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GUITAR OVERSTOCK SALE Soundcentre.Com.Au
SALE PRICE LIST 144 Russell St, Morley Ph: 08 9370 1185 GUITAR OVERSTOCK SALE [email protected] Current stocks only | No laybys | Sale ends Sept 30 FENDER / SQUIER RRP SALE PRICE Fender 50s Classic Stratocaster - Daphne Blue $2,199 $1,399 Fender 70s Classic Stratocaster - Natural $2,349 $1,499 Fender American Elite Stratocaster - Olympic Pearl $3,999 $2,999 Fender American Professional Jazzmaster Electric Guitar - 3 Colour Sunburst $3,149 $2,499 Fender American Professional Stratocaster - Sienna Sunburst $3,699 $2,599 Fender American Professional Stratocaster HSS Shawbucker Electric Guitar - 3 $2,949 $2,399 Colour Sunburst Fender American Professional Telecaster - 3 Colour Sunburst $2,949 $2,349 Fender American Professional Telecaster - Butterscotch Blonde $3,699 $2,479 Fender American Professional Telecaster Deluxe Shawbucker - Sonic Gray $3,399 $2,299 Fender American Special Stratocaster - Sonic Blue $2,699 $1,799 Fender American Special Telecaster - Lake Placid Blue $2,699 $1,699 Fender American Special Telecaster Electric Guitar - Three Colour Sunburst $2,699 $1,649 Fender American Special Telecaster Electric Guitar - Vintage Blonde $2,699 $1,799 Fender American Vintage 52 Telecaster Electric Guitar - Butterscotch Blonde $4,099 $3,349 Fender American Vintage 58 Telecaster Electric Guitar - Aged White Blonde $4,099 $3,299 Fender American Vintage 59 Stratocaster - Sherwood Green Metallic $4,149 $3,299 Fender CD-140S Mahogany Dreadnaught Acoustic Guitar - Natural $499 $299 Fender Classic Player 60's Baja Telecaster - Sonic Blue -
Contents About the Author
2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84 -
Metal Madness: Heavy Music Coming to Your Town
Metal Madness: Heavy Music Coming to Your Town Welcome to Metal Madness my fellow Metalheads, covering all things metal, metalcore, deathcore and hardcore in the Providence area. I just want to take a moment to thank everyone who was at the Kingsmen show on October 8 (motifri.com/kingsmen). As someone who has been playing music for a long time, I wanted to speak to the growing argument that heavy music is dead. For a show on a Sunday with no major label band headlining, the turnout was great. The credit goes directly to the bands that played that night; Absence of Despair, Your Chance to Die and Kingsmen. Everyone who was there were there for the music, and all of it was heavy music. You could see the camaraderie between the bands and fans, and how welcoming they were to the one out-of-town band, Your Chance to Die. Absent were the attitudes “I’m going to see my friend’s band and leave.” There were no crossed arms and ugly faces, but a respect for all the musicians who were there (and if you ever get the chance to see two Norwegian women front a deathcore band, do not pass it up!). The music wasn’t dead or dying; if anything, it’s thriving. The more Providence bands do well, the better it is for our scene, the bands and heavy music. Now that I’m off my soapbox, on to what’s happening. Night of the Dead, Oct 21, 8pm, Fete Music Hall If you want to take a quick trip back to the early 2000s, Dope, Hed p.e. -
S = Signing, P = Performance/Product Demonstration, PC = Press Conference
S = Signing, P = Performance/Product Demonstration, PC = Press Conference Thursday January 24th Time Booth Name Booth # Hall Artist Type 9.30 AM Sabian 3254 D Mike Portnoy PC 10.00 AM Samson 4590 C Kiko Loureiro P Jordan Rudess 10.30 AM MOTU 6514 A [Dream Theater] P Marco Mendoza 10.30 AM Samson 4590 C [Thin Lizzy] P Jordan Rudess 11.00 AM Synthogy 6724 A [Dream Theater] P Yamaha 100MA, 125th Anniversary 11.00 AM Yamaha 102MA Marriott Press Event PC NAMM Media Orange Amps 11.00 AM Room Keynote Speech PC Dean Markley 12.00 PM Strings 5710 B Lita Ford S 2.30 PM Korg USA 6440 A Derek Sherinian P 3.00 PM TC Electronic 5932 B Press Meeting PC Geezer Butler 3.30 PM Samson 4590 C [Black Sabbath] S Frank Bello [Anthrax] Billy Sheehan [Mr. Big] JD DeServio [Black Label Society] Eddie Jackson [Queensryche] Marco Mendoza [Thin Lizzy] Steve Morse 4.00 PM TC Electronic 5932 B [Deep Purple] S Guthrie Govan [The Aristocrats] 4.30 PM Samson 4590 C Richie Kotzen P Friday January 25th Time Booth Name Booth Number Hall Artist Type 100 MA, 102 9.30 AM Yamaha MA Marriott Tommy Aldridge PC Matt Halpern [Periphery] Jordan Rudess 10.30 AM MOTU 6514 A [Dream Theater] P Zakk Wylde 11.00 AM EMG Pickups 4782 C [Black Label Society] S/PC Richie Faulkner [Judas Priest] Andy James [Sacred Mother Tongue] 11.00 AM Samson 4590 C Richie Kotzen P Jeff Kendrick 11.30 AM Korg USA 6440 A [DevilDriver] P Mike Spreitzer [DevilDriver] Rex Brown 12.00 PM Ampeg 209 A/B Level 2 [Pantera, Kill Devil Hill] S Mike Inez [Alice In Chains] Juan Alderete Dean Markley 12.00 PM Strings 5710 B Orianthi [Alice Cooper] S 12.00 PM Korg USA 6440 A Gus G [Ozzy, Firewind] S Jeff Kendrick [DevilDriver] Mike Spreitzer [DevilDriver] 12.00 PM Samson 4590 C Gary Holt [Exodus] S Mike Portnoy Scott Ian [Anthrax] Charlie Benante [Anthrax] Frank Bello [Anthrax] Dave Lombardo [Slayer, Philm] Kerry King [Slayer] David Ellefson [Megadeth] Billy Sheehan [Mr. -
Universidad Distrital Francisco José De Caldas
UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS DE 2 OBRAS DE LA BANDA ANIMALS AS LEADERS Y APORTES INTERPRETATIVOS PARA LA GUITARRA ELÉCTRICA DENTRO DEL CONTEXTO DEL DJENT JUAN CAMILO MERCHÁN RIOS Código: 20132098012 ENFASIS: INTERPRETACIÓN MODALIDAD DE TRABAJO DE GRADO: MONOGRAFÍA BOGOTÁ, D.C OCTUBRE DE 2018 UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS DE 2 OBRAS DE LA BANDA ANIMALS AS LEADERS Y APORTES INTERPRETATIVOS PARA LA GUITARRA ELÉCTRICA DENTRO DEL CONTEXTO DEL DJENT JUAN CAMILO MERCHÁN RIOS Código: 20132098012 ENFASIS: INTERPRETACIÓN TUTOR: WILLIAM RICARDO BARRERA TACHA MODALIDAD: MONOGRAFÍA BOGOTÁ D.C OCTUBRE DE 2018 ii Toda buena dádiva y todo don perfecto desciende de lo alto, del Padre de las luces, en el cual no hay mudanza, ni sombra de variación. Santiago 1:17 iii AGRADECIMIENTOS De antemano pido perdón a todos aquellos que olvide mencionar en esta sección, ya que seguramente no alcanzará para agradecer a todos y cada uno de los que contribuyeron, ya sea en mayor o menor medida, a la realización de este trabajo y a mi carrera. Primeramente, doy gracias a Dios, el Autor de mi vida y de la música que tanto amamos, sin Él nada soy; la inspiración, la fortaleza, los dones, talentos y todo que hizo posible el desarrollo de esta carrera, todo se lo debo a Él, a Su amor por mí, por lo tanto, este trabajo está dedicado a mi Señor. A mis padres Jaime Merchán y Anatilde Ríos, porque no me negaron este camino tan maravilloso de la música, y a pesar de cada circunstancia adversa, trataron de respaldarme en todo cuanto pudieron con amor; gracias a Dios por ellos. -
Metal Music Since the 1980S
Marrington, Mark ORCID: https://orcid.org/0000-0001-5404-2546 (2017) From DJ to djent- step: Technology and the re-coding of metal music since the 1980s. Metal Music Studies, 3 (2). pp. 251-268. Downloaded from: http://ray.yorksj.ac.uk/id/eprint/2328/ The version presented here may differ from the published version or version of record. If you intend to cite from the work you are advised to consult the publisher's version: http://dx.doi.org/10.1386/mms.3.2.251_1 Research at York St John (RaY) is an institutional repository. It supports the principles of open access by making the research outputs of the University available in digital form. Copyright of the items stored in RaY reside with the authors and/or other copyright owners. Users may access full text items free of charge, and may download a copy for private study or non-commercial research. For further reuse terms, see licence terms governing individual outputs. Institutional Repository Policy Statement RaY Research at the University of York St John For more information please contact RaY at [email protected] Mark Marrington, From DJ to djent-step: Technology and the re-coding of metal music since the 1980s Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University. He has previously held teaching positions at Leeds College of Music and the University of Leeds (School of Electronic and Electrical Engineering). Mark has published chapters with Cambridge University Press, Bloomsbury Academic, Routledge and Future Technology Press and contributed articles to British Music, Soundboard, the Musical Times and the Journal on the Art of Record Production. -
Analisis Teknik Picking Genre Djent Metal Studi Kasus Make Total Destroy Karya Periphery
ANALISIS TEKNIK PICKING GENRE DJENT METAL STUDI KASUS MAKE TOTAL DESTROY KARYA PERIPHERY TUGAS AKHIR Program Studi S1 Seni Musik Oleh: Borni Daniel Oktadi NIM. 1211794013 Semester Gasal 2016/ 2017 JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA Semester Gasal 2016/2017 UPT Perpustakaan ISI Yogyakarta ANALISIS TEKNIK PICKING GENRE DJENT METAL STUDI KASUS MAKE TOTAL DESTROY KARYA PERIPHERY TUGAS AKHIR Program Studi S1 Seni Musik Oleh: Borni Daniel Oktadi NIM. 1211794013 Semester Gasal 2016/ 2017 JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA Semester Gasal 2016/2017 i UPT Perpustakaan ISI Yogyakarta ANALISIS TEKNIK PICKING GENRE DJENT METAL STUDI KASUS MAKE TOTAL DESTROY KARYA PERIPHERY Oleh: Borni Daniel Oktadi NIM. 1211794013 Karya Tulis ini disusun sebagai persyaratan untuk mengakhiri jenjang pendidikan Sarjana pada Program Studi S1 Seni Musik dengan Minat Utama: Pop-Jazz Diajukan kepada JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA Semester Gasal 2016/2017 ii UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta MOTTO Hidup ini bukan untuk mengikut arus, tetapi untuk menemukan jati diri sendiri. Jangan biarkan orang-orang menganggap dirimu lemah hanya karena dirimu berbeda dari yang lain. PERSEMBAHAN Tugas Akhir ini kupersembahkan untuk kedua orang tua yang saya cintai bapak Djoko Sutrijono dan ibu Tutik Ariantinie, yang selalu mendukung dalam doa, nasehat maupun material. Kepada adik dan kakakku yang selalu mendukung dan memberikan semangat. Untuk kedua sahabat saya, Kevin dan Patrick yang turut memberikan saya semangat dikala suka maupun duka, Ely Corina Damanik, Adoniram Jansen, Joshua Liem, keluarga besar PMK Institut Seni Indonesia, BULLSKIN, BULLSKIN Family, KOMPAZZ, Pop-Jazz angkatan 2012 serta semua sahabat-sahabat dan teman-teman yang tidak bisa saya sebutkan satu-persatu. -
Djent — Cyfrowa Neomoderna Metalu?
FOLIA 258 Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura 10(3) 2018 ISSN 2083-7275 DOI 10.24917/20837275.10.3.12 Andrzej Mądro 0000-0002-8107-3652 Akademia Muzyczna w Krakowie Djent – cyfrowa neomoderna metalu? Celem artykułu jest wstępne rozpoznanie w obszarze krystalizacji nowego podga- tunku metalu progresywnego o nazwie djent (czytaj: dżent). Pierwsza część tekstu przedstawia aktualny stan badań, genezę, pionierów i głównych przedstawicieli djentu oraz próbę nakreślenia jego charakterystyki. W dalszej części podjęto pró- bę umiejscowienia jego swoistej poetyki i estetyki w kontekście przemian w sztuce ostatnich dekad, ze szczególnym uwzględnieniem najnowszych teorii i pojęć naro- słych wokół paradygmatu ponowoczesności. Weinstein HeavyMuzyka Metal: iA subkultura Cultural Sociology heavymetalowa stała się przedmiotem badań naukowychRunning withstosunkowo the Devil niedawno. Początek takich działań wyznaczają prace Deeny (WeinsteinMetal, Music 1991) and oraz Politics Roberta Walsera (Walser 1993), a przełom – pierwsza międzynarodowa konferencja naukowaInternational w Salzburgu Society of zatytułowanaMetal Music Studies . Usankcjonowaniem nowej dyscyplinyMetal Music akademickich Studies. badań nastąpiło w roku 2013, kiedy to założono (ismms.online) i zaczęto wydawać cza- sopismo popular music studies, Studiowanie metalu zwykle przyjmuje perspektywę transdyscyplinarną, typo- wą dla całego obszaru łączącą socjologię (subkultury), kul- turoznawstwo i medioznawstwo (wizerunek), a nawet performatykę (rytualizm). Sama muzyka często stanowi jedynie drugi plan. Ale jeśli bliżej przyjrzeć się pod- gatunkom metalu progresywnego zorientowanym na muzykę samą w sobie, na po- szukiwanie nowych form, środków i poszerzanie estetycznego pola, adekwatny ro- dzaj „metalowej muzykologii” wydaje się możliwy. Tym bardziej że wiele albumów i utworów progresywnych wykracza poza standardy muzyki popularnej i może być interpretowana podobnie jak dzieła tzw. muzyki poważnej (Covach, 1997: 23). -
After the Burial the Fractal Effect
songcachecache_2017123185012 "Weird Al" Yankovic Shadow of Lucent Moon Hardware Store Slaves of the Plethora Season This Fragile Surface 311 Veil of Illumination Applied Science (Live) Veil of Illumination (2x Bass Pedal) Veil of Illumination (Part 1) (2x Bass Pedal) After The Burial Veil of Illumination (Part 2) (2x Bass Pedal) The Fractal Effect (B) Worst Enemy The Agonist Anika Nilles The Tempest (The Siren's Song Alter Ego AKHT Animals as Leaders B.B. -EVOLUTION- Arithmophobia (B) Backpfeifengesicht (B) Alex Rudinger Brain Dance (2x Bass Pedal) 7 Mindgames (Drum Cover) (2x Bass Pedal) CAFO (2x Bass Pedal) Addictive (Drum Cover) (2x Bass Pedal) Crescent (2x Bass Pedal) Gravity and Friction (Drum Cover) (2x Bass ... Ectogenesis (2x Bass Pedal) Say What You Say (Drum Cover) (2x Bass Pedal) Inner Assassins (Matt Garstka Drum Playthro... Shift (Drum Cover) (2x Bass Pedal) Ka$cade (2x Bass Pedal) Private Visions of the World Alex Skolnick Trio The Woven Web (2x Bass Pedal) Tom Sawyer As Blood Runs Black Alter Bridge Hester Prynne (B) Addicted To Pain (2x Bass Pedal) Blackbird Asuka Sakai, Ado Mizumori Bleed It Dry (2x Bass Pedal) A Crimson Rose and a Gin Tonic Cry A River Cry Of Achilles Babymetal Farther Than The Sun Megitsune (2x Bass Pedal) Fortress Peace Is Broken The Bad Plus The Uninvited Barracuda Andrea Vadrucci (Vadrum) Bad Salad Drum Intro Medley (2x Bass Pedal) Crowded Sky Hungarian Dance (2x Bass Pedal) Crowded Sky (2x Bass Pedal) Infernal Galop (2x Bass Pedal) Deep Roots (2x Bass Pedal) Summer (2x Bass Pedal) Moonlight Super -
Pressemitteilung 09.06.2015
FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 09.06.2015 PERIPHERY sind ab November auf Tour Die Amerikaner PERIPHERY haben sich seit ihrer Gründung zu einer der erfolgreichsten und mutigsten modernen Djent-Bands weltweit entwickelt. Diesen Stil mit seinem polyrhythmischen Spiel auf sechs- bis achtsaitigen, tiefer gestimmten Gitarren, der von Meshuggah und anderen Bands aus dem Progressive Metal heraus entwickelt wurde, haben PERIPHERY zur Perfektion getrieben und damit dem Metal einen ganz neuen Spin verliehen. Dank dem schnellen, präzisen und begnadeten Spiel von Drummer Matt Halpern, der die ganze Bude mit seinen exakt getimten Schlägen zusammenhält, können sich die anderen fünf Mitglieder austoben. Das untermauern PERIPHERY eindrucksvoll auf ihrem jüngsten Studio-Opus, dem in zwei separate Alben gesplitteten Konzeptwerk „Juggernaut: Alpha“ bzw. „Juggernaut: Omega“, zwei Platten, die unterschiedlich sind und doch zusammengehören wie Yin und Yang. Zwei Platten, die wie zwei Gedanken zum selben Thema klingen. Den Plan für dieses Konzept hatte Misha Mansoor, Gitarrist und Kopf der Band, schon seit Jahren im Kopf. Musikalisch präsentieren sich PERIPHERY darauf dynamischer, abenteuerlustiger und emotionaler als je zuvor und zementieren damit ihre Vorherrschaft im erweiterten Prog-Metal-Genre. Erweitert, weil sie sich auch dieses Mal wieder weigern, sich auf einen bestimmten Stil festzulegen und stattdessen das spielen, was in diesem Moment nötig ist, um den klaren musikalischen Geistesblitz hörbar zu machen. Und dass PERIPHERY auch live in der Lage sind, ihren komplexen Sound mit spielerischer Leichtigkeit unters Volk zu blasen, ist schon lange bekannt. Im Herbst kommen die Jungs auf Tour, und sie bringen mit VEIL OF MAYA amtlichen Support mit. -
Change, Longing, and Frustration in Djent-Style Progressive Metal
CHANGE, LONGING, AND FRUSTRATION IN DJENT-STYLE PROGRESSIVE METAL Patrick Nolan Sallings Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2021 APPROVED: Timothy Jackson, Major Professor Vivek Virani, Committee Member Paul Leenhouts, Committee Member Benjamin Brand, Chair of the Division of Music History, Theory, and Ethnomusicology Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Sallings, Patrick Nolan. Change, Longing, and Frustration in Djent-Style Progressive Metal. Doctor of Philosophy (Music), May 2021, 399 pp., 2 tables, 5 figures, 71 musical examples, 1 appendix, bibliography, 76 titles. The progressive metal style “djent” emerged in the mid-to-late 2000s with bands that modeled their use of extended range instruments and complex rhythmic cycles after that of Swedish metal band Meshuggah. The addition of a new vocabulary of melody and harmony by bands such as Periphery, Tesseract, and Animals as Leaders has come to define djent in a new way and provided fruitful ground for voice-leading and metrical analysis. In this dissertation, I approach analysis in two steps. The first step is the production of detailed transcriptions of four djent songs. The process of transcription has allowed for the development of Transcription Preference Rules, modeled after Lerdahl and Jackendoff’s preference rule approach in their generative theory of tonal music. The Transcription Preference Rules account for the selection of key signatures, time signatures, and other features of the scores that may affect analysis. Second, using these scores, I examine the connection between the textual topic of change and the voice-leading and metrical structures in Periphery’s “Insomnia” and Tesseract’s “Of Matter.” I show how this topic is reflected by techniques such as change melodic direction, multidimensional metrical dissonance, and auxiliary cadential events. -
Refused • This Or the Apocalypse Devil Sold His Soul • Life of Agony • 36 Crazyfists the Eyes of a Traitor • Ays • Ceremony • Kvelertak
23 AUG/SEP 10 FOR FREE REFUSED • THIS OR THE APOCALYPSE DEVIL SOLD HIS SOUL • LIFE OF AGONY • 36 CRAZYFISTS THE EYES OF A TRAITOR • AYS • CEREMONY • KVELERTAK Fuze_Titel_No.23.indd 2 11.07.10 21:01 www.myspace.com/devilsoldhissoul “BLESSED & CURSED” Atmospärisch düster, emotional ergreifend und hypnotisch – DEVIL SOLD HIS SOUL sind ein wuchtiges Sound Massiv aus Schwere und Melodie. Gemixt von Steve Evetts (Dillinger Escape Plan, Glassjaw, The Cure) DEVIL SOULD HIS SOUL LIVE: präsentiert von: Rock Hard, Fuze, MusiX, Getaddicted.org, myspace.com 11.10.2010 Köln Underground · 13.10.2010 Hamburg Molotov 14.10.2010 Berlin Magnet · 19.10.2010 (A) Wien Arena 22.10.2010 Stuttgart JuHa · 24.10.2010 München 59:1 www.myspace.com/inthismoment www.centurymedia.com [+++ check out special and rare collector‘s items at www.cmdistro.com +++] Fuze_U2_0710.indd02Fuze23.indd 2 1 08.07.201010.07.10 18:05:16 21:35 Uhr index IMPRESSUM Fuze Magazine Thomas Renz, P.O.Box 11 04 20 42664 Solingen, Germany 05 CEREMONY Vatermörder und Nachlassverwalter. (Pakete an: Fuze Magazine, Hochstraße 15, 42697 Solingen) 07 CRUEL HAND Fon 0212 383 18 29, Fax 0212 383 18 30 Face the show. fuze-magazine.de, myspace.com/fuzemag 16 PARKWAY DRIVE 07 THE CASTING OUT Boygroup mit Moshpits und Stagedives. Redaktion: Ask the merch guy. Thomas Renz, [email protected] 18 REFUSED Anzeigen, Verlag: 08 THE LAST FELONY Rather be dead. Tracklist-Interview. Joachim Hiller, [email protected] 20 THIS OR THE APOCALYPSE Marketing, Vertrieb, Anzeigen: 08 FAR Apocalypse later. Kai Rostock, [email protected] Liebes Tagebuch.