[Bonus JC content!] Hypnotize review
Posted: Wed Nov 16, 2005 10:49 pm
Yes, ladies and gentlemen--in a move that is most likely to make Pinback leave JC forever, Lysander reviews the System of a Down new release of _Hypnotize_ a full week before the album is released! His only regret is that he did not think of this three days earlier, and that he cannot seem to stop referring to himself in the third person.
Those who don't like this kind of spoiler-rific crap can whine your asses off in the topic below, or emailing the recording industry and having them come to my house and beat me with very hard, very painful sledgehammers. Apart from that, you fine gentlemen also have the executive privilage of... not reading it. So, I'll just say this: buy it. Except, dont' buy it, because then you're giving money to the evil Recording Industry Association and nigyerragh don't do that. So don't buy it. But illegally download it and then send the band 10 bucks. You can do that, can't you?
Attack: As everyone and their dog knows by now, Mezmerize is the first part of a double album, the second part of which being _Hypnotize_. _Mezmerize_ ended with "Lost in Hollywood," ending the album on a serene, if depressing, note. Thus, it is surprising--and a little disappointing--that they would choose the song intended to be listened to right afterwards in the set and the first on the second album a song that is this completely all-out metal. This reminds me of Sad Statue in that the guitars are playing a similar key and speed, and BYOB in that the drums can't quite keep up wit said guitar. Why they chose to accentuate this fact over eight bars is, quite honestly, anybody's guess. The parts that aren't as metal remind me of Question! Except better. I must give hte song credit on one thing, and that is the way it switched from, as I said, all-out metal, to relatively quiet uh, glass (or something), with basically no lead-in whatsoever. Left-turns are cool. Serj sounds like he's just a touch too close to his mic on this one, although he spent the entirety of the debut album that way and people loved it anyway, so who am I to whine about that? The lyrics trod out a very complex concept to the captive listener, namely that of: "ATTACK ATTACK ATTACK ATTACK ATTAAAAAA-AAA-AAA-AA-AAAACCKKK ATTACK ATTACK ATTACK ATTAAAAAAAAA-AAAAA-AAA-AAAAAAAA-AAAAA-AAA-AAAA-AAAAAACCCKKKKK!" I hope that this didn't spoil the song for anyone. But if it did, well, waah. Bitch.
Dreaming: The opening riff, perhaps unfairly, reminds me of Sweet Pee's. I feel like Darren is breaking some sort of law of physics with wreckless abandon, playing as fast as he does here. And this time, the drums keep up. I think. It's hard to hear much with the rushing guitar, the rushing drums, the two lyric voices, and the two other harmonic voices on the right side. So trying to figure out the lyrics in that part is kind of an excersise in futility as well, sadly. The opening drum riff sounds quite cool, as well, and then you realize that it's just snare, top tom, middle tom, low tom, wash, rince, repeat. But nice effort anyway. Don't let my cynicality get in the way of you enjoying this song, however, as it's quite good in my opinion. For some reason, the bridge reminds me a lot of Ben Moody (the Evanescence guitarest that wrote all the music and got tired of Amy Lee's wangstyness and left)'s _Everything Burns_. The jurry is still out on whether this is a good thing or not.
Kill Rock and Roll: I'd heard this song several times in concerts and didnt' know what to think. On one hand, it wasn't very impressive, but on the other hand, System of a Down's sound live is extremely unimpressive.
I'd like to take this moment to point and wave at all of the foaming-at-the-mouth soadfans.net forumites who have no doubt gotten to this thread on Google. Wazzup! I'm still right, though, and if you think that System is "teh best live", you are incorrect. You can, in the words of our fine admin, buy a Mr. Mucus bib from the suvaneer stand as you exit the club to the left.
That being said, though, now that I hear it on the album... it is ellivated to greatest hard rock song ever written. The opening riff borrows heavily from Suggestions, off their first album; after that, however, it changes into something completely different, and awesome. I will say, however, that this song spends less time being lyrically clever and more time on, well, doing this: "aaaaaaaaaaaaahhhh-aaaaaaaaahhh-aaaah-aaah-aaaaaaaaaaaah."
In three-part harmony, no less. If this isn't your thing than (A) you're a moron and (B) you might not enjoy this as much as I did. But who gets pissy because there isnt' enough harmony in a song anyway? Psh.
Actually, I'd just like to mention while I'm on the subject that almost the entire song is song in three-part harmony, except the beginning and its reprisal, which is in classic call-and-response. I dig three-part harmonies, especially when there are only two singers in the band. The mind, frankly, boggles.
Hypnotize: For a title track of a doublealbum, you'd think they'd have come up with a better song. It's kind of underwhelming after all the build-up over this half-year and with Kill Rock and Roll right in front of it and all that. But I just stopped typing this sentence to sing along with "mezmerize the simpleminded, propaganda leaves us blinded." So it is obviously doing something right. This is also, I notice, the third song on the album to use reggae-style guitar like in Boom and Radio Video. I don't really know why, they chose to do this, but I dig it. Also, listen to the beginning of the song in headphones and you'll actually hear the guitar zooomin' around from left to center to right to center to left etc. Not a big deal or anything, I just thought it was neat. Which is I'm sure the intent. Somehow they managed to put that into the song without shouting "look at us! We can use a four-track!" (Beatles anyone?) It's a neat effect.
Stealing Society: the song starts with a four-count on drum sticks. If you ask me, more songs should include this. It's cool. A friend of mine simply refuses to listen to Mezmerize because of how quickly the CD goes from one song to the next with different rhythms and beats and whatnot, and I can see his point, as that really is kind of abrupt and disorienting. But, to the actual song now, if I may. It feels kind of like the guitar and the lyrics are playing two different songs. Nott dischorded to the point where it's really aweful, or anything, just feels a little bet... off. Maybe I'm just spoiled, though, from the very excellent harmonic lock from Mezmerize and Kill Rock and Roll. Oh, right, the lyrics. I haven't talked about them much all review, because I almost never pay attention to the lyrics my first listen to a song; really stupid lyrics have yet to ruin a song for me, even in cases where it should, but I can't count the number of times great lyrics have been ruined by a bad the-rest-of-the-song. The lyrics, so far, seem not bad, but not really good either. They fit the song great, but nothing too emminently quotable. (...Thankfully.) That said, there's something cool about lyrics like "crack pipes needles PCP and fast cars mix really well with dead movie stars." This song has a bit of an iffy start, IMHO, but gets much better in the middle. Even though it's just repeating the same bit of the song over and over, I'm finding myself boppin'. Good stuff, SOAD.
Tentative: this is funny, as this song is anything but tentative. From un-tentative lyrics to untentative singing to untentative playing to a really un-tentative dischordent opening riff, I have to wonder just where the fuck that title comes from. The lyrics run around the theme of "no one's gonna save us now, not even God." So in other words, this would be a song to put an "x" by on any playlists you're thinking of burning for nursing homes. This song didn't really "move" me, but it still sounds good. To me. I should stop saying that, this is my fucking review. I don't care anymore. Wankers. I was going to say something about the strings in this song but fuck it, they're used sparingly and uncreatively, like in all SOAD songs. Next.
You-fig: This song joins Mezmerize in amongst the ranks of songs I can actually hear the bass riff on. Most of the time. You get a slow clap, guys. There's some really interesting stuff goin' on with the rhythms in this song. I'd be mildly interested to see what time signature the music is written in, as the different instruments seem to be playing different ones, that change at apparently a moment's notice. But you barely notice. Unless you are me. And you notice. I give them props for that, like I did in BYOB. This song really isn't anything like BYOB though, so I'm sorry I made that comparison. Not sorry enough to actually delete that comparison, but sorry... nonetheless. I guess this is as good a time as any to mention that Darren does easily as much singing as Serj does. That shouldnt' really surprise anyone though, he did the same thing in Mezmerize. A lot of people bitch about his voice, I think it's fine. Well, not "fine," but it fits the part for the song. IT works, is what I mean. That said though... is it just me, or is Darren's voice track... off? As in, two whole seconds off? Wazzup widdat, anyway, seriously.
Holy Mountains: Far from being "P.L.U.C.K. part II," this song manages to make its point about the Armenian Gennocide without making us want to join the Terks in completing the job. THe opening riff reminds me of "Mr. Jack," as well as "Spiders," and "Aerials," becasue... well, they sound a lot alike, I guess. This song also features strings, although it's SOAD, so I really should stop saying "featured" and use an adjective like "happens to have" or something. They work where they're put, I just have a big soft spot for string sections in rock songs and I get annoyed when they're used just so that they can say "Look at us, we have violins!" The singing in this song is very good, and there are some interesting effects on it in parts that I find really ads to the sound of the lyrics. Also, I like to imagine that Serj is yelling "No honor! Murderer! Soddomizers!" durring the chorus. But I'm a dangerous criminal, so pretend I just didn't say anything. actually, yg ahead and do that for this entire review, why don't you. Bunch of heartless jerks.
Vicinity of Obscenity: I've been itching to hear this song ever since I heard the drummer mention in an interview that the amount of stuff on this song made the audio engineer get a headache. The song starts with the tapping of drum sticks on the rim of a snare drum, only it's like, fast, and stuff. I heartily approve of using such sounds in music. My approval takes a hit, though, after you realize that he's multitracking his drum parts to make it work. Ah well, it was nice while it lasted. After that there's a guitar fall that leads into a guitar riff that I can already see about 8.5 million wannabe punk rockers contemplating suicide over after trying to play it. This is universally agreed to a be a good thing, however, so let's continue. The lyrics, once again communicating the subtle poetry SOAD is deservedly famous for, ask "Do we all learn defeat from the whores with bad feet?" This song seems to suffer from too-much-shit-syndrome, where I know they're trying to be cool by just throwing as much shit as they can think of into a song, and the result is, well, something that has a whole lot of shit in it.
She's Like Heroin: I think this may have the best lyrics of a SOAD song. "Selling ass for heroin," for example--I mean, how can you possibly say no to something like that? Well ,I could, but that's neither here nor there. Also "oooohh-ooh-oh-ooooooh." I mean, classic. This song takes a rather pronounced step down from Vacinity of Obscenity, concentrating more on actually, you know, having a song to listen to. Hey wow, there's not much to this paragraph. Well, there's not much to the song. Don't let that say it was bad though, because it's not. Actually, I liked it quite a lot, despite my cynical tone in the above. I wouldn't buy it for a dollar, though.
Lonely Day: this song reminds me heavily of a song from another band that I can't actually remember. 5/5 stars! No, seriously. This is another one of them "slow songs," and the guitar on it actually, well, I was gonna say it sounds different from most SOAD songs, at least from this recording session, but then again maybe it isn't. I dunno! Get off my back, man! in a lot of ways, I could see this as being the last song of the album, and I'm sure i'm not the only one thinking that. It feels like a good song to end on. Only... it's not. The last two seconds of this song rather slopilly copies the end of the soldier side intro from the beginning of the first album--y'know, just in case you forgot what song Soldier Side was. Actually this makes sense, considering what the song sounds like, but that's for... another paragraph! Namely: the next paragraph!
Soldier Side: this song sounds more like Lost in Hollywood than the Soldier Side intro. Well, the beginning anyway. The guitar fall from the intro is once again pasted onto the end of the beginning section--just in case, I don't know, we missed it the first time. It enspires a lot of amusing images in my mind of Serj and Darren becoming rap artists sampling parts from their own songs over and over, but as that's really quite a terrifying image I think I'll leave it and get back to commenting on the fuckin' songs now, if that's okay with you guys. This song, once again, has strings in it... y'know, in the beginning. Because actually having a string part for the whole song would, I don't know, take too much effort. Anyway, I've spent half this paragraph talking about the first five seconds of the song, so I guess I should move on. This song has more regae guitar in it. So um... woot. Really, this song doesn't sound at all like anything else they've ever done. That's not to say it's really good or really bad, but it doesnt' remind me of anythinh they've done before. I will always support that. Then after about oh, half the song, you remember oh, yeah, you're listening to Soldier Side, that's right! Only with power chords instead of the really badass and hard guitar part from the intro. The song--and the album--then ends with a reprise of the beginning of the intro, with strings again. As if it wasn't obvious by now, they have to make that point, so that millions upon millions of fans will shriek (girlishly) about how it's soo-00-0-0-ooo, I don't know, eppic? or something, because they can manage to begin one album and end another one on the same notes only different? The last time i checked that's called being uncreative and lazy, but maybe that's what makes them "new metal."
Over all, I liked this album quite a lot. I'm influenced one way because i knew I was going to like it before I got it, and also that the torrent took all day to download even though my connection lets me download Red VS. Blue at 300 KBPS. Your guess is as good as mine as to what that's all about, frankly. So, there you have it. Take it or leave it. You'll probably leave it. Assholes. Fuck this noise, I'm off to start another flame war on soadfans. I hate your BBS, Robb Sherwin!
Those who don't like this kind of spoiler-rific crap can whine your asses off in the topic below, or emailing the recording industry and having them come to my house and beat me with very hard, very painful sledgehammers. Apart from that, you fine gentlemen also have the executive privilage of... not reading it. So, I'll just say this: buy it. Except, dont' buy it, because then you're giving money to the evil Recording Industry Association and nigyerragh don't do that. So don't buy it. But illegally download it and then send the band 10 bucks. You can do that, can't you?
Attack: As everyone and their dog knows by now, Mezmerize is the first part of a double album, the second part of which being _Hypnotize_. _Mezmerize_ ended with "Lost in Hollywood," ending the album on a serene, if depressing, note. Thus, it is surprising--and a little disappointing--that they would choose the song intended to be listened to right afterwards in the set and the first on the second album a song that is this completely all-out metal. This reminds me of Sad Statue in that the guitars are playing a similar key and speed, and BYOB in that the drums can't quite keep up wit said guitar. Why they chose to accentuate this fact over eight bars is, quite honestly, anybody's guess. The parts that aren't as metal remind me of Question! Except better. I must give hte song credit on one thing, and that is the way it switched from, as I said, all-out metal, to relatively quiet uh, glass (or something), with basically no lead-in whatsoever. Left-turns are cool. Serj sounds like he's just a touch too close to his mic on this one, although he spent the entirety of the debut album that way and people loved it anyway, so who am I to whine about that? The lyrics trod out a very complex concept to the captive listener, namely that of: "ATTACK ATTACK ATTACK ATTACK ATTAAAAAA-AAA-AAA-AA-AAAACCKKK ATTACK ATTACK ATTACK ATTAAAAAAAAA-AAAAA-AAA-AAAAAAAA-AAAAA-AAA-AAAA-AAAAAACCCKKKKK!" I hope that this didn't spoil the song for anyone. But if it did, well, waah. Bitch.
Dreaming: The opening riff, perhaps unfairly, reminds me of Sweet Pee's. I feel like Darren is breaking some sort of law of physics with wreckless abandon, playing as fast as he does here. And this time, the drums keep up. I think. It's hard to hear much with the rushing guitar, the rushing drums, the two lyric voices, and the two other harmonic voices on the right side. So trying to figure out the lyrics in that part is kind of an excersise in futility as well, sadly. The opening drum riff sounds quite cool, as well, and then you realize that it's just snare, top tom, middle tom, low tom, wash, rince, repeat. But nice effort anyway. Don't let my cynicality get in the way of you enjoying this song, however, as it's quite good in my opinion. For some reason, the bridge reminds me a lot of Ben Moody (the Evanescence guitarest that wrote all the music and got tired of Amy Lee's wangstyness and left)'s _Everything Burns_. The jurry is still out on whether this is a good thing or not.
Kill Rock and Roll: I'd heard this song several times in concerts and didnt' know what to think. On one hand, it wasn't very impressive, but on the other hand, System of a Down's sound live is extremely unimpressive.
I'd like to take this moment to point and wave at all of the foaming-at-the-mouth soadfans.net forumites who have no doubt gotten to this thread on Google. Wazzup! I'm still right, though, and if you think that System is "teh best live", you are incorrect. You can, in the words of our fine admin, buy a Mr. Mucus bib from the suvaneer stand as you exit the club to the left.
That being said, though, now that I hear it on the album... it is ellivated to greatest hard rock song ever written. The opening riff borrows heavily from Suggestions, off their first album; after that, however, it changes into something completely different, and awesome. I will say, however, that this song spends less time being lyrically clever and more time on, well, doing this: "aaaaaaaaaaaaahhhh-aaaaaaaaahhh-aaaah-aaah-aaaaaaaaaaaah."
In three-part harmony, no less. If this isn't your thing than (A) you're a moron and (B) you might not enjoy this as much as I did. But who gets pissy because there isnt' enough harmony in a song anyway? Psh.
Actually, I'd just like to mention while I'm on the subject that almost the entire song is song in three-part harmony, except the beginning and its reprisal, which is in classic call-and-response. I dig three-part harmonies, especially when there are only two singers in the band. The mind, frankly, boggles.
Hypnotize: For a title track of a doublealbum, you'd think they'd have come up with a better song. It's kind of underwhelming after all the build-up over this half-year and with Kill Rock and Roll right in front of it and all that. But I just stopped typing this sentence to sing along with "mezmerize the simpleminded, propaganda leaves us blinded." So it is obviously doing something right. This is also, I notice, the third song on the album to use reggae-style guitar like in Boom and Radio Video. I don't really know why, they chose to do this, but I dig it. Also, listen to the beginning of the song in headphones and you'll actually hear the guitar zooomin' around from left to center to right to center to left etc. Not a big deal or anything, I just thought it was neat. Which is I'm sure the intent. Somehow they managed to put that into the song without shouting "look at us! We can use a four-track!" (Beatles anyone?) It's a neat effect.
Stealing Society: the song starts with a four-count on drum sticks. If you ask me, more songs should include this. It's cool. A friend of mine simply refuses to listen to Mezmerize because of how quickly the CD goes from one song to the next with different rhythms and beats and whatnot, and I can see his point, as that really is kind of abrupt and disorienting. But, to the actual song now, if I may. It feels kind of like the guitar and the lyrics are playing two different songs. Nott dischorded to the point where it's really aweful, or anything, just feels a little bet... off. Maybe I'm just spoiled, though, from the very excellent harmonic lock from Mezmerize and Kill Rock and Roll. Oh, right, the lyrics. I haven't talked about them much all review, because I almost never pay attention to the lyrics my first listen to a song; really stupid lyrics have yet to ruin a song for me, even in cases where it should, but I can't count the number of times great lyrics have been ruined by a bad the-rest-of-the-song. The lyrics, so far, seem not bad, but not really good either. They fit the song great, but nothing too emminently quotable. (...Thankfully.) That said, there's something cool about lyrics like "crack pipes needles PCP and fast cars mix really well with dead movie stars." This song has a bit of an iffy start, IMHO, but gets much better in the middle. Even though it's just repeating the same bit of the song over and over, I'm finding myself boppin'. Good stuff, SOAD.
Tentative: this is funny, as this song is anything but tentative. From un-tentative lyrics to untentative singing to untentative playing to a really un-tentative dischordent opening riff, I have to wonder just where the fuck that title comes from. The lyrics run around the theme of "no one's gonna save us now, not even God." So in other words, this would be a song to put an "x" by on any playlists you're thinking of burning for nursing homes. This song didn't really "move" me, but it still sounds good. To me. I should stop saying that, this is my fucking review. I don't care anymore. Wankers. I was going to say something about the strings in this song but fuck it, they're used sparingly and uncreatively, like in all SOAD songs. Next.
You-fig: This song joins Mezmerize in amongst the ranks of songs I can actually hear the bass riff on. Most of the time. You get a slow clap, guys. There's some really interesting stuff goin' on with the rhythms in this song. I'd be mildly interested to see what time signature the music is written in, as the different instruments seem to be playing different ones, that change at apparently a moment's notice. But you barely notice. Unless you are me. And you notice. I give them props for that, like I did in BYOB. This song really isn't anything like BYOB though, so I'm sorry I made that comparison. Not sorry enough to actually delete that comparison, but sorry... nonetheless. I guess this is as good a time as any to mention that Darren does easily as much singing as Serj does. That shouldnt' really surprise anyone though, he did the same thing in Mezmerize. A lot of people bitch about his voice, I think it's fine. Well, not "fine," but it fits the part for the song. IT works, is what I mean. That said though... is it just me, or is Darren's voice track... off? As in, two whole seconds off? Wazzup widdat, anyway, seriously.
Holy Mountains: Far from being "P.L.U.C.K. part II," this song manages to make its point about the Armenian Gennocide without making us want to join the Terks in completing the job. THe opening riff reminds me of "Mr. Jack," as well as "Spiders," and "Aerials," becasue... well, they sound a lot alike, I guess. This song also features strings, although it's SOAD, so I really should stop saying "featured" and use an adjective like "happens to have" or something. They work where they're put, I just have a big soft spot for string sections in rock songs and I get annoyed when they're used just so that they can say "Look at us, we have violins!" The singing in this song is very good, and there are some interesting effects on it in parts that I find really ads to the sound of the lyrics. Also, I like to imagine that Serj is yelling "No honor! Murderer! Soddomizers!" durring the chorus. But I'm a dangerous criminal, so pretend I just didn't say anything. actually, yg ahead and do that for this entire review, why don't you. Bunch of heartless jerks.
Vicinity of Obscenity: I've been itching to hear this song ever since I heard the drummer mention in an interview that the amount of stuff on this song made the audio engineer get a headache. The song starts with the tapping of drum sticks on the rim of a snare drum, only it's like, fast, and stuff. I heartily approve of using such sounds in music. My approval takes a hit, though, after you realize that he's multitracking his drum parts to make it work. Ah well, it was nice while it lasted. After that there's a guitar fall that leads into a guitar riff that I can already see about 8.5 million wannabe punk rockers contemplating suicide over after trying to play it. This is universally agreed to a be a good thing, however, so let's continue. The lyrics, once again communicating the subtle poetry SOAD is deservedly famous for, ask "Do we all learn defeat from the whores with bad feet?" This song seems to suffer from too-much-shit-syndrome, where I know they're trying to be cool by just throwing as much shit as they can think of into a song, and the result is, well, something that has a whole lot of shit in it.
She's Like Heroin: I think this may have the best lyrics of a SOAD song. "Selling ass for heroin," for example--I mean, how can you possibly say no to something like that? Well ,I could, but that's neither here nor there. Also "oooohh-ooh-oh-ooooooh." I mean, classic. This song takes a rather pronounced step down from Vacinity of Obscenity, concentrating more on actually, you know, having a song to listen to. Hey wow, there's not much to this paragraph. Well, there's not much to the song. Don't let that say it was bad though, because it's not. Actually, I liked it quite a lot, despite my cynical tone in the above. I wouldn't buy it for a dollar, though.
Lonely Day: this song reminds me heavily of a song from another band that I can't actually remember. 5/5 stars! No, seriously. This is another one of them "slow songs," and the guitar on it actually, well, I was gonna say it sounds different from most SOAD songs, at least from this recording session, but then again maybe it isn't. I dunno! Get off my back, man! in a lot of ways, I could see this as being the last song of the album, and I'm sure i'm not the only one thinking that. It feels like a good song to end on. Only... it's not. The last two seconds of this song rather slopilly copies the end of the soldier side intro from the beginning of the first album--y'know, just in case you forgot what song Soldier Side was. Actually this makes sense, considering what the song sounds like, but that's for... another paragraph! Namely: the next paragraph!
Soldier Side: this song sounds more like Lost in Hollywood than the Soldier Side intro. Well, the beginning anyway. The guitar fall from the intro is once again pasted onto the end of the beginning section--just in case, I don't know, we missed it the first time. It enspires a lot of amusing images in my mind of Serj and Darren becoming rap artists sampling parts from their own songs over and over, but as that's really quite a terrifying image I think I'll leave it and get back to commenting on the fuckin' songs now, if that's okay with you guys. This song, once again, has strings in it... y'know, in the beginning. Because actually having a string part for the whole song would, I don't know, take too much effort. Anyway, I've spent half this paragraph talking about the first five seconds of the song, so I guess I should move on. This song has more regae guitar in it. So um... woot. Really, this song doesn't sound at all like anything else they've ever done. That's not to say it's really good or really bad, but it doesnt' remind me of anythinh they've done before. I will always support that. Then after about oh, half the song, you remember oh, yeah, you're listening to Soldier Side, that's right! Only with power chords instead of the really badass and hard guitar part from the intro. The song--and the album--then ends with a reprise of the beginning of the intro, with strings again. As if it wasn't obvious by now, they have to make that point, so that millions upon millions of fans will shriek (girlishly) about how it's soo-00-0-0-ooo, I don't know, eppic? or something, because they can manage to begin one album and end another one on the same notes only different? The last time i checked that's called being uncreative and lazy, but maybe that's what makes them "new metal."
Over all, I liked this album quite a lot. I'm influenced one way because i knew I was going to like it before I got it, and also that the torrent took all day to download even though my connection lets me download Red VS. Blue at 300 KBPS. Your guess is as good as mine as to what that's all about, frankly. So, there you have it. Take it or leave it. You'll probably leave it. Assholes. Fuck this noise, I'm off to start another flame war on soadfans. I hate your BBS, Robb Sherwin!