The Burning Blade

Fireaxe Newsletter - edition 11.1

November 30, 2007

"I watched my beloved angel shed a tear for my lost love,
and become a demon goddess with wings of burning fire."

- Fireaxe "Black Knight"

It was four years ago when the mighty Santa Ana winds blew hot and dry, sweeping down out of the hills and driving ravenous flames towards the Fireaxe studio in eastern Chula Vista. At that time I jokingly wrote that it was a divine attempt to prevent the release of "Food for the Gods" because of all the blasphemy and heresy that it contained. But this year, as "Eternal Devotion to the Dark Goddess" neared completion, the Santa Anas rose again and raged more powerful than ever, scorching hundreds of thousands of acres, destroying thousands of houses, and forcing evacuations on the outer edges of my fair city. Coincidence? I think not. Someone up there doesn't like me or what I'm doing one bit.
I suspect that it's the Christian god. He's the deity who caused the great flood, wiped out Sodom and Gomorrah, and told George Bush to attack Iraq. He's also the one that I used to believe in but now enjoy exposing as a fraud. Sure, I hear some of you out there saying that no, the Christian god is all about love and forgiveness and he would never do such a thing as burn down half of Southern California in an attempt to stop a single CD from being released. Well, I've read the bible and I can tell you that nothing could be further from the truth. That Christian god is one petty, violent, and childish deity who's not afraid to slaughter innocents and destroy cities just to punish a few who refuse to do what he says. I mean, it only stands to reason.
However, another thought did occur to me as I was busy mixing in my humble apartment while watching the news reports of fires getting closer and closer to me, and that was that perhaps this was not the work of the Christian god at all but rather it was the acts of the Dark Goddess herself, celebrating the release of another Fireaxe CD which portrays her in a positive light. That made sense too, and I can imagine her frolicking in the parched hills of Southern California, setting the chaparral ablaze with her burning wings as she rocks out to my music with pleasure and abandon. In fact, I'd be pretty honored if that was the case if it wasn't for the fact that over two thousand families lost their homes due to the booty-shaking of the goddess of death and destruction. Worse still is the notion that there may be liability issues involved if my music had something to do with it so I feel compelled to issue a disclaimer. Folks, it's not my fault. Honest. I'm not trying to summon up malevolent deities from the nether world and I'm not trying to get revenge on all the people whose house prices tripled while I sat here renting for years. All that I'm doing is delivering a message that death is real, that we should accept it, and that we should live our lives accordingly, and if that makes the Dark Goddess want to burn a path of devastation across my state then maybe you should listen to my message instead of trying to shut me up. Furthermore, if I really do have some kind of control over the Dark Goddess, do you really want to mess with me? I thought not.
Then I had another thought, and that was that the fires weren't happening because the Dark Goddess was celebrating the release of the CDs but rather that they were a message from the Dark Goddess telling me to hurry up and release them, or else. Point well taken. I've spent nearly as much time on "Eternal Devotion to the Dark Goddess" as I did on "Food for the Gods" and the latter project was 3 CDs long. Am I lazy or a perfectionist or what? Sure, the new CD looks and sounds really good, but I have to admit that it did take me a lot longer than I wanted to get it out the door. So maybe you can take comfort in the fact that it's not just you who are tired of waiting, the goddess of death wants a copy of the CD too and she's going to make sure that the pressure is on.
All in all I really don't know what the divine message is in regards to the fires. It could be one of the things that I mentioned above or it could be something else that I didn't think of. Of course, it couldn't be that the fires were just the result of dry weather, high winds, fallen power lines, and arsonists. And the fact that both fires happened when I was about to release a new CD couldn't be just a coincidence. That's neither interesting nor meaningful. So it had to be a message from one god or another. I suppose that I could ask one of the "experts", like the Pope or Billy Graham or the guy down at the corner who hands out homemade pamphlets, as to what it all means but since the experts never agree on those kinds of things I suspect that none of them would know for sure. And their followers? Please. When an image of Pope John Paul II appeared in a bonfire on the second anniversary of his death Catholics couldn't decide whether it meant that he was in heaven or hell. Seriously, how much more obvious does it have to be? Does he have to appear holding a pitchfork, breathing fire, and be shouting "Don't think, just obey! I'm infallible! I'm the infallible Pope! I speak for God and doubt comes from the devil! Genuflect you bastards! Muahahahahaha!"
Now, the Fireaxe theory tells me that I should interpret such a divine message in a way that motivates me to work harder towards the goals of the ideology that I follow, but since I don't follow one I'm at a loss to adequately explain the coincidence. So I'm left with simply coming up with an explanation that makes me feel good, which is the modern way, and in that regard I feel that the image of the most powerful goddess in the universe being driven into a state of total ecstasy by Fireaxe music and dancing naked in the hills while leaving a trail of despair and destruction in her wake, is the most satisfying one of all. Praise be to Kali! And to you, oh great goddess of death, remember that if I die the music dies too, so don't let those flames get to close to me, okay?
A big ‘Hello’ to anyone receiving the Burning Blade for the first time. This is the Fireaxe newsletter.

"Eternal Devotion to the Dark Goddess" is finally finished

The parts have all been recorded and put in their places. The tracks have been mixed and balanced and equalized and the composition has gelled into 100% pure power-prog. The mix has been mastered with a light hand and attention to the dynamic as well as a desire for a heavy and powerful sound. And the artwork, oh man the artwork, is probably good enough to sell a hundred discs on its own. The wait has been worth your while.

The CD is out of my hands now and in the hands of the men who are going to crank out the copies of the best Fireaxe work to date. If all goes well I should have the finished products back in a couple of weeks, but there always seem to be complications and so I won't accept orders until the CDs meet my standards. I'll send out a short e-mail when they are ready, so for now you will have to be satisfied with reading about the new CD instead of hearing it.

The Artwork

After ambivalent reactions to the covers of the last two Fireaxe CDs, "Food for the Gods" and "Lovecraftian Nightmares", I realized that the problem was that I needed to get my ugly mug off of the cover and replace it with the visage of some incredibly beautiful woman, such as the case was with "A Dream of Death". So instead of a portrait of me getting sacrificed to various ideologies or one of me about to get eaten by something which must not be named, this time you will be treated to a stunning and fiery portrayal of the Dark Goddess herself in all her malevolent glory, painstakingly illustrated by none other than yours truly.

I know what you're thinking, that perhaps I should have shelled out some cash and had a professional artist do the cover art. I concur. After taking a lot of flack over the cover art for "Victory or Death" it was clear that I either needed to work a lot harder at being a better artist or hire someone who did that kind of thing for a living. I asked an old friend if his wife would be interested since I'd seen a number of impressive color pieces that she'd done on her website but unfortunately that didn't go anywhere, so I took a crack at it myself, figuring that if I fell short of what I wanted that I could hand it off to someone else to transform it into something awesome. Well, to my surprise I didn't fall short. I'm not sure what happened between the release of "Food for the Gods" and when I started work on the new CD but apparently I acquired some serious skills in the graphic arts category. Okay, maybe they aren't that serious, I mean, I'm not going to make anyone forget Frazetta or Vallejo, but I'm pretty sure that the days of getting snide comments about the cover art are over.

Simply put the Dark Goddess is beautiful. She looks like a combination of Kali, Pele, and a drow priestess with eight arms, jet black skin, and a pair of brilliant burning wings. She might make you think about the line from "Black Knight" that I quoted at the top:

"I watched my beloved angel shed a tear for my lost love, and become a demon goddess with wings of burning fire."

After which you might pull out your copy of "A Dream of Death" which has an angel shedding a tear on the cover and place them side by side. Nifty symmetry don't you think?

Anyway, I didn't want to try and squeeze the Dark Goddess into the puny 5" by 5" space provided on a standard CD insert. Such a tiny portrait would probably be considered an insult and you do not, I repeat, YOU DO NOT want to get the Dark Goddess angry at you for any reason, so I decided to go with a six-panel foldout booklet and allow her to luxuriate inside a generous 15" by 10" domain. That's roughly the size of an old album cover for those of you who are old enough to remember them and also those of you who've seen any of those ancient artifacts. I always loved it when bands put out albums with brilliant cover art since it added to the listening experience. I've wanted Fireaxe CDs to be the same way and I've tried hard to provide artwork that matched the style and themes of the music even if the result was a little too amateurish at times. This time around I think that I nailed it, but I'll let you be the judge.

If it helps loosen up your purse strings, the Dark Goddess appears completely nude, save for her necklace of skulls. Don't worry, they don't cover anything up and neither does her hair, which is another trick that artists use to frustrate their male viewers. Also, she does not look like the statue of Kali that appears in the "Food for the Gods" booklet in the section containing "The Servant of Pain". No, in my imagination the Dark Goddess is not a skinny old hag, instead she is beautiful enough to appear in the pages of Playboy, which is the source of the pictures of the women who I modeled her after. Of course, I had to use magazines for that purpose considering that it's nearly impossible for me to get a beautiful woman into my apartment for any reason let alone have her take off her clothes and stand still for hours while I draw pictures of her. But then, one of the benefits of using magazines was that I could raid the stash that I collected as a teenager in the eighties. That was back when the magazine took pictures of "the girl next door" instead of "the ho down the street". So, needless to say, the Dark Goddess does not have implants.

The Sound

Between the time when I recorded "Food for the Gods" and "Eternal Devotion to the Dark Goddess" I made a few upgrades to my digital studio, most notably the addition of a Neumann TLM-103, one of the best cardioid microphones in the business along with a state of the art vocal processing unit. That was a big step up from my old microphone and the result was that my vocals on the new CD sound extremely clear, warm, and strong. That combined with a solid year of practice resulted in a dramatic improvement in the quality of Fireaxe vocals. I no longer see my singing as a liability to the music and in fact in many places I feel that it is an asset. As usual I do a lot of different styles of vocals on the CD, from clean to gruff to quiet to screaming and everywhere in between. I even had to do a few parts which I wanted to have sung by a female vocalist and I feel that I pulled them off pretty well too. So maybe, just maybe I'll be free of reviewers' snide remarks about Fireaxe vocals once and for all too.

Another improvement was the guitar sound on the CD. In the past I had a strong tendency to pump up the high-middle frequencies on the guitars so that I could get the sharp, crisp sound that I wanted. The trouble with that was that the sound often ended up too thin and "crunchy" and didn't sound too good on some speakers and systems, especially cheap ones. So this time around I put a lot of work on trying to clean the "muddiness" out of the guitar tracks without sacrificing the sharp sound that I was looking for. It's not as easy as it seems. There are about forty different knobs, sliders, and buttons that you can tinker with between the guitar and the final mix so triangulating on the correct formula takes a long time. Plus, since I need to record directly into the board instead of through an amp and microphone I face the additional problem of needing to clean all of the fuzziness out of the signal that an amplifier does naturally. It's quite a challenge, but this time around I feel that I've got a really strong and balanced sound from the guitars, especially in the solos, where the tone is rich and smooth. I was also able to get the bass guitar sound to emerge out of the mix without being intrusive or overwhelming and it rounds out the sound rather well. Slowly but surely I'm learning all the tricks of the trade.

The final mix flat out rocks. It sounds much, much better than the rough cuts that I released earlier this year. I made good use of the limiter to get the volume up but stayed away from compressing the mix so that the full dynamic was left intact. That was critical in achieving the "Rock Opera" feel of the CD which has a lot of transitions between heavier parts and lighter movements and needs to have the volume fluctuate between them. Compression will just squash everything up to full volume and crush the dynamic. I'd advise other bands out there to avoid compressing your mixes, even a little. It only sounds good that way for about twenty seconds, after which you just wish that the music was out of your face.

I also worked hard on getting the levels balanced between the individual instruments so that the emphasis shifts around from one instrument to another throughout the songs and the harmony blends nicely. That was one of the reasons why the mixing and mastering took so long. Each time I listened to the music I found a few more things that I could change to make it sound better, and with each change I got more confident that I could produce something that sounded just as good as professionally recorded music. After a couple months the tracks were really sounding good and I fell victim to the curse of rising expectations, trying to squeeze a little more out of the tracks than what I could accomplish. By that time the CD was almost literally burning a hole in my studio. It desperately wanted to get out and be heard and so I set aside my perfectionism and cut a final mix. The CD isn't perfect, but it is really good, and not just "good for music recorded in a home studio".

The best part about the mix is that it sounds good on just about any platform without needing to make any adjustments to the equalization. So far I've listened to it through three widely different sets of speakers and three pairs of headphones from the cheap ones that come with your iPod to a pair of two-hundred dollar Sennheisens and in each case the music came out sounding clear, well-balanced, and strong. I didn't have to make many compromises, it sounds how I want it to sound. And while I know that I can do better with better equipment and more experience, I am proud of what I've accomplished. Also, I have to give credit where credit is due and thank you all for your support over the years. Those of you who've related to me your honest criticisms and sung my praises with ringing endorsements have given me confidence that I can compete alongside the "big boys" and inspired me to work all the harder to match that level of quality. You have personally made me a better musician/producer/artist. I thank you deeply.

The Music

Fireaxe continues to evolve. Within "Eternal Devotion to the Dark Goddess" you'll find all of the elements of Fireaxe music that you've come to appreciate, from simple soft verses to towering stacks of harmony, from ferocious driving riffs to methodical power ballads, from scintillating guitar solos to calmly plucked melodies, and all of it wrapped around a central theme that cuts brutally across the grain of the modern landscape. Told in nine parts and filling almost every available second on an eighty minute CD the work is another epic tragedy that explores the ideologies of today and foretells a dark and dreadful future.

Of course, that's what you've come to expect from Fireaxe. So what's new about this CD? Well, of all the tales that I've told through my music, "Eternal Devotion to the Dark Goddess" is without a doubt the darkest and most disturbing story of all. I'm not going to go into detail about it so as not to ruin the impact of your first listen to this work, so instead I'll just say that any search within this CD for an uplifting or positive message will be completely futile. The protagonist is anything but heroic and the antagonist has gaping character flaws as well, and their conflict is summed up well in a quote from the final track, "The world is not black and white, it is black and black." The tale is a journey through our modern world where sadism, deceit, and exploitation lay waiting behind every shining promise. It is a tale of cut-throat capitalism, of torture and abuse of power, and of the desperate struggle to preserve love and purity in a world of lust and debauchery, but mostly it is about lies and how they used to create and destroy. In the CD I unravel the fabric of our ideologies, institutions, and dreams and reveal the base threads that form the core of our society. As always I leave nothing sacred and if I didn't get around to tearing into your particular beliefs in this CD then you'll just have to wait for the next one.

Those of you who have the first Fireaxe CD "A Dream of Death" may notice a number of plot similarities between it and the new CD. That's a sign that I'm running out of ideas. He he he. No, while there are similarities between the two stories, it is the differences which are most important. While "A Dream of Death" had a protagonist which was idealistic and hopeful, the protagonist in "Eternal Devotion to the Dark Goddess" is anything but. And while he does begin the CD with youthful ambitions and a naïve view of the world those traits are stripped from him very early on. Instead he takes the listener on a tour of the dark side of the world where aggression, greed, and ruthlessness are the traits of the victors and in which he rises to power by embracing those ideals. The CD is somewhat like "A Dream of Death", but with the lovely blue, yellow, and white colors obliterated by a convulsing mixture of black and red. This is no dream, it is a nightmare from start to finish.

Those of you who've heard a lot of Fireaxe know that I don't use profanity very much in my music. I feel that it generally detracts from the lyrics and that there's usually a more intense way to capture the same feeling, but in the new CD I use profanity a lot more than usual. Of course, the point is not to sell more CDs. There are a few reasons why I loosened up my standards, the most important of which being that vulgar words were often the best ones to use in many of the passages. When used judiciously, one "f-bomb" can go a long way, and there is simply no better term to use to describe politicians than the one that suggests that they are having sexual relations with one of their parents. Secondly, not only do I use profanity in the CD but I get pretty graphic in a lot of places, often using words that are going to get bleeped out if the songs ever make it to the airwaves. One reason for that is that the profane words greatly increase the emotional impact of the events I describe, but I also wanted to capture the general vulgarity of the time period that we're living in, one that I will not mind seeing come to a close. Too many things have become saturated with vulgarity to excess which has made anything subtle become all but invisible. Nuance is dead and extremism rules the roost. I tried to capture that modern decadent feel in this CD and I think that I have. Be warned, you might find yourself grasping for the lyrics sheet asking yourself, "did he really say THAT?" Yep, I probably did.

Also new in this CD is a bona fide love song, or rather a lengthy section of a longer track where I put away the guitars and weave a elegant tapestry of love and romance with only my voice and my keyboard. I'm very pleased, and more than a little relieved, that it turned out as good as it did. It's so sweet and innocent that it feels out of place in the rest of the CD, but the contrast is what I needed to make the song work. The track, "My Angel", is perhaps the most emotionally intense Fireaxe song ever, which saying a lot, so you don't want to miss it. It's also the longest track on the CD, weighing in at nearly sixteen minutes. The song is an epic tragedy in and of itself but it fits in well with the rest of the tale, speeding the protagonist's descent into hell.

Overall I feel that the music is more "mature" and refined than that on previous Fireaxe CDs. By that I don't mean to imply that the previous CDs were "immature" in any way (it's not adolescent rebellion, it's pointed social commentary), but that the new CD has a more confident and relaxed feel to it. That is probably due to me growing as an artist and getting a firmer command over the medium that I'm using. Maybe some of the mature feel is due to the better recording and production quality too. It's hard to tell for sure, but I do know that this CD sounds terrific.

Anyway, enough about me going on and on about my music. I'll go back to going on and on about the sorry state of the global economy next year. Until then, praise be to Kali, may she continue to frolic down Wall Street with reckless abandon and may she keep dancing and grooving until each and every one of the "Masters of the Universe" are humiliated, penniless, and begging her to release them from their wretched lives.

The Fireaxe theory - Outline

I. Basics - well established theories

  • 1. Emergent systems - that complex systems can arise from the interactions of simple things
  • 2. Natural selection - that organisms mutate, proliferate, and compete, with the "losers" becoming extinct
  • 3. Behavioral science - that neurological systems, at their core, function according to the rules of conditioning
  • 4. Entropy - that within a closed system, entropy always increases, which limits the amount of transformation that can occur

II. Extensions

  • 1. That consciousness is an emergent system: a complex system arising in the human mind from the interaction of simple neurons.
  • 2. That civilizations are emergent systems arising from the physical interactions of humans whether conscious or not.
  • 3. That ideologies are emergent systems arising from the psychological interactions of conscious humans
  • 4. That emergent systems follow the laws of natural selection in much the same way that organisms do
  • 5. That the universe is, by definition, a closed system

III. Contentions regarding consciousness

  • 1. That consciousness is a survival advantage
  • 2. That being a member of an ideology is a survival advantage
  • 3. That making its members conscious is a necessary part of an ideology's survival
  • 4. That consciousness is created by instilling within a person a permanent sense of inadequacy - in essence a state of constant fear
  • 5. That the deeper the sense of inadequacy, the stronger the person is motivated - generally to serve their ideology

IV. Contentions regarding ideological struggle

  • 1. That ideologies fight for survival using many methods including, but not limited to, war and enslavement
  • 2. That aggression is a survival advantage
  • 3. That aggressive ideologies make members of rival ideologies feel afraid and inadequate which in response become more aggressive, thus creating a vicious circle
  • 4. That aggressive ideologies must continue to grow or face internal strife as their aggressive members will feed on each other to satisfy their needs
  • 5. That internal struggle results in ideological mutation

V. Contentions regarding the future

  • 1. That internal strife is inevitable since the laws of entropy imply that continuous growth is not sustainable
  • 2. That the abstract bases for ideologies transcend mortality and thus suicidal aggression is not restrained by fear of death
  • 3. That ideological mutation will eventually result in the creation of a suicidal ideology which will attempt to save the human race by destroying it

How to order Fireaxe CDs

Ordering Fireaxe CD's is an informal process as I am selling them personally out of my apartment. Simply mail me a letter which contains the following:

  • 1. The names of the CDs that you want to buy.
  • 2. The address where you want the CDs sent.
  • 3. Cash, a check, or a money order for the total cost.

Here is a price list. The first number is the cost for U.S. based customers, the second is for outside the U.S. The prices include shipping and handling.

Food for the Gods: $12 / $14 - 2 copies left
Victory or Death: $5 / $7
Lovecraftian Nightmares: $5 / $7 (SOLD OUT)
A Dream of Death: $3 / $5 (booklet out of print)

Send everything to:

Brian Voth
1301 Medical Center Dr. #415
Chula Vista, CA, 91911 USA

If you review CDs on a website or in a magazine, any one of the single CDs (Not "Food for the Gods") is free of charge in exchange for the review. In this case all I need is a request by e-mail. Please send me the URL of your review site or copy of your magazine with the review in it when it is done. If you want to exchange CDs, tapes, or stuff of equivalent value, make these requests via e-mail and we'll arrange a trade.

The CDs come with a booklet filled with awesome art, a letter about the project, and some information about the CD which can also be found on the Fireaxe site.

Lastly, if you want to print and distribute Fireaxe CDs I can send you an additional CD which contains tiff files for all the booklets, tray cards, and labels for each project. The tiff disk is free so just say the word.

The Future

In 2008, Fireaxe will take a step back and work on a couple of projects from the past. First of all, "Food for the Gods" has sold out and will be re-mastered before a second printing run is made. Also, it may also be re-mixed for even better sound quality depending on time constraints. Secondly, the first Fireaxe CD, "A Dream of Death" will be getting a complete overhaul before it is re-released. Everything will be re-recorded using much more modern equipment and with everything that I've learned over the last ten years going into it to make it better than ever. Also, since it was recorded at a time when CDs had a 74 minute limit instead of the current eighty, I will add six more minutes of music to the work in which I will explore a number of musical themes and make the CD that much better. So it looks like a year of sequels for Fireaxe. I'll probably leave the names the same but I've been kicking around a few new ideas for the CDs, such as "Food for the Gods - Regurgitated", "Desert for the Gods", and "A Dream of Undeath", "The Morning After Death", or "I'm Dreaming of a White Strait-Jacket - a Fireaxe Christmas in Hell".

My goal is to deliver music to whoever wants to hear it in whatever way is necessary. Whatever the market demands, I will supply, but I do want to avoid the mass marketing channel. Exposure is fine, but in the modern business, the substance of the music must be altered to match the demands of the marketplace. This would totally defeat the purpose of why I write music in the first place. I write music because it is a way to express my emotions. What I both think and feel goes into the songs. That is the power, Fireaxe is the channel, and any diversion diminishes the emotive effect. Thus I try to avoid such diversions. That is how art should be.

Rights to duplicate Fireaxe materials

Currently Fireaxe is not for profit. I sell the CDs for $5 each which covers the production and mailing costs. For CDs sent out of the country, I'll have to charge $7 per disk to cover the additional mailing cost. If you write reviews or put samples on your website I'll give you a CD for free. Since I am not making any money with the current recordings, you are free to make duplicates of them to distribute as long as you obey the following guidelines:

  • 1. You can only sell the duplications for the price of the medium or less, plus any delivery cost. You are not allowed to make any profit with the music.
  • 2. You should tell me how many copies you gave out and who got them so I can keep track. Also, if they have an e-mail address I'd like that as well so I can add them to the mailing list.
  • 3. You are likewise free to adorn any webpages or duplications with the gifs and jpgs on my website as long as you include an obvious link back to my website. This includes putting Fireaxe song samples on your site as well.
  • 4. You are free to play any Fireaxe songs (in unaltered form) provided you are an unsigned band without a marketting tie-in. You are not allowed to record those songs onto anything that you will sell.
  • 5. You are food for the gods.
  • 6. You are required to crank the song "Hounds of Tindalos" as loud as you can as often as you can. It's your only defense against THEM. Be warned, they come through angles. Note that the CD is round. Are your speaker cabinets square?
  • 7. Cthulhu, the Necronomicon, Hastur the Unspeakable, and all other mythos creatures are purely the inventions of Lovecraft and other fiction authors. None of it is real, at least that's what I'm going to say in court if you try to sue me for destruction of your property, house, city, or soul as a result of listening to the "Lovecraftian Nightmares" CD too much.
  • 8. You are free to play "The Rack" in school or church or any other institution bent on crushing your will and turning you into a mindless zombie slave of the corporate dominated world. Try not to develop a bad attitude about it.
  • 9. You are not free to commit suicide while listening to any Fireaxe song. I'm sorry, I'll have to prosecute. On a serious note, if you are thinking about doing it, please e-mail or call me if you have no one else to talk to. When I was in my teens the album "The Wall" by Pink Floyd used to really get to me. Just hearing songs like "Comfortably Numb", and "Hey You" would get me pretty depressed and mildly suicidal. I'm just trying to say that I've been there. If my music is having that effect on you, please get in touch. You aren't alone.

The gist of it is that you can do just about anything with the music as long as you don't profit from it and that I get some sort of credit for having written it. I'm open to any methods of distributing my music, such as compilation tapes or CDs, radio play, or recording label distribution. However, you will need my direct permission to do so or some kind of legal agreement.
Brian Voth - Creator of Fireaxe

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