Album Review: Dear Darkness by Dan Andriano & The Bygones (by Lara Roberts)

I’ve been a big fan of Alkaline Trio ever since I first set ears on Fuck You Aurora all those years ago, and I always loved Andriano’s smooth voice juxtaposed against Skiba’s vocals, with them both complementing each other. I always enjoyed Andriano’s songs and craved more of them, lapping up solo projects he’s worked on.

This album starts off as I had expected and hoped, with Narcissus, Amateur Classic Narcissist providing the reassuring familiarity of Andriano’s silky vocals melting over his guitar, and Sea Level and Dear Darkness both sounding straight out of the books of Alkaline Trio. There’s plenty of Andriano’s distinctive sound from the start – beautiful, rich, and smooth, just like that first cup of coffee in the morning.

However, despite the coffee being one you could easily drink all day, you find yourself reaching for a different taste – the flavours on your tongue are getting a bit stale after a few mugs of the same brew. You’re looking for a pick me up to carry you through the rest of the work day. Wrong provides that something a little different. It starts with the familiar, deep vocals over gentle piano, before building up to more of an anthemic sound, incorporating a weird 80s metal guitar line before ending with a fade-out. Unfortunately for me, the song ends up living up to its name. The Excess suffers the same fate, with a strange jazzy start and 80s metal-esque ending.

It’s at this point that you find yourself reaching for the first batch of coffee that you ground that morning. You realise that there was nothing wrong with the first cup – it was dependable, likeable, and much more enjoyable than the others. Which is good, because Andriano’s brooding voice and stunning lyrics in both The Rest Of You and Into Your Dream (The Sophie Moon) take us back to the original blend of the album, carrying us through to the end, ensuring a strong finish with no bitter aftertaste.

Stream and download Dear Darkness in all the usual places and like Dan Andriano & The Bygones on Facebook here.

This review was written by Lara Roberts.

Top Tens: Luke Seymoup's Top Ten Influences

I’m absolutely thrilled to be here on Colin’s Punk Rock World today! And, I’m equally thrilled to have the chance to nerd out about all the influences that have helped make the Seymoup Expanded Universe what it is today! As a musician, I’ve always been a bit of a misfit in terms of genre. I’ve always considered myself a punk musician but others haven’t always been so kind (haha). Punk music is my first and longest passion, but there were definitely a lot of different artists and styles along the way that have contributed to the way my music sounds. I’m glad to have the chance to put on paper (or screen, as it were) all the inspirations that have made me the musician I am. Narrowing down to a list of ten is always hard (there are so many artists that only just missed the cut) but, right now, these seemed like the most important to include. I just hope Brian Fallon, Mike Skinner and Kacey Musgraves can forgive me for the snub!

Alkaline Trio
Anyone who has spoken to me for any length of time since I was about 15 years old probably knows how obsessed I am with this band. Alkaline Trio is the shining example of a band that knows what they do well and sticking to it. They’ve introduced some different elements over the years (like going a bit New Wave on “Agony & Irony”) but the core mix of sweet vocal melodies with dark lyrics is always there. There are so many Alkaline Trio songs that I wish I could have written. Having played in bands with only one guitarist for decades, Skiba’s style certainly influenced how I write and play lead parts (my song ‘MulderScully’ is proof of that). I get a kick out of seeing local bands play live and finding that Skiba influence in the guitar parts. You can always tell.

The Lemonheads
I first heard The Lemonheads on a compilation I bought in high school called “All That Punk.” They’ve always had an affiliation with the punk scene but calling them a punk band is a bit of a stretch. Regardless of genre, the song on there (“Confetti”) had me instantly hooked. Evan Dando’s deep, smooth vocals over loud ringing open chords was addictive and it made me dig into whatever else I could find from them. If Skiba influenced my lead guitar playing, Evan Dando made me love layers and layers of big rhythm guitars that leave your ears ringing. Such an incredible songwriter who knows when to be funny and when to be serious and you never, ever question his sincerity.

Bruce Springsteen
I have memories of listening to the oldies station in the car when I was a kid and having my mum change channels when Bruce came on because she didn’t like his voice. Maybe falling in love with his music was a bit of rebellion for me? Bruce Springsteen was definitely an odd musician for me to become obsessed with at the peak of the emo-pop era. I was a saxophone player as well and the shrieking solos that Clarence Clemons delivered across Bruce’s discography get my blood pumping to this day. What can I possibly add about Bruce’s lyrics that everyone doesn’t already know? His songs have been so important to me for so long and, when I was first forming my band, I was pitching the idea of it to potential members as a “Punk Rock version of the E Street Band.” I think we still live up to that concept in some way.

The Distillers
I’m sure I’ve told the story in an interview before, but I discovered The Distillers by finding a printed lyric sheet for ‘Dismantle Me’ someone left behind in a classroom in high school. I was hooked on the imagery in the lyrics immediately: vultures pounding their wings; wanting to bury someone; the humidity of Swanston Street on a hot day. I had to hear the song as soon as I could. What I discovered was a howling voice from Brody Dalle and wild energy to the band that I would strive to replicate in my own music for years. Maybe Brody’s voice was my inspiration for the volume I usually sing (and speak) at.

Misfits/Samhain/Danzig

Glenn Danzig is a person who feels like he was conceived as a character in some kind of abstract gothic novel yet, somehow, he’s a real person who exists. I love that he has a vision and aesthetic for exactly what kind of music/comics/movies/whatever he wants to make and he’s stuck to it for nearly half a century. I’m not a metalhead by any stretch of the imagination, but those first three Danzig solo albums feel like some of the heaviest music ever made. Danzig doesn’t need screaming or down-tuned guitars to make his music heavy. Blues riffs in standard tuning and his demonic Elvis impression get the job done. Any record he appears on is something I need to own (yes, even Danzig Sings Elvis). His discography has classics upon classics upon classics and, if you haven’t already, you need to spend a little bit of time appreciated every era of Danzig’s career (especially Samhain who rarely get talked about).

Wu-Tang Clan
When I got my driver’s licence, I think “Enter The Wu-Tang” was the only album in my car for about 6 months straight. Consequently, I think I’ve heard that album more times in my life than I’ve heard any other. Still, even now, listening to it feels as fresh to me as when I first heard it and I constantly discover new samples, lyrics and ideas in it that I’ve never noticed before. It’s a gift that keeps on giving. The Wu-Tang Clan appeals to me because each member has their own distinct personality with their own vocal style, lyrical idiosyncrasies, and personality. They’re a cohesive unit where each member operates at the top of their game to create something that’s truly special and truly unique. The songs introduce all different kinds of concepts in their song structures and composition. No two tracks are alike on Enter The Wu-Tang or any other album. There are so many different styles across their group and solo discographies that, even if you don’t think you’ll like them all, there’s certainly something that will appeal to you. Wu-Tang Forever.

Against Me!
I have a vivid memory of playing a basement show in 2007 and having my band absolutely butcher a cover of “Baby, I’m An Anarchist.” I’m glad it happened in an age before smart phones because I wouldn’t want to let Laura down like that now. I’m a sucker for a huge chorus and Laura Jane Grace writes them like no one else can. Every Against Me! record is different from the last and they’re all classics in their own way (I won’t rest until White Crosses gets the recognition it deserves!). The one thing that ties them all together is the huge choruses that make you want to scream every word like it’s the last thing you’ll ever do. When I’m stuck for a chorus, I often find myself asking “what would Laura do?” This band is also responsible for my obsession with exclamation marks and made me insist my old band Miyazaki! never have our name spelled without one.

My Chemical Romance
I love fiction and storytelling (especially comics, more on that later). My Chemical Romance always had a vision for their music that allowed them to talk about their personal struggles through the lens of a high-concept narrative, rather than in a literal way. What kind of punk band writes a whole album about someone trying to earn their way out of hell by collecting the souls of evil men? It’s unheard of outside this band, I’m sure! Oft imitated and never equalled. And yes! I’m saying punk band despite their genre-affiliations over the years. You can’t listen to Three Cheers for Sweet Revenge and tell me that’s not pure punk rock! It’s 2021, get past their look! This band is solely responsible for any time I’ve written a song or album that told a long, in-depth narrative. I’m not sorry about it and I’m sure they’re not either.

Ramones (specifically 80s & 90s Ramones)
Look, I love those first four 70s Ramones albums as much as anyone, but there’s something truly special about the way they grew and changed through the 1980s. It’s only when you listen to their whole discography that you start to realise how much they experimented with different sounds through their career. You want straight-up punk? “Too Tough To Die” has you covered. 50s/60s pop? Check out “End Of The Century.” Want them to play with synths? They did it a whole bunch of times! There are some true musical and lyrical gems that people aren’t aware of because they insist on only spinning the first disc of that 1999 Ramones anthology compilation. That signature simplicity in the chord progressions, melodies and lyrics is still there, but they have plenty of songs on those later albums that are deep and emotionally moving. Listen to “Poison Heart” or “She Talks To Rainbows” and try not to feel something. I DARE YOU! I’ve read every book there is to read about the Ramones so, if I ever get invited onto a music quiz show, they’re going to be my specialty category.

Chris Claremont's X-Men
Finally, I’m going to end with something non-musical. My two great obsessions in life are songwriting and comic books, with the X-Men being my comic of choice. I spent most of my university years (when I should have been studying) memorising every facet of X-Men continuity from the preceding 50 years. Enter Chris Claremont. Chris Claremont wrote Uncanny X-Men for 16 years, from 1975 to 1991. Not to mention countless spin-offs through the 1980s and returns to various titles after that. Anything that you probably know or like about the X-Men is his doing. In some ways, I feel like Chris Claremont partially raised me, as a result of the literal years of my life spent with his work. Claremont was always the master of creating his own universe-within-a-universe where concepts would cross from one of his titles to another, or a small seed of story planted in the 1970s would pay off in a huge way some time in the late 80s. Building a world of continuity is what I want to do with my music. I want to be as prolific as Chris Claremont and have everything I put out matter to my discography overall. There are no throwaway songs or albums. EVERY. SINGLE. THING. is important! Welcome to the Seymoup Expanded Universe. You’re living in it.

Luke Seymoup has a brand new single out on Monday 15th November, titled Serengeti, and you can pre-save the track now.

Luke says ‘It's a ballad dedicated to all the dearly departed music venues that we've lost in Melbourne over the last few years (thanks to Covid, real estate nonsense and those awful people who move in next to a venue and complain about the noise).’

Check out Luke Seymoup’s discography on Bandcamp and like them on Facebook.

Gig Review: Slam Dunk Festival 2021, South, Hatfield House 5/9/21

Slam Dunk 2021 actually happened and I have to say immediately it was one of the most fun days I’ve had in years. My attendance, since this edition of the festival was first announced back in 2019, was most likely not going to happen. It originally clashed with another festival I had tickets for (Bristol Booze Cruise), then a lot of the bands I was most keen to see had to drop out and with the ones that did remain, I was super sceptical about them coming over. Booze Cruise, along with every other event, got cancelled or postponed because of that bloody worldwide pandemic so that clash went away. As the festival’s new date began to get closer, I began to get more of an itch to attend the festival but I continued to hold out on getting a ticket until the last possible moment. That moment being when I knew that some of the overseas bands that were booked were in the country but that they were also allowed out of the airport. I was also waiting to hear back from Slam Dunk about a press pass but sadly that didn’t happen (hey, Slam Dunk, next year yeah?).

The day of the festival arrived and I had to set out early. I live in Bedfordshire, not far from Hatfield House where Slam Dunk takes place at all. But because of having to get all sorts of connecting trains at different points, my journey was far more complicated than it should have been. Why is it that trains only go up and down and not across around these parts? I also wanted to make sure to get to the festival site with enough time to get through the ticket area with plenty of time to get to the Punk In Drublic stage for the opening band. As the build up for the festival grew there had been a lot of drama on the festival social media posts about tickets not being sent out and kids getting stressed and confused about the COVID-19 protocols that would allow you access to the festival site. I expected getting in to take longer than usual. This couldn’t have been further from the truth. After meeting up with my friends we strolled up to the gate and basically walked straight through. To be completely honest, I was a bit concerned that the chap who checked my COVID passport barely looked at it at all – I hope the rest of the people working the gate were more thorough!

To start the day we made our way to the Punk In Drublic stage which was returning to Slam Dunk for the second year. I have memories of the first Punk In Drublic stage at Slam Dunk being opened by California’s The Bombpops and them playing to a huge crowd. Unfortunately the crowd that greeted Sweden’s The Baboon Show wasn’t quite so big but that didn’t stop the rock ’n’ roll foursome putting on a big show to start the day. They played a blend of heavy rock and punk that I think would have sounded great in an indoor setting but perhaps didn’t translate as well on a sunny, outdoor stage. It was a spirited performance though with the band clearly masters at working a crowd. I assume that the band were new to the majority of people in attendance and I’m certain that they came away as new fans of The Baboon Show. They’ll be back next year for a tour with the legendary Descendents.

Next we made the journey over to the Key Club stage for the Popes Of Chillitown. Regular readers of CPRW will know of our love of the Popes. We’ve been watching them live for years and it was amazing to see them get the chance to play at a festival like Slam Dunk. As they only had a thirty minute set it meant that the band could only squeeze in about five songs. This didn’t stop them from putting on one hell of a show for the massive crowd that had gathered to see them. These guys have spent years on the road in the UK and have clearly earned a massive fan base along the way. I always think that the band are at their very best when they’re on stage and, despite the early start, they brought all of the energy to Slam Dunk. During their opening song they had the crowd dancing enthusiastically. Popes frontman Matt/‘Tarzan’ was at his frantic best, jumping all over the stage along with getting down to the crowd and singing with them. Seeing these guys playing this festival and absolutely smashing it shows why the festival should take more chances on the so-called smaller stage and allow them to showcase what a talented place the UK DIY scene is. Congrats to the Popes on this exceptional performance.

After Popes we made the trek back to the Punk In Drublic stage where Buster Shuffle had already begun their set. The South London based ska band were a late addition to Slam Dunk, replacing Texan folk punks Days N Daze who sadly had to drop out at the last minute due to issues with travel. Buster Shuffle felt like a perfect addition given the warm sunny day. Their upbeat ska/two tone was made for sunny days in a field and I had a lovely time watching them. Despite some issues with their piano early on, the band powered through to deliver a slick set. I’m not overly familiar with the band but it’s the type of music where you can have a great time regardless and it seemed that Buster Shuffle managed to get the sizable crowd moving throughout their time on stage.

Following on from Buster Shuffle were a pair of UK punk rock legends. First was Snuff. Snuff seem to have been one of the most active bands on the touring scene since gig restrictions have been lifted so were well practiced for their set. This was my first time seeing them since Dan from Spoilers had the joined the band on bass and they had a three piece brass section especially for the occasion which was nice as well. Snuff very much fit the bill of a no nonsense punk rock band, storming through their set with minimal banter between songs but when they do stop for a chat it’s always very entertaining. Personally, I prefer Snuff when they play their more cockney sing-along songs, songs like Arsehole and Whatever Happened To The Likely Lads went down a treat along with a really fun cover of The Merrymen’s Feeling Hot Hot Hot. All punk bands should be covering Calypso music on hot and sunny days. Snuff were a lot of fun as always.

UK skacore heroes Capdown were next to take the stage and you could feel the anticipation and excitement throughout the crowd. Capdown are arguably the most influential bands of their era so this extremely rare chance to see them play live was one you couldn’t miss. It’s been a few years since Capdown played any type of show but as soon as they took to the Punk In Drublic stage it was like they had never been away. Lead singer and saxophonist Jake Sims-Fielding was a ball of energy, bouncing around the stage whilst screaming out the lyrics to the opening tracks. What struck me quickly was how good the sound was for the band. I’ve often found outdoor gigs to not have the best sound but that could not be said on this stage. Capdown sounded massive. As you would have expected, the band stormed through all the favourites, each track getting a bigger reaction than the last. Personally I loved hearing Cousin Cleotis, Pound For The Sound, An A-Political Stand Of Reasons and, of course, Ska Wars. There’s always a real concern that this could be the last Capdown show whenever they play but if this was the last (I really hope it wasn’t) then it was a hell of a way to end it.

Next we made our way to the main stage to see Creeper. I don’t think I’ve seen Creeper since they headlined the opening day of the very first Manchester Punk Festival back in 2015. At the time they had only released their debut EP. Very few would have predicted the absolute behemoth of a band they have become since then. Their most recent EP, American Noir, debuted in the UK charts at number 13 which is absolutely insane for an independent punk rock band. It was now 3 o’clock in the afternoon and the sun was beaming down relentlessly. It was a little strange seeing a band who have such a spooky aesthetic playing in the bright sunshine rather than a dimly lit club but it didn’t stop Creeper from putting on a big set. Frontman Will Ghould is a wonderful performer and even from my vantage point, towards the back of the biggest crowd I’d been in at the point of the day, I couldn’t take my eyes off of him. During their nine song set, they played a great mixture of old and new songs. I was pleasantly surprised that they played VCR off of the debut EP alongside the newer stuff. Another highlight was when Hannah came out from behind the keyboards to perform a brilliant duet of Misery with Will. Creeper really showed why they are so highly thought of within the UK alternative scene.

Up next on the agenda was the Key Club stage for the super special surprise guests. Except they weren’t a surprise for us as the Leeds leg of Slam Dunk had happened the day before and it was already revealed the day before as UK pop rock heartthrobs McFly. I’d seen a lot of people had been disappointed that it hadn’t been Neck Deep as the secret guests but I was actually quite happy to see McFly playing and it seemed like a lot of people in Hatfield felt the same. I feel like McFly were a gateway band for a lot of people as they entered the world of guitar-based music. I went along as I figured when else would I ever get the opportunity to see them – I certainly wouldn’t buy a ticket for their own gig. Though to be honest I’m not sure I can really count this as seeing them. By the time I arrived at the stage, the crowd was so full it wasn’t really possible to get a good vantage point and all I could see was the one person running to the front of the stage and playing McFly songs. Could’ve been anyone. The kids at the front that I could see however seemed like they really enjoyed themselves and that was nice.

Following straight on from McFly were A. A are almost twenty five year veterans of the UK rock scene but somehow this was my first ever time seeing them. Obviously they’re best known for their big hits Nothing and Starbucks but they have a big catalogue of fantastic rock tunes to work from. Despite being one of the hottest days ever recorded (maybe an exaggeration), frontman Jason Perry took to the stage dressed like he was about to hit the slopes. I’ve been told on previous tours he dressed as a Deliveroo rider, complete with the bag – I guess the man enjoys dressing up. I absolutely loved A’s set. From start to finish it was an incredible amount of fun and it was great to see how many passionate fans the band still has after all these years. From making playful jibes towards McFly, to releasing a small confetti cannon and encouraging the crowd to do a walking circle pit, Jason had the crowd in the palm of his hands throughout. The aforementioned Starbucks and Nothing (which closed the set) got the biggest reactions from the crowd but my personal favourite track was Old Folks. A were potentially my highlight of the entire day and the next time they play a venue local to me I will be making every effort to go and see them again.

On my preview of Slam Dunk Festival I published a few weeks ago I mentioned that I’d like to see both Anti-Flag and [Spunge]. Unfortunately for me they clashed. What a bummer. I decided I would see [Spunge]. To be honest, I absolutely love Anti-Flag but [Spunge] are the band that started this whole punk and ska adventure I find myself in so there was no big dilemma really. Plus, on a really sunny day like it was, it’s only right to go and dance to some ska. I was very pleased to see that I wasn’t alone in my thought process as [Spunge] also drew a massive crowd. Before the set Paul Smith of Be Sharp Promotions and I speculated on if it would be best of set or if they would play a load of songs from Room For Abuse in preparation for the upcoming tour. It turned out to be a best of set and the band just played banger after banger. It’s always amazing to see [Spunge] bring so much joy to so many people and, from the opening moments of Ego to the final beats of Kicking Pigeons, the crowd were having the time of their lives. Along with all the old favourites, the band squeezed in a performance of their newest song Just Sayings. Over the last couple of years [Spunge] have been drip feeding us a few new singles so I wonder if that means a brand new album is on the way? I really hope so. I can’t wait to see them on their Room For Abuse Tour in October.

With [Spunge]’s triumphant set complete we made our way to back to the Punk In Drublic stage for the final three acts of the day. First was Chicago’s Alkaline Trio, making their first appearance in the UK (aside from the day before) in years. I think it’s fair to say that Trio were a lot of people’s most anticipated band of the day. From the moment that the band began to play openers Private Eye and We’ve Had Enough the crowd embarked in a huge sing-along. Unfortunately the band had some issues with their bass cabinet during the opening songs so had to take a short break to fix it. During this drummer Derek Grant treated the crowd to a short drum solo. It was a nice treat seeing one of the best drummers in the world perform such a solo. From then on Trio played a storming set featuring songs from their entire back catalogue. Much like Creeper – who I saw running through the crowd, excited to see their heroes – Trio have a bit of a spooky demeanour so it was a bit strange to see them play in the bright sunshine. I did feel like it took a little bit away from the set on a whole as some of the imagery that the songs provoke are quite gloomy but that didn’t prevent the crowd from having a great time. I was a little disappointed that they didn’t play Stupid Kid or Radio but I did enjoy hearing Every Thug Needs A Lady, Mercy Me, Armageddon, Warbrain and This Could Be Love for the first time in years. We’re looking forward to them returning for a UK tour with Taking Back Sunday next year.

Two bands left and it was time to admit that I was starting to struggle. I decided to take myself away from the group to find something to eat, get a drink and have a little bit of a sit by myself before the penultimate act of the day started their set. So I did. After finding food and drink I found myself a spot to sit and replenish my energy levels. It was a much needed piece of restbite and was quite nice just to do a bit of people watching and take in the events of the day. It really did feel fantastic to be back in that environment again.

After eating, I decided I better head to the toilet before meeting back up with my group. Frank Turner And The Sleeping Souls were just starting their set and I noticed quite a few people sprinting across the site to see them. Frank Turner is one of the most beloved performers in the country but I must admit that I was surprised to see just what a great reception he got on the Punk In Drublic stage. I arrived at the stage about halfway through the set. It turns out that I timed it perfectly as the band were just starting Photosynthesis, one of the songs that introduced me to Frank Turner many years ago. Following this Frank performed his version of the NOFX classic Linoleum. This was one of the highlights for me as NOFX early this year retired the song and it always earns a big sing-along. Especially in this type of crowd. It was extra amusing as NOFX were on the side of the stage watching before their set. This was my first time seeing Frank and the band in about four years and I was reminded why I used to enjoy seeing them so much. The final four tracks completed a great performance – Try This At Home, Recovery, I Still Believe and Four Simple Words ensured that they finished with a bang and got the crowd ready for what was to come.

It was finally time for the last band of the day, the legendary NOFX. As ever, I was hoping they would play The Decline (still haven’t seen it live) but unfortunately they did not. I’ve always found NOFX a little hit or miss live so I was interested to see what it would be this time. To my delight it was a hit. Starting out with Backstage Passport before jumping into Dinosaurs Will Die was the perfect beginning, really getting the crowd amped up. It had been a long and really hot day so you could have forgiven the crowd for being a little lethargic. This definitely didn’t seem to be the case. We were hanging out towards the back of the crowd but from my vantage point it very much seemed as if the pit was going wild. Between tracks there was the customary NOFX “banter”, including asking a parent why they’ve brought their child to see them before explaining what snowballing is to them. From there they played What’s The Matter With Parents Today? A song I recently rediscovered a love for after listening to Pump Up The Valuum for our album club podcast series. There was a great moment when Frank Turner joined the band on stage to sing NOFX’s version of The Ballad Of Me And My Friends. This was my second time seeing Frank sing with NOFX while they play one of his songs after seeing them do Glory Hallelujah a few years ago. Looking back at the setlist, it seems that they didn’t play a few of their traditional big hitters such as The Separation Of Church and Skate, Bob and, of course, the retired Linoleum. I did expect them to play Linewleum but sadly they didn’t. We did get to hear I Love You More Than You Hate Me from Single Album though. Looking at setlist.fm it appears that the band played a set featuring tracks from thirteen of their albums which was nice to see. My personal highlights were Leave It Alone, Radio, Eat The Meek, Franco-Unamerican (partly due to my pal Toby’s dancing) and the finale Kill All The White Men. NOFX closed the day with a massive punk rock party that left everyone leaving feeling great.

As I said way back at the start of writing this review I left buying a ticket to the festival until the very last minute. Gosh I’m glad that I did. After the last eighteen months of mostly being indoors and not seeing anyone this day was needed far more than I realised. It was a moment of forgetting all of the horrible things that have happened all over the world recently and a chance to remember what life was like before. The bands were all fantastic but to be back in a environment with friends and like minded folk who are all in good spirits was the best feeling. I had such an amazing time and I really didn’t want to go home. Massive thanks to the Slam Dunk and Punk In Drublic crews for defying the odds and somehow making this festival happen despite everything that was thrown at them. What a day!

This review was written by Colin Clark.