Tear Down The Walls! New Music From Angra, Lione/Conti, Visigoth and More!

Here we are again, with a sequel to February’s Throw Open the Gates! review blitz, this time with more albums from these first two months and change of 2018. It has certainly proved to be the busiest opening release salvo of any year in recent memory, and things don’t seem to be slowing down in the next few months. There’s a few things that I didn’t review here that we’ve covered on our last two recent episode of the MSRcast, so you might also want to check those out if you are on the hunt for new music. A lot of these releases have been amazing, but not all —- I’ve got your back though, just think of me as your new release concierge. A lengthier look at the new Judas Priest album is next on the agenda, and I’m sure there’s going to be yet another of these multi-review clusters coming out relatively soon too. Headphones ready…

 


 

 

Lione / Conti – Lione / Conti:

Weirdly, Fabio Lione is at the vocal helm of two albums released within the span of a month, well okay one and a half albums. Just before the release of Angra’s OMNI (reviewed below), he and Luca Turilli’s Rhapsody/Trick or Treat vocalist Alessandro Conti released their Frontiers Records (of course!) debut duets album. If that phrase conjures up images of Lady Gaga and Tony Bennett dancing cheek to cheek, or Sinatra and Bono cozying up at a bar drinking shots of something, then you’re actually not far off the mark —- these guys are indeed trading off vocal runs in true duet fashion. Frontiers does a lot of these types of projects, thinking of course of the Allen/Lande pairing, but also the recent Timo Tolkki star studded solo project, as well as the Kiske/Somerville stuff. This time the “staff writer” is Italian guitarist Simone Mularoni (of Italian prog-metallers DMG), who counterbalances the Italian penchant for high gloss factor power metal with an ample dose of AOR styled hard rock. Now I get the draw —- this is basically two generations of Rhapsody vocalists coming together for a vocalists duel (whatever that might mean), and on paper its bound to attract the ears of many a power metal fan. And to their credit, Frontiers Records does often deliver good records behind these so transparently obvious they’re ridiculous ideas, in fact, I still love those Magnus Karlsson’s Free Fall albums.

 

The tricky bit with this Lione/Conti extravaganza rests on how you answer this one question, and maybe its just me but… don’t these guys sound exactly alike? Luca Turilli didn’t just randomly pick Conti off a list of available vocalists to front his new version of Rhapsody, he did it because he could continue writing in the same mode he had been during his time in the original incarnation of Rhapsody of Fire. It was honestly only when watching the music video for “Ascension” when I was finally able to tell who was singing what, and even then I couldn’t discern any reasonable variations in their voices to help me throughout the rest of the album. I’m not sure if this is even a stumbling block when it comes to enjoying this album or not, because even though I’m really only hearing one voice to my ears, I’m rather liking Mularoni’s meat and potatoes approach. It mirrors the last Rhapsody of Fire album Into The Legend, with its stripped down songwriting that seemed to maximize hooks and memorable melodies at the expense of grandeur and ambition. Songs like “Destruction Show” work because of awesome guitar hooks to keep everything focused and concise, and “You’re Falling” has a nice Queensryche vibe to its vocal melody arrangement. Its a solid listening experience in full if you’re in the mood for straight ahead AOR tinged Italian power metal, but as they really could’ve used either Lione or Conti for the project alone, the duets aspect of this fails hard.

 

 

 

 

Angra – ØMNI:

So I’ve given this new Angra album a decent amount of playtime, enough I think for it to fully reveal itself, and I gotta say I’m a little ambivalent overall. In retrospect, Secret Garden was a far more interesting album than we gave it credit for, and its varied collection of vocals might have played a part in that. Not only did Fabio Lione have his debut turn there, but Rafael Bittencourt also added his excellent, rough-edged voice to several songs as well, that’s not to mention the guest turns by Simone Simons and the amazing Doro Pesch. It wasn’t perfect, but it was surprising and kept you guessing. ØMNI is a far more straightforward affair, with Lione getting most of the vocal time although Bittencourt does pop up and there are a few guests, including Alissa White-Gluz on “Black Widow’s Web”, a song that absolutely didn’t need growling vocals but, well, here we are. I enjoyed “Insania” for its beautiful guitarwork and stirring melody, despite shaking my head at just how silly the term “Insania” is (isn’t that what Geoff Tate’s wine was called?). Someone once told me that it was the Latin version of “Insane” and it took me an incredible amount of patience to simply grunt and nod. Moving on, “The Bottom of My Soul” is such an excellent tune, and not coincidentally Bittencourt’s on lead vocals —- is it wrong to suggest that maybe the band sounds better when he’s singing? I’m sure that’s fighting the spirit of their legacy and the impressive work of the Andre Matos and to a lesser degree, the Edu Falaschi years, but damn he sounds great.

 

Lione’s best work comes on “Always More”, a lovely ballad with some unusual guitar tones at work in absolutely gorgeous, simple melodies, combining with an ascending vocal melody that makes use of his effortless ability to hit higher registers. Regarding the departure of Kiko Loureiro, its hard to gauge —- I’m going on the assumption that Bittencourt penned most of the music here, but the now Megadeth guitarist does pop up in a guest spot on the single “War Horns”. I can only say that there’s enough shred factor here to satisfy the most ardent prog-power guitar fanboy out there, and at times Angra even sounds more like Dream Theater considering the tonality of Lione. The last two tracks on the album invoke the title, being the concluding companion pieces to what apparently is a concept album (about a science fiction future in 2046), but they fall flat, being neither heavy or melodic or heady enough to inspire any particular emotion. A rough ending for the album overall, and not a way to get people invested into the album’s concept. Maybe this will grow on me over the coming months, there’s some stuff worth coming back for, but I just find myself wanting to listen to Secret Garden again.

 

 

 

 

Tengger Cavalry – Cian Bi:

A few years ago I was introduced to Tengger Cavalry’s particular take on folk metal with their mixing of Mongolian throat singing and nomadic Asian traditional instrumentation. I was immediately intrigued and checked out a few albums on YouTube, and while I enjoyed what I heard, it was a difficult proposition to simply work into casual listening. Tengger Cavalry is one of those rare breeds of folk metal bands that don’t give you an easy entry way into their sound, there are no instantly accessible tailored singles that can draw a bigger crowd, no “Trollhammaren”. They’ve been unapologetic about their sound, and its also worth noting that the metal aspect of their folk metal seems largely devoid of allegiance to one particular metal style, being just straightforward heavy riffs, plain and simple. Their newest album, Cian Bi, is simultaneously their weirdest yet most straightforward album to date —- its also, shockingly, their last. Just the other week, band founder Nature (yes) Ganganbaigal issued a rough statement throwing the blame on ex-Century Media president and current M Theory Audio owner Marco Barbieri. I’m not well informed enough to make any judgements either way but that’s a bummer, and you have to wonder if Nature is dissolving Tengger Cavalry in name only to terminate any existing business agreements, and will regroup under a different name doing the same type of music.

 

One can only hope, because I’ve been enjoying this new album far more than just the passing casual listens I had with their back catalog. I don’t know if its their best work overall, but there’s something deeply appealing about this bizarre mish mash of elements. Of particular note is just how hard hitting some of the riffs gluing everything together can be, case in point are cuts like “The Old War”, and the pummeling “One Tribe, Beyond Any Nation”. The latter is my personal favorite, featuring a gorgeous melody played on a morin khuur (horsehead fiddle), an incredibly appealing instrument that I’m glad I now know the name of —- all blockaded by some seriously brutal, Rammstein-esque riffage. Besides the traditional instrumentation, Nature’s uncanny vocal ability is also a huge draw for me, as in “Ride Into Grave and Glory” where he switches between the throat singing and his clean rock/metal vocals. It might be an acquired taste for some, but even his “normal” vocals have character, a rustic quality that brings to mind grassy steppes and gritty, grimy back alleys in dense cities all at once. This is a listening experience best beheld start to finish, with the album as the soundtrack to your thoughts or random mindless activity. There’s a spiritual aspect to this blend of folk metal that’s hard to define and even harder to shake.

 

 

 

 

Visions of Atlantis – The Deep & The Dark:

Austria’s Visions of Atlantis have been off most radars since 2013, when they underwent a major lineup shift, not their first one but certainly their most dramatic. The most important change was the addition of ex-Serenity vocalist Clementine Delauney and The Dragonslayer (Siegfried Samer of the uber fun Dragony) on co-lead vocals. At the band’s core has always been drummer/founder Thomas Caser, and with the addition of new guitarist and bassist Christian Douscha and Herbert Glos respectively, we’re on to Visions of Atlantis Mach 7583234419! Well, close enough anyway. We did get a taste of what the Delauney/Samer pairing could sound like with the 2016 Old Routes New Waters EP, a re-recording of several older songs including the ballad “Winternight”, whose recording and video ended up being a thoughtful memorial to the sadly departed original vocalist Nicole Bogner, but The Deep & The Dark is clearly the debut that Caser and company have been striding towards all these years. Given his predilection towards the band’s concept being about seafaring and adventure, and with a fantastically dramatic vocalist like Samer at the forefront, I was expecting an album rich in dramatics, heavy on theatricality, and songwriting that pushed the band’s sound forward.

 

We get that, in brief flashes here and there, but unfortunately, the album suffers from the band’s chief structural flaw within its various lineups, that being the lack of a consistent songwriter. Throughout this band’s history, its songwriting has been generated by a mix of band members, the biggest slice of this coming from ex-keyboardist Martin Harb, but Caser himself isn’t this band’s Tuomas Holopainen. But Caser clearly is the driving force behind maintaining the vision of what this sound should be, at least in theory, that being Nightwish inspired dual male/female vocalist driven symphonic metal. The problem is that whomever is part of the songwriting team for the band at any particular time writes towards that mode, and the results sound like either too many cooks in the kitchen, or various emulations of musical approaches that have been done before. In other words, its symphonic metal by the numbers, and this is a genre where bands really need distinctive musical voices to emerge within their lineups to push their music hard in a particular direction or angle. You might be able to compensate for a lack of this if you’ve got really strong hooks by the armful, but that’s a tall order. Samer’s Dragony is a great example of the latter, their 2015 album Shadowplay doesn’t break new ground, but damn is it a fun listen, full of fist-raising choruses and glorious over the top nonsense.

 

You might think that given these comments I didn’t enjoy The Deep & The Dark at all, but that’s not entirely true. The title track that kicks off the album is a fine emulation of Nightwish, sounding strikingly similar to that band’s Anette Olzon era. And “Return to Lemuria” features a charming bit of Sonata Arctica esque keyboard sugar icing on a verse/chorus that hits heavy on one’s nostalgia factor, sounding like a cut that could’ve been suitable for The Neverending Story soundtrack. Delauney is on fine form on those cuts, her voice the right amount of ethereal and breathy and even with some deft melodic phrasing on certain lyrics to make them extra effective. But a juxtaposition of vocals in “Ritual Night” between her and Samer just doesn’t generate the kind of excitement it should, and I don’t know if its so much their fault as opposed to the song simply lacking anything in the way of hard hitting drama. The “Book of Nature” is yet another example of this homogenized quality to the overall songwriting hampering the vocalists ability to conjure up pulse racing excitement, which is kind of the point of symphonic power metal in the first place! This is a band in desperate need of a sharper songwriter, someone who can channel and mold the talents that they have at the vocal helm. Serenity’s Georg Neuhauser and Thomas Buchberger made Delauney sound positively enchanting on War of Ages, and its disappointing to not hear the same thing here. A frustrating under use of talent, and given the band’s history, I don’t see it changing.

 

 

 

 

 

Visigoth – Conqueror’s Oath:

Utah’s Visigoth burst onto the scene in 2015 with their strong debut The Revenant King, whose stellar “Dungeon Master” we played on the MSRcast around that time. I remember listening to the rest of the album thinking that if they had a few more songs in the spirit of that spectacular cut, they’d really have a fun album. As it was, that song and a Manilla Road cover (“Necropolis”) were the most direct things on the album, the rest of the band’s punchy, vibrant USPM being folded into epic song lengths with extended instrumental passages and grand, broad-sword inspired prog. Don’t get me wrong, I really enjoyed the album, but I didn’t love it as much as I wanted to. Fortunately, Visigoth have leaned into their strengths on The Conqueror’s Oath and stripped their sound down to its meat and bones trad metal roots, meaning more Manilla Road, early Manowar and Virgin Steele. This is such a fun record, eight quick cutting daggers of thunderous, unabashedly melodic, anthemic glory —- one of the most satisfying listens to come out of USPM in ages. Its not just that they’re capable of smile inducing glory paeans in “Steel and Silver”, but of inspired musical shifts like the gentle dip into Jethro Tull-esque flute accompanied balladry at the 3:40 mark of “Warrior Queen”. Vocalist (and flutist!) Jake Rogers the Tony Kakko x-factor, a knack for hooky lyrical phrasing, and the admirable talent to drape a memorable vocal melody over nearly everything he sings. Tonally he reminds me of a cross between the plantative Chris Black (High Spirits / Dawnbringer) and Janne Christoffersson from Grand Magus, with a little Eric Adams penchant for bellowing theatrics to power things out.

 

Manowar and Grand Magus are two perfectly suited reference points for what Visigoth have accomplished on this album, where thundering displays of power are at the forefront but the songwriting approach still leaves some room for tasteful musicality. On “Traitor’s Gate”, they utilize a twangy acoustic build up to ratchet up the mystery and tension before unleashing a thundering assault and some lyrics that are begging to be bellowed out loud in unison at a show (“Die like the dog you are!”). I love the middle bridge where Rogers unleashes a wry bit of clever vocal phrasing (“By spite and thunder /
Torn asunder…”), possibly out Manowar-ing Joey DeMaio with its fist in the air magnetism. My personal favorite has to be “Blades in the Night”, where I really feel that Visigoth is reaching into the same well of early 80s inspirations that fuel most of High Spirit’s Scorpions-esque hard rock. The chorus is the star here of course, deceptively simple but so effective, it was ringing in my head all day after first hearing it.  Rogers gets to stretch out here as well, delivering a fantastic performance that’s inspired and even beautiful in its lyrical qualities, reminding me a little of the great Mathias Blad in spots. This would almost be a perfect album, but I’ll agree with damn near every review I’ve seen where “Salt City” is singled out —- its not a terrible cut, and I get why they wanted it in here (hometown tribute and all) but its placement throws off the pacing of the album and I’d rather have had another slice of the same pie the rest of the seven tracks made up. A minor blemish though, one that’s easily forgivable considering the sheer quality of this album. Visigoth have arrived, bar the gates!

 

Oh Yeah, Angra and Orden Ogan Released New Albums Too!

Hope everyone has been handling the winter well enough, its all fun and games until you catch the flu, or some reasonable facsimile thereof, which I currently have. Its slowed me down in terms of productivity, but its not the only thing to blame. I guess its fairly obvious that Blind Guardian monopolized nearly all of my listening time for the first month and a half of the year. It wasn’t just the amount that I devoted to their excellent new album Beyond the Red Mirror, but to the band’s entire discography in the weeks leading up to it. Its actually been difficult to quell my inner fandom and fit in time to listen to you know, other bands —- a distressing thing considering that so many notable releases came crashing out of the gate in 2015. I’m going to tackle two of the bigger ones right here, having felt that I’ve finally given each of them enough time to form a relatively solid opinion. If you’ve been as overwhelmed as I have, don’t look now, because March and April hold a string of major releases too. The march of time, it has begun!

 


 

Angra_SecretGarden_zpswudxbqfpAngra – Secret Garden: I was having a hard time determining where I stand with Angra… my history with the band really started with the Edu Falaschi Rebirth era and went backwards to explore their classic Andre Matos past. This was back in 2001 or so, and I was even more a fan of Rebirth’s subsequent followup, the near-perfect Temple of Shadows. But the next two albums pretty much lost me, and my interest in the band waned throughout the years. When I read that Edu went and jumped ship in 2012 I figured the scene was set for a potential Matos reunion, but it never materialized for various reasons, and that furthered my disillusionment. I was never a big fan of Fabio Leone or Rhapsody, disliking his particular vibrato and their songwriting approach, so I wasn’t enthusiastic about him joining the band. I quietly hoped that it would be similar to the Kamelot situation, Leone pinch hitting for a tour or two and the band getting a completely different permanent vocalist. Leone won the job however, Angra’s remaining original members Rafael Bittencourt and Kiko Loureiro apparently deeming him close enough to Matos to get the job done.

Their first collaboration together, Secret Garden, is one of those unexpected success stories that a veteran band is able to deliver every now and then, like an aging veteran with a low RBI suddenly cranking out a few doubles, maybe even a triple (to keep this loose baseball metaphor going). Here you get everything you’ve come to expect from this band; great musicianship with a modest amount of prog-rock noodling, well crafted hooks that lean more rock than pop, tribal-esque drumming in spots (its back!), and of course crystalline production. But then we got all that with Aqua (2010) and Aurora Consurgens (2006) right? I’m sure there are people reading this who really enjoyed those albums, but I feel the songwriting on Secret Garden is sharper, the songs fully realized, and some even near transcendent.

I’m thinking right off the bat about “Storm of Emotions”, where it seems Leone and Bittencourt trade off lead vocals, the guitarist’s deeper, darker voice giving the mid-song bridge a bit of tortured drama that Leone simply can’t achieve. Its a stellar song, with a soaring yet heavyweight chorus that will sound great with a few thousand South American fans screaming along. And I’ll give credit to Leone where its due, his performance on this album is perhaps his best, Angra’s songwriting style forces him to reign it in and stick to a mid-tempo range. Whereas Leone had to do that with Kamelot on tour as well, their music was too dark for his vocal tone; Angra’s lighter, brighter approach tends to give his more helium based vocal tendencies room to play. He’s pretty great on “Newborn Me”, the single and album opener which is about as archetypal modern Angra as you can get —- notice his lack of extreme vibrato, even in spots where he would usually let it occur, one wonders if he wasn’t coached out of that in the studio here. His abilities really flex on “Black Hearted Soul”, the kind of old school power metal speedster that Rhapsody could just never seem to get right.

Its interesting that in Leone’s first outing as lead vocalist, he’s not given all of the running time. In addition to Bittencourt’s rather lengthy lead vocal sections (take a listen to his star-turn in the rather great “Violet Sky”… is it wrong that I sometimes wish he was handling all the lead vocals?), the actual title track of the album is sung largely by Simone Simons, who does a serviceable job to a relatively unremarkable song. Usually I enjoy her guest vocal spots, but there’s something missing on that song, perhaps its that she’s missing a proper duet partner to bounce off of ala Kamelot. It reminds me too much of an Epica song and that’s seemingly going to be an eternal stumbling block for me. The other guest vocal track fares much better, starring the one and only Doro Pesch in a duet with Bittencourt, “Crushing Room” is a slow burning bruiser of a song with a heart rending chorus.

Bittencourt takes the lead again on the album’s best cut, and one of Angra’s greatest gems of all time —- “Silent Call” is a moody, gentle ballad that has an eternal hook and a vocal melody that could melt the iciest of hearts. I would guess that Leone is providing backing vocal support on the lead in “ooohs”, but he’s seemingly buried in the mix. No matter, because Bittencourt’s lead will lock-in your attention with a gravity that only the best ballads can muster, his vocal rich and full of emotive infections. There’s something poignant and hopeful about this song, its melody able to tug your heartstrings without having to lean on melancholy, a very rare thing for rock and metal bands in general. Its so good I can’t see it missing the best songs of the year list (its early yet, but I’ll be listening to this gem years from now, a good sign surely). Still, that’s four songs out of ten where Leone wasn’t the lead vocalist, kind of unusual when you’re trying to introduce a “new” singer, but Bittencourt’s performances alone seem to justify it.

The band chose to depart from longtime producer Dennis Ward on Aqua, and here they skip to yet another new producer in Jens Bogren, who’s far more known for producing extreme metal artists. He unsurprisingly does a good job, although sometimes I wonder if a little less sheen and polish would’ve benefited the guitar sound —- more wild rock instead of Dream Theater-y tech in other words. Its a minor complaint for an otherwise strong album which is not a home run mind you, but the bases are loaded.

 

[youtube https://www.youtube.com/watch?v=s99o09I7jNs&w=560&h=315]

 

 


 

 

OrdenOganRav_zpsftimq17qOrden Ogan – Ravenhead: Germany’s Orden Ogan is one of the more promising “new” bands in power metal, making a tremendous splash with 2012’s To The End album. I describe them as “new”, despite their first album being released over a decade ago in 2004… because in power metal, any band that arrived post-2000 is considered new in my book. That and they didn’t really reach my radar until their last album, a fantastic slice of classic 90s Blind Guardian, Rage, and a touch of Immortal-esque guitarwork. Those three bands are Orden’s musical touchstones as I hear them, vocalist/guitarist Sebastian Levermann sounding like a dead ringer for Rage’s Peavy Wagner, while the guitars sound like Andre Olbrich and Marcus Siepen decided to have a jam with Abbath. The riffing is sharp, precise, but on the right side of thrash-meets-technicality, and the songwriting is engineered to provide maximum hook impact during the choruses. One wonders why Thomen Stauch didn’t simply join these guys when he left Blind Guardian all those years ago, because they’re doing exactly what you’d figure he wanted his previous band to continue doing. Okay, so Orden Ogan won’t win any awards for originality, but they make up for that in their superior execution of a style that is damn difficult to get right.

I’ll say this right off the bat, Ravenhead isn’t as great as To The End, but that was going to be a tall order. It is a perfectly good album, with a handful of very good songs, but nothing that stands out as powerfully as “The Things We Believe In” or “Land of the Dead”, or with the shimmering melodies of “Take This Light” (which despite its cringe worthy lyrics was an incredibly affecting ballad). Its not for lack of trying though, because they get really close on the album opener title track “Ravenhead” where layered harmony vocals give the unbelievably catchy chorus an adrenaline kick. I like the mid-song change up on the slower bridge, replete with keyboard orchestrations and chanting vocals, its a nice twist that lends a bit of “epic” depth the song. The next track was the album’s lead single, the awfully named “F.E.V.E.R.”, and though I understand why they chose to release it first, with its ear-wormy call and response lyric, I think they overestimated just how endearing this song came out. Parts of it just feel unfinished, with riffs covering up moments where there should have been additional verse fragments. I was somewhat unimpressed with the song when I first saw the music video and after many repeat listens I think they should’ve gone with “Ravenhead” as the video song; but oh well, choosing singles is a challenge for any band or label.

There’s a real old-school Blind Guardian moment in “The Lake” at the 2:12 mark, where the band speeds up into a bridge built on cascading lead vocals and ultra-melodic guitar work, a fragment that reminds me of the middle of Guardian’s “Ashes to Ashes”. These out of nowhere change ups are noticeably absent in the work of inferior bands, but you’ll find a plethora of them in songs by the aforementioned Blind Guardian, Falconer, Nightwish, Sonata Arctica —- all the heavyweights in other words. As a songwriter alone Levermann belongs in those ranks, the fact that he’s an excellent guitarist and impassioned vocalist is just icing on the cake. Another surprising moment is the intro to “Here at the End of the World”, where we’re treated to a decidedly melo-death guitar barrage that owes more to In Flames and Dark Tranquility than German power metallers. Rest assured, the song veers sharply back into power metal soon after, with a chorus that is as BIG as they could envision it. My favorite song is “A Reason To Give”, a folky half power ballad, half stomping rocker with the album’s most memorable refrain. If this song doesn’t sell on you the band or Levermann’s talent as a vocalist, then you’ll have a hard time with anything else they do.

A couple criticisms though, they should’ve lost the squeaky old lady voice that introduced “Evil Lies In Every Man”, for while the song itself is half-baked at best, the aggravation that the intro causes prevents me from wanting to go back to the song at all. Its mid-tracklisting placement is bothersome as well, particularly when a really good song like “Sorrow Is Your Tale” is pushed so far back. I also wish that the instrumental “In Grief and Chains” was developed into something more fully realized, I’m not saying that it had to be transformed into a lyric laden song, but its a great riff/melody that seems tossed out on its own. I think with a little extra work it could’ve been the basis for a remarkable song, and that seems a shame. The album closer “Too Soon” suffers from the exact opposite, a song so overproduced that it loses any and all impact. Levermann over sings the chorus here, and the layered vocals weren’t necessary at all. The concluding guitar solo is fantastic, but it would’ve been way more dramatic if the rest of the song was stripped down, say piano and vocal only —- I’m just spitballing here, but as it is I didn’t enjoy it.

Orden Ogan’s gutsiest move this year was coming out with this album around the same time as Blind Guardian’s new one, and they’ll likely be overshadowed as a result. Its hard not to compare the two bands due to one’s influence over the other, but Orden didn’t do themselves any favors in not postponing their release towards, say March. If you haven’t heard the band at all yet, try To The End first, and if you have… well, Ravenhead’s worth a listen but if the budgets tight you can feel justified in holding off.

 

[youtube https://www.youtube.com/watch?v=5Yn6fR7CAD0&w=560&h=315]

 

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