슬러지금속

Sludge metal
슬러지금속
기타이름
  • 슬러지
  • 오니의 파멸
양식적 기원
문화적 기원1980년대 중반, 캘리포니아, 워싱턴, 루이지애나
파생형포스트 메탈
하위장르
슬러지코어
지역풍경
로컬씬
기타주제

슬러지 메탈[1](sludy[2] metal)은 둠 메탈과 하드코어 펑크의 요소를 결합한 헤비 메탈 음악의 극단적인 하위 장르입니다.이 장르는 일반적으로 느린 템포, 조율된 기타, 가난, 마약 중독, 오염에 대한 허무주의적인 가사를 포함합니다.

슬러지 메탈의 사운드는 블랙 플래그, 플리퍼, 팽과 같은 캘리포니아 하드코어 펑크 밴드에서 1980년대 초중반에 기원을 두고 있으며, 블랙 사바스의 영향을 받아 템포를 늦추기 시작했습니다.이 소리는 10년 말에 멜빈스와 그들이 시애틀 그룬지 씬과 루이지애나 주 아이헤이트고드, 크로바, 애시드 배스에서 영향을 준 밴드들에 의해 확장되었습니다.1990년대와 2000년대에, 슬러지의 소리는 다양해졌는데, 뉴로시스, 아이시스, 컬트 오브 루나 등의 밴드들이 포스트 메탈을 개척하는 데 도움을 주었고, 남작 부인과 마스토돈은 장르를 진보적인 메탈과 융합시켰고, 디스토피아와 비탄은 크러스트 펑크와 함께했습니다.

특성.

멜빈스는 가장 초기의 그리고 가장 영향력있는 슬러지 금속 밴드들 중 하나였습니다.

슬러지 메탈의 주요 특징은 느린 템포에 다운 튜닝된 심하게 왜곡된 기타가 결합된 것입니다.[3]그러나 몇몇 밴드들은 템포 변화를 더 빠른 구간으로 사용하기도 합니다.슬러지가 다른 둠 메탈에서 파생된 스타일과 차별화되는 중요한 요소는 하드코어 펑크, 특히 장르가 높은 공격성과 비명을 지르는 보컬을 사용한다는 점입니다.[4]많은 슬러지 밴드들은 또한 남부 락과[6] 블루스라는 [5]산업 음악의 요소들을 사용합니다.[7]밴드캠프 데일리의 작가 노아 베를라츠키(Noah Berlatsky)는 이 장르를 "본질적이고 추하다"고 묘사했습니다.[8]

슬러지 메탈의 가사는 현실 세계의 주제를 탐구하는 동시에 종종 이러한 주제들의 어둠을 조명합니다.[9]마약 중독은 흔한 주제이고, 빈곤과 오염에 대한 논의도 널리 퍼져 있습니다.[7][10][11]

하드코어 쪽으로 더 치우친 슬러지 밴드는 때때로 게리 샤프 영과 데이비드 피어슨을 포함한 음악 역사학자들에 의해 슬러지 코어라고 불립니다.[12][13]뉴올리언스는 슬러지 코어 운동의 발상지이며,[14] 아이헤이트고드는 이 스타일의 선두 주자입니다.[12]최근에는 흑양벽, 앵그리 제독, 그리고 혐오스러운 철 나무늘보와 같은 밴드에 슬러지 코어라는 용어가 적용되고 있습니다.[15]

역사

블랙 플래그의 마이 워(1984)의 B면에는 초기 슬러지 금속 트랙이 일부 포함되어 있습니다.

1970년대 후반 시작된 하드코어 펑크의 사운드는 주로 높은 템포에 의해 정의되었습니다.그러나 1980년대 초중반에 캘리포니아 그룹인 Black Flag, Fang, Flipper 등의 밴드들은 현장의 많은 사람들에게 적대감을 주는 방법으로 느린 템포를 연주하기 시작했습니다.[16]1982년 초, Flipper의 앨범 – Generic Flipper는 "(I Saw You) Shine"의 경우 지저분하고 낮은 템포와 확장된 곡 길이를 사용하여 그의 책 "모놀리식 언더토우 인 서치 오브 소닉 오블리비언"에서 작가 해리 소드가 "슬러지 메탈의 생성"이라고 인정한 것을 창조했습니다.[17]게다가, 여전히 떠오르는 둠 메탈 장르의 선두 그룹 중 하나인 로스앤젤레스 밴드 세인트 비투스는 1984년 SST 레코드를 통해 그들의 셀프 타이틀 데뷔 앨범을 발표했습니다.[16]이 음반의 타이틀 곡은 밴드의 평범한 둠 메탈 스타일과 펑크의 요소를 결합하여 중간 템포의 하드코어 트랙을 만들었고, 작가 J. J. 안셀미는 "기록상 최초의 슬러지 메탈 곡"이라고 묘사했습니다.[18]그러나 블랙 플래그의 마이 워(1984)의 세 트랙 B-사이드와 블랙 사바스의 영향력을 수용한 것이 일반적으로 슬러지 금속 장르의 시작으로 인정받고 있습니다.[16][19]

마이 워의 영향력은 워싱턴의 급성장하고 있는 그룬지 장면인 시애틀에 특히 집중되어 10분 경고와 U-Men과 같은 초창기 밴드들에게 영감을 주었습니다.[20]1983년 워싱턴주 몬테사노에서 결성된 멜빈스는 마이 워와 앨범 제네릭 플리퍼의 영향을 모두 받아들인 가장 유명한 밴드 중 하나였으며 리볼버와 같은 출판사에서는 "슬러지를 발명한" 밴드로 묘사되었습니다.[21]하드코어를 연주하는 것으로 그들의 경력을 시작한 밴드는 1984년 시애틀에서 블랙 플래그를 본 후 "느리고 무거운 리프"를 연주하기 시작했고, 이후 많은 슬러지와 그룬지 밴드에 영감을 준 곡조 같은 음악을 만들었습니다.[22]1990년대 초, 사운드가든과 너바나와 같은 그룹들이 얼터너티브 록과 장르를 결합한 음악을 연주하며 광범위한 주류 성공을 거두면서, 이는 슬러지의 상업적으로 가장 성공적인 순간이 되었습니다.[8]

아이헤이트 갓은 뉴올리언스 슬러지 금속 장면에서 정의되는 밴드 중 하나입니다.

1990년대까지 루이지애나는 Acid Bath, Crowbar 및 Eyehategod와 같은 밴드와 함께 가장 크고 영향력 있는 슬러지 금속 장면 중 하나를 개발했습니다.[23]대부분의 지역 밴드가 빠른 시기에 주에서 형성된 최초의 슬러지 밴드 중 하나가 눈에 거슬리는 것이었습니다.밴드는 동료들을 적대시하기 위한 수단으로 블랙 사바스와 블랙 플래그의 영향을 받아 이에 의도적으로 저항했습니다.[24]다음 해, 아이헤이트고드는 이 장르에서 가장 영향력 있는 밴드 중 하나가 되었습니다.[2] 그들의 두 번째 앨범 Take as Needed for Pain (1993)은 많은 밴드들에게 영감을 주어 사운드를 형성하거나 변화시켰습니다.[25] 아이헤이트고드의 멤버들은 앞으로도 소일런트 그린, 크로바, 다운을 포함한 뉴올리언스의 대표적인 슬러지 밴드의 일원이 될 것입니다.[26]2009년 데시벨 잡지와의 인터뷰에서 다운 보컬리스트 필 안셀모는 "그 시절, 지하의 모든 것은 빠르고, 빠르고, 빨랐습니다.그건 오늘의 규칙이었죠그러나 멜빈스가 그들의 첫 번째 음반인 글루이 포치 트리트먼트를 발표했을 때, 그것은 특히 뉴올리언스에서 정말로 틀을 깼습니다.사람들은 느리게 연주하는 것을 좋아하게 되었습니다."[27]

캘리포니아 버클리의 924 길먼 스트리트 펑크 장면은 1980년대 후반에서 1990년대까지 상당한 규모의 슬러지 금속 장면을 만들어 냈는데, 여기에는 뉴로시스와 누트그루쉬가 포함됩니다.[28]뉴로시스는 하드코어 연주에서 드론, 주변 및 진보적인 스타일의 슬러지 메탈로의 전환으로 포스트 메탈 장르를 개척하는 데 도움을 주었고, 그 후 보스턴의 아이시스와 우메오의 루나 컬트에 합류했습니다.[2]비슷한 시기에 캘리포니아주 오렌지 카운티의 디스토피아는 데뷔 앨범 Human = Garbage를 발매했는데, 이 앨범은 슬러지 금속과 크러스트 펑크, 그리고 그라인드코어를 결합한 퓨전 보스턴의 비탄도 참여하고 있었습니다.영국에서는 1990년대에 퍼지 터널과 아이언 몽키 둘 다 멜빈스의 영향과 슬러지의 초기 소리를 수용한 유명한 밴드였습니다.[23]

1991년 조지아주 서배너에서 결성된 다마드는 두 장의 스튜디오 앨범 Rise and Fall(1997)과 Burning Cold(2000)를 발매했는데, 이 앨범은 슬러지와 그라인드코어의 영향을 받은 펑크를 모두 보여주었습니다.[31]Damad의 영향으로 Savannah는 2000년대에 Baroness, Black Tusk 및 Kylesa를 포함한 중요한 슬러지 금속 장면을 개발했습니다.펑크, 메탈, 록의 영향을 똑같이 받는 밴드들은 J.J. 안셀미와 같은 작가들에게 "사바나 사운드"를 언급하게 했습니다.[32]얼터너티브 록을 접목시킨 남작 부인의 진보적인 스타일은 2010년대에 상업적으로 큰 성공을 거두었습니다.[8]애틀랜타 출신의 마스토돈도 이 장르를 진보적인 요소와 비슷하게 결합시켰습니다.Kerrang!은 밴드의 첫 두 앨범 Remission(2002)과 Leviathan(2004)을 역사상 가장 중요한 슬러지 메탈 앨범으로 꼽았지만, 밴드가 발전함에 따라 그들은 점점 더 진보적인 메탈에 빚을 지게 되었고 슬러지에 덜 빚을 지게 되었습니다.[2]

참고 항목

참고문헌

  1. ^ Piper, Jonathan (2013). Locating experiential richness in doom metal (PhD). UC San Diego Electronic Theses and Dissertations. University of California, San Diego. Retrieved September 14, 2019.
  2. ^ a b c d Slessor, Dan (June 16, 2020). "The 13 Most Essential Sludge Records". Kerrang!. Retrieved September 22, 2023.
  3. ^ King, Ian Frederick (2018). "Sludge Metal". Appetite for Definition: An A–Z Guide to Rock Genres. Harper-Collins. pp. 404–405. ISBN 978-0-06-268888-0.
  4. ^ Robinson, Matt (April 29, 2010). "1980s heavy metal explosion: a guide to sub-genres". Retrieved September 24, 2023.
  5. ^ "Sludge Special". Terrorizer. No. 187. August 2009. p. 45. ISSN 1350-6978. Punk and metal may have gotten together to create sludge, but they were an infertile couple. Someone else had to provide the turkey baster that would lead to the resulting offspring of the clash of seemingly disparate genres, one that even if it shouldn't be labeled can still be seen as a distinct, unique musical entity. 'Honestly in the beginning it was like, old Swans, SPK. That's where we got the feedback and shit and the noise,' explains EyeHateGod drummer Joey LaCaze on said baster. 'The industrial side, the sampling, like the first album and all the Manson shit we did on Take As Needed for Pain,' continues Mike IX Williams, 'that was like Throbbing Gristle influence you know.'
  6. ^ Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda. p. 97. ISBN 978-0958268400.
  7. ^ a b "On March The Saints: The Evolution Of New Orleans Metal". The Quietus. Retrieved September 24, 2023.
  8. ^ a b c Berlatsky, Noah (October 5, 2017). "Sludge Metal: Doom's Filthier Sibling". Bandcamp Daily. Retrieved September 21, 2023.
  9. ^ Anselmi, J.J. (2020). Doomed to Fail. Rare Bird. p. 145. Because sludge is slow metal often written by people who grew up playing punk, there's a sneering irony you won't find in doom. Instead of depicting that most epic battle between good and evil, or reaching for spiritual truth, sludge is typically more grounded, delving into life's negativity while laughing at its absurdity.
  10. ^ Travers, Paul (May 21, 2020). "Crowbar's Kirk Windstein: "Your friends have been calling and freaking out, you've been on some cartoon called Beavis And Butt-Head"". Kerrang!. Retrieved September 24, 2023.
  11. ^ Anselmi, J.J. (2020). Doomed to Fail. Rare Bird. p. 172. Even when the punk influence is more buried than it is in Melvins or Eyehategod's music, sludge bands often focus on social ills like economic disparity, humanity's incessant drive to poison the earth, and widespread addiction. They typically provide snapshots without solutions: "Look at this shithole, here's music to match it."
  12. ^ a b Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda. p. 137. ISBN 978-0958268400.
  13. ^ Pearson, David (2020). "Ch3-The Dystopian Sublime of Extreme Hardcore Punk". Rebel Music in the Triumphant Empire: Punk Rock in the 1990s United States. Oxford University Press. p. 121. ISBN 978-0197534885.
  14. ^ Bukszpan, Daniel (2012). The Encyclopedia of Heavy Metal. Sterling, New York. p. 91. ISBN 978-1402792304.
  15. ^ Heilman, Max (March 3, 2021). "Album Review: BLACK SHEEP WALL Songs for the Enamel Queen". Metal Injection. Retrieved October 3, 2023.
  16. ^ a b c Earles, Andrew (September 15, 2014). Gimme Indie Rock 500 Essential American Underground Rock Albums 1981-1996. Voyageur Press. p. 41. Side B is just three tracks, each over six minutes long, played at a menacing crawl. It's post-Sabbath sludge-metal or proto-noise rock, depending on how you wish to retroactively consider this stuff against the underground rock history that came before and has transpired since. What's clear is that Greg Ginn and his close confidants were paying attention to the tiny but autonomous doom-metal scene that was fracturing away from the power- and thrash-metal movements (not such a reach considering that the new movement's progenitor, Saint Vitus, had just released its debut full-length on SST a month before My War came out). Black Flag wanted to raise the bar set by fellow exploring hardcore colleagues Flipper, Void, and Fang. And, as with Flipper, part of the motive for such a drastic shift was the desire to aggravate narrower minded hardcore patrons who showed up to see Black Flag rip through a bunch of two-chord, minute-and-half burners a faction of fans and bands that had, unfortunately, grown into a nationwide movement majority by 1984. My War polarizes Flag fans to this day, but there's no debating the mark it left on later trailblazers like the Melvins, Drive Like Jehu, Unsane, Mudhoney, and Nirvana-not to mention the influence it had on the seriously heavy and slow metallic rumblings of Kyuss, Sleep, and Earth.
  17. ^ Sword, Harry (February 4, 2021). Monolithic Undertow In Search of Sonic Oblivion. Orion. Predating both Black Flag and the Melvins in reversing punk's tendency towards escape velocity tempos, Flipper would extend their set into sludgy jams (venues would often have to pull the plug), distorted, beer-soaked trance-inducing mantras that led to their infamous 'Grateful Dead of punk' tag. Best known in the underground consciousness for their vital influence on Nirvana (Kurt Cobain was often photographed in a Flipper shirt while Nirvana bassist Krist Novoselic briefly joined a reformed Flipper in the late noughties) they were formed by Vietnam vet Ted Falconi, with bassist Will Shatter, singer Ricky Williams and drummer DePace in 1979. Debut LP Album Generic Flipper (1982) primal. The genesis of sludge metal is writ large on the doom- laden eight-minute trudge of '(I Saw You) Shine', which pivots on a slow-creeping bassline over which Ted Falconi's guitar atonally drones while Ricky Williams wails about 'lights going out' and 'flesh stripping from bones'. An atmosphere of mental disarray prevails. 'Way of the World' riffs on eternal doom while 'Life is Cheap' brings a mournful atmosphere, almost gothic in portentous dread, as Williams offers a dirge-like mantra on the futility of existence. Shards of angular noise, off-beat, jazz-inflected rhythms and angst-ridden screams - taken at volume it becomes a power dirge that threatens to overwhelm.
  18. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 73. Saint Vitus recorded its self-titled EP in 1982. Because of legal troubles SST faced, the record didn't come out until 1984. Saint Vitus takes Sabbath's crawl to a primal extreme, replacing the jazz flourish with Neanderthal simplicity. Exactly like Black Flag and Minor Threat's music, part of the LP's appeal is that it doubles as an invitation, encouraging fans to play music. The first track, "Saint Vitus," is mid-tempo hardcore doused in distortion—and quite possibly the first sludge metal song on record. Crooning like Bobby Liebling, Reager's vocals surf atop a toxic wave of Chandler's guitar and Acosta's drumming, which has its own riptide. Halfway through, a punk choir yells, "Saint Vitus / Saint Vitus / Saint Vitus Dance!" brilliantly utilizing hardcore's trope of group vocals in a metallic context.
  19. ^ Hoad, Catherine; Kahn-Harris, Keith; Hill, Rosemary Lucy (June 28, 2019). Australian Metal Music Identities, Scenes, and Cultures. Emerald Publishing Limited. p. 57. While marking definite starting points in any popular music genre is unwise, there is something of a popular consensus that Los Angeles acts Black Flag and Saint Vitus were pioneering in their combination of hardcore and metal during the early-to-mid 1980s. While typically shorthanded as the birth of slower, heavier sounds - notably sludge-metal - this L.A. moment also opened up a broader legacy whereby hardcore's separatist do-it-yourself (DIY) ethos, guitar techniques and normative masculinities started to occasionally merge with heavy metal's ever-present desire for abrasiveness, extremity and 'rebelliousness'. The hybridisation of these two once-distant poles of heavy guitar rock was far from smooth - Black Flag's slow, heavy tempos and metal hairstyles grated with punk audiences - but the hardcore touring routes Black Flag established effectively popularised the concept that metal and punk could be combined, and this idea took root quickly.
  20. ^ Michaels, Alex (July 16, 2020). "Grunge? You can thank Black Flag for that". Metal Hammer. Retrieved September 21, 2023.
  21. ^ "How Melvins Invented Sludge: "Ugly Spawn of Punk and Metal"". Revolver. October 31, 2019. Retrieved July 2, 2023.
  22. ^ Novoselic, Krist (2004). Of Grunge and Government: Let's Fix This Broken Democracy!. Akashic Books. p. 6. ISBN 978-0971920651.
  23. ^ a b Hobson, Rich (July 22, 2023). "A beginner's guide to sludge metal in five essential albums". Metal Hammer. Retrieved September 22, 2023.
  24. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 148. The band formed in the spring of 1988 when guitarist Jimmy Bower and vocalist Mike Williams decided to start a band that would mix equal parts Black Flag and Black Sabbath... "Eyehategod started as a way to piss people off," Patton remarked. "All the heavy music around here was fast, thrashy stuff, so Eyehategod slowed it down as much as possible and made a bunch of noise, basically. It was a way to say fuck you and make everyone hate them. And it worked, man. People fuckin' hated them. For the longest time, I was one of the few guys who actually enjoyed the hell out of it." About his band's modus operandi, Williams said, "That was the concept of Eyehategod in the beginning: to play as slow and aggravating as possible and just destroy people."
  25. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 148. The impact of Take as Needed for Pain was immediate. Several Eyehategod worship bands cropped up, most of which are pretty awesome. That's how you know a band is onto something real: the bands who copy that style outright are still good. But few have done sludge so well since—except, of course, for Eyehategod.
  26. ^ Monger, James Christopher. "Eyehategod Biography by James Christopher Monger". AllMusic. Retrieved September 22, 2023.
  27. ^ Mudrian, Albert, ed. (2009). Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. Da Capo Press. p. 268. ISBN 9780306818066.
  28. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 176. Noothgrush came to life in 1994, arising from the punk scene that spawned Neurosis. A cornerstone of that scene was Berkeley's 924 Gilman St. venue, which has always championed progressive and anarchist politics. By then, Neurosis had already begun its (still ongoing) exploration of the unconscious mind. Noothgrush followed a route similar to the concrete poets, focusing on the most negative aspects of humanity. Inspired by Grief, bassist-vocalist Gary Niederhoff and drummer Chiyo Nukaga wanted to craft the slowest, most aggravating music they could, finding like-minded musicians in Luis Davila and Tom Choi, former guitarist of Asbestosdeath.
  29. ^ Pratt, Greg. "DYSTOPIA - HUMAN = GARBAGE". Brave Words & Bloody Knuckles. Retrieved September 24, 2023.
  30. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 172. This is a long way of saying that Grief is a sludge band. The Boston quartet began near the end of 1991, when Disrupt guitarist Terry Savastano started jamming with drummer Pete Donovan. Bassist Randy Odierno and guitarist-vocalist Jeff Hayward, both of Disrupt, became part of the fold to form Grief. Disrupt is a rancorous crust band in the spirit of Doom. Similar to Lee Dorrian, Hayward utilized harsh screams that, in the nineties, were more common to anarcho punk and grindcore than sludge, making Grief's painfully slow music even more, well, painful. Instead of the sprawling narrative arcs that undergird many doom tracks, Grief's songs are unmelodic and monotonous—musical flatlines. It's hardcore punk drowning in existential quicksand.
  31. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 219. Kylesa cofounder/guitarist-vocalist/recording engineer Phillip Cope played in Damad alongside the notorious vocalist Victoria Scalisi. Formed in 1991, Damad combined the biting rancor and dissonance of Dystopia with Cavity's towering riffs and raw energy. Scalisi's vocals are sandpaper to the ears, making Damad's transitions between grinding punk to mid-tempo sludge unequivocally brutal. Her screams have a dying-prisoner aura, and it's chilling. For nine years, Damad delivered poisonous sounds to small-yet-diehard audiences across the country, the musical version of that deviant who puts cyanide in candy for kids during Halloween. All the people who gobbled those Tootsie Rolls never forgot Damad. A large part of that stemmed from Scalisi's inimitable presence... From 1994–2000, Damad put out a handful of demos, EPs, seven-inches, and two acidic LPs: 1997's Rise and Fall and 2000's genre-dissolving Burning Cold. Damad's music is a head-fuck, and not in a "Look what I can play!" type of way, but more along the lines of eroding listeners' self-esteem. Burning Cold is like Dystopia's Human = Garbage, recreating the band's misanthropic worldview so well that it could plausibly push someone to build a cabin in the woods, cut off all human contact, and die alone. It's also another Billy Anderson production that redefined heavy music.
  32. ^ Anselmi, J. J. (October 11, 2022). Doomed to Fail The Incredibly Loud History of Doom, Sludge, and Post-Metal. Rare Bird Books. p. 219, 225. Savannah's history is laced with ugliness, from unspeakable racial violence and discrimination to the struggle of transitioning from an agricultural economy to an industrialized one. Much like the Wilmington Collins described, Savannah is now performing that awkward juggling act of sustaining an economy that's based partly on manufacturing and largely on service. It only makes sense that the city would birth Blacktusk, Baroness, and Kylesa, bands that mix punk, metal, and rock in what's now referred to as the Savannah sound. But before those groups, there was Damad... In 2016, after fifteen years of recording and touring, Kylesa announced an indefinite hiatus. Not long after that, Damad confirmed a few live dates, igniting hopes for a new record. But Victoria Scalisi's death in 2017 laid Damad to rest forever, leaving holes in the hearts of her bandmates and loved ones. In the form of her music and influence on bands like Baroness, Blacktusk, and of course Kylesa, Scalisi continues to live. While Kylesa's future is up in the air, Pleasants recently started a project called The Discussion, and Cope formed a group named Oakskin. Both bands journey through unique visions of psychedelia and show plenty of promise. Regardless of what the future holds, Damad and Kylesa have irrevocably tainted the already-corrosive river of sludge.

간행물