Relationships are a significant driving force in much of what appears here on this website. Trusted record labels and artists who've previously shown appreciation for detailed analysis on recorded music meaningful to them are prioritized. Finding new composers and their unheard works within that framework will always continue to expand this overall field. Finally, losing a four-legged family member is heartbreaking, and celebrating the life-affirming years spent together is the best way to honor them.
There never seems to be too much time passing before another ShoreDive Records release finds it's way into the DaveCromwellWrites reviewing sphere. The independent Brighton, England based label provides a continuous supply of high-quality dreampop, gaze, electronica, post-rock and post-punk releases. Recently landing in the DCW mailbox is a six-song mini-album debut from Lyon, France residents Lunation Fall. Titling the collection “Near,” their mission to blend melancholic dreampop and explosive noise is fully achieved here.
Opening track “Sweet Misery” originates via a rising hum before whip-crack drums and pitch-bended guitars mark out a four-chord progression nodding to all the glory MBV has given us. Sweet, fuzzy, angelic voices roll out those incomprehensible stories we've come to know and love within this genre. Its far more about “feel” than anything actually being said. While the guitars and voices envelope the listener in a candy-floss cocoon, impressive drum accents stand out, with a piercing high-hat slice foremost amongst them. At the 2 minute mark, the guitars turn a bit harsher, bringing to mind the edgy-chaos of William Reid and The Jesus and Mary Chain.
Follow-up cut “Aube” switches gears, choosing gentle arpeggiated guitar notes for it's extended :30 second intro. The presence of bass guitar is more clearly felt with the emergence of this gloriously romantic melody line. With high-hat percussion shifting to double-time, a soft, sugary vocal line of blended voices encourage the shelter of warm memories. A lovely ambient interlude breakdown at 3 ½ minutes in allows for a triumphant re-emergence of gazey goodness. Conversely, “Precious Time” serves up classic cleanly strummed jangle guitars which allows the bass to lay down it's melody progression. Male voices step out front somewhat in the blended hybrid of storytelling, sketching out a track that would not be out of place on the pre-Loveless MBV classic “Isn't Anything.”
“Mercury” adjusts the guitar textures further, adding a level of shimmer and distortion to the overall melange. Dreamy female voices take precedence with a similar allure one might find on a number of Ringo Deathstarr songs. Once again, bass guitar embraces the opportunity to make melodic statements as guitars hold chord structures in place. All goes momentarily quiet at the midpoint, allowing for a re-assembly of each element in dramatic detail. Buzzsaw guitars bring this powerful track to it's conclusion.
All that's dream-gazey glory is wrapped in the fifth entry “Reflections.” A quick crash-cymbal and deep thump percussion sets the table for massive detonation guitar sonic reverie. The progression is slow-groove shuffle, as voices blend in supple harmony. A quick time change ramps things up to hyperspeed, as playful melodies become the immediate vocal focus. Time shifts again, this time down into a stoner-rock lumber, providing fertile ground for harsher guitars and softer voices. With the quick progression returning one more time, a furious guitar solo leads the track out to it's conclusion.
Album closer (and longest track at over 6 minutes) “Mydriasis” accentuates a glimmering, uplifting progression with melodic bass guitar figures (think The Cocteau Twins Simon Raymonde or even Peter Hook from the original Joy Division and New Order) and lively drumming. Male vocals take the lead here with straightforward, unadorned resolve. This mostly instrumental composition rises, ebbs and then rises again for a pure dreamscape experience and a fitting ending to this gorgeous song collection.
Listen to and find out how to get this dreamy record here:
When last heard from Italian-based musicians Dead Rituals, an intimate acoustic release was given review treatment here on this site at the beginning of this year. Now into the calendars final quarter, a new track finds its way into DCW's sphere. “Tangled Up” is a collaborative effort with Swedish singer/songwriter Francis Moon, inspiring the core Dead Rituals team of Andrea Caccese (Italy) and Brita Penfold (Australia) to new sonic heights.
Rising up out of a distant cloud before the instantly likeable progression and lyrics kick in simultaneously, comes a pop song relatable on multiple levels. “What if I told you that I don't really wanna know - What you've been up to lately - But, it's hard to not get caught in your cobweb,” is how the opening salvo goes. With driving rhythm, precise instrumental placement and vocal delivery bringing to mind the glorious Raveonettes, a bittersweet story unfolds about unrequited relationship failure. “What if I told you what's been on my mind. That I'm somehow holding on. I don't know what to call this - but you can call it whatever you want,” brilliantly spells out the eminently relatable frustration felt.
A gorgeous bridge section underpinned by a perfectly executed back-beat drum pattern spells out exactly what's wrong with this relationship here: “oh, you gotta gotta give me more” points to someone not following through on their promises. However, it's the lush and heavenly chorus that not only delivers the song's title - “I wish we weren't so tangled up” but also drives everything along with a dual vocal performance of male voice “call” and female vocal “response” on the lyrics “can we make it like we used to be? Yeah, we had it, and it made sense. I've forgotten what you used to see in me. Now we're fading the the past tense.”
The second verse strikes even closer to an utterly relatable point. “What if I told you that things still weigh me down? Sometimes I'm happy that you're not around! Because it beats and it breaks inside of me. What if I told you what's been on my mind. That I'm somehow moving on. I don't know what to call this, but YOU can call it whatever you want.” It all references the futility and resignation that the one your holding out hope for is just a toxic waste of time. Second pass through the “oh you gotta gotta give me more” bridge surprises with some brilliant snare-drum press rolls that further attest to the quality detail within this song.
A dramatic emotional peak is reached with thirty seconds to go as guitars and voices rise on the lyrics “We're fading, We're fading in the past tense – Yeahhhhhhh. We're fading (We don't know what to call this) We're fading in the past tense (but we can call it – call it whatever we want).”
Listen for yourself to this exquisite song right here:
This past June saw DaveCromwellWrites featuring a detailed review of England's The Suncharms first preview from their 30 years in the making (!) proper full-length debut album. No doubt over those three decades there have been numerous one-off singles and perhaps an EP or two. This site has been a sharer in two of the most recent compilation releases, with 2019's “Jet Plane” and the aforementioned “Liquid Through My Hands” garnering feature review. Now with the release of “Distant Lights,” ten full tracks (with two bonus cuts on the CD release) are given deep-dive treatment.
Coming right out the gate with the title track, a mysterious low buzz texture introduces an indie guitar-bass and drum progression, while continuing to rumble underneath. Marcus Palmer's vocals come on smooth and intimate, with enough FX's to create an subtle otherworldly feel. There's that familiar sandpaper quality to Marcus' voice when reaching the penultimate line “gotta reach those distant lights tonight (last word pronounced “na-ha-hight”). A churning low-end chuggernaught swirls around one set of guitar textures, while cleaner chiming chords compliment on a parallel course. Bass guitar steps out on the final half-minute, driving the melodic pattern to it's conclusion.
“Dream of a Time Machine” opens with celestial tones and twinkling forms before heavier guitar and bass amble in with relaxed purpose. Percussion is crisp cymbal busy as extended melody notes ride over top. Vocals lines come alternately clean, then double-phased and echoed on verses, while the chorus runs in harmony with a distinct guitar-line. A monster-hook develops right after that with full trap-set drumming, dominant guitar melody and featured turn-around bass-line. Overall, the easy-going groove and vocal lines like “the sound of the tambourine” (with that instrument suddenly prominent at that moment) “and a dream of a time machine” touches on a similar 1990's appeal The Stone Roses or even Oasis frequently captured.
A whip-crack drum fill kicks off “Three Billion Heartbeats,” as dual guitars spill out chiming melodies conjuring up feels of days gone by. Marcus' fuzzy vocals and those prominent guitars evoke the best of 1960's era British Invasion pop. Gerry and the Pacemakers, Hermans Hermits,The Hollies, Freddie and the Dreamers, The Searchers and of course that Liverpool band that begins with a “B” all formed a Merseybeat sound that is exquisitely portrayed in this song. “I don't know why” serves as the lyrical focal-point on it's beautifully plaintive chorus.
The aforementioned “Liquid Through My Hands” (slotted in the fourth spot) previously received a full review here. Initially released on the wonderful Sunday Records compilation "Something Beautiful," this full album is once again being distributed by that great indie label. Fifth cut “Cast a Spell” launches into it's chiming rhythm at full speed right from the start. With steady-strummed guitar blocking out it's progression, a commanding extended-note guitar line pours out the catchiest of melodies. Solid tom-tom fills abound, adding depth and weight to the proceedings, before the lyrical story unfolds. “Can you cast a spell on me?” is asked at the chorus, as substantial guitar melodies swirl around this request. Brilliant use of dynamics appear to be a hallmark of what The Suncharms do, never allowing a song to just “lay there,” but rather lift things to new levels. Another exalted instrumental break at the tracks midpoint conveying one more testament to that.
“Precious Hour” digs in deeper with a full bore indie pop feel. Chiming guitars ring out like clarion bells and Marcus soothes with razor rough vocals, summarily enhanced by softer female tones. A slightly off-kilter texture works into the mix, creating an unexpected sonic foil for the twangy guitar licks on top. “Gotta live in the moment,” Marcus coos - “accept that things will pass” comes presented in total Jesus and Mary Chain style. “Expect the darkness and the light,” he continues - “is just the passing of time.” Arriving at the ultimate denouement “just give me – that ONE hour – where the planets are aligned” - indeed.
Propulsive drums and bass guitar drive the solid rhythmic currents on “Seas of Titan.” Not that there isn't a strong lead guitar melody (there assuredly is) to go along with this mythical nautical lyrical theme. “I shook my fist, I can't believe – this – is – true” becomes the repeating vocal hook that catches your ear and takes hold. “Jewels” dips back into the Merseybeat pool with it's bright guitar hook and Beatle-y rhythmic progression. A perfect blend of sweeping guitar line on top, bass guitar counter rhythms and quick shuffle drumming. Even the vocals take a turn with higher-pitched verses against more familiar tones stating “those precious nights we spent, on the coastal path – that path was lit by the light of the moon” - ultimately concluding with “a path that's lit by treasures and jewels.”
“Casting Shadows” takes an alternate direction, opting for a softer ballad approach. Instrumentation is understated, with light percussion and acoustic guitars providing just the right minimal touch. That said, there is a lovely guitar solo woven through the middle that compliments an overall sentimental feel. Against the lyrics “looking up – taking flight” - what sounds like a trumpet creates one more unexpected sonic moment. A big, bold and buzzy guitar line kicks off album closer “Lucifer.” With acoustic guitar churning out the chords progression (and impressive rhythm section doing what's done the entire album), one more toe is dipped in Jesus and Mary Chain (sonic) waters, while lyrical references to the songs title suggest a cautionary tale.
Check out this fantastic album, including how to acquire it here:
On September 13, 2021 we lost our beautiful boy cat Nicky after 14 wonderful years together. He came to our home as a two month old (with his sister, who mercifully is still with us) in August 2007. He was the most perfect cat you could ever be so blessed to share this life with and will be sincerely missed.
When an animal dies that has been especially close to someone here, that pet goes to Rainbow Bridge. There are meadows and hills for all of our special friends so they can run and play together.
There is plenty of food, water and sunshine, and our friends are warm and comfortable.
All the animals who had been ill and old are restored to health and vigor. Those who were hurt or maimed are made whole and strong again, just as we remember them in our dreams of days and times gone by.
The animals are happy and content, except for one small thing, they each miss someone very special to them, who had to be left behind.
They all run and play together, but the day comes when one suddenly stops and looks into the distance. His bright eyes are intent.
His eager body quivers. Suddenly he begins to run from the group, flying over the green grass, his legs carrying him faster and faster.
You have been spotted, and when you and your special friend finally meet, you cling together in joyous reunion, never to be parted again.
The happy kisses rain upon your face; your hands again caress the beloved head, and you look once more into the trusting eyes of your pet, so long gone from your life but never absent from your heart.
As we continue on into the early parts of a new year fraught with uncertainty, questionable information sources and increasing attempts at deception – four must review features bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a solitary pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a rewarding listening experience. With that, we dive in to the mid-February 2021DCW reviews.
Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo has now released his latest Panophonic album “AWAKENING.” The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.
Under his Panophonic brand, Tom works as a solo artist (with only one single collab on the final track), writing everything, playing all guitars, bass, drum programming along with producing, mixing and mastering the tracks. Quite an impressive feat, even in these more accessible home-recording times. Opening track “Shine” comes out blazing, with razor-sharp slashing guitars, counterpoint bass melody and synthetic hissing high-hat percussion. Vocals are pitched low, reverberated and delivered in that William Reid style heard on early Jesus and Mary Chain recordings. After 45 seconds the chorus erupts with additional guitars layering over a sea of vocals creating the blissful sensation more aligned with the band Ride.
Follow-up cut “Drive” changes gears with bright, chiming acoustic guitars leading the way. The drum track is fuller and more traditional trap-set oriented, while an extended note melody line emerges out of the mist. Vocals come on in middle register tone and romantic-pop phrasing with key phrases like “we'll forget all the pain as we drive it away.” Third track “Evermore” introduces tinkling glass-bottle textures as the introduction to what eventually evolves into a bass and acoustic guitar progression. Vocals are processed and delivered with a careful diction not unlike much of John Lennon's work. There's even bits of Beatle-y bass and 'Walrus' inspired rising cello approximations sprinkled in. “For the rest of our lives, living like it's paradise,” is the repeated hook refrain.
Ethereal dreamgaze guitars leads the way into the mechanized beats and floating melody-line of “Formless.” A strong bass guitar progression provides more solid footing for the MBV-inspired vocals and overall feel of this composition. “Never gonna let this go,” combines spacious atmospherics, buzzy, syncopated paired bass and guitar melodies with rat-a-tat percussion. A pervasive sense of melancholy is felt throughout the verses, bringing to mind Neil Halstead's classic Souvlaki-era work with Slowdive. “Radiate” continues with the overall dreampop feel, bringing together swirling, phased guitars and easy groove trip-trap percussion. Vocals are purposely less-defined, buried behind the sheen of effects and layering.
A wall of distortion envelopes the opening chords of 7th track “Solitude.” Clean, straightforward bass guitar and drums soon emerge, along with a distinct pop melody on guitar. The Jesus and Mary Chain influence returns as Tom once again does his very best William Reid homage on vocals. While Jim Reid has always been the better singer between those influential brothers, one can't deny a certain charm to the occasional track Willy has put his voice to. Tom has done his homework here, with most impressive results. The “last one on earth” lyrical theme touches on the sobering topic of mass annihilation.
“Resigned” momentarily dips into an ambient percussion pool, with that quickly overwhelmed by peculiar guitar figures. As the track progresses, an overall meditative feel emerges through the lyrics, vocal delivery and amorphous guitar wash. A stand-alone bass guitar figure provides the opening tones for “Nothing that we can't do.” Bright tat-tat-tat snare drumming and hissing cymbals soon join in, with FX'd open-note guitar chords filling out this progression. Measured vocals mark out the songs theme, eventually giving way to extended amped-up gazey guitars, busier drums and that ever present dominant bass line.
Final track “Unhinged” serves as the only collaboration on the album with indie pop singer/songwriter/producer Dani Mari of the band Primitive Heart writing the lyrics and handling all vocals. Acoustic guitar is brought back for the brief intro, before a fuller compliment of guitars, bass and percussion sets the stage for Dani's voice. Gentle phrasing is applied over lighter-touch brush-stroke percussion on verses, before multi-voice harmonies and sheering guitars signal an emotional lift. “Maybe I was wrong – maybe I was right” is the repeated, thematic phrase hook that leads this dreamy song (and album) to it's conclusion.
The album is now available on all digital platforms, including this one:
Another influential underground music label frequently found recommending artists in the CromwellWrites mailbox is Los Angeles based A Strangely Isolated Place. Their recent release “Iridescence Of Clouds” by Illuvia is a marvelous sonic journey that immediately called for a deeper listen and exploration into the audio world created there. Serving at the solo project of Swedish musician and composer Ludvig Cimbrelius, all of the tracks were written and performed by him. Working in the ambient instrumental genre often referred to as “drums and bass,” a wider array of drone, electronica and modern-classical techno is also explored.
The essentially album-title referenced opening track “Iridescence” slowly rises out of the mists with billowing delicacy. With each passing minute of this 8 minute composition (nearly all of the eight tracks are 8 minutes or longer – creating another form of symmetry) additional elements are added to the rushing waves of ambience. Flute-like melodies emerge along with quick-paced percussion rising up from underneath, only to submerge, and then repeat the cycle over. “Sea of Crises” shares a similar slow-rise-from-the-depths intro, which allows the composition to breathe at it's own pace – a luxury afforded to it's eight and a half minute length. When the bright keyboard chord make their way into the mix along with speedy, rippling percussive undercurrents, a sense of kinship can be felt with the incredible body of work Tangerine Dream alumni Ulrich Schnauss has innovated.
The gentle ambient introductions continues on “State of Emergence,” with it's start-stop pulsing from some seemingly distant locale. Cymbal rushes, deep thumping beats, wood-clack-approximations and ticketty high-hats are the percussive forces sharing space with brief vocal samples and a variety of keyboards. Extended flute-like notes brings to mind the modern-era chillwave of Tycho (minus the static predictability).
“Veil of Mist” is something of an outlier on the album, as the only cut clocking in under 8 minutes with it's more modest 7:26 length. Measurements aside, there is a distinct stylistic change here with emphasis placed on angular percussive elements suggesting dub and jungle patterns. While steady textures create a slow-moving background, floating vibraphone and sampled voices glide in and out of the mix.
Natural elements (wind – waves) appear to share sonic space on the opening to “Titicaca,” along with swirling synths. A motorik timeclock (or is that a heartbeat) pulse emerges from underneath, counterbalanced by speedier ticking percussion. This two-separate-speed pace takes further hold, with the initial slow-moving keyboard pattern offset by hyper-drive beats. “Wanderer” places early emphasis on icy synths and twinkling edges on those pulses before voice-enhanced jungle drums and bass shatter the serenity with busy chaos. Deeper, lower-toned keyboards enter the mix, along with rapid-fire arpeggio riffs, all serving to expand the sonic spectrum.
An even slower, more deliberate build-up is experienced on “Nirmala II.” With subtle natural-sounding components like dripping drops and twittering birds, it's not unlike early 70's prog-rock band Yes and their imaginative intro to “Close To The Edge.” While that band came in thundering after a minute with fragmented jazz-like figures, this track holds off :30 seconds (or so) longer to introduce quick-paced percussion and other mysterious tones. The effect and sensation is remarkably similar, although no actual prog-melody opus eventually reveals itself here. It's as if that three minute intro (total time) goes on here blissfully for over eight and a half minutes (and even ends in similar fashion).
The final and longest track on the album (something of an outlier as well, coming in at a scandalous over 9 minutes) “Sky Beyond Sky” materializes out of cloud swells and distant regal horns. While a casual listener might be tempted to make comparisons with the “new age” music of an artist like Vangelis, overlapping compositional layers posit it closer the slowly disintegrating variations of Brian Eno's “Discreet Music.” As for the song's theme – what exactly IS the sky *beyond* sky? Outer space? Heaven? With this album of brilliant, seamless compositions, a soundtrack is now provided to contemplate all of those heavy questions.
Another recently released album finding it's way into the DCW realm is the retro psych-pop “A Dream Without Color” by Long Island's own The Crushing Violets. The record features six new original songs as well as a cover of the 1966 hit “A Groovy Kind of Love.” Placing emphasis on vocals and storytelling over any kind of extended instrumentals, most songs clock in under three minutes in length, with one each cracking three and four minutes respectively.
There's a charmingly nostalgic feel to opening cut “Sugar Cookie Sunday,” with it's uncluttered intro guitar chords and simple-pulse bass-drum beat. Vocalist Antanina Brooks delivers lyrics with a diction and nuance that taps into Patti Smith's style. Harmonies emerge, with tambourine and organ filling out the quickly developing sequence. Subtle wah-wah pedal guitar adds the element of “psych” for the title-line repeated chorus on this vocal-emphasized pop song.
“Embers” comes on with a grittier feel as the chunky guitar chords weave around a busier bass-line and percussion. Antanina digs deeper into the NY poet muse with lyrics about “when the darkness haunts you,” and “shadows speak your name.” The song's progression and overall feel has an early-era David Bowie feel to it – akin to someone off of “Hunky Dory” or “Man Who Sold The World.” The track's final 30 seconds serves up it's high-point coda (title-check lyrics “embers in the flame”) and a quality guitar solo behind the vocals.
A thoughtfully measured bass-guitar figure and singular keyboard stroke produce necessary foundation for the slower-paced “Topaz.” Introspective in both chord selection and lyrics, room is carved out at points for some tasty, soulful guitar runs. Poetic references to being “lost inside a dream,” “velvet skies,” “sun on melting wings” and “pools of rain” all contribute to a sense of mystery and wonder. “Spirit Box” evolves out of a bass-drum emphasized beat where the vocal line and heavy guitar riff mirror each other in cadence and melody. Bluesy guitar figures are set loose and a chorusing effect can be detected on various vocal passages. A quieter bass guitar and drums only passage leads into chiming guitars on top until the concise track's final notes.
Guitarist BP Brooks takes a vocal turn on the arpeggio chord driven “Day After You.” Providing the lead vocals on this gentle ballad, Antanina joins in with harmonies throughout. Drums eventually make their way into the mix just past the tracks mid-point, as the two vocalists sing “yeah when I dream, you'll be there.” In contrast, “3 Days” serves up a raw, swampy blues progression, once again built around Antanina's vocal storytelling. Cinematic lyrics like “you're feeling suicidal, reaching for the gun” suggest a film noir scenario. BP's guitar is given room to shine here on the albums longest track (over 4 minutes) with some blistering blues licks. That's followed by a well-constructed descending-riff turnaround and more tasty guitar soloing.
Selecting a song to cover is often a personal one (as there is every song ever recorded out there to choose from) and this band applies their touch to The Mindbenders1966 hit “A Groovy Kind of Love.” Updating the opening riff guitar sound from the original's clean chime to a chorused, buzzier haze, the tempo is also slightly reduced. Reaching the classical music hook “when you're close to me, I can feel your heartbeat” additional guitars and harmonies add a richness that the original only hinted at with it's simpler, studio-hired generic female backing vocals. Guitar riffs also replace the echoed “groovy kind of love” background voices (a considerable improvement to that 60's era cheese). The central guitar solo is also much improved here with slide and wah-wah work tapping into all the greats who ply those six string tools. Fun Fact: The melody to this song is from the Rondo from Muzio Clementi's Sonatina, Opus 36, No. 5. Even though Toni Wine and Carole Bayer Sager claim full songwriting credits, they mainly wrote the lyrics and just slightly modified Clementi's music.
Listen to and find out how to acquire this record here:
One more artist finding their way into the CromwellWrites mailbox is the Italian-based music project Dead Rituals. After releasing an impressive second EP back in October of 2020, band driving force Andrea Caccese now shares an intimate acoustic take on one of those tracks “When The Lights Are Out.” Recorded live and solo in a Brooklyn stairwell when the artist lived there for a time back in 2016, the natural ambience of that spacious enclosure are all the effects needed.
Where the finished product recording on the EP enhances this composition with synthetic keyboard pulses, cymbal rushes, full-band guitar, bass and drums – gentler acoustic fingerpicking and voice are the only musical elements providing support. While both versions work quite well respectively, it's interesting to note there is hardly any tempo change between them. That is to say they are both performed at the same pace, despite having what appears to be a four year difference between them.
Another noteworthy track appearing on that EP, accompanied by a thought-provoking video is “Broken Memories.” This brilliant track projects a feeling of prime era The Cure music with its driving bass-line, powerful tom-tom drumming and piercing open-note guitar figures. With three distinct hook-laden sections, the smooth and introspective vocals complete this carefully crafted song. Ethereal female vocals arrive at the tracks mid-point, lifting emotional content further. A dreamy ambient section ultimately emerges, leading the song out to its conclusion. Adding a final element of unsettling mystery is the creatively realized video associated with it. Well worth a listen and viewing – check it out here:
Find out how to pick up the latest Dead Rituals music here:
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
