ULTRALYD - CHROMOSOME GUN (LOAD 070)

NUMERICALLY SPEAKING THIS IS THE SECOND CONSECUTIVE RELEASE FEATURING KJETIL BRANDSAL AND ANDERS RANA ON BASS AND GUITAR RESPECTIVELY (AND IF YOU JUST GOT OFF LISTENING TO THE NOXAGT S/T THEN YOU CAN REALLY REALLY HEAR IT) BUT THERE IS A SLIGHT DIFFERENCE HERE IN THAT THE LEAD INSTRUMENT IS A SAXOPHONE.

THIS CONNECTS THE THICK FURY OF NORWAY'S MUSCULAR UPTEMPO NOISE ROCK SCENE WITH SOMETHING OF THE NO WAVE AS THE SAX BLAPS AWAY ATONALLY AND OCCASIONALLY INJUDICIOUSLY. I'M GUESSING THESE ARE SEMI-STRUCTURED IMPROVISATIONS, AND THEY'RE ALL FINE PLAYERS. THERE ARE THESE MOMENTS OF "WOAH" AND THEN OTHERS OF "OH DO STOP". LIKE ANY BATCH OF IMPROVISATION, I GUESS!

MY MAIN COMPLAINT IS THAT WHILE THEY ARE FEARSOME PLAYERS, THEY DO NOT SETTLE ON THE INTERESTING MOODS, TENSIONS, AND VIBES THEIR EXPLORATION FINDS. IT IS IMPROVISATION DONE WITH SLIGHT ATTENTION DEFICIT PROBLEMS. THEY DO, AT LEAST, FIND THESE SPACES AND DETAILS THAT ARE COOL. BUT THEY SOMETIMES RUN AWAY FROM THEM, DRINK A CAN OF RED BULL, AND AIM HEAD-FIRST AT A WALL.

NOXAGT - NOXAGT (LOAD 069)

AT THE TIME OF ITS RELEASE I REJECTED THIS ALBUM WITH NARY A LISTEN. WHY? NILS ERGA IS GONE. HIS KEEL-HAULED VIOLA MIASMA WAS, TO MY YOUTHFUL EARS, THE ESSENCE OF THE NOXAGT SOUND (EVEN THOUGH IT IS THE BASS PLAYER'S BAND). HIS REPLACEMENT WITH A BARITONE GUITARIST WAS SACRILEGE. BLASPHEMY.

WHILST THIS MAY BE SOMEWHAT OVER THE TOP I DO MAINTAIN THAT THE PREVIOUS INCARNATION OF NOXAGT WAS BETTER. COMPOSITIONALLY THEY'RE STILL IN THE "RUSTED PROG-HARDCORE" VIBE THAT THEY PERFECTED UTTERLY LAST TIME OUT. IT'S JUST THAT WITH A BARI GUITAR IT ALL SOUNDS A BIT MORE PRO-FORMA. THEY CAN ALL PLAY AND THROW OUT SOME SICK INDIVIDUAL MOMENTS (YOU WOULD BE AN IDIOT TO NOT LIKE SOME OF THIS IMO) BUT I GUESS I AM A PRISONER TO MY OWN NOSTALGIA.

THE PASSAGE OF TIME MAKES FOOLS OF US ALL BUT I AM STILL NOT WRONG IN THINKING THAT COMPARED TO THE IRON POINT THIS IS A REGRESSION.

EXCEPTER - THRONE (LOAD 068)

ACROSS THE VISTA OF EXCEPTER'S CAREER THERE IS A WIDE RANGE OF STUFF THAT MAKES CATEGORISATION DIFFICULT. IT IS, HOWEVER, DIFFERENT TO A LOT OF LOAD RECORDS THUS FAR IN THAT THEY HAVE WITHIN THEIR ARSENAL A CAPACITY FOR SOMETHING A BIT MORE SELF-CONSCIOUSLY NEW AGE AND "MUSICAL". HOWEVER THEY MANAGE TO DO THIS WITH A STRANGE INSCRUTABILITY AND DETACHMENT THAT IS INTERESTING AND, TO ME, APPEALING.

WHO WOULD YOU PUT THEM ALONGSIDE FOR BASIS OF COMPARISON? MAYBE BLACK DICE AT THEIR MOST MELODIC, STEVE ROACH AT HIS LEAST YOGA CASSETTE, MAYBE BOREDOMS AT THEIR LEAST AVANT AND PERCUSSIVE. THIS IS POST-ENO MUSIC, BUT WITH ENOUGH MODERN TWISTS TO SUGGEST NOT JUST COPYCATS. THEY SHOOT FOR A DEEP STONED VIBE AND PULL IT OFF SUCCESSFULLY HERE.

I GOTTA SAY I THINK THIS ONE IS REALLY GOOD WITHOUT BEING ERA DEFINING OR SUPER NEW. IT'S PROBABLY MORE ALIGNED IN SOME MORE PROFOUND RESPECTS WITH BROOKLYNITE FUCKING AROUND THAN THE PURE VISION OF LOAD RECORDS OF THE LATE 90S. BUT FUCK IT, THAT GAVE US NEON HUNK, A RATED RANCID RECORD, WHEN THIS ONE IS CERTIFIED: GOOD.

COUGHS - FRIGHT MAKES RIGHT (LOAD 067)

AN UNDERRATED SUBSTRATUM OF LOAD RECORDS IS THEIR BELIEF IN THE POWER OF A RESURRECTED NO WAVE SCENE AS AN ERA-COUNTERPART TO THE ATROCITIES IN RESURRECTED PUNK-FUNK. THIS MEANT WHILE DUDES IN SKINNY JEANS WERE YELPING OVER THIN DISCO BASSLINES YOU HAD A COROLLARY OF WEIRD BASTARDS DIVING THROUGH GLASS AND SHIT IN ORDER TO MAKE MUSIC ONLY 135 PEOPLE LIKE.

COUGHS ARE ONE SUCH BAND. LED BY THE FLAME-LUNGED ANYA DAVIDSON, THIS SEXTET ARE PROBABLY THE BEST KEEPERS OF THE FLAME SINCE THE DEATH OF SCISSOR GIRLS. STYLISTICALLY THEY'RE IN NO ONE CAMP AND DANCING WITH DIFFERENT SHADES OF VIOLENT SOUNDING WEIRDNESS, ALL THE WHILE TEETERING ON THE EDGE OF SONG MIXED WITH PERCUSSIVE PROPULSION (TWO DRUMMERS?) AND LOPSIDED FURY. I CAN ONLY IMAGINE THAT THEY MADE PEOPLE SHIT THEMSELVES LIVE.

THIS ONE IS A BIT MORE PERSONALITY LED THAN SOME OF THE PREVIOUS BANDS WHO SEEM TO BE MORE DRIVEN BY A CONCEPT OR A MORE SELF-EFFACING COLLECTIVE MOTIVE. OVER 16 SONGS OCCASIONALLY WITH ROTE SAX BLAPPING AND CRUST GUITAR COUGHS MAKE THEMSELVES FEEL LIKE A FORCE TO BE RECKONED WITH. FANS OF MELT BANANA AND BLACK EYES WOULD PROBABLY DIG THE HELL OUT OF THIS.

THE WHITE MICE - ASSPHIXXXEATEASHUN (LOAD 066)

IF THIS BAND DOESN'T INVOLVE DAN ST. JACQUES IN SOME WAY I WILL EAT MY HAT. THAT CRUNCHY BASS IS HERE AT FRONT AND CENTRE. WE DON'T *KNOW* IT IS HIM OFFICIALLY BECAUSE THE WHITE MICE ARE ANONYMOUS AND PSEUDONYMOUS BUT THEY'RE A LOCAL SUPERGROUP OF LOAD ALUMNI AND PROVIDENCE-BASED MAVERICKS. I'D PUT MONEY ON IT.

GENRE-WISE WHITE MICE ARE ALL OVER THE MAP. THERE'S SOME OF THE DISTORTO ATONAL MAYHEM THAT LOAD RECORDS TRADE IN. BUT THERE'S INDUSTRIAL, A BLEAK VERSION OF PSYCH, STONER WORK. IT'S ON THE EXPERIMENTAL AND FRINGE SIDE OF THE IDENTIFIABLY "ROCK" MUSIC WORLD.

THEY'RE NOT SONGS AND MORE EDITED JAMS IN A CERTAIN MOOD OF PLAYFUL FILTH AND DESTRUCTION. IT ISN'T SUBTLE AND ISN'T TRYING TO BE CAN OR SOMETHING: IT'S MORE A SOUNDTRACK FOR A DESTRUCTION DERBY HAPPENING IN A JODOROWSKY FILM OR SOMETHING.

THIS RECORD IS DECENT ACTUALLY. I DIDN'T HAVE A PARTICULARLY HIGH BAR (I GUESS I HAVE DIMINISHING RETURNS ON SOME OF THE FRINGIER PROVIDENCE BANDS FOR WHATEVER REASONS. I RESPECT THE COLLECTIVE MAYHEM AND THE REJECTION OF MORE PATHETIC FORMS OF MEANING BUT I'M STRUGGLING TO CONNECT. HERE THEY THROW OUT SOME GOOD JAMS WITH IMPROVVED F/X VOCALS AND THEY MOSTLY LAND.

SIGHTINGS - ARRIVED IN GOLD (LOAD 065)

THE THIRD RELEASE ON LOAD RECORDS BY THE NYC "NO-WAVE" (REALLY NOT SURE THEY FIT IN WITH THAT TRADITION ESPECIALLY IN A NEW YORK THAT WAS MIS-SHAPES AND THE RAPTURE'S RAMPANT CAREERISM) MISTHROPISTS SIGHTINGS IS A LEAP FORWARD FOR THE GROUP BY DINT OF LOCATING THEIR STRENGTHS AND PLAYING DOWN SOME OF THEIR WEAKNESSES.

SOMETIMES I THINK I AM A BAD FAN OF SIGHTINGS IN THAT I ONLY REALLY LIKE THEM AT THEIR MOST COHERENT AND MELODIC. SIGHTINGS THEMSELVES THINK OF THIS RECORD AS THEIR MOST "POPPY" AND WHILST IT SO UNBELIEVABLY FAR FROM NOT JUST ACTUAL POP BUT THE INDIE VERSION OF SAID THAT IT IS UNTRUE YOU CAN SORT OF SEE IT: THERE ARE SOME OVERT MELODIES HERE AND SONG STRUCTURES THAT ARE MORE TYPICAL. I LOVE IT. THEY'RE SO IDIOSYNCRATIC IN THEIR APPROACH THAT EVEN AT THEIR POPMOST LIKE SUGAR SEDIMENT (BASS SOUND LIKE A GAMELAN) AND INTERNAL COMPASS (OK THIS IS NOT FAR FROM EARLY LIARS) AND SWITCHING TO JUDGMENT IT SOUNDS LIKE NO ONE ELSE REALLY.

THERE ARE STILL SOME PUNISHING MOMENTS AND TIMES WHERE THE SONIC SPACE OPENS UP. IT HELPS (IMO) THAT THEY AREN'T CAKED IN HISS AND FEEDBACK BECAUSE YOU CAN HEAR THE CHEMISTRY, EVEN AT THEIR LEAST SONGLIKE THERE IS A SENSITIVITY AND INTERPLAY THAT IS COMMUNICATED. THE WHOLE THING SOUNDS LIKE IT IS RUSTING AND DECAYING RATHER THAN SIMPLY SWAMPED IN SHIT. THIS IS A GOOD RECORD.

CERTIFIED: GOOD

BURMESE - MEN (LOAD 064)

IOWANS RELOCATING TO THE BAY AREA HAS GOOD FORM IF YOU'RE A FAN OF THINKING FELLERS UNION LOCAL 282 (I CERTAINLY AM) SO HERE'S ANOTHER: BURMESE. I KNOW ONE OF BURMESE FROM TOURING LINE UP OF OCS, THE PROTO-FOLK GROUP OF JOHN DWYER PRE-OH SEES. THE GUY PLAYED A SUITCASE FULL OF EFFECTS. IT WAS COOL.

BURMESE IS A DIFFERENT PROSPECT. GUTTURAL AND SLUDGY TRUDGES THROUGH LANES ESTABLISHED BY SWANS AND MELVINS, CASTIGATING THE EGREGIOUS EXCESSES OF MEN EVERYWHERE IN A DEPRESSING FASHION. THEY'RE NOT AFRAID TO BUM YOU OUT AND IT'S THIS SERIOUSNESS COMBINED WITH A CREEPING SONGLINESS THAT FRAMES THEIR DREAD THAT MAKES ME THINK THIS RECORD IS PRETTY GOOD ACTUALLY.

SOME OF THE CONTENT VEERS TOWARD BRAIMBOMBS TERRITORY BUT I THINK I AM GIVING BURMESE MUCH MORE CREDIT FOR SITUATIONISM AS CRITIQUE RATHER THAN THE NIHILIST APPROACH OF THEIR EURO COUNTERPARTS. YOU WOULDN'T WANT ALL ART TO COME FROM THIS KIND OF MINDSET NONETHELESS BUT THEY SEEM TO USE POWER TO SICKEN RESPONSIBLY.

FAT DAY - UNF! UNF! (LOAD 063)

THE STENCHIFIED CORPSE OF GERTY FARISH REANIMATED BY THEIR PARENT ART COLLECTIVE FAT DAY. AFTER AN AUSPICIOUS START WHERE THEY VISIT BLACK METAL TONALITY WITH A CASIO, THIS IS ACTUALLY A MORE INTERESTING RELEASE THAN THE ONE I SAT MYSELF DOWN AND EXPECTED TO HATE.

EXCEEDINGLY BRIEF SONG SHARDS THAT ARE ACTUALLY A BIT MORE IN THE ART-POP/WEIRD WORLD OF POST-DEVO MUSIC LIKE BRAINIAC AND SIX FINGER SATELLITE. THE FIDELITY AND APPROACH IS UP AND DOWN BUT IT ACTUALLY GIVES THIS RECORD A SENSE OF A JOURNEY: A CASIO RENDERING OF AN ELEGY ACTUALLY COMES ACROSS WEIRDLY EMOTIONAL AND SINCERE. BUT I DID GO TO A FUNERAL YESTERDAY SO MAYBE I'M SENSITIVE.

THE SENSE OF PLAY AND FUN THAT THE BAND WAS LEGENDARY FOR IN THE LIVE ARENA TRANSMITS WELL HERE. THE SENSE OF HUMOUR ISN'T REALLY MINE BUT THE ENERGY AND COMMITMENT PROPEL YOU THROUGH THE RECORD AND THE CHARM WINS OUT IN THE END.

KITES / PRURIENT - SPLIT (LOAD 062)

AS YET UNHEARD.

NAUTICAL ALMANAC - ROOTING FOR THE MICROBES (LOAD 061)

"CAROLINER STYLE HORSESHIT" IS MY GO-TO DISMISSAL OF A KIND OF MUSIC THAT IS HARD TO PIN DOWN BUT COULD ESSENTIALLY BE REDUCED BADLY TO A KIND OF POSTMODERN REVISITING OF THE AMERICAN PRIMITIVE IN THE CONTEXT OF 90S/00S NOISE-ROCK/AVANT-NOISE AND REPLACING THE "FOLK" ASPECT WITH A "PLAYFUL" ANTI-MUSICALITY AT THE LEVEL OF COMPETENCE AND ATTEMPT AT "PLEASURE".

*IN THEORY* I COULD BE UP FOR SOMETHING LIKE THAT BUT EVERY SINGLE TIME IT RESULTS IN HORRENDOUS JERKING OFF. THIS ONE IS NO DIFFERENT. IT GOES ON FOR OVER SIXTY PUNISHING MINUTES. I'M NOT SAYING EVERYONE SHOULD BE GERSHWIN WHEN IT COMES TO CRAFT BUT HOW MANY PEOPLE DID THIS NOISE-AS-FREE-EXPRESSION RACKET CON? TOO MANY. IF ONE PERSON IS THINKING THIS IS GOOD TO PUT OUT FOR COMMERCIAL RELEASE THEN THEY'VE GONE POTTY.

THIS IS CAROLINER-STYLE HORSESHIT OF THE NTH DEGREE. IT MAKES CAROLINER'S ACTUAL HORSESHIT SEEM LIKE A PLEASANT WEEKEND AWAY WITH LOVED ONES. I HATE THIS RECORD MORE THAN ANYTHING ELSE ON LOAD SO FAR. TAKE THEIR MONEY AWAY. MAKE THEM FOCUS AGAIN. FUCK OFF.

RATED: RANCID

METALUX - WAITING FOR ARMADILLO (LOAD 060)

I SUPPOSE IF YOU WANTED TO PERFORM A GENDER ANALYSIS ON THE OUTPUT OF LOAD RECORDS YOU WOULD SCIENTIFICALLY HAVE TO CONCLUDE IT IS QUITE THE SAUSAGE PARTY. AS FAR AS I CAN REMEMBER OFF THE TOP OF MY HEAD THIS IS THE FIRST ALL-FEMALE RELEASE SINCE THE SCISSOR GIRLS WAY BACK IN THE FIRST TEN OR SO.

I'M JUST HERE TO LISTEN TO THE RECORDS AND SAY IF THEY'RE GOOD, BAD, OR INDIFFERENT AND AS SUCH I MAKE NO POLITICS OUT OF IT OTHER THAN TO SAY IT MIGHT HAVE BEEN BETTER TO HAVE MORE SERIOUS-MINDED AND EXPLORATORY MUSIC LIKE SCISSOR GIRLS AND METALUX THAN ONANISTIC GUFF LIKE MR FUCKING CALIFORNIA. IN FACT THERE IS A CONNECTION TO SCISSOR GIRLS HERE.

METALUX SOUND LIKE THEY'RE SOMEWHERE ON THE EDGE OF SONG, CRAFTING SOMETHING BETWEEN AMBIENT AND INDUSTRIAL ON INSTRUMENTS PROBABLY LEFT IN A DUSTY ATTIC FOR YEARS. THE GENRE AGNOSTICISM ALLOWS THEIR SOUND TO PUSH INTO DIFFERENT REALMS: SOME SUCCESSFUL, SOME LESS SO, BUT ALWAYS HELD TOGETHER BY AN EVASIVE THING KNOWN AS INDIVIDUAL CHARISMA.

IF YOU LIKE STUFF LIKE PHARMAKON AND ECTOPLASM GIRLS YOU'LL FIND SOMETHING TO LIKE HERE. IT'S DENSE AND INSCRUTABLE STUFF. IT IT ISN'T DESPERATE FOR YOU TO LOVE IT AND THAT CREATES AN ACTIVE LISTENER, EVEN IF THEY (ME) AREN'T INSTANTLY CLICKING WITH EVERYTHING HERE.

MINDFLAYER - IT'S ALWAYS 1999 (LOAD 059)

THE ORIGINAL FORT THUNDER BOYS COMBINE AS LIGHTNING BOLT'S BRIAN CHIPPENDALE MANS THE DRUMS ALONG WITH EX-FORCEFIELD/MYSTERY BRINKMAN HONCHO MATT BRINKMAN IN ORDER TO PAY EXTENSIVE TRIBUTE TO DUNGEONS AND DRAGONS (IN SONG TITLE ONLY).

THE GENERAL AESTHETIC IS THE FURIOUS GENRE-DEFYING DRUMS OF CHIPPENDALE MAKING THE OSCILLATOR AND SYNTH MEANDERINGS OF BRINKMAN INTO SONG-TYPE SHAPES. IT IS OCCASIONALLY LIGHTNING BOLT-ISH BUT THERE'S EXCURSIONS INTO A WEIRD JUNGLISM OR DANCEHALL OR GABBER. MORE OF A DANCE SENSIBILITY AND YET ALSO CHAOTIC AS HELL. IMAGINE THAT BOTH MINDFLAYER AND LIGHTNING BOLT STAND AT A DOOR MARKED "METAL?" LIGHTNING BOLT TAKE THAT DOOR AND MINDFLAYER DO NOT.

IT'S DEFINITELY THE MOST SATISFYING BRINKMAN RECORD TO DATE FOR SURE. IT GOES ON QUITE A BIT AT 21 TRACKS BUT THERE AREN'T REALLY ANY DUDS AMONG THEM. AS KNOCKABOUT SIDE PROJECTS WITH THE GUY YOU LIVE WITH GO IT'S SUCCESSFUL!

NECRONOMITRON - NECRONOMITRON (LOAD 058)

HERE IT IS. THE ENTIRE DISCOGRAPHY OF NECRONOMITRON. WHO ARE THEY? I HAVE NO IDEA. MY GUESS IS A PROVIDENCE BAND POSSIBLY STAFFED BY PEOPLE WHO HAVE ALREADY PUT SOMETHING OUT ON LOAD BEFORE (THEY HAVE TWO APPEARANCES ON COMPILATIONS OF PROVIDENCE BANDS). THE OFFICIAL LOAD BIO SAYS "TWO GUITARS AND DRUMS" AND "FEATURES A FORMER MEMBER OF USAISAMONSTER". NO HELP.

I AM BROUGHT TO MIND OF A MORE METAL AND OCCASIONALLY VOCALS-PRESENT VERSION OF OXES. MATHY FLOURISHES AND NOISE-ROCK PEDIGREE. THEIR SONGS AREN'T AS DRAMATIC AND WELL-COMPOSED AS OXES, BUT THEY MAKE UP FOR IT WITH A NICE LEVEL OF ENERGY. SOME OF THE GUITAR FLOURISHES ARE IN THE ORTHRELM/ARAB ON RADAR WORLD OF THINGS; UNDENIABLY TECHNICAL BUT WEIRD.

DECENT RECORD. IF YOU WANT AVANT-METAL THEN THIS IS IT.

NOXAGT - THE IRON POINT (LOAD 057)

I AM NOT GIVEN TO BEING IMPRESSED BY INDIVIDUAL VIRTUOSITY IN MUSIC. AS SOON AS THERE IS MORE THAN 1 PERSON PLAYING I CARE ABOUT THE SOUND OF THE ENSEMBLE AND WHAT THE ADDING TOGETHER OF PERFORMANCES RESULTS IN. ALL THAT DRUM CLINIC / GUITAR MAGAZINE POSTURING CAN GO TO HELL. ERIC CLAPTON IS A SNOOZE. DREAM THEATER HAVE NEVER WRITTEN 1 SECOND OF WORTHWHILE MUSIC.

OF COURSE IT IS POSSIBLE TO HAVE A BUNCH OF AMAZING MUSICIANS TOGETHER BE GOOD (CASE IN POINT: ORCHESTRAS). THE POINT I AM HAPHAZARDLY MAKING HERE IS THAT EVEN WHEN A BAND IS LIKE 1 OBVIOUS TALENT AND SOME OTHER PEOPLE...I CREDIT WHAT THE OTHERS ARE DOING, EVEN IF IT IS JUST MAKING APPROPRIATE SPACES. OF COURSE NOEL REDDING AND MITCH MITCHELL ARE NOT AS IMPORTANT HISTORICALLY AS JIMI HENDRIX BUT WHEN THOSE RECORDS ARE ON I AM HEARING THE WHOLE OF IT.

I WRITE ALL OF THIS AS A WRONGFOOTING TECHNIQUE: A-HA! THE IRON POINT BY NOXAGT IS THE RECORD WHERE I BASICALLY AM MARVELLING AT ONE GUY AND IT JUST SO HAPPENS THE OTHERS ARE THERE TOO. NILS ERGA'S VIOLA PLAYING ON HERE IS, TO MY JADED AND MIDDLE-AGED EARS, FUCKING SEMINAL.

BRANDSAL'S BASS STILL HAS THAT HEAVY RUST FLAVOUR AND KYVIK'S DRUMS ARE CRISPER (HIS RIDE CYMBAL FEELS LIKE A MANHOLE COVER, ALL RICH AND METALLIC) BUT ERGA'S PLAYING IS TRANSCENDENTAL FROM THE WORD GO. ON OPENER NAKED IN FRANCE HE GOES FROM A JOHN CALE DRONE TO SOMETHING LIKE STACCATO POWER CHORDS TO THROUGH A WHIRLWIND OF PEDALS THAT RENDER HIS POWERFUL BOWING LIKE COMING UNDER FIRE FROM A LASER SQUADRON ON HIGH.

ON BLOOD THING HIS PLAYING COMPLEMENTS THE QUASI-HARDCORE OF THE RHYTHM IN A WAY THAT MAKES WHATEVER YOU COULD COME UP WITH ON A GUITAR SOUND EITHER PUNY OR TOO TRAD. IT'S DIRECT, MELODIC, AND POWERFUL. THE WAY IT SOUNDS LIKE STUKA DIVEBOMBING IN THE MID-SONG IS AWESOME. AWESOME. THIS IS A GREAT TRACK. THEY ALL KILL IT. BUT ESPECIALLY ERGA.

IT GOES LIKE THIS THROUGHOUT. ON THE GENTLER SONGS WHERE ONE OF THEIR GRANDADS SINGS, TO THE HEAVY AS THE TITANIC LANDING ON YOUR HEAD SVARTEVATN (THE SOUNDTRACK TO ANY RESPECTABLE VIKING SEA BURIAL CEREMONY) THEY BRING IT EVERY. SINGLE. TIME.

CERTIFIED: GOOD. PROBABLY THE BEST LOAD RELEASE UP TO THIS POINT.

THE USA IS A MONSTER - TASHEYANA COMPOST (LOAD 056)

THE USA IS A MONSTER (SOMETIMES STYLED USAISAMONSTER) ARE YET ANOTHER ROCK DUO SIGNED TO LOAD RECORDS. I DON'T KNOW WHAT IT IS WITH THIS PARTICULAR AMOUNT OF PEOPLE AND THE FACT THAT ONE OF THEM IS A DRUMMER BEING ALIGNED WITH THIS LABEL BUT I WILL GO ALONG WITH IT.

IF YOU RECALL BACK ON ONE OF THE EARLY COMPILATIONS THERE WAS A COALESCE-ISH GROUP CALLED BULLROARER. THESE TWO - COLIN (GUITAR/VOCALS MOSTLY) AND THOM (DRUMS/KEYBOARDS MOSTLY) - WERE IN THAT BAND. BUT USAISAMONSTER IS A DIFFERENT BEAST FROM BULLROARER ENTIRELY.

I ONCE PUT USAISAMONSTER ON AND MY ABIDING MEMORIES OF THEM OTHER THAN THEY WERE REALLY SUPER GUYS IS THAT COLIN BASICALLY ASKED TO BORROW EVERY OTHER BAND'S GUITAR AMPLIFIER AND PUT HIS GUITAR THROUGH ALL OF THEM. LIKE ABOUT SIX AMPS. IT WAS COOL. THE OTHER THING IS THAT THEY ARE, AS THE COVER IMPLIES, INTO SOME ASPECT OF NATIVE AMERICAN PHILOSOPHY. I DON'T MEAN THIS IN SOME DISPARAGING SENSE. THEY WERE UTTERLY SINCERE ABOUT THIS STUFF.

IT AFFECTS THEIR MUSIC BY BRINGING THEIR NOISE-ROCK ORIGINS TO SOME ATTEMPT TO SUGGEST NATURAL VISTAS AND THE FLOWING SPIRIT BETWEEN PEOPLE INTO THE ABSTRACT REPRESENTATION OF NOTES AND CHORDS AND RHYTHMS. I CAN'T QUITE EXPLAIN IT. THERE'S STUFF THAT COMES OUT IN THE LYRICS: THEY'RE INTO BALANCE, LIVING WITH THE LAND, THE HORRORS OF COLONIALISM.

I LIKE THE RECORD. I THINK THEY'D GO ON TO DO BETTER ONES. BUT NO MORE FOREVER, ANAL LIES, AND SCREAMING BLOODY MURDER ARE GREAT SONGS. A CRAP ANALOGY WOULD BE LIKE NEIL YOUNG PLAYING WITH LIGHTNING BOLT. CHORDY BUT MELODIC AND HAPPY WITH DISCORDANCE. IT'S DEFINITELY MORE NORMAL THAN MOST LOAD RELEASES. NOT QUITE CERTIFIED: GOOD BUT IF YOU DIG THEIR LATER STUFF THEN HERE'S STUFF THAT ROCKS A BIT MORE.

KHANATE - THINGS VIRAL (LOAD 055)

KHANATE RETURN TO LOAD (THOUGH AGAIN ONLY FOR THE VINYL VERSION OF THIS) WITH THEIR SIGNATURE (WELL, SORT OF) BRAND OF INCREDIBLY SLOW AND SPACE-FILLED AVANT-METAL.

 

WHILST ON THE SURFACE KHANATE ARE A GOOD MATCH FOR LOAD RECORDS IN THEIR HEAVY/WEIRD VIBE, LISTENING THROUGH THE ENTIRE CATALOGUE LIKES THIS MARKS OUT HOW DIFFERENT THEY ARE. THIS IS LESS INSTINCTIVE AND MUCH MORE 'CONSIDERED' MUSIC. EVERY NOTE SOUNDS AGONISED OVER. THESE ARE PIECES WITH MOVEMENTS AND EBBS AND FLOWS RATHER THAN AN IDEA SMUSHED INTO OBLIVION AND FURY. 

IN FACT THIS FEELS LIKE METAL OR JUST MUSIC THAT IS MAKING A POINT OF WHAT IT REMOVES SO YOU PAY ATTENTION IN DIFFERENT WAYS. THERE ISN'T THE "CHUG" THAT DEFINES MUCH OF METAL. BETWEEN EVERY STRUM AND DRUM HIT THERE'S AN IMPLIED HAUNTED VISTA. A FOREST CLEARING EMPTY. A CITY ABANDONED. THE VOCALS SEEM TO SCREAM UP FROM THE BOTTOM OF A WELL ASKING FOR HELP RATHER THAN RIDING THE FROSTY FOG INTO THE ENCHANTED NIGHT.

FANS OF THE GENERAL LOAD AESTHETIC OF DAYGLO MANIA MIGHT BE DISAPPOINTED WITH THIS CONCRETE GREY SLAB OF EXPANDED METAL. AND GENERALLY SPEAKING I HAVEN'T REALLY GOTTEN INTO ANY OF JAMES PLOTKIN OR STEPHEN O'MALLEY'S PROJECTS BEFORE OR SINCE. BUT THIS RECORD DOES IT TO QUITE A CONSIDERABLE MEASURE. THE HOUR WE SPEND WITH THE RECORD IS ESSENTIALLY A VARIATION ON A THEME. BUT WHAT VARIATIONS. AND WHAT A THEME.

CERTIFIED: GOOD.

TOTAL SHUTDOWN - TOTAL SHUTDOWN (LOAD 054)

LOAD 054 IS A JOINT RELEASE WITH TIGERBEAT6: LOAD HANDLED THE LP ONLY ON THIS THIRD FULL-LENGTH BY THESE CALIFORNIAN EXPERIMENTAL SCENE VETERANS: MEMBERS OF XBXRX (GREAT), DEATH SENTENCE: PANDA! (REALLY GOOD, PLAYED MY FIRST GIG IN SUPPORT OF), COACHWHIPS (GREAT), SIC ALPS (CAN NEVER REMEMBER BUT POPULAR!) JOIN FORCES AND ARE RECORDED BY VETERAN ART MUSIC POLYMATH WEASEL WALTER. THAT IS SOME SERIOUS CRED!

I SHOULDN'T COLOUR MY LISTENING MY READING TOO MANY REVIEWS BUT THE GENERAL SHRIEKS OF JOHN ZORN AND BOREDOMS FEEL FAIR. THEY DON'T SOUND THE SAME BUT WOULD DEFINITELY WORK AS A SUPPORT ACT OR A CONNECTED ACT: MANIC, ANTIC, INTELLIGENT, AND COLOURFUL MUSIC TREADING BETWEEN STRUCTURE AND IMPROVISATION. THE SKELETON IS EXPERIMENTAL ROCK BUT THE NERVOUS SYSTEM IS JAZZ. IT IS PRETTY MUCH A PERFECT LOAD RECORDS RELEASE IN THAT RESPECT.

IN FACT I THINK I LIKE THIS RECORD. IT'S DENSE AND FLIPS BETWEEN RIFFING AND IMPROVISING TO A DEGREE MOST WON'T GET ALONG WITH. IT'S PLAYFULNESS EXTENDS TO DIFFERENT VOCAL APPROACHES INCLUDING COOKIE MONSTER UGGGH DEATH METAL VOCALS ALONG WITH MORE CONVENTIONAL SHOUTING. THERE'S A SAX HONKING ALONG NO WAVISHLY. IT IS GENRELESS AND ATTEMPTS TO STRIDE INTO ITS OWN TERRITORY (WITHOUT QUITE MANAGING IT).

 

I BET IF YOU CAUGHT TOTAL SHUTDOWN ON A HOT NIGHT THEY'D BLOW YOU AWAY AND PISS YOU OFF IF IT WASN'T CLICKING. ON RECORD THEY'RE NEARER THE FORMER, I WOULD SUBMIT. SOLID STUFF.

KITES - ROYAL PAINT WITH THE METALLIC GARDENER FROM THE UNITED STATES OF AMERICA HELPED INTO AN OPEN FIELD BY WOMEN AND CHILDREN (LOAD 053)

CD-R TECHNOLOGY AND EARLY DIGITAL RECORDING SAW THE NOISE (SANS ROCK) GENRE HIT HEADY HEIGHTS (THOUGH IF YOU LOOK ON BANDCAMP THERE ARE DOZENS OF BEDROOM-BASED RUSSIANS PUTTING OUT VAST QUANTITIES OF "HARSH NOISE WALL" ON THE WEEKLY) AS PEOPLE JUST GOT OUT THERE AND SCREAMED THEIR MERRY HEARTS OUT IN DIY SPACES ACROSS THE WORLD. LIKE I REMEMBER WOLF EYES EVENTUALLY BEING TAKEN SERIOUSLY BY COMMERCIAL MUSIC MAGS. COULD YOU IMAGINE IT NOW IN CONDE NAST ERA PITCHFORK? IN A CHIMP'S COCK.

KITES, OR TO HIS MUM "CHRISTOPHER", IS A ONE MAN SHOW WHO RACKED UP THE EARLY SCENE POINTS OF LIMITED CASSETTE RELEASES AND GOT FARTED ON EARLY BY PRURIENT SO BASICALLY HE'S AT DEMI-GOD STATUS BY 2004 (WHEN THIS COMES OUT). IT IS BASED IN THE NOISE WORLD BUT THERE'S ALSO A SENSIBILITY OF PLAY THAT MEANS TRACK-TO-TRACK THERE ISN'T THE KIND OF "CONSISTENCY" WE EXPECT FROM AN ALBUM. NO MATTER. BRICOLAGE IS A VALID APPROACH.

 

THING IS THOUGH I REALLY DO NOT LIKE THIS. WANTED TO! THE COVER IS COOL AND I LIKE THE TITLE (REALLY). LET'S GO THROUGH IT TRACK BY TRACK SO I AM NOT MISSING ANYTHING OUT. 

1. SOUNDS LIKE A SPECTRUM ZX LOADING SCREEN FOR 10 MINUTES. 

2. FIELD RECORDING OF A SHORT NEW AGE CHANT, A BIT LIKE AKRON/FAMILY.

3. GENTLE WINDCHIME INTO HARSH AMELODIC NOISE AND SCREAMING.

4. FOLK? TWO GUITARS INTERLOCKING PLEASANTLY FOR 46 SECONDS. ANIMAL COLLECTIVEISH (CIRCA SUNG TONGS)

5. SAME AS 1 BUT ONLY 2 MINUTES.

6. SAME AGAIN BUT SOMEONE TALKING DISTANTLY OVER IT.

7. FIELD RECORDING OF A GAMELAN MAYBE? NICEST THING HERE. SHORT.

8. LIVE NOISE CUT OF VOCALS AND STATIC BURSTS. CAN IMAGINE IT WAS OKAY TO WATCH BUT A CHORE TO LISTEN TO.

9. 11 MINUTES OF MEANDERING NOISES. FUCK RIGHT OFF.

10. 1 MINUTE GUITAR IMPROV.

PSYCHOLOGICALLY THIS IS INTERESTING IN ITS REFUSENIK TENDENCIES. LIKE THE NON-NOISE TRACKS WOULD PROBABLY PISS NOISE FANS OFF TOO. LIKE IT IS AIMED SOLELY AT PEOPLE WITH A REALLY SPECIFIC SENSE OF HUMOUR. I AM JUST NOT ONE OF THOSE PEOPLE AND IN FACT AM EXACTLY THE KIND OF PERSON THIS WOULD ANNOY MORE BECAUSE OF ITS ADJACENCY TO POTENTIALLY GOOD MUSIC.

RATED: RANCID

MR CALIFORNIA AND THE STATE POLICE - AUDIO HALLUCINATIONS (LOAD 052)

I GUESS BEN DIDN'T REALLY GET OVER THE SLIGHTLY STUPID ULTRACHEAP COMEDY AESTHETIC OF A GROUP LIKE GERTY FARISH OR HAWD GANGSTUH RAPPUHS BECAUSE HERE IS A RETURN TO THAT GENERAL "VIBE".

THE ALBUM COVER IS COOL AND THAT IS THE END OF MY PRAISE. I REALLY DISLIKE THIS RECORD. DON'T FEEL TOO BAD: I THINK MISTER CALIFORNIA (IF THAT IS HIS REAL NAME) IS ENTIRELY AWARE THAT HIS WORK IS WILDLY DIVISIVE.

ORIGINALLY RELEASED AS A 10" RECORD WITH 51 TRACKS. THE FIRST 8 (SIDE A) ARE NORMAL LENGTH SONGS OF A GUITAR/DRUM MACHINE LO-FI AESTHETIC AND I SUPPOSE THEY'RE NOT 100% AWFUL AND EXHIBIT SOME SONGWRITING BUT THEY'RE DELIVERED IN THIS BROAD "COMEDIC" STYLE THAT IS FATIGUING.

SIDE B IS 40+ PIECES OF APPROXIMATELY 10 SECONDS APIECE (SOME LONGER, SOME SHORTER) THAT ARE MORE LIKE A SOUNDBOARD FOR A MORNING ZOO RADIO SHOW ON THE FRINGES OF THE CONSCIOUS EXPERIENCE (WHICH MAKES IT SOUND COOLER THAN IT IS: IT IS NOT).

FUCKING HELL THE LIGHTNING BOLT MONEY COMING IN REALLY STARTED TO MAKE BEN GO MAD WITH POWER. THIS SUCKS. I FEEL STUFF LIKE THIS IS ATTENTION-GRABBING IN THE WORST POSSIBLE WAY. FRIENDS FOREVER MAKES ME NOSTALGIC FOR CERTAIN THINGS IN THE EARLY 2000S. THIS MAKES ME GLAD THEY'RE GONE.

RATED: RANCID

VINCEBUS ERUPTUM - VINCEBUS ERUPTUM (LOAD 051)

NAMED FOR THE HIGHLY INFLUENTIAL LONG PLAYER BY SAN FRANCISCO COMBO BLUE CHEER, VINCEBUS ERUPTUM (WHICH IS LATIN FOR BLUE CHEER, AMAZING, AMAZING WORK THAT BAND) IS ANOTHER LOAD RECORDS PROJECT FEATURING THE VERSATILE DAN ST. JACQUES AS WELL AS A DUDE WHO MANNED THE TRAPS FOR SIX FINGER SATELLITE.

WHILST THIS MEETING OF BLACK METAL AND HARD ROCK IS ABOVE THE LEVEL OF THE MERELY COMPETENT (INDEED THERE IS SOME FLAIR AND GROOVE IN THERE) MY MAIN PROBLEM HERE IS THAT THEY ARE BASICALLY TAKING THE PISS. THE LYRICS OF "WHO FARTED?" ARE "WHO FARTED? YOU DID" REPEATED AD NAUSEUM.

I KNOW METAL AT ITS MOST HYPER-SERIOUS CAN BE EXTREMELY PO-FACED (A CHARGE THAT COULD BE LEVELLED AT KHANATE) AND THE WHOLE LOAD PROJECT IS KIND OF A REJECTION OF THAT BORING SINCERITY THAT CLOUDED UP INDEPENDENT MUSIC IN THE LATE 90S. BUT WOULD IT HAVE KILLED THESE GUYS TO COMMIT TO AN EMOTION OR A MOOD? I DUNNO GUYS. YOU COULD HAVE HAD A HIT IF YOU'D WRITTEN ME (IN 2020) FIRST.

VARIOUS ARTISTS - PICK A WINNER DVD/CD (LOAD 050)

OH GOD ANOTHER COMPILATION BY LOAD. THESE HAVE POOR FORM THUS FAR. OPEN HEARTS. OPEN MINDS.

SO BEN MCOSKER GAVE AN INTERVIEW TO PITCHFORK IN AROUND 2002 THAT I THINK IS FAIRLY ILLUMINATING TO THIS RELEASE

I’m really excited, I have all of these great ideas about putting great packages together. After ten years I still feel like Load is documenting a fresh new world. Dayglo, video/dvd, distorted, atonal.

THIS IS THE FIRST ARTICULATION OF THE AESTHETIC OF LOAD, REALLY. IT'S OBVIOUSLY INKEEPING WITH WHAT THEY'VE DONE SINCE THE EARLY DAYS. AND LOAD HAS ALWAYS BEEN ADJACENT TO PERFORMANCE, VISUAL ART, AND PRINT. BUT THIS IS THE FIRST PRODUCT THAT SUGGESTS A CINEMATIC/VIDEO ART FOOTPRINT FOR LOAD.

THE CD REPACKAGES THE SONGS WITHOUT THE VISUALS AND ALONE REPRESENTS THE BEST OF THE 3 COMPILATIONS SO FAR - NOT DIFFICULT YOU MIGHT SAY BUT IT IS SINCERELY SOLID.

BUT IT'S THE VISUALS THAT ARE THE MOST IMPORTANT THING. HERE IS THE INTRODUCTION:

THE SKILLS OF ANIMATORS/VISUAL ARTIST COLLECTIVE PAPERRAD FUEL THIS VEHICLE WITH AN OVERWHELMING ARRAY OF POSTMODERN TECHNICOLOUR SPECTACULAR. IT IS LIKE THE INTERNET OF 1999 IS BEING SICK ON YOUR FACE CONSTANTLY. HARD TO TAKE BUT ALSO NOVEL. I RECOMMEND IT BUT NOT QUITE ENOUGH TO SAY IT IS BRILLIANT.

BEN ALSO GAVE A BRIEF INSIGHT INTO A BUSINESS WORLD WHERE THINGS HAVE DEFINITELY CHANGED:

All Load releases sell well, relatively speaking. I can count on moving at least 2000 CDs and 1000 LPs of anything. Some are repressed-- the Men’s Recovery Project’s 2000 CD Boldies Over Basra, with its topical title, is in its second repress.

TO THINK THERE ARE 3000 COPIES OF NEON HUNK IN HOUSES ALL OVER THE WORLD IS INCREDIBLE. BAD. BUT INCREDIBLE.

KHANATE - NO JOY (REMIX) (LOAD 049)

KHANATE ARE ONE OF MANY BANDS ON THE GLIMMERING CURRICULUM VITAE OF ONE STEPHEN K O'MALLEY. TIME AND SPACE ACTUALLY DO PERMIT ME TO LIST THEM ALL BUT LET'S JUST SAY HE IS MOST FAMOUS FOR DOING SUN0)))))))). IN FACT SOMEONE ONCE SAID KHANATE SOUNDS LIKE THAT BAND BUT WITH DRUMS.

WHICH, IN CASE YOU DO NOT KNOW, MEANS MOLASSES-SLOW AND CRUSHING MUSIC IN AN OUTER REALM OF METAL. GUITARS ARE TUNED TO CREATE WEAPONS TO FLUTTER YOUR TROUSERS WITH EVERY MEASURED THWWWWWWAAAAAAAANG. I THINK IT IS MEANT TO CONVEY THE PESTILENT AND SOUL-CRUSHING BUT TO ME IT JUST SOUNDS COOL. I'VE HEARD HARVEY MILK. YOU CAN'T FOOL ME.

 

AS PROMISED THE FIRST TRACK IS A REMIX OF A KHANATE SONG I HAVE NOT HEARD CALLED NO JOY. IT DOESN'T SOUND LIKE A REMIX IE. TAKING A FEW ESSENTIAL ELEMENTS AND MAKING IT INTO A DANCE SONG. RATHER IT SOUNDS MORE LITERAL: A RE-MIX OF A SONG. A SECOND MIX. ANOTHER GO AT AN OTHERWISE STRUCTURALLY INTACT TUNE. IT IS SLOW AND MOODY BUT THERE'S A SLIGHTLY DUBBY AND MOODY TREATMENT OF THE VOCALS THAT REALLY MAKES THE BACK HALF OF THE SONG FEEL LIKE YOU'RE OUT IN A RAINY FIELD GETTING SHAT ON BY THE WEATHER. IT'S PRETTY COOL.

SIDE B IS I GUESS A NOT-REMIXED SONG CALLED DEAD. IT LIKE ITS SIDE A COUNTERPART IS A GRUELLING SLOG TEMPO-WISE BUT IT IS CLEARLY A SONG. A MELTED SONG. A BOILED DOWN SONG. A DEHYDRATED AND DESPERATE SONG. IT ISN'T A MILLION MILES FROM EARLY SWANS I GUESS. ACRES OF SPACE BETWEEN PUNISHING HITS AND WITS END VOCALS. THIS IS COOL STUFF.

SIGHTINGS - ABSOLUTES (LOAD 048)

I HEARD OR READ SOMEWHERE THAT THIS IS THE FAVOURITE SIGHTINGS OF MARK MORGAN (GUITAR IN SAID) WHICH PROBABLY JUST GOES TO SHOW WHAT A NATURAL FRIEND OF PISS-TAKING THAT MARK MORGAN IS BECAUSE FOR MY MONEY IT'S KINDA THE WORST.

DON'T GET ME WRONG: SIGHTINGS AT THEIR WORST ARE STILL OKAY. THERE'S DEFINITELY SOME GOOD IDEAS THAT EXHIBIT THEIR SIGNATURE BRAND OF SMOKE-INHALATION WRACKED TORMENT. FLOATING GAMELAN SOUNDS AND TUGBOAT BASSLINES FIGHT A PATHETIC BUMFIGHT WITH SKELETAL PERCUSSION. I HONESTLY WANT TO LOVE THIS.

PROBLEM IS THE FIDELITY DOESN'T SERVE IT WELL. THE JOY OF HEARING SIGHTINGS IS HEARING THEM IN A REASONABLE QUALITY. HEARING THEIR SUBTLE INTERPLAY AND UNDERSTANDING HOW THEY'RE LOCKING TOGETHER BIZARRELY. THIS IS COATED IN HISS AND PISS AND TREBLY FEEDBACK DESIGNED TO PISS YOUR FRONT AND BACK BRAIN OFF. THAT'S ALRIGHT FOR PHIL ELVRUM AND THE BEDROOM FOLK BRIGADE BUT FOR SIGHTINGS YOU NEED TO HEAR THAT THUMP AND FEEL THAT GIRDER BENDING IN LIVING COLOUR.

VIKI / HAIR POLICE - SPLIT (LOAD 047)

THE SPLIT SERIES CONTINUES WITH TWO NEWCOMERS TO THE VISTAS OF LOAD. IN THEORY I LIKE THE SPLIT SERIES. IT REPRESENTS DECENT VALUE FOR MONEY AND IN THEORY I LIKE BAND X SO MAYBE I WILL LIKE BAND Y (OR AT LEAST UNDERSTAND THE DIALECTIC OF THE TWO SIDES)

SIDE A BELONGS TO VIKI, THE NOM DE GUERRE OF ONE LINDSAY KARTY OF THE GREAT STATE OF MICHIGAN. I GUESS THE GENERAL AESTHETIC IS IN THE NOISE/ELECTRONICS REALM. THERE'S SINGING AND SHOUTING. THE TRACKS ARE PRETTY STRIPPED DOWN AND MOST OF THE TECHNOLOGY SOUNDS RUDIMENTARY AND PUSHED TO ITS LIMITS.

THE FIRST TIME I LISTENED THROUGH I FELT COLD AND UNMOVED BUT THE SECOND TIME FELT MORE PLAYFUL. A FAR REACH PERHAPS BUT IT FELT NOT A MILLION MILES FROM SOMETHING LIKE BROADCAST ALTHOUGH WITH A LESS MELODIC APPROACH. COLD WAR TECH. COLDNESS. A GREY WALL. SPIES ON ADJACENT ROOFS. MERICAN METAL IS A GOOD TUNE. THE REST IS UP AND DOWN.

HAILING FROM LEXINGTON KENTUCKY HAIR POLICE (FROM THE PERSPECTIVE OF 2020) ARE VENERABLE FIGURES IN THE NOISE/NOISE ROCK/YELLCORE (I MADE THAT UP) WORLD. INTERRELATED WITH WOLF EYES AND VARIOUS SONIC TITANS LIKE C SPENCER YEH AND ALL THAT STUFF IN A WORLD OF CD-RS BURNED OFF BEFORE THE GIG STARTED.

THEIR SIDE IS A MIX OF HALF-HEARTED ELECTRONIC NOISE AND SOME RUDIMENTARY TRIBAL MEANDERINGS. IT ISN'T VERY GOOD IF I AM GOING TO BE BRUTAL. THERE WAS A TOTAL DIVORCE BETWEEN THE LIVE EXCELLENCE OF A LOT OF THESE BANDS AND HOW GREATLY THEY OVERESTIMATED THEIR TALENT ON RECORD. LIKE NIGHT VISITORS HAS A FLEETINGLY COOL ATMOSPHERE BUT CHRIST WHO WANTS TO HEAR MORE THAN 5 MINUTES OF STUFF LIKE THIS? I LIKE SOME ODD STUFF BUT THIS TESTS MY PATIENCE.