A Progressive Rock Sub-genre

From Progarchives.com, the ultimate progressive rock music website

Zeuhl definition

Zeuhl is an adjective in Kobaan, the language written by Christian Vander, drummer and founder of the French band Magma.

Pronunciation: zEU(h)l, while the EU are like a French E with a slight U, and the (h) is a semi-silent letter which is an integrated part of the EU, totaling in a "syllable and a half".

The word means celestial, although many times it is misunderstood as meaning "celestial music", since the members of Magma describe the genre of their music as Zeuhl. Zeuhl Wortz, though, means Music of the universal might.

The genre is a mixture of musical genres like Neoclassicism, Romanticism, Modernism and Fusion. Common elements: oppressive or discipline-conveying feel, marching themes, throbbing bass, an ethereal piano or Rhodes piano, and brass instruments.

Current team members (27/8/2014):
Steve (HolyMoly) ... team leader
Luca (octopus-4)
Ori (frippism)
Ian (Nogbad_The_Bad)

Zeuhl Top Albums

Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Zeuhl | More Top Prog lists and filters

4.30 | 672 ratings
4.29 | 485 ratings
4.24 | 362 ratings
4.27 | 146 ratings
4.17 | 400 ratings
4.20 | 249 ratings
4.32 | 103 ratings
Top, Jannick
4.24 | 133 ratings
4.13 | 307 ratings
4.50 | 40 ratings
Thibault, Laurent
4.09 | 351 ratings
4.06 | 281 ratings
4.04 | 323 ratings
4.10 | 101 ratings
Universal Totem Orchestra
4.32 | 37 ratings
Bondage Fruit
4.08 | 95 ratings
4.09 | 77 ratings
Universal Totem Orchestra
4.05 | 80 ratings
Eider Stellaire
4.08 | 54 ratings
4.70 | 11 ratings
Bringolf, Serge

Zeuhl overlooked and obscure gems albums new

Random 4 (reload page for new list) | As selected by the Zeuhl experts team

Runaway Totem
Bondage Fruit
Happy Family

Download (Stream) Free Zeuhl MP3

Open player in a new window

Download (Stream) Free Zeuhl MP3

Latest Zeuhl Music Reviews

 K.A by MAGMA album cover Studio Album, 2004
4.29 | 485 ratings

Magma Zeuhl

Review by Conor Fynes
Prog Reviewer

5 stars 'K.A' - Magma (96/100)

I wasn't aware of Magma when K.A (otherwise known as Kohntarkosz Anteria came out in 2006, and even had I been, I doubt I would have been able to appreciate the magnitude and significance of their comeback. The overlords of Zeuhl had remained silent for decades; the interregnum between K.A and the infamous pop attempt Merci in 1984 had seen the emergence of plenty of would-be Zeuhl and otherwise Magma-influenced bands, but suspicious little from Vander and co. It's been over a decade now since K.A came out, and it still strikes me with a bit of amazement that Magma were able to go so long without releasing anything of substance, and return with their most beautiful, energetic and impressive, yet undeniably accessible album to date. Ranking it within Magma's own accomplishments isn't enough to testify to its quality however; this is one of the greatest albums I have had the pleasure of hearing, in Zeuhl, in avant-garde and progressive rock, in adventurous music in general. The prospect of comeback albums usually entails something half-baked and dated. A surprise achievement like K.A is virtually unheard of.

Calling it a true comeback might not be entirely accurate; band mastermind Christian Vander had written most of the music in the midst of Magma's most prolific and successful years. Why he decided to sit on the music for half a lifetime is beyond me; needless to say, it's a good thing he finally decided to let the cat out of the bag. K.A is a considerably livelier album than Mekanik Destruktiw Kommandoh or Kohntarkosz. Where M.D.K was slow to start, K.A hits its full stride in less than a minute; following a soft entrance, Magma lets loose a surge of cosmic chamber rock, replete with the feminine choral arrangements and cerebral grooves the band have earned their reputation on. In many ways, K.A is a manifestation of Magma at their most accessible. Without having streamlined or cheapened the depth, they distilled some of the more jarring elements of their execution, namely the dissonant antics and caterwauling. The screechy parts of Magma's sound were a large part of why it took me so long to warm up to them, even when their talent was readily apparent to me. The band's signature blend of alien operatic fusion will still likely make for some uneasy digestion for newcomers, but given that Magma are-- if nothing else-- known for their eldritch and challenging material, that comes with the territory.

I'll offer a lapse of my authority as a reviewer by openly admitting I have little idea what the concept or 'story' of Magma's music is all about, much less this particular chapter. From what I understand, it's some apocalyptic saga of the planet Kobaia; the French have always had a cunning grasp of sci-fi pulp and space opera. While M.D.K gave the martial impression of a fleet preparing for war, K.A is much more optimistic, as if the planet Kobaia were celebrating some unlikely victory. Although there's not a lot of semantic sense to be made from the Kobaian language, there is an expanse of feeling in the voices. Magma's vocal arrangements tend to hum around a repeated choral motif, with a lead voice guiding things along. In many ways, the stars of the show are the female voices. Stella Vander, Isabelle Feuillebois and Himiko Paganotti are quick to grab my attention, not by the strength or 'hook' of their melodies, but the wealth they've invested in their harmonies.

Magma love to turn to repetition when they've got a good thing going on-- a focus on melody may have served to wear the ideas out, but close attention reveals that the harmonies are constantly in motion. There are several times throughout the three movements where I noticed the band returning to, and completely refreshing a past motif by the merit of an added voice, a shift in focus, an ever-so-slight change in the harmony. Part of what sets has long set Magma apart from so many of their contemporaries (and inevitably, has made their style that much more alienating) is the sense that they don't dissociate the vocals from the composition. Where most rock n' rollers see vocals as a guide above the sea of instruments, the vocals here are another instrument.

Zeuhl has been a tricky thing for me to get into over the years. If the way I've fumbled through this review is any indicator, the genre itself is pretty hard to pin down, and virtually any discussion of Magma and their acolytes should come with the caveat that their music is not for the faint of heart. Regardless, I am incredibly glad I finally managed to get into their music. While their appeal baffled me throughout high school, I do wonder if I would have had an easier time getting into them had I been introduced via K.A. Even beyond the album's context as a 'comeback', this is Magma at some of their most inspired and passionate. Where other albums of theirs have usually demanded at least a few listens before I start to appreciate them, this one was love at first listen. And unlike so much of the instantly gratifying art out there, this album has never seen fit to lose its magic for me. The connection has only grown with the passing of seasons and subsequent listens. To be honest, it's rare that an album hits me with the emotional force of K.A. The three movements flow together virtually seamlessly; although my cynical side might like to criticize the third act for being a little more longwinded, less compelling than the first two, the journey Magma takes with this album feels just about flawless, if not in the perfect technical sense, then certainly in an emotional one.

 Merci by MAGMA album cover Studio Album, 1984
2.52 | 153 ratings

Magma Zeuhl

Review by coldwhitesky

4 stars When I first heard this album I was a bit put off, I didn't hate it, but it didn't really make me want to listen to it more. Maybe it was how the sound related in some way to music I've heard before that I didn't appreciate. Nonetheless as I kept growing so to did my perception of this music, although this album deviates from the celestial sound we know, It is ZEUHL. If you listen with an unbiased ear, you can feel an energy equal to that of previous material. For me MAGMA is about expanding what we already know, to think up new things and grow, to purify the soul and to enlighten the mind, this album does not deviate from that. Starting with Call From the Dark, the sound is quite familiar for its time, but with musicianship fitting for Magma. The lyrics deal with the feeling of being in love. The next track, Otis, is a tribute to Otis Redding. The melodies on this track are quite captivating, radiating beauty. Softer then what is typical of MAGMA, but rich nonetheless. The next track, Do the Music is much more familiar, Good drums, everything feels well tied together. I'd go as far as to say this track is one of my favorite by MAGMA. "Otis(ending)" is a short slowed down version of a melody in Otis, accompanied by an organ. The next track, "I Must Return" could almost be cheesy, but somehow MAGMA always adds that extra thing to make the music alive, so it escapes being cheesy. The lyrical content in this track deal with dying and the beyond, metaphysics, returning to the core. themes that seem to fit this kind of music. Eliphas Levi, the 6th track, is a calming 11 minute track with emphasis on Flute, Piano and vocals, I don't have much to say about it beyond that. The last track, "the Night We Died" starts with a Kobaian version of a melody in"I Must Return" accompanied by piano, then drifts into the rest of the song, which turns into something quite dissonant and ambient, The song title is fitting for a beautiful expression of death and life. To conclude, I think this album is quite underrated. When listening with an open mind and heart its easy to find substance here, but it definitely deviates from the MAGMA people are used to.
 Four Years by ANAID album cover Boxset/Compilation, 1991
2.52 | 6 ratings

Four Years
Anaid Zeuhl

Review by apps79
Special Collaborator Neo Prog Team

3 stars 80's French band, which involved Canterbury legend Hugh Hopper and two guitarists linked with the Canterbury scene, Patrice Meyer and Rick Biddulph.They existed sometime between 1985 and 1990 with the leaders being female singer Emmanuelle Lionet and percussionist/keyboardist Jean-Max Delva.They released a cassette album in 1986, ''Vetue de noir'', recorded at Studio Adam in Roissy en Brie and three years later they self-released their overlooked debut ''Belladonna'' on vinyl with a vastly different line-up, now including saxophonist Pierre-Marie Bonafos, recorded at Studio RB in Montigny.This debut along with a few pieces from the first casette were released on the Aya label as ''Four years'', a couple of them were re-recorded versions of the old tracks with Jean-Luc Distch on drums and Rick Biddulph on bass and guitar.

They played an irritating Zeuhl akin to masters of the sound MAGMA to go along with some experimental vibes, Jazz improvisations and Gothic aesthetics, propelled by Delva's dominant synth experiments and percussion, the gradiose operatic atmospheres and Lionet's outlandish, wordless vocals.There is even a slight Canterbury touch, which is pretty reasonable, considering that musicians from the scene were involved in Anaid, especially during the more Fusion-like moments, but generally the mood goes into theatrical, operatic territories with certain Jazz flavors and some orchestral pomposity.There is some bit of incosistency in here with tracks like ''Nord-sud'' and ''Sea and saw'' sounding like failed attempts on 80's Fusion, Funk and tropical Jazz Rock with some commercial brances and not sitting comfortably next to the otherwise sinister sounds of the remaining pieces.Fortunately the rest of the album is pretty decent Zeuhl/Jazz with some great bass work, Delva managing to create obscure atmospheres with his percussions and vibrahone and Lionet appearing as a very strong vocalist.Odd rhythms, jazzy exercises, light Fusion interplays and the excellent ''Belladonna'' being a great example of soft Jazz mixed with intense Zeuhl and Minilamism.

Good 80's Zeuhl, that has escaped from the radars of many listeners.Both haunting and ethereal atmospheres with nice work on bass, sax, guitars and percussion and some superb female vocals.Recommended.

 Gurison by SETNA album cover Studio Album, 2013
4.08 | 54 ratings

Setna Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars It's been six years since their debut album "Cycle I" was released, an album I rate extremely high, in fact it's my number two album for 2007. There are a few changes on this one as Benoit Bugeia who was a guest on the debut is now a full-time member, and Nicolas Goulay a former member is now a guest. The female vocalist from the debut has been replaced by a male singer and Benoit Widemann guests on minimoog.

"Cycle II" is a three part suite beginning with light drums and fender rhodes in this laid back and jazzy intro. Some fuzzed out bass joins in then the vocals before 1 1/2 minutes. Love the distorted keys that bring Canterbury to mind. Some backing vocals as well later on in part I. The last two sections are gorgeous with those distorted keys with bass and drums standing out.

"Triptyque" is divided into three main themes and eight total parts. It begins with sounds coming and going and check out the minimoog as the synths sweep in the background. It settles back as the vocals arrive including some backing vocals. A calm with vocal melodies arrives in part III with drums and a wind instrument. I'm reminded of a mellower MAGMA when the vocals come to the fore. Fuzzed out bass late. The second main theme opens with liquid keys and atmosphere as haunting vocal melodies arrive. The guitar cries out ala Gilmour. It picks up some in part II of this suite and it sounds amazing. The vocals stop late in this part as we get organ-like sounds then flute. Beautiful. The third main theme is relaxed as vocal melodies arrive then it builds slowly.

The final main theme is called "Guerison" and is divided into four parts. Random drum patterns and atmosphere to start and it all settles down late in part I. Drums lead the way in part II as keys then vocals join in. Lots of minimoog and vocals before it settles back late in part II. Love the distorted keys in part III, very Canterbury-like. Vocals arrive during the final part but they stop halfway through as it settles.

I'm in the minority for sure in rating the debut higher than this one but I miss those female vocals and the atmosphere that was simply stunning. A very solid 4 stars.

 Andromeda by RUNAWAY TOTEM album cover Studio Album, 1999
3.53 | 27 ratings

Runaway Totem Zeuhl

Review by apps79
Special Collaborator Neo Prog Team

3 stars The completion of ''Zed'' marked the end of a phase and the beginning of a new era for Runaway Totem, named Kalpa.At the end of the 90's the band would quit from performing live and focus on the first part of a trilogy named ''Cosmic cycles''.For this album they recruited a full-time keyboardist in Roberto Veronese aka Virhur.Additionally they moved from Black Widow Records to the French Musea label.The album was released in 1999 under the name of ''Andromeda''.

While they retained the obvious qualities of the previous album, ''Andromeda'', as part of the ''Cosmic cycles'' trilogy, required a bit of spacious components, so Runaway Totem ran the album with plenty of synthesizer in the forefront and some heavy, orchestral arrangements shining through.The epic and operating singing parts and the powerful Zeuhl activities are still strong elements in their music, imagine DEVIL DOLL playing a dynamic Zeuhl style, while the angular riffs, the dominant rhythmic guitars and the Classical-inspired organs make up for a huge, sinister and theatrical atmosphere.A set of five tracks, slightly over or under the 10-min. mark, passes through bombastic sections, grandiose orchestrations, dark soundscapes and mysterious vocals, they even added some ambiental textures in the process to unveal the album's cosmic enviroment.It sounds a bit more focused of a release compared to the previous works, this one is well balanced between haunting, symphonic segments and Zeuhl-like operations with emphasis on the flaming guitars and heavy keyboard work.

Music, that could have been easily performed in a cathedral.Sinister, atmospheric Heavy Rock/Zeuhl with elements of Rock Opera, nice and energetic arrangements and very irritating vocal parts.Strongly recommended...3.5 stars.

 Mkank Dstruktẁ Kmmandh by MAGMA album cover Studio Album, 1973
4.30 | 672 ratings

Mkank Dstruktẁ Kmmandh
Magma Zeuhl

Review by JJLehto
Prog Reviewer

5 stars Generally considered the best, or at least definitive, Magma you won't find any disagreement from me.

MDK is a departure from their first albums which were more like jazz rock and moves into the genre of "Zeuhl". What exactly that is...I'd say it's best to just listen for yourself and give it a try, but for the sake of this review I'll just say MDK is symphonic, jazzy, prog rock in a made up language.

This made up language is common to almost all Magma albums, and while this is a hold up to some, I feel it's no different than scat singing: The words are not what matters, but the sound. The vocals, over lyrics, how it fits the music, which it does superbly. The vocals are orchestral, intense, often crazy, but passionate and emotive. Which is what can be said of the album album. It is undeniably insane, ridiculous and over the top but it's equally passionate and emotive. This is an intense album without doubt. Oh, and sure I know there is a story to this album and Magma in general, of which we know some details, but frankly I don't bother and just enjoy the music.

The album has a great flow to it as the songs move seamlessly, it is more of an overall than individual song experience, but some standouts in my book are Hortz Fur Dhn Stekhn Ẁest, Da Zeuhl Ẁortz Mkank and Mkank Kmmandh.

So, there's not much else to say about this album and no better way to understand it than trying it yourself. Just take it for what it is and you will find this is an ambitious, innovative, fun, powerful album packed with feeling, (something I think often lacks in prog, much as I love prog) superb song writing, and Vander's epic drumming. Operatic classical mixed with jazz and built in a prog rock style, this is one wallop of an album!


 Minimal Gods by HAPPY FAMILY album cover Studio Album, 2014
3.83 | 21 ratings

Minimal Gods
Happy Family Zeuhl

Review by Mellotron Storm
Prog Reviewer

4 stars I think the most surprising news for me in 2014 was hearing that HAPPY FAMILY was releasing a new album. They released two studio albums in the nineties and I just thought they were done. I listened to a short audio clip and I was sold. Like their earlier albums this is heavy and complex and all instrumental. In fact after my first listen i'm thinking this is more Math Rock than Zeuhl, I just don't hear that Zeuhl flavour at all on this one. The keyboards don't always do it for me so I would rate their first two albums higher than this one but they are all 4 star records in my opinion.

"Slide" is heavy-duty and quite growly and deep sounding. Angular guitar leads follow and they will come and go. Just an intense slab of instrumental music. "No Talent, No Smell" is another complex piece that is very mathy. I'm not a fan of some of the keyboard sounds but this is an excellent song overall. "Rodrigo" is heavy again with keys playing over top. It does settle some as the contrasts continue. Ripping guitar before 2 1/2 minutes. "Portal Site For Sightseeing" has some light shining in it for a change as we get an almost feel good vibe. Check out the guitar and drum work after 2 1/2 minutes. Amazing! Nice bass lines before 5 minutes as well. This is an uptempo track with lots going on. "Doggy-Human Contest" is uptempo with keys as the guitar plays over top. Check out the drum work as well. Some cool guitar/keyboard interplay around 3 1/2 minutes in then it turns dark and heavy 4 minutes in. Nice. Nasty and growly organ runs follow along with some deep bass grooves.

"Animal Spirit" has riffing and more in this fairly heavy and complex piece. The keyboards are all over it as well. "Cat Riding Roomba" is crazy fast with so much going on. There's a Zappa flavour to this one. It does settle back at times but not a lot. "Celestial Illegal Construction" opens with keys as some kick-ass drums join in. The guitar starts to make some noise over top. I like the guitar solo after 3 minutes here. Not a fan of the synths before 4 minutes though. It ends in a more calm manner. "Tibadabo" is very mathy with keys, guitar and drums standing out. It settles down before a minute but contrasts will continue. Great sound 2 1/2 minutes in with liquid keys then the guitar lights it up before it settles back again. "Feu De Joie" has this heavy and growly sound to start before a calm with keys takes over quickly. Back to the heaviness with organ. Synths play over top in a high pitched manner. Themes are repeated. What a killer closing track.

I was expecting more I must admit but this is still a very impressive album and comeback by HAPPY FAMILY.

 Zao Family by ZAO album cover Studio Album, 2006
4.00 | 1 ratings

Zao Family
Zao Zeuhl

Review by Exa Gerardo

— First review of this album —
4 stars This is an album that came across the iTunes store, as I was actually looking for another missing in my Zeuhl collection, such as: "Typhareth" or "Akhenaton". And I must confess that at first, some doubts arose if this was really an album that kept some continuity with the sound developed by Zao since its reunification in 1994, as the title on the cover was a little confusing, crediting the album as "Seffer / Cahen Septet ", there was a chance of this being a conventional jazz album, as in some alternate projects by Zeuhl mastermind, Christian Vander.

But after all, there was not much to lose, the worst that could have happened was to add a nice jazz album to my collection, but the best was what actually happened, finding one of the missing pieces in the puzzle of Zeuhl dinasty: an album of excellent workmanship, in which several elements that have boosted Zao's music throughout its history, can be found: a strong dose of jazz-fusion unfolded from Miles Davis 70's school, and also a number of elements that definitely relate to Zeuhl and the work of this French group during its classical period, such as: the integration of contemporary classical music, the use of atonal compositions, open spaces for improvisation and a strong influence of traditional and ethnic music from Eastern Europe, a predominant feature mainly in Seffer's compositions, both in his work with Zao and throughout his solo career.

On the line, we know that there's not a single album, where we can find exactly the same line-up, true, there are certain constants from time to time in Zao's discography, but ultimately the very core of this group, consists only of saxophonist Yochk'o Seffer, and now gone keyboardist Franois Cahen, who are accompanied on this album, by drummer Franois Causse, same that subsequently participated in live albums "Zao in Tokyo" and "Ethnic 3 Live", alternating with guest percussionist Mino Cinelu, they provide a more organic rhythm base, with certain ethnic or world music taste, on compositions featured by Seffer's woodwinds, without vocalizations but instead enhanced by a string quartet that ultimately reminds us of some of the most important works from classical Zao period, such as "Shekinah" or "Kawana" where the strings contrast and complement the more jazzy sound of the base group.

So if you enjoy any of these mentioned albums, I have no hesitation in recommend this one for your collection or playlist, though it's not easy to find on CD, at least you'll find it in iTunes or Spotify.

 d Ẁd by MAGMA album cover Studio Album, 1976
3.75 | 295 ratings

d Ẁd
Magma Zeuhl

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Another development for MAGMA after the space opera in the form of the Theusz Hamtaahk Triology had run its course. While many of the previous styles and sounds can be heard sparingly on D ẀD, this is a much less busy affair with only a few of the many musicians on the album taking part in any particular track. The star of this album is Jannick Top who delivers the funkiest and most in-yer-face bass lines that occur on any MAGMA album. He also handles the brass arrangements and synths as well leaving his indelible stamp on this album that sounds like no other.

The title track begins the album and has the most musicians participating and to be honest is my least favorite track on the album. The repetitive piano roll with the call and response Kobaian vocals with a nice jazzy sax appearing sounds like MAGMA making a tribute to African ritual music or something with its unrelenting rhythms. The problem for me is that it just doesn't do much with all the sounds going on and seems like a four minute group drone of some kind. The same is also true of the second track "Weidorje" which has a weak groove and vocal phrasings that i find really boring. Not a good start.

Luckily everything changes for the better with the brilliant third track "Trller Tanz (Ghost Dance)" which starts with a cool synth run followed by an infectious bass groove with awesome interaction between the keyboards. The synth run has a haunting oscillating effect that actually sounds like haunting ghosts. This effect is heard from here on and adds a very effective spookiness to the mix including the other Ghost Dance of "Zombies" that also has a nice dissonant jazziness to it.

Most tracks are short and to the point but there is one progressive behemoth in the form of "De Futura." I wouldn't exactly call it more progressive than the other tracks, i would simply call it longer. It utilizes the exact same formula with beefy groovy double bass lines, oscillating ghost sounds and alternating themes and tempos, and basically it pretty much takes different songs and sows them together into an 18 minute monster that morphs into another track instead of being separate. It is the perfect way to end the album. Another successful MAGMA release in my book and although not as perfect as others, still quite a worthy addition.

I was surprised by the addition of"mhntht-R (extrait no. 2)" as a final track until i realized it's a bonus track on the CD, but since it sounds more like the operatic craziness from MDK it is a nice reminder just how different D ẀD is in comparison and how lucky we are to get a band that can not only invent a progressive rock sub genre out of the sonic boiling pots of jazz, classical and rock but that they can reinvent it with every move they make. Although MAGMA would not continue this sound beyond this sole album, keyboardist Patrick Gauthier and bassist Bernard Paganotti would leave MAGMA to carry it on with their own group Weidorje which not only took on the sound but the name from the track as well, and i personally think they did an excellent job at perfecting this style of zeuhl.

 Slaǧ Tanƶ by MAGMA album cover Singles/EPs/Fan Club/Promo, 2015
4.10 | 22 ratings

Slaǧ Tanƶ
Magma Zeuhl

Review by floflo79

4 stars After the cool re recording of Rah Sahiltaak (I remember the name !), Magma came back with a studio recording of a live piece called Slag Tanz. The music is in the pure tradition of Magma. Dissonant, complex time signatures, vocals in kobaan... Logic, it's Magma. The musicians are very skilled as always, and the drum work of Vander is outstanding. For me, the highlights of the album are : the trilogy Dmb, Vers La Nuit, Dmbla - Le Silence Des Mondes, the song Slag and the furious Z Zan. In fact, all the album is very cool. But it's too short. 20 minutes for an album ! They should put an album with the re recording of Rah Sahiltaak on the side A, and Slag Tanz on the side B. But I don't have to tell Vander how to make his job. Great stuff, excellent addition to any prog rock collection. Four stars.
Data cached

Zeuhl bands/artists list

Bands/Artists Country
ALTAS France
ANAID France
ARKHAM Belgium
CORIMA United States
DN France
GA'AN United States
MAGMA France
NEOM France
NOA France
PSEU France
RHN France
SETNA France
XING SA France
ZAO France
ZWO YLD France

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community

Server processing time: 0.08 seconds