I often peruse the thrift stores in my town to check for books, CDs, and tape cassettes that I might like. Not too long ago I attained a handful of CDs, and one of the discs I landed was “The Very Best Of” Cypress Hill from the Playlist compilation series.
Now, hip-hop and rap are not forms of music that I know a lot about, but when the vibes are right and the mood strikes, I do like to indulge in tuneage of the hip and beat-tacular variety. With that in mind—I can state that while I never got into Cypress Hill as a teenager or even in my twenties, in my thirties it is something that I thoroughly enjoy.
I am not a super fan, in the sense that I don’t “fan girl” for them, but every song on this compilation is genuinely groovy (I haven’t used that word in a while, but I guess Bruce Campbell would be proud).
The song “Tequila Sunrise” would need to be one of my favorites. I’d suggest this one to fans of hip-hop—alongside anyone who has an appreciation for good creative output and a varied musical palate.
In conclusion, even though I have been let down by the Playlist series before (I own a KoRn CD with so many censored words it is almost as if the songs are skipping) I can say that this release is within the top tier, so I guess Playlist has some redeeming qualities.
Also, as a final note, hit up your local thrift stores. You never know what kind of treasures you may find. I got this disc for a dollar! -Devin J. Meaney
While listening to a dance music stream on Youtube, my buddy Seagull messaged. After a brief conversation about music and other things he sent me a link to an album. The album I am speaking of is “At the Heart of Wintervale” by Twilight Force! I didn’t know what to think when clicking the link, but after a quick audio inspection I realized that this was something golden!
Twilight Force is epic power metal, that I am sure of. I don’t know as much about power metal as I do about other sub-genres of metal, but I do enjoy it. Different power bands present very different vibes, as is true with all musical genres and artists. This release happens to have a vibe that is up-beat, “happy” and genuinely uplifting!
The musicianship is excellent, with intricately played guitars paired with powerful and booming drum work, elegantly crafted vocals and lyrics and other instruments played to peak ability. Again, power metal is not my usual “breed” of metal, but for tonight the aura present on this amazing album was spectacular—and it carried my mood to a level of peace and mental clarity I haven’t felt in quite some time!
For fans of bands like DragonForce, Hammerfall and Stratovarius (and other acts similar), I’d suggest this for an evening when you want your brain’s wanderings to be brought to mental scenes of epic battles, adventure and good-spirited wholesome heaviness!
I usually strive for the darker, murkier stuff—at least when it comes to metal. But sometimes, it seems, sunlight can break through to me as well! -Devin J. Meaney
Earlier on the day of writing this my music tastes changed from classic rock and roll to up-beat dance music. As always though—there came a point where I felt myself craving a blast of the gory stuff!
After a quick search (it was literally one of the first links I clicked) I found myself 2023’s “In The Flesh” by Meatcleaver!
First and foremost I need to say that musically I am reminded highly of the work by Pierre De Palmas, the mastermind behind Blue Holocaust and Vomi Noir. Vocally this is a bit different, and the grunts and gurgles are varied and sporadic. I can’t tell if every vocal is pitched, but either way, the vibes presented are entirely on point!
The guitar is low and simplistic but great. The drumming is tight, and everything meshes together to create something that is absolutely dripping with gore-tastic awesomeness!
This band is a two-piece from New England, USA. This is their debut EP that has currently only been released digitally. Fucking listen to it! -Devin J. Meaney
When it came out in October 2022 “The Raven and the Robot” was an ambitious project by which Kristopher Battilana expressed his ideas through visuals as well as music. When I reviewed his collection of singles “Introspective 1” earlier this year I noted the variety of ideas brought into it. I imagined they would undertake a process of maturity, and this is happening with his new full length.
Battilana referred to “The Raven and the Robot” as a digital storybook with the songs serving as a soundtrack to his character depictions and descriptions of the events taking place, complete with lyrics and a fictional account. Battilana used "AI" generated art to express the story visually while keeping it organically rooted through the written word. A work that was brought to life by stimulating all of your imagination, it has been well received by reviewers who gave it a fair chance and showed potential for expansion into unexplored modes of expression, perhaps in audiobook or movie form of some kind.
Battilana channels ethereal/medieval/brutal death songwriting for his other band Abysmal Domination toward moving his project into something that sounds as if it originated from the otherworldly universe he created on “The Raven and the Robot” and “The Raven and The Robot 2”, an expansion on told on his debut. That eclectic metal remains a major part of Battilana’s writing on the second part of what’s becoming an epic, with more prominent constituents of industrial, early punk and gothic rock, again calling to mind David Bowie, Andrew Eldritch of Sisters of Mercy and Peter Murphy of Bauhaus.
The production is less gritty on this album, paying closer attention to mechanized and computerized themes to enhance the contrast between man and machine. The biggest difference between Battilana and musicians who draw upon keyboard and synth-driven influences is, while a lot of it is presented with a cold lifelessness projecting lack of vitality to make its point about the misuse of technology, Battilana makes sure to inject humanity into that rampant technology. A feeling derived of earthborn mortality remains invariably unimpaired through all the contrasting sounds, as if signifying the importance of adhering to what makes us flesh and blood creatures, not automatons with chips in our brains.
At Battilana's Youtube is a brief teaser for “Did I Forget?” which offers the barest taste of the storyline. The narrative and the landscape shown is enough to make you want to see more. –Dave Wolff
La Cattrina from Mexico City is one of the first Mexican folk metal bands as far as I'm aware at present. Although there’s little to read about them in connection with their debut “Todos Muertos, Todos Santos” (All Dead, All Saints), most of them are experienced working with other bands based in Mexico of varying genres (thrash, gothic, avant garde progressive death).
The band is working hard promoting the album at Spotify, Youtube, Apple, Deezer and other streaming services since last November. All the news you’d be interested in is at their official Facebook, including links to live interviews they recently conducted to promote the album at El Llamado De La Bestia MX and El Rock de todos los Días. I’m certain they won’t be difficult to find in 2024. Their incorporation of traditional Mexican legend and folklore into classic thrash and symphonic metal is educated and knowledgeable, acquainting listeners to traditional Mexican holidays such as the Day of the Dead.
The music is mature and sophisticated for a first effort, meticulously sharp when it comes to arranging thrashy riffs, classically tinged solos, precise blast beats and themes allusive to Mexican, Celtic, French, Native American, Italian and Russian folk. These nuances are arranged and executed with concentration paid toward harmonizing them as if they intrinsically accommodate each other. Add an intense push forward on the band’s steam and the vocals of newcomer Karín Cruz who embodies the passion and tradition of Mexican culture. There you have a whole greater than the sum of its parts with potential to broaden metal’s range while as radically thinning the differences between metal and folk. –Dave Wolff
Having started in 1993 as Crown of Thorns and renaming themselves in 1997, Arizona's St. Madness has earned a reputation as a recording and touring band, releasing eleven full lengths (including a live album), and performing with a variety of artists, including Van Halen, King Diamond, Misfits and Destruction. It is credited that they invented the "Tempe Sound" and won Los Angeles Music Awards' Metal Album of the Year award for their album "Carnimetal", all from the grassroots and through their own independent label.
Having listened to a few songs from older albums such as "Vampires in the Church" and "Saintanic", I gather they specialize in gallows humor and social satire, as if they’re thumbing their noses at people who take metal too seriously. An idiosyncratic sound is devised by St. Madness with foundations of horror punk, Southern rock and metal, outlaw biker, tongue in cheek Mentors-style chauvinism and a touch of appeal for enthusiasts of occultism and true crime accounts. Additionally, the band has been known to record a few covers over the years. Several of these covers are of familiar songs: Ozzy, Hendrix, Pink Floyd, Troggs, Johnny Cash and Billy Idol for example. Familiar or not, St. Madness has a way of reinterpreting them in a flawless manner.
It is evident their releases up to "Last Rites: The Final Blessing" contain a lot of controlled energy and an ominous rumble that’s held firmly in check, like a volcano waiting to erupt when the time comes. Musically, they've become heavier, but their lyrics are becoming more sober and ruminative. Like the innermost thoughts of someone who is struggling with his free spirit and past mistakes, a struggle most people experience sooner or later. Are you changing completely to come of age, or are you learning to make decisions for yourself, learning from human error, developing more knowledge, and bettering yourself on your own terms? This is the discord running through this album, a struggle to find balance between oneself and the outside world.
As Kipling put it, “The individual has always had to struggle to keep from being overwhelmed by the tribe. To be your own man is hard business. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself.” For this it seems appropriate that youth is remembered through the band’s cover of W.A.S.P.’s “Wild Child”. –Dave Wolff
I ordered myself a copy of “When it Rains at Night” by Rebecca MacFarlane. It didn’t take long for the book to arrive, and it took even less time for me to finish reading it after it came in! Here is the bio from the back of the book:
“A self-proclaimed lone wolf, Spencer is a drifter who lives life by his own rules.
When he crosses paths with a young girl walking alone on the highway, his gut tells him to keep walking. He nearly passes her by, but there’s something familiar about her that he just can’t ignore.
Paige claims to have lost her memory, and Spencer finds himself drawn into a stranger's bizarre predicament. Against his better judgment, the pair set off on an unexpected journey to uncover Paige’s identity. When a jittery trucker and a roadside café prompt some terrifying memories, the truth of who Paige really is unfolds into a mind-bending nightmare.”
I didn’t know what to expect when ordering this, but I can say without a doubt that this was one of the better novellas I have read in the last little bit. Some might consider this book short, but at just over 160 pages for me personally it was the perfect length. This allowed me to finish it in one sitting over the span of a few hours, and each hour of reading was filled to the brim with excitement—and I have no problem suggesting this one to readers everywhere!
The characters were intriguing, and in the long run, I plan to check out more from Rebecca some time soon. Rebecca is sincerely a talented writer, and she is deserving of any attention that she gets! -Devin J. Meaney
This Italian prog-melodic death metal band has released only two albums in nine years. However, those albums show them remaining brutal while massively pushing their boundaries, drawing inspiration from as many sounds and atmospheres as different genres. As Mind Control jammed so many influences into “Elements”, it initially sounded like a huge mess. However, after listening to it again and again, their skill as musicians and where they were taking their song structure became clear to me.
Despite the nine-year gap between “Elements” and their debut album “Heptagon”, it's more than sufficient time for a band to establish themselves as innovators. They're gaining a reputation for hybridizing underground and aboveground metal, as well as shuffle the listener fast. This is done by leading you in one direction and suddenly thrusting you in another. This is done to heighten your awareness and anticipation of what's next. All the while striving to reach the level of Steve Morse or Billy Sheehan.
There is no doubt that was an audacious statement. However, both albums demonstrate the band’s adeptness to a variety of musical persuasions as well as the range of multifariousness achieved by merging and integrating them. The members of Mind Control could have been melodic death metal, industrial metal, classical metal, progressive rock, jazz fusion, or funk/rhythm and blues. They would have been just as convincing of their ability to arrange and execute songs as they are here on “Elements”.
Mind Control compose crushingly heavy music, unfaltering and resolute, but not as single-minded as some may think. Their heaviness is often a backdrop for the temperaments provided through the addition of metal, prog rock, nu metal and funk. Many songs assume different themes corresponding to Massimo Boffa's guitars and the resolute rhythm section of Stefano Tatasciore (bass) and Luca Nicolucci (drums). Stefania Salladini’s alternating delivery of clean and harsh vocals is equally convincing.
The transitions and layering in the songs are more natural. Mind Control takes liberties with time changes, instrumental sections, and intense guitar solos to maintain a cohesive, uncontradictory atmosphere. The core material of a song remains unchanged regardless of embellishment. 'Elements' establishes this with an industrial theme that unexpectedly turns toward melodic death and post black metal, encouraging close listening to the songs to follow.
As evidenced by “Rage” with jazz solos, time changes comparable to Voivod and Meshuggah and strings, “Effluent” with a tranquil guitar with atmosphere and angelic vocals easing into funk-tinged melodic death metal, “Air” with its recurring industrial-prog-melodic DM guitars, overlapping vocals and fluctuating mood changes, and “Maelstrom” with prog and post black metal themes mixed with post hardcore and some techno, “Elements” demonstrates how hard the band works to take extreme metal to new, uncharted territories, and should inspire new bands to consider new ways to grow. Also check out the video for “Hurricane” below. –Dave Wolff
Scrolling through YouTube I happened to come upon the 2023 self titled release “Gut Juice” by Gut Juice! Featuring 7 short blasting yet groovy goregrind tracks this was super fresh, and it hit the spot with all the force of a shotgun blast!
This is some awesome D.I.Y. goregrind—raw enough, yet with enough clarity and decent production quality to warrant a few listens. The vocals are burping, bubbling and gurgling, the guitar is low and groovy and the drums are just about perfect! I am highly reminded of early Plasma and bands like Necro Tampon that graced Myspace in the early 2000’s!
For someone looking for something within the mainstream this might not be for you, but for those of you that like to indulge in goregrind of the “purest” form I’d suggest giving this a listen. This is another one from Gore Bubble Productions. I have heard a handful of releases from this label, and for me, everything I’ve heard has been “so good so far”! -Devin J. Meaney
Lineup:
Gore Bubble (Gorey Corey): Vocals, all instruments
Before NothingNew, Andrew C. Zinn was a member of the death/thrash band Head Not Found and a handful of other bands. Can interested parties listen to any of those bands via streaming?
Andrew C. Zinn (vocals, lyrics):Head Not Found is on Youtube but I can't say if anyone would care to hear it. Jerry Clayton was in a hardcore band called Stand Strong that did pretty well. Stand Strong is also the name of his record label. I looked up Stand Strong but didn't find anything. Jerry also played in a pop punk band called New Leaf.
How long has Jerry Clayton run Stand Strong Records? Is he assisted by a staff or does he handle everything on his own?
Jerry Clayton (guitar, bass): I started Stand Strong Records to release our music. I guess I’ve been doing it about two years or so. There is no staff, just me and anyone willing to help. We try to be as DIY as possible. Honestly it’s not much since we just do digital releases.
Does Stand Strong Records exclusively sign hardcore bands, or also bands of other genres? How many bands are currently with the label?
JC: I haven’t signed many bands. Honestly I just offered to help out one more band with recording and release. Mainly because they are friends and I already do it for us. They are in the writing phase now. When it’s done, if they decide to let me release it, they will be the second band on Stand Strong.
Who is Jerry assisting and how long has he known them? When and if the release is handled by Stand Strong, will hardcore fans be interested?
JC: I have known the members of NothingNew for well over twenty years and I have known the members of New Leaf around five or six years. I hope the listeners of Stand Strong will be interested in New Leaf’s songs. If I get to release it and since Stand Strong is so new and pretty much unheard of I think it will be okay. I don’t really want Stand Strong to just release one genre or another. I want to release good music no matter what the bands are doing.
Before NothingNew, what level of experience did Sean Lyons have with bands? Are you working with him for the first time?
Sean Lyons (guitar/bass): I have mostly jammed with friends or added guitar solos or parts to tracks recorded by friends. I briefly played with a heavy alternative rock band called Jericho Quick Stop in college. I’ve played as a member of a house band for stage productions. Jerry and I have been friends since high school so we have jammed together before. NothingNew is the first time we’ve done something together formally.
ACZ: I knew Jerry years before we started the band. I used to work at a mall; he would come in and we'd talk about music. We always discussed trying to start something, but we would be in other bands, or other things were going on and it never happened. That changed at an Eyehategod show we went to at The Knick in Birmingham, Alabama. We were there separately but it was weird because Birmingham was a pretty good drive for us both. We had the same conversation again but it was different because Jerry had been learning recording and how to use drum sims. He told me he could play everything and record it and I could do the vocals. That's where it started from. Sean is a childhood friend of Jerry’s. Jerry was looking to expand the possibilities of songwriting for NothingNew and to take some of the songwriting burden off his shoulders. He suggested Sean; if Jerry said he was good people, I knew it would work. Sean and I had talked a few times at shows or online but didn't know each other really well before he joined the band. He's been an amazing addition and he's my brother as much as Jerry.
In what ways has working with drum sims benefited Jerry's performance with the band?
JC: The drum sims benefit us in the way of using a perfect drummer. It’s perfectly in time at all times. It was used out of the fact that we didn’t have a drummer at first, and it let us record and release music without finding someone that might not have the same work ethic we do.
Can you tell me about the stage productions Sean was part of? How active was Jericho Quick Stop, did they intend to attract a larger audience or was it a local college band?
SL: It was just a couple of local theater productions from when I lived in the Muscle Shoals area. A coworker who was a drummer knew I played and connected me with the director. Jericho Quick Stop was fairly active with live appearances before I joined. They played original material but had not released anything, to my recollection. Unfortunately, shortly after I joined a couple of members decided to pursue other interests, so that basically ended the band.
NothingNew composes songs influenced by death and black metal, doom, sludge, and hardcore. Is there a way you mix these genres? If so, what steps are taken to make it unique?
SL: Personally, I don’t focus too much on genre when writing. Songs generally start with a riff that I’m excited about, and from there it’s about building around it in a way that makes musical sense. I’m inspired by bands more than genre, though the goal is to create something honest that sounds like us.
JC: I think our songs sound unique because we are the ones writing and playing them. Our band name comes from the idea that there is NothingNew in music. But I think when we have a song finished it’s going to sound like us. And that’s what makes it unique.
ACZ: Related to the mixing of different genres of metal, I've always mixed death, black, and hardcore guttural vocals to the songs. I feel using different vocal timbres helps keep the vocal delivery interesting throughout the song. And it adds more textures to the overall completed song. Also, the music itself started more with sludge, doom, and death/doom in the early days of the band. As we've gotten more comfortable and improved as musicians we've branched out some into other, more extreme, metal genres. We even did a full black metal EP. With Sean joining the band, we've moved into more thrash, hardcore, and death metal places in the music. However, we'll never abandon our doom and sludge roots. The slow and heavy will always be a major component of what we write.
How much of a unique sound are you striving to achieve? Are you close to reaching this goal?
JC: For me I don’t try super hard to be unique so much. I just try to find a sound I like, then see if the band likes it. As for different styles I just write what comes out that day. Sometimes it’s doom, sometimes it’s something else. A goal for this band is just to keep making good music and having fun with my friends.
SL: For me, I’m just trying to write music I would want to listen to. Like Jerry, I’m not consciously aiming for uniqueness. But I don’t think we’re copycats either. I think we sound like us even though our various influences are there. As long as we like what we’re doing, I expect it will continue in that direction.
Do your lyrics vary as much as your music? What are some topics or themes you've covered? For example, the lyrical content on your album “Blood From The Southern Sky” seems to stand out.
ACZ: Song lyrics for the band are generally stream of consciousness. They are purposefully left vague and open to interpretation. I prefer the listener to get from it what they need to. There have been few exceptions from that. We did a song called “Work to Death” that Jerry wanted a specific theme for lyrically, so that's what we did. The black metal EP is going to have black metal themes such as evil, darkness, and general anti-Christian sentiment. As a whole, I'd prefer not to force concepts down the listener’s throat. I'd like the lyrics to mean something different to everyone who hears them.
How has your band been received locally and on social media/streaming sites so far? What improvements have been made over the years?
JC: I think we do better on social media than locally. I feel with every release we gain a few more people that like what we do. So on all our albums we do all the mixing and producing ourselves. I do most of the recording. Now we can do our own parts at home. Mastering is also done by me. I just took up the recording side of it because I always wanted to learn. And I’m still learning as much as I can. I know I need to be a lot better. But it’s also night and day from the beginning of the band.
Exactly how much have you learned about recording? Does recording your own music make it closer to your vision that working with a producer?
JC: I learned a ton about recording from the beginning of the band till now. And I still learn every day. I think recording our own music does help with the vision of each album. I do tend to let outside people listen to our records after we’re done to give me ideas on how to make it better.
What equipment do you have available for recording, mixing, and mastering?
JC: I’m always trying new VSTs and sims. Different DAWs as well. I and Sean are always looking at new guitars. I have found a lot of things I like to use for mixing and mastering, but new VSTs come out all the time I check out. Right now we use Reaper for the DAW and a MOTU m4 for my interface. We used a ton of different amp sims for amps and Superior Drummer 3 for drums, a few different EQs and reverbs for finishing and Ozone to help with mastering.
Does the band prefer a raw or polished sound, or does it depend on the song or the album?
JC: The sound of the band changes song by song. If the song needs to have a rawer sound we do that. If it needs to be polished we do that.
Describe the process of creating your full-length “In This Together”. Did the band mix and produce the album independently or did you hire professionals?
JC: We recorded and mixed this ourselves. This is the album Sean joined on. This album we recorded and I was not happy with it. I felt like my solo playing should have been a lot better. Sean’s solo playing is nearly perfect so we asked him to join.
Your full-length “Wretched Paths” featured covers of Black Sabbath, Sepultura, Joy Division, Superjoint Ritual, and Darkthrone. What was the process of selecting songs and adding your own touch?
JC: We each picked a few we liked and thought would sound good done by us. As far as adding our own touch, I just did the songs as I’d do any NothingNew song.
ACZ: Choosing the cover songs for “Wretched Paths” was really some give and take. Jerry picked some, Sean picked some, I picked some, and we picked some together. Satyricon and Darkthrone are the only ones I'm positive I picked on my own. There were a few songs that really made me step out of my comfort zone. Honestly, I may have butchered some of those beloved songs, and if I did, I apologize to anyone I've offended. I swear I did try my best. On the flip side, doing covers is good for musicians because it gets them out of their comfort zone. It can get you out of a musical rut and try new things which you may even apply to your primary music. This allows you to grow as an artist.
The vocals on your cover of Sepultura's “Refuse/Resist” are spot on and one might mistake them for Max Cavalera's. How long did it take you to record it so accurately?
JC: The Sepultura song was honestly pretty quick. I’ll let Andrew talk about the vocals. The one thing I will say about the musicianship is Sean recorded that song in one take. He had that solo down perfectly and nailed it one take.
SL: Thank you for the kind words. As Jerry said, the guitar tracks were done in one take, even the guitar solo. I can be pretty obsessive over recording solos, so I was proud of that one. Sepultura is one of my favorite bands. I’ll also add that “Refuse/Resist” was the catalyst for me joining NothingNew. Jerry texted me and asked if I’d be interested in playing the solo, and the rest is history. In retrospect, I’m glad I did a good job, haha.
ACZ: In reference to the Sepultura cover, they are a band I used to practice with a lot over the years. I don't know if many vocalists would admit it, but doing karaoke in the car is how I keep up my vocal chops because we don't practice like a band who does shows. Crowbar, Pantera, and Sepultura are bands I've done a lot of karaoke with. Particularly Crowbar. With that said, “Refuse/Resist” was one I worked with before.
Your rendition of Black Sabbath's “Children of the Grave” is rawer and more stripped down, like doom metal in its root form. In addition, it was arranged in a slightly different manner.
JC: The Black Sabbath song was actually done for a comp that was released a couple of years before “Wretched Paths” came out. So the recording is rawer because I wasn’t as good. Plus I found the actual Bill Ward drum track and used that. The reason it was arranged differently was because of time issues. We got behind on time and had to kinda rush it to finish. And I honestly love it. It is very fitting for NothingNew.
Your diverse range makes you ideal for this webzine, which has covered a wide variety of genres. When conducting interviews, do you seek zines that do the same?
JC: As far as interviews go I’m always excited to talk to anyone that’s interested in the band.
SL: I’ll talk to anyone about the band as well. I think because of our sound we would primarily attract interviews from like-minded publications or people, but I’m open to anyone.
ACZ: We appreciate anyone, and not just interviewers who take interest in what we do. And thank you for taking the time to speak with us. I don't foresee us turning down any publication for an interview any time soon, regardless of that journalist's specific genre focus.
As you continue to experiment as musicians, would you consider releasing another album of covers? What does NothingNew have in mind for their release?
JC: As for another covers album, it would be a long time from now. We would get a few more releases out there before I’d want to do another covers album. Right now we have “Wreathed in Bone” coming out on December 15, 2023. We are working on videos and things like it. Then we start the next album.
SL: If we ever do more covers, I think it would be either a one-off or an EP. I’m excited about “Wreathed in Bone”. We worked hard on it, and it was a long time coming. Beyond that, I’m excited to continue writing new music.
ACZ: As far as covers go, I'd have to agree with Sean when answering with my gut. I would think it would be a song or two here and there, but I don't feel like we would commit to a cover album in the near future.
How do you envision NothingNew's long-term impact on underground music? Are you beginning to have that impact or do you have a way to go?
JC: I can’t say about our impact in underground music personally. I just enjoy making friends and releasing music. I hope we are liked and people listen.
SL: I haven’t thought too much about our impact. I just hope people check us out and dig the songs.
ACZ: Our impact on the music underground is impossible for me to quantify. When you do something creative, you have no idea how many people it reaches, the impact, and how it affects the rest of the art community. My approach is, I work hard to put out a product the three of us are happy with and we release it to the world. What the world chooses to do with it is out of our hands. I can only hope it impacts others in some positive way.
