Album Review: Lose Your Delusion by A Wilhelm Scream (by Omar Ramlugon)

There’s always been something very special about A Wilhelm Scream’s records. The sheer amount of explosive riffing, shred-tastic solos and sharp, pointedly emotional but often surprisingly funny lyrics they manage to pack into each album is something quite inspiring. Arguably, this reached its high point on 2013’s Partycrasher, which incorporated even more technical metal soloing and musicianship, as well as some of their most nakedly confessional lyrics. But it’s been a long nine years since then, during which time they lost lead guitar player Mike Supina and found his replacement in the form of Senses Fail’s Jason Milbank.

With the band members now past forty, it could be understandable if Lose Your Delusion was a more sombre, reflective, slower record, especially given just how long it's taken to come together. But I’m happy to say that this isn’t what’s happened at all. The New Bedford quintet have come back out of the gate swinging with just as much fury and melody as ever before, finding a satisfying middle ground between Ruiner’s slightly poppier approach and Partycrasher’s near-metal bombast, with ‘The Enigma’ and ‘GIMMETHESHAKES’ exemplifying this splitting of the difference between those two periods of the band’s lifespan, with a ripping bass guitar solo on the latter. Lyrically, there seems to be a slightly more socio-political bite, with lines like ‘[...] And at the risk of getting sued: "Hey, ain't that America!"/ You can get shot or lick the boot. You choose’ catching you by surprise, or ‘Apocalypse Porn’s pretty unabashed screed against the United States’ continual failing of its people.

Elsewhere, ‘Yo Canada’ reminds of Strung Out’s skate punk melodic charge, while ‘Figure Eights In My Head’ is almost into ballad territory, a paean to old beloved friends. It seems like guitarist and vocalist Trevor Reilly has been given even more time to shine than before across Lose Your Delusion, his sweeter, more nasal delivery a fine counterpart to lead singer Nuno Pereira’s gut-level roar, while new string-slinger Milbank fits nicely into the group, taking a more understated approach compared to Supina’s fret pyrotechnics but still capable of some dazzlingly fast runs that will make your heart race.

‘Be One To No One’ is the album’s beating heart, a frank and candid commentary on wrestling with depression and stress set to furiously energetic melodic punk, but it also touches on the life affirming quality of your loved ones helping you through those difficult times, with lines like ‘But I don't feel like a waste / I'm no longer a drain [...] You couldn't matter more to me / And that ain't no lie’ as bracing as they are uplifting.

Lose Your Delusion is a welcome return from one the most talented and most sincere bands in punk rock. While not everything works as well as Partycrasher, the fact that the band are still willing to upend their apple cart this far into their career speaks volumes as to their artistry, as demonstrated by ‘Downtown Start II’ where Pereira drops his hardcore snarl for the verses, revealing a rich and smooth baritone singing voice almost reminiscent of Depeche Mode’s Dave Gahan, and in the process adding yet another layer to one of the best songs on the album.

It’s a really good album, and if you’re already a Wilhelm fan then you will have undoubtedly already bought/streamed this by now. But for anyone with a nose for fast, melodic punk with finger-burning guitar solos and lyrics that range from snarky and biting to nakedly confessional, this is for you.

Stream and download Lose Your Delusion on Bandcamp.

Like A Wilhelm Scream on Facebook.

This review was written by Omar Ramlugon.

Gig Review: Days N Daze at New Cross Inn, London 10/5/22 (by Emma Prew)

‘Folk’ punk is to me what ‘ska’ punk is to Colin – which, if you’ve read this blog before, you’ll know is a big deal. It was my entry into the expansive genre of punk rock as a whole and I still love the folkier side of punk music now. That being said, I’d never seen Houston, Texas, folk punk legends Days N Daze before and so, especially given how much I loved their 2020 album, Show Me The Blueprints, I was very excited when the opportunity arose to see them live – and at our favourite venue, as well!

It was a bit touch and go about whether we were actually going to be able to go to either of the two Days N Daze shows at the New Cross Inn, after the first night sold out before we got around to purchasing tickets and the second night followed suit soon after. Thankfully, due to Colin being more organised than me, we managed to get a couple of tickets for the original date via the Dice waiting list within a week or so of the event. A Tuesday night gig is not usually my favourite but I was excited for this one and, boy, it did not disappoint!

Opening the show and fresh off of the previous couple of Days N Daze gigs were Bristol’s favourite scrappy acoustic ska-folk punk band, Boom Boom Racoon. I’ve always really enjoyed seeing this trio live as their songs are a lot of fun and they always connect with the crowd so well – everyone feels part of the Boom Boom Racoon family. However, I must say that since the pandemic they really seem to have upped their game. We had a the pleasure of seeing them perform at Fishstock earlier this year and thought it was the best we’ve ever seen them. Well, at NXI on a Tuesday they managed to excel again. Classic tunes such as NHS (National Health Simpsons) and their cover of Boom Boom Boom go down a treat as always but it’s their newer songs like Fuck You Ashley that really shine. It was nice to see so many folks down early for the opening band and the Racoons certainly did a great job of getting everyone smiling and bopping away.

Next up was a band that I didn’t know much about but Colin had recently caught at MPF – The Infested. I know they had some guitar-based technical difficulties at the festival so he was looking forward to hearing how they’re supposed to sound. As it turns out, they sound very good! I don’t know why but I definitely thought that The Infested were more of a ska band – a ska band without horns, but still a ska band. There were hints of ska in there but it turned out they actually played more of a straight-up raw and heavier punk rock style. Obviously I don’t dislike ska, but it was a pleasant surprise to have imagined one thing and end up with something a little different. Not being familiar with the band, I can’t tell you what songs they played but it was all great. The Infested are sadly calling it a day soon (their last show was supposed to be a few days after this one but sadly the dreaded covid hit), which is a shame as they put on a great performance and I’d certainly go see them again.

And just like that it was time for the main event. Spirits – both the alcoholic and mood kind – were high and I for one was eagerly waiting for the band to finish sound-checking and commence with the show proper. As soon as Days N Daze burst into their set (with Fuck It!, I think… maybe), you could see just how happy they were to be there and that happiness carried into the crowd with people dancing, singing and, in the case of a select few, crowdsurfing almost immediately. Whitney wasted no time in voicing those feelings, stating how long they’d been waiting to be able to tour again and just how over the moon they were to finally be back in the UK, and London in particular, as well. It never goes unappreciated seeing how stoked a band are to be playing shows, particularly one from over seas – it definitely makes for a friendly and more down-to-earth, community vibe. Some might describe Days N Daze as scrappy or raw-sounding but that doesn’t mean that they aren’t a hugely talented bunch of musicians and songwriters. I actually felt a bit ashamed that I hadn’t really brushed up on my lyrical knowledge before the show as everyone around me was singing their hearts out to every single word and I only managed the choruses of most. It did not hamper my enjoyment however – honestly, it was just super lovely to see everyone else connecting with the band so much. Whether it was older tracks such as Post Party Depression, Misanthropic Drunken Loser – complete with fun covers of Creep and Linoleum sandwiched into the middle – or songs from Show Me The Blueprints – Saboteurs being a particular highlight for me, it all went down a storm. The absolute highlight however had to be the final song, Self-Destructive Anthem. Now, if you’ve seen Days N Daze live before – or have watched them on YouTube – then you would have known what was going to happen with this last song but, alas, I did not know. For those unaware, the song has a bridge – ‘Why do I do this? Why?! Why do I do this to myself?’ – that is repeated many times throughout and when played live, various friends of the band and/or audience members make their way to the stage, or just in front of it, to sing that line with the band. DIY punk rock shows always have such a wonderful community feel and I can’t think of a more perfect way to represent this than with how Days N Daze ended their set. 

We left the New Cross Inn with big smiles on our faces and I didn’t even care about the late night / work early in the morning combo – this is one of those special gigs that was without a doubt worth it. Wholesome is probably not what comes to mind when you picture a ‘crust’ punk band but that is the vibe I got from my first DND show – and I loved it.

ps. Paul, please get them back soon.

This review was written by Emma Prew. Photos also by Emma.

Album Review: feels by Trophy Jump

Trophy Jump are a band we’ve been keeping a keen eye on since discovering their album Depression Club in 2018. Since then, we’ve really enjoyed the band’s progression with each subsequent release. In February the band released their second album, feels, on JeboTon (Croatia), Horn & Hoof Records (UK), We’re Trying Records (US) and Nasty Cut Records (EU). I listened to it immediately but then life got in the way and that’s delayed my review/love letter to the band until now! Let’s get on with it.

Feels begins with It’s Not A Race!!! This track serves as an introduction for the album. Beginning with some phone feedback before we get some electronic music along with Antun Aleksa’s recognisable vocals. During the forty-eight seconds, Antun sings about taking your time with whatever you’re doing in life. This then leads into the first proper song on feels – Business Trip. Starting with some building guitars and a simple drum beat, Antun’s vocals soar during this opening section. The song is about quitting your job that you hate and going out and experiencing life. Something I’m sure that most of us wish we had the courage to do. Maybe this song will give you the encouragement to do so. When I first listened to the third song, Neon Light, there was a very familiar voice coming through my speakers. The track features the brilliant Phil of our friends Burnt Tapes on guest vocals. Starting out in a sombre fashion, the song has an element of Alkaline Trio to it in sound as well as the way they tell a story. It’s one of those times where you can get a sense of what the music video would look like just from the lyrics. The track is about the come down you often get after a good night out and that horrible feeling of depression that can come from that. Phil’s vocals add some real emotion to the song. I hope that when they play Bristol Booze together in May Phil joins the band on stage to provide vocals.

Leather Couch is a song that Trophy Jump originally released as a single back in 2019. I’m very glad that they decided to put it on the album as, at the time, I stated that I think it’s the best song they had written to date. I’ve listened to the song so much, whenever that opening guitar riff comes in I get excited. It’s a familiar feeling when I hear the opening of Gainesville Rock City by Less Than Jake. I get pumped. I’m a big fan of gang vocals and harmonies and Leather Couch is chock full of them. This works especially well as the song is about friendship, those beautiful times of doing nothing and having the best time in the process. This feels like a show closer. Next is I Don’t Wanna Live In A Fitness Ad. After a short audio clip featuring a phone call between two chaps talking about going for a run, the song kicks in. There’s a paunchiness to things that changes things up a bit. The song is a fun one about not wanting to exercise and enjoying the things that are bad for you. Probably not something I would recommend but, also, life is too short so sometimes you have to go nuts. The highlight for me is the chorus and the gang vocals which I imagine getting a great reaction. The sixth song is titled Brkn Values. Trophy Jump really bring the pace down here with an introduction that will get your head banging. This is Trophy Jump at perhaps their moodiest and I feel like they have perhaps taken inspiration from UK legends Apologies, I Have None with the atmospheric sound they have going on. Brkn Values takes digs at musicians who sell out, lose the passion for their music and keep recycling the same old stuff to cash in on their fans. I’m sure everyone reading this will have experienced frustration at how the mainstream ignores a band we love and feel like should be huge for a safe and risk-free choice who sold their souls many moons ago.

Interdimensional Cable 420 acts as a short interlude that leads into the eighth song FOMO. FOMO brings the mood back up with a fast and upbeat song about not knowing how to be by yourself and always wanting to be out doing things with friends. Fear Of Missing Out is a real thing that people can experience and I’m glad to see Trophy Jump write a song about it. Once again there are plenty of moments to sing-along with the band, this gives the track a cathartic feeling, especially to anyone who does suffer with FOMO. Hugs And Drugs was the first single released in the build up to the album’s release and it was the very best choice. I think this is the best Trophy Jump song to date. The chorus is absolutely huge here as the band belt out “well I guess that it kinda sucks, that the only love we ever had, was hugs on drugs.” The track is about using drugs, or I guess alcohol, as a way to get over your shyness and how friendships can feel empty because of this. This is not something I can really relate to as I’ve always been sober but I’m sure I know plenty of people who will. I look forward to the day I can be surrounded by friends, arms locked and shouting this back at the band. It seems like that will be special. The penultimate track is Beer Pressure. Once again, this is a hard one for me to relate to as I don’t drink but it’s about the pressure to continue consuming alcohol to keep up with your friends even if you’re not sure that you want to. I really enjoyed the switches in melody and how the band effortlessly switches between pop and skate punk throughout the track. Finally we have Sharing Is Scary. This is an epic acoustic track to close things off. I enjoyed the stripped back approach to the song, it makes it feel more intimate and there is an element of campfire punk rock about it, particularly in the final moments. The track is about exactly what the title suggests, sharing your feelings with anyone and the fear that that brings. Something every human struggles with at some point but it’s important and healthy to talk about your feelings and I’d encourage everyone to take the brave steps to do it.

Trophy Jump always take things to another level with every release and they’ve continued to do that on feels. If you’re a fan of melodic pop punk with raspy and gruff vocals and great lyricism then definitely do not sleep on Trophy Jump! They will be in the UK in the middle of June. Get out to a show and support them.

Stream and download feels on Bandcamp. Like Trophy Jump on Facebook.

This review was written by Colin Clark.

Gig Review: Drones Final Gig at The Lexington, London 7/5/22

So, Drones have split up after twelve years. During their time together they became one of the most well loved and respected DIY bands in the UK punk scene. Despite some line-up changes throughout the years, the band only ever seemed to go from strength to strength and got to bow out at the absolute top of their game. The band announced that they were splitting up at the beginning of the year and that their final two shows would be at Manchester Punk Festival and one final headliner at The Lexington in North London. We were fortunate enough to be able to attend their Lexington show which featured support from label pals Burnt Tapes and newcomers Cult Revival.

First up were Kent’s Cult Revival. The five-piece only formed in 2021 and had, so far, only played one gig together. I thought it was really cool for Drones to pick such a new band for their last show. In a way, the crowd could replace some departing heroes with some new ones. Not knowing much about Cult Revival I was intrigued to see what their sound was. Unfortunately, it took a couple of songs to really get a feel for them as the sound was not as good as it could have been. The band played a fresh and interesting sounding emo style with elements of alternative rock thrown in that I’ve not heard a lot of recently. The use of two singers, one with cleaner vocals and one with a big scream, was a nice contrast and the band do seem to have come up with a sound that could see them do some exciting things. There was a nice moment during their set where they did a quick cover of Green Day’s Good Riddance (Time Of Your Life) which they dedicated to their friends in Drones – which I thought was a lovely touch. Slam Dunk is on the horizon and Cult Revival have the kind of sound that I think will be very popular for fans of that festival in years to come.

Next up were Drones’ long time friends and Lockjaw Records label mates, Burnt Tapes. You know we’re massive fans of the band at CPRW and any opportunity to see them is always a pleasure. A bit like Cult Revival before them, the sound for the first couple of songs was a bit off but it didn’t stop the crowd from engaging in a big sing-along. The band tore through so many favourites, barely stopping for a chat. Perhaps wanting to squeeze as many songs in as possible during their thirty minutes on stage. Songs such as Drift Champ ’16, Dirt Roads, Robert Cop and Greek Wood all got great reactions, alongside closers Things Get Weird and Yuzi. A new thing that the Tapes have incorporated into their live set since lockdown is bass player Tone getting into the crowd and encouraging them to squat down during the intro of Things Get Weird. It’s a fun bit of crowd participation that Tone in particular gets a real kick out of. As always, Burnt Tapes smashed their set and got me excited to see them again at Bristol Booze Cruise next month.

Last up, it was time for the final ever Drones set. During the changeover we popped outside for some air. Upon returning the room was packed with a lot of people very keen to give Drones a proper send off. The band took to the stage and the anticipation was high as the band started their set. I was extremely pleased that the sound issues that had troubled Burnt Tapes and Cult Revival at the beginning of their sets didn’t seem to be an issue for Drones. Of the few times I’ve seen Drones in the past I’ve always come away just mesmerised by just how good they are live. Lois is such an incredible front person, charisma oozes out of them and makes them extremely watchable. Their vocals sounds spot on and accompanied by bass player Kerr’s shouts is really when the band come into their own. The opening of the set sees the band getting the crowd more and more amped up and it’s not long before the mosh pit gets going and we get our first crowdsurfers of the evening. As I’ve seen Lois do at most Drones shows I’ve been to, it’s not long before they enter the crowd to sing. The crowd seemed to part for them to make a corridor for them to stalk down whilst belting out Rorschach. I always enjoy seeing a band get down in the crowd, not only does it create a stunning visual but it shows there is a togetherness between the band and their fans that’s just wholesome. I stood towards the side of the crowd and had a great view of both the stage and the crowd and it was amazing to see both parties feed off each other to create a truly special moment. The set sadly flew by and it seemed to get to its conclusion far sooner than anyone (including the band, I suspect) would have liked. They saved a couple of surprises for the end though. The first being the current members of the band being joined by some old members for a song, during which Lois took the opportunity to crowd surf, and then as a final song all Drones members past and present performed together, in what I jokingly referred to as a McBusted moment. It was a pretty special moment to witness. It felt like a great way for the band to go out. This was not quite the end though, as the crowd demanded that Drones returned to the stage for a well deserved encore.

This was such a special way for Drones to go out. The room was full of friends of the band from all over the country for one last party with them. The whole evening was full of positive feelings and love and I felt particularly blessed to have been able to witness it. I’ve no clue what the members of Drones have planned but I suspect that we will see them pop up with other musical projects in the future – there’s too much talent in the band for them not do something else.

RIP Drones. Thanks for the music. Thanks for the memories.

This review was written by Colin Clark. Photos by Emma Prew.

Album Review: Sham Laws by Slow Science

When Slow Science were announced for Manchester Punk Festival it came as quite the surprise. The four-piece split up in 2014 and I hadn’t ever heard of any rumblings of a reunion. I was pleased to see them returning, as I only ever got into them after catching them at their final show at Urban Bar in Whitechapel. To go along with their MPF appearance they had another surprise. A brand spanking new two track EP titled Sham Laws! This pleased me greatly and I couldn’t wait to check it out.

I’ve realised as I’ve written this that there might be a few folk who are unaware of Slow Science’s sound. I think the best way of describing them is as anthemic, melodic pop punk with dual vocals and beautiful harmonies. There’s also a healthy dose of gang vocals. All the good stuff.

The first track is named Cold Smoke. Now, whenever I usually see that a song is five and a half minutes long I groan. That’s a long length for a song, especially for someone with my attention span. I absolutely loved this song though. It’s a real lesson in making songs long but also keeping them interesting. There’s loads going on but it doesn’t feel congested. It’s also not super repetitive. Cold Smoke starts out in a punchy fashion with Jon taking the lead before the track switches to a more melodic style and Stacey takes over. I love this. The pair switch multiple times throughout the song and combine on the huge chorus. The gang vocals accompanied by some delicious harmonies during the final moments of the song are an absolute thing of beauty that needs to be heard to be believed.

What We Are is the second track on Sham Laws. What a journey this song is! Once again there is a lot going on but once again it all works perfectly. It starts with a dreamy fuzzy guitar riff that all your emo heroes of the past would be jealous of before Jon’s vocals come in as well as some gang harmonies trading lines. A great way to start the song. The chorus has a familiarity to it that sends me back twenty years but doesn’t feel like something they’ve rehashed. What We Are also has plenty of moments where the band can show off their musicianship with some slick solos scattered throughout the song. The ending of the track also shows off a different side of Slow Science as they strip things back and have some huge gang vocals to get things finished, as the band yell “turn to what we are, not what you became” repetitively and the song fades out.

This is one of those times where the level of musicianship and songwriting is so high, I really struggle to review and eloquently describe just how brilliant it is. Basically, don’t take my word for it, go check it out for yourself and you will be as awestruck as I am by it. New material suggests that Slow Science’s appearance at MPF wasn’t a one-time thing and I hope they find their way back down to London pronto.

Stream and download Sham Laws on Bandcamp here.

Like Slow Science on Facebook here.

This review was written by Colin Clark.

Album Review: Now by Rent Strike (by Rich Bailey)

I've always enjoyed a bit of ‘folk punk’; especially Drag the River, Wingnut Dishwashers Union, The Taxpayers and Chuck Ragan’s stuff. I first came across Rent Strike when they released ‘IX’ in 2018 and vaguely followed their comings and goings ever since. ‘Now’ is a slight departure from earlier recordings in that it is more on the ‘folk’ side of things rather than ‘punk’; but that said, it doesn’t detract from some great storytelling and personal lyrics that are very emotive.

Album opener Radio Silence starts initially with typical folk guitar and folk singing, then drums, bass and the rest burst in and give the whole song a fuller, padded out vibe: later we return to the guitar/vocals. This is a great opening track about how peripheral noise (radio, TV etc.) is meaningless. Taking My Time reminds me of early Magazine, especially John Warmb’s vocal delivery – albeit in a Michigan accent. There's great, intricate guitar over pounding rhythm section. A song about revisiting the past to take what’s rightfully yours rather than putting up with what hand you’ve been dealt; “Bathed in radiation, born under a sour sign, all that I’m left with is this meaningless existence, being made to work and wait around to die.”

From The Outside is a highly emotional piece about the unfairness of existence which ends with a hopeful sense of trying to make things better; “… but I’m gonna be strong, and I’m gonna see.” Work! (Future Perfect) is a lament about having to work to live and how one person copes (beer and cigarettes) with this immutable fact – a lot of people’s favourite track on the album. There's some excellent use of slide guitar! The Solid Wall of Stuff has great lyrics about wasting life and not really knowing why; brilliantly delivered with female vocal echoes.

Next Time and Redline (Derive) are long, slow burners with thoughtful, personal lyrics that are emotionally raw and honest with magnificent and sparse guitar work that complements the words beautifully. GBRO is a song about the end of a relationship and who actually called it; “So who’s hand is on the switch anyways?” It's a swing style track with excellent trombone from Michele Fortunato. Time And Decay has an opening verse with an acoustic led impassioned pontification about getting old and being likened to an old, slow computer. The rest of the band then kicks in for a sped up country punk song about how we all turn into our parents (God forbid!).

At The Threshold is a slow, mournful broadside about how we are slowly killing out planet and we haven’t got long to do something about it. The longest track and perhaps my favourite Now (… and Forever!) links back to the opening song about sleeping with the television on and is a magnificent opus about God being dead, everybody hating the police and how to cope with how the world is changing – a quality track! The album's closer is A Spectacular Time, a synth laden, intricate song about the end of a relationship (or the end of an album?) with the closing lines – “I’ll never know if the moment was right, But I had a spectacular time.”

All in all, the album consists of some hopeful undertones to some personal and bleak topics.

Stream and download Now on Bandcamp and like Rent Strike on Facebook.

This review was written by Rich Bailey.

Album Review: Total Disarray by Quaker Wedding (by Marcus Pond)

Total Disarray is the sophomore LP from Quaker Wedding, a three-piece outfit from New York City. If you scroll back in the CPRW archives far enough, you’ll see that I ranked their debut record, In Transit, as my 3rd favorite album of 2020, so when Marco (who runs Salinas Records and is the frontman for Quaker Wedding) sent me the link to the new songs, I was beyond stoked to check them out. Of course, even though I totally meant to write it up ahead of time, I waited until the vinyl came in the mail, because spinning it in my living room is always a better experience than with my headphones on a laptop.

Although Quaker Wedding released “Russian Hill” as a 7” single last year (by the way “Running List”, also made the tracklist), “Vintage Dress” is the song that was given the music video treatment and leads off the record. It sets the lyrical tone for the album, with palm muted verses leading to a crashing chorus about a dissolved relationship. Looking at the lyric sheet, it reads like a diary, and lines like “when you left it / you left me to be the one / to throw your dress out in the trash” had me speechless when I first heard them.

Like their debut, the album art on Total Disarray hints at the band’s relationship with location (faded photos of mostly desolate cityscapes with images of maps around the edges), and they hash out that relationship out in songs like “Woodbridge” and “A New York Minute”. The former is a burst of anger-fueled energy about all the things you hate about where you live driving you crazy, while the latter is a bittersweet number about knowing “how it feels to be a ghost / to haunt the place I love / without the people I miss most”.

The sequencing on Total Disarray is perfect, as they hit the listener with the best three-song leadoff I’ve heard from any album this year (I know it’s early, I’m just setting the bar here), and after slowing it down with tracks like the wistful “Staten Island Ferry” and the darker, moody “In And Of Itself”, they close with the one-two punch of the aforementioned “Russian Hill” and “Hurricane”.

The comparisons I’ve seen online to Jawbreaker are apt, as “Russian Hill” sounds like a bop that could’ve been from the 24 Hour Revenge Therapy sessions and is one of the brighter tunes on Total Disarray. Conversely, “In And Of Itself” has a (at least to my ears) Dear You kind of vibe. More than anything, both bands play heavy punk songs with impeccable lyrics, and if that’s what you’re into, Quaker Wedding has 10 fresh tracks that you should really dig.

Songs to check out: “Vintage Dress”, “Woodbridge”, “Running List”, “Russian Hill”.

Stream and download Total Disarray on Bandcamp.

This review was written by Marcus Pond.