Get ready for one of the most anticipated open-air rock events of the summer! Rockowizna Festival returns to Kraków on August 28–29, 2026, bringing a massive wave of distortion, high-energy performances, and an unforgettable atmosphere to the historic grounds of the Polish Aviation Museum (Lotnisko Rakowice-Czyżyny).
Bringing together legendary Polish rock staples alongside high-octane international acts, this year’s edition promises two intense days of live music across generations of rock and metal fans.
Two Days of Pure Energy: The Kraków Lineup
The organizers have put together a stacked roster of heavyweights, underground favorites, and stadium-filling acts split over the two-day event.
Day I – Friday, August 28
Day one kicks off with a raw blend of gothic glamour, thrash metal, punk, and modern alternative rock:
Lord of the Lost (Germany’s dark-rock icons bringing their dramatic, industrial-tinged sound)
Acid Drinkers (Polish thrash metal legends returning to tear up the stage)
Nocny Kochanek (Poland’s beloved heavy metal parodists known for their hilarious lyrics and stellar musicianship)
Pull The Wire (Energetic punk rock anthems)
The Analogs (Street-punk veterans bringing raw street credibility)
Day II – Saturday, August 29
The second day steps up the melody, nostalgia, and sheer rock adrenaline:
Lacuna Coil (The Italian symphonic/gothic metal titans delivering massive riffs and soaring dual vocals)
Coma (One of Poland’s most iconic alternative rock bands)
Royal Republic (Sweden’s explosive rock ‘n’ roll disco hitmakers guaranteed to get the crowd moving)
Dżem (Immortal Polish blues-rock legends)
Zenek Grabowski (Unfiltered solo madness and high-energy fun)
Romantycy Lekkich Obyczajów (An eclectic blend of alternative, pop-punk, and folk-rock)
Festival Essentials & Tickets
When: August 28–29, 2026
Where: Muzeum Lotnictwa Polskiego / Lotnisko Rakowice-Czyżyny, Kraków, Poland
Tickets: Both 2-day passes and single-day tickets are available now via official ticketing platforms including eBilet.pl and Eventim.pl – tickets can also be purchased right here.
Whether you’re in it for the international headliners or the best of the Polish rock scene, Rockowizna Kraków is set to be a highlight of the August festival season. Grab your tickets early before tiers sell out!
REZN – Cycles In The Infinite Dream (Sargent House) [Matt Bladen]
Doom? Prog? Psych? Saxophone? Flute? Lap Steel? Ok you got me, I guess I’ll dive into and probably love another album from Chicago, Illinois, virtuosos REZN.
It’s been a decade since they formed and defined their own niche in the music world, coming from the heavy foundations of psychedelic stoner doom over the years and across five previous albums they’ve added extras that have shifted them into the prog-sphere, using instruments I’ve mentioned that may be more at home in jazz or country genres.
It’s this experimentalism that has gained them a very dedicated following and positive reviews across the board, fusing cavernous doom riffs and a tsunami of synths, on new record Cycles In The Infinite Dream they’ve expanded their minds to go further into psychedelia while amplifying the other elements of their music as well.
The album explores “the nexus of our waking and nocturnal worlds” as if lost in the subconscious, they weave a sonic tapestry that combines multiple skilled performances into nine complex songs, that never stay too long as prog often does, but squeezes a lot into run times that are between 4 at their shortest and 8 at the longest.
With Rob McWilliams up front on guitars/vocals, he’s joined by Phil Cangelosi on bass and rainstick, Patrick Dunn on drums and Spencer Ouellette, who has a lot of work to do with synths/lapsteel/sax/flute/keys, this is the four piece who create all of incredible music here as Natalie Drakes and Ómkara Gil add violin and cello to two tracks, to add yet more musical dexterity and dynamism.
Dreamy textures on Aerial Birth, through to the Mastodon meets King Crimson of Transient, and the cascading melodic doom of The Vessel which reminds me of Pallbearer while Primal Thread takes me into the realms of Elder whom REZN will be supporting on tour next year. That promises to be a brilliant set of shows as Cycles In The Infinite Dream is another incredible record from these Chicago innovators. 9/10
Dead Meadow – Foundlings (Heavy Psych Sounds) [Rich Piva]
Dead Meadow rules, so any new Dead Meadow material is very welcomed, even if it is an odds and sods type deal, like the band’s latest release, Foundlings. Foundlings is one of those “deep dive into the archives” type releases that, not surprisingly, has some pretty great songs on it, both covers and original material from sessions over the past two decades.
What makes this one even more special is that it is dedicated to late band founder and bassist Steve Kille, who recently passed away from cancer and who plays on all of the tracks on Foundlings.
So what are these seven songs all about? Fuzzy, spaced out psych goodness that you expect from one of the best bands ever to do it, like on the opener, Lost To Light, which quality-wise is as good or better than anything that wound up on the great Voyager To Voyager, the sessions from which it was recorded. A killer version of the track Nobody Home, from the 2018 record The Nothing They Need, recording for an EarthQuaker session, is up next and it is more of the same greatness from the band, with the rhythm section locked in and that guitar tone, highlighting how great the band is live, even if it is live in the studio.
Also recorded live in the studio, Kingdom Of Heaven is a cover of a Powell St. John, who I have not heard of before, but whose song is a spacy, atmospheric Twin Peaks vibes journey that has a killer solo. We even go back to 2001’s classic Howls From The Hills, and a session version of the killer trippy-as-hell Everything’s Goin’ On. Sure, throw in a cover of one of the greatest songs of all time, The Beatles’ Tomorrow Never Knows, done in Dead Meadow fashion, and have me listen to it 20 times in a row.
This one is worth the price of admission alone. While we are at it, let’s get a cover of the Led Zep classic No Quarter. Also great. From The Children Of Planet Earth closes Foundlings out, and is a weird, synth driven mindbender that closes this set up perfectly.
Any Dead Meadow is great Dead Meadow, and the seven “from the archives” tracks on Foundlings are certainly worth your time, especially if you are a fan who can’t get enough of unheard material from one of the best bands out there. RIP Steve Kille. 9/10 Emptiness – Nowhere Speaks (Season Of Mist) [Mark Young]
Emptiness’s Nowhere Speaks is a timely reminder that its simply impossible for me to like every piece of music that I hear. There are some things that were they to fall into someone else’s lap then the conversation would be different and to be fair I have been on a good run so I guess it’s the law of averages.
In any event, it’s the kind of thing that attempts to do something different and ends up being falling short, at least of the promises made in the extensive bio that accompanies the release. Its good enough to explain to those who may not know that its opening track directly where a track from 2014 abruptly finished, bearing in mind that there have been releases in between then and now. I’m not sure if that statement set the tone for me, are those in the community really scratching their collective heads as to what happened back then? I don’t know, I’m sure someone will tell me.
What follows next is a collection that merges differing approaches – true extreme metal, noise, electronica that looks to shine a light on them for how unique they are as a band. One thing their bio gets right is that they have no interest in making things easy for the listener. That’s completely fine, be abrasive and uncompromising but come armed with songs that provoke a reaction, be it joy or pain. Their songs fall largely into the middle groove, offering neither to me.
I expect extreme metal to excite me, to be visceral and here they fail until they get late into things and drop The Clash Of Forces, which at least has a direct, forward kicking movement to it. It is saying a lot that we have got to track 8 before something has landed and has made a mark. Is this what they had in mind, is this what they wanted from this release?
No idea but the cacophony falls away, replaced by Next In Line. It’s a 4 minute track where 2 or more minutes are wasted and any kind of late album momentum is lost. Its more than likely that fans of the band will get onto this immediately, understanding and maybe expecting that the content here will deploy the way it does. For me, it just feels like a gigantic waste of my time.
All For Nothing is the closing piece and lives up to its name. I’ve looped backwards to the start again, just to see if I pressed play at the wrong time, but no. Its definitely you not me. 5/10
Hexorcist are a Death Metal band out of Miami, Florida, in the United States. They’ve been together since 2019, already having a sizable discography then any band would be happy with two demos, a full-length and two splits to their name. Known for their raw sound, your poor ears won’t last long with the sound being turned all the way up.
A unique situation for me today as I’m not only covering their new LP, Crucificial Imprecations, but also a combo release featuring two remasters, one being their first studio effort Evil Reaping Death and the other one is of their first demo, Bestiarum Vocabulum.
Starting off with their first album, Evil Reaping Death, it presents pummelling drums and bass which reach through your stereo and contort your body into shapes that you didn’t think were possible.
In under 40 minutes it achieves chaos and what it set out to do but at what cost? The crop of songs that flow in and out of each other have a real hitting quality to them, a lot of them with dynamic changes which keep you guessing and your head banging. Hexorcist are definitely showing a lot of love here for classic Death Metal, Raw Black Metal and for sure a lot of old-school Doom too.
Now I haven’t heard the original mix but if this is a remaster then you can definitely here it. A lot of the time in this warts and all approach the bass often gets forgotten about but not here, it seems to be turned all the way up. It’s organic though as slides and curves around the other instruments very well.
As I mentioned beforehand, packaged alongside Evil Reaping Death, you also get the band’s first moment with the demo, Bestiarum Vocabulum. This early recording strikes me as more of a full on assault by Hexorcist. What I mean by that is, the instruments come together in one full swoop, comparing it to their other releases, Bestiarum Vocabulum is more like a gun, every little element works together to form a movement, whether the others feels like five archers, shooting their arrows at one target, it’s not the same. 7/10
2026 is a new era for Hexorcist, their last record at this stage was their split with Morbid Messiah which was put out in 2023 and a lot can happen in three years, now Crucificial Imprecations awaits…
The album presents half an hour of power with eight tracks, again keeping things concise which is something that we all like to see. Guess what happens here? Yep full-throttle blasting from every direction, sending you to an early grave.
The drums across the album are the highlight for me, being at times they are so overpowering, they might as well have knocked out the bass and guitar in real-time. Crucificial Imprecations takes on a deep love for Black Metal here, so much so that all of the dynamics and detail are sucked into a black hole.
If you’re looking to be buried by repetition then this record is for you. Compared to the band’s previous material it only really has one thing going for it, it’s an evil scientist that focuses on one thing constantly and rolls around in bed endlessly sleeping on that thought and that is destroying the world that created him.
Thankfully it ends before the point where it gets far too much for me, I can only hear the same thing so many times. I’m left hungry for more and I come out of Crucificial Imprecations with the same feeling that I have a lot of the time with Death Metal, if you want to end existence, it doesn’t have to be done in one way.
It’s easy for a band to make something sound dark but it’s going to take a lot more than that for Hexorcist to scare me. 5/10
Texan death metal five-piece Prophecy premiere a new single and music video by the name of "Wolves", streaming via YouTube for you now below.
Read More/Discuss on Metal Underground.com
Chicago, IL-based hardcore quartet Know Pain premiere a new single titled "Fear Me", streaming via YouTube and Spotify for you now below. Tyler Shelton (Traitors) and Austin Hayes (Heavy//Hitter) guest on this particular track.
Read More/Discuss on Metal Underground.com
“Deliverance” by Luke Stanley presents an intriguing atmosphere. Its generous reverb and crunchy guitar create a psychedelic environment. This sonic backdrop shapes a sense of suspension, almost like a mirage. The song explores the moment of realization when one recognizes lingering thoughts of someone they wish to forget.
This moment of suspension is universally relatable. Many listeners have experienced similar feelings as they navigate their emotions. Stanley’s music embodies this hypnotic quality while remaining distinct within its own realm. The particular sounds interspersed throughout add depth to the listening experience.
An ethereal pad introduces a spacious auditory experience. This element emphasizes the notion that the song might be more of a mirage. The psychedelic nuances blend with a groove that feels almost stifling. This unique combination envelops the listener, ensuring a profound emotional impact.
Deliverance – Sound and Atmosphere
The lyrics poignantly depict memories intertwined with an unresolved past. They reflect the struggle to move on from someone, highlighting the emotional weight of reminiscence. Throughout “Deliverance,” listeners witness a dynamic portrait of nostalgia and resistance.
The combination of rhythmic complexity and emotive melodies enhances the song’s themes. The intricate layers engage the audience, inviting them to reflect on their experiences. The music elicits a sense of empathy, making it relatable on multiple levels. Every note feels like a gentle push towards understanding and acceptance.
Stanley’s vocal delivery is equally impactful. His voice carries a weight of emotions, underscoring the song’s intent. Each phrase feels charged with a reality that many individuals face. By merging lyrics with evocative instrumentation, he crafts a narrative that resonates deeply.
Deliverance – Performance and Production
The instrumentation stands out in its psychedelic leanings. The use of guitars layered with ambient sounds creates a rich texture. This richness is essential in maintaining interest throughout the song. The gradual build-up allows listeners to immerse themselves in the journey.
“Deliverance” delicately balances intensity and calmness. There are moments of heightened emotion followed by soothing interjections. This ebb and flow effectively guides the listener through their introspection.
Luke Stanley’s “Deliverance” stands as a thoughtful examination of emotional complexity. Its peculiar influences combined with relatable themes engage a wide audience. The sonic journey invites listeners to reflect on their own pasts.
This single is likely to resonate with anyone grappling with similar emotions. “Deliverance” effectively captures that bittersweet moment of reflection.
Reinterpreting a legendary song like “Woman” by John Lennon is no small feat. Dan Szyller’s rendition impressively fulfills this challenge. It is refreshing that the original vibes have been preserved. The song maintains a clear connection to the original while integrating typical sounds from the 1980s. The production feels more modern, yet the attention to detail in the music is remarkable.
One of the standout aspects of this version is the subtle variations in the vocal interpretation. Szyller’s voice is distinct, showing a mix of timbres that range between baritone and warmth. This quality adds intensity to the overall feel of the song. The slight changes in interpretation contribute to making this cover a noteworthy version by Dan.
This rendition keeps the romantic and dreamy vibes of the original piece while adding the unique touch of an artist with his own vision. The modern production elements fit well within the framework of the classic song. Szyller successfully navigates the challenge of paying homage to Lennon while establishing a voice that is readable and fresh.
Woman – Sound and Atmosphere
The combination of synths and traditional instruments evokes the essence of the 1980s while remaining accessible to contemporary audiences.
Listeners will find familiarity in the melody, which is comforting and nostalgic. The arrangement reinforces the emotional core of the track. By staying true to the original while incorporating modern elements, Szyller creates a bridge between generations of music lovers.
The production quality is another highlight of this single. Every layer of sound is well-defined, creating an immersive listening experience. Szyller and his production team devoted considerable effort to ensure that the final product meets high standards of excellence.
Woman – Performance and Production
The choice to reinterpret such an iconic song invites listeners to explore both Szyller’s artistic interpretation and the underlying message of the original. This version encourages reflection while remaining enjoyable.
Szyller’s version of “Woman” is a commendable endeavor. It captures the spirit of the original while showcasing a modern sensibility. The attention to detail in production and vocal interpretation is impressive. Dan Szyller proves his capability as an artist through this single, appealing to longtime fans of John Lennon and new listeners alike.
This single is a reflection of artistic evolution. Dan Szyller has not only respected the legacy of a classic but has also made it his own. As we listen to this version, we can appreciate the blend of nostalgia and innovation that defines his music.
This week’s “Dark Wave” featured music by New Order, Lowlife, Front Line Assembly, Peter Murphy, The Sound, Concrete Blonde, Prong, Simple Minds, The The and more.
Day Of The Eagle Bridge Of Sighs In This Place Fool And Me Too Rolling Stoned About To Begin Lady Love Little Bit Of Sympathy
Who would have thought that Robin Trower, the “backroom” guitarist with the stately keyboards-led Procol Harum, would become one of the great blues rock guitarists?
It was the second of his power trio’s superb trilogy of back-to-back albums in the mid-70s that sealed his reputation. Beginning with the stuttering riff of Day Of The Eagle, the album combines urgency with gravitas. ‘A cold wind blows and gods look down in anger on this poor child,’ sings bassist James Dewar as the title track unfolds with a vast, slow momentum, like a planet drifting through the void.
It’s a beautifully balanced, dynamic record filled with quality songs, masterful playing from Trower (Bridge Of Sighs, Too Rolling Stoned) with his overdriven, reverb-drenched, swirling psychedelic sound and Hendrix inflections, plus some outstanding performances (About To Begin, In This Place) from the peerless Dewar.
Bridge Of Sighs peaked at No.7 in the US and remains one of the pillars of Trower’s repertoire to this day.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Standing on the Verge of Getting It On – Funkadelic
Okie – J.J. Cale
Exotic Birds and Fruit – Procol Harum
Hamburger Concerto – Focus
Houston (I’m Comin’ to See You) – Glen Campbell
Positive Vibrations – Ten Years After
Road Food – The Guess Who
Secret Treaties – Blue Öyster Cult
Unconditionally Guaranteed – Captain Beefheart & the Magic Band
Sweet Fanny Adams – Sweet
What they said…
“At his best, Trower’s gauzy sheets of oozing, wistful sound and subtle use of wah-wah combine with Dewar’s whisky-soaked soul-drenched vocals to take a song like the wistful ballad “In This Place” into orbit. “Too Rolling Stoned,” another highlight and one of the most covered tracks from this album, adds throbbing, subtle funk to the mix, changing tempos midway to a slow, forceful amble on top of which Trower lays his quicksilver guitar.”(AllMusic)
“The song ideas are strong, and Dewar’s vocals are impressively sturdy, but ultimately it is Trower’s virtuosic touch, the nuanced tone of his Strat and the intrinsic skill of the ‘bends and wobbles’ that Robert Fripp so admired on which the success of Bridge Of Sighs rests.” (Uncut)
“Throughout you can almost play ‘name that Jimi’ (try the last third of Too Rolling Stoned, where you can namecheck maybe four passages you’ve heard somewhere before), but with the raw bluesy voice of bassist James Dewar and Trower’s writing the album manages to find its own voice. On the slower About To Begin the guitarist leans more towards Peter Green and a whiff of Carlos Santana’s purity of tone.” (Elsewhere)
What you said…
Adam Ranger: Such a good choice! As teenagers, my friend and I listened to Trower a lot. We could not understand why he was not talked about in the same terms as Hendrix, Page, etc. Very underrated outside of certain circles.
The Hendrix style is unmistakable at times, especially on Day Of The Eagle and Little Bit Of Sympathy. The power trio format may help that impression.
That said, he is no Hendrix tribute act. He has a wonderful style of his own. I love the way he often avoids obvious guitar licks and builds atmosphere instead (a good example is the title track). But when he lets himself go, it’s a joy to listen to.
Special mention to James Dewar’s bass and vocals. He has a wonderful voice for this style, low but melodic. Maybe comparisons with Cream are as valid as the Hendrix ones? The cover art always put me in mind of stirred cream…. A brilliant blues rock album that scores highly for me.
Philip Qvist: In the mid 2000s, as established South African radio stations started to shun rock music, record companies started to issue CD compilations of rock music from assorted artists, with a collection of songs from the usual suspects such as Deep Purple, Rainbow, Boston and Kansas. And believe it or not, it was on one of those compilations that I was first introduced to Robin Trower, via a live version of Too Rolling Stoned.
I had never heard of this guitarist and songwriter until then, and it’s only after that moment that I started to listen to a couple of his songs, even if they never made it onto my playlist of essential songs.
So listening to Bridge of Sighs this week is my first real introduction to Robin Trower the solo artist, and I thoroughly enjoyed it. Too Rolling Stoned, Bridge Of Sighs and Day Of The Eagle are my picks, but in truth there aren’t any duds on this record.
Special mentions must go to singer and bass player James Dewar for his soulful singing, and drummer Reg Isidore for maintaining the pace. An 8/10 from me; I’m just glad that I finally got to listen to Bridge Of Sighs (named after a racehorse, I believe, and not the structure in Venice).
Jackie Craig: I bought this when it was first released. Re: the title track, when that riff comes in for the first time it still has the same mesmerising effect on me all these years later; probably more so now that I’m so much older. Day Of The Eagle is a great opener, and in fact the entire album is an absolute feast. 10/10.
John Davidson: Great album. Bridge Of Sighs is a fantastic track, but Too Rolling Stoned is the one I listen to most often.
I recall Trower being criticised for aping Jimi Hendrix, but while I can hear a little of his inspiration on some tracks, it’s not overdone. The vocals are another highlight, and the bass and drumming complete the set. It’s perhaps not groundbreaking, but it’s very accomplished and a thoroughly enjoyable album.
Mark Herrington: My first introduction to Robin Trower was hearing the meaty Victims of the Fury on the radio in 1980, and buying the single. Intrigued, I bought the album, probably his hardest-rocking LP. From there, I was hooked on his bluesy psychedelic style.
Then I picked up a second-hand vinyl copy of Caravan to Midnight for £1, a much more languid, dreamy offering. Gradually, I worked backwards through his albums, until probably his best work, Bridge of Sighs (1974).
Trower excels in his expressive, psychedelic, and soulful bluesy guitar, dovetailing naturally with James Dewar’s deep, emotive vocals. I gravitate to his slower, more expressive tracks such as Bridge Of Sighs and In This Place, where every note seems to linger and carry meaning. But I also love the muscular virtuosity on tracks like Too Rolling Stoned.
He is a master at bringing the guitar to life and giving it a voice, underlined by his live performances, where he seems to mouth every note he plays. Overall, probably Trower’s finest work.
Mike Canoe: A classic blues-rock album. The title track is still the most amazing and astounding thing here, but the rest of the album is enjoyable too. Much as when we reviewed Twice Removed from Yesterday in the club’s second year, I am struck by how bassist and singer James Dewar is the band’s not-so-secret weapon. While Robin Trower is deservedly the name above the title, Dewar’s gruff but melodious voice complements Trower’s playing perfectly. He doesn’t overemote or ape other blues singers; he just sings. The overall restraint of the musicianship is impressive, and the songs are songs first and not just showcases for guitar wankery.
Come for the title track, stay for In This Place, Too Rolling Stoned, The Fool and Me, and Lady Love.
Greg Schwepe: If you’re looking for another album to add to your “1970’s Rock Guitar Album Time Capsule” (there is such a thing, right?) before you bury it, look no further than Robin Trower’s Bridge of Sighs to throw in there with a few other good ones. How often have you heard an album called “dated?” Well, this one is. Sounds just like 1974, and meant to be that way!
This has all the hallmarks of a classic 70’s guitar-fest album; the tasteful guitar tones of Robin Trower, the soulful vocals (and bass) of James Dewar, and the grooving drums of Reg Isidore. Ah yes, the Power Trio. It’s been proven many times, you only need three guys to make an awesome racket.
The clarion call of Day Of The Eagle leads off the one-two punch of Sighs. The galloping and repeating riff gets your attention. And then, right at about three minutes in, the tempo slows to a halt, but your attention does not. Trower’s bluesy soloing finishes out the song. They are not the first band to change tempos and time signatures for effect, but they do it with authority.
The title track is next, and Trower’s trilling hammer-on note that fades in changes to a sparse three-four note repeating groove that is spacey, atmospheric, pulsing, and undulating, all at the same time. The layered repeating guitar sections at the end with the blowing wind sound effects make for a trippy end to the song.
I had read in liner notes how some thought Trower was a bit of a “Hendrix Clone.” Yes, he played a Strat through a Marshall, and used many of the same effects (Univibe, Wah-Wah, Leslie) as Jimi, but he had his own style. I think I also read that Trower said that if you’re going to be accused of copying someone, Hendrix wasn’t a bad person to be compared to.
Too Rolling Stoned is another riff-filled monster where Trower’s wah-wah pedal and Univibe get quite the workout. Once again we have a ton of riffs that then hit the brakes at about the 2:45 mark. Dewar’s vocals and the bluesy riffs finish out the rest of the song. Extended guitar solo anyone? Yes indeed. Along with a thumping drumbeat to keep you engaged.
I did a deep dive on Robin Trower’s catalogue several years ago after hearing Bridge of Sighs on the radio after not having heard it in years. While I had certainly heard of Trower before, his music was not a regular staple on the radio where I lived. “Oh yeah, I have got to check him out.” A compilation CD led to purchasing most of his catalogue. Which then turned into another “Wow, what have I been missing?” moment. 9 out of 10 on this one for me. Come for the title track, stay for the rest.
Final score: 8.91 (59 votes cast, total score 526)
From that interstitial and liminal period between speed metal and death metal, bands like Possessed and Merciless emerged long ago, but the tradition carries on with high-speed contrast and vertigo from Ripper.
Frenzied riffing fits in mostly circular songs with layers and lots of breaks between transitional riffs that do not so much temporize as offer precipices between inertia and radical change, giving the sense of an unfolding topography where the expected becomes the alien and the oppositional subsumes the norm.
Speed metal fanatics will find too much tremolo picking, and death metal fanatics too much bounce, but in the end, this album delivers straightforward metal anticipation and inversion of the normal, delivering a surreal world of conflict and usurpation.
If you love this music: 
