Six months in, 2016 has been interesting to say the least. Every year provides its share of highlights — we’re fortunate enough to live in a crowded age when it comes to people doing quality work — but there have been a few unexpected offerings that have grabbed attention and held it well, and as we progress into the second half of the year, it seems entirely likely the pattern will continue.

All the better. As styles and scenes continue to develop, from Swedish boogie to West Coast psych to the party vibes out of the Pacific Northwest, bands are growing and changing. Everything is in motion, personalities are taking shape, and crucially, the new generation of groups is finding its footing building on the traditions of the past. Some of it is definitely formative, but individualism is rarely immediate, and I think we are at an interesting point as a crop of acts is figuring out where they want to be in terms of sound and what are their aspirations musically and practically. The question of the day might be, “How far can we push this?”

And of questions, that’s a good one to be working from. I’ve been asking it myself, but as the social media landscape continues to grow and integrate into the lives of a listenership that’s become accustomed to that kind of immediate access as well as the convenience of streaming outlets like Bandcamp, Spotify, Pandora and Soundcloud, the answer seems to be that the expansion will keep up, at least for a while yet. Frankly, it’s already gone on longer than I would’ve expected for how fickle trends are and the short attention span of the general public, but ‘heavy,’ as a worldwide concept, has continued to flourish.

Part of that stems from the excellent and progressive work being done by current bands — part of it is marketing — and at least for my own taste, those acts pushing the lines of genre seem to be doing so with a brazen confidence that they’ll be able to bring their audience along with them. So far in 2016, that’s pretty much how it’s worked out.

At the end of the year I’ll be doing a Top 30 list, and I expect many of these records will feature there as well, so I’ll try to keep this relatively brief in light of that, but here’s where my head has been at:

The Top 15 Albums of 2016 so Far

1. Mars Red Sky, Apex III: Praise for the Burning Soul
2. Greenleaf, Rise Above the Meadow
3. Gozu, Revival
4. Elephant Tree, Elephant Tree
5. The Golden Grass, Coming Back Again
6. Zun, Burial Sunrise
7. Young Hunter, Young Hunter
8. Comet Control, Center of the Maze
9. Wo Fat, Midnight Cometh
10. Conan, Revengeance
11. Causa Sui, Return to Sky
12. Black Rainbows, Stellar Prophecy
13. Goatess, Purgatory Under New Management
14. Blaak Heat, Shifting Mirrors
15. Lord, Awake

Honorable mention (in no order): Curse the Son, Holy Grove, Mondo Drag, Joy, Black Black Black, Spidergawd, Beastmaker, High Fighter, La Chinga, Church of Misery, Droids Attack, Cough, Beastwars, New Keepers of the Water Towers, Conclave, Valley of the Sun, Throttlerod, It’s Not Night: It’s Space, Ancient Warlocks, Bright Curse, Naxatras, Kaleidobolt, Atomikylä, Black Lung, Lord Vicar, Pooty Owldom, Vokonis, Electric Citizen, Stone Machine Electric, Graves at Sea, and Merchant.

Notes

Some quick notes on the list. First, it’s pretty fluid. On any given day, records from the honorable mentions list could be in there with the numbered stuff, and between the two, I find it striking and encouraging how many of these releases are full-length debuts. Just two in the top 10 with Elephant Tree and Zun — another will be added when King Buffalo‘s album is out in August; we’ll get there — but more in the honorable mentions between Holy Grove, High Fighter, Vokonis, Merchant, Graves at Sea and Bright Curse.

To go with that, there are some standbys. I’ve made no secret of my enduring affection for what France’s Mars Red Sky are bringing to the sphere of heavy psychedelia, so to have their Apex III: Praise for the Burning Soul as my album of 2016 so far doesn’t seem out of line. It’s why I booked them to headline the All-Dayer in August (tickets here), and I don’t see that appreciation diminishing anytime soon. The path they’re on seems to me to be one of the most crucial going worldwide, and in a group like Elephant Tree, we can already see the influence they’re having.

No surprise that Gozu would end up near the top — their 2013 album, The Fury of a Patient Man, featured highly on that year’s list as well — and Revival is an even more dynamic outing. It’s pretty much even with Greenleaf in my mind at this point, but I gave the Swedes the edge for the bold forward stride that Rise Above the Meadow represents in its sound and scope. Both of those records will be top-tenners at the end of the year as well, if not top five.

Speaking of bold strides, The Golden Grass‘ more progressive take on Coming Back Again and their melodic charm continue to resonate, and between the expansive desert soundscaping of Zun‘s Burial Sunrise bringing together Gary Arce (Yawning Man), Sera Timms (Ides of Gemini) and John Garcia (ex-Kyuss, etc.), and the brooding darker heavy rock of Young Hunter‘s self-titled, it’s been a half-year covering a wide sonic range for sure. Comet Control‘s second album is still pretty fresh in my mind, having just reviewed it last week, but its quality is damn near undeniable and I can’t stop listening to it, so it goes in the top 10.

And rounding out to first 10 are two more mainstays in Wo Fat and Conan, who’ve had releases featured in lists around these parts for a while now but who still offer thrills in their newest collections, Wo Fat‘s Midnight Cometh bringing their jazz-jam-fuzz to new levels of exploration and Conan‘s Revengeance building on the aural crush of their prior work and finding founder Jon Davis with a hand-sculpted rhythm section (including producer Chris Fielding) very much suited to the band’s purposes. Their shifting instrumental dynamic made Revengeance almost like a second debut, but it was an album that couldn’t have been born except out of their experience and knowing what works in their aesthetic. Davis once told me he would never try to fix what wasn’t broken in Conan. As he’s lived up to that, they’ve become one of the most recognizable heavy bands in the world.

In the 11-15 range, a pretty broad cross-section between the flowing instrumental experiments of Causa Sui, the motor-ready space-psych of Black Rainbows — whose accomplishments seem to almost be coming too fast for the audience to catch up — the traditional-minded stoner-doom of Goatess, Blaak Heat‘s frenetic desert prog and reign-in-chaos sludge of Lord‘s Awake, but sonic diversity is a strength in the current and the upcoming generations of bands, and though some remain underappreciated as yet — Black Rainbows, Blaak Heat, Lord particularly so — it’s tough to ignore the sonic expansion underway in the US, Europe and beyond.

Short Releases

I’m not going to do a separate list for EPs, demos and splits before December, but thought there were more than a few non-full-length releases that warranted attention. From my notes: Mars Red Sky‘s EP, Dos Malés, Bison Machine/SLO/Wild Savages split, The Skull EP, Iron Jawed Guru, LSD and the Search for God, Cultist, River Cult, Karma to Burn, Wren‘s Host EP, Gorilla vs. Grifter, Goya, Brume‘s Donkey, Shallows‘ The Moon Rises, Sun Voyager/The Mad Doctors split, Earthless/Harsh Toke split, and the Ragged Barracudas/Pushy split. And many others, no doubt.

Still to Come

I alluded earlier to the King Buffalo album, Orion, which has significant top 10 potential for December. It’s officially out in August, or it would’ve been counted here. Some of these I’ve heard and some I haven’t, but also be on the lookout for: Foghound (out this week), Neurosis (album of the year potential), Worshipper, Monolord‘s new EP, Wight, Slomatics, The Wounded Kings, Electric Wizard, Geezer, Devil to Pay, Blues Pills, Baby Woodrose, Backwoods Payback, Beelzefuzz, Them Bulls, Cloud Catcher, Captain Crimson, and of course, Mos Generator.

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If I’ve forgotten anyone in any part of this list, I hope you’ll let me know in the comments. Otherwise, thanks for reading and here’s to a great rest of 2016!

[Click play above to hear ‘Artificial Light’ from Comet Control’s Center of the Maze. Album is out this Friday on Tee Pee Records.]

Though it spends much of its time engaged in a garage-in-space push, the prevailing vibe on Comet Control‘s second album, Center of the Maze, is still one of serenity. The Toronto five-piece’s sophomore release follows their 2013 self-titled (review here), and like that debut it arrives via Tee Pee Records with a bright, vital blend of heavy psychedelic and space rock lent further shoegazy ethereality by the languid vocals of guitarist Chad Ross. Ross, joined in the band by guitarist Andrew Moszynski, bassist Nicole Howell, drummer Jay Anderson and keyboardist Christopher Sandes, is responsible in no small part for that serene impression, and after full impulse power of songs like opener “Dig out Your Head” and “Criminal Mystic” is disengaged and Comet Control set themselves to the relative drift of closing duo “Sick in Space” and “Artificial Light” — which between them comprise 18 of the record’s total 45-minute runtime — the vocals become another part of the lush and consuming arrangements that offer warmth as much as hypnotism.

Although Center of the Maze ultimately finds Ross and Moszynski pushing farther away from their work with prior outfit Quest for Fire (they were also in The Deadly Snakes), the songcraft and depth of mix in these eight tracks speaks to some measure of continuity between the two projects. Still, there’s little question that Comet Control have set themselves to the task of finding their own personality apart from what their members have done before, and that shows itself in dividends from one end of the LP to the other.

The sense of journey along the way isn’t to be understated. At their starting point in “Dig out Your Head,” Comet Control dive and weave and space-rock-stomp through what serves as an immediate hook on which they continue to build as they go forward into other early cuts like the more shuffling “Darkness Moves,” with some highlight snare work from Anderson, and the more folkish “Silver Spade,” which calls to mind Revolver-era The Beatles without aping them either in melody or structure. That in itself is an accomplishment worthy of note, acoustics leading as Mellotron-style keys add melodic flourish and brighten the atmosphere. They seem to be setting up a solo freakout like that which “Darkness Moves” undertakes in its solo section, but keep it smooth as “Silver Spade” heads into the tambourine-laden shoegaze of “The Hive.”

Acoustic strum is audible in kind with the spaced-out fuzz, and “The Hive” seems to deliver the swirlfest in its second half that “Silver Spade” hinted toward, the march that’s been underway the whole time subtle but already at some distance removed from when they set out on “Dig out Your Head,” the flow between songs remarkable and feeling very intentional but not in a way that sacrifices the natural sound of the material. Purposeful but not contrived. That continues as the motion of “The Hive” feeds into “Criminal Mystic,” on which Sandes comes forward in the chorus wind a similar course to the guitars but provide the hook beneath the heavier, lower-toned fuzz of the guitars and Howell‘s bass. “Criminal Mystic” is a particularly good example of the heavy psychedelia that Comet Control have made their own, a blend of instrumental push and vocal calm, swirling and spacious but still catchy as well. In its place at the end of side A (I think), it becomes a high point of Center of the Maze‘s first half.

There is, however, a decided sonic shift as Comet Control begin side B. It happens as the keys come to the fore on “Golden Rule” after space rock howling opens to elicit a late-’60s stomp, soon further emphasized through tambourine. In pace, it connects with a lot of side A — even “Silver Spade” moved — but it also sets up the transition into the more pastoral spaces that “Sick in Space” and “Artificial Light” will cover. The closing duo also comprise the two longest tracks on Center of the Maze at eight and 10 minutes, respectively, and between them also go further out into cosmic meandering, wonderfully melodic and full in sound and realization, “Sick in Space” soothing even as its wash grows more prevalent. That apex is powerful, but the song ends with Ross delivering the album’s title line and it feels like a setup for “Artificial Light,” which of course it is.

And it’s a finale worthy of setup. No doubt in my mind that when December list time comes around, “Artificial Light” will be one of the best songs of the year. Sonically, it recalls some of the best moments of Quest for Fire‘s laid-back mind expansion, but as they have all along, Comet Control put their own twist on it, this time via a flat-out beautiful meld of standout synth lines and background effects wash and overarching vocal harmonies for the ultra-memorable chorus, “I’ll be your eyes/I’ll be your heart and your breath/Spread your wings or fall to your death.” Once again, acoustic strum emerges alongside the electrified guitars, and Comet Control cap the triumph of their second record with a sense of patience that answers all the prior rush as if to wonder what was the hurry in the first place. As it gracefully waltzes into its second half solo, “Artificial Light” dives into classic heavy grandeur while sounding effortless and keeping its core rhythm, tempo and that current of acoustic guitar intact, never quite letting go until it casts out its final, long-fading wash of keys and noise to end the album.

Staggering in resonance and emotionally gripping as it is, Center of the Maze‘s finish is still just one part of what it has to offer, and after it’s over, it’s all the more worth looking back to “Dig out Your Head” and internalize the distance covered. It is vast. A follow-up from Comet Control had been one to anticipate, but I’m not sure even the most hopeful of scenarios could have accurately predicted what they achieve here.

Comet Control on Thee Facebooks

Tee Pee Records

Feels like a long time since Toronto’s Comet Control made their self-titled debut (review here) on Tee Pee Records, but it was only two years ago. Perhaps it’s my own impatience for a follow-up to that album’s alternatingly laid back and driving heavy psychedelia that makes it seem longer. That same impatience has me very much anticipating the June 24 arrival of the band’s second outing, Center of the Maze, also on Tee Pee. Fingers crossed the play between shoegazing sprawl and rhythmic propulsion is still in check, but something tells me wherever this one goes, it’s going to be a pleasure to stow away for the trip. And by that I mean I can’t wait to hear it.

The PR wire brings the particulars of the peculiars:

COMET CONTROL to Release New Album ‘Center of the Maze’ June 24

Psych Rock Vets Take to the Skies on Shining Sophomore LP

Toronto space rock cosmonauts COMET CONTROL will re-enter the atmosphere on June 24 with their stargazed sophomore album, Center Of The Maze (Tee Pee Records). The band features vocalist / guitarist Chad Ross and guitarist Andrew Moszynski, each formerly of heavy psych champions QUEST FOR FIRE and garage rockers THE DEADLY SNAKES. The powerhouse musicians are joined in COMET CONTROL by Nicole Howell (bass), Jay Anderson (drums) and Christopher Sandes (keys). Engineered by Josh Korody (Fucked Up, Moon King) at Candle Recording, and mastered by Carl Saff (Sweet Apple, Earthless), Center of the Maze is the follow-up to COMET CONTROL’s 2014 self-titled debut.

Flooded with swirling synths, ghostly vocals and fuzz-bomb guitars that burst into flames in electrifyingly airborne ways, Center Of The Maze effortlessly merges the ethereal and the terrestrial. The album is a 43-minute collection of blinding explosions and brilliant fade-outs. Overdriven riffs reign supreme and songs build with a mantra-like power before collapsing into majestic dreaminess. Like watching a rocket take off at close range, the sound of COMET CONTROL is both exhilarating and mesmerizing, propelled into orbit by unwavering melody and unhinged creativity.

Ross comments, “‘Center of the Maze’ is about feeling comfortable getting lost.”

Track listing:
1.) Dig Out Your Head
2.) Darkness Moves
3.) Silver Spade
4.) The Hive
5.) Criminal Mystic
6.) Golden Rule
7.) Sick in Space
8.) Artificial Light

https://www.facebook.com/CometControl/
http://teepeerecords.com/collections/frontpage

Comet Control, “Blast Magic”

Please note: These are not the results of the Readers Poll. That’s still going on. Please feel free to submit your list.

Making and releasing a first full-length album is a special moment in the life of any band, and that’s why I wanted to single out some of the best debuts of the year. I’ve never done this before, and so maybe with a top 10 I’m testing the waters a bit, but it seemed a worthwhile project anyway. It was a long (inner) debate about whether or not to include EPs and singles here too, but in the end, it just seemed to work better with albums.

Not to take anything away from shorter releases, but putting out a debut EP is much different than a debut LP. First of all, a debut LP can come after several EPs or singles or demos or whatever and still be considered first. What a first album says to the listener is, “Okay, we’ve come this far and we’re ready to take this step.” Some bands, once they start putting out albums, never go back to EPs. Others who’ve been around for 30 years still release demos every now and then, but even so, a group only ever gets one crack at their first album, and it can be one of the most important things we ever do.

Compared to how many come out any given month, year, century, etc., very few debut long-players ever wind up being classics, and who knows what the future might hold for any of these acts on this list, but that not knowing and that excitement are part of the fun.

Let’s get to it:

The Top 10 Debut Albums of 2014

1. The Well, Samsara
2. The Golden Grass, The Golden Grass
3. Spidergawd, Spidergawd
4. Atavismo, Desintegración
5. Blues Pills, Blues Pills
6. Steak, Slab City
7. Comet Control, Comet Control
8. Elephant Tree, Theia
9. Black Moon Circle, Black Moon Circle
10. Temple of Void, Of Terror and the Supernatural

A couple honorable mentions. First to Valley of the Sun‘s Electric Talons of the Thunderhawk, which I still didn’t know what to do with the release date for. Officially 2014, but kinda released in 2013 too. I was back and forth on it. Also Wasted Theory‘s burly debut, Monolord‘s Empress Rising, Child‘s Child, the Silent Chamber, Noisy Heart sprawling one-song LP from Sylvaine.

Some notes: Actual time spent listening played a big role in the structuring of this list. More so than the Top 30 of 2014, I would say. The Well‘s Samsara and the self-titled debut from The Golden Grass featured pretty high on that list as well, and that’s because both of them were records that I continually went back to and found satisfying after they came out. In both bands I think there’s significant stylistic potential, but more importantly, they both came out of the gate with their mission solidified and ready to roll.

With Spidergawd‘s Spidergawd, the progressive take on classic heavy rock boogie was blinding, but righteous. Their second album is due early next year on Stickman and I’ll have more on it to come in the weeks ahead. Atavismo‘s Desintegración hit me like the proverbial ton of bricks. Just four songs, but the atmosphere was gorgeous enough that after listening I went back and asked the band if I could host a stream in hopes that more people would hear it. Fortunately for anyone who listened, they were kind enough to comply.

On sheer impact alone, I think Blues Pills‘ Blues Pills warrants inclusion on this list, but in my own listening, I put on the top four so much more often that I couldn’t really justify placing it any higher. But in terms of a first album coming out and really propelling a band to the next level, I think for a lot of people it’s probably the debut of the year. Fair enough. Steak‘s Slab City found the London four-piece physically and stylistically right in the heart of the California desert and their passion for that place and its sound came across heartfelt on the recording, which only heightened the appeal.

And while I’m still sorry to see Quest for Fire go, the debut from offshoot Comet Control helped ease that sorrow neatly with a blend of driving heavier space rock and psychedelic vibing. Cool album, bodes well. You could say the same for Elephant Tree‘s Theia, I suppose. Their take on psychedelia melded with screamy sludge successfully where I think a lot of bands would’ve fallen flat trying the same thing, and that’s definitely something noteworthy in an initial offering, particularly one not preceded by an EP or other kind of release.

To round things out, two very different records. Black Moon Circle‘s self-titled took a popular stylistic course — melding heavy rock and psychedelic jamming — and showed the trio beginning to make it their own. That’s something I hope will continue on their second outing, which, like that of Spidergawd, is coming on quick early in 2015. And finally, Temple of Void‘s extreme, deathly take on doom courted genres smoothly and delivered its punishment with efficiency while holding together a coherent atmosphere of darkness and aggression. It was a sadistic joy to behold.

If you missed it, there were a couple debuts included on the Top 20 Short Releases of 2014 list as well — Gold & Silver, Wren, Death Alley, and so on — so if you’re looking for more of that kind of thing, you don’t have to look too far. I hope if there was a debut album this year that particularly caught your attention, you’ll let me know in the comments.

When Toronto shoegaze-psych explorers Quest for Fire announced they were done in Jan. 2013, hints were dropped that new bands were already in the works. For guitarist/vocalist Chad Ross and guitarist Andrew Moszynski, that hint pays off in the arrival of Comet Control, who make their self-titled debut on Quest for Fire‘s former label, Tee Pee Records. Some elements are recognizable between the two bands — Ross‘ distinctly dreamed-out vocal style and a penchant for languid guitars permeate cuts like opener “Blast Magic,” “Hats off to Life” and closer “Master” in a way one might draw from one act to the other — but by the time Comet Control‘s Comet Control has played out its vinyl-ready eight songs and 40 minutes, there can be little mistaking one for the other. Quest for Fire‘s self-titled debut from 2009 and its 2010 follow-up, Lights from Paradise (review here), had their rocking moments as well, usually as a payoff to some gradual build, but Comet Control is by far a more active-sounding band. Comprised of Ross, Moszynski, bassist Nicole Howell, keyboardist Christopher Sandes and drummer Jay Anderson, the five piece get into some genuine space rock on memorable songs like “Future Forever,” the highly-stylized “Ultra Bright” and perhaps most of all on “Century,” the dividing point of the tracklist and presumed side B launch. The upbeat material is what most marks out Comet Control, but the emerging dynamic and fluidity with which they shift from faster material to slower psychedelia is no less integral to the overall vibe of the album, which is hazy enough to limit visibility and yet clearheaded in its execution of hooks like that on “Ultra Bright” and “Future Forever.”

Those two particularly stand out for their relatively straightforward take. Comet Control opens with a sprawl; “Blast Magic” is the longest song on the album (immediate points) at 8:04 and can almost be read stylistically as a transition point between Quest for Fire and this new band. It is a slow roll, steady in its nodding appeal, and Ross‘ vocals in both the verse and the chorus incantations make a familiar impression over the lush instrumentation. Even here, though, Comet Control have a heavier, fuller sound, less concerned with minimalism and more comfortable in the heft emerging. This proves to be a precursor once the subsequent one-two shots of “Future Forever” and “Ultra Bright” introduce the faster, more swirling side of Comet Control‘s sound. Looking at the record’s structure in a linear form — digital or CD, though vinyl is pretty clearly what they were thinking of in putting it together — the five-piece depart from “Blast Magic” and continue to build momentum through “Century” before they pull back again on “Hats off to Life,” which puts “Future Forever,” “Ultra Bright,” “The Soft Parade” and “Century” into a distinct movement separate from the other four tracks included. To say half the record is fast and half is slow is over-simplifying it — and flat-out wrong, time-wise — but it reinforces how much opening with “Blast Magic” adds to the richness of the proceedings that the album as a whole comes across not as bifurcated along tempo lines, but as an engagingly complex and varied release, whether it’s the blown-out bass buzz of “The Soft Parade” adding a touch of garage to the effects wash and Anderson‘s well-grounded drumming or the acoustic psych-blues push of the penultimate “Fear the Haze.”

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By the time they split at the beginning of 2013, it was starting to get a little silly how much I dug Toronto slow-psych aficionados Quest for Fire. Their second album and swansong, 2010’s Lights from Paradise (review here), I still consider top notch, gotta-have heavy psych for those unstirred by the bulk of the post-Dead Meadow fuzzgaze set, and when bassist/vocalist Chad Ross released the 2011 debut from his Nordic Nomadic solo-project, Worldwide Skyline (review here), I was right on board with the folkier vibes as well. What Comet Control, which reunites Ross with former Quest for Fire guitarist Andrew Moszynski — as well as bassist Nicole Howell and drummer Jay Anderson — might portend sound-wise, I don’t know, but you can be damn sure I’m interested in finding out.

Comet Control will make a self-titled debut via Tee Pee Records on May 20. The PR wire offers the following:

COMET CONTROL to Release Debut Album “Comet Control” May 20

From the Ashes of Celebrated Rock Band QUEST FOR FIRE, A New Shooting Star Rockets Towards the Heavy Psych Scene

COMET CONTROL is the new band from Andrew Moszynski (guitar) and Chad Ross (vocals/guitar), formerly of Canadian psych rock champions QUEST FOR FIRE. The powerhouse musicians are joined in COMET CONTROL by Nicole Howell (bass), Jay Anderson (drums) and Christopher Sandes (keys) and the group’s eight song self-titled debut is nothing short of stunning. Comet Control will drop on May 20 via Tee Pee Records.

COMET CONTROL extends the dark, bass-driven washes of sound that QUEST FOR FIRE fabulously produced and drenches it in majestic bursts of pastel post-rock guitars and bright, breezy vocals. Recorded at Toronto’s Candle Recording (Fucked Up, Sebastien Grainger) and mastered by Carl Saff (Bass Drum of Death, Earthless), the album exceeds expectations, delivering a driving, dreamy sound that will lodge itself in your ears and refuse to let go. Simultaneously heavy and sunny, COMET CONTROL rocket to the forefront of today’s dark psych scene and deliver a modern classic with their triumphant debut. Out-of-this-world, futuristic cover art and packaging for Comet Control, designed by far-out artist SIGNALSTARR (known for his work for the 20th Century Fox film “Prometheus”) adds to the potent push of the record’s searing scope.

“After Quest for Fire broke up, Andrew and I still had a lot of songs in the works,” commented Ross. “We are very excited about how things turned out. Everything clicked really fast with the new band, and the songs have taken a step in a fresh, new direction.”

Track listing:
1.) Blast Magic
2.) Future Forever
3.) Ultra Bright
4.) The Soft Parade
5.) Century
6.) Hats Off to Life
7.) Fear the Haze
8.) Master

https://www.facebook.com/CometControl
teepeerecords.com

Quest for Fire, “Sessions of Light” from Lights from Paradise (2010)