospheric, but as the song advances, the music grows in intensity without leaving the dark and mysterious sound but adding interesting influences from the 70's, blending the frantic sound of "Lark's Tongues in Aspic" with the most pastoral moments of "The Lamb Lies Down on Broadway", simply mind-blowing.

Dr. Abraham is hard to describe, because this is not what I expected from the hard rock band with Prog leanings who released "General Winter's Secret Museum" back in 2008, now they are playing some of the most elaborate music I heard in the past 5 years. They will remain in Heavy Prog because the guidelines of the site, but they are playing a different stuff that I would describe as a 100% Eclectic Prog with heavy leanings.

The Fox in the Hole reminds me a lot of GENTLE GIANT with a modern twist and an "in your face" attitude, this guys know how much they have grown and no longer are afraid to show it. The vibrant violin passage by Jamie Wolff in the vein of GENTLE GIANT and the complex vocal sections by Dan and Patrick really impressed me.

Wasp in the Wig starts as a blues based heavy song, but after the second minute, you can expect anything, this time the piano and synths by Reinhardt McGeddon are out of his world. I tried to find references from other keyboardists to somehow locate myself, but I can't, because this sound is unique and a delight for Progressive Rock listeners.

The album is closed by The White Book, a song I won't even attempt to describe, because is one in a kind, they move from a soft Mellotron intro to frenetic passages, acoustic guitar solos and even dark and almost Gregorian chorales, you must listen to believe what this guys are doing.

After listening the whole album repeatedly, I'm in deep trouble, being that if the guys of THE TEA CLUB keep on this path, I will need a new rating system for their next release?This time I will go with a 5 solid stars for a really amazing album.

PS: Special mention to Tony Davis who does an outstanding job in the drums.

Review by Angelo
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
4 stars One of the bands for which I reviewed every album, maybe the only one. That's The Tea Club. Not because they sent me a complimentary review copy of every album, but also because I like their music. It's not what I play most, but every time I play it, I hear something that catches me. With their 2015 release Grappling that's no different.

The intro of The Magnet immediately grabs my attention, although I have no idea why exactly. It just works. Maybe it's the combination of guitar and keyboard melodies, or the vocals of the McGowan brothers, Dan and Patrick, no idea really. With Remember Where You Were (a song which' title reminds me every time of where I was when I heard David Bowie died earlier this year), that only continues. The emotion in the vocals combined with the organ in the background are ear candy.

The darker and gloomier Dr. Abraham contains interesting musical moves, as does The Fox In a Hole, which at first hearing seemed to start with a violin. In earlier reviews of The Tea Club albums, I referred to their nice blend of influences, which never becomes a copy of what other bands do. On The Fox in a Hole, it's the first time I was under the impression I was listening to an old, unreleased Genesis track, with a little bit of Caravan mixed in. Still, it's a unique thing, not a copy attempt, and still very welcome in the midst of all the 70s clones of the past few years. The same can be said about The White Book, the closign track of the album. No copies, just influences.

Now I skipped quickly Wasp in a Wig, in order to make it into the closing paragraph of this album review. This track is a bit guitar heavier than the rest and giving a bit more foreground to the bass. It starts slow, almost melancholic in the vocal sound, but moves on to a dual vocal, very varied track. It changes and comes back, without loosing coherence, and is very much my favourite on this album. An album that shows that even after 8 years, the quality and musicianship of The Tea Club is still on the same great level. Four stars once again.

Also published on my blog

Review by Finnforest
SPECIAL COLLABORATOR Honorary Collaborator
5 stars Tea's Magnum Opus to date

The Tea Club's presence in my life coincided quite directly with the arrival of multiple mid life crises. Up to around the time of General Winter things had been humming along quite swimmingly forever, then suddenly middle age events exposed just how fragile this existence is. It hasn't stopped since so maybe it never does. But it does seem that every time I've been in need there has been a new Tea arrival to grab hold of, these little musical life preservers. This time is no different. Grappling is a perfect title for the state of my life this last decade and in 2016. Once again their music opens the door to a place of imagination that allows a bit of escape...

As far as the band I also have wondered to myself the effect of the constant revolving door of musicians they've had. Not about personal dramas, or even about the challenges to live playing when people come and go, but rather about the creative process itself. What is it like to write and create with such a revolving cast of people in the ranks. From the outside it seems to affect it very little as the quality and creativity continue to impress. But I have to believe it must be more complicated than that. Perhaps chaos of that kind is a plus to the creative process of any band. The Tea Club have thrived many years despite this issue and deserve credit for perseverance in addition to the artistic merits.

"Grappling" was the hardest Tea Club album for me to embrace initially, which almost always means it will be most rewarding later-as was the case here. My initial struggle had more to do with my own circumstances than with the music, as of late I usually crave much simpler and direct payoff. With a great desire for musical relief I was instead hit by the density and drive of hurricane Grappling. I think I was subconsciously longing for a return to the shorter, more straight up, more direct immediacy of the Teas earlier days. I confess that unlike most "proggers" I personally treasure General Winter every bit as much as the more complex material, being first and foremost a rock fan. I've since realized I didn't need to worry. Grappling rocks just fine. It rocks fiercely.

Whereas QQQ had marked an uptick in ambition and scope over Rabbit, Grappling seems more in the QQQ realm but on a different path...a more interesting, more adventurous, and more sonically cleansing piece of work. The Teas no longer feel as if they are reaching for something, rather, they've grabbed it and they now sound absolutely at ease with the plane they are residing on. I feel I'm hearing more confidence than ever. If QQQ had ascended into their own "Close to the Edge" zone (titles are just for discussion of range, not comparing material necessarily) then the Teas are now firmly entrenched in a "Topographic/Relayer/Pawn Hearts" zone, poised and ready to attack. I will say there are moments on Grappling so intense that they do recall the frenzied chaos of "Gates of Delirium" jams or the dark, sinister alleys of "Pawn Hearts."

Indeed the six tracks on Grappling are the most intense and propulsive yet with new drummer Tony Davis nothing short of scorched earth in his approach. The overwhelming vibe seems to be one of wild abandon and I believe that as musicians exit their twenties there is a certain beckoning call to roar at maximum fang. Sure, 40 and 50 year olds occasionally roar but there is no authentic substitute for youth. Not to my ear anyway. The lighter moments on the album are equally as impressive with these whimsical yet complexly woven tales, of strange things and colorful characters. Dan sounds so enthused and passionate in these moments, like a storyteller of yore, he takes on that colorful bravado in his voice which sounds a little like the actors at the Renaissance Festival, you know the ones...the guys who seek to make you look like a fool in front of your lady. You can hear the joy and confidence coming through in the vocals and the brothers truly sound as if they are channeling stories from a quest. The lyrics for each of the six stories form a conceptual work and they do not disappoint, grand tales of an epic journey of some sort. Characters striving to survive some great battle, real or psychological, mired in apocalyptic overtones? I don't know...I'm not the best at deciphering lyrics.

"Under our roof, we heard a choir / Oh to see again the choir free / And to hear again the waters sing / On pale pastures and starving streams / No signs of The King have been seen / But tonight I will be waiting alone by the sea / To read a new page in The White..." -The White Book (McGowan)

There are so many neat little curios in the bag of tricks this time around. The first three tracks have such instrumental power in the ominous, building layers of sound as well as the always-strong vocal harmonies. The Fox in a Hole introduces Jamie Wolff's strings and a bit of folk charmed melody. Amazing vocal arrangements abound in this track, pure delight to listen to and challenging to perform live I'd wager. The strings go intentionally haywire toward the end creating tension even within the ranks of the quieter song. This flavor of side folk melody returns in the outtro for The White Book, which sounds devilishly like the woodland spirit of Comus crashing the moonlit Tea Club clearing! The keyboard work in White Book deserves a mention as well. So much mood and presence is evoked by the mysterious R McGeddon. So much heart and so many fantastic worlds imagined by brothers Pat and Dan. More than ever we need a high quality pro-shot live DVD of this band in their prime. Someone in their periphery should make it their mission to make that happen, there needs to be a high quality visual document of the live Tea Club.

I'm bouncing from one tangent to another with this "review" and my apologies to the band for that--I'm not in a great reviewing state of mind much these days. I can state with ease that Grappling is the most accomplished Tea Club release to date, which is saying quite a lot. I listened with great pleasure to their four albums while writing this and the progression and musical confidence can be heard literally with each step. It is fascinating to ponder where the band goes in the future, the only thing we know for sure is that unbridled curiosity and creativity are the torches they carry in the darkness.

Grappling will go down as one of the best of 2015 without question.

Review by BrufordFreak
COLLABORATOR Heavy Prog & JR/F/Canterbury Teams
4 stars

THE TEA CLUB Grappling

It's taken me a long time to get around to this late arrival to the 2015 catalog as I was fully enmeshed in trying to keep up with the new releases of 2016 before I was able to acquire this one. But time has given me a good chance to get to know this album pretty well. I'd read many reviewers commenting on the "new direction" The Tea Club had apparently taken with this album. I see it--mostly in the form of a much more present and flashy drummer and keyboard player than the last album. (Welcome Tony and Reinhardt!)

1. "The Magnet" (6:07) is a vibrant, intricately arranged song with stellar performances from all band members-- especially the way the guitars and keyboards mimic and weave in and out of each other's shadows. I love the pace of this one. A pretty-near flawless song and my favorite on the album. (10/10)

2. "Remember Where You Were" (7:43). Though new keyboard player Reinhardt McGeddon shone on the opening song, this is the one which really puts on full display his tremendous talents--layers and layers worth. The pacing of this song is a bit slow and syncopated for my tastes--or perhaps I find it difficult to match the rhythm section's play with the vocal and keyboard play. (Are they playing on the same song?) It almost has a Lamb Lies Down on Broadway "In the Cage" feel to it. (8/10)

3. "Dr. Abraham" (8:11) opens with a full low end, drumming on full display, with organ and guitars diddling in the background. When the vocals enter things cohere and then the music shape-shifts beneath. Over the course of the first two minutes I am befuddled by the sudden and, to my ears, incongruous time and dynamic shifts. The story about some kind of Doctor Abraham is told with quite some emotion--and, in the fourth minute, with two separate vocal lines going on simultaneously. Meanwhile, the heavy rhythm section and noodling organ and synths continue to play as if they are oblivious to one another. One of those songs whose choices for musical and vocal expression mystify me. The slow build from 5:00 to 6:00 is cool. The drummer is very good, but maybe a little too busy--which is a distraction for me. The "lamination" finale is just weird. (7/10)

4. "The Fox in the Hole" (4:45) opens with violin and acoustic guitars weaving a kind of medieval tapestry. Vocals soon join in--later to be joined by bass and drums and other multiple other voices. Electric guitar and organ 7 synths fill in the weave as the scattered, layered multiple vocals play around the sound field. Interesting. Adventurous. A top three song for me. (9/10)

6. "Wasp in a Wig" (6:16) opens in standard rock form with a pleasant lower register singing voice singing a fairly normal, straightforward vocal. At 1:10 the music drops and bass chord play are all we are left with. Gradually, a jazzy kind of collaboration builds before the vocals resume for a bit. A very nice drum and keyboard/synth solo ensue into the fourth minute. The vocals rejoin and sing with feeling as they are harmonized by the borther's background voice. (I've never been able to pinpoint which of the McGowan brothers is which.) Another synth solo fills a chunk of the fifth minute before a GG three-way vocal weave takes over. The final minute recapitulates the 1:10 quiet section with gentle key chords, drums and vocalise. Another top three song. (9/10)

7. "The White Book" (9:57) is the longest album on the album. As the band are fond of doing, The Tea Club use this temporal expanse to patiently explore several tangents--one full of subtlety and delicacy, the other with bombast and layers woven into one. My fourth top three song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

Review by FragileKings
4 stars The album first caught my attention when a review appeared on the PA homepage. It was the cover art that captured my eye. I read the review because I wanted to know if there was any good reason to bring this album art into my life. When the PA Top 100 of 2015 was up, this album grabbed my attention again as it was near the top of the list. I sampled some of the music on YouTube but wasn't convinced. But that artwork kept coming back to grab my attention. At last I relented and ordered the darn thing.

I had never heard of the Tea Club before so I don't know how to compare the music of this, their fourth album, to their previous works. But from track one, "The Magnet", I feel I can hear some Genesis, some Marillion and maybe a bit of the more serrated edge of Van der Graaf Generator. But this music strikes me as busier. "The Magnet" begins in full swing with the drums and bass holding down the fort while guitar and keyboards roam freely. It becomes as most of the album is: rather complex music. At times I wonder if any vocal melody was considered during the writing of the music or if the vocalist just had to find his own way. Whatever the case, I like the track.

Although each of the six songs have their individual introductions and musical atmospheres ("Remember Where You Where" begins quite softly; "Dr. Abraham" is very dark and ominous; "The Fox in a Hole" has a folky beginning), the music is generally complex and electric and busy. Softer sections do occur as do wilder and angular sections. There aren't so many vocal melodies, though "The Fox in the Hole" is something you could sing to. This is an album that takes a bit of growing but rewards with each subsequent listen.

I have one criticism and that is the sound quality. I find it a little dense. Loud music is often recorded densely; however, I went and checked a site that rates dynamic range of albums and found "Grappling" was rated at 05 average with a maximum of 06. This is pretty low and not good. Bad is a rating of 01 to 07; Transition is 08 to 13; and Good is 14 to 20. It's interesting to check out albums on this site because you can see how original releases in the 1980's had a decent dynamic range but later "remasters" compressed the sound and made the quality worse. It's only recently that 3rd, 4th or even 5th edition remasters have made an effort to return to a Good dynamic range. One guitarist remarked to me that he could see a good business in record companies remastering remastered albums with poor dynamic range back to their original dynamic range. Sad to say that many new releases are also compressed and dense. On their own they might sound okay or at least after the first track or two but comparing them to other albums with more DR or in some cases, just listening through to the end, and you begin to notice that something has been lost.

Dynamic range aside, the music and song-writing and performances here clearly indicate why this album did so well on PA in 2015. Incidentally, their previous album "Quickly, Quickly, Quickly" has the highest dynamic range of all their albums with a maximum of 11.

Review by Warthur
4 stars On Grappling, The Tea Club embrace their increasingly prog direction by kicking off in a decidedly Genesis-influenced vein, with Patrick McGowan's vocals more reminiscent of Peter Gabriel's than ever and the band likewise working in aspects of the classic Genesis compositional approach and sound here and there. As the album progresses, the shadow of Genesis lifts, so I would encourage listeners to pay attention all the way through before jumping to conclusions - The Tea Club haven't become a clone band, but they do seem to be paying a little tribute to one of their influences along the way here, but not so much as to derail them from their own distinct course.

Latest members reviews

5 stars But good works will go unnoticed.. If you consider yourself a fan of progressive rock and you haven't checked out The Tea Club yet, do yourself a favor, stop reading this and do so. The Tea Club sound like a blend of classics, combining the whimsicalness of early Genesis, the darker ... (read more)

Report this review (#1585840) | Posted by Bucklebutt | Thursday, July 7, 2016 | Review Permanlink

5 stars The Tea Club are one of the best unsigned bands on the planet. Over the years they've blended long-form symphonic rock, complex arrangements, and some beautiful melodies/chord structures. This time they've taken a step forward in their sound... while they are still obviously influenced by the e ... (read more)

Report this review (#1504537) | Posted by Smurph | Monday, December 28, 2015 | Review Permanlink

5 stars Wow, what can I say? The new album from The Tea Club is just simply incredible. It is a sophisticated fusion of 70s retro with the most cutting edge elements of today's progressive and/or alternate rock. The Magnet ? This is an incredible opener for the album, and from what I recall, an epic m ... (read more)

Report this review (#1496816) | Posted by TechnicallySpeaking | Saturday, December 5, 2015 | Review Permanlink

5 stars I don't normally write reviews because, well, I despise writing them, but I've been following the Tea Club for almost 10 years now, and I will say this... There is no band on progarchives--no... in this world, with this much skill, this much heart and creativity, so much original and refreshing ... (read more)

Report this review (#1479010) | Posted by themortician | Friday, October 23, 2015 | Review Permanlink

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