Music Reviews
The Age of Adz

Sufjan Stevens The Age of Adz

(Asthmatic Kitty Records) Buy it from Insound Rating - 5/10

I don’t know how it’s going to play with the young folks, but to these old ears, Sufjan Stevens’ The Age of Adz is an exhausting listen.  At about 33 minutes in, just when most albums from the 60’s would be wrapping up, Stevens is just getting started.  After about 45 minutes, even though I liked a lot of what I heard, I couldn’t wait for it to end.  He seems to have taken an unfortunate page from the Animal Collective playbook and subjected his minimalist material to maximalist arrangements.  Whoever gave Sufjan the keys to the laptop should be taken out and flogged.  Nothing against electronic music, though I confess I mostly hate it, but this is programming run amok. 

Oh how deceptively this album begins!  Futile Devices is sheer bliss, picking up right where the triumph that was Illinoise left off.  For a while there you feel ready to settle in for the soothing sounds of Sufjan.  But then all hell breaks loose.  The material stays strong, with Too Much, but unfortunately the title says it all.  There is just too much going on here, leaving us grasping for beauty under a cacophony of babbles and beeps.  This might have worked as a temporary outpouring of hysteria, but sadly it’s the template for the rest of the record, save for a tiny respite at the very end.  Just like Thom Yorke tried to escape himself on Kid A by losing his voice in a digital haze, here Stevens buries himself and his musical fragments, for that is what he writes, under a sea of oppressive twaddle.  But Kid A worked because Radiohead stripped everything down to its most basic elements and Yorke’s lonely voice sounded appropriately lonely, no matter what they did to it.  Stevens just piled on the layers, presumably to impart some intoxicating effect, which it probably will in auditory systems less sensitive than mine.  I’m guessing that many young inhabitants of Indieworld require such over-stimulation as evidenced by the success of bands like Animal Collective, who also lay it on too thick. 

And once again I’m back in the unenviable position of complaining about a record, like I did with Panda Bear, that everyone else seems destined to love.  But I said it then and I’ll say it again – there’s a lot of wonderful music hiding in here somewhere, but the artist is holding us at arms length, and I believe in this case it represents a tactical failure, as well as an artistic one.  I don’t like to sit back and suggest what an artist should have done – what do I know about it?  I’m just the critic – but I can’t help thinking that applying a different strategy to these songs, perhaps a simpler one, acoustic, electronic or otherwise, would have been a better way to go.  Not that this album is filled with hidden treasures.  As usual in today’s “everything I do is worthwhile by definition since I did it” age, an editor of brutal honesty is sorely lacking.  The second half of this album is simply a drag, where the repeated fragments become less compelling by the second.  This is when the migraine you’ve been brewing really starts to gain momentum.  By the time you reach the 25 minute, that’s right, you heard me, 25 minute closer, Impossible Soul, with chanting vocoders and abusive Autotuning that would make Satan proud, you really have to wonder why no one around Stevens forcibly stopped him.  The quiet closing minutes of this epic train wreck are such a breath of fresh air that you are left wondering what might have been, just as the opening minutes made you excited for what was to come.

Listen, a lot of people are going to tell you what a beautiful album this is, full of experimentation and wonder.  If you happen to be near a custard pie when they say this, don’t hesitate to throw it in their face.  Sure there’s some nice stuff here and no one ever said Stevens lacked ideas.  But I’m telling you that despite this, The Age of Adz is a major misfire from an artist of uncommon depth and talent.

Comments for The Age of Adz review

Sure Sure

Why did they get someone that doesnt care about music to write this review? Dont like Electronic music, dont listen to it.

Re: Sure Sure

@ Kevin

I love electronic music. Just to neme a few of the electronic artists I really appreciate and enjoy: Eskmo, Isan, Lali Puna, Flying Lotus, Pantha Du Prince, Chroma Key, Arovane, Christian Kleine, Aphex Twin, Plaid, Coldcut, Radiohead, Bass Communion, Bjork, Puscifer, Nine Inch Nails, Thom Yorke, Hot Chip...

This being said, I totally agree with the reviewer. The Ag Of Adz is just an irritating pile of clutter that goes nowhere. Listening to it is really tiring and unrewarding. No emotions come through.

And calling this album "experimental" is an insult to all the above mentioned artists, in my opinion. One is free to like it of course (it's all about taste, in the end). But if you think this is a good album from an "electronic" point of view, you are way off.

Now, where did I put my custard pie...?

This reviewer did not get

This reviewer did not get this album. For a more accurate and intelligent review from dusted read this. A " 5 " ? I mean , wtf?

There’s a trade-off. On Sufjan Steven’s latest album, The Age of Adz — an album obviously not following in the footsteps of the faux-50 states project — there is no gimmicky aftertaste, no Wes Anderson upper-class preciousness like there was on Illinois. (Not to slight that album, which was, at times, breathtaking and gorgeous, but which ultimately collapsed under the weight of its own scope.) But in losing that preciousness, there’s nothing immediately gripping, nothing as catchy as say, “Come On, Feel the Illinois!”

At the same time, The Age of Adz is a much more interesting work, there’s more to it, and it’s deeper. Think about someone like Paul Thomas Anderson shedding some of his quirks for There Will Be Blood. He was an amazing director before, but some kind of exponential leap was taken with that film: not simply spatially and narratively complex, but temporally and emotionally. The same thing here. Stevens leaves the impersonal aside — the stories and middlebrow pretension that made him appeal to Jonathan Franzen fans and NPR listeners. If anything, it’s a testament to his ability as a songwriter that there’s more to his songs than simply what can be taken as fodder for that middlebrow pretension — the visceral feeling and emotion beyond the cutesy crap. Perhaps all of it appealed to Stevens, perhaps he was simply wrapping the more interesting bits in palatable outsides. Either way, there’s a compelling tension between the “aw shucks,” homespun, fist-on-chin preciousness and the complex compositions and complex emotions.

A tension which has worked out to Stevens’ benefit. The Age of Adz is more satisfying as a singular, coherent album. The songs make more sense together, the orchestration doesn’t feel disconnected from the album. If one can think of Michigan and Illinois as Stevens futzing around trying to understand what he wanted aesthetically, The Age of Adz is him confidently declaring it. Musically, it’s the dialectical transformation of everything he’s done before: the electronics, the orchestration, the quiet moments are all here but are not like they were before, as if transformed through that assuredness. And if nothing is as immediately gripping as the best of Illinois, The Age of Adz is simply better as a whole. It’s not tiring; it doesn’t exhaust the listener. This isn’t to say it’s easily digestible or simple, but rather that, while nearly as long, it aesthetically hangs together well enough that the listener isn’t constantly shifting gears, becoming worn out in the process.

Stevens inspiration or jumping off point for The Age of Adz was outsider artist Royal Robertson, and, much like Robertson’s artwork, the themes in the album vacillate between the mundane and heartfelt and surreal and grandiose. Robertson was a schizophrenic and sign-maker, and when his wife left him after two decades of marriage, he began making art somewhere between Basquait, Darger, comic art and 1970s French animation, and encompasses everything from misogynistic pictures of his wife to apocalyptic futurescapes to psychedelic architecture and futuretech. It’s appropriate that Robertson’s art was the starting point for Stevens. As his pictures have that tension between the small, everyday, vulgar and the fantastic, surreal, otherworldly, so too does The Age of Adz encompass the small, real moments as well as the massive, even unwieldy, ones.

By Andrew Beckerman

The Age of Adz | No Ripcord - Independent Music & Film Magazine

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I'm glad Mr. Beckerman loved the album, though I'm still not sure why. The editor in me would like to say that his review is filled with assertions without any evidence to support them. The album "is simply better", even though it isn't "simple", and the songs "make more sense together". Ok, fine, but how?

All I can say in my own defense is that I reacted to what I heard and told you why. To reiterate, the good material is buried, and the result is incoherent. If you can put this on and sit around for an hour and fifteen grooving to it, more power to you. I happened to love the "upper-class preciousness" of Illinoise, mainly because I could hear the beating heart of that record.

Lastly, I'll say that I think its very, very hard to make electronic music with a heart, simply for technological reasons. Eno did it, a few others I've heard. But most of what I hear leaves me cold.

Either way, I appreciate you reading and reacting. It makes the site much more interesting.

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The Age of Adz | No Ripcord - Independent Music & Film Magazine

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Much Better Than 5/10, I Can Tell You That

I can understand where you're coming from to a degree, Alan. To anyone wanting something simple, The Age Of Adz is going to come rip-roaring across their eardrum like a marching band put together by a half-beaten-to-death computer. But I absolutely love the album. Sufjan is something entirely different here. He's downtrodden, depressed, lonely, seeking for answers... It's anyone's guess whether or not the Sufjan of The Age Of Adz is a reflection of the real Sufjan or of the prophet Royal Robertson. But it works. It works amazingly well. He has shoved himself deep into the persona of Robertson and has written an album from the perspective of a man lost in life, desperate for love, and burdened by paranoid schizophrenia. It won't resonate with the fans wanting nothing but puppy-hugs and "The Henney Buggy Band Pt. 2" but I'm not going to fault him for that. Stevens has forged a relationship between Enjoy Your Rabbit! and Come On! Feel The Illinoise and tied it together with a ribbon made of sweet, sweet heartbreak. Honestly, I wasn't impressed with the results the first time around. But the more I listened to it, the more I realized it's a very well-told story through song. One that actually connects with me on a personal note. Yes, I can relate to wanting answers to unanswerable questions and experiencing love's bitterness. No, I definitely cannot relate to the delusions of a paranoid schizophrenic. And here lies the album's Litmus test. Can you appreciate the noise for what it is (a representation of Roberts' mental state) or will you dismiss it for pointless "boops and beeps?" I mean, I'm not going to knock your score because you sincerely disliked the album. But when you openly admit you hate most electronic music in the first paragraph, I can't help but think that you dismissed the album after one agony-filled listen. And, unfortunately for easy-listening fans and reviewers under a time-constraint, this isn't a one-listen-and-there-you-have-it album. Go ahead and throw your pies. I'll continue loving this album for what it is: A massive, apocalyptic album full of some truly remarkable songs.


I appreciate your well-consideredd thoughts and I'm glad you're getting something out of the record. I'll tell you my experience with the record. I listened to it once and after the first two songs became quickly bored. I ended up listening 3 or 4 more times, all the way through (which is my typical process, whether I like it or not) and became more irritated than bored. Again, I'm probably older than the typical listener of this record. Maybe it's not meant for me, but there was just so much going on here I could not get past it. Keep in mind I'm a guy who loves Captain Beefheart, so I'm no stranger to agonizing noise. But this was just information overload to me. Is it the sound of madness? Perhaps. I couldn't get that message because I simply couldn't bear it.

I'm already regretting my blanket condemnation of electronic music, but honestly, I make a point to listen to what everyone raves about and it simply does not move me. I have zero emotional reaction from it. I need to hear human beings at work, communicating to me, or I just can't dig it. What I hear sounds too cerebral. NPR had their latest podcast on the best new electronic music this week and I couldn't appreciate any of it, and the older host was just as mystified as I was. I think its part of a serious spiritual crisis in our culture that began in the 70s but that's a whole different story. Anyway, chocolate and vanilla.

I heard that NPR show...

Poor Bob Boilen. He did have a point about how he thought it was strange (ahem, absurd) that youngsters these days differentiated analogue and digital sounds. At the time, he made a point about people thinking that those 80's pre-pacaked digitalized recordings sounded "cheesy". He really hit the nail in the head when he said that people used to think analogue synths were digital. Thought I do appreciate some electronic music, (I do wish we featured more electronic reviews) most of the stuff featured felt really cold and distant. It was more about the tinkering than the actual songwriting.


Thanks for the reply! I've been going back and listening to the album again with your opinion in mind. I'll have to agree that, when focusing more on the noise, it's a bit too much on some songs (like, funnily enough, "Too Much" and parts of "Age of Adz"). Maybe I've been turning a blind ear to the noise because of how enthralled I am with the concept, I'm not sure. I still stand with what I said... I find it more complementing than distracting but I definitely can understand why someone like yourself would find the album difficult to listen to. I do want it known that I'm not calling this a landmark album by any means. ...Illinoise! still holds that honor and Kid A certainly does a lot better of a job with the electronic landscaping. But I think what Sufjan set out to do here was accomplished. It won't sit well with everyone but, for those of us it does sit well with, we'll continue to enjoy it all the more. Although I will say I'm more excited about how Sufjan will translate these songs for his live shows.

And Just One More Thing

I also just wanted to thank you for actually having a legitimate reason to not like this album. Too many people I know have either loved the album or hated it simply because of the name attached to it. Sufjan Stevens is certainly, like you said, full of ideas... but I've learned my lesson when it comes to jumping on a bandwagon just so you can say you're riding along (I simply do not get and really do not care for Burial's Untrue, a Pitchfork favorite and have to live with the fact that I lost $15 buying it)

The Age of Adz | No Ripcord - Independent Music & Film Magazine

Fastidious replies in return of this matter with firm
arguments and explaining the whole thing about

Appreciate your bravery


I just wanted to say I appreciate your bravery - I came here from the weakest reviews on As somebody who has been blown away by Sufjan's previous work, I awaited this album impatiently. Your review echoes some of my own feelings, but I must confess I don't "get" Animal Collective et al - I just can't listen to them beyond a few songs.

I loved where Sufjan with the Delighted People record - it just really pulled me in. I'm still taking in Adz but I'm glad to read opinions like your's, especially given the wrath from fandom you may expect.


The Age of Adz | No Ripcord - Independent Music & Film Magazine

This is a topic that is near to my heart... Thank you! Exactly where are your contact details though?


I knew I couldn't be the only person out there with serious reservations about this record. Maybe its always been this way but I feel like the internet really gets carried away with hype nowadays. People seem desperate for greatness and they find it where they can. The same thing struck me about the new Franzen novel which I almost threw across the room in frustration, despite its merits, after just 30 pages. Animal Collective and Grizzly Bear were further examples for me of interesting work lauded beyond its station. At the end of the day I need to be able to digest what's thrown at me, and I need to feel it. If you ask me about any great music I love I'll tell you how it makes me feel. Illinoise moved me. Some dismiss it as precious. I call that sincere emotion and god help us if it ever goes totally out of style.

sufjan, cant stop playing it

Wow, this album just makes me totally awake! Thrilling exciting and doubling the energy of his former recordings, who made me sit still and wonder, this one makes me wanna sing en move!
Big fat shoutsouts to Sufjan for his most painfull, complicated, somtimes hard to listen to but at the same time most rewarding, and uplifting music he ever made! Very deep bow, thank u!

I really feel the Noize - Sufjan please Stop!

Having tried to listen to The Age of ADZ for the 2nd time, I have to agree with Alan Shulman. Most of it is unlistenable at this stage. Loved his previous albums but this is not for me.

Undeniable, Brilliant Work of Art

This isn't for pop consumption.

It is risky, ballsy, brave, brazen, and in your face.

It provokes you, it challenges you.

This is such a stirring album of unbounded creativity. Yet also incredibly beautiful, and intensely personal.

Play it with some proper speakers and bass and it really hits you. You need more than headphones.

I don't think the electronica cheapens it at all. Your taste just sucks, and you have little depth. (hey, you said you throw pie in my face, so I figure a might as well get it out there).

When's the last time you made some powerful art?

This is an artist following his heart. And doing what they have to do. And inspiring others in the process.

It is part mess, part masterpiece. So is all of life.

And as a whole, considering his choice of the inhabiting the Royal Robertson persona, it holds together it a powerful, compelling manner.

This album will mean a whole lot to many people.

I mean, everybody has an opinion, right? Your's is valid as anyone's else. But objectively, as a "music critic" I can't help but to comment on your commentary.... it's weak, shallow, and shit.

When I...

... first heard this album, like many, I didn't know what to think of it. Some of it was, of course, beautiful. But some tracks sounded too messy ("Too Much" and "Impossible Soul" especially). If it were not Sufjan Stevens I would have even called it amateurish. The 'electronic sounds' did not gel with the rest and came across as discordant. Things improved only marginally after two more listens.

Then, one day, while returning home from work I gave it another try and suddenly everything fell into place. It is such a beautiful, personal journey: at times intense, sometimes bombastic and yes sometimes deliberately disharmonious. Tough to embrace but impossible to let go, it plays in my mind for hours after I switch it off.

The Age of Adz | No Ripcord - Independent Music & Film Magazine

Thanks for sharing your thoughts about style roofing.

Very deniable indeed, not brilliant at all

---Prelude to the comment
(Just repeating my personal opinions in reply to the very first comment, in case they were missed).

I love electronic music. Just to neme a few of the electronic artists I really appreciate and enjoy: Eskmo, Isan, Lali Puna, Flying Lotus, Pantha Du Prince, Chroma Key, Arovane, Christian Kleine, Aphex Twin, Plaid, Coldcut, Radiohead, Bass Communion, Bjork, Puscifer, Nine Inch Nails, Thom Yorke, Hot Chip...

This being said, I totally agree with the reviewer. The Ag Of Adz is just an irritating pile of clutter that goes nowhere. Listening to it is really tiring and unrewarding. No emotions come through.

And calling this album "experimental" is an insult to all the above mentioned artists, in my opinion. One is free to like it of course (it's all about taste, in the end). But if you think this is a good album from an "electronic" point of view, you are way off.

Now, where did I put my custard pie...?

---End of Prelude.

And now, here's my CUSTARD PIE. Especially meant for the face of the "music critic" who, in describing his/her own opinion about "The Age Of Adz" in one of the comments just above, used expressions like "unbounded creativity", "undeniable, brilliant work of art", "artist following his heart", "intensely personal". All kept together by very deep thoughts such as "your taste just sucks" and "shit".

Do yourself a favor. If you want to be challenged and provoked by emotionally powerful musical art (electronic or else), try listening to Steven Wilson, Eskmo, Meshuggah, Brian Eno, Oceansize, Avishai Cohen, Porcupine Tree, Claude Debussy, Arvo Part, Bjork, Opeth, And So I Watch You From Afar, Thom Yorke, Astor Piazzolla, Isan, Frank Zappa, Weather Report, Chroma Key, Bass Communion, Tool, Aphex Twin.

(I know, I repeated some from above. It was on purpose).

After listening to these (giving them the proper number of spins in order for them to get into your system), go back to "The Age Of Adz". Still think all that you wrote above? Still find it an "undeniable, brilliant work of art"? Well, if you do (as you are free to), I won't say that "your taste just sucks", don't worry. You simply have no taste whatsoever.

By the way, I absolutely don't consider myself a "music critic". I just have strong personal opinions about why I do or do not emotionally connect with music. I would gladly refer anybody considering him/herself as a "music critic" to a brilliant quote by Tristan Tzara from the Dada Manifesto:

"A work of art is never beautiful, by decree, for everyone. Criticism is, therefore, useless; it only exists subjectively, for every individual, and without the slightest general characteristic."

So when you say "This album will mean a lot to many people", you are being just ridiculous. By itself, the sentence gives no information on the music. Neither from the compositional point of view, nor from the emotional one. And it does not explain us why YOU like it, either (apart from telling us that you rate better albums and artists that are likely to be very popular at the moment). Lady Gaga's albums mean a lot to many, many people as far as I know, but this doesn't mean Lady Gaga makes good music. (And don't start with "WTF are you comparing Sufjan with Lady Gaga?". I'm not.)

Last thing: using "Undeniable" in the title of your post means that you are basically trying to sell us your personal opinions as general axioms. Luckily, they are not.

I'm with you

Thank you for this review. I don't care if Sufjan made an album the same or different from Illinois, he can do what he wants, but this album borders on unlistenable. He made an album full of bad songs, I don't understand where the praise is coming from!

The Age of Adz | No Ripcord - Independent Music & Film Magazine

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I agree

been listening to Sufjan since A Sun came
I don't like age of adz at all and the show for it was incredibly
self absorbed

pity I love the rest if his stuff, autotune seriously?!

The Age of Adz | No Ripcord - Independent Music & Film Magazine

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I'm getting the impression

I'm getting the impression the critic wants music to all sound the same boring formula, which is exactly what this album isn't doing.

I'm also betting the reviewer never listened to a single musical and find them all kitsch.

Sufjan is simply one foot in the past and the other in the future. He's interested in formulas that precede the era of the "pop standard". If you compare Age Of Adz with Parsifal by Wagner, it's very short. Sufjan loves pop but loves other things than pop and tries to mix it all in. Some of the songs might not be his best, but everything about his arrangements and doing in "the grand way" is absolutely how it should be. There's way too many artists doing the "Futile Devices" style to have Sufjan suffer going back to ordinary music, and sacrificing artistic pertinence for facile pleasure.

To each his own...

I don't mind that some people don't like the album but I also find it a little hard to understand. Is it really such a departure? This record to me sounds more or less exactly like every other Sufjan Stevens record, except with all the cute parts cut out. Which is pretty much exactly what I wanted.

The lyrics are as good as any he's written, not that I listen to him primarily for lyrics. (I like a good song about UFOs or Adlai Stevenson or Decatur as much as the next person but that was never the draw.) The compositions are some of his sharpest. All the people complaining that the album is too long and tiresome - we're talking about Sufjan Stevens here. Are you seriously going to argue that "Illinois" couldn't have been at least 20 minutes shorter without suffering? For that matter, did "The Avalanche" need to exist as an album at all? You could have taken the best half-dozen or so songs and made a bang-up EP that was just as successful. "Impossible Soul" is par for the course, really.

Also, going to an electronic backing was the best musical decision he ever made - the thin rhythm section sounds on his past albums were seriously my biggest barrier to getting into those albums, but with the electronics his sound finally has some punch. (This is coming from a person who doesn't even care for "electronic music" that much - not that I dislike it, it's just never been my style.) I don't mind the Autotune/vocoder stuff either; it sounds fine in context. If John Lennon could make a career out of messing with his voice technologically then so can Sufjan.

Could it do with a few less blips? Sure, I guess. Who cares? Maybe I just have a high tolerance for clutter. I like Animal Collective too, for what it's worth, although not as much as I like this.

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