Cold Daggers is available at:
14th May, 2015
Los Angeles, U.S.A.
The album Get a Witness is available at:
28th August, 2015
Get a Witness
Love Me (cover)
Cold Daggers; Get a Witness; Red Devil; Bells On; Purrficiton
OVER the next few weeks, I hope to review…
everyone from The Portraits (a London-based Folk band) to Eliza Shaddad (another London act; a Dream-Folk/Electro. act); through to Alysse Black- a Seattle-based Soul singer. In the middle, I am looking at a couple of (young, upcoming) bands- one Surrey-based Punk act; another U.S. band. At the moment- and when it comes to reviewing- I am splitting my time between the U.K. and U.S. (mainly a London-L.A. divide); concentrating on female-led music- giving the girls a real investigation (in a non-weird/perverse way). Before I get to my featured band- and their new single and album- I am reminded of a couple of points: one concerns new punk sounds; the other looks at new bands coming through- and the variety you can expect. When it comes to the genre, there is a lot of misconception: people always have very distinct views and perceptions; a lot turn their noses up- others expect a very particular sound. From the days of Sex Pistols and The Clash- via The Ramones and the U.S. giants- the genre has shifted and mutated: modern punk music is varied and evolved; distinct and fascinating. Back in the ‘70s and ‘80s there was a lot of political and social rebellion (in the music): the punk masters were rallying against injustices; their sociopolitical lyrics attacked government flaws and ills in the community- tackling large issues and vital themes. It is not true Punk bands have completely turned away from politics; strayed from the course of injustices and inequality- there are fewer bands campaigning the hot topics; using music as a platform- it is needed in today’s climate. What Punk is doing- and I guess there are a lot of bands that do not fit into that model- is providing aural and sonic illumination; genre-fusion and compelling avenues- really pushing the boundaries of the genre. Whilst the likes of The Clash and The Ramones (are among my favourite bands) the genre has moved-on since the 1970s- the modern innovators build upon their forefathers’ work; inject youthful vibrancy and direction- tackles subjects of love, alienation and harsh emotions. I guess tastes and desires have changed somewhat: music-lovers seek that emotional and romantic support- bands that can channel and represent their frustrations; their sense of disenfranchisement. When it comes to bands (and Punk acts for sure) we need a familiar voice; someone voicing our inner concerns/experiences- people we can relate to. Perhaps the most fascinating aspect of new Punk is the range on offer: compared to genres like Indie and Pop; Punk is producing more colour and personality; a much greater grasp and ambition. Before I continue on my theme- and raise a new/connected issue- it is worth mentioning Queen Kwong. Coming to my attention- via a Facebook friend- I have been fascinated by their music; their current album (Get a Witness) has not-long been released: already, it has been met with critical acclaim. Impassioned hearts have been queuing to offer congratulations; dig into the music- and provide patronage to a stunning band. The L.A.-via-Detroit clan has been making music for a while now- and is growing in stature and reputation. The band have a reverse-modesty/honesty about their music: songs will take time to love; some require great patience- Queen Kwong’s ‘unique’ blend is spicy and alcohol-flavoured; sharp-tongued and dark- a very beguiling and strange concoction. Led by the stunning and snake-tongued Carré Callaway, the band has a natural and vivacious leader: that voice recalls Patti Smith and Joey Ramone; the energy and passion and insatiable- the venom-and-vulnerability mix is heartbreaking and intelligent. Backed by her musical brothers- Wes Borland, Fred Sablan and Hayden Scott- the four-piece are moving through the ranks- gaining high-profile kudos and backing. With the likes of Daniel P. Carter counting as fans/patrons- the band recently played Reading Leeds; a dream-come-true realisation for them- the future looks positive. Perhaps Queen Kwong are a band that will win-all in time; ensure there is less division and balkanisation- not all the world are attuned to their potential and strength. Having seen their Cold Daggers video (and reviewed the song below) there are some cynical and blunt comments: the YouTube illiterate- with their inarticulate and misspelled criticisms- has voiced their opinion; there are some doubters and detractors- you can’t win them all! I appreciate (that a lot of bands) do not deserve unanimous praise: some bands are plain overrated; others cannot inspire everyone- I feel Queen Kwong deserve a lot more support and love. The band are forward-thinking and original; their music recalls music giants- from Queens of the Stone Age to Nirvana- whilst their live performances are the stuff (of drunken) recollections and histrionics. Their album will silence some dubious tongues; affirm their status (as one of the most promising bands around) – the tide will turn in their favour. Containing so much aural surprise; swathes of sonic surprise- Get a Witness is an album ready-made for 2015. With the likes of Drenge and Wolf Alice- providing this year’s best, heavy albums- Queen Kwong should not be overlooked. Their violet-haired lead is one of the most scintillating voices on the block: going from a gurgled and intoxicated hush to a full-throated assault, she is capable of eliciting so much emotion and imagery- few other singers have such a range at hand.
Away from the sneering and empty minds- that tend to poo-poo a band like Queen Kwong- a loyal and ardent fan-base are following the L.A.-based band: their social media ranks are multiplying and dividing; their army is growing by the day- hardly surprising, given their musical ambitions and achievements. Having worked hard the last few years- and spent time honing and developing their sounds- the band are hitting their peak: their L.P. is the result of hard effort and fettling; experimentation and consideration- it has picked up some very effusive feedback (from a large range of reviewers). It is important we embrace and seek-out Queen Kwong: few bands like them exist; they have a very distinct sound- a lot of bands sound tired and uninspired; too bored to forge a personality. The U.S. up-comers suffer no such comparison: they are a band of the moment; nestling into that (small core) of genuinely great Punk acts. In the past, the female-led Punk clans- from Bikini Kill to The Slits- have revolutionized the genre; inspired a wave of new acts- Queen Kwong’s music will lead to such movement. In the U.K. we have Wolf Alice- a young group with a hell of a kick- that blend of snarling kick and ethereal down-beat. In the U.S., the Punk/Alternative scene has a different tone of voice: perhaps more direct and fully-formed (artists like Queen Kwong) embody the past masters; the Grunge/Punk masters of old- weave in some majestic oddity; a dash of drunken haze- wrapped inside a cloak of heartache and attack.
When it comes to Queen Kwong, there are acts you can bring to mind- that (may have) influenced the quartet. Comparisons are made with The Stooges, Nirvana, Iggy Pop and Patti Smith- in fact; Roger O’Donnell (The Cure) made those comparisons. With regards the vocals, Callaway has been tied with Smith: that same graveled and raw undertone; the drama and emotion. In that sense, I can see links with Bikini Kills and The Slits: that same undisciplined lust; the anarchic spirit and inchoate edges. With regards (the band themselves) you can draw links with Queens of the Stone Age, Nirvana; Iggy Pop and The Clash. That raw and vibrant animalism; the dark and seedy underlies; the guttural and determined guitar sound- echoes of Iggy Pop and Nirvana come out. The songs- on their latest album; their past work- mixes anthemic grandeur with personal confession. As Nirvana did (with In Utero) you get a grittier and bare-naked sound; something corrosive and angered; impassioned and savage- at the heart is heart itself; something constructive and thought-provoking. Queen Kwong always sound- in spite of some jagged and slanted moments- cohesive and linear; always in control of the music- never letting it wander and ramble. Their discipline-and-anarchy approach leads to some wonderful results: Get a Witness is filled with juxtapositions and contrasting emotions; mood-shift and unexpectedness- you never know what comes next. Perhaps the biggest (and perhaps, less obvious) comparison is Queens of the Stone Age- I hear shades (of the) Desert-Rock legends. That crepuscular and blood-lust crawl; the Lullabies to Paralyze-era work. Critics noticed- when reviewing that work- the sexiness and late-night cinema sound; minor-key ghostliness and foreboding Metal (Allmusic’s words). That L.P. marries Hard-Rock heaviness with something brooding and dangerous; whiskey-soaked swagger- cool-as-shit attitude. Queen Kwong initiate and infuse these qualities; those variations and themes- the range of sounds and components. Whilst their work is less authoritative and mesmeric- time will rectify this juvenile slight- the early signs are quite positive: they channel Q.O.T.S.A.-cum-Nirvana sensations; undertones of Patti Smith and Iggy Pop- encapsulated in older Punk sounds; a veneer of modern-day Alternative. If you are inclined towards any of these acts/artists; if you are compelled by the above- it is well-worth seeking-out the L.A.-ers. Having spent time in Detroit- where some fantastic Blues-Rock has emerged- there are some shades of early-career ‘White Stripes- their debut-album sound can be extrapolated (in some of Get a Witness’ songs).
Before ‘getting down to business’ it is worth assessing the band’s progress: seeing how far they have come; whether their music has improved/altered much. Love is a Bruise (released in 2010) showcased Callaway’s serene and sensuous voice; the stunning and singular voice- something that haunts the songs; causes shivers and stun. Fans noted the impeccable production and sparse sounds: some moments were built (solely around) the voice; few other touches and intrusions. Bad Lieutenant (released three years later) saw a slight shift: more band-orientated; the E.P. is a heavier and harder affair- our heroine’s tongue sharper and more acidic. There is melody and soothe to be found; these moments are fewer and occur less frequently- this time around, the sound is more driven and fierce; the lyrics remains razor-sharp and memorable; the sentiments and intentions without question. Having evolved and changed a bit- within the three years between records- Callaway gained confidence and impetus; her voice sounds more rounded (on Bad Lieutenant); her passion and zeal more engaging- perhaps there are fewer pure moments. That lack of serenity/beauty- that was more evident across Love is a Bruise– was replaced by a more rampant and urgent. Separating herself from the female singers on the scene, Callaway comes across more rounded and nuanced; her voice has more layers and potential- able to authoritatively rule when calm and reflective; stunning when letting her voice shout and campaign. When it comes to the new album, there is another gear-shift: the L.P. is even-more band-centered; there is an emphasis on the complete sound- as opposed to Callaway’s voice. Get a Witness was completed in 9 days; a song a day (was recorded) – a White Stripes-esque sense of workmanship and economy. Whether avoiding studio costs- or more likely, going for something immediate and natural- the band improvised the tracks; flew by their pants- and let the mood hit them. Whereas previous incarnations (and their songs) are more rehearsed and considered, here, there is a different vibe: you can sense the unpredictability and unchartered sound- the music does not suffer or compromise. If anything, the band sound more alive and tight; there is a distinct sense of relax and intuition (perhaps the environment and confines suited their creative process). Being such a skilled live band- where anything can happen; set lists often take a back seat- the band show no nerves; the record (is essentially) a live-sounding/recorded beast: perhaps Queen Kwong’s most home-made and raw record. The band have grown in confidence; become more daring and bold- their adventurousness and playfulness (maybe the wrong word) has paid dividends.
With a name like Cold Daggers, you would expect something evocative and tormented- the song’s first lines (not only reference the song’s two words) they paint a troubled tableau. The words ‘cold’ and ‘daggers’ seem to come right to the fore: our heroine- seemingly lying on the street, struggling- has a hole in her chest- one, that is, “so damn wide.” Being the album’s (Get a Witness) lead-off track- and the L.P.’s first words- you get an instant bang. The vocal sounds emotive and affected; the delivery is fast-paced (yet instilled with nuance and melody). One of the most essential stand-outs- from the song’s fledgling moments- is the composition. Bare and efficient, the bass pules and stings; the guitar yowls and roars- elicited as punctuation; teeing-up the vocal- whereas the percussion teases and sprinkles. Hugely atmospheric- the combination creates so much speculation and attention- the song begins with a hefty deceleration. The band (all at once) sounds fully-formed and tight; no signs of weakness- there is clear passion and focus. Of course, I am looking at things literally: the idea of murder and violence; something horror-inducing and disturbed. The listener could perceive things in another way: the idea of being shot a cold stare; someone tossing an evil glint- our heroine being chilled and ripped-apart. That open-for-interpretation potential; the what-ifs and uncertainty- it gets the mind and imagination racing. As our lead has lost time; is under the spell of a personal curse- seemingly affected by events and relations- that composition gets under the skin. Insistent and pulsating, that bass keeps driving and rushing- such a catchy and additive sound. Whilst the feet tap; the head nods- you are drawn to the background. The guitar acts as rapture and fire: it spews animal-like bite on occasions; emphasising the sense of loneliness and hollowness. The track starts to step up and change-up: the percussion gets harder and more masculine; the mood gets more packed and claustrophobic- everything tightens and constricts. The production values give everything a necessary authenticness and sense of occasion- were it over-produced the song would sound insincere- with the vocal especially note-worthy. There is a charming petulancy to the voice: it is womanly and strong, yet has a slight temper and rebellion- a Punk-attitude teen that can’t get her way. I hear elements of Alison Mosshart and Patti Smith: that cigarette-beaten sexuality and dark-lipstick moodiness; creating something both vintage and utterly primal. Our heroine asks- “how did we lose our heads?”- and slams; she wants to remain bed-bound; hide from things- that desire to escape is paramount and prescient. It seems a relationship has hit a reef: there is recrimination and regret; a lot of overt anger- being presented in an idiosyncratic and delirious way. Callaway screams and breathes; she hushes and hurdles- a performance that trips and spirals. The guitar becomes more ghostly and wailing; purging its way to the forefront, those howling notes build the tension- and back up the vocals in their plight. Before the 2:00 mark there is a loss of clarity: some of the vocals get mixed-down and buried; the clarity suffers- the franticness of the delivery means some words get lost. That is not to say it is a major detraction: the emotion and sheer vibrancy does its work. At this point, the percussion gets even sweatier and more alarming: backed by bass and guitar, the composition closes the walls in; seemingly bouncing off Callaway- she seems to be reacting to the tension in the music; similarly, the boys vibe off her demonic rattle- it is a heady and head-spinning coda. That chorus is reintroduced and chanted; its importance cannot be overlooked- the heroine seems utterly tormented and overcome. After the pain-staking execration, the band step into the breach: the guitar reverberates and throbs; echoes of Queens of the Stone Age come out. Both cosmic and militaristic- the percussion-and-guitar combination teases Prog.-Rock and an army march-call- the song reaches full intensity; not for the faint-hearted. Towards the final moments, there seems to be no way back: that voice gets more sucked-in and detached; the song gets more weighted and foreboding- our heroine unleashes a wordless vocal; the band hammer and punch around her. Blissed-out and unhinged; the track ends on an appropriate note- that cold dagger-stare; the harshness and trapped-in vibe; wanting to escape a harsh experience.
Being inherently undisciplined and unpredictable, Cold Daggers may scare a few faces: it has a raggedness and rebelliousness not often witnessed in new music. Reminding me of Horses-era Patti Smith: an album where Smith mixed ‘60s Blues-Rock with Beat Generation poetry. Her untamed and compelling compositions seduced listeners and critics- gaining acclaim and accolades over the years. Queen Kwong (and Callaway especially) has Smith-esque traits; her voice explodes and calms- both exhilarating and in-the-moment. A unique and distinct track, it is quite foreign- and has few contemporaries and sound-alikes- so requires patience and consideration. If you give it time- and allow its charm and quirks get to you- the rewards boast multiplicities. The track has an instantaneousness and hook: those pulsing strings and persuasive percussion notes- they get to you on the first listen! I love the track because it sound so vital and alive; it is untamed and completely engrossing. The vocals never sound forced or off-putting. A natural and intuitive singer, Callaway laces the song with theatrics, vulnerability and beguiling colours- making it such a stand-out cut. The band not only adds their own weight, they perfectly conspire (with their lead). The instruments enforce the vocal drive; the vocals compel the boys- that togetherness and bond makes Cold Daggers such a rough diamond. Indicative of the album itself- those open wounds and stirring atmospherics- the band show masses of innovation and contours. The guitars switch from howling to focused; lightning-strike to tender. Similarly, the bass and drums match that acclaim. The former is a constant presence: pulsating and heartbeat, the bass is nervy and bouncing; completely memorable and stand-out. Adding emotion, rhythm and focus, it does what a (great bass) performance should do- keeps the song level and driving; everything is kept in-check. With the percussion hissing and snaking; rolling and stamping: you get huge amounts of gravity and force; teeth and venom- perfectly befitting the song’s mandate. Altogether, you have a band both winging-it and utterly in-command: the song boasts unquestionable energy and desire; the band want you to love it- you are powerless to resist.
The rest of the album contains wonder, fascination and depth: no two songs sound the same; there is so much diversity and depth to be discovered. Newt builds off rumbling percussion and snarling guitars. The vocals are duplicated and elongated; determined and hypntoised- there is a sense of somnambulism and delirium (our heroine seems wracked and tired; strained and concerned). The scuzzy and fuzzed-out guitars have hints of Sonic Youth and Grunge- recalling memories of the ‘90s heyday. The entire composition sounds tight; the percussion is particularly stand-out and impressive- creating a never-ending charge and momentum. One of the tracks minor songs- not in the top three; not in the bottom three- is a great way to kick follow Cold Daggers; a dramatic and dramatic statement. Get a Witness starts with slight (and faded-in) sounds; tender and mystery- quite light and tender. The vocal remains pure and calm; the lyrics talks of ashes spreading; someone staying on a sinking ship. Quite oblique and atmospheric, you wonder what is being referenced; who our heroine has in mind- the images are intriguing and striking. Throughout the song the instrumentation is sparse and effective; the odd note flickers and ignites- the percussion rumbles and flows (like a wave) without too much force. Love Me leads with an urgency and passion. When Elvis Pressley tackled the song, he brought soul and immense heartache to the track. Queen Qwong strips it down; it is less layered and overwrought; the vocal is light and ethereal- always floating, it is imbued with tears and strain. A great and unique cover, the track drills down (to the song’s) core; it sounds new and original- something quite befitting of Queen Qwong. With the organ floating and hovering, there is a gospel and ethereal edge; tie that with some Indie and Punk lo-fi attitude and the song will get inside your head. Red Devil kicks with distortion and backwards-sounding sample; Psychedelia and ‘60s Pop then mutates into something driving and Hard-Rock; our heroine is on the road and hitting the highway. The first words reflect my insight: in the driving seat, the song starts on the tarmac: there is a lustful and evocative sound; the vocals alternate between sensuous and angered. The song’s lyrics look at lies and dishonesty; being healed with stones and peace. As advice, medication and spirituality are offered, it appears our heroine cannot be cured- she is taking drugs and still feels “like hell”. The composition mixes Revolver with Hole; touches of Nirvana and Queens of the Stone Age- a complex and varied composition. By tying in ‘60s-Beatles with ‘90s-Grunge, you get a mingling of primacy and Pop nuance; raw emotion and emotional complexity- one of the album’s stand-out moments. Coming next is Medicated. It starts with a wooziness and drugged-out crawl. The guitar is drunken and dark; night-crawling and baying- the instruments stab and retreat. Seeking light and creatures; the vocal seems like a mantra. It is the vocals that grip the most; cling to the mind and compel you to speculate. It seems access and success is not enough; those thoughts are repeated and reinjected- the words weaving inside the compositional notes. On this track, the band stand-out too: the composition is improvised and live-sounding; that energy and unpredictable force comes out- creating something dangerous and dark; engrossing and haunting. Purrfiction builds ever-up. Hazy and vibrating, the strings (electronics and percussion) slowly tease and glide. That composition then bursts and staggers into life. Thrashing and demonised, the track gets a shot of adrenaline- our heroine looks at “pull-down stitches” and “build-up bridges.” Lead vocal switches from purring and smooth to enflamed and desperate- mixing with the bolstering and primal composition. Touches again of Queens of the Stone Age come out again: that Lullabies to Paralyze–Era Vulgaris sound- the witch-like cauldron song; the dirty and disconnected emotions. Quite a delirious and trippy number; it is one of the album’s finest moments. Bells On is a stamping and ramping beast. It kicks right off the bat; that determination and urgency is paramount. The voice looks at dreams and longing; (it appears) these dreams have gone. Whether romantic or music-based (or something else), there seems to be loss and heartache- the sentiments are repeated; they get heavier and punchier. A track harder and more tortured- backed by a Grunge-cum-Noise-Rock parable- it shows the band at their exhilarating best. Later into the song, images portray animals (being beaten into the ground); odd and disturbed images are brought in- showcasing the band’s gift for lyrical evocation.
Improvised and on-the-fly, the album does not suffer preconceived ideas: that it is patchy and unfocused; lacking concision and depth- that is not true at all. The L.P. mixes themes and ideas; the vocals alternate between soothed and insatiable- the composition mutates and remains unpredictable. The entire group comes together superbly. Each track is tight and intuitive; the guys know their role- the vocal drives the composition; the composition inspires the vocal. Lead by a natural voice, Callaway brings vivid life to each song- her multifarious tones say so much; cover so much emotional ground. Some singers have a narrow and insipid voice; others are not adept at conquering too much territory- not really exploring the entire spectrum. Callaway is consistently stunning and dramatic; her voice brings each word to life- sucking the listener into her mindset. Backed by an incredible band; Get a Witness is a tremendous album. The production allows each note and idea to be heard; everything is extrapolatable and detectable- nothing gets lost in the mix. That lo-fi and live-sounding production makes (the album) sound like a live recording; you picture yourself alongside the band- as though you are watching them in concert.
I would recommend you check-out Get a Witness: an album that steamrollers the Punk/Alternative scene; offers something fascinating and fresh- a band with a huge amount of confidence and passion. It is clear to all- and something the band would confess themselves- some songs/moments are divisive: certain tracks may split opinion; others are instant classics- whilst some take repeated listens. That is the point of great music: no band gets universal acclaim from all fans; for all of their tracks- the best acts are those that reveal their beauty (over time and listens). Queen Kwong- and their Sci-Fi-cum-Ancient-Egypt moniker- are a festival-primed band; they have the support and ammunition- why would you ignore their potential? Their sound will appeal to Punk-lovers old and new: those with their heart back in the ‘70s; those born in the ‘90s- the music reaches and touches a wide range of ages and tastes. Embers of Queens of the Stone Age, Bikini Kill, Nirvana and Patti Smith comes out: all tied around a very personal and original band motif. Carré Callaway is a striking and stunning singer: with sides of vulnerability, heartache and optimism, she (strikes me at least) a complex and fascinating woman- a singer with a unique voice; a personality that speaks to fans. She is not some faux-Punk Siren; an insincere and forced representative: she is a genuine article; a woman with a lot on her shoulders- able to exorcise those demons through some staggering and emotive music. The entire band is tight and electrifying; ear-grabbing and mind-altering: an act that should be ruling the festival scene; for many years to come. Having played Reading and Leeds- given the British audiences a first-hand window into their live majesty- the guys embark on a mini-tour. Having returned to the U.S. – and launched their album in New York- the band are back in Europe (in December) – taking in Germany and Holland. The Punk scene has changed somewhat (since the ‘70s and ‘80s0; its proponents have shifted focus and topics: less politicised and socially-motivated, the tendency is to concentrate on love and the self- something, perhaps, the younger generation will relate to (more heavily). It seems Queen Kwong have a unique opportunity: with so few Punk/modern band attacking politics and inequities; maybe they should rise through- tackle racial prejudices and gun violence; political corruptions and impunities. Maybe that is not their thing; they current music is connecting with a vast audience- I am happy for them for sure. It is a shame there are critics and naïve: those listeners not connected with the band; happy to distance themselves and snide- they are missing out on some terrific music. Whilst some songs require multiple listens- others are more direct and immediate- that is the band’s hallmark: in time, all of their songs reveal their charm; worm their way to the front- and make their effects known. It is time to end; and before I close things down, I shall return to my initial thread: concerning Punk bands; the range of acts on the scene- where do Queen Kwong fit in? Well, if you take their sound and album: how many other acts convey such a sense of occasion, drama and fascination?! With so many pale and sexless acts ruling the airwaves- the stations seem to be a mesh of bland and same-same acts blathering on- it is refreshing to hear Queen Kwong shout their intentions: shaking- up expectations and adding their dizzying assault; comingling old and new sounds- embracing tracks that speak to the masses. Aside from the clandestine ‘haters’- that spew their bile over YouTube – the reaction has been emphatic and impressive- fans from around the world have been keen to voice their praise. Callaway and her boys are on an impressive trajectory: off the back of some festival odyssey; Daniel P. Carter-inspired magic; some wonderful memories- the U.S. band are in rich vein; ready to kick (the world’s) ass- and make a name for themselves. It is still early-days period; the band is still honing, working and fine-fettling: Get a Witness sees few cracks and minor-notes; songs brimming with lustre and passion- a stunning grasp of concept and feel; few listeners will come away opinion-less and unimpressed. There is no much meagerness and unimaginative music (on the waves); that sallow and beta male wussiness- the public yearns for something with guts, grit and balls. The Americans offer just that; they go further and provide a deeply unique and fascinating experience: music that delves deeper and elicits resonance and reaction; combustible and strange music- guaranteed to impress and seduce. If you are not familiar with Queen Kwong, then rectify this: their new album is a perfect starting-place (make sure you hear their past work). As the weather changes; the season changes- and my musical mind grows weary of the established lot- I am seeking something alive and hopeful- music that goes beyond expectations. When it comes to L.A.’s Queen Kwong, my desire is not only met…
IT is hugely satisfied.
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