This is the start of a new series of blogs from Hearth Music focusing on some of the people behind the scenes in the roots music industry. We love interviewing and profiling musicians, but we've also learned a lot from the wildly creative and deeply passionate people that put on festivals, run record labels, book venues, book bands, design posters, and any of the other more interesting jobs out there.
To start off, we're proud to present this interview with the founder of NorthSide Records, and one of the principal founders of RykoDisc, Rob Simonds. I was talking recently with Easy Ed about how much we missed the Nordic roots music that NorthSide used to produce. In the late 90s and early 00s,
NorthSide records were ubiquitous at American record stores, distinguished by the super cool Nordic trad and neo-trad bands they had tracked down, their transparent spines on the jewel cases, and their famous (possibly infamous) "Cheaper than Food" sampler albums that could always be bought for under $5.
For a starving student of ethnomusicology like myself, they were the perfect entree into Scandinavian music. Ed helped me track down Rob, the label head, who's now the executive director of The Cedar Cultural Center in Minneapolis. I was so curious to know how he had managed to not only corner, but create the market for Nordic roots music, what happened to the label after its heyday, and what his advice now would be for those looking to start their own record labels. Here are his answers.
Hearth Music Interview with Rob Simonds of NorthSide Records
-When did you start Northside Records, and what was the impetus for doing so? What was your background in music and in Nordic music at the time?
Rob Simonds: A brief bio is required for this:
I started my career in the music business by working in record stores starting in the 70's. By the early 80's I had gone through virtually every position from basic clerk to store manager, and I made the next step by starting my own wholesale distribution company, importing vinyl records from Japan. When CDs were introduced I was one of the first people in the U.S. to have a CD player (I had my Japanese exporter buy one for me and include it in a shipment), the Sony CDP-101. Soon after I started importing CDs from Japan and Europe, and it so quickly came to dominate my business that in 1983 I sold off my vinyl and became the country's first CD-exclusive distributor, East Side Digital.
In 1984, as a way to give my distribution company proprietary product, I started a record label with two partners, called Rykodisc. Ten years later, Rykodisc was a $30 million company, with its own national distribution arm, an international office in London, and a publishing division. Since my responsibilities for Ryko included sales, distribution and finance, I was the one in charge of putting together its U.S. distribution company, which was a rather enormous task, and one that ultimately burned me out. By 1995, I was looking to get out and started to cast about for what to do next.
I had started a smaller imprint in the late 80's (ESD) to release some of my favorite music that was too obscure for the quickly growing Ryko label. In the 90's as my responsibilities for Ryko expanded, I hired a label manager to run ESD and stepped away from it. So one obvious path was to regroup ESD and take it in a different direction. Ultimately, part of the strategy became starting a sister label, NorthSide, dedicated to the interesting Nordic folk revival. How did I come upon that? As CEO of a national distribution company, one is inundated with people wanting to get distribution for their artists or labels. Rykodisc's Swedish distributor stopped by one day with a box of a new label they had started dedicated to the folkmusic revival there, called Xource. Once I got around to sampling those discs, I quickly became obsessed with the music. I decided to check out the summer music festivals in Sweden and Finland in 1996, where I got a sense of how active this movement was. That lead to deciding to start an imprint dedicated to it.
-Who were the first artists you signed?
RS: My first deal was actually a licensing deal with the Xource label, and I chose four artists from them for my initial releases: Hedningarna, Väsen, Hoven Droven and Den Fule.
-For a while in the late 90s and early 00s, NorthSide was ubiquitous in world music circles. I saw your releases absolutely everywhere and it really got me into Nordic music. How did this happen? Did you have great distribution, or powerful marketing, or strong connections or a blend of all three? I know that NorthSide had amazing branding. Like those old RealWorld albums, you always knew immediately that an album was from Northside as soon as you saw its CD case.
RS: Nice to hear! I certainly had an advantage since I had been an owner and the CEO of my national distribution company! But I think I had learned a lot through my Rykodisc years about marketing, and creating that strong brand identity was important to me from the beginning. The company started with a pretty solid marketing strategy.
-When did NorthSide Records end? Why and what caused it to end?
RS: Actually, it has not ended. My only active artist at this point is Väsen, but we are in the process of making a new record with them. We still sell the titles that we created with them, through our website, iTunes, and when they tour (which is 2-3 times a year in the U.S.). But the rest of the catalog has been retired. Most of it was based on territorial licensing deals (NorthSide only had North American rights, and they were released on other labels elsewhere, mostly in Scandinavia), and that's really not a workable model in the digital world. Physical product is easier to keep segregated by territory than digital files!
RS: It was always a labor of love, but most of the individual projects at least paid for themselves.
-At the height of the label, how many people were working for it and did you have offices? Where were you located?
RS: There were 4 or 5 of us in the late 90's, and our offices were located in the former Rykodisc building in the warehouse district of downtown Minneapolis. When Ryko closed its offices here in 1998 and sold the building, I structured a rent deal with the new owners. By 2002 I had moved into the basement of my house and was down to one other employee.
-You must have had to travel a lot to connect with all the artists the label released. Do you miss all that travel?
RS: I miss the music festivals in Sweden and Finland. But I still regularly go to music festivals and conferences for my new job at The Cedar.
-Tell me about the Cheaper than Food series of albums. I'd love to hear how the idea for that came about. As a poor college student, I bought the heck out of those and then pored over the liner notes to try and discover new Nordic bands.
RS: When we structured our original agreements we included the ability to use limited tracks on a royalty-free basis for the purposes of low-cost samplers. With no royalty obligations (and just as importantly, no accounting needed for same), we then set out to figure out the cheapest possible price for selling the samplers. The "cheaper than food" tag was actually a running joke at the Ryko Distribution offices about lunch at Taco Bell. That's what we originally deemed "cheaper than food"! Then I thought it worked as a good tag line for the samplers.
-Do you think that the label may have oversaturated the market? In the sense that you almost created the market by releasing so many albums, but then perhaps there ended up being too many and people couldn't keep up?
RS: The first goal was to create a new genre called "Nordic." The large number of titles was an important tool towards that goal. We always knew that a handful of artists would emerge as the viable career builders, and that much of the catalog would end up being one-offs. When we started the label it was still true that you could sell at least 2000 copies of just about anything, and that worked. But then everyone, including NorthSide, oversaturated the market, while the market itself was actually shrinking without anyone really understanding that for years.
-What advice would you give to people wanting to start a record label these days? Do you think it's possible any more, or is it just too outdated a business model?
RS: My knee-jerk response would be "don't do it!" But that's over-simplifying. While I think it's possible, it would look nothing like the model I've just described. But at the foundation of any label there still needs to be an innovative marketing strategy. The biggest mistake is to think that releasing great music alone is enough. It's simply not, and never has been.
-Do you think NorthSide helped introduce a lot of new people to Nordic roots music? I know it did for me and other friends, but I wonder if that feedback has come back to you in force.
RS: Absolutely. I've heard that from consumers, musicians, presenters, and even other record industry people. Even referring to this music as "Nordic" or "Nordic roots" is a testament to the work we did. That term did not exist before NorthSide as it relates to music.
-What were your Top 10 albums that you released on NorthSide? Or if it's too hard to choose, just give me a rundown of some of your favorites and favorite memories from running the label.
RS: I consider Garmarna's "Vengeance," Hedningarna's "Trä" and Väsen's "Whirled" all to be landmark recordings in any genre. Those are three masterpieces in my opinion. I think Väsen continue to make incredible music that has impact on the world of acoustic musicians. The Punch Brothers just covered a modern Väsen tune on their new record, for example, and it's a highlight of their current live set. Other personal faves are Sorten Muld's "III," the "Airbow" record with Sven Ahlbäck and Maria Kalaniemi, JPP's "String Tease," "Bäsk," and Mari Boine's "Eight Seasons."
-What did you do after NorthSide ended? How did you get into the work you're currently doing with the Cedar Cultural Center.
RS: I joined the Board of The Cedar in 1991. As NorthSide was winding down, in 2007, they were looking for a new Executive Director. So the timing worked well for me. The Cedar is a 450-seat (or 625 without the seats) non-profit music venue who's mission is the presentation of world music to increase cultural understanding. Between 1999 and 2008 we had ten Nordic Roots Festivals here where we brought in a lot of NorthSide artists for a full weekend of concerts, workshops and collaborations. It was an amazing run. In 2009 we decided that ten years was about right, and transformed the festival into a broader Global Roots Festival, which serves to start our season with free concerts by great international artists. While the recording business struggles to figure out a workable business model, live music has thrived, and it's a very exciting time to be involved with that side of the business.
-What kind of work do you do with Cedar Cultural Center?
RS: A little of everything. I still do some booking but have largely handed those responsibilities off to someone else as I work on helping to prepare the organization for its first major comprehensive campaign. In general, I'm the organization's leader and main advocate. Fortunately, I'm surrounded by a committed Board and extremely talented and dedicated staff. And we have fun.
-Would you consider starting a label again in the future? Or working with a label?
RS: I'm happy with the level of work I'm doing in the record business at this point. I don't foresee doing much more than that.
07/15/2012 | comments (0)
Since interviewing Rita Hosking about her fascinating family history in California's Cornish mining communities, we've had mining songs on the brain. So we jumped at the chance to invite Brooklyn-based, but Idaho-raised, singer-songwriter Karen Dahlstrom to share the stories behind the songs on her Idaho-mining-country-influenced EP, Gem State. It's a gem of an EP, just five songs, but the stories in the songs leap out of the melodies. We wanted to know more about her inspiration in making these songs and she was happy to share. Check it out:
Inside the Songs with Karen Dahlstrom
"I love old-time and traditional folk music styles, most of which come from the Eastern and Southern US. I've played with many musicians from Virginia and North Carolina, and this music is part of their very bones. Having grown up in Idaho, I admit I was a bit jealous. I wanted to sing songs of my home too, but most folk songs from the West are generally of the cowboy variety from Texas -- a good 1500 miles from where I'm from.
As an exercise, I began writing folk songs that musically drew on the styles of the East that I love, but lyrically reflected my home state. After all, there are mountains, pines and mines in Idaho, too -- they're just different kinds of mountains, pines and mines. State history, family stories and personal experiences served as inspiration, but the songs are primarily fictional.
For example, the song "Galena" was named after an actual mining camp that existed in Idaho during the 1800s, but that's where the facts end. The rest came out of my imagination. The gold, silver and gem mining camps were a free-for-all, and pretty horrible places to be for anyone except wild-eyed young white men getting their first taste of freedom, and I liked the idea of writing a song from their perspective.
Karen Dahlstrom: Galena
"The Miner's Bride" is also fiction, but it was inspired in part by stories of women like "The Poker Bride" -- a Chinese concubine who was owned by an Idaho miner and (as legend has it) lost in a poker game to a rancher. The mining camps, obviously, weren't great places for women or minorities, and I imagine being sent there would feel like a death sentence.
Karen Dahlstrom: The Miner's Bride
"Streets of Pocatello" came from stories my dad told me about the post-war years in the town where he grew up. Pocatello was a pretty rough railroad town and street fighting was a popular sport with some of the men -- including a relative of mine who eventually lost his life in a knife fight. The song's narrator wasn't inspired by the victim, but by the one who did the deed. The title is a little tip of the hat to "The Streets of Laredo," possibly the best cowboy song ever written."
Karen Dahlstrom: Streets of Pocatello
07/14/2012 | comments (0)
We've written about young Newfoundland trad band The Dardanelles before. They were first one of our favorite finds of the 2011 Folk Alliance Conference, then we wrote about the amazing solo album that lead singer Matthew Byrne released. Now they're back with a new album, The Eastern Light, of tunes and songs from this far corner of Eastern Canada, and they're in better shape than ever.
The Eastern Light was produced by Irish guitar king John Doyle, and it's similar to other albums he's produced in the way it couples an honest love and appreciation for tradition with masterfully built arrangements. The album flips back and forth between sets of traditional Newfoundland dance tunes and songs led by lead singer Matthew Byrne. Byrne's in fine form here and his voice has never sounded better. He's got one of the sweetest male voices I've ever heard, a soft tenor that any fan of Irish singing will recognize kinship with, and a gentle touch that really draws out the emotional heart of the old ballads he's singing. The songs are glorious finds, concerned with life and love on the windswept seas off Newfoundland. There's much in this album for any lover of maritime music, including a rousing sea shanty with special guests Alan Doyle and Bob Hallett from Great Big Sea! The tunes are well sourced as well, drawn from the mainstays of Newfoundland fiddle like French Acadian fiddlers Émile Benoit and Rufus Guinchard, but also from Dardanelles' accordion player Aaron Collis' visits with Boyd Cove musician Bernard Newman, who passed away in 2011 with over 90 years of age!
We were curious to find out more about Aaron's playing and influences, and about Newfoundland accordion music in general, so we asked him for some background. Here's what he had to say:
"I grew up in Central Newfoundland in a place called Appleton. My mom played guitar and sang on occasion when I was younger so I wasn't a stranger to music, although traditional music wasn't something that she played. I actually started taking piano lessons with a neighbour when I was eleven and although I continued with the piano, I developed an interest in Newfoundland music after having seen the accordion played at a wedding reception and at other local events. So I saved up some money selling newspapers and bought myself an accordion when I was 12. I learned to play by ear, watching other players whenever I had the chance and listening to recordings.
As in any place, style differs somewhat from player to player, though Newfoundland accordion music is typically rhythmic and punchy. The playing isn't as highly ornamented as that of Irish playing styles, and the tempos of the tunes tend to be faster. I actually use an accordion in the Irish tuning of C#/D on both of our albums but I like to think I've retained characteristics of the Newfoundland style in my playing. Although single row instruments and boxes in tunings such as A/D or G/C are more prevalent, the Irish systems are growing in popularity, mainly in St. John's where there are weekly Irish tune sessions.
I enjoy Vince Collins' playing as well [note: we're huge Vince Collins nerds at Hearth Music]. Some other recommendations I would give you in the same vein as Vince's playing would be The Four Stops, an album which features traditional players from the Northern peninsula and the Labrador Straits, the late Minnie White, and the great single-row player Frank Maher. Geoff Butler's playing was great on Figgy Duff's first few albums as well. I think right now, Daniel Payne and Graham Wells are two players who are raising the bar for accordion players in Newfoundland." [note: Thanks for the tips Aaron!]
Alongside Aaron's hefty accordion playing (Newfoundland accordionists in general have a lot more rhythm than Irish accordionists), fiddler Emilia Bartellas more than holds her own. Her playing is one of the album's centerpieces, and she shines on every track, with a rich tone and strong command of the special rhythms of Newfoundland music. Tom Power on guitar is another key part, obviously influenced by Doyle, but able to draw out beautiful chords along with his powerful backing. Tom's also a broadcaster on CBC Canada who's done some great work promoting Canadian roots music on the air. In fact, he just aired a special internet channel for Canadian roots HERE. Check it out, he's got great taste and wide breadth of knowledge. Bodhran player Richard Klaas rounds out the band's sound nicely, adding a great bass element to the group. With this current lineup, it seems The Dardanelles have found their sound!
The Eastern Light deserves a lot more press and attention, so I hope you'll share this music around if you're touched by it as well. Not only are The Dardanelles perfectly able to communicate the salty soul of Newfoundland music to Celtic music fans, they've also managed to cross over to become one of the best Celtic bands around.
The Dardanelles: Pad's Song
The Dardanelles: McCarthy's
(McCarthy's Double/Kitty Got A Clinkin'/Diane's Happiness)
07/13/2012 | comments (1)
Caitlín Nic Gabhann's been a young master of the Irish concertina buzzing around insider trad circles for some years now, so her much self-assured debut album, Caitlín, doesn't come as much of a surprise to us at Hearth Music. After all, she's toured with Riverdance (as a dancer, actually!), put together a group, NicGaviskey, of next gen powerhouses (including Billy McComiskey's son Sean), and toured the world a couple times. So we know she can play. What's delightful about her debut solo album is not her masterful performances or her consummate knowledge of the tradition–these things are expected of any Irish trad player worth their salt these days (the bar for Irish trad recordings is remarkably high!)– but the gentle joy she takes in the music and the thoughtful presence she brings to her playing. It's an album that can be enjoyed just on the surface for the wide variety of tunes and technique, or on a deeper level through her excellent liner notes and rare tunes sourced from interesting players. Caitlin's also got a very accessible style on the concertina, informed partly by the old school simplicity of County Claire players and the deftly compact virtuosity of concertina great Mícheál O' Raghallaigh. But all insider talk aside, this album is just great fun to listen to and if you're unfamiliar with the tiny concertina–possibly the cutest form of accordion–it's a great introduction to what the instrument can do. This is a wonderful modern album of Irish concertina playing that should sit proudly on the shelf of any fan of Irish traditional music.
PS: Special mention should go to the two lovely waltzes Caitlín includes on the album, a rarity in Irish music unfortunately, and to her stepdancing, which is a welcome treat on a few tracks.
Caitlín Nic Gabhann: The Rookery/Joe Cooley's Morning Dew/The Edenderry Reel
07/12/2012 | comments (0)
We're very excited to be working with our good friend Kevin Brown again, this time to promote his brand new album The Beloved Country! In January of 2011, we helped promote his album, The County Primaries, and were delighted with the rave reviews we got, including Adam Sheets of No Depression who commented "The County Primaries is easily one of the best debut albums of 2010 and it reveals Brown as a singer-songwriter with an eye for detail, an ear for melody, and the perfect voice to tie it together." With The Beloved Country, Brown's extended his winning streak by writing more beautiful, thoughtful, and tastefully arranged songs, each steeped in the rough back-country sounds of Eastern Washington. As a veteran bluegrass DJ and festival producer, Brown knows acoustic roots music inside and out, and it's always a pleasure to watch someone with such great taste play with the tradition.
Kevin Brown - The Beloved Country
Singer-songwriter Kevin Brown makes his home in rural Northeastern Washington state, not far from the farms where two sets of great-grandparents settled a century ago. Living amidst the Ponderosa Pine forests and rivers that spill out of the Selkirk Mountains, it’s not surprising that Landscape and Place play an important part in Kevin’s songs. But the rich natural world of the surroundings is not just a backdrop; it also serves as a metaphor for exploring the landscapes of the heart and soul -- faith, family, love, the passage of time, and the interwoven fabric of earth and humanity. There are always more layers to explore in a well-crafted song.
Kevin released his debut album of originals, The County Primaries, in 2010 to quiet critical acclaim. No Depression called it “easily one of the best debut albums of 2010”. For a songwriter coming into a solo career in his late 40s, Brown’s debut album was surprisingly self-assured. To further complement the songs, Kevin solicited the artwork of internationally-acclaimed artist Katherine Nelson to do the original cover, a relationship which he has continued for his second album The Beloved Country which is being released in 2012. Kevin’s songs and Katherine’s charcoal drawings form a rich partnership which hearkens back to the days when album artwork played an important part in the unique personality of a music project.
For The Beloved Country, Kevin returns to the roots music that has always been his inspiration. His songs on the album paint a pastoral and slightly-out-of-reach reality “Where the names of the rivers run like music / and the names of the mountains roll like stones” (“The Beloved Country”). Kevin’s depth of lyricism is the cornerstone to creating a sense of place that few albums offer. “All I’m saying is I hear the sound of thunder, like a locomotive rolling through the rain,” sings Kevin in “Comfort.” “In the darkness of the night I often wonder / If comfort is not too far away / Comfort is not too far away.” Songs like “Desert Wind” and “I Wonder” combine Kevin’s folk sound with his old love of jazz instrumentals while “I Will Take it With Me When I Go” showcases his connection to bluegrass. Drawing from his many diverse influences, Kevin never loses sight of the core of the album: great song-crafting.
Here's a great video of Kevin's song "Comfort" for your viewing pleasure!
We fell in love with Kevin's album after we heard this track:
"I Will Take it With Me When I Go," Kevin Brown, The Beloved Country
And here's a great one, too!
"I Wonder," Kevin Brown, The Beloved Country
07/11/2012 | comments (0)
The weekend's just about here, and I thought we'd recommend a show on Friday, June 29 at Seattle venue, The Comet. Singer-songwriter Marius Ziska is on the start of his US tour after traveling over from the Faroe Islands. I've been getting interested in the culture of the Faroe Islands recently. First through researching Icelandic traditional music (Icelandic culture reaches down to these islands) and then while watching the new show Whale Wars: Viking Shores. These small islands are located North of Scotland, and are about halfway between Iceland and Denmark (they're part of the Danish Realm, along with Greenland). Faroese is spoken on the islands, one of two remaining Viking languages), and the Faroese people retain a lot of connection with old Nordic culture. Sounds like a fascinating place!
When I heard that a Faroese singer was coming to Seattle, I jumped at the chance to interview him and learn more about the Faroe Islands. Marius (Marius Ziska) is a former-rock singer from the Islands whose new music branches into Americana and country roots territory. He's an excellent songwriter and clearly has a grasp on how to write songs in English that sound as good as what I hear from American singer-songwriters.
Friday, June 29
The Comet, Seattle WA
w/Hooves and Beak, Sam Watts, and The Long Straws
Tickets $8, 21+
Hearth Music Interview with Marius Ziska
Where are you from on the Faroe Islands? Tell me about it! How big are the islands? How big is your home town? What's the natural environment of the islands like?
MARIUS: I am from a small village called Søldarfjørður. About 500 people live here. It's very quiet and i'm surrounded by mountains and a huge sea. It rains a lot here and some parts of the year can be a little tough because of the weather, but all in all its a good and beautiful place to live.
Your bio states that you started out in rock music, but your new music sounds very acoustic-rooted, almost like alt-country or Americana? Are you going through a change in your musical direction?
M: Well it's something that i don't feel is planned very well, I just do what feels right when it comes to music. I think growing up and playing rock music was a lot of fun, but i began writing more folk songs and could not stop. Iit's a whole new universe witch i really enjoy being a part of
How did you get into Americana way out there on the Faroe Islands? Was it hard to get ahold of albums from the US? How did you get started playing this music?
M: I guess I just got tired of playing rock music. I didn't think a lot about where the music came from, but started to discover that I had these songs that really needed to come out. I didn't have a job at the time and I just sat around the house and wrote songs all the time. I think I also started to look more into myself, and instead of being a cool teenager who plays rock, I found out that I had always loved these old folk/americana songs.
I used to hear it on the radio as a kid, and also if you look at the Faroe Islands it's a place full of mountains, and that maybe also inspired me to write these songs.
It was not hard to get ahold of records. As a little kid, I used to listen to my dad's records which would include Bob Dylan, John Lennon, CCR, ELO, Simon & Garfunkel, Jimi Hendrix, and so on.
So I think I have always had this music that I play now very close to my heart, and now was the time to let it out.
What's it like to have a US tour coming? Is this your first tour over in the US?Have you been here before? If so, what are some great memories of your last tour?
M: For me, it's great to get the opportunity to play in the USA. It really is a dream come true and a big step in the right direction. I have never been here before, and ever since I was a kid wanted to come here. I just hope this tour goes well so I can come back and play and build up a crowd. I'm am very exited to share all my music with all you guy.
Do you play a lot on the Faroe Islands? What's the music scene like out there?
Yes, I do play quite a bit. Even though there are not many venues to play, there are still really many great bands in the Faroe Islands and the quality is said to be high of faroese bands. The Faroese people are also said to be a singing nation, and almost everyone I know knows how to play an instrument or sing.
I'm very very curious to hear what you think of the new Whale Wars show about the Faroe Islands. I was really impressed by the sustainable whaling practices of the Faroese and thought they came off as very articulate about how the whale meat is part of their diet and part of their culture. What's your opinion on all this? At the moment, it's really brought the Faroe Islands into an international spotlight.
M: Well where should i start :) It is a tradition to hunt and eat whales in the Faroe Islands, and it is done in the most humane way. I personally have never killed a whale or been a part of that, but its something that I have known all my life. If somebody wants to save the whales, I don't want to stand in their way, but for the people who watch whale wars: keep in mind that it is extremely hyped. My opinion on whale wars is that it is extremely hyped and it's a very disrespectful media who doesn't have respect for people. Also keep in mind that it's feeding people with lies and they doing everything they can to make the Faroese people look bad. I'm gonna repeat myself and say, I don't wanna stand in the way of people who wanna save the whales, that is fine by me. What I think is wrong is that Paul Watson and his crew and Animal Planet are putting a lot of efforts into making people look bad. There should be a better way if you really wanted to save the whales.
Tell me about the new album. What's it gonna be like?
The new album is being mixed as we speak, and I'm really happy with the way it sounds. We really worked hard on it, and used a lot of interesting instruments, such as old analog synths like moog and juno 60, pedal steel, horns of different kinds... The goal was to make traditional music with an eclectic vibe.
Who are you touring with on tour? All Faroese musicians?
We are four guys from the Faroe Islands who have been playing music for most of our lives.
Marius Ziska vocals Guitar/Heðin Ziska guitar/Allan Tausen bass and guitar /Brandur Jacobsen Drums Vocals
MARIUS: Walk the Road (from the Masses EP)