BAIXAR CD FLAME CAPTURED
CD FLAME CAPTURED BAIXAR - Queen had Captured his attention and soon it happend, it was a consequence his interest in the guitar, inspired by Brian . BAIXAR CD FLAME CAPTURED - From until, Joey Summer joined the pop rock group NOVO SOM as guest guitarist, and along the years assuming the guitars. Recaptured,2. Surrender, 3. Power Flame,4. Nonsense, 5. Alive,6. All I Need,7. Move,8. Put On,9. Double Back, Captured Me, Daniel 10, Tonight (All of .
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Page 34 HT-DK 5. Deictic adverbs signal the location of something in relation to the speaker or some other point of reference.
Talvez chova. Quem pode mais, chora menos. Yes or no? EP porque? Coordinating conjunctions join two or more like elements with like status.
Ele trabalha e ela estuda. Ele vive como um rei. Ele estuda feito louco. Ela ronca que nem um anjinho. Time: Ele saiu quando a gente estava chegando. In such cases, the lexical meaning of the word remains the same. Furthermore, inflectional variation is limited to closed sets of desinences that 3.
To put it in another way, inflection rearranges existing language stock within a self-contained system, but it does not create new words.
In order to create new words other processes are used, such as derivation, compounding, reduplication, clipping, and acronyms. Modifying suffixes Table 3. This process gave origin to a hybrid system in which some adjectives have a regular superlative while others preserve the original root and yet others have both, as shown in Table 3. Transforming suffixes create new words that may belong to a different grammatical category from the original word. Some, like -ada, -ida, change verb stems into nouns denoting an action: 90 3 Words Table 3.
These distinctions, however, are not necessarily perceived alike by different speakers. Compound adjectives also show considerable variation. Sometimes an old prefix reincarnates with a new meaning.
It consists in repeating a base form or a clipped version thereof, as in coll. This kind of judgment has nothing to do with the words themselves.
In this chapter we will analyze some rules governing the basic patterns of such arrangements in Portuguese, and we will pay closer attention to structures that usually require a bit more attention from learners. Part of the problem is that such constructions do not have a counterpart in English, or if they do as in the case of articles and possessives , they are governed by different rules. Unless otherwise indicated, our presentation concentrates on standard usage acceptable to educated speakers.
As in English, there is substantial variation between this educated standard and the non-standard usage found among the uneducated — what is often referred to as popular speech. A point to keep in mind, however, is that in spoken Brazilian Portuguese, colloquial usage among educated speakers shows many non-standard features typical of popular speech, which tends to depart significantly from that standard.
Some of these labels — standard, non-standard, 99 4 Sentences colloquial, and so on — are somewhat vague and denote ranges of language acceptability. We will return to these matters in Chapter 7. Vamos entrar! Que horror! Branco ou tinto? Este ou aquele? The meaning of a phrase or sentence depends partly on the meaning of its words and partly on its internal structure, that is the way the words relate to each other.
We will take up each of these in turn. The mechanism responsible for this process is called agreement. Nominal agreement applies to nouns and adjectives. Tu e eu vamos ao clube. If we compare the sentences in 3a—3b to those in 3c—3d, we realize how word order contributes to meaning: 3 a. Romeu beijou Julieta. A crucial syntactic feature is that the verb agrees with the subject in person and number. In examples 4a—4f, the relationship indicated by each preposition is shown in parentheses: 4 a.
Marta passou por Paris. Ela vinha de Pasadena. Ele trouxe a bagagem de Daniel. Certain verbs, such as sair, chegar, ou acordar, may stand alone with their subject, as in A Joana saiu? Os nativos vendiam flores. The distinction 4. Cardoso Gomes escreveu Contracanto. Contracanto foi escrito por Cardoso Gomes. The semantic roles of actor and patient remain the same despite the fact that 6a and 6b have a different syntactic structures.
In 6a Cardoso Gomes is the subject of the verb escreveu and Contracanto is its direct object. In 6b there is a passive construction 4.
Likewise, in 7a the nouns have the same semantic roles as in 7b: 7 a. The syntactic functions of those words, however, vary in each case. English allows one more passive variation, in which the benefactive appears as the subject: Paulo was given an apple by Lucretia; this construction, however, does not work in Portuguese.
Keeping semantic roles separate from syntactic functions Table 4. Any one of these three types may be either affirmative or negative. Eles moram em Lisboa. Sente-se aqui ou ali, por favor. Actually, in BP double or even triple negatives are perfectly correct and actually considered more polite in an answer as in 9c than using a single negative word.
The verb phrase may include one or more noun phrases, as in 10b, or other phrase types, shown schematically in 11a—11c. Sentence structures are highlighted by bracketing in the examples. Adverbial phrases, shown in 13a—13c, provide additional information on how the action referred to by the verb is performed.
Portuguese: A Linguistic Introduction
Morphologically, an adverbial phrase AdvP can include an adverb in -mente as in 13a, an adjective functioning like an adverb as in 13b, or a prepositional phrase, as in 13c. Marina fala [AdvP [Adv rapidamente]]. Constructions are possible in certain poetic styles which need not concern us here.
Comprei uma casa de tijolos. Adverbs may be combined in sequences, as in 16a—16c. When two adverbs in -mente are coordinated, it is possible to drop the suffix from all but the rightmost one: 16 a. Greta anda [AdvP [Adv muito] [Adv rapidamente]]. Possession: b. Company: c. Place: d. Means: e. Manner: f. Motivation: Eu quero o carro [PrepP de Henrique]. All verbs, except impersonal ones 4. The predicate, as its name suggests, contains information that is stated about the subject, e.
Meu cachorro morreu. Chegou a primavera. Verbs like those in 21a—21b, which require a noun phrase that plays the syntactic function of direct object that corresponds to the semantic patient in active sentences 4. Escreveste a carta? Unlike English, however, it also allows null direct objects that are understood from the context, as in the replies in 22c—22e: 22 a.
This component usually corresponds, in sentences like those in 23 , to the semantic benefactive. They may come in enclitic position, that is, after the verb 26a or in proclitic position, that is, before the verb 26b.
A third possibility, namely mesoclitic position, with the clitic placed inside the verb, applies only to forms of the future or the conditional 26c—26d. Though used in European Portuguese, mesoclitic constructions only occur in BP as school-learned forms, usually in formal styles. Ele viu-me.
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Ela me beijou. EP Entregar-lho-ei em Berkeley. EP Dar-te-iam os presentes. Our non-exhaustive presentation will deal first with the unstressed pronouns me te se nos vos lhe lhes 4. In unmonitored BP, however, proclisis is the general trend.
Sentences like 27a—27c belong to a relatively careful level of speech in BP, where proclisis, even in utterance-initial position, is habitual in spontaneous speech, as in 27d. Parece-me que vai chover. Pretende-se construir um hospital nesse lugar, mas eu duvido. While 29a is possible in either EP or BP, 29b is normal in colloquial EP; given the general trend to avoid both clitic pronouns and direct commands, 29e would be a likely alternative in BP.
Sente-se, por favor. BP Se enquadre! BP A senhora desculpe. EP Isto irritou-me profundamente. EP Eles perguntaram-me se queria vir. BP A Denise me pediu um favor. BP Essas coisas me chateiam muito. BP, on the contrary, tends to have the pronoun proclitic to the main verb, with no hyphen, as in 32c—32d. The hyphenated variant used to be the norm in written BP but both forms coexist nowadays.
EP Ele tinha-me falado desse assunto. BP Eu tenho te visto na praia. EP Devias-me avisar. BP Eles queriam me avisar desse problema. Quando te promoveram? Acabou de passar aquele cara que te ligou hoje cedo. Ele disse que me emprestava o dinheiro. Eu te chamo assim que me disserem alguma coisa.
Ele trouxe um livro para te dar no Natal. As mentioned in 3. Although lhe s may occur with this function in monitored BP, it is rare in unmonitored speech. Senhor Paulo, eu tenho um documento para lhe entregar. O gerente chamou o porteiro para lhe entregar o abono. BP Quero dar isto aqui para o senhor. BP Ele queria oferecer um livro ao professor. BP Seu Paulo, eu quero lhe ouvir sobre esse assunto. Paulo, I want to hear you about this subject.
As such, they often have the specific function of an indirect object 4. Another is that of agent of a passive construction, with por 42e—42f : 42 a. EP Desculpa-me, mas esse documento deveria ser assinado por ti. Isso nunca foi aprovado por mim. One example is the use in BP of the first person prepositional pronoun mim as the subject of a verb in the infinitive, as in 44a, where a prescriptive rule would call for eu, as in 44b: 44 a.
EP Isso foi feito por si? In 46a—46c the verb conveys a truly reflexive action in which the actor and the patient have the same referent. EP Banhas-te todos os dias?
Alice olhou-se no espelho.
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Selma lembrou-se de que tinha um encontro. A minha cidade se chamava Batatais. O Daniel se queixa sem motivo. It is not surprising that such reflexive clitics should be regularly dropped in unmonitored BP, as in 49a—49d, a topic to which we will return in 7. Eu deito e levanto muito tarde. Eu arrependo muito de ter abandonado a faculdade. Sentence 50b, in turn, ambiguously allows for two interpretations: one is reciprocal, along the lines of 50a, and in the other each actor performs a reflexive action.
O marido e a mulher se mataram. Moramos aqui. Ela descia o morro todo dia e dizia que adorava a praia. Note that some such verbs can be used figuratively with a subject, 52b.
O senador trovejou insultos. BP Fazem oito meses que ele faleceu. BP Houveram muitos problemas. BP Tinham muitas pessoas na Noca ontem? Other constructions with two or more verbs, however, present specific features that will be analyzed in the following sections. The subject noun phrase contains the semantic patient. The semantic actor, if there is one, appears in a prepositional phrase introduced by por or, in archaizing styles, de.
O desfile da escola de samba foi patrocinado pela prefeitura. O trombadinha ficou enterrado no mato. In 56c the state expressed by the participle arruinada is irreversible, but in 56d it may be reversed, provided the prohibition is lifted. In 56e—56f enterrado and confirmado likewise convey a state created by an action, but the focus is the result rather than the action itself.
In 57a and 57b anda and vive suggest a continuing or repetitive situation, perhaps more intensely in the latter case. Adalgisa anda deprimida ultimamente. Ele vivia amargurado pela morte do filho. Teve um momento que quase eu me vi perdido, mas consegui superar. Infelizmente o diretor acha-se completamente enganado.
Ela anda bebendo muito. Pode deixar isso em cima da mesa. Eu vou acabar votando no PT. Meu marido acabou de sair. Os sequestradores acabaram por se entregar.
Eu hei de me vingar daquele canalha. One way of doing this is by means of a passive without an agent phrase 65a—65c. Foram sequestrados dois industriais no fim de semana. Os sequestradores foram presos na quinta-feira.
Naquele tempo se estudava de verdade. Em Lisboa vive-se muito bem. Aluga-se quarto para rapaz solteiro.
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A sign. Vendem-se apartamentos novos e usados. Conserta-se motos. Then stir it well, adding crushed ice. Sweeten [it] to taste and then drink [it] in good company. This is particularly apparent when the verb is intransitive and thus cannot be related to a patient. Since reflexivity requires an actor and a patient with the same referent, intransitive verbs cannot participate in a reflexive action. A transitive verb such as baixar, vender, or alugar 66c—66d appears in the third person singular form if the semantic patient is singular muito gado, quarto.
Prescriptive grammarians have traditionally adopted a formal interpretation for such constructions: the semantic patient is analyzed as the subject, and consequently its number will determine whether the verb should be singular as in 66d or plural as in 66e. Constructions without agreement, like 66f or 66g, however, occur regularly in the language and cannot be dismissed simply as resulting from poor grammar. The indeterminate se construction is a unique combination of semantic and syntactic features Azevedo , and should not be analyzed as a variant of other sentence types, such as reflexives or passives.
Sentences like 68a may have a reflexive reading, with portas as the apparent actor and patient, as when we interpret them to mean that opening and closing results from an automatic process. This is clearly different from a reflexive sentence with vender such as 68c.
Esses apartamentos se vendem sozinhos. Aquelas pobres mulheres tinham que se vender para comer.
Although the glosses in 69b suggest a semantic equivalence between the indeterminate se and agentless passives, it does not follow that they are structurally equivalent: 4. The subject—verb agreement in sentences like 68a is simply the result of the subject portas being interpreted as a plural and the structure being formally reflexive — without implying, however, semantic reflexivity Perini — Other syntactic devices for leaving the semantic actor unidentified include verbs in third person plural, with or without the pronoun eles: 70 a.
Para desmontar a pistola, primeiro tira o carregador. Passei a luz vermelha, o meganha me multou, meu dia estragou. Ele nem come nem deixa comer. Vens comigo ou vais com elas? Ele trabalha tanto como o outro rouba. Quanto mais a gente trabalha, menos dinheiro tem. Once it becomes a constituent of the matrix, the subordinate clause functions like a noun nominal clause , an adverb adverbial clause , or an adjective adjective or relative clause. This is probably why the incidence of subordination increases in direct proportion to the level of formality.
Whereas an informal chat tends to rely more on coordination, a formal presentation say, at a university lecture is likely to rely more on subordination, particularly in technical and scientific fields Marques Thus the bracketed NP in 77a and the bracketed embedded sentence in 77b function as the direct object of the transitive verb anunciaram: 77 a. Eu perguntei [NomC como eles vinham]. If the same connector such as que is needed in both clauses, it may be omitted in the second clause in informal speech, as in 81b: 81 a.
Eu sabia [[Nom que ele estava sem carro] e [Nom ia chegar atrasado]]. Also, the clause que fala yes — — — — yes yes yes yes Variable o qual m. A restrictive clause provides information essential to characterize the noun phrase functioning as its antecendent. O amigo [RelC que me ajudou] mora em Coimbra.
They are usually set off by commas that correspond to slight pauses in speech. The adverbial clause is embedded in the matrix by a conjunction or a conjunction-like construction made up of que and one or two words: 4. A gente ia chegando [AdvC quando ele puxou o carro].
Papai trazia presentes [AdvC sempre que viajava]. A gente vai na boate [AdvC quando sobra dinheiro]. Consequently they may be moved around, so that 85g could just as well be Quando sobra dinheiro, a gente vai na boate, or A gente, quando sobra dinheiro, vai na boate. Since some connectors may be used in any one of the three types of embedded clauses 86a—86c, the classification of the subordinate clause depends on the function it performs in relation to the matrix clause.
Although it hardly ever occurs outside formal speech and writing 7. What is called the subjunctive in English is not a verb tense with its own forms, but rather a syntactic construction McArthur that survives primarily in formal usage, with the infinitive the citation form of the verb , as in I require that the witness take rather than takes the stand now, which contrasts with, say, I know that the witness takes the stand whenever necessary.
Likewise, in the past, the infinitive would also be used, as in Her lawyers insisted that she take as opposed to took the Fifth Amendment. In colloquial usage the regular past form is used: If I was rich; if she was my wife. The subjunctive occurs primarily in subordinate clauses, where it is governed by an element present in the matrix.
Since the nuances expressed by the subjunctive would require a whole volume, this section will be limited to an overview of its main uses. Os outros [NomC que se ocupem disso]. Eles [NomC que se danem! Such sentences commonly occur in exchanges like 98a—98b, where the volition verb present in the question is understood in the reply. Eu imagino [NomC que ela vem, sim]. Eu imagino [NomC que ela venha, sim]. Acredito [NomC que ela vem, sim]. Acredito [NomC que ela venha, sim].
The indicative suggests an antecedent perceived as actual and specific, as in a. If that antecedent is viewed as a hypothetical entity, however, the verb will be in the subjunctive b: a. Eu quero baixar a moto [RelC que foi anunciada no jornal de ontem]. Eu quero baixar uma moto [RelC que tenha pouca quilometragem]. Eu quero baixar uma moto [RelC que foi anunciada no jornal de ontem]. Not so in b, where the subjunctive tenha suggests that no specific motorcycle with low mileage is known to exist, even though there is nothing improbable about its existence.
In c cooccurence of an indefinite article uma moto and an indicative form tem suggests the speaker is aware 4 Sentences of a specific motorcycle, which may simply be out of sight at the moment of the utterance.
In d, finally, the definite article suggests a specific entity, but its cooccurrence with the subjunctive suggests it is hypothetical — for example, an ideal motorcycle that the speaker knows has yet to be made. Quero te apresentar uma sogra que trata bem o genro. With conjunctions in group 1 , which introduce clauses that carry an assumption of reality a—c , there is no choice and therefore no contrast in mood.
There is no contrast, since the verb is always in the subjunctive, as in a — c. Trabalhou cinco meses [AdvC sem que lhe pagassem nada]. Eu trabalho [AdvC para que me paguem]. Mood choice here corresponds to whether the event in the adverbial clause is perceived by the speaker as fulfilled indicative or as yet to be fulfilled, either because it is non-factual or because it is still in the future subjunctive. The prototypical conjunction case is the temporal conjunction quando a— h : a.
Eu entreguei o dinheiro, [Adv desde que eles me deram um recibo. Eu entreguei um recibo [Adv depois que me deram o dinheiro]. A verb in the indicative signals the assumption that the condition has been fulfilled. This may be a permanent situation, as in the case of a past event calling for the verb in the past subjunctive a—b. In c—d the verb in the future subjunctive signals a condition that may yet be fulfilled.
Talvez ele chegue hoje. Tomara que chova! In BP it is far more used in writing and in formal, monitored speech than in unmonitored speech, where its frequency is rather low. Perhaps because of that it has been suggested Martin that speakers of BP who learn the inflected infinitive do so through formal instruction rather than natural aquisition. Even so, data from spontaneous speech are scarce, and consequently the phenomenon is far from being fully understood and linguists underscore the provisionality of their claims Perini , This brief presentation concentrates on the essentials and follows the main lines of the analysis given in Perini , a.
In a—d the inflected infinitive occurs in a sentence that serves as a complement to another sentence, to which it is connected by a preposition. A key factor here is whether or not an overt subject is associated with the verb in the infinitive, which is inflected if its overt subject is different from the subject of the other sentence, as in a—b.
If there is no overt subject, inflection occurs if the subjects are different, as in c, and it is optional if the subject is the same, as in d. A Dora deixou umas revistas para a gente ler. Comprei uma garrafa de vinho para a gente beber hoje de noite. Vamos baixar uma garrafa de vinho para beber hoje de noite. If we replace Madalena with a plural noun phrase, then the infinitive may be inflected or not, as in c—d. This means that in constructions involving a verb of perception followed by a noun phrase and an infinitive, the infinitive may or may not agree with the noun phrase.
The situation is made a little more complex because not every native speaker agrees that sentences like b can have an inflected infinitive if the clitic is in the plural: Q.
In spoken BP, where ele s is regularly used as a direct object 7. Eu mandei os meninos fazer umas compras. Eu mandei os meninos fazerem umas compras.
Eu sempre deixo eles brincar na rua. On the other hand, where word order may vary, sentence constituents are distributed in information bundles so as to facilitate comprehension. The subject is the head noun phrase NP , and the verb V , together with the object NP and other complements such as prepositional phrases and adverbial phrases, if any constitute the predicate. Variation in word order modifies the distribution of information by focusing on one component or another.
What lies outside the topic constitutes the commentary. A productive process for varying word order consists in inverting the terms of the unmarked order. Example a is an ordinary sentence of the type SV, which if given as a reply to a question like E a Selma? In b the verb chegou provides a background for the new information contained in Selma; this sentence might be uttered as a reply to Quem chegou? This displacement of a component to topic position is known as topicalization.
A Selma chegou. Chegou a Selma. In b passivization topicalizes the reference to the parade, placing the information focus on the new information regarding who did the sponsoring, which constitutes the commentary. A Prefeitura patrocinou o desfile da Morro Branco. O desfile da Morro Branco foi patrocinado pela Prefeitura. The unmarked SVO distribution of sentence a is an unexceptional statement, 4.
Eu mando na minha casa. Na minha casa, eu mando. Na minha casa, mando eu. Since the speaker is free to choose what will be topicalized, other arrangements are possible. The main clause then becomes the matrix of a subordinate clause introduced by a relative pronoun such as que. Para quem quiser acompanhar com fritas letras :.
Curtir Curtir. É duro, para dizer o mínimo…. Foi uma ótima surpresa. É o carro do tempo mais eficiente. Eu curti. Sem a expectativa — repito — que o MetallicA seja cover de si mesmo. Meu Deus os livre de se copiarem e virarem um Kiss da vida. Hoje Megadeth e MetallicA parecem nutrirem este desejo intenso de dizerem o que querem musicalmente sem se importarem com um glorioso passado.
Eu gostei muito do single — e sim Daniel, vou colocar e acho que é o melhor que o MetallicA fez em muitos anos desde o Black Album? Sendo tradicional ou mesmo retrógrado, datado, etc..
E ainda, me lembra o MetallicA dos três primeiros. Falar mais o que? O vocal, o que é lógico, soou mais parecido com o que ouvimos hoje o Het fazer. Fiquei ansioso para ouvir o resto. Bacana a sacada da volta das reticencias. Eu gostei de Ronnie Rising Medley e do risco que a banda assumiu em colocar o Hetfield pra cantar Dio…….
Um solo de guitarra curto. E que o Trujillo use calças nas turnês que estejam por vir. Deixe a bermuda pros shows de hip hop. Lembra muito. Com a diferença do vocal. Como modelo estético é contra-producente. É aceitar uma maneira reducionista de olhar para uma obra. Eu sempre irei me referir ao cinema como um exemplo cabal da minha tese: ótimo que o Spielberg tenha feito Contatos Imediatos… mas hoje, quase 40 anos depois, faz algum sentido comparar alguma obra syfy recente do mesmo diretor com o filme de !
Eduardo Schmitt: Certamente com tudo que o MetallicA praticara a partir de , especialmente quando a gente entra nos anos 90, o ano dos agudos estourando as caixas, em detrimento dos médios e graves. Achei o single bem interessante.
Escutei poucas vezes, mas nao senti semelhança com Kill. Minhas impressões iniciais devem ser um pouco repetitivas por aqui. Se em o MetallicA esbanjava vitalidade, hoje a banda é muito mais madura.
Melhor ou pior? Depende do gosto…. Mas resumindo, gostei do som! É MetallicA! Senti falta de um solo maior também. Para quem tiver login criado no site do MetallicA — para agora ler a So What!