#Themes: Fantasy (early); Military history Metal (later)

[k-i-l-l-e-r-b-e-e-6-9]

Sabaton - Night Witches

[untitledtallgeesepodcast]

There were a total of five OSTs released for Gundam Wing (the fifth was dedicated to the music of Endless Waltz, which will not be covered in this post or this playlist). Caitlin asked if I (Cathy) would create a playlist of my favorites. I didn't think she expected I would also write a novel. But here we go.

Let’s listen to some of the music of Gundam Wing!

(All song titles will be described with their English name and also the strangely romanized Spotify name.)

There are three main categories of Gundam Wing OST songs: (1) shoot 'em up fighting tracks which usually feature loud riffs, drums, and blats and blares coming at you at the same speed and frequency of mobile suits firing pointlessly at the Gundams, (2) instrumental, orchestral songs meant for the intermission period of a ballet that was never written or performed, or (3) synthy stuff with saxophones that wouldn't be out of place in a dingy rainy bar scene of a tame movie from the 80s. Most of the really recognizable tracks are in the first OST. OST 2 tends towards less interesting instrumental waltz-like stuff, Sanq Kingdom ballroom music as I've termed it in my head. They're fine, tolerable pieces of music, but you don't hear them and instantly think "Gundam Wing." By the time you get to OST 3, you're digging into the really deep cuts of Gundam Wing OST tracks, some of which I don't remember being in the show at all. (OST 4 is almost entirely character songs.)

We open with two of the best OPs—nay, songs—to have ever been made, "Just Communication" and "Rhythm Emotion," both by TWO-MIX. "Rhythm Emotion" was not, as you may have imagined, a mid-season swap-out. It was only used for about 10 episodes, and you may have even forgotten what it sounded like until just this moment, but "Rhythm Emotion" is no slacker. With alien, wintery synths that make you feel like you're soaring through the sky and between enemy mobile suits, this is one of those songs you would hear heavily remixed for knock-off DDR machines in arcades for years to come. The breakdown is cheesy, overemotional, and yet gives me the same goosebumps I would feel, years later, when listening to Love Live's "Snow Halation." Its more accomplished older sister, "Just Communication," dates itself from its opening note, but it owns its place in time and history unapologetically. Timeless, instantly recognizable, and eminently singable, you could, as Caitlin says in Episode 1, play this in a karaoke room full of randos and you're guaranteed to have someone scream along. There are some songs that make everyone feel like the star of their own shounen anime when they hear it, and "Just Communication" is one of them. Turning it up full volume in your car is like blasting "Take My Breath Away" while speeding on a motorcycle with a leather jacket. You are invincible through all 4:20 minutes of this song.

After that, perhaps one of the most famous instrumental tracks from the series: "The Wings of a Boy that Killed Adolescence / Shisyunki wo Koroshita Syonen no Tsubasa." (That boy is Heero Yuy. I know you know that, but this OST makes it explicit with its last instrumental track, "Code Name Heero Yuy," which is just another version of this melody.) There are a lot of songs like this, fighting tracks that hurry along at a clip, heroic but a little bit anxious ("When the Dragon Swims / Ryu ga Oyogutoki...," "Break Out," "Scattering Left Light / Kakusansuru Zanko" which barely sounds like music and is clearly hoping to be the soundtrack to your next laser tag game). I want to call out among them "Mission Accomplished / Ninmu Suiko," which has a last half that is so tied in my head to the world of Gundam Wing that when I hear it, I am instantly transported. It's almost a letdown that it's just an OST track, because it builds up such amazing tension that it releases just as quickly. "Mission Accomplished" is a bridge between these energetic tracks and more headbang-y, hard metal type fight songs like "Use the Cloak of Darkness / Kurayami Karano Tsukai," one of my all-time favorite guitar riffs from the GW OSTs. A lot of OST 1 is full of this "Enter Sandman" type stuff, though you still get reprises in the later OSTs, like "Well-Planned Tactics / Butsuryo Sakusen." The back half of "Cloak of Darkness," though, is a completely different track, this time pure fascist military fantasy. A lot of OSTs were like this, two short BGMs together masquerading as a one- to two-minute track. I'm not sure if it was just more expensive to list out a bunch of 45 second tracks, or if Otani Kou just ran out of emo names for all of them.

One thing I didn’t realize until this project is that there are no less than five variations on Relena’s theme in OST 1 alone:

Soft Hair and See-through Eyes / Yawarakana Kami...

Inside the Girl's Heart... / Syojyo no Mune no Oku Niwa...

To Beauty, to Elegance, and to Noble-mindedness / Karen ni Yuga ni...

I Feel Like I Can Cross Even That Rainbow Bridge / Ano Niji...

As Relena Peacecraft / Relena Peacecraft Toshite

When you've heard one, you've heard them all, so I’m putting on "Soft Hair...,” the wonderfully 80s and slightly boozy "adult contemporary" version of it, completely with a Kenny G sax. The others feel much more pure and dignified, especially "To Beauty...," which I think of as "waltz music" as it shows up in many of the early series' ballroom scenes. ”Rainbow Bridge..." is a worthy remix/variant, and for another similar boozy 80s feel, also try "Coolheaded Bloodthirstiness / Reitetsu na sakki" from OST 1. While I’ve left most of this playlist in chronological album order, I’ve moved up "I Believed We'd Meet / Kanarazu Aeruto Shinji” from OST 3. This track is not particularly noteworthy to me, but I leave it here as an example of how even later in the series, Otani Kou makes references to this refrain, even if it's not played note for note.

Because like any good soundtrack, Gundam Wing reuses themes and motifs. "Searching for Peace Buried Amid the Corpses / Shikabane ni Umoreta..." and "That Clown Doesn't Need Make Up for Tears / Sono Doukeshi..." share the same melody, only one is a fighting song and another is a mourning song. I actually like the rendition in "Hourglass of a Sad Color / Kanashimi-iro no Sunadokei" (also from OST1) better, but while "Hourglass" is a straightforward BGM track, "That Clown..." shows off one of the more interesting aspects of the Gundam Wing OSTs: its frequent blending of synths, cheesy sax, and more classic orchestral strings. You can hear it in second half of "That Clown...", but also in tracks like "Unknown Pressure / Michi no Pressure," or OST 3's " Behind The Scenes of The Blackout / Anten no Butaiura de," which is a typical "woe is me" orchestral track that is for some reason constantly interrupted by digital "beep boop" mumblings. Without that blend, you're left with a lot of grave-sounding tracks with bombastic Phantom of the Opera-worthy brass sections, like "Soldiers Who Don't Have a Gravepost / Bhyounaki Senshitachi" or "Legend of Zero / Zero no Densetsu." Not that those songs are bad, which is why I include the last of the instrumental tracks from OST 3: "Who Will Give Their Life / Darega Tameni Inochi," which takes itself very seriously and very earnestly, just like the show itself.

One of the other frequent moods of these OST is anxiety, perhaps no better demonstrated than "You Can Hear a Voice Calling the Soul /Tamashii wo Yobu Koe ga Suru", which has a guitar emitting screeches of existential despair. “Signs of Consciousness / Ishiki no Taido" is from this same school, but its second half is more "I am walking into a rave already a few minutes into what I know is going to be a bad trip," which is not really a mood I remember from the series itself. By the time you get to OST 3, you start venturing into tracks that wouldn't be out of place in a horror film. You can hear an example of it in "The Eyes of a Mobile Doll / Mobile Doll no Me," which is on this list because it sounds like a fever dream, but you could also check out "The Abandoned Horse of the Age / Jidai no Sutegoma," which is not on this playlist and has the same effect. Some of them, like "I Don't Like Fairytales / Otogi-banashi wa Sukijyanai," are inspiringly atmospheric, almost hypnotic. Is Gundam Wing horror? [Treize Voice] Yes, the Horror of War.

Some quick call-outs in the odds and ends group: “Tokimeite Harmony” is the 3x4 theme, a literal duet between a violin and a flute, and it’s there for that reason and that reason alone. I could not tell you for the life of me where in the series “Yasuragi no Hitotoki...”, “Kizuna,” “Sonzai Syomei,” or “Kioku no Gyakuryu” come from, but they sound like beautiful tracks from a video game I’ve never played. Similarly, “That Day Was The Last Day I Saw Your Smile / Anohi Saigo ni Mita Egao” is uncharacteristically fluttery and beautiful for a Gundam Wing OST piece, an almost Ghibli-esque track which nevertheless ends on an anxiety-inducing note of unrest.

And finally, the character songs. I leave you with one for each of the six main characters, and then a bonus.

Heero Yuy: "With Only My Words / Oredake no Kotoba de." Did you expect Heero's singing voice to sound like this? Neither did I. I have no idea why they thought this was a good image song for Heero. It's not. I leave it here because you must listen to it. The better "sounding" song is "Flying Away," which shows up in this CD later, but it doesn't give me the same dissonance as this one.

Duo Maxwell: “Wild Wing.” "Good Luck & Good Bye" is the superior song. (there's a little bit of Wang Chung “Everybody Have Fun Tonight" to it), but the sheer hilarity of this chorus (WILD WING BOYS!) means that i have to include it.

Trowa Barton: “Clown / Doukeshi.” What to say about this? This is a typical ballad, something you may play during a romantic moment of a kdrama or during the slow motion death scene in a Hong Kong film that would be released around the same time as GW was. I feel bad for Nakahara Shigeru who clearly is straining himself singing this. but it is nothing if not period accurate.

Quatre Raberba Winner: “Star’s Gaze / Hoshi no Manazashi.” Poor Orikasa Ai. Quatre’s voice is passably bishounen in the series itself, but it's hard to hide that his seiyuu was a woman when it came to the image songs. That said, her voice has a much fuller quality than her fellow pilots, and this is actually a decent-enough filler song. You could imagine debuting an idol maybe in the late 80s with this track.

Chang Wufei: “Knock at Tomorrow's Door / Asu eno Door wo Tatake.” If Wing were a kpop group, Wufei would be the rapper. You don't get to argue with me here. It's hard enough to imagine Wufei actually singing, but Ishino Ryuzou's singing voice also doesn't bear that much resemblance to the voice he adopted for the character. 

Relena Peacecraft: “Love is Not Crying Yet / Ai wa Mada Nakanai.” One of the most unexpected of the image songs is this bossa nova inspired track for Relena. Like Orikasa's ballad, this song almost works as a real song, and the purity of Yajima Akiko's voice is incredibly charming, which makes it all that more surprising that she's actually best known for being the seiyuu to the eponymous Shin-chan of Crayon Shin-Chan.

I do not include the image songs for Zechs and Treize, simply because they're boring. Both of them are extremely well-known and popular seiyuus, who have since done a number of musical projects. You can tell that they will fare better at that endeavor than Trowa’s seiyuu, but there's really nothing interesting to say about their songs. As always, the men of Gundam Wing are shown up by their female counterpart: Lady Une's "Brightness & Darkness" is positively anthemic and fun to listen to. Sayuri doesn't hit all the notes perfectly, and you can sense there is Fleetwood Mac / Stevie Nicks impersonator out there who could really knock this one out of the park, but if I were to keep one image song out of the whole bunch, it'd be this one.

[valenshawke]

Identity Ask- 1&3!

identity asks… oh shit

3. list your fandoms and one character from each that you identify with.

I’m limiting myself to five.

Claymore - Clare

Death Parade - Chiyuki

My Hero Academia - Izuku Midoriya

Violet Evergarden - Violet

And not to be an anime/manga-cliche-riddled-mess

Deadwood - Al Swearengen

1. if someone wanted to really understand you, what would they read, watch, and listen to?

I’m answering these as to what I was watching/reading/listening to during my late teens/early adulthood as they either proto-formed most of political and social ideology while other things better informed me later. But without these, probably would have turned out different.

Watch: Uh… man… this is gunna be terrible. But probably watch The X-Files, Law & Order, and the first two seasons of The West Wing. The X-Files kinda got me somewhat deep into conspiracy theory circles for a bunch of years before the right wing really got deep into it and it became a mess of fascist white supremacy. Law & Order cause I wanted to be Jack McCoy for a lot of years and he is an influence as to how I lectured when I was teaching. Plus, his righteous sanctimony is something identify with since people do consider a sanctimonious prima donna and drama queen. The West Wing is probably a shocker because that show first about 4 seasons (when Sorkin wrote it) was fucking idealistic as hell and a nice counterbalance to the Bush administration. I’ll also toss in Stargate SG-1 because I loved that show and it replaced The X-Files as must-see-TV after the movie.

Listen: Metallica. If you’re a male, and you like heavy metal, at some point… you listened to Metallica a lot (or Megadeth if you hated Metallica and thought Dave Mustaine was the superior guitarist and songwriter). This WAS the band of my high school years. And Ride the Lightning, Master of Puppets, and … And Justice for All were all great in terms of social commentary on politics, corruptions, religion. I listened to Metallica a lot, and I mean a lot, while I was reading what I’m going to talk about in a bit.

The Black Album also means a lot to me since my first girlfriend in high school actually introduced me to the band and told me her all time favorite song was “The Unforgiven.” I listened to it and it’s still my all time favorite song by Metallica and, AND, I got to see them play it live in December. A moment I will never forget (I also recorded it and bought the official live recording of that concert).

Read: I give this answer a lot but it’s been awhile and I’ll give a why on what someone would read: Dune, specifically the Dune Chronicles. The original six books. I was actually going through my replies one night and someone @thetwistedmentat asked my thoughts on the fourth book, God Emperor of Dune. So I’ll try to cover it all briefly here…

Still going under a cut.

When I was 16 and read the first four books, it really did change how I viewed the world. About 2.5 years earlier, I became an atheist, which went over real well in Catholic school. I was already the ostracized kid in Catholic school, so this added to it. I guess I had a lot of questions on morality and how things really were.

When I read the first book, it really opened my eyes. No, I didn’t get the subtlety or all the commentary the first time I read it, but I got the broad strokes and I got older and learned more, I started to understand the references and the complexity of what Frank Herbert was saying.

Messianic figures are, by-in-large, a bad idea. Either because they become a prisoner to their ideas and mission or don’t have the courage to do what it is needed if they’re smart enough to realize, “Hey, being a single ruler with religious devotion is a terrible thing.”

Dependency on a single resource to move a system’s economy is… a terrible thing as well.

Social engineering (a more complex and devious form of socialization) is a terrible thing and can lead to terrible outcomes.

Religion and government being one and the same… is a terrible thing with terrible outcomes.

Cultural and evolutionary stagnation is… A terrible thing.

Complacency is… A terrible thing.

The ecology of a planet can give us clues and inform us of what a society holds sacred or important. Which also ties into #2.

People tend to drop Dune after the second book or criticize the first book for pretty much the same reason. Dune has been criticized as a colonial white-man’s fantasy because the “hero” wins at the end of the first book. As one gets closer to the end, Paul Atreides makes more more comments about a terrible decision he has to make, a Jihad that is coming, and billions that will die. People will die under and because of his name. When you get to book 2… Frank Herbert takes a wrecking ball to the entire notion that Paul is a hero. Paul compares himself to Hitler for love of Teresa of the Faint Smile. And no, this isn’t Frank Herbert was a Nazi or a sympathizer. For Frank Herbert, this was the clearest way for him to say Paul Atreides was evil, a coward, and weak. Frank Herbert literally said Paul is someone who “thinks he is God. “

And he leaves those terrible decisions to his son, Leto Atreides II.

In the third book, Leto and his twin sister, Ghanima, have the same power Paul had, the ability to see the future and the ability to tap into both sides of their genetic memory and Leto struggles with the decision to take on the skin of the Sandworm.

What is the decision? Save humanity. Because on it’s current path as outlined by points 1, 2, 3, 4, & 6… humanity will meet its end. Again this is a galactic empire but it can be controlled by one person who controls one resource.

Which actually leads into the second criticism I actually read very recently. That the books still fall into the strong-man political leader/fascist leader to solve the problems. And I’ll admit, that is a strong criticism if you discount the nuances Frank Herbert brings and the ultimate goal Frank Herbert apparently had in mind (According to Norman Spinrad, Frank Herbert actually detested the royalist politics he wrote about, which is pretty clear, and that the universe would eventually move to some kind of true democratic confederation).

Yes, both Paul and Leto (especially Leto) were strong man/fascist dictators for all intents and purposes. But both clearly could see into the future and had pretty much all of human history in their heads to realize humanity, as a group of people, naturally fall into the trap of charismatic leadership and authority. It’s actually rather easy to do if you examine just how Paul becomes a messiah to the Fremen (which is an explicit criticism of the Catholic Church and its role in European Colonialism).

And this gets into an overall theme in many of Frank Herbert’s work: Harsh social and environmental conditions can produce genius or people able to survive. At the micro-level, you have the Fremen, who can best the imperial militaries best.

At the big, macro-level, Leto’s oppression is meant to foment rebellion, is meant to make people angry generation after generation, is meant for people that want freedom, to never be under the rule of one person ever again, is meant to make him the ultimate symbol of evil everyone can agree upon (sound familiar anime fans?). They must call him Shaitan. He must be remembered as a Tyrant. As evil. He must die in a certain way. The problem with humanity, and you can see it to this day, is we forget the mistakes of the past. Leto’s goal:

“When I set out to lead humanity along my Golden Path, I promised them a lesson their bones would remember. I know a profound pattern which humans deny with their words even while their actions affirm it. They say they seek security and quiet, the condition they call peace. Even as they speak, they create the seeds of turmoil and violence. If they find their quiet security, they squirm in it. How boring they find it. Look at them now. Look at what they do while I record these words. Hah! I give them enduring eons of enforced tranquility which plods on and on despite their every effort to escape into chaos. Believe me, the memory of Leto’s peace shall abide with them forever. They will seek their quiet security thereafter only with extreme caution and steadfast preparation.” - Leto Atreides, The God Emperor of the Known Universe.

It only takes 3500+ years.

There’s also just a lot of gems about leadership, bureaucracy, and the idiotic repetition of history in God Emperor of Dune. The Dune Chronicles aren’t very action-based, there aren’t prolonged battles that are written out. Dune ends with a duel, Dune Messiah has a few moments of violence with stone burners, and a few deaths at the end, Children of Dune has a very sad written death of one of my favorite characters. God Emperor of Dune probably is the closest something heartpounding as Leto’s goal is ultimately achieved. Heretics of Dune again has some moments of violence. Chapterhouse: Dune actually has a battle sequence written out. After that, there are no more Dune books.

“But-”

THERE. ARE. NO. MORE. DUNE. BOOKS.

Why I became a sociologist? Why I ended up reading Marx & Lenin? Why I’m so critical of the intersection of politics, economics, and religion? Here you go.

This isn’t to say stuff HASN’T influenced me later. I’d also suggest reading books by Mira Grant and Ann Leckie, as well as Terry Pratchett’s Discworld and mangas such as Claymore by Norihiro Yagi and Fullmetal Alchemist by Hiromu Arakawa or watch Code Geass, M*A*S*H, and The Wire. Just that the Dune Chronicles was the first, and probably, most important step.

[djgblogger-blog]

Selling sex: Wonder Woman and the ancient fantasy of hot lady warriors

http://bit.ly/2w6CxkO

Wonder Woman embodies the male fantasy of warrior women. Variety.com

When the film Wonder Woman is released in early June, it will surely join the blockbuster ranks of other recent comic book-inspired film franchises, including Batman, Superman, Spiderman, and X-Men. But that’s not just because it features a sword-wielding Gal Gadot in knee-high boots and a metal bodice.

Wonder Woman has long been a bestselling creation, originally imagined in 1941 by the psychologist William Moulton Marston, and the film follows some of the main plot lines developed in the comic books.

Wonder Woman is a superheroine known as Diana, princess of the Amazons, who is trained to be an unconquerable warrior. When an American pilot, Steve Trevor, crashes on the shores of her sheltered island paradise and tells tales of a massive conflict raging elsewhere, Diana leaves her home, convinced she can stop the threat.

Though Wonder Woman was portrayed as a feminist icon in the 1940s, she is also a highly sexual character.

We can only wonder – no pun intended! – about the reasons for this imagined link between war and female sexuality. As a sexy but fierce lady warrior, Wonder Woman is hardly alone. Throughout history, cultures across the globe have envisioned and revered the femme fatale, from feline killers to sensual goddesses to sassy spelunkers.

The Sumerian “wonder woman”

In 3000 BC, in the ancient Sumerian city of Uruk in Mesopotamia, the first kings of human history ruled over the south of modern-day Iraq, protected by Ishtar, a great goddess of war and love often associated with lions.

Ishtar, naked on a vase. Louvre/Wikimedia

Ishtar would reveal the kings’ enemies and accompany them to the battlefield. It was said that she fought like an unleashed lioness protecting her young – in this case, the Sumerian people. Like Wonder Woman, Ishtar’s sacred duty was to defend the world.

She could also be sensual. More than merely worship the goddess, the Kings of Uruk claimed to be Ishtar’s lovers, who, according to royal hymns of the era, would enter her bed and “plow the divine vulva”.

For the king, receiving sexual and military favours from a goddess served his political agenda, legitimised his reign and made him into an exceptional hero for his people. In the Wonder Woman film, this role is filled by the American pilot.

References to divine lovemaking are also found among ancient Palestinians, Babylonians, though scholars can’t confirm what was really going on in those temples.

Cat girls from Sekhmet

Bastet as a lion. Mbzt/Wikimedia, CC BY-ND

Lee Meriwether as Catwoman in the 1960s. Ebay/Wikimedia

What’s more sexy than a powerful woman? Taming her, of course.

In ancient Egypt, the most fearsome goddess was named Sekhmet. Like Ishtar, she had two sides – fierce beast and loving companion.

Sekhmet was often portrayed as a terrible lioness, the butcher of the Pharaoh’s enemies. At times, though, she would transform into an adorable cat named Bastet.

Today, the feline is still symbolic of female sexuality. Catwoman, another comic book heroine, was born a few months before Wonder Woman (not that a lady reveals her age) and is the most contemporary avatar of a feline woman.

With her curves and her bondage fetish, Catwoman has always been hypersexual, though some critics regret that her sexuality – not her intelligence – has become her greatest asset these days.

Amazons, the lonely sailors’ dreams

Warrior women with sexual natures are also found among the ancient Greeks.

Their myth of the Amazons tells of a Mediteranean kingdom in which it was women who fought and governed, while the men were relegated to domestic duties. Marston’s Wonder Woman comic invokes the Amazons’ city, Themiscyra, and the name of their queen, Hippolyta.

He embellished his ancient Amazonian setting with details from the legend of the women of Lemnos, in the Aegean Sea, adopting the isolated island idea as Wonder Woman’s home.

According to the Greek story, the women of Lemnos had revolted and massacred all the men on the island, young and old. Living in a forced sexual abstinence, the ladies were delighted when sailors unexpectedly landed on a local beach. They immediately set upon the Argonauts, a team of beautiful and famous mythological heroes that included Hercules and Theseus, compelling them into long orgiastic intercourse.

The sex-starved but unattached women theme is another favourite male fantasy, offering imaginary satisfaction of sexual scenarios that may be difficult to realise in real life.

Our modern Amazon. TombRaider Wikia

By the late 20th century, Lara Croft came along to update the idea of the Amazons and the ladies of Lemnos. Croft, an English archeologist-adventurer who started life as a character in the 1990s video game Tomb Raider, was the ultimate virtual-reality dream girl: she is an expert in martial arts, great with a gun and super smart.

Plus, she always leaves the guys wanting more. Reincarnated on the big screen in 2001 by actress Angelina Jolie, Croft often gave the cold shoulder to her male counterparts. Later sequels featuring Alicia Vikander continued to pitch Croft as a sex symbol while bolstering her feminist credentials.

Women and weapons, the ultimate fantasy?

The new Wonder Woman film seems to have made a careful choice of actress, looking beyond just a pretty face and a remarkable body. Gal Gadot has both of those, but she’s a lot like the heroine in other ways, too.

Voted Miss Israel in 2004, Gadot was also a sports coach in the Israeli army. In a August 2015 interview with Fashion magazine the actress, who was then 30, affirmed that her military experience prepared her well for a Hollywood career.

Gal Gadot in the Chinese film poster for Wonder Woman, to be released in China on June 2. Reddit

On screen and off, the ancient link between femininity, sexual attraction and the military, seems to still be going strong today. Everything from Wonder Woman and the Instagram account of Israeli soldier-cum-amateur model Maria Domark to the rise of a new sub-genre of lady warriors in Asian cinema and, of course, American weapons catalogues, confirms the old masculine fantasy associating pretty faces with guns.

The new Wonder Woman film channels all this history. Pop culture attempts to showcase the heroine as a feminist cannot counteract thousands of years of global sexual fantasy. But you can bet it’ll be a hit at the box office.

Christian-Georges Schwentzel does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond the academic appointment above.

[k-i-l-l-e-r-b-e-e-6-9]

Sabaton - Man Of War

[k-i-l-l-e-r-b-e-e-6-9]

Sabaton - Out Of Control