Wow. Just wow. Words cannot describe the sheer brutality and audio-terror inflicted by California hate-crew NAILS on their third full-length opus. This album brings all of the hatred bubbling under every human’s seemingly still skin, and causes it to erupt with the force of Eyjafjallajökull. NAILS has flawlessly perfected their blend of the blasting Metalcore fury of TRAP THEM with the powerviolent swagger of CAPITALIST CASUALTIES and MAGRUDERGRIND, galloping D-beat in the vein of ANTI-CIMEX and RIISTETYT, a savage dose of thrashcore leaning that hearkens to fellow warriors EARLY GRAVES and TRASH TALK, topped with a classic Swedish Death Metal guitar tone like that of ENTOMBED and UNLEASHED. Taking influence from diverse, yet brutal sources, NAILS was born ready to destroy, and they have been quite successful.
2009′s Obscene Humanity and 2010′s Unsilent Death held you by the throat and didn’t let up until they were over, but now, they beat you with shovelfuls of hot coal. Last year’s split with SKIN LIKE IRON and revamped Obscene Humanity joints showed that they were doing anything, but lying and occasionally diverting energy to the upcoming LP. NAILS has a work-ethic that makes their brand of Hardcore so vital and punishing for the listeners, just how they like it. With Abandon All Life now unleashed on the world, no one is safe in the pit.
From start to end, NAILS has shown that yes, they can up the ante as far as violence goes. Pure American aggression was plentiful in previous releases, and rest assured, it’s the same blood-bolstered beast of old, but they’ve only grown more violent, and more willing to see death and destruction unfold before them. Their newly added guitarist Saba may have a lot to do with this increase in their merciless musical gnashing, as guitars were once solely on the shoulders of vocalist TODD JONES (ex-TERROR, ex-BETRAYED). Armed with another soldier to cover more killing ground, it’s game-set-match for your face.
I could sit here and describe all of the tracks, but it’d just become hyperbole relating to how the band will metaphorically kill you. Just know that you’re in for a ride, start to end, as the album wastes no time in opening with “In Exodus”, a punishing breakdown busting in the doors of your ears, and leads immediately into a furious grind section with Todd’s howls doubly vitriolic, and the drums crashing like thousands of buildings collapsing at once. It’s nuts how much speed and aggression NAILS can pack into a single track, and yet still do sludgier hits like the closer “Suum Cuique” justice in the same fashion. Even more amazing is how even though this is their third full-length outing of misanthropic grinding hatecore, we’re still eagerly anticipating the next ravaging. In short, this is some good shit, homie. They are currently on tour with XIBALBA and EARLY GRAVES, so I look forward to hearing how well you fare just being in the venue when
NAILS may just have turned in the album of the year. Photo by Vanessa Harder.
NAILS, formed from ex-members of TERROR, CREMATORIUM, and BETRAYED, totaling up to one member from each, is the sonic definition of hate. If you regularly listen to NAILS, you’re probably pissed about something. If stay-posi Pop Punk a là THE WONDER YEARS had an evil counterpart, it would be NAILS. Formed in 2007 in the sun-baked climes of Southern California, home of the Bay Area Thrash scene as well as fellow hatemongers EARLY GRAVES, they’ve been shedding the blood of fearful lambs since the release of their first 11 minute cannonade, also entitled Obscene Humanity, setting the tone for the follow-up,Unsilent Death, with just under a quarter of an hour of face-ripping metal inflected Hardcore that was like TRAP THEM with even more “fuck off”. With Kurt Ballou of CONVERGE fame behind the board, they saw a tone that ENTOMBED would doff their collective hat to, and a killer live show to boot. Their split with fellow Metalcore swordsmen SKIN LIKE IRON was a small taste of a new artistic direction, and now we have this, the reboot of three songs off of their first release. I would first like to note that writing about any given NAILS release takes about three times longer than the complete running time, and since this is their shortest release… You do the math.
I’ll be honest, when I found out that this was simply a rehash of old material, I was bracing myself for a letdown. I’m quite glad I did, however, since they have exceeded expectations. Not to say that the original Obscene Humanity LP was bad, but hearing these three well-chosen tracks (“Obscene Humanity”, “Confront Them”, and “Lies”) fleshed out with their ENTOMBED meets WEEKEND NACHOS sound, courtesy of Kurt, makes these songs even more powerful.
“Obscene Humanity” opens like some of TRAP THEM’s more vicious tracks, then goes into that good old fashioned NAILS assault we’ve come to love. “Confront Them” shows their ability to go from piledriving mayhem to a more controlled and bludgeoning stomp within under a minute and a half and still make it a fulfilling listening experience. “Lies”, for any who have listened to Unsilent Death, will notice that the two beginning sections are basically cut and pasted from “Scum Will Rise”, but with some minor variations and more dirt. Though this recycling is nothing new, being that “Lies” came first on the debut LP, it’s more apparent due to them having defined their sound beyond just another pissed off Hardcore band wielding feedback and intentional refrigerator box lo-fi quality. Whether or not this takes you out of what is otherwise a very well-written track on its own, that’s up to you.
Overall, it’s nothing new, but at the same time it gives a different perspective on the old material, which sounded like it came from a last-minute Deathwish Inc. demo. Though Obscene Humanity 2009 was good, Obscene Humanity ca. 2012 is a chance to show fans that A) they remember where they came from and B) they’re hard at work on new material with which to wage war on Pop Punk.
The Verdict: It burns.
TODD JONES and NAILS: You wouldn’t like them when they’re angry.
Awesome bands from California are just coming out of the woodwork lately. It’s a good thing too. California is always known as the “land of sunshine” and Disney, but as always, there is a darkside to that. Bands have been exploring the seedy underbelly of society through music and presenting different points of view for ages. From SoCal Hardcore, metal and other underground subsets of musical styles with new bands lighting the way all the time. One such band is COLOMBIAN NECKTIE, who are straight off the streets of LA in their delivery and character.
Riding high after a summer split-single with SEIZURES, this EP sees the band stepping up their game even more. Playing a self professed style called “negative metal”, the band has a lot of vitriol, but backs it up with intelligence. From walls of feedback, angular riffs, beastly heavy drums and shrieked vocals, they present a fierce package. The band couches everything they do with all of the smarts, but none of the lame snark of their many peers in the scene, which is refreshing. They will remind you at first listen of of TRAP THEM‘s musical approach, CONVERGE’s early years, or a more sophisticated style of other the current heavy Hardcore/Crust bands. “What A Drag” launches full throtle into bleak hysterical ranting and a crush of beats. Vocalist Tom Koücheravy just wails on every line like it’s going to be his last and matches the ferocity of the songs perfectly. “Michelangelo’s Destruction of Adam (On The Floor)” is another hostile volley of chords and drums. Guitarists Ben Daniel and Juan Hernandez play a combo of straight-ahead riffs blended with avant-guard, Los Angeles bred oddness. Shredded Crop Circles” is my favorite song on this release, with its brooding Sludge riffs and dramatic overtones. It also showcases drummer Bennett Erickson’s ability to lay back and groove as much as he shreds on the other tracks. “Lazy Bones” closes things out with a lot of style. This even more downtuned bruiser will make your heart uncomfortable and your head dizzy with a grinding, headnodding roar. The last minute and a half of the song just pummels and you get a sense how this music will knock people down live. Following this EP release I’m really looking forward to a full-length, hopefully in 2013.
Another great night of metal and debauchery was on tap at my favorite spot in or around Boston for a metal show, Great Scott in Allston MA. A bunch of hardcore inspired metal bands were invading the spot and it was a treat to see such a big turnout for a normally dead summer night. Lots of punk and hardcore kids mingled with metallers and show each other approving looks for shirt choices like THE BAD BRAINS as well as DEATH ANGEL. So choice was the lineup that many of Boston’s metal luminaries were in the house like members of CONVERGE and DEATH RAY VISION. All thanks and props go to Born of Fire and Zack Wells for putting on yet another killer bill for all to enjoy.
Front man Pboy of NEW LOWS is an incredible performer.
Local favorites PANZERBASTARD opened up the night and are just a killer live act. they are best described as old-school rock and thrash served up in a dirty shot glass full of fuck you! Bassist/front man Keith Bennett is hilariously funny on stage and the entire band just cooks live. Their label head Dan Patac (Patac Records) was also in the house and told me they have an new album in the works and I’m really psyched about it. Next up were NEW LOWS and BITTER END. Both of these bands are on the Deathwish Inc. label and had a lot of heads in the house just for them. BITTER END is a little more on the old school tip of things, but still crushingly harsh. NEW LOWS has a killer live show buoyed by insane front man Pboy. His vocals alone were worth the price of admission. Both bands are names to watch out for in the near future if hardcore is your thing.
Todd Jones of NAILS drive his point home....
After a quick change over of gear NAILS his the stage and the entire venue seemed swollen with people. It was hot as hell in the joint and the front packed in tight really for the onslaught the band would bring. From the opening salvo of “Conform/Scum Will Rise” it was like a powder keg went off and a big, wild mosh pit opened right up. The band was tight and sounded great. Vocalist/guitarist Todd Jones (ex-TERROR) is a terrific screamer, guitar player and performer. He has a lot of energy and really conveys his lyrics with his raging style. The crowd totally seemed to feed off of this making for an explosive set. The band played a set entirely from their album Unsilent Death (Southern Lord) and the crowd was enrapt as hellish anthems of hardcore, thrash, crust and grind rained down on our ears. Drummer Taylor Young and bassist John Giannelli round out the lineup and the bashed away at the songs with little time wasted. Songs like “I Will Not Follow”, “No Servant”, “Depths” and “Scapegoat” were just spot on perfect and the crowd never stopped moving. They even covered old NYHC band BREAKDOWN, playing the classic ”Sick People”. When the final notes of their set rang out like a shot from a smoking gun, I was pretty much spent for the night. Every time I see this band I just want them to keep going and play double the time. Perhaps next year when they do a headline tour. In the meantime I cannot wait for their next album to drop in 2012.
Pick up the new album from RINGWORM, out now.
If it was any other band besides RINGWORM, they might have a hard time following the chaos that preceded them. However, the hardcore and metal bashers from Cleveland had other ideas and are not to be outdone as a live unit. On the road in support of their new album Scars (Victory Records) they hit the stage with wild-eyed , reckless abandon. As usual vocalist James “Human Furnace” Bulloch just killed vocally. He is a terrific front man, with tremendous stage presence and he always gets the crowd moving. No one in metal sounds quite like him and probably couldn’t even if they tried. Naturally, the pit was sick with a lot of real old-school mosh dues out in force and no room for sissy ninja kicking noobs. There were circle pits galore from wall to wall in the relatively small venue and it was cool too see no fights or knucklehead action for a change. Since the band is out on the road celebrating the 10 year anniversary of the modern hardcore classic Birth Is Pain album and 20 years as a band, they played nearly as many deep cuts as they did recent ones. Songs like that title track as well as “Amputee”, “Dollar Whore” and “The Sickness” meshed well with newer material like “Unravel”. The entire band was tight as hell as they tore through the hour long set, keeping the intensity on high. I have to single out guitarist John Comprix (BEYOND FEAR, CHARRED WALLS OF THE DAMNED) for his usual axe-wielding awesomeness. I for one am glad RINGWORM are still plugging away after all this time and suggest you catch them live if they come to your town.
RINGWORM bassist Mike Lare wears a cool ANAL CUNT shirt in tribute to Boston grindcore legend Seth Putnam. RIP Seth!
This artwork made me go what the f$% is that when I first saw it. It is by Rob "Mid" Middleton
Famous author Oscar Wilde once remarked that “Ambition is the last refuge of failure.” I often find myself reminded of this quote (an all other things Wilde) when thinking of bands with sky high expectations. As humans we foist unrealistic demands on each other, only to be crushed and left angry later. This is no different for artists as well (Wilde was likely addressing them directly). Sometimes groups live up to the lofty bar we wish them to reach and sometimes they die trying. Lucky for LANDMINE MARATHON death is off the table when it concerns their career or their terrific new album Gallows. Not only dies it live up to the hype, it will cement their status act as one of the best groups in modern metal.
Right from the first second of the album when a whammy-bar horse squeal in the style of DIMEBAG DARRELL/EDDIE VAN HALEN announces the opening track “Three Snakes Leaves”, they are not playing around. A death and blackened thrash metal workout of a song follows and I couldn’t help but head bang along to the furious beat. As always Grace Perry’s insane death metal snarl buoys the track. Her voice is razor sharp to match her lyrics and delivery. Andy York, the newest member of the group just beats the piss out of his drums with blazing double kick-work and super fills. Halfway through the song dueling guitar solos of Ryan Butler and Dylan Thomas (I was just talking about writers a minute ago, right?) are melodic, tight and full of fire. Butler produced the album which speaks even more volumes about his talent. With no let up in their sights, “Cutting Flesh and Bone” is another slab of outrageous riffitude and histrionic screaming. Perry’s voice is very consistent and while she doesn’t display a huge variation in her movements, she is crisp and deep with her growls at all times. The coda of the song has a bit of a Chris Adler/LAMB OF GOD feel to that I rather like. “Knife From My Sleeve” starts with a chilling death march beat and an equally deadly yowl from Perry. I can’t say enough times how she has topped all of her previous work on this record. Slow and hypnotic at the start, only the harmonizing of the guitar leads provides any hint of light in the dampened, grim mood. Then the song is set off with the whip crack beat and back to the furious tempos. Then in the perfect throwback to old-school death metal (think OBITUARY, MALEVOLENT CREATION and LM heroes BOLT THROWER) we return to the doom riffs of the intro for guitar hero worship time before fast forwarding to a blast beat tornado of an ending. “Liver and Lungs” is also chock full of speedy chord changes and aggression. Firing on all cylinders seems to be the speed the band shines brightest, so why not keep going to the well? I say do it! Perry takes on a higher pitch scream at length for the first time on the record here and then downshifts back to the guttural bellows for contrast. The breakdown riff is pure SLAYER circa 1985, which I personally would never complain about. “Dead Horses” might be the top track on this album after “Knife…”. They just kill it in every facet of the song that is possible. York might really have been the missing link for the band, judging from his unconscious performance. I can’t wait to see him live. Every single cut has something ear-catching and impressive. The riffs are rough enough for the tough-guy mosh ninjas, but tech enough for the nerds yet still true enough for purists to like them. “Cloaked in Red” is another song bowing at the altar of SLAYER by way of modern European blackened death metal. Further sonic assault and battery comes by way of “Beaten and Left Blind”. Another killer breakdown is sure to signal the point in their show after which soft kids can pick their front teeth off the floor. I would also be remiss to mention this song has by my count the fifth or sixth awesome guitar solo. Yep, you have received confirmation that lead guitar is still cool and not just for the neo-thrash kids. The last track “Morbidity” is a fitting title for the closing out an album like this. More classic sounding motifs crush your head in their vise-like grip of awesomeness. One grip I have is the brevity of the album, at a touch under thirty minutes. That and I’d like to hear the bass work from Matt Martinez higher up in the mix. Still, it’s nice to see this band live up to and catapult over the bright shine of attention’s spotlight.
LANDMINE MARATHON: meeting and defeating high expectations.
Metal Army caught up with Todd Jones of NAILS right after he got off stage on their recent tour with RINGWORM. We talked about making their latest video, inspirational stuff and the next NAILS album. We were also propositioned by a guy who might have been a pimp, who was hoping we were selling weed and not doing an interview. You gotta love Allston Rock City (Allston, MA)!
This was a sick show!
MAA: You guys just played a sick show! How is the tour going?
TJ: Excellent! All the bands are band that I like musically and bands I like people wise. The tour went by too fast. Today is the thirteenth day of the tour, tomorrow will be the fourteen. I left my house three weeks ago and feels like it was only three days ago. Even the worst show was an awesome show. It’s been too easy and too much fun!
Todd Jones live with NAILS.
MAA: NAILS have been tireless road dogs, but your shows are crazy intense. How do you manage to stay motivated night after night?
TJ: I go through periods of motivation and demotivation, both. When I get demotivated I just try to think about the band and not listen to our music too much or our demos for our next record. We have a lot of demos for our next record right now. But when its time to hit the road or time to hit the stage something in me naturally kicks in and takes over and I’m ready.
If you don't own this album, something is seriously wrong with you.
TJ: The video was made by a friend of mine named Joel Perkins, who I’ve know since the fifth grade. He has recently started a career in the video world, I don’t know what you call it. He’s doing really well for himself and I called him up and asked him to do it. He did a great job on a shoe-string budget and I think it came out great. I’m proud of it, proud of him and how it came out. I think it was a success for us. It didn’t come out corny and that was my biggest fear. I think it works. It captures us and I hope somebody sees it and gets an idea of what to expect from us. You can listen to a record and get a general feeling of how the vibe that a band is trying to portray is. When you see a band live, it could be a different thing. The vibe that we portray in a live setting is the one they feel when they hear the album or see the video. I hope the video does that since it is live and if people can’t feel it I don’t know what to say. I just hope it was successful.
MAA: What is the progress on writing the new record?
TJ: We have five songs done. We need to write six or seven more. We’d like to write more songs than we need in case some of them don’t fit into the flow of the record. We already have the title for our record. I already have the idea for the cover. Writing is a slow process for us. It took us nine months to write Unsilent Death. We don’t rush anything and we just let it come to us. As it comes to us, we get it down. We will probably be recording early next year and hope the album comes out in the spring or summer.
MAA: What inspires your lyrics?
TJ: I try to write lyrics that fit the vibe of the music. I’m a very emotional person. Unfortunately, a lot of that emotion comes with depression and anger and I try to use NAILS as a way to vent that. In life there are a lot of injustices that you face in the way of relationships you have with people, relationships you have with your career, or with your family. Even though I might sound pissed, I look at it as a positive thing. NAILS is about freedom to do whatever the fuck you want and not have anybody not come down on you for it.
MAA: What music do you listen to in the van?
TJ: Today we listened to JESU, Justin K Broderick’s current band. We listened to SEPULTURA’s Chaos AD today. In the van we listen to a lot of music and with 5-7 guys its hard to cater to everybody, but I try to put on stuff everybody likes such as LED ZEPPELIN, SEPULTURA and METALLICA’s Master of Puppets. We just try to listen to classic records that are “easy to listen to” we can all enjoy.
The recurring theme this year when considering all of my reviews so far is that many bands are breaking boundaries and pushing the envelope of not just what they can do, but what metal can grow to be in the future. This is a very exciting concept for me personally that cuts across every little sub-genre of our musical spectrum. When I hear adventurous, fearless bands just go for the creative jugular it makes me a very happy professional music appreciator. HULL is one of those bands that just gets it and they have been churning out their own brand of crushing music for quite a while now. They birthed this album (literally) over a year and a half and still managed to tour and play shows often keeping their skills sharp. This offering sees the band reaching a new pinnacle of their craft and raising the bar for themselves and everybody else in the process.
Bringing no less than the epic scope and feel to everything they touch, Beyond The Lightless Sky is a concept album for the ages. It’s a story of mysticism and whimsy, of grudges held and self discovery and one that touches me personally and perhaps many who will listen to it. To match this Olympian concept, the band’s three guitar attack pulls from their diverse influences of sludge, doom, thrash, classic rock, crust, prog, d-beat, black metal, orchestral works and other sounds to create this stunning work of art. Peeling the lid off with the eleven-minute boiler plate “Earth From Water” immediately opens with the lurching metal assault. Multiple vocal attacks from guitarist Nick Palmriotto and bassist Sean Dunn work in lock-step unison. Searing guitar riffs from Palmriotto, Drew Mack and Carmine Laietta clash and contrast while beats and distorted bass lines pummel your head. When things slow down to a psychedelic grind, the results are amazing. Textural guitar lines worthy of WIRE or THE SWANS mix with the pure molasses slowness of THE MELVINS, CROWBAR or ISIS. There are also the first of many devil horns worthy guitar solos to be found. And that is just the first half of the first song! For a complete change of pace “Just A Trace of Early Dawn” is a Syd Barrett era PINK FLOYD weird on, full of detuned goodness and restrained tastefulness. The title track is next and it just kills. Sweeping back and forth from a blast beat-ed volcano to a mid-tempo groove, there is really nothing this band can’t do. Jeff Stieber is one of the premiere drummers in modern metal and he gets a tremendous amount of power out of his rather Spartan drum-kit. Once again a droning, hypnotic swirl of riffs just transports your mind and soul away to a better place. “Curling Winds” is another interlude that sets the mood with different guitar motifs and delay effects. Trippy. “Fire Vein” is another dirge that hits the listener over the head for about three short minutes. Then the song undergoes a metamorphosis into a grand doom rock epic. HULL is frequently compared to Remission era MASTODON, but I will go one better and say they are much more aligned with the sounds of BARONESS. Especially all of the guitar orgy stuff going on really calls to mind that band. Another interlude with fine percussion is the mantra like “Wake The Heavens, Reveal the Sun” which seems to have an undercurrent of a Hindu chant in it. Another mini epic is “False Priest” which is probably the best song of the bunch here. The song is ragged, harsh and cool. More of the tag team singing and tight beats punctuate the track. After a third progged out segway in the form of “A Light That Shone Aside from The Sea” brings the closer in “In Death, Truth”. In the guise of this final track, HULL throws out everything in their arsenal including the kitchen sink. This song and this album are going on infinite repeat in my head as of now.
Arriving here at the MAA HQ doorstep courtesy of Candlelight Records of all places, this double shot o’ Discharge focuses on the influential British punk band’s later years, a period which still dwells very much in the grey with fans.
Not to worry, however, for Disensitise (SIC) doesn’t harbor any of the bad Zeppelin/cock rock leanings found within the band’s disastrous Grave New World LP from 1986, but instead focuses upon what Discharge does best: tear it up, old school style. If anything, Disensitise signified a continued feeling rebirth when it was originally released in 2008, having followed up-albeit a whole six years later-the band’s self-titled ‘comeback’ record from 2002.
Both albums display the stripped down D-beat crust sound of Discharge in their pissed prime, polished to a heavy, razor-sharp edge via a sterling strong production quality. The effect as a whole is actually quite similar to latter day Exploited, particularly the band’s Beat the Bastards opus from 1996. Both records ably bring the British punk snarl kicking and screaming into full on metal crossover, with blazing ‘n aggressive results.
In comparison to Disensitise, the compilation release War Is Hell sounds like modern day Discharge re-recording their classic anthems, mixed together with a handful of live tracks to round things out at the end. Sure, the album features such classic Dis-jams as “State Violence State Control,” “Never Again” and “The More I See,” but at the end of the day, most redux endeavors like these are simply a bad idea which should always be avoided.
Luckily, both releases will be sold separately, so bet on picking up Disensitise if you’re going to buy one of these reissues. Or, better yet, just pick up some classic, early Discharge while you’re at it and leave War Is Hell on the racks.
Right from the get-go, Athens’ Sarabante perk up the ears with a brooding, malevolent intro of minor chord madness, before delving deep into absolute crust-metal madness here on their Remnants debut.
Indeed, this sort of aggro-music-although difficult in which to standout-always hits the spot with yours truly, striking that visceral nerve of intense anger personified. Then again, most crust fans-and this isn’t an insult, mind-are an easily amused lot, content with their bands riding that line of tradition for all its worth.
Sarabante do attempt to spice up their D-beat fury with a moderate amount of black metal atmosphere and dissonance, but make no mistake: this is still fast, stripped down and to the point, sounding more Disfear than Darkthrone, ya dig? This is, of course, a very good thing, adding one more feather to the roster cap of Southern Lord Recordings; an apparent bastion these days for everything heavy, dirty and mean.
Again, don’t look for Remnants to break the mold when it comes to the pissed-off hardcore crust; this isn’t why Sarabante is here. No, this Greek assault unit exist only to pummel and puree listeners into the dust with maximum amount riff efficiency and a no-nonsense policy for brutal songwriting. Definitely check this one out.
Seven Sisters of Sleep-Seven Sisters of Sleep (Southern Lord)
Featuring ex-members of Tafkata and the incredibly named Arm And Sword Of The Bastard God, the equally badass Seven Sisters of Sleep arrive bringin’ the sludge ruckus from round one, churning out mountains of syrupy riff goodness which thankfully doesn’t always keep to a snail’s pace.
Indeed, these Sisters know how to get their groove back/on with such standout tracks as “Passed Out Standing” and “Tide Is Rising, the latter of which incorporates a blood-boiling d-beat pulse to easily push this debut from ‘good’ to ‘great’ in a manner of seconds. Suitably angry and gritty, Seven Sisters of Sleep may not be the most original sound on the block, yet the delivery is so heartfelt and vitriolic…well, it quickly becomes quite difficult to deny.
Perhaps America’s more punkified answer to the sadly defunct Iron Monkey, the Seven Sisters of Sleep actually manage to make unholy, sludgerrific doom metal sound practically catchy here, due to their excellent excess of memorable riffs and knack for lock-tight composition. The end results of all these combined talents results in a listen which combines both old and new school doom into an exciting and forceful entry here in the modern day. Kudos, guys…this is good stuff!
