8. Guided By Voices Dayton, Ohio – 19 Something And 5
9. Robert Pollard White Gloves Come Off
10. Robert Pollard The Ash Gray Proclamation
11. Tobin Sprout To My Beloved Martha
12. Guided by Voices Awful Bliss
13. Robert Pollard I Get Rid of You
14. Guided by Voices Johnny Appleseed
15. Robert Pollard Kickboxer Lightning
16. Guided by Voices Chicken Blows
17. Guided by Voices Exit Flagger
18. Guided by Voices Kicker of Elves
19. Guided by Voices Don’t Stop Now
20. Guided by Voices Father Sgt. Christmas Card
21. Guided by Voices Tractor Rape Chain
22. Guided by Voices Huffman Prairie Flying Field
23. Guided by Voices Big School
24. Robert Pollard Pop Zeus
25. Airport 5 The Cost of Shipping Cattle
26. Robert Pollard Vibrations in the Woods
27. Robert Pollard Edison’s Memos
28. Guided by Voices Game of Pricks
29. Airport 5 Stifled Man Casino
30. Airport 5 How Brown?
31. Tobin Sprout All Used Up
32. Guided by Voices Do the Earth
33.Guided by Voices Cut-Out Witch
34. Guided by Voices Queen of Cans and Jars
35. Guided by Voices Back to the Lake
36. Guided by Voices Lethargy
37. Guided by Voices On the Tundra
38. Guided by Voices The Official Ironmen Rally Song
39. Tobin Sprout The Last Man Well Known to Kingpin
40. Robert Pollard Subspace Biographies
41. Guided by Voices Car Language
42. Guided by Voices The Goldheart Mountaintop Queen Directory
43. Guided by Voices Wrecking Now
44. Tobin Sprout Water on the Boaters Back
45. Tobin Sprout The Crawling Backwards Man
46. Go Back Snowball It Is Divine
47. Guided by Voices Atom Eyes
48. Guided by Voices Non-absorbing
49. Robert Pollard Whiskey Ships
50. Robert Pollard Enjoy Jerusalem!
51. Guided by Voices My Valuable Hunting Knife
52. Guided by Voices Matter Eater Lad
53. Tobin Sprout As Lovely As You
54. Robert Pollard Weatherman And Skin Goddess
55. Robert Pollard Dunce Codex
57. Guided by Voices Gleemer
58. Guided by Voices Shocker in Gloomtown
59. Guided by Voices Postal Blowfish
60. Guided by Voices Teenage FBI
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p.s. Hey. Starting on this coming Tuesday, the blog will be going into reruns and will lack p.s.es of any substance for approximately two and a half weeks while I’m away traveling in Australia and, briefly, in Hong Kong. I will explain how that’ll work in more detail on Monday, but just to give you an early-ish heads up. ** David Ehrenstein, Hi, David. Those ‘Casino’ opening credits are a total beauty, aren’t they? And the ‘Casino Royale’ ones are too. I loved that ‘Casino Royale’ film when I was a kid. I’d like to see it again. Thanks! ** _Black_Acrylic, Hi, Ben. Oh, thanks! I don’t know Darren Banks’ work, but a quick viewing of the initial portion of his site intrigues me a lot, and I’ll rectify my lack. ** Bill, Thank you kindly, sir. Please do your Hsuian magic with those squishes. Pretty please? Glad the stuff hit some sort of interesting spot. Have a swell weekend! ** Thomas Moronic, Thanks, Thomas. Cool. How’s your weekend shaping up? ** Sypha, Hey. I’m an ‘Ernest’/Jim Varney fan. I’m not embarrassed in the slightest to say so. What he did was very slight and particular, but there’s something really exciting and beautiful in that character, I think. I have read quite a bit of Bataille’s non-fiction, yes. I of course heartily approve of you diving into that stuff. ‘Tears of Eros’ is great. I like a lot of his philosophical books. I don’t know if you want or need recommendations, but, if so, I might suggest ‘Visions of Excess’, for one. You might have fun with one of his odder books, ‘The Trial of Gilles de Rais’. Anyway, I think you probably have a path laid out. ‘Literature and Evil’, is, of course, great and one of his easier reads. ** Rewritedept, Well, thank you. Sexy beast would have been quite a stretch, but thank you. Mm, you know … I don’t remember how old Nick is, if you ever told me, but since you call him a kid, I assume he’s a kid. Kids are figuring things out, the world, themselves, exploring, experimenting … They’re focused on themselves, as they should be. Maybe what you present isn’t something he feels like he needs to explore or understand right now. I don’t know, obviously, but I think you’re taking the fact that his attention is elsewhere way, way too personally. And you’re trying to read him like he’s a peer, your age, an adult, a friend or a crush. He’s a kid, man. A relationship with a kid is great opportunity to explore things like selflessness and objectivity and study your own needs and why you have them and stuff. Chill, basically, is my advice, ha ha. I hope my birthday is fun and not depressing too. I don’t have a lot of hope for, but hey. Naw, birthday schmirthday, whatever. Birthdays are so overrated. ** Chris Dankland, Hey! Cool, perfect way to watch them. The ‘LCTG’ credits are super-minimal. First there’s the stupid animated logo of the distribution company. Then there’s the title in big white letters on a black background. In Helvetica? Can’t remember. Then the words ‘a film by Dennis Cooper and Zac Farley’, again white on black. Then the film starts. At the end, again, simple white on black credits, one after another: actors, us, crew, music, thanks, etc. While a minimal, kind of weird, sad song by Niko Solorio plays over them. Totally basic. Oh, yeah, ‘Dawn of the Dead’ credits, I remember those. Those are cool. They must not be online ‘cos I really scoured. Next time I see Stephen O’Malley, I’ll ask him who he thinks has the best BM or DM lyrics. He’s a scholar of that stuff. If I actually remember to do that, and if he tells me, I’ll pass his pick(s) along. Oh, and maybe I’ll shoot a quick email to Brandon Stosuy and ask him. He’s one of big honchos at Pitchfork and a great pal and Metal i
s his musical life love. Oh, awesome, that title you picked out for Twitter is really great, yeah. Ditto, yeah, re: the Butler and Krilanovich books. Speaking of, do you know how close she is to finishing her new novel, by chance? I’m kind of jonesing for it. That little scene you mentioned in ‘Lords of Salem’ was by far my favorite thing in that film. May you have the finest Saturday and Sunday that those two days can produce! ** Okay. So, I decided to mark the occasion of my birthday by heavily indulging my reverence for the holy triumvirate of GbV, Pollard, and Sprout. I invite and even strongly encourage you to celebrate my birthday by clicking as many of those Play buttons as you can stand because what they lead to is the happiest, best part of me. Or something. There you go. Have good weekends. See you on Monday.
_____________ Jürg FreyMiniature in Five Parts ‘It’s often said that composition has more decisions about what not to do than anything else (the same, of course, can be said of religion, with its emphasis on proscription) and in every moment of Frey’s music this is abundantly clear. It’s as clear as it is because in each piece Frey excludes a very great deal, establishing soundworlds within which only a few things can happen. Rhythm, pitch, timbre, articulation, dynamic, development, structure—essentially every aspect of compositional potential is strictly defined and confined, the resultant music playing out within those tight boundaries. In the face of music as rarefied as this, the urge to seek connections and/or discern what the music is doing emerges unbidden, and with surprising force. Whether this is fair (in general) or even relevant (in particular) is hard to determine, in part due to the fact that in much of Frey’s work, the nature of compositional intent—whether events are deliberate or coincidental—is unclear.’— 5 against 4
____________ d’EonTransparency Part III ‘Recorded during his time of involvement with Hippos in Tanks, d’Eon’s Foxconn / Trios puts together small arrangements and short loops that are coherent both forward and backward — “the MIDI information can be traversed in any arbitrary direction at any arbitrary intervals and still be harmonically and contrapuntally sound.” Schoenberg once noted that whether looking from above, from below, from the front, from behind, from the left, or from the right, a hat always remains a hat, even though it may look different from different viewpoints. For Schoenberg, musical inversion and retrograde, too, may look different in basic form but are essentially the same motif. In forming mental images, direction is only as consequential to the geometrics of their perception as it is to material objects. We can always recognize an object, no matter its physical place and are able to recreate it in the faculty of the mind in other conceivable ways. Similarly, at the core of d’Eon’s Foxconn / Trios is the presupposition that a sequence of musical events will remain known or independently determined no matter how their mutual relations are reflected.’— Tiny Mix Tapes
____________ ApparatusThe Unreverberate Blackness Of The Abyss ‘Apparatus hails from the very metal country of Denmark and their first album is finally being released, as they put it, into the physical realm. Performing in strange masks they play a brand of blackened death metal that ventures into art territory. Let’s delve into this album and see what it’s all about. This album is extraordinarily grim and desolate. There is no feeling of hope while listening to these tracks. Apparatus has a superb gift for song writing. It’s easy to write paint by the numbers music. It’s easy to write comfortable music based on well worn chords and drum lines. They don’t use these beaten paths. They stray from convention. Between slowing down to the feeling of falling and out of key piano riffs seemingly played by madmen, listeners are kept on the edge of their seats by just a thread. The details mark the quality of this record. They are everywhere. The riffs, guitars, drums, and vocals are never the standard metal. Apparatus moves past the death (and black) metal inspired growls into operatic runs. I never knew where the songs where going, or what was coming next. These sense of anticipation was great and never ending. When I thought I knew what they were doing and what they’re about, Apparatus always took a different direction to keep me guessing.’— Glacially Musical
____________ Paranoid LondonParis Dub 3 ‘Beginning in 2007, singles began emanating from a British label and act known as Paranoid London. The duo of Gerardo Delgado and Quinn Whalley, flashed an unfettered enthusiasm for—and emulation of—the mad whinnying frequencies of the 303, but coupled it to an ethos that in the 21st century might more closely align with punk. They didn’t do any press, didn’t promo their music, didn’t upload mixes to Soundcloud to build buzz, and when they released their debut album at the end of December 2014, there was no digital version. The tracks that Delgado and Whalley craft are simple as a prison shiv, not adding layers of gloss or paint to its acid-house, but stripping it back to its basics. Almost every track is erected from the same blocks: handclaps bright as tin foil, dry snares, sharp hi-hats, concussive kicks, all of it buoyed by queasy undulations of bass. They emulate Trax and those shoddy, shady days of Chicago pressings to the point that you expect a chunk of rubber to be embedded in the records themselves.’— Andy Beta
____________ Lilly JoelA Wheel In The Palm of Your Hand ‘What Lies in the Sea is the fruit of a ten-year collaboration between singer Lynn Cassiers and keyboardist Jozef Dumoulin, and is the first release for their duo Lilly Joel. Both musicians are free spirits and lauded innovators in their respective fields. File under: a mix between Obscure Records and the Birmingham sound. Belgian singer Lynn Cassiers is as much a sound-sculptor as a singer, using her voice, microphone, and electronics to create soundscapes. Belgian pianist Jozef Dumoulin redefines the Fender Rhodes keyboard through a scope that is at once fully contemporary, eclectic, and highly personal. This recording marks a milestone on their path as a band and crystalizes a moment in a universe that was carefully shaped and daringly explored.’— SOUNDOHM
_____________ AdministratorLast-Screamed Thing ‘Admn2 sounds like the your favourite electro pop band merging with thrash metal, industrial metal and synth-punk. The end result is vaguely dystopian and robotic, yet upbeat and infectiously catchy. Distorted electronic guitar riffs are played off against soaring synth lines and pop hooks, and by jove it works damn you! Special mention in particular goes to closing track “Last-Screamed Thing”, ending the album brilliantly with a bona-fide pop banger which recalls both HEALTH’s more recent output AND Yellow Magic Orchestra – while remaining totally original in its own right.’— Fucked By Noise
____________ Stephan MathieuIK Pegasi ‘Mathieu has been working the seam between ambient, musique concrète, and microsound since the late ’90s, running vintage acoustic instruments and obsolete media like wax cylinders through electroacoustic processing and digital treatments. Mathieu describes Before Nostromo as an homage to Alien’s sound design, and he has given the work a novel premise. Just prior to being awakened from hypersleep by the ship’s computer, the film’s seven characters—Ripley, Dallas, Parker, Lambert, Kane, Brett, and even Ash, the android—each have a dream. So does Jonesey the cat. Eight tracks, ranging from four minutes to nearly 20 minutes in length, represent those respective dreams. (A ninth, “Anamorphosis”, rounds out the set; Mathieu suggests that it may be attributed to the Nostromo’s other passenger, the alien.) To record the music, Mathieu used two large gongs, piano, and shortwave radio, but none of those elements are obvious from the sound of the music, which changes colors as imperceptibly as late-afternoon light.’— Philip Sherburne
__________ Roly Porter4101 ‘It starts off quietly—just faint, swirling voices that sound like buzzing bees, streaked with the ghost of an orchestra and punctuated by irregular seismic rumble. The track’s midsection adds lustrous drones and two brief percussive explosions reminiscent of Swans’ Filth. And then, a reprieve: everything fades except for a silvery sliver of drone, so quiet that your instinct will be to lean in and turn the volume up. That’s when he hits you. Gale-force chorus, blackened distortion, and a shuddering that might almost be blast beats buried deep beneath white-hot feedback. It’s metal by another means, and it just keeps building from there, wave after wave, each one louder and denser than the last. It heaves like whatever bellows of the damned stokes the fires of Hell, and it is truly, awesomely terrifying.’— Philip Sherborne
____________ Foot HairKing of Scum ‘Foot Hair’s self-titled debut album reduces sonics from the likes of Brainbombs and Upsidedown Cross into an unforgiving mash of dirge. It’s simple, raw and extremely powerful stuff. Rarely do bands manage to create such a cacophony of hedonistic terror whilst simultaneously projecting a sense of abject absolute apathy and nihilism. “Foot Hair have excelled themselves on their vinyl debut: this is a very horrible record which their work colleagues/extended family members should probably be kept from hearing about.” — The Quietus “FOOT HAIR make some fucking heavy punk music, repetitive as shit, heavy as fuck (again), and rife with weird devolutions into noise, big bass tones, and the willingness to hang onto the goddamn riff.” — Boston Hassle’— Box Records
____________ Mika Vainio & Franck VigrouxMémoire ‘Mika Vainio and Frank Vigroux have revealed further details of their collaborative album on Cosmo Rhythmatic, the Repitch side-label run by Shapednoise, Ascion and D.Carbone. Titled Peau froide, lèger soleil, the album from the Pan Sonic co-founder and French electroacoustic artist is three years in the making, and follows a show they performed in Paris in 2012. According to the label, the “intense” nine-track album is “an exercise in sensitive intensity” that combines Vainio’s signature electro grooves with Vigroux’s expertise in “spatial abstraction and tonal radicalism”.’— Fact Magazine
____________ Golden TeacherLove Rocket ‘Born from a collaboration between the experimental trio Ultimate Thrush and the duo house Silk Cut, Golden Teacher has taken contemporary electronic music one step further mapping out a new sound route in which rhythmic complexity and a dense atmospheres lead directly to the dance floor. Signed to Optimo Records, Golden Teacher blend echoes of Arthur Russell, Shackleton and African music to come up with the unique and inimitable sounds that can be heard on the second EP “Do Not Go Gentle Into That Good Night”.’— Primavera Club
_____________ Circus DevilsWizard Hat Lost In The Stars ‘Circus Devils was originally conceived in 2001 as a side project to Robert Pollard’s main work with Guided by Voices. As of 2015, the band has released thirteen full-length albums. Beginning with the release of their first album, Ringworm Interiors, Circus Devils dismissed the styles of Pollard’s other musical endeavors for a more experimental approach, taking an ominous and nightmarish tone, exploring the themes
of good and evil. According to the group’s whimsical website bio, Circus Devils formed because a dog-faced man approached each member on separate occasions to deliver the message, “Circus Devils is Real.” Like this story, their lyrics are often unsettling fictional tales of horror delivered within deconstructed rock operas. Each Circus Devils album is distinguished by a theme, concept, or production style which sets it apart from the band’s other albums.’— collaged
_______ GnodVatican ‘Perpetual dorm favorite Jacques Derrida once wrote “there is no outside-text”, as in, context is everything. We can apply this, then, to the all-too-obvious release date of some of Infinity Machines’ songs onto Spotify: April 20, 2015. While the stoner holiday has become relatively commercialized and quickly burned-out by sub-par releases from rappers, GNOD’s offering is a token that even the purest of ‘60s tokers would be apt to spin. By not diluting the droning journey with frequent melody shifts and the inclusion of blaring instruments, the few, consistent sounds pulsating each song’s core makes the daunting, mammoth 1:51:30 runtime seem completely necessary. You don’t sprint through the cosmos, you traverse through them, absorbing the gaseous bodies and finding asylum in the dark. And when that black hole comes, you slip right in like it’s your favorite nightgown.’— Pop Matters
___________ Giant ClawDARK WEB 003 ‘For at least one album now, musician, artist, label owner, and former writer Keith Rankin has toyed with the counterintuitive idea that the artificiality of digital technology has the power to liberate human nature. As Giant Claw, he’s been engineering virtual spaces that, in their anarchic profusion of decontextualized synths and soundbites, evoke nothing about the everyday environment they leave behind. From 2010’s three-part self-titled release to this year’s Dark Web, he’s created disorienting music almost completely detached from its surrounding world, music that represents not so much this world’s troubling contents as a vast, nonsensical void. As such, he’s enabled his listeners to feel and to think free from any reminder of the constraints they face on a day-to-day basis, enabling them, if only just a little, to be and to become according to their own innate impulses.’— Simon Chandler
____________ Yves De MeyAdamance ‘Drawn With Shadow Pens is the new album by Antwerp based synthesist and sound-sculptor Yves De Mey. With previous outings on a slew of renowned labels such as Modal Analysis, Semantica, Opal Tapes, his own Archives Intérieures imprint with Sendai partner Peter Van Hoesen, and the now defunct Sandwell District, Drawn With Shadow Pens is the next offering in the Y.D.M. codex. Rarely is a gifted musician afforded the luxury of also being an incredible engineer, and this new album is a testament to these talents. “Prelament” sets the album off with a dense fog of acrobatic waveform maneuvers slowly shapeshifting through the audio spectrum before arriving at a vibrating, multi-dimensional sonic black hole . Tracks like “Adamance” and Xylo” sound like audible holograms, with stray rhythms dissipating into and out of sharp modulations and sinuous drone layers. A pure sense mastery over the instruments played is evident, however, many compelling sound events seem to occur and disappear almost magically. The beautiful and spacious depths of “Ostia” unfold with monk-like patience, creating a surreal and hypnotic electronic sound environment.’— Spectrum Spools
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p.s. RIP: Pierre Boulez. ** Moumita Dey, Oh, is that right? ** James, Wait, happy birthday! Everyone, it’s James (Nulick’s) birthday today! Wish him happiness and/or enthrone him in your happier thoughts today. Have a seriously great one! How did you celebrate? Love, me. ** David Ehrenstein, Hi. Oh, if you want to put in a good word for ‘LCTG’ with Cinefamily, Zac and I would be very grateful. They agreed to consider the film, and we submitted the film to them, about two months ago, and then we never heard a word from them again. We really want to show the film in LA, and Cinefamily seemed like one of our few options, so, yeah, that would be great! Thank you very, very much, David! ** S., Thanks, man. If he does, it’s a big bathroom. I listened to a few of his podcasts, but not for a while. I think I stopped listening for the most part after the Kanye West one, which I thought was just awful. Truth and desire seem like irreconcilable ideas to me, I think. ** Steevee, Hi. The terminology thing is very fluid, though. I think it’s hard to generalize about tags’ effects, or at least it’s not a b&w; decision to put controversial terms on a ‘no use’ list. By pure coincidence, Jayne County, the punk trans legend, was having a big discussion on her Facebook feed yesterday about ‘tranny’, a term she prefers to use and to be called, and she got a lot of support from other trans-identifying people for that. Always best to be cautious when you’re unsure what your listeners’ attitude is. But, at the same time, I think the hypersensitivity around identifiers and equating the mere usage of a controversial term, whatever the context, as an inherent attack and a proof-giver of the user’s homophobia or racism or misogyny and etc., and the connected general trigger warning fad these days, are just bizarre and anti-intelligent and lazy and depressing. Anyway, it’s all very strange and confusing out there these days in so many departments. Congrats on your ‘Hateful 8’ review finally seeing the light, and I hope you see the accompanying moolah asap. That’s funny about the critic calling the Marclay film conservative. I guess that kind of feeds into what we’ve been talking about. Weird. ‘Of the North’ sounds kind of really awful. Jesus. Why do you think First Look is showing it? Strange. ** _Black_Acrylic, Hi, Ben. Yeah, exactly like the Republicans. Which is why it’s so important for people in the US to eat their personal ideologies come election day and make a collective effort to do whatever it takes to keep the Republicans away from the top job. In my opinion. But, shit, I really don’t want to get into talking about politics here, actually. Nothing good can come from that. So, never mind. Anyway, scary shit. ** Paul Curran, Hi. Awesome, glad you dug it. The narrative was exciting. It also has an ‘Au Hazard Balthazar’ quality to it. It’s weird. I couldn’t see any logical reason why getting from Australia to Japan and vice versa would be made so difficult. But I suppose the airlines have some moneyed reason. Awesome, yeah, post that clip somewhere if you don’t mind. Your kid seems really incredibly cool. ‘Cellphone novel’: what a cool term. I’ve never heard it before. ‘Light novel’ too. That sounds like an exciting plan. Wow. Yeah, when you get back to thinking about it, I’d love to hear your thoughts! ** Misanthrope, Hi, G. Ha ha, ‘I think it’s just better to call people by their first names’: I’m totally with you on that one. Yeah, but it made a lo
ser nobody famous. But being famous when you’re dead doesn’t do you much good, does it? So, I guess you’re right. That Green Beret friend’s thing/story is kind of awful. I mean, there’s a horrible black humor thing to it. A ‘Jack Ass’ if they were creepy thing. Poor guy. Weird. Huh. ** Bill, Hi, Bill. I know, Pierre Boulez, that’s a huge loss. And people here say that Pierre Henry is really in bad shape. Ugh. Good luck circumventing the ramped up aspect of the work. ** Jeremy McFarland, Hi, Jeremy. Funny that we were talking about North Korea yesterday, and then that whole ‘bomb test’ thing happened. Thank you a lot for that video. I only saw the first two seconds of it so far, but I’ll be all over that. Well, the backstory on the TV series is kind of complicated, but, briefly-ish, the main character is a woman who’s very loosely based on Candice Bergen, the actress, who is the daughter of this guy, Edgar Bergen, who was the most famous ventriloquist in the world when I was kid. Really massively famous. Candice Bergen wrote an autobiography in which she revealed that she grew up feeling really neglected because her father treated his very famous dummy/puppet Charlie McCarthy like it was his son, and he gave it a million times more attention than he gave to her. So, in the TV show, the main character is the tormented, kind of crazy daughter of a deceased, extremely famous fictional ventriloquist named Klaus Kraus, and she has inherited her father’s extremely famous dummy, named Frankie in our version. They live together, and she carries Frankie with her everywhere, animating him and treating him like he’s a real person, and there’s all this tension between them because she resents his former fame and his prized status re: her father, and then all these wacky things happen. And there’s the general weird thing going on where she’s obviously creating everything he does and everything he says, but she acts like she isn’t. In the first episode, one thing that happens is Frankie finds out about Halloween and demands they celebrate it even though they live in Switzerland where no one celebrates Halloween or even knows much about it. In the second episode, Frankie gets kidnapped among other things. The show gets gradually less wacky and more dark and experimental and moody episode by episode. Etc. It’s kind of a hopefully very complicated, strange comedy among other things. So, that’s the gist so far. Thanks for asking! Zac is on the upswing but not completely better. Hm, I don’t know Australia at all, so it all seems like a big exciting mystery. I hope we can travel into the outback a bit. I’m really interested to see that. I’m the type that packs early when I can help it. Zac’s the type who throws everything into a suitcase an hour before he leaves for the airport. Kentucky, huh. I was there once. A long time ago. I just remember it being really green and pretty. And that there was a huge, awesome cave there. Slaughterhouse yikes! That’s intense. (I’ve been vegetarian since I was 16, so stuff like that is freaky to me.) I’m happy to share that info here. Sounds really interesting. Here I go. Everyone, d.l. Jeremy McFarland has an interesting proposal for you. Please read and accept his challenge, if you like. Here he is: ‘I am helping with some contests at the school I just finished at and thought maybe some people here would be interested. I hope you don’t mind if I share some information about it here. There’s a poetry contest and a short fiction (1200 words or less) contest going on. Winners get a cash prize and will be published in the next journal (poetry) or an anthology (short fiction). We’re accepting submissions until February 1st. It does cost a little to submit, but it all goes towards supporting the continuation of The Heartland Review. Here’s the link for more information.’ Thanks, Jeremy! Love to you too! ** Okay. I made another gig of music I’ve been into lately, and now it’s up to you whether you want to enjoy the gig in part, in whole, or, well, not at all, I guess, which doesn’t seem like a very good option really, but, hey, you are free people, free to be you and you! See you tomorrow.
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