Grand Theft Auto 4: The Lost and Damned (2009, Xbox 360)

With a roaring introduction to a gang of all-American biker badasses, Rockstar's The Lost and Damned episode serves as an enticing return to Liberty City and all the virtues and vices therein. The Lost and Damned adds a few glittery bits to the GTAFormula (I'm so clever), but nothing here changes the overall mission structure or basic gameplay.

Let me just say this: I fucking love biker gangs. I love Hunter S. Thompson. I love Sons of Anarchy. My family has a history of outlaw bikers that goes back to some of the first days of Harley Davidson. I could not enjoy The Lost and Damned, no matter how hard I tried.

The Lost are an outlaw MC based out of Liberty City with an entirely forgettable cast of "characters". I put that in quotes because the characterization here is so lacking compared to the base game. One of them has a wife, that much I can tell you. Your character, Johnny Klebitz, has a junkie ex girlfriend that he just can't seem to shake. TLAD really shoots itself in the foot with characters pretty early on; the most interesting character, Billy Grey, (President of The Lost MC) falls out of the story just when things are getting rolling. Billy was a total prick, but well-written and well-acted, to the point where he was overshadowing everyone else in the same scenes. I was sad to see him go and even more sad that he doesn't really return much.

"Missed opportunities" seems to be the theme of TLAD. From the character problems I already mentioned to the under-utilized new mechanics introduced, the whole thing reeks of what could have been. Johnny can ride in formation with other bikers, refilling his health, armor, and repairing his bike. It's too bad that the other members of the Lost are such miserable fuckwits! As it stands, their erratic riding behavior and inability to turn corners lead to formations only working on long straight stretches of uninterrupted road. The formation mechanic, much like Billy Grey, also disappears early on in the game, never to return.

I hated the cycle of re-buying health and armor after every mission in GTA4, and formations seemed like a promising way to get out of that. Soon enough, though, I was calling up my body armor dealer every few minutes and eating as many hot dogs as I could. Why, oh why, couldn't I keep up the formation riding? It was pretty fun for the few moments that it lasted.

Despite being firmly planted in the boots of Johnny Klebitz, for all intents and purposes, The Lost and Damned could have been a Nikko Bellic adventure. You perform exactly the same kinds of missions for the same contacts; hell, you even end up doing a few of the same missions from the base game in a different perspective.

Not only will you be re-treading some ground with TLAD, you'll be losing some of the features that make GTA4 fun. I never encountered another outfit for Johnny, despite reading in a few previews that it would be possible to change his look. Lots of the interiors are gone from your map, though you can still frequent a Cluckin' Bell if you manage to find one that's open. You can still do side missions and hang out with your friends, but there's no real reason to anymore.

Though the overall picture is pretty grim, there are some things to like about The Lost and Damned. The new racing mode is gloriously reminiscent of the almighty Road Rash, with every racer armed with a baseball bat. Johnny K rarely travels alone, and you can call for backup from your brothers while out on "club business". The AI is surprisingly competent in a firefight, and it definitely takes some of the sting out of the still-terrible action mechanics.

Changes in the motorcycle physics have also lessened my disappointment in TLAD. No longer do you have to meticulously avoid contact with any other object in Liberty City when on a bike; your chopper has a real feeling of weight now and is far more useful as a vehicle. You'll still get shot at far too easily riding it around, but once you ride the new bikes, you'll feel like a chump climbing into a cage again.

If you're really, really hankering for more GTA4, The Lost and Damned may be right up your alley. It feels very tacked on to the original experience, and if you just can't get enough, you'll be satisfied.

The Lost and Damned is about $20 in MS funbucks. Not a bad price for the 10 or so hours of content, but not a good one either. If you simply must have more Grand Theft Auto, I'd at least recommend waiting until it's on sale. TLAD is very much more of the same, and it falls apart over the course of the game just like it's predecessor did. It's just that much harder to forgive the same flaws twice.

Verdict: Indifference [5/10]

http://www.rockstargames.com/thelostanddamned/index2.html

Silencer - Death - Pierce Me (2001)

Aside from their exceedingly rare 1998 demo, the infamous Silencer's only release is one of those albums that separates the boys from the men. Any tasteful fan of suicidal black metal will appreciate the depressive atmosphere conjured by the quality guitarwork and surprisingly clear bass, the standard driving blastbeats, and the- oh, shit, the vocals. Have mercy!

Death - Pierce Me boasts a unique vocalist in Nattramn: this genuinely disturbed individual displays his range across the album's six tracks with occasional grunts and growls, but it's his anguished, piercing shriek that sets him apart. He does not care how cool you think he is, he does not care about... well, anything but expressing his own personal apocalypse as he hurtles towards the bitter end. He will make or break your enjoyment of this suicide soundtrack.

Silencer does not let you get comfortable, whether it's sharp turns into piano interludes in the first and final tracks or "The Slow Kill In The Cold" and its absolutely frozen synths that lay you in an ice bath for your wrists to stain red.

I Am What You Deserve
Death Do Me Submerge

Take a rope, take a razor, take a gun. They're just different roads to your destination.

Verdict: Epic Win [9/10]

http://www.myspace.com/silencerswe

Arch Enemy - Black Earth (1996)

It is a crime that fame and praise have come to Arch Enemy only with their most recent efforts, Doomsday Machine and Rise Of The Tyrant. Sure, while there may be some very nice solos and generally good songwriting, their first three releases outclass their last four in every department. Starting things off we have 1996's Black Earth, a dark, heavy, fast debut that set the stage for one of the better melodic death metal bands to come out of Sweden in the 90s.

Black Earth begins with the poundingly fast "Bury Me An Angel", one of the best cuts on the album characterized by what made Arch Enemy and the Amott brothers well-known: catchy riffs and great melodies with fantastic solos sprinkled throughout. This trend of quality continues with the next few tracks, "Dark Insanity" and "Eureka", the latter being my personal favorite on here, having some of the best riffs the band ever recorded. Following that we have "Idolatress", with a catchy-as-hell chorus. "Cosmic Retribution" is another fine song, this one with a rare acoustic lead with a distinct Latin flavor. The last two songs are also great, packed with Johan's snarling vocals and Daniel Erlandsson's blasting drums, leading to the rather abrupt ending. The first of the bonus tracks available is "Losing Faith", which has a nice headbanging feel to it and fits well on the album. Finally there are two Iron Maiden covers, "The Ides Of March" and "Aces High", both of which I am not very fond but aren't without their charm.

Unfortunately no album is without its flaws and AE's are present here. The riffing in some spots is so simple and repetitive that it can be hard to distinguish one song from the next until the inevitable stuck-in-your-head-for-days chorus or face shredding solo. The lyrics can be a bit painful as well, but only for a few lines at a time, never for an entire song. The biggest disappointment here are the two brief instrumentals, "Demoniality" and "Time Capsule". Both are short and rather uninspired sounding and I end up skipping them when I listen to this album. AE's talent for these tracks would only be heard on their follow up to BE, Stigmata. One final flaw that I find here is the length of the disc, only 32 or so minutes.

Black Earth is not the best album that came out of the Swedish melodeath explosion, nor is it the best effort from Arch Enemy but it is still a solid album full of great songwriting and awesome solos that deserves praise and recognition amongst their growing discography.

Verdict: Win [8.5/10] (god turned his back on man in divine resignation)

http://www.archenemy.net/

Dragonland - Astronomy (2006)

Four albums deep and this fantastic Swedish act proved yet again that they are criminally underrated amidst the prog/power metal circle. Astronomy is a glorious effort which manages to transform even its more annoying elements (I'm speaking of the guest fairy metal vocals and chug rhythms) into strengths. Jonas Heidgert sounds excellent here, his voice a clarion which should appeal to fans of other Swedish power metal acts like Nocturnal Rites or Dream Evil. On the whole, this album feels a little less ambitious than its predecessor Starfall, but the qualities remain intact.

"Supernova" is an excellent choice to lead off the album. It begins with a perhaps too-obvious sample under some ambience, then a symphonic synthesizer sequence is accompanied by some chugs and a pick-up riff which leads into the female vocal part, which I admit with some guilt, is quite beautiful. The verse has an excellent little guitar fill which breaks up its basic chugging structure, and this really makes the track. "Cassiopeia" once again uses the female guest vocals to good use, here she sounds a little like Anneke (ex-The Gathering). The verse to the track reminds me a little of Evergrey, and the chorus features Heidgert and Elise doing a dual melody. "Contact" picks up the pace considerably with some great riffing, and I enjoy how the verse begins with just Jonas, the drums and some ambience. The chorus features some anthemic European metal closer to their first few albums, and a great little shred. The title track is another hard rocker with some great melodic voice work. "Antimatter" actually sound slike a melodeath track at first, and Jimmie Strimmell of Nightrage contributes a few backing snarls. "The Book of Shadows Part IV: The Scrolls of Geometria Divina" is a nice break and totally different from what you've heard so far. It's a symphonic instrumental with some nice vocal samples and a tribal buildup. Really cool, and would probably do well in a video game. Other notable tracks are the anthemic "Beethoven's Nightmare", "Direction: Perfection" with its catchy verse synthesizer, and the three part symphonic/prog metal epic instrumental closing the album, called "The Old House on the Hill". My only complaint with this is it may have benefited from more use of the vocals to tie the album together, but as it stands it is still quite enjoyable.

The mix is excellent as with so many of these power metal albums. The synths and guest vocals are used to great effect and the band is endowed with talent in all departments. That being said, I wound up liking this a little less than Starfall. Either way, fans of power metal with prog leanings owe it to themselves to track this band down.

Verdict: Win [8.5/10] (bring me one last choice)

http://www.dragonland.se/

Bloodbath - Resurrection Through Carnage (2002)

There are recipes for success and then there are recipes for success. Combine the talents of Jonas Renkse (Katatonia, October Tide), Blakkheim (Katatonia, Diabolical Masquerade), Mikael Akerfeldt (Opeth), and Dan Swanö (Edge of Sanity and a few hundred other bands) into a loving tribute to their death metal roots, then profit. The Breeding Death EP from 2000 was a nice teaser, but fortunately the band saw fit to record all new material for this full-length debut, which for a while, remained my favorite of this project's albums, though pretty recently I've come to the conclusion that its successors have indeed surpassed it.

Bloodbath were not out to win any awards for innovation, but to strip away the complexity of their current projects and have a good time writing what comes natural, old school Swedish death with the crunch on overdrive. That the songs are this polished is a testament to the compositional and production skills of its membership, but I wouldn't necessarily consider this a classic for the genre (and I think other retro Swedish death bands, like several of Rogga's projects, are superior).

The album begins with a nice fade in to "Ways to the Grave", a crushy blow to the skull with a nice creepy riff after the midpoint. "So You Die" begins with a tearing lead over a thick rhythm, then splitting off into some groovier segments. "Mass Strangulation" has a great, wailing atmosphere during its breakdown which is one of the more kickass moments on the album. "Death Delirium" is a fine track, highly reminiscent of old Entombed. I'll be honest, almost the entire album sounds like a sequel to Clandestine. But that's not a bad thing. Other standout tracks here include "The Soulcollector", the riffy "Bathe in Blood" and the brutal "Like Fire". It's good to hear Nystrom performing in a different style than his usual gothic/doom leanings, and Akerfeldt sounds absolutely intense in his vocals here, easily the rival of any of his Opeth growls.

Resurrection Through Carnage succeeds at its goal, and it's always great to hear a group of veterans put something like this together. The effort is sincere and should not only appease fans of the early Swedish bands, but perhaps even drag some fans of the members' newer works into the style. The day some Opeth scenester kids come up to me at the mall and tell me they've been listening to Dismember or Paganizer will be the day I can die happy.

Verdict: Win [8/10] (poisonous, vile obedience)

http://bloodbath.biz/

Shining - V - Halmstad (2007)

While the entirety of vocal work found on V - Halmstad is Swedish, it is not necessary to understand the lyrics to be transported to a self-destructive space of mind. The album begins with a spoken word introduction, a recitation of "Antigonish" by Hughes Mearns in English before Shining envelops you in shadows. Evil dual guitars swirl in the opening track "Yttligare Ett Steg Närmare Total Jävla Utfrysning" before giving way to an eerie acoustic melody accompanied by the sound of rain. Drums and a cold bassline re-emerge, followed by singer Niklas Kvarforth, sounding nearly soothing. The track's opening maelstrom shows again, briefly, and then once again after another more calm, and yet wholly sinister interlude.

The second track again begins with dual guitars, an acoustic paired with an electric meandering in the background, together weaving a sorrowful sound not unlike something from Agalloch. Shining charms you with these beautiful and haunting musical spells before grabbing you with some considerably evil, unique black metal. There are a number of these relatively peaceful bits interspersed throughout the music, but the backbone of Shining is a driving, grim assault that sucks you in and allows you a glance at perdition. During the fourth song "Besvikelsens Dystra Monotoni," another acoustic melody appears, accompanied only by drums, and Kvarforth demonstrates truly tortured vocals, showing incredible range as he shifts from convincing wails of pure anguish to sounding briefly like Tom Waits possessed.

Shining as a band display plenty of malice and uncomfortable, creepy tunes, and yet remain playful enough to work a cowbell into their album. It is this experimental aspect of the band, and of course their obvious diverse musical talent, along with some impressive vocals, that keep me coming back to V - Halmstad, and other albums by the Swedish masters of suicide.

Verdict: Win [8.5/10] (deny tomorrow)

http://www.myspace.com/shininghalmstad

Dark Tranquillity - Fiction (2007)

This is one of those few albums that manage to sneak up on you, draw you in, and get stuck in your car's CD player for months on end. The first track, "Nothing To No One", starts innocently enough but about half a minute into it the track changes direction and from that point on your stuck. Not until the last note of "The Mundane and the Magic" do you even consider lowering your volume to pick up the kids from school, driving by a funeral at a church, or even passing a cop at three in the morning.

Dark Tranquillity have always released very, very good albums but not until Fiction have they hit their mark. Their past two efforts, Character (2005) and Damage Done (2002), added more of their original death metal roots to their music but each album never had much punch to it. There were definitely some good tracks on them but also a good amount of filler songs. Fiction (2007) fixes this. Whether it be "The Lesser Faith", "Blind Heart", or "Icipher" with their explosive choruses, or even "Nothing To No One", "Empty Me", or "Focus Shift" with it's heavy punch, this album doesn't stop. Where this album really shines though are it's four more oddball songs. "Inside The Particle Storm" is one of those tracks where the title explains the exact feeling of it. With a couple simple guitar chords that seeminglessly blend right into an huge sound and amplified into your ears, it does the trick. "Misery Crown" and "The Mundane And The Magic" highlight Mikael Stanne's clean vocals, the former even being complimented by with Threate Of Tragedy's female vocalist, Nell Sigland.

Now, "Terminus (Where Death Is Most Alive)"? That track has everything a melodic death metal fan will want from a band. Honestly, if someone made top 15 list of melodeath songs, and this wasn't on there I'd be pissed. An awe inspiring keyboard intro, to some heavy guitar chords, to an explosive chorus... ugh, just go listen to it already.

Verdict: Epic Win [9.5/10] (if I could merge the mundane and the magic)

www.darktranquillity.com

Darkane - Layers of Lies (2005)

It took a few albums for Darkane to trump their excellent debut Rusted Angel, but trump it they did. Both Insanity and Expanded Senses maintained the band's use of technical precision, high velocity Swedish death/thrash, but they lacked a little of that debut's depth and biting, charismatic edge. Layers of Lies recaptures that quality and complexity, and in fact surpasses it. I was initially thrilled by the album, but it wasn't until recently that I started spinning it again and became even further enamored of its charms.

Layers of Lies, as the title might imply, is a bewildering and challenging arrangement of piston fueled Swedish thrashing the likes of which only Darkane can conjure. The composition skills of Klas Ideberg and his bandmates are stunning, and I haven't been able to appreciate thrash at this level since the late 80s; bands like Artillery or Deathrow jump to mind (in terms of their riffing skills, they sound nothing like Darkane). This isn't a wanking type of technicality though, it's a skill at creating innovative note selections and an almost constant business to the guitars. I admit, not all of the tracks here stand out right away. It's the type of album that will grow upon a listener as the boundaries of its gray matter expand to the devastation. Add to this the best vocal performance (and sad swan song) of Andreas Sydow to date and you've got a total crusher. The lyrics to the tracks are excellent explorations of violence and the social construct; the human organism and its true purpose and limitations within the confines of nature and civilization.

It begins much like Rusted Angel, with an orchestral intro. This one is known as the "Amnesia of the Wildoerian Apocalypse", named for the band's amazing drummer/composer. The end of the intro begins a slow thrashing haul, and then "Secondary Effects" explodes onto your ears with more passion than most other bands can summon throughout their entire careers. The verse riffs are absolutely fucking intense, and Sydow BEATS the lyrics into you harder than Tomas Lindberg or Anders Fridén could even dream of doing (no offense to that pair of vocalists). The bridge riff is unbelievable, and the chorus epic, as Sydow coughs up:

Orgasmic smell of blood, a new born beast
I have become, I have arrived to join this feast
Born a beast

Once this fantastic track ends, there is no rest for the wicked. "Organic Canvas" bewitches you with its winding chops, barbaric drumming and catchy barking. "Fading Dimensions" begins with a few doomy tones but it isn't long until you are once again pummeled with Darkane's brand of depth charge thrash metal broken up by catchy vocal hooks. The title track is immaculate; beautiful acoustic and lead tapestries part into a bludgeoning and intense mid-paced thrash hook which is so industrial in its feel that you can close your eyes and instantly summon a vision of a long forgotten, rusted but still operative factory churning out waste. The chorus here is also particularly fetching. "Godforsaken Universe" picks right back up into the faster pace, and "Vision of Degradation" works its slower voodoo upon you, picking up for some intense grooves that will probably make you at least ball up your fists, even if there is noone standing nearby to hit with them. "Contaminated" is just par for the course, but begins with a sort of bluesy entry into its sheer awesome. "Maelstrom Crisis" is a glorious instrumental piece which evokes some classical/acoustic sounds amidst its inventive thrash. "Decadent Messiah" starts with bass and then injects a little mathematical groove before it really picks up. Another killer chorus shouts:

Kneel down
Bow before his feet
The master of deceit
Bloodstained, raging liar
Rule with death and fire
Decadent Messiah

The album offers no relief on the ending track "Creation Insane". You won't want any relief, because this is just that fucking good. Trust me, if you don't pick it up the first listen through, continue to do so. You will worship this. Hell...even if you DO pick it up the first listen through, listen to it again! The mix of the album is crushing, one of the best I've ever heard from a Swedish metal album. Every subtle note and bold crushing rhythm is balanced to perfect effect. Sydow's vocals truly stand out and it's a goddamned shame he left after this album. The following album Demonic Art is simply not this good, nor is Jens Broman (a decent vocalist in his own right). Even the cover art here is pristine.

As a musician myself, this is the type of album that turns me vomit green with envy, because I know I will likely never in my life create something of this depth and complexity. It's a flawless album and the fact it's been overlooked by many aside from the usual crowd of Darkane fans or those deep into the Swedish death/thrash scene is once again a crime against humanity. What more could I possibly offer that wouldn't simply be stealing away your attention or time in tracking down this album for yourself?

Fuck. Fuck. Fuck.

Verdict: Epic Win [10.5/10] (no one survives a visit in my hell)

http://www.darkane.com/

Witchery - Restless & Dead (1998)

When Witchery first arrived on the scene, formed from the 'ashes' of Seance and Satanic Slaughter, I was truly blown away, for their debut Restless & Dead marks one of the very best of the retro thrash metal efforts. It is exciting, entirely memorable and delivers a finely honed blackened edge to its thrash/speed/heavy metal influences, in particular the German sect of cult thrash gods such as Sodom and Destruction. It's a phenomenal album which has rarely been equaled or surpassed, not even by its own follow-ups which have gotten progressively weaker in each iteration. It's also a lot better than any of the works from its members' previous bands (as well as Patrik Jensen's other riff vehicle The Haunted).

But let's stick with Restless & Dead, shall we? "The Reaper" doesn't simply burst out of the starting gates, it pulls down the entire stadium as it fires up. This is quite possibly one of the best first tracks on any metal album, ever. It thrusts along with a furious thrashing pace, Toxine's vocals dripping their pure venom across some pretty kickass lyrics. Yeah, you might think snarls of 'the reaper reaper reaper comin' to get ya!' are pretty hack, but in the context of this song they are maddeningly awesome. The riffs are some of Jensen's best written, in particular the great bridge before the final chorus of the song. Sparse and filthy leads also adorn this gem. Challenge to all 'retro' thrash/speed metal bands: let's hear you write a song like this!

"The Reaper" would be enough to satisfy any non-poseur in the universe, but fortunately Witchery saw fit to hook us up with the rest of the album too. The band's namesake "Witchery" has a killer, caustic groove hook which alternates into brutal classic speed metal verse and an intense volley of chords for its brief choral bridge. "Midnight at the Graveyard" begins with nice samples of rain and a tolling bell as it fuels up its incredible thrashing might. "The Hangman" is a slower tune with some excellent Mercyful Fate influence (a band bassist Sharlee D'Angelo has also played in). "Awaiting the Exorcist" is an glorious, driving track with some killer vocals and burning leads. Insanely riffy. So you've already got an incredibly worthwhile album and you're only halfway through. The rest is pure thrash poetry. "House of Raining Blood" is a slower, moodier track with a creepy old school horror theme. "Born in the Night" lets the cut of its bladed axes begin before picking up with a beat, this one has a thrash/power metal crossover feel which is highly effective. "Into Purgatory" is yet another mandatory riff slugfest, and the final, title track is nearly as intense as "The Reaper". Did I mention I loved the lyrics on this record, as simple as they were?

Let me take you to the promised land
I will lead you there by the hand
Feel the cold that pours out from my soul
(where) I will take you - you will need no more
Place your trust and only faith in me
I'll step in and I will set you free
I'm the hated I'm the so called mean
But I don't judge - you are indifferent to me
Sleep a lifetime - Die an eternity
Deathrider in the sky
Place your trust and only faith in me
I'll step in and I will set you free
I`m the hated I`m the so called mean
But I don't judge - you are indifferent to me

You just don't hear an album this well-crafted every day. It retains its level of excitement even now, with a bold production. I've often felt Toxine's snarls were a little too low in the mix of some songs, in particular on the followup Dead, Hot and Ready. This is not the case here, as they are perfect. The riffs conjured up here by Jensen & Co. are molten fucking hot, the band truly had a grasp on what made their influences so strong and channel it forth into an album that is effective and fun. It is a shame they've never been able to rival what transpired on this disc. Dead, Hot and Ready is still pretty good but nowhere near as catchy in my opinion.

Thrash until death! And do it to this album.

Verdict: Epic Win [10/10] (an incantation of the dark)

http://www.myspace.com/witcherytheband

Blodsrit - The Well of Light Has Finally Dried (2006)

One of the striking things about Blodsrit, and in particular this album, is that they eschew the warmer tones typical of the bigger Swedish black metal bands in lieu of a frost-tainted Norse style. They lack for none of the melodies of their countrymen, however, and The Well of Light Has Finally Dried is a majestic and nihilistic credit to its title. Cold and dreary, charging riffs accent their creepier, slower passages, think of sitting in the middle of a northern European woodland on a winter afternoon. Consider some of the members performed in death metal bands prior to this, it's an effectively grim offering, their fourth full-length.

"Illumnious Tu" spaces in with subtle guitar feedback ambience, polymorphing into a very cold but beautiful riff of evocative atmospheres. Naahz' extremely grim snarls create a dense wall of despair, and the song gives plenty of space to its mid-paced blasting charge riffs. "Into Nothingness" opens with a cold and flowing stream of speed plucking lavished in horrifically gorgeous chords. "Vid Grimnas Stränder" is one of my favorite tracks here, begins with a steady and subtle bass groove before the towering chords crash across, like waves of blackened blood over a marble bleak shore. "En Enslig Klagan" is a beautiful interlude with some hymnal and conversational samples beneath a steady clock ticking, fulfilling folk acoustics and some other sparse effects. This is offset by "Jord", one of the faster tracks here, but interspersing its blasting blasphemy with some interesting pauses between beats, and a Bathory-like mid paced verse. "Dödsraseri - den segervissa modern" is a somber and twisting. depressive track which closes the album slowly.

The Well of Light Has Finally Dried! It's a pretty brief album, clocking in at just under a half hour in length, but do black metal albums need to be much longer? Not to be effective. And this is effective. Grim and oft simplistic, it's tonal structures should be pleasing (or displeasing) to the fans of suicidal black metal. But the album also betrays a depth few of your average bedroom black metal acts can fathom, a sadness and glory and an awareness of the margins of the modern world. Many consider their previous effort Helveteshymner to be their strongest work. This album is slightly shorter, but I would consider it equally potent. Nice cover art, too, which of course immediately recalled Massive Attack's Mezzanine.

Verdict: Win [8.5/10]

http://www.blodsrit.se/