Sort of MEAT PUPPETS-ish in their 70s rock gone amuck approach to modern music. Should be popular with SST fans with their tight, jazzy eccentric approach. Most tunes are pretty fast-paced.
A surprising entry from Florida, AMAZING GRACE clicks in with a rock’n’roll approach that varies in passion and slickness. For me, the songs didn’t stick, though the energy here is commendable, especially on numbers like “Raw Power” (an original). Contains a stupid song, “Boat People,” that shows misinformed political views.
Critics have been falling over themselves for this band, but frankly it’s some of the worst music I’ve ever heard. I keep going back just to double check, but to me, it sounds like MARIA MULDAUR singing with a bad new wave band. On top of that, the BEATLES cover on the flip is just inane. Pass.
Ten ultrafast HC numbers with the vocalist spitting out urgent ideas about apathy, oppression, and manipulation, all reinforced by an informative booklet tackling the subjects of religion, vegetarianism, the arms race, pacifism, and more. Dedicated, committed, and cool.
England’s answer to the RAMONES, with a driving three-chord melodic sound. Only three songs, but damn good, especially for gabba gabba hey fanatics.
Performing both older punk and thrash styles (mainly the former), most of the material is fairly generic, but then there are little twists (vocal tricks, weird guitar sounds) that set it apart. But not by much, at least yet. Could develop into something distinctive.
On a third of the tunes here, this band gets too mellow for my rockin’ meter to register, but on the others they play a rough pop rock’n’roll that’s pretty neat. The guitarist can really wail—he just doesn’t do it often enough. A neat cover of the VELVETS’ “What Goes On” that mutates into the STOOGES’ “1969.”
This fucking rocks! The BIG GUNS play jammin’ mid-tempo punk with metallish guitar embellishments, but their sound seems to have a western feel to it. Cool.
Unconventional fuzzy guitar licks, industrial grade drumming, and twisted vocal effects highlight this 8-song cassette. Some studio tracks are included, but the live ones really throb.
Formed by Randy Turner after the break-up of the BIG BOYS, this moves more into the funkier, dark side of rock, but I just wish there was a little more bite to it. Maybe it’s just a case of testing the waters before they really let loose.
COLERA fans won’t be disappointed with this one. This album has more of that uncompromising, Finnish-style thrash in a style very similar to vintage APPENDIX. While I would have preferred a little more guitar (the approach of fellow Brazilians, RATOS DE PORAO), this is still a very good release—and I appreciated the translated lyrics, too.
Bizarrely, this offering sounds like BILLY IDOL singing over a LORDS OF THE NEW CHURCH instrumental backdrop; the result is a rockish, slick, and highly commercial pair of songs, neither of which left much of an impression on me.
Still another progression for this interesting Connecticut band. Several loose, spirited thrashers (like the catchy original, “Summertime Blues”) vie for one’s attention along with mid-tempo numbers reminiscent of a rawer HÜSKER DÜ. Songwriting is inconsistent here, and their hallmark intensity and humor are in short supply. Still, it’s an original effort.
A hot, clean-sounding speedcore release with tempo changes galore. Lyrically, Satan doesn’t show his face, but personal politics do. A smoking tape from this Bay Area outfit.
Mike Watt (ex-MINUTEMEN) teams up with Ethan James and Greg Ginn for a hard, heavy, and thoroughly funky version of the MADONNA song. SONIC YOUTH gets their chance on the flip with a weird, dreamy version of “Into the Groove.” Too cool.
Apparently made up of former members of another Dutch band, L’ATTENTAT, these guys have a great snotty garage sound and a singer who sounds halfway between ecstasy and death. Musically somewhere between the CRAMPS and the FALL. Gimme some more.
Some speedcore trappings, managed in an entirely tasteful and powerful manner, make the thrashy songs on this album very creditable on a musical level; bands like BROKEN BONES should look to the SOX with envy. The socially and politically responsible lyrics, however, make this one into both an intelligent and very listenable record. Very good.
“The same old CONFLICT,” says Vote Vasko. So true, and vintage sounding material at that. Great production and sound supertight, and gripping delivery all add up to one hot release.
A short tape consisting of five rapid fire stop-and-go thrash bursts with machine gun drumwork. Lyrically, war and conformity are the focal points. A darn swell tape.
Brother in kind to Midwest bands like KILLDOZER, BIG BLACK, etc., this group has always had a strong streak of inspired lunacy but still rocked hard. Here they poke some serious fun at how stupid it is to be in a rock band. The flip is a near perfect rendition of the MOUNTAIN classic—complete with cowbell.
I think you’re familiar with the “NYHC” sound by now—a mixture of HC and metal. This release is no slouch, a high production job that displays tightness and power. Can’t comment on lyrics as no sheet was included.
A good punk and thrash record with lots of zip, good lyrics, and that’s fun to listen to. But what makes these guys stand apart is that in the great tradition of the SCREAMERS and SUICIDE, they rely on synth. You’d never know it, though, as there’s no trace of wimpiness—just two hard-driving machines, drums, and vocals. Not to be confused with another fine band of the same name in New York, and another in Finland.
Poppy teen punk. Big in melody, simple construction, decent production and guitar sound. Midwest garage meets BUZZCOCKS. Jumpy.
This is well-done speed stuff with guitar leads, lots of power, and intense vocals. Excellent lyrics to boot—good debut… but those leads.
PISTOLS meets GISM? Okay results, but nothing amazing except maybe the song title “Fuck Day.” Whadda they mean, are they pro-night? Oh, these punks. And yes, they do have a song called “I Love Punk.”
Rock’n’blues reigns supreme here, helped along by nasty, satiric lyrics and a gritty guitar sound. Perhaps accidentally, punkiness shines through a handful of tracks (like “Jealous”), though the primary impression this LP leaves is that of a cool, fun bar band. A good release.
Too horrible for words, this aggregation of the once-great DISCHARGE goes full-on metal sounding like LED ZEP (15 minute songs to boot!). No traces of punk at all, even to the point that the drummer Gary has covered over his CRASS tattoo with some metallish tattoo. Last DISCHARGE release we’ll be reviewing. (Unless we decide to ridicule them further. —Ed.)
DISPER-AZIONE kick up a nasty dust-cloud of dark, energetic chord progressions in their mid-tempo HC, add some powerful vocals, and also opt for lots of self-indulgent lead guitar breaks. When disciplined, as on the superb title track, this band is stunning; otherwise, this album is still rather impressive, but flawed.
This classic protopunk band existed back in ’76 or so (when this was recorded) and starred Jeff “Mono Mann” Conolly, now in LYRES. They released a great 7″ on Bomp and a couple of LPs, none of which had these two rockers. B-side is a great FLAMIN’ GROOVIES cover.
Speed metal with all its excesses and pretentiousness. Four songs, all heavy.
Here Eugene is joined by two members of VIOLENT FEMMES and the outcome is extra good pickin’ and the same strictly CHADBOURNE twisted folk protest songs. All classic, no fan disappointed, all lyrics hitting their mark, and lots of good clean fun.
A ringing, thrashy, riffy guitar attack sets the pace for this set of dynamic, distinctive numbers. This has it all—intensity, spirited vocals, and (from what I can gather) committed lyrics. Terrific!
Imagine Kevin Seconds singing over a high-velocity thrash backdrop, with periodic lead breaks interrupting the proceedings, and you have a rough approximation of FANOUS CHEEZCAKE. Production is very basic, the songs fairly typical of the genre.
This Welsh punk outfit presents four songs here, all in a plodding, mid-tempo Britpunk vein. The hooks are unconvincing and the power variable, though there seems to be a partially redeeming element of sincerity on this disappointing release.
Hot dog! These weenies play driving punk of all speeds, fueled by Kool-Aid. Six originals and fun covers of “I Got a Right” and “Good Guys Don’t Wear White.” Totally wacko.
Mid-tempo metal-ish thrash and power HC. Not uplifting, but well done for what it is. What is it?
A one-sided release, and as the title might imply, the single tune here is a Brit-style soccer chant and a good sounding one at that. Lots of power.
A three-song speedmetal and metal-punk release, with the accent on the metal. Not as bad as some, but still a dinosaur.
Two bands from the Canary Islands (Spain) share this tape. ESCORBUTO CRONICO favors a hard driving mid-tempo punk sound not unlike early DOA, and GUERRILLA URBANA is more thrashed out. Pretty neat.
Well, they sorta are. Two of the five tracks are bluesy rock, one more punked out than the other. The other tracks are thrashed out, but still with a slight country/blues inflection. Definitely a Texas band.
A pounding, eerie but simplistic guitar/noise post-punk throbber on the A-side while the B-side is a bit poppier but still simple and big in sound. They’ve got a live feel despite the studio recording, which probably saves them.
This trio of songs uses a punkish power chord style to address fairly nondescript lyrical themes. “Nowhere” has varied guitar work melded into an energetic, bouncy rocker, and it rates way above the two other simpler and less interesting tunes. Recommended for the good song.
Three of the four songs on this EP use an extended slow introduction followed by an explosive Swedish thrashfest, while “Andring” simply lets loose with the goods from the start. A solid dose of tight HC, though not quite up to the best material from their LP.
One of the better sounding modern metal-inspired HC bands with the GISM influences. Overwhelming power and drive without obnoxious solos. Great drumming and guitar as well as vocals. Comes with a live flexi, fancy photo booklet, all enclosed in a sealed paper bag.
Reminiscent of many of the Italian HC bands, this group rips along at 90 miles an hour, but hardly generic. Lots of speedjazz influence, but it doesn’t detract from the overall power. Five songs, lots of power.
Eccentric garage punk with very clever lyrics—sort of like early DEVO meets Gulcher Midwest bands, with Doc Dart meets Allen Ginsburg on vocals.
The growled vocals and rebellious lyrics on this LP are definitely punk, but the music is poppish in almost a PATRIK FITZGERALD style. The result is credible without being especially powerful, and frankly I wasn’t exactly bowled over by the tunes, either. An interesting idea marred by lackluster execution.
Pretty slick-sounding (and looking), this band combines older punk and speedcore. Though the sound is big, there’s a homogenized feel to it all, an impersonal wall.
A four-song EP that comes with a one-sided flexi, all in a PISTOLS ripoff sound. Okay, but “old” and not delivered with the gusto it’d need to be special.
A 17-song demo quality cassette consisting of five originals and covers from such faves as MDC, BLACK FLAG, DOA, etc. I prefer the originals—good, raw punk rock with sarcastic social lyrics.
A pretty good tape consisting of basic, English-sounding punk and thrash. Not too complex, but a couple cuts were definitely catchy and fun.
The music is decent punk in a ’77 style with slight metal influences, but the singing is so “sung” that it defeats the whole purpose – no oomph or anger.
Undistinguished, straightahead hardcore with occasional lead breaks is the basic style here, the power-riffs underscoring a fairly aggressive instrumental attack. Half of the lyrics are in a bizarre kind of English that makes no sense whatsoever.
Out in two versions (“raw” mix and “final” mix – the former being livelier, the latter more homogenized). Even on the raw mix, the sound is pretty clean and straightforward, a very powerful British type of hardcore. Good stuff.
Acknowledged by many to be Europe’s best thrash band, this release (out both in Holland on Konkurrent and in the US through Mordam) show their power. Songs are multi-layered with lots of growly singing and non-generic structures. Remind me a bit of a cross between the OFFENDERS and early DIE KREUZEN. Yet another Italian powerhouse.
A live recording, the centerpiece being a cover (under the title tune’s name) of the MEMBERS’ “Solitary Confinement.” Also included are some ranting poets and a few other NEUROTICS’ cuts. Great shit.
Loud guitars and occasional vocal choruses are a good starting point, but they only do so much to enliven this album, which contains largely undistinctive mid-tempo hardcore. Even the lyrics, covering a range of punk rockfish themes, also seem to lack the extra punch to push this one over the top.
Hard to believe this is the same band as on their pair of EPs (but it largely is). They began as a garage thrash band, moved to a more melodic style of the same genre by their second release, but on the two tunes here they’ve gone way poppier. The A-side is pretty straight pop, while the flip has a bit more garage to it. Can’t say I fully appreciate these changes.
This band does at times have a bit of a mid-period BLACK FLAG sound to them, but I can also hear some groovy part of REDD KROSS and CIRCLE JERKS in there. They got a pretty rippin’ version of “Little Red Book,” too.
High energy here, with a slightly metallic HC flavor, not unlike RAW POWER. Nine songs, “positive” lyrics, and intense music add up to an impressive release.
I hear a cross between DOA and TOXIC REASONS on this one. PÖBEL MÖBEL? Hmm, should have known it’d be a Swedish band with those melodies. Good.
Pop-punk with a good beat and a decently noisy delivery. Some ’60s and ’77 influence, but the production gives some of that current UK noiseband feel to it. Good putdown song aboout JESUS AND MARY CHAIN.
Not unlike an Italian MIRACLE WORKERS, this band has five mid-to-fast-speed garage psych punkers on this likable 12″. Nearly everything here is catchy but the snotty vocals and kinetic energy of “Out of Control” is definitely above the standard. Very good record.
Stop-on-a-dime powerhouse thrash with interesting musical tidbits here and there. A dozen songs of tight and forceful HC that is definitely worth checking out.
The music on this disc is definitive RANCID VAT—loose punk rock, infused with a gritty guitar sound and often hysterical lyrics. The individual tunes lack distinctiveness by and large, but the fart choruses in “Low Blow” and the goofy cover art help make up for it. Spirited, and basically okay.
“Terrorist Attack” and “Drunk Driving,” of the five songs here, show an approach to punkish thrash that’s anything but general. Tense vocals and energetic guitar work fuel these songs well above the standard for the rest of this EP, making RANDOM KILLING a potential powerhouse. I’d like to hear more.
A three-song job, two of which are decent pop-punk with femme vocals, while the third has a bit more spunk, especially in the singing (cool choruses). Decent.
Containing members of GONE, REGRESSIVE AID, and other bands, this Jersey outfit is into noise, FLIPPER obviously comes to mind, though there is a funk aspect to some of their grunge as well. By now you know if you’ll go for this or not. A live recording.
Fun, jangly melodic punk with common-sense political lyrics. This is also available as the NEW VULGARIANS with different words… all about rock climbing. A blast either way.
Firstly, it comes in a pizza box. Secondly, they explain that they are not three crazed TV addicts, but in fact are a scientifically planned event a la the MONKEES. Thirdly, they do lots of covers of TV themes. And mostly, they play dirty, rockin’ rockabilly a la early CRAMPS, lampooning just about everyone. They’re good fun, really rockin’, and highly recommended.
Good noisy buzzsaw guitar drive at mid-fast tempo. Young roots punk with verve and garage appeal. Good production.
Containing younger siblings of TERVEET KÄDET (and on Laja’s label), this one-sided, six-songed EP is a raging, eccentric, jazzy thrash noise fest, much in the crazy approach of the late NEOS. Real short tunes, no let up.
These songs chug along at a decent pace but they don’t really hook like the ones on their LP. This is more of a holding pattern until their next album. I guess I’m still with em… for now.
One side of this LP is your basic funnypunk a la thrash with a taste of MISFITS among others. The flip is indeed a flip, foregoing the thrash for early punk, rockabilly, country, etc. Interesting approach.
Two riffy, rockin’ tunes appear here: the A-side contributes GUN CLUB-style guitars to agreeable, half-sung vocals, while the flip is a sloppier and less interesting mixture of the same. Not memorable, but hardly mediocre.
Another unexpected pleasure from the Netherlands. An excellent crunchy garage/psych band in the same vein as WILMER X or the NOMADS. Some cool covers from the STOOGES to the OUTCASTS. Lots of fun involved here, not just a 60s necrophilic trip.
More well-done ’77 punk, though there’s a sameness and lack of real fire that ultimately dulls. These KIDS have had plenty of time to liven up, so no excuses for them. Okay pop punk.
In the LIME SPIDERS school of rockin’ Aussie punk, EASTERN DARK shows an added element of accessibility and real consistency in songwriting on this one. “I Don’t Need the Reasons” has especially memorable hooks and strong guitars. Top notch!
Ten crankin’ songs reflect the classic FREEZE sound with catchy fuzz guitar and a strong steady fast beat. The lyrics still maintain that warped quality as do the vocals, although a little bit of experimentation does come through. A very enjoyable LP from a band that seems will never lose its raw edge.
Sounds like LES THUGS meets BUTTHOLES meets GUN CLUB. Powerful blues-based rock’n’roll filtered through an ’80s outlook. PERE UBU on speed? NOMAD-itis? It rocks, though not as insane as the 7″ers.
Three more quite VELVET-y songs , with only one “hit,” having any bite. I think I’m sick of this band’s current mellowing. Liven up, guys.
Some excellent ’60s surf/psych stuff, generally really rockin’ and with top notch production. More energetic and less derivative than many bands of this nature, especially surprising considering their country of origin.
Formerly the ACID DROPS, the Aussie quartet has a blues-based post-punk edge, sort of like a slicker early GUN CLUB. One clunker tune out of four.
The NOT have captured their exciting upbeat melodic energy well in a live setting, recorded late last year. Seven originals plus two covers add up to nine fun foot-tapping tunes. Shame they broke up.
A two-song flexi, unusual in that this Japanese release doesn’t come in a sleeve (Japanese sleeves are the most expensive looking I’ve seen). Good ’77 punk with cool singing and rockin’ power, especially the drumming.
So many bands pretend to have something to say, but the PROLETARIAT have always had articulate and pointed lyrics to match their sharp, precise music. The addition of two vocalists is kind of cool and makes things a little more interesting.
Wimpy folk-rocky trendy A-side but a decently rockin’ surf/garage “Frenzied” on the flip with lots of noise and guitar pounding. A 12″ is on the way soon.
The five hardcore numbers on this EP boast screaming vocals over the basic slow/fast arrangements, none particularly notable. “All By Myself” has a certain vocal power to it, but this record doesn’t excite or surprise as it should.
The SECT make their debut on vinyl with two ’77 style punk anthems in the STIFF LITTLE FINGERS vein. Both sides are up to the highest standards; skillful melodies, a hard guitar sound, and solid lyrics (especially on “A Free England”) make this one absolutely essential.
Their second big ‘un is as ripping as Peruvian Vacation, again with a decided North American feel to their hardcore approach. Lots of melody, but not at the sacrifice of power or energy. You can guess what the lyrics are like.
This is your basic rock’n’roll punk a la ’76. Okay guitar-strong garage punk that rocks okay and only occasionally gets embarrassing. Reminds me of the RAMONES or HEARTBREAKERS. It’s the lyrics, though, that are really embarrassing—definitely “sweetheart” stuff.
High-production punk like a lot of UK bands got in ’78 or so. Decent on both tracks with the power able to overcome the slickness.
KATATONIX display a knack for catchy, inoffensive neo-psych on this one. The A-side contains synth and poppish vocal harmonies in a ballad form, while the flip is even slower, but has some good, hard guitars. Basically okay for what it is.
A bit confusing (their logo is “TCACT”) but this is the latest TIN CAN ARMY release. This multi-track 7″ has one side of up-tempo punk, and one in a more jazzy punk vein. They are experimental in some ways, though their pop HC format and vocal sound reminds me most of the DKs.
New wave delivered with punk energy, as many “wave” bands were doing in “the early days.” But the female “singer” and keyboards put me off, as well as the rock/wave arrangements and slick production.
Four Mersey-like tunes, but nothing to click your Cuban heels over. Why bother rehashing the past, especially with cover tunes, when the originals win hands down?
Taking obvious cues musically, philosophically, vocally, lyrically, and even graphically from MINOR THREAT (and to a much lesser degree, MDC) might lead these guys in for criticism for being unoriginal, but what they do is so powerful and convincing that it’s easy to overlook these charges. Good lyrics, though a bit unspecific, hopefully to broaden with age and growth. Keep the commitment!
Great, raging hardcore—tight as hell and power production to spare. Glad to see another new outfit not pandering to metal clichés or influences, delivering the straight goods, musically and lyrically. Contains Dewey (ex-WHITE CROSS) on lead guitar.
One of these two German pop bands, TOT ODER gets the bonus points for interesting instrumentals. Still, both songs are fairly slow and lilting, lack engaging hooks, and are listenable primarily through my adoration of female vocals. Uninspired.
Way rockin’ stuff here from two dozen Northern California bands displaying one or two songs each. Includes VICTIMS FAMILY, ATTITUDE ADJUSTMENT, SHORT DOGS GROW, and more, contributing to 90 minutes of sheer insanity.
Here’s one where I liked the idea better than the final outcome. Take the best East Coast and Midwest garage bands and showcase a couple of their tunes—should be a great collection, right? Well, they started off right by getting the right bands—from Chicago, DWARVES, CUNTS, GREEN, from PA, the CYNICS and the ENDORPHINS, and also tracks from the LIBERTINES and others. But the whole is mixed horribly and just ends up a limp mess. What a disappointment.
A couple of live tracks from Canadian punk bands like NG3, DEATH SENTENCE, and MY THREE SONS as well as darker, art damaged like RHYTHM MISSION, RED HERRING, and NERVE TUBES. This is a good mixture and a nice way to hear how the bands come off live.
The likes of TUPELO CHAIN SEX, SCREAM, and several other artists offer largely mediocre tunes on this comp, which covers punk/rap, HC, pop, C&W, and even spoken word on the various tracks. Only MCSHRED connects with two high-velocity thrashers; I daresay it would be impossible to skateboard to the rest of this.
Four bands offer one song each on this nifty sampler. We get an intense, original HC offering from RUIN (with great lyrics); hook-filled pop punk by ELECTRIC LOVE MUFFIN; SCRAM performs an okay reggae-tinged number; and F.O.D. go completely crazy on their trashed out live track. Cool record; buy it.
A way-out comp with one German band, INFERNO, and a handful of smaller LA-area outfits. All the acts are impressive, but EXCEL and FINAL CONFLICT really get the ball rolling.
An on-target English comp with grade-A stuff from OI POLLOI, GENERIC, SUBHUMANS, and more. A consistently great tape, and comes with a lyric book, too.
A largely German comp (MOTTEK, R.A.F., GIER, COCKS, TOXOPLASMA, etc.) with a couple of tracks each. There’s also TOXIC REASONS, ARTLESS, and FRITES MODERN thrown in, making for an energetic, well-recorded sampler.
Okay, this latest volume of raging thrash contains more of Sweden’s finest. Included are AVSKUM, DISCARD, DTR, SSS, EXISTENZ, SLAM, DISARM, BEDROVLERS, and many more. As with the other Really Fast comps, you get really fast thrash with the usual Swedish flair for hooks, though this one tends to be more straight noise thrash.
A four-band international comp with a cool title. POLITICAL ASYLUM and NEUROTIC ARSEHOLES play fast, melodic punk on Side One, while Side Two showcases a thrashier sound with MASSACRE and SOLUCION MORTAL.
For the most part, this international comp kicks out some classic fast-tempo punk and hardcore. With bands like the INSTIGATORS, DETONATORS, SONS OF SADISM, MOSKWA, and a dozen others, most will hear something enjoyable here. Good production, a well-rounded sampler.
A four-band, four-track comp featuring HEX, STALAG 17, OI POLLOI, and SYMBOL OF FREEDOM, all from the British Isles. All the bands are powerful as hell, though SYMBOL OF FREEDOM is the most traditionally Britpunk (though they’re from Wales) and the least dynamic. An excellent release.
A heavy 10 on the psych/mind fuck meter. A swirling twist of real aural mind-fuck. All this done by one person, Marc Casey, formerly of the New York REACTIONS. Try to imagine GEZA X if he had a real problem with LSD.
Good, tough but melodic garage music from the Midwest. It’s really weird but at times this record sounds like some of the cool, hard rock music coming out of Australia.
Somewhere in the midst of JIM MORRISON, MARK RILEY, NICK CAVE, the CRAMPS, and other rockin’ doom and gloomers steps in this Greek band that screams, moans, and sings of inner turmoil and damnation, and basically gets down, jams and rocks out. What more can be said except it’s mostly pretty good.
Both songs on this single are fun but not really substantial. They feel more like outtakes in the studio than full-fledged songs. Fact is, with any other band, they would have sounded terrible, but the SUNS could play the phone book and make it sound cool. Hope the LP has more for it than this.
Another UK band returning to earlier punk, or rather what we now think of as post-punk, roots. Minimal melodies and rhythms, noisy and full of screeches and snarls. Reminds me of when the FALL, PERE UBU, CABARET VOLTAIRE, and THROBBING GRISTLE were “punk” bands. And just as good.
Good ’77 punk with female vocals, great choruses, and a pounding beat. Many of the ’77 rip-off bands in Japan (and there are a lot!!) fail to convey the strength, but this one is as vital and fun as the originals were.
The second release by this band is not an easy one to peg. It’s god that heavy rock-fuck-you-we-do-it-this-way sound that you hear in bands like BLACK FLAG and DAS DAMEN, but some of the vocals really remind me of SACCHARINE TRUST with their strange poetry. I like this… but I still like BLACK FLAG.
