Vim Fuego

Patrick Stott
Forum Admin Group · Death, T/S/G, Grind, VA Teams
Registered more than 2 years ago · Last visit 14 hours ago

Favorite Metal Artists

All Reviews/Ratings

523 reviews/ratings
MORBID ANGEL - Altars of Madness Death Metal | review permalink
PUNGENT STENCH - Been Caught Buttering Death Metal | review permalink
CATHEDRAL - Forest of Equilibrium Doom Metal | review permalink
BRUTAL TRUTH - Extreme Conditions Demand Extreme Responses Deathgrind | review permalink
ANNIHILATOR - Alice in Hell Thrash Metal | review permalink
DARK ANGEL - Darkness Descends Thrash Metal | review permalink
CARNIVORE - Retaliation Crossover Thrash | review permalink
EXODUS - Fabulous Disaster Thrash Metal | review permalink
HOLY TERROR - Mind Wars Thrash Metal | review permalink
CARCASS - Symphonies of Sickness Goregrind | review permalink
CARNIVORE - Carnivore Crossover Thrash | review permalink
DARKTHRONE - Soulside Journey Death Metal | review permalink
DEICIDE - Deicide Death Metal | review permalink
DESTRUCTION - Sentence of Death Thrash Metal | review permalink
BAD NEWS - Bad News Heavy Metal | review permalink
EXHORDER - Slaughter in the Vatican Thrash Metal | review permalink
8 FOOT SATIVA - Season for Assault Thrash Metal | review permalink
TERRORIZER - World Downfall Grindcore | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink
METALLICA - Live Shit: Binge & Purge Thrash Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Thrash Metal 125 3.84
2 Death Metal 58 4.15
3 Heavy Metal 58 3.65
4 Grindcore 43 3.76
5 Crossover Thrash 21 3.90
6 Groove Metal 18 3.08
7 Black Metal 16 3.78
8 Hard Rock 15 2.63
9 Alternative Metal 10 2.70
10 Glam Metal 10 3.25
11 Technical Death Metal 10 3.70
12 Industrial Metal 9 3.44
13 Hardcore Punk 7 4.71
14 Non-Metal 7 1.57
15 NWoBHM 7 3.14
16 Power Metal 7 3.36
17 Progressive Metal 7 2.36
18 Goregrind 6 4.08
19 Gothic Metal 5 3.30
20 Deathgrind 5 3.70
21 Brutal Death Metal 5 3.40
22 Melodic Death Metal 5 2.60
23 Sludge Metal 5 2.80
24 Symphonic Metal 5 1.60
25 Stoner Metal 4 2.88
26 Death 'n' Roll 4 2.00
27 Folk Metal 4 3.75
28 Death-Doom Metal 3 2.83
29 Atmospheric Black Metal 3 1.83
30 Nu Metal 3 0.67
31 US Power Metal 3 3.33
32 Symphonic Black Metal 2 4.50
33 Speed Metal 2 2.50
34 Pornogrind 2 4.00
35 Melodic Black Metal 2 1.25
36 Metal Related 2 5.00
37 Metalcore 2 3.25
38 Heavy Alternative Rock 2 4.00
39 Atmospheric Sludge Metal 2 4.75
40 Avant-garde Metal 2 2.50
41 Crust Punk 2 4.75
42 Deathcore 2 2.00
43 Doom Metal 2 4.75
44 Funk Metal 2 1.50
45 Drone Metal 1 4.00
46 Cybergrind 1 4.00
47 Mathcore 1 3.50
48 Heavy Psych 1 0.50
49 Proto-Metal 1 5.00
50 Rap Metal 1 2.50
51 Viking Metal 1 3.00
52 Technical Thrash Metal 1 3.50
53 Traditional Doom Metal 1 3.50

Latest Albums Reviews

ALIEN WEAPONRY

Album · 2018 · Thrash Metal
Cover art Buy this album from MMA partners
You know how thrash metal died in the early 90s, and it’s only produced rehashes of it’s glory days over and over again ever since? Yeah? Well, you don’t know shit.

In the past few years there have been a number of fresh, new, young bands revitalising the genre. Warbringer, Nervosa, Power Trip, and Vektor have done more than reanimate thrash’s mouldy corpse. Bands like these have taken the vital building blocks and constructed something new, keeping the foundations in the 80s, but the superstructure is something fresh and new. There is another name to add to that list of bands: Alien Weaponry.

Three lads of Maori descent from the Far North of New Zealand have been making a huge racket for a good few years now, and still aren’t out of their teens. For those unfamiliar with Alien Weaponry, the band is made up of brothers Lewis and Henry De Jong and their good mate Ethan Trembath, and formed in 2010. Henry was 10 and Lewis was 8. Ethan (the same age as Lewis) joined a little later, knowing Lewis from Primary school and then clown school. A former ukulele player, he got the job as bass player because he was the only one who’s arms were long enough to reach the end of a bass guitar. Yup. This is truly a 21st century band.

The martial spirit of Maori culture has been crying out for a full metal release for decades. Every Man For Himself came close with their 2010 EP “Te Pae Mahutonga”, but it was more a hardcore release steeped in self-help and wellbeing philosophy from a Maori spiritual perspective, and the lyrics were in English. “Tu” on the other hand is a bilingual tour de force.

So what’s the meaning behind “Tu”? Well, that’s open to interpretation. Maori is an expressive rather than strictly descriptive language, and meaning is often dependent on context. The album title is an example. The word tu can mean to stand, to stop, to be established, to be wounded, to remain, sort, or to take place. Which meaning is appropriate here? It’s up to the listener to decide. [Note: any translations from here on are my own interpretations and might be light years distant from what the band meant. I’m not a native Maori speaker, so any mistakes and limitations with the language are all mine. I also don’t have macrons on my keyboard, for the written language.]

Introductory first track “Whaikorero” (formal speech) opens with the eerie moan of the purerehua (bull roarer) and the otherworldly voice of the koauau (flute) accompanying the verse of the whaikorero. It is a short story about a nineteenth century encounter between the band’s ancestors and invading/colonising British forces. It was recorded in the Waipu caves, near the boys’ home, further enhancing the atmosphere. It is one of several tracks recorded by Tom Larkin, New Zealand metal royalty, better known for his role as drummer for Shihad.

And then into “Ru Ana Te Whenua” (Shaking my homeland). It starts with a chanted challenge, and then rips into an introductory riff, pounding drums, and suddenly it’s like Pantera reborn and singing in a different language. The guitars are fucking massive! The vocal melody and chanted breakdown are familiar to anyone who has experienced the Maori culture, with the call and response style chants, only it’s never been done before with chunky metal riffs and double kick bass drums.

“Holding My Breath” is written in English. It shows the maturity of songwriting of these young men. It could be considered a teen angst song, but that would be selling it well short. These lyrics apply to anyone suffering anxiety or depression at any age. This trio has already won song writing awards, competing against much older and more mature songwriters.

“Raupatu” (Conquest) goes fully political. To simplify a very complicated story, the Treaty of Waitangi is New Zealand’s founding constitutional document, a treaty signed between the British crown and Maori in 1840. There were problems right from the outset, as the treaty dealt with Maori as a united entity, when really it was a fractured, tribal society. Some tribes signed on behalf of others without their knowledge, giving away rights which weren’t theirs to give. What’s worse, there were problems in translation. The Maori word “rangatiratanga” and the English word “sovereignty” mean quite different things, but were used to mean the same thing in the treaty. The British settlers merrily confiscated huge tracts of prime land all over the country, while Maori thought of it as a loan, or thought they retained ownership. This led to armed conflict, and a number of wars between the Crown and Maori, including the massacre of unarmed civilians at Parihaka in the Taranaki region. The wars led to more confiscations by the crown, a shameless land-grab disguised as punishment. Much of the land confiscated came from tribes not even involved in the fighting. Right… Get all this straight in your head, and a lot of the songs here start to make more sense.

“Kai Tangata” (Human Food) sounds more disturbing than it really is. It’s not a Cannibal Corpse-style slasher cannibal story. It describes a pre-European war party, as they prepare for battle. Their goal is to take the enemy’s heads or liberty. Maori warriors defeated in battle expected their foes to eat their bodies, to incorporate their spirit, or to become passive slaves, who could also be killed and eaten at any time. It was a brutal, uncompromising custom, while the song veers between the brutal and the melodic.

And really, brutal but melodic is the prevailing theme for this entire album. “Rage – It Takes Over Again” could be about teen angst, online bullying, or just good old-fashioned rage-fuelled violence. “The Things That You Know” looks on the surface also like it could be another angst anthem, but a slightly deeper examination points at how some people have problems leaving behind preconceptions.

The whispers of “Whispers” are governmental promises made and broken. There is a sample of former conservative politician and reserve bank governor Don Brash (think Donald Trump minus the rampant ego and dead cat hairpiece), parroting anachronistic, patronisingly racist attitudes to Maori and their culture. Those attitudes almost brought Brash to political power in 2005. Almost… The lyrics pull no punches, in both English and Maori, and point out how the government of New Zealand does not look out for Maori interests, despite the Treaty of Waitangi.

The lyrical and musical maturity on show throughout this album belies the tender age of these three young men. For a debut album, “Tu” is highly impressive. It doesn’t go off the rails by the band trying too hard to impress. While there are a couple of missteps, these are minor issues. Thrash metal is far from dead, and has a bright future. The future has arrived already.

TERRORIZER Caustic Attack

Album · 2018 · Grindcore
Cover art Buy this album from MMA partners
Back in 1989, Terrorizer showed the metal world that grindcore didn’t have to be mired in shoddy D.I.Y. hardcore production and sounds, and could have a metallic sharpness to it. The band has rightly been praised and idolized for their influence on grind and death metal. Lyrically, they straddled the line between the political early grindcore, like Napalm Death and Sore throat, and the gore and horror of early death metal, like Autopsy and Necrophagia. Terrorizer was also famed for the high levels of musicianship demonstrated too, with the Morbid Angel pairing of Pete Sandoval and David Vincent showed that simply abusing the hell out of the kick and snare drums, and distorted blown-out weren’t the only way to play grindcore. Jesse Pintado’s breakneck riffage saw him fit in perfectly to Napalm Death.

For many years, it seemed “World Downfall” would be a one-off, treasured by fans of extreme metal the world over. Until 2006 it was. And then something happened to change history. Terrorizer dared “reform” and record a second album! “Darker Days Ahead” was poorly received, and was somewhat overshadowed by Pintado dying only days after it’s release. Another album “Hordes of Zombies” was released in 2012, and a fourth album, “Caustic Attack”, arrived in 2018. The three 21st century albums have been criticised for ruining the legacy of the band, and are supposedly pale imitations of the ’89 original.

The observant reader out there might have noticed the word “reform” was in “quotation marks”. It was like that for a “reason”. The criticism levelled at the “reformed” Terrorizer, and the three subsequent “albums” really is moronic. It is proof that those voicing these criticisms are elitist fools of the highest level, and have no idea of the true legacy of Terrorizer. A bold claim? Perhaps. But then, consider this:

TERRORIZER BROKE UP IN 1988.

Yep. There was no such band as Terrorizer in 1989 when “World Downfall” was released. What’s more, some of the songs on “World Downfall” weren’t even Terrorizer songs. Explanation time.

After Terrorizer broke up, Sandoval joined Morbid Angel, and vocalist Oscar Garcia continued to work with his other band Nausea. Bass player Alfred Estrada ended up in jail. Enter one Shane Embury. Napalm Death’s four string grind maestro Embury loved Terrorizer’s demos and the split they had shared with the aforementioned Nausea. He pestered Earache Record’s main man Dig Pearson into funding a posthumous Terrorizer album. And the rest is history? Well, not quite. There was the matter of recording the album.

Sandoval was ensconced in Morrisound Studios in Florida, busy recording Morbid Angel’s incendiary debut “Altars of Madness”. Garcia and Pintado arrived at the studios to put the album together. Busting Estrada out of jail was a bit beyond the resources of the band, so Sandoval’s band mate Vincent was pulled in to cover bass and some vocal duties. Right so time to rip into it? Er, not quite… Garcia had also played guitar in the original Terrorizer, but realised he couldn’t remember how to play most of the songs. No matter, Pintado had that covered. And away we go… almost. There weren’t actually enough Terrorizer songs to fill an album. What to do? Well, why not borrow some Nausea songs. So they did. Eight hours in the studio, with Vincent and Scott Burns twiddling the knobs in the studio, and “World Downfall” and Terrorizer were done.

So, a band which no longer existed recorded a single album of songs that weren’t even all theirs in super quick time, and what happened? Well, basically everyone fucked off to their respective new gigs, “World Downfall” hit the shelves, and extreme metal fans went mad for it.

So, back to the present day. 29 years after the band’s debut, a fourth Terrorizer album has arrived. There will be the usual naysayers and elitists going on about how it won’t be as good as the original, and that present day Terrorizer isn’t Terrorizer, that it’s a cash-in, a rip-off, a fake, or whatever else. Let them fester in their smug elitist stink. Anyone who takes the time to actually listen to “Caustic Attack” will be rewarded with what Terrorizer has always produced – sharp, intelligent metallic grindcore which is both thought provoking and fun at the same time.

The biggest difference between “Caustic Attack” and “World Downfall” is the improvement in production and sound quality. While “World Downfall” set new standards for grindcore clarity, “Caustic Attack” is sharper still.

Sandoval’s performance in particular is stunning. He has more room to explore looser high speed rhythms than he did in Morbid Angel. Three decades have not dulled the man’s skills in the slightest. From the first moments of lead-off track “Turbulence” he’s straight into his trademark machinegun double kick drums and rattling the snare like a man possessed. What is also instantly obvious is that the trademark Terrorizer riffs are there in bucketloads, and that the new line-up of Sandoval, bassist/vocalist Sam Molina and guitarist Lee Harrison are a match of any previous line-up of the band.

In the past, Terrorizer has mainly produced on short songs, with only a few making it past the three minute mark. Hell, the legendary “Dead Shall Rise” only just clocked past that mark at 3:05. This time out, there are a few longer songs. Does it mean the band has slowed down at all? Nah, you definitely haven’t been paying attention. Five songs come in over four minutes long. This is not a bad thing at all. It just means there’s more Terrorizer to savour. “Crisis” is the first of the longer tracks, but it doesn’t seem like it.

That’s not to say that the hardcore blasts of the past have disappeared either. The title track and “Poison Gas Tsunami” are sharp and, well, caustic and leave the listener salivating for more.

There’s nothing groundbreaking or new on offer here. That is not why you listen to Terrorizer, because the band broke that ground already, in 1989. This is simply the fourth installment from a highly influential band which never managed to record an album in it’s original incarnation. Anyone unable to get past that is a fool to themselves. Extreme metal, grindcore, deathgrind, or whatever other label you want to slap on this band, simply doesn’t get much better than this.

ANAL TRUMP The First 100 Songs

Boxset / Compilation · 2018 · Grindcore
Cover art Buy this album from MMA partners
Grindcore has a reputation for covering some really sick shit sometimes. Shit is the preferred thematic matter for many bands, but there’s other subjects, like sexual perversion, necro-sadism, extreme violence, and all manner of gore, viscera, bodily functions and excretions, and general dark fucked-upped-ness which pervade the various grind subgenres. However, look back at grindcore’s roots, at bands like Napalm Death, Sore Throat, or Electro-Hippies, and what was a big chunk of the subject matter? It was politics.

Back in the day, it was raging against Thatcher and Reagan. Today, chaotic grind duo Anal Trump has realised that the sickest shit going now is the one man idiot show of the current American president.*

“The First 100 Songs” is unashamedly political. It was released on the day of the 2018 mid-term elections. It is a compilation of Anal Trump’s previous EPs, with 30 new songs added. All 100 are “songs” in the same way that namesake Anal Cunt’s “5643 Song EP” really has 5643 songs. These are short, chaotic, incoherent blasts of noise lasting anywhere from fractions of a second to a few seconds. If you sit and watch carefully, your media player might show you when one song ends and another begins, but you’re not going to hear it yourself. It’s all done in about 11 minutes. The song and EP titles are politically biting and highly offensive, but the most offensive thing about them is a lot of them came directly from Donald Trump’s own mouth. Just to remind you of how repulsive a human being Trump actually is, this is interspersed with samples of The Donald, in all his grammatically incorrect, politically illiterate, and morally reprehensible glory.

The duo of Travis Trump and Rob Trump are not doing this for money. Both have day jobs in real bands. Any profits from previous recordings have gone to various socially worthy charities.# “The First 100 Songs” is pure novelty and sick parody. Shit, even the cover has a picture of Trump’s face attached to a naked fat masturbating body. It can’t be taken seriously, but it’s making a serious statement. This is shit which needs saying, sadly, because it needs saying.

*Please note these are my own opinions of the person elected to lead the American people, and in no way reflect the attitudes, opinions, or editorial stance, of Metal Music Archives – V.F.

#As at time of writing it’s unclear if any profits are going to a charity this time, but personally I’d suspect so – V.F.

METALLICA Metallica

Album · 1991 · Heavy Metal
Cover art Buy this album from MMA partners
In which the Big Four became The Fucking Enormous One and The Big Three.

In hindsight, 1991 was a watershed year in rock and metal, but it was hard to see at the time, as such events often are. The previously dominant forces in those genres changed in a momentous few months, the results of which are still felt today. The style-over-substance excesses of 80s glam metal which had so dominated MTV and rock radio were dramatically replaced by an anti-style. At the same time, the underground erupted overground, and the alternative became the mainstream.

And really, it was the period of August and September 1991 where three releases ushered in this change. World politics and society had recently been through a huge shift with the almost overnight downfall of communism in 1989. Music doesn’t exactly dictate how millions of people are forced to live, or whether people can be oppressed, persecuted, imprisoned, or murdered for their beliefs or race, but there was a similar scale of shift in the musical microcosm. Glam metal, which had so dominated the late 1980s had burned out and was beginning to eat it’s young. Thrash metal, so long underground, was needing new outlets because the building popularity was hardly being contained underground. And in Seattle, the rising slacker generation was starting to stir.

These three releases were a hit, a miss, and a where-the-fuck-did-that-come-from broadside. The hit was Metallica’s self-titled fifth album, released on August 12. The miss was Guns N’ Roses “Use Your Illusions” albums, the twin album follow-up to their phenomenally successful debut, released on September 17. The broadside was Nirvana’s second album “Nevermind”, which exceeded original sales targets by a scale of 100, released on September 24.

In the time it took to write these four paragraphs, including fact checking, rewording, interruptions for a phone call from my mother in law, and from Jehovah’s Witnesses who left fearing for my soul after me saying we were atheists, the entire 62 minute album has played through.

And I don’t want to listen to it again.

It is my practice to listen to whatever I am reviewing while I write, no matter how many times it plays through. If it is a short EP, this can mean several repeats. But you know what? This is the most damning indictment on this album. I simply cannot face listening to it again. So this is now a much shorter and changed review from what I intended.

So… If you’re even a casual metal fan, you already know what this sounds like. It’s heavy and loud, which is good. However, it plods along, barely getting past a mid-tempo stomp. Metallica used to play really fast before this album, so slower is bad. This left a lot of Metallica’s fans really confused. “Heavy = good, slow = bad, what the fuck am I supposed to think?”

While these bewildered millions (and Metallica was selling millions, even before this album) tried to decide whether to love it or hate it, tens of millions more who would never have even given Metallica a second thought, decided they loved it. There’s shit to say about radio friendly singles, an overplayed but visually stunning video for “Enter Sandman”, Bob Rock being a cunt, Jason’s bass finally appearing, subtlety, ballads, wolves, nightmares, minimalist artwork, but it’s all been said before.

It doesn’t matter that pre-black album fans like me think this is dull, and would have preferred “…And Justice For All Part II”. It still pointed where metal was going. Just look at the rest of the Big 4. Megadeth followed suit, by slowing down and getting heavier. Anthrax slowed a little, and incorporated more melody into their music. Slayer took their sweet time before releasing anything else, but probably changed the least of the four, and have kept their reputation most intact because of it. A lot of next tier bands changed too. Exodus’ “Force of Habit” was a bit directionless. Kreator incorporated industrial elements to their music. Overkill released arguably their weakest album in “I Hear Black”, while other bands like Death Angel, Dark Angel, Forbidden, Sacred Reich, and Testament fell on hard times or split up.

On the positive side, Sepultura discovered their groove with “Chaos AD”, and Pantera and Machine Head emerged as genuine contenders for a scene which was no longer subterranean.

And the GnR/Nirvana points I was labouring earlier? Guns N’ Roses got too big for their own good. No one had the guts to tell them that releasing two albums padded with covers and sub-par shit was a bad idea, when they should have released one fucking good one. As a result, their career took a bit of a nose dive, and the rest of the glam scene collapsed around them. Don’t feel sorry for them though. The Gunners still made millions (both albums have sold over 18 million copies). It was the other dumb bastards who found their poodle perms and gender bending androgyny no longer counted for anything.

Nirvana was a garage band which had managed to wangle a decent record deal and recording budget, and with more attitude and good intention than actual talent or skill, recorded an album which unexpectedly grabbed the music buying public’s attention. It was simple music which appealed to the simple millions (about 30 simple millions, according to some estimates). Grunge replaced glam, and rock clubs started to stink of body odour instead of hairspray.

Since I’ve mentioned the supposed sales figures for the other two, “Metallica” by Metallica has reportedly sold 31 million copies. I have owned two of those. The first was a cassette bought the day it was released. I didn’t like it. I listened to it over and over, analysed it, looked at different interpretations and alternate meanings of the lyrics, played it quiet and loud, fiddled with the graphic equalizer, tried it on a number of different pieces of audio equipment. I still didn’t like it. So I bought it on CD a number of years later.

It was still dull. Fuck, I’m dumb…

DYING FETUS History Repeats...

EP · 2011 · Brutal Death Metal
Cover art Buy this album from MMA partners
It can be a bit risky covering some of your influences, particularly when they are also your contemporaries. After all, some of these bands are still going, and it would be inevitable for the Dying Fetus crew to cross paths with them. What happens if you’ve covered one of your idol’s songs and fucked it up?

Fortunately, there’s no worries here. Brutal death metal doesn’t get much more brutal than Dying Fetus, and this is a nice indicator as to where some of that violence came from.

First track “Fade Into Obscurity” was originally recorded by Dehumanized. Most musicians have a local scene they grew up with and were a part of, and Dehumanized inhabited the same part of the world as Dying Fetus. It’s tight, deathly as fuck, and if you don’t know the original (I don’t) it could easily be a Dying Fetus song.

“Unchallenged Hate” might seem an unusual choice of song. The anti-racism song from Napalm Death’s legendary “From Enslavement To Obliteration” album is more grind oriented than the usual Dying Fetus fare. However, grindcore and brutal death metal are probably the two closest related major genres in extreme metal, and have often cannibalised each other. This version has more of a groove than the original, although the vocals retain a bit of Lee Dorrian’s screech and growl.

“Gorehog” is a cover from Broken Hope’s 1991 debut album “Swamped In Gore”, but is given a 21st century make-over here. It’s still just as guttural and gloriously gory, but the sound is fuller and Fetus-ized.

“Rohypnol” is a 43 second rape revenge original, not to be taken too seriously, although it has a seriously good blast beat at the end of the song.

Bolt Thrower is a band not often covered, or at least, not often enough. “Unleashed Upon Mankind” is a song with a relentless mid-pace riff, like a rumbling tank, and is punctuated with faster passages. Bolt Thrower didn’t use traditional blast beats, and it would have been tempting to add a few here, but no, this is a faithful cover. John Gallagher’s vocals use a different tone to Karl Willett’s electronically lowered voice, but it seems to suit the song.

“Twisted Truth”, originally by Pestilence, is another less obvious choice. Something from Pestilence’s more brutal Martin Van Drunen era would have seemed more likely, but this came from the more melodic Patrick Mameli-fronted “Testimony Of The Ancients” album. And ya know, Dying Fetus might be famous for brutality, but there’s nothing wrong with their ability to produce a melody either.

Final track “Born In A Casket” in a Cannibal Corpse classic, so of course, it sounds like a chorus of vomiting zombies wreaking havoc in a malfunctioning iron foundry, like it should.

Like most covers collections, there’s nothing stunningly surprising, although the injection of a bit of groove and melody here and there can raise an eyebrow. This was an appetizer while the band prepared a new album. It serves that purpose perfectly, leaving you looking forward to your next feed of ‘Fetus.

Latest Forum Topic Posts

  • Posted 19 days ago in Ottone Pesante for Grindcore
    Yeah, really not grindcore at all. Perhaps someone from the avant garde team should have a listen?That said, it's quite compelling. I'm going to keep listening!
  • Posted 19 days ago in Ottone Pesante for Grindcore
    I'll give them a listen, but on first impressions it doesn't sound very metallic or grindy at all. Very clever, yes, but I don't know that they belong here.
  • Posted 56 days ago in Hell-o
    Hell-o to you too. 

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