September 23, 2019

Essay #1: What makes music, film, and art so special?

Being as self-reflective and introspective as I am, I sometimes have deep thoughts that simply cannot be captured or conveyed in my poetry or music. These thoughts relate to human experience and various subjects related to this concept. For this reason, I am opening up the AirdriftSignals music magazine to another feature that I would like to add, called Essays, and my first essay will be titled “What makes music, film, and art so special?” I will continue to explore this idea and others as they come to mind in future essays.

What makes music, film, and art so special? 

For any living species on the planet, its main directive is to survive and thrive. This is ingrained in our and all other living species’ DNA. It is the most basic, primal need to survive and reproduce for the future survival of the species. However, once a species has become abundant and prosperous with plenty of resources, there comes another set of needs that develops. These are basically, the need to be heard, understood, appreciated, and remembered. Also included in this group is happiness and self-enlightenment, but I just want to focus on the first group that I mentioned. If you haven’t already guessed, I am borrowing from the theory of Maslow’s hierarchy of needs. From this, we can discern why the creation and enjoyment of the arts are so special and important to humankind.

As a developing man, I never had much of a desire or interest in sports. I used to be a willing participant, through which I found a lot of enjoyment, but as I grew older, it never grabbed my attention after my formative years. A lot of people really enjoy sports games and are fans of teams. The games themselves, the closely scored ones rather, I’ve found to be exceptionally exhilarating when I’ve been caught in a room with people and a sports game on the tv. When anticipating the outcome and wanting your team to win, it can be quite an adrenaline rush. This interest that others have satisfies a competitive gene that exists in all life forms. It is a trait that is vital to our survival, and it can be treated healthily or unhealthily. It also exists in many other forms of society other than sports, whether it is in a workplace, politics, or even the arts. The highest achievement of art though isn’t wholly concerned with competition.

As sports ticks two of the boxes of these higher needs, being appreciation (or respect), and legacy, art attempts to raise this already high bar of human excellence even higher with the artists’ attempt to be heard and understood. These four higher needs of human existence, being heard, understood, appreciated, and remembered, are actually important to all people, but they all come into play with the creation of music and art. As people use their hobbies, passions, and talents to achieve success and understanding of oneself, there is a therapeutic element to the process of creation. The same way that physical exercise is good for one's health, the creation of music, writing, drawing, and painting, among other things, is an exercise that sometimes doubles as an exorsize of that which is troubling or difficult to deal with. These obstacles in life, whether it is family trouble, loneliness, depression, or what-have-you, is filtered through the many hobbies and crafts that people enjoy to do. When people create something, they mostly do it for their own personal growth and understanding on a subconscious level, but almost all who create want their art to be seen and witnessed by others. At the same time, the emotions that they've infused into whatever medium they decide to pursue is a real snapshot of their emotional and mental state of mind at the time. The ultimate goal of the artist is to be heard or seen, to be understood as deep, emotional beings, to be appreciated for their craft, and to be remembered.

As for the last need, it's a common desire of most people to want to be remembered for what they did in this physical life. It isn't hard to see the prevalence of legacies that have been left by important figures of generations past. But this doesn't mean that all people want to be remembered on such a grand scale. Some people just want to make a difference in their communities and their families. And so this fact of the matter leads me to another question that I will attempt to explore: how is art remembered and how is this different from other forms of history? The answer lies in how it is experienced. When thinking of the past athletes, political leaders, entrepreneurs, and inventors who have left a mark in the record books, their achievements are remembered and appreciated, but there is a fine distinction between these types of historical figures and recorded works by artists. Take for example any of the psychedelic paintings by Salvador Dalí, or the Beatles album Sgt. Pepper's Lonely Hearts Club Band, or the Pink Floyd album Dark Side of The Moon. Each of these recorded works, whether on canvas, tape, or film, all have a unique quality to them, and that is that they can be experienced by younger generations, sometimes for the first time, for decades and (hopefully) centuries to come. Why do so many people still enjoy classical music, which came from an era nearly 300 years ago? Some might argue that it is because of the emotion that it invokes within us, or that it serves as a time capsule of a time when there was more sophistication in society. But no one can deny that the experience of classical music will continue to be enjoyed as long as human history persists and survives against the future threats that humanity might face.

As far as athletes in the history books are concerned, are their achievements experienced "for the first time" by younger generations? I would argue that their records and achievements are remembered and appreciated, but there is no way to experience them like new unless there are specific video recordings that a person who is learning their history is watching. Still, this doesn't compare to being there and in the moment when great athletes performed, and the same can be said of musical artists when their music is first released into the world or when they perform in concert. However, there is a difference when the actual work is created or recorded, released, and preserved, as is the case for the most influential and important movies in film history, in which a copy of each is preserved by the library of congress.

In conclusion, the ability to experience the art of famous painters, sculptors, authors, musicians, and filmmakers, at any point in time, and sometimes for the first time, is a uniquely special characteristic of historic works. When artists can rise above the apparent mediocrity of their time and stand out as distinct voices, their work may have a chance of passing the test of time to be remembered for years to come. Even as some art seems very of its time, there are the works that stand as timeless, and those are some of the most universally rewarding pieces to experience since they address a vital part of the human condition. While other notable figures have certainly made their mark in history, the works of music, film, and art will always be revered for its unique ability to be experienced and appreciated in any year or time period, and the artists that have not been lost to time have successfully achieved their higher purpose for the greater good and enrichment of humanity. 

September 17, 2019

Update: 3 Page Interview with Verb'z Up Magazine!

I was lucky enough to get a featured interview in the independent, Texas-owned Verb'z Up Magazine!! Here I was able to go in-depth into my background in music and what inspires me most, as well as some of the plans I have for the future as a multi-genre, multi-medium artist! You can purchase physical or digital editions of issue #10 of Verb'z Up here. Support this magazine, check out my latest paperback novels, and keep on drifting to DJ Dark Flow~ Peace. 

UPDATE 9/25/19: The Verb'z Up Magazine issue #10 is now available for FREE viewing and reading here. Just register and you can read the interview in the back of the magazine! 

September 16, 2019

Thomas Coppola - Cold Cuts Review

Showing that he will not let up or get Dusty (released in May), Thomas Coppola's latest album, Cold Cuts, is a supremely firey lesson in lyrics and beats, as Thomas shines yet again with each and every one of these hip-hop cuts.

With his highly stylized flow and an army of beatmakers at his fingertips, Thomas's opener Just Begun, produced by John Cotton, acknowledges his huge output and return, while Breathe, produced by Mike Martinez, lets listeners kick back and relax to a chill and lowkey beat, as Thomas displays calm composure, and asks to "let the beat breathe." His personality and cool attitude are what elevate Coppola as a lyricist, and while Dusty displayed his aptitude at producing his own beats, Cold Cuts' array of repeat collaborators and newcomers help him focus 100% on the verses.

American Nightmare takes a soulful and dark NOLA spin and Classic Sound is a self-described track to flow to. At this point, fans and listeners have heard the talent of Coppola with just a couple of producers, in John Cotton, Mike Martinez, and Gekko, but Cold Cuts is still in the process of opening up, with many other talented producers' cuts to make an impression, including those by B. Dvine, such as Cradle 2 The Grave and Dead Friends, E-Prosounds, and even Killarmy's Kinetic 9 among others. Coppola's fresh aesthetic and feel-good vibe can be heard on tracks such as French Dip, Summer's Over, and Mesmerized, while others, such as Dead Friends, gets down and serious, showing off Coppola's willingness to explore the pain that he has felt through the years.

Ultimately, Cold Cuts is a promising and surprising follow-up to Dusty, with 16 fully fleshed out tracks that don't pull any punches. If Cold Cuts is any indicator, it is that Thomas Coppola will continue to grace fans with record after record within the next year and that more hits are sure to come.

Cold Cuts - 9/10

Recommended Tracks: Breathe, American Nightmare, Cradle 2 The Grave

September 14, 2019

Jenny Hval - The Practice of Love Review

Ever since Jenny Hval's critical and commercial breakthrough, Apocalypse, Girl in 2015, I was hooked to her music. Through the years I had grown to love the style of music from European countries such as Iceland's post-rock band Sigur Rós or Sweden's electronic duo, The Knife and later Fever Ray, but when I found Jenny Hval's music, I felt like I had found my favorite version of this kind of European singer-songwriter, since she contains the fabulous avant-garde sensibilities of Icelandic artist  Björk (who I was never much a fan of), while maintaining the elegant synth-pop style of an artist such as Fever Ray. As she blended the two seamlessly, she grew into her own, and I was already late to the party as Apocalypse, Girl was already her 4th album as Jenny and 6th overall! She continued in 2016 with her atmospheric, concept album, Blood Bitch (a masterwork in my opinion which will be covered in my Masterpiece series at a later date), a meditative EP in 2018 called The Long Sleep, and now her latest album in 2019, The Practice of Love.

The Practice of Love doesn't hold back any of Jenny's deepest thoughts either, as any fan would know her work to contain highly vulnerable and artistic expressions of her thoughts on aging, romance, religion, mortality, and vampires (the focal point of Blood Bitch) among other things. One of the noticeable things about this latest release, when put up against her past couple of albums though, is the number of featured guests who take stabs at her synthesized syncopated songs. I can't help but think and ponder about the evolution of her sound, and how The Practice of Love has become one of her most accessible releases yet, as its synth-work verges on the border of disco and danceable beats that delight the senses. Her opening track, Lions, picks up as Jenny's guided meditation-like voice calls the listener to "look at these trees, look at this grass" and then asks to "take a closer look, study the raindrops on the leaves" before she finally asks "study this and ask yourself, where is God?" Her gospel-like vocals fly over with a fast and catchy reverberating drumbeat. This opener is punctuated by a paganistic and ritualistic meditation on existence and much like the rest of the album, it is worthy of multiple listens as its sound washes over and forces the occasional head bob.

High Alice is the first single of the album, and is a classic Alice in Wonderland setup as she asks "Alice, lost, she took a long rest, in an unknown place. She thought, where did all these creatures come from, and why are they here?" It drives up the electronic drumbeat and it pulls listeners further into Jenny's world. Accident, an existential quandary about Jenny's birth being an accident, cuts to the emotional core, since I feel like it is the universal workings of chance that bring us into this world. As her chorus repeats, "I was just an accident", and later "she was just an accident", it is chilling and a meditation of whether the practice of love is responsible for her existence, as a saxophone echoes through the cosmos of her composition. The title track of the album could hardly be called a song, as Jenny, spoken word and interview-style, discusses her thoughts about the idea of love, and how it is used by people, and also how she feels as a 39-year-old woman who hasn't produced any children to keep the species (or virus, in her words) going.

As her title track comes to a close, it is surprising to note that her album is already over halfway through, because The Practice of Love is only 34 minutes long. Ashes to Ashes is another highly accessible and danceable tune, which puts a poignant image to mind, as she describes burying a loved one's ashes, and then lighting up a cigarette. Her chorus is the well-known, repeated mantra, "ashes to ashes, dust to dust." Thumbsucker takes a different turn than the rest of the album as it settles into a saxophone melody as it dusts its woodwind flavor over the silence in a repeated pattern. Before long, Jenny takes over with her angelic falsetto while the percussion carefully treads low in the mix. This is probably the most experimental and adventurous track of the album, as Thumbsucker contains an avant-garde, free-jazz flow, as the instruments follow her lead wherever her voice takes her. Six Red Cannas is another disco-flavored number and contains the most EDM vibes of any other song, feeling the most energized and alive of the bunch of electronic, synthesized pop songs, while Ordinary subdues the energy into a strange, yet familiar ending, as Jenny Hval is known to insert her signature avant-garde style into her music. While her danceable change-up in her new album is a welcome surprise, her traditional singer-songwriter flair is what made her stand out in the first place. She sings in the chorus, "to be ordinary" as she studies the idea and the meaning of living an "ordinary" life.

The Practice of Love is a short, but sweet album by Norwegian singer-songwriter Jenny Hval. Its tight composure invites multiple playthroughs and its themes and emotions have the ability to cut deep. The Practice of Love might be her most accessible album yet, as her several singles have proven to be an evolution in her sound, all while still maintaining the core of her personality. For anyone who enjoys a different kind of journey through the world of music, Jenny Hval has consistently delivered from her multiple past albums, which always create a unique, heady, and sometimes eerie, atmosphere of sound.

The Practice of Love - 8.75/10

Recommended Tracks: Lions, Accident, Thumbsucker

August 30, 2019

DJ Dark Flow’s Masterpiece Crate #50: Tool - Fear Inoculum

It is rare that I pass down perfect scores on albums, but when I do, it is entirely earned by the artists through pure ingenuity, vision, cohesion between members, and production value. Tool is one of those bands, and 2019’s Fear Inoculum is one of those albums. This review also serves as my masterpiece series entry number 50, as it fits chronologically after my 49th listed album that I still have to write about, and at the same time shifts my sequential writing order significantly since I have only written a couple of articles in this series thus far (my next article will be about the Nine Inch Nails album The Downward Spiral). My masterpiece crate series will occasionally grow beyond the big 5 0 and my original 49 album collage in my introductory article, but for all intents and purposes, this needs to be done to keep up with the release dates of current albums which rise to this rare occasion.

What can be said of the highest-anticipated metal album of all time after a 13 year gap between Tool's last album, 10,000 Days, and this one, other than its expectations have grown to mammoth proportions since 2006's studio effort. The band's never-faltering fanbase remained as loyal as ever to wait, sometimes ironically and jokingly referring to the next album's release coming "at some point in the next 30 years", but never losing faith that their heroes would return. This year, they have, after many years of sparse updates, delays, evasiveness and snarky comments by members, most notably lead singer Maynard James-Keenan, who grew tired of the all-important question, "When is the new Tool album coming out?" Now fans and the world are at a point that felt nearly impossible to reach, and now in 2019, we have a brand new heavy, progressive, psych, art, metal masterpiece to grace our eyes and ears in Fear Inoculum!

In 13 years, the age of social media, digital streaming, mass shootings, and fear have dawned on our culture and collective consciousness in ways that have infected our psyches and humanity. Tool's 10,000 Days was released the final year before Steve Jobs introduced the iPhone to the world, so it is a clear indicator that a lot has changed in 13 years time. The members of Tool have rolled with these changes. Some have taken this brave new world in stride, but Tool are not bending to the social trends or fear-mongering that exists today, much like in the past as they've been well-known to follow their own direction and see where their spirits take them. As they remain true to themselves, their music shows that as they have not a single radio-friendly song on this album. Not by design, but just a reflection of where the members are at this time in their lives. Suffice it to say, Fear Inoculum is an 86 minute record (on digital), shortened to 79 minutes on CD without its transitional tracks, and overall is a response to the world we live in today. As you introduce fear into your being, how will you respond to it? As you face that which you cannot control, how will you choose to move forward? This is the true intention of their music, as it calls out for people to be more divine than fearful, to stay strong, evolve spiritually, and to be the person that they were meant to be.

Tool also aren't worthy of the simple descriptor of heavy metal music either. Their sound has showcased a more dynamic range and an embrace of other styles of music, such as meditative trance or world, in their catalogue more than any other metal act in the game today. Heady ideas, such as the state of humanity, the spirit, sacred geometry, philosophy, science, and mathematics, coupled with virtuosic performances by all members who sound distinct in their instrument, whether it's bass guitar, vocals, percussion, or lead guitar, all come together in a magical and unusually perfect way when their various albums unspool. Tool also have a talent for marrying the dichotomy of the beautiful with the ugly, as some of their themes feature sexual violence, blood-suckers, the hunger for death on tv, and alien abductions, while other songs contain beautiful humanistic themes such as rekindling communication with the one you love, being in the moment of life, achieving personal enlightenment, and riding the wave, or shall I say spiral. Fear Inoculum is no exception, and actually is a step above the previous monuments they've built in their discography.

In a sense, this album is the rebirth after a decade-plus of quiet incubation and evolution as individuals. What stands apart about this release when compared to previous albums is Maynard's absence of heavy metal screams and aggressive growls. Instead, he sings akin to how he would in his side bands A Perfect Circle or Puscifer, and it creates an atmosphere of angelic excellence and a particularly superb accompaniment to the foundation-building instrumentation in each track. The first song on the album, the title track, is undeniably the most straight-forward cut, and it still clocks in at nearly 10 and a half minutes! It made waves in the music industry as the first 10-plus minute song to ever enter the Billboard Hot 100 chart, as well as their catalog of albums breaking even more Billboard records since they released all their previous studio albums on all streaming platforms ahead of Fear's release. As a single, Fear Inoculum succeeds as an all-encompassing and utterly awesome introduction to Tool for any first-time listeners, and an example of the refined quality of their compositions up until this point, as it performs a completely flawless buildup of guitar, percussion (mallets and tabla), drums and bass guitar, before Maynard's vocals soar in to sweeten the deal and cap the perfected sonic landscape of Tool's architecture.

The quiet, meditative, reverberating guitar strum of Pneuma inspires chills as their album starts to drift beyond their previously released single, and the reality starts to sink in that we are really here finally, listening to another masterwork by these legends unspool before us. Guitarist Adam Jones's moody introduction is paired with plucky, synthesized percussion by virtuoso drummer Danny Carey before it breaks into a delayed guitar riff and sets off into an arhythmic beat, most likely in the number 7, a common recurring theme throughout the album in both time signature and motif. Pneuma, the ancient Greek word for "breath" and also a term used for "spirit" or "soul", is another example of the common esoteric and heady themes Tool is used to exploring. It's mysterious delayed guitar riff and drumbeat soon burst into a slow-marching, heavy metal presence, with a riff that solidifies Tool's talent for creating gentle and tender soundscapes to flip the switch on and make heavy as hell. Pneuma eventually flows through this movement again and dissolves into an atmospheric synthesized piece, sprinkled with Carey's transportive and entrancing percussion and Jones's slow-building melodies. It's a nearly 12-minute track, but hardly the longest, as there are still three more songs in the body of Fear Inoculum that stretch even further.

Although there are such long runtimes in most of the songs on this newest release, there is hardly ever a dull moment, as captivating melodies, riffs, and instrumentation are strung together to create one epic song after another. Such is heard on the third track of the album, Invincible, as Jones opens with a cool guitar melody that forms slowly and is repeated in the first few minutes and Maynard sings softly and slowly about a "warrior, struggling, to remain, relevant" to a poignant, soft drumbeat. It brings to mind the existentialism of the band itself, as they are emerging after almost 15 years with new music to a vastly changed world. The awesome bass guitar tones that Tool are so well-known for, and crafted by master musician Justin Chancellor, are heard really well on this track, and it's one of the first songs besides their single where all four members sound distinct in their instrument and where all four come together to create an interlocking mechanism of music.

Descending, similar to their title track from their previous album, 10,000 Days, opens with naturalistic sounds and feels like a calm before the storm in a sense. Most all of Tool's songs on Fear Inoculum have a slow and retrospective introduction, but they all build into epic masterpieces and still maintain their own identity within the album. Descending is no different. Also like most other tracks, Adam Jones takes a dive into more guitar solos than ever before on any previous record. It is a sign of personal growth within the band, and each member displays their own personal growth as they have never sounded better, both individually and together. Culling Voices takes a stab at all of the noise of the present world, in politics, social media, and news, and falls on the defiant, repeated line sung by Maynard, "don't you dare point that at me" as the song takes off into another hard rock groove. It's one of the shorter songs on the album, and probably the second-most straightforward song after their single. Possibly due to its somewhat limited framework, it works in this case that it remains on the shorter side, but it has all the necessary foundations of a seminal Tool song.

Chocolate Chip Trip is the first to break the format of all previous songs, and it's probably one of the ballsiest tracks Tool have ever committed to tape. It's purely a Danny Carey composition, as he has become more interested in experimenting with synthesizers and syncopated synthesized percussion. As the name suggests, it's the wildest psychedelic track of the album, as the synthesized atmospheres blend and morph into a repeated mantra of melody and percussion while Carey takes to his enormous drum set to perform a mind-bending drum solo that benefits from being heard in a really good sound system. Chocolate Chip Trip will become known as the song to play for your friends who are on a really good amount of drugs, since it plays as both a feral dance of percussion and also as if it's an extensive and engaging live drum solo at a summer music festival. While different enough to break the mold that Tool have cast for most of this album, it is not jarring, since Tool are no strangers to songs designated to either mind-expansion or psyching their listeners out.

7empest, which is the most self-referential title in terms of their running theme of the number 7, is also the longest track to finish up the album, running at just under 16 minutes. Its beautiful palette-cleansing guitar melody washes away the trip that Carey took listeners on just prior and prepares them for the mind-melting journey to come. After the meditative, trance-like vibes Jones and Carey conjure up, Adam pulls a left-hand turn into classic metal territory with a Black Sabbath-inspired riff to kick off the magnum opus of the album. The style of this final track pulls from the hard rock and metal sound that Tool was built on, and it has an uncanny vibe of methodology that was featured most prominently on their debut album Undertow. This blending of new and old feels fresh without forgetting what came before, and Maynard's singing also reflects this classic Undertow-style. Ultimately, the 15 minutes and 45 seconds fly by in this straight-up hard rock and metal jam as Jones and Chancellor string together multiple frenetic riffs and melodies that are awe-inspiring and fluid. Maynard's message to fans and listeners to "control your delusions" is the final jewel of transcendental music education that no one would have expected to turn up in a progressive, heavy metal album, but this being Tool, there is no lower expectations to be had. The unforgettable melody in the chorus of instruments in 7empest feels timeless and stays with listeners long afterward.

Fear Inoculum is a DENSE album to unpack, and it is made for those with the patience to unwrap it. In a sense, it is a defiant statement to the world and the music industry at large to respect the pure creativity of artists, as this music serves as an example that music and art could and should follow its own rules, and shouldn't have to fit into the standardized radio-friendly music box. Danny Carey mentioned in an interview with Revolver the pros and cons of having 13 years to form the album, the con being that each song was picked to pieces, scrapped, rearranged, and built up again endlessly, but that the advantage of this amount of time was that they could make the best songs that they possibly could. Its layers show off a discernible maturity for each of the band members, and each track has an inherent accessibility despite their lengths that no self-proposed fan of hard or prog rock couldn't appreciate, yet their sound and mix after 13 years of growth does not sound washed up or tired of being a band at all! After the 13 year absence since 10,000 Days, the work really shows that these 4 artists are at the top of their game, and the reaffirmation of their previous catalog on streaming services breaking multiple records on Billboard shows that their presence will continue to be felt and music welcomed for generations to come.

Fear Inoculum - 10/10

Recommended Tracks: Pneuma, Invincible, 7empest

Note: As I mentioned earlier, this album's full length is 86 minutes, which includes 3 transitional tracks that are included on the digital release. To keep the record at an audio CD length, these 3 shorter tracks were cut in favor of keeping the real meat of the album on the disc. While these synthesized interludes don't necessarily need to be included for experiencing Tool's return, they are interesting for some strategically placed breaks between these long and progressive songs. Overall, it adds to the wonder of the masterpiece that is Fear Inoculum.

August 17, 2019

Various Artists - The Music of Red Dead Redemption II: (Original Score) Review

Just as video game developer Rockstar promised, the original score to their engrossing cowboy western game, Red Dead Redemption II released August 9th, and just as their pedigree for cinematic and Oscar-worthy storytelling captured the hearts and minds of fans across the world, so too does their original score for the game itself.

This is the companion release from their earlier soundtrack version of Red Dead II, which I reviewed and was released earlier in July, but instead of vocalized, bluesy, country-western songs, this release compiles brand new materials and adds another half-hour to its runtime, totaling to a full-length 72 minutes of Western musical progressions and acoustics. It is meticulously crafted by veteran composers and industry musicians and pulls listeners who haven't ever played a video game into a world all its own, and given the saturation of popular music these days, it becomes an absolute delight to listen to a type of music that is so different but supposedly common in the days of the Wild West.

Outlaws From The West is the classic Wild West theme as it has all the reverberating guitar melodies and percussive claps to make you feel like you're in a movie, and is reminiscent of an orchestral Godspeed You! Black Emperor track. Other songs take on a more passive tone, as Blessed Are The Peacekeepers plays with a string section as it complements the acoustic guitar melody and low echoing wails to make a moody and filmlike atmosphere. Other tracks that achieve this quiet cinematic quality include It All Makes Sense Now, The Fine Art of Conversation, Country Pursuits, and The Wheel, while others ring up the tension such as Mrs. Sadie Adler, Widow, Paradise Mercifully Departed, and Icarus And Friends. Again, some even sidestep the classic Western sound in favor of a more New Orleans style of music in songs like Banking, The Old American Art, and American Venom.

Ultimately, The Music of Red Dead Redemption II is exactly what you'd expect from an award-winning spaghetti Western video game: a revisit of a time we never truly knew in the best possible imagining by seasoned and experienced musicians and composers. It is an excellent backdrop to practically any activity, and it stands as a special musical release of Western music.

The Music of Red Dead Redemption II - 8.5/10

Recommended Tracks: Outlaws From The West, Blessed Are The Peacemakers, Red Dead Redemption