Seattle Subsonic - Album Reviews
Titans of Industry EP
I gotta give some props to Seattle band Titans of Industry (aka Titans’ve Industry) I just checked out their latest EP, LMNO EP, and Im really digging it. They have this sound that is a perfect mesh of catchy and sophisticated.
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The EP starts out with the attention grabbing These Cold Hands, with the piano keys making you want to move. On the third track, Millionaire Station, emerges a beautifully orchestrated composition that I did not see coming, completely catching me off guard on the slow intro moving into the harmonized crooning “Fuuuuck you baaaaaby.” Which, I gotta say, was a quite enjoyable.
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So I checked into the situation, formerly called Miniature, this is the Titans of Industry third EP. And a strong EP it is. Things that I really enjoyed about it was the mixture of style. There was only four songs to enjoy on this EP and each one of them had their own flavor going, and yet I would say that each one was catchy and sophisticated. This leads me to believe that the Titans of Industry have carefully crafted their style over the past few years and have emerged with their sound, heavy on the keys, with a little pop in the step. Its good mood music for sure. Check out These Cold Hands from the EP below. Then you can roll over to Mars Bar in Eastlake on Thursday, Aug 19 to catch the Titans of Industry in action.
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These Cold Hands
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Autolux New Album Out August 3rd
LA based Autolux second album, Transit Transit, comes out Tuesday on TBD Records. And for those of you who have been waiting patiently since 2004, when their first album, Future Perfect, came out don’t worry, the wait was worth it. Like a fine wine, this bands fermentation did not change their over-all style and sound, however, it did mature it. (Yea, you like that analogy) The stand out aspects of the band’s sound from Future Perfect to Transit Transit is really the progression of the manipulation of sounds. Its bolder and has more of a dynamic sound that sets Autolux apart from the other shoegazing bands that are usually listed amongst their genre peers.
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Transit Transit has a real dreamy quality about it. I would put this album on in the background for some nice ambiance or I would listen to it in the foreground when I was looking to be in a certain mood. I appreciate the simplicity of the three member line-up but each having their own standout ability. You can hear each instruments progression separately, yet in the collective and it works so well together like perfect harmony. I got so much from each song, I wanted to draw comparisons from all across the board. My favorite was, of course, the well known Audience No. 2, in which I felt a kindling to Sunny Day Real Estate. Another stand-out track is the opener Transit Transit. It is a perfect opener for this album, it sort of guides the listener slowly into what the album has to offer. I’m not sure how this band pieced together this album, but I would assume that this was a strategic placement, and perfectly done.
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Check out the album on Tuesday. I highly recommend it. Then you will be ready to see Autolux live at Neumos on the 14th. They have a full tour ahead of them so I am thinking this will be a great show.
The Parade That Is Expo 86
I find it peculiar that Wolf Parade is continually referred to as a “super group”. Sure, each member has featured prominently in one or another successful band—Spencer Krug in Sunset Rubdown/Swan Lake/Frog Eyes, Dan Boeckner in Handsome Furs, or Dante DeCaro in Hot Hot Heat. (Drummer Arlen Thompsen worked with Arcade Fire early on, but he was never a full-fledged member.) Funny thing is, though, that Wolf Parade by my clock actually gained relevance, and high-profile success, before any of those bands. Just a peeve I hold as a pet, but I would recommend we all just refer to them as simply a “super” group: a battle-tested, mid-echelon outfit who’s now churned out a third consecutive stellar record. Not an easy feat in today’s turn ‘n burn revolving door spinning an endless array of bands into our attention.
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Some fans were disappointed with 2008’s At Mount Zoomer, finding it disjointed and difficult—I, of course, gave it a glowing review. In perhaps a conscious focus on cohesion, Wolf Parade has seemingly taken Zoomer’s more accessible qualities and subtly distilled them for Expo 86 into a razor sharp blend of their capricious prog compositions, eccentric synth storms, and unhinged 80s rock. Krug’s fanciful keyboard allegories are beautifully fused with Boeckner’s blue collar bone-picking. DeCaro’s fuzzy baritone guitar adds a welcome breadth, and Thompsen’s frantic drumming never falls too far off the rails. Intentional or not, the product of this apparent maturation shows the makings of an immensely imaginative, confident and unyielding band.
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Boeckner, for his part, continues to unabashedly advertise his love for the heart and the iron it pumps, as the vascular organ is metaphorically mentioned in every song he gets credit for here. “Palm Road” is unfortunately a rare misstep (though it’s certainly palatable), but the exultant gloom of teen-anthem “Little Golden Age” makes it perhaps the album’s strongest track. It’s a song looking back in time, but instead of cherishing the nostalgia of lost times, he seems content with looking forward— “I don’t miss my little golden age” he admits. DeCaro’s baritone guitar fills the song out while sparring freely with Boeckner’s own Fender and Krug’s clipped church-bell synths. Boeckner is nothing if not a child of the 80s, and I love the slight nod to Jefferson Starship on hair-raiser “Pobody’s Nerfect”: “he built this city on cocaine lasers”. I get the feeling this song was written as an ode to Asia, where Boeckner and his wife have spent a considerable amount of time the past year touring as Handsome Furs. “Ghost Pressure” reminds me most of the band’s first album, probably because it’s awesome and has ‘ghost’ in the title.
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While I could find countless ways to applaud Dan Boeckner, I believe it’s Spencer Krug (pronounced kroog) who shines brightest on Expo 86. Not only are his dual keyboard skills something to marvel, but his weirdly whimsical way of crafting murky, madcap fantasies boggles me to no end. “What Did My Lover Say? (It Always Had To Go This Way)” is, for sure, a lyrical zenith. Juxtaposed with Boeckner’s searing metal riffs, Krug unloads one bizarre vision after another: “I don’t think I should be sorry / for things I do in dreams”; “I sleep all night with the light on / and dream about the sun”; “I’ve got a sandcastle heart / made out of fine, black sand / Sometimes it turns into glass when shit gets hot”. And the wondrous kicker: “I wonder if all the beaches / in all your holiday towns / will turn to giant shining earrings / against the cheek of the sea / when, finally, this supernova goes down”. The album is kicked off, in fact, with the rollicking “Cloud Shadow on the Mountain”, a panicky take on dreams and rebirth where he assures “you will never be born as a scorpion”. Hallucinatory imagery is Krug’s forte and when he claims that “I take my meals with weirdos / and play with my rocket ships” one can’t help but believe him. That line comes from “In the Direction of the Moon”, a drowsy, wonderfully oddball love song.
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In the end, all this over-analysis really means is that Wolf Parade is having more fun than ever before. From the kids on the album’s cover, and the memories they all shared for the album’s 1986 B.C. namesake, to the relentless effervescence of the music, and the superb singularity achieved in the face of having two dominant songwriters. After leading the charge some years ago in band names containing ‘wolf’, fans can now officially focus on the ‘parade’ part of their name. Expo 86 is indeed their ticker-tape.
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What Did My Lover Say (It Always Had To Go This Way)
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Wolf Parade plays the Showbox Market Monday July 26th, with Japanese band Moools.
Checkin’ Out Henry Clay People’s New Album
I am such a huge fan of bands allowing their fans to stream their new albums for free from their websites. I mean really, it is just the best idea ever. I am pretty sure that only the bands that are completely confident in their musical talent take advantage of the internet because they are aware that their fans will listen then buy in order to take the album on the go.
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Henry Clay People is just this kind of band. Head over to their site, hear their new album, Somewhere On The Golden Coast (actually it is not that new, it came out at the beginning of June) enjoy, then buy and take it on the go.
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I have not had the pleasure of hearing any of HCP’s prior albums, so I went in blank. Immediately, what struck me about this band is that it created this nostalgia in me, I found myself reminiscing about my high school days driving around in my beat up Mazda with friends and listening to rock music, you know, the good stuff before the genre got all complicated. If that statement doesn’t make any sense to you then go have a listen to Somewhere On the Golden Coast and you will understand.
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Henry Clay People seems to be a band that formed for the pure and simple pleasure of making music. They possess this genuine sound that can only come from a band that makes music purely because they enjoy hanging out and making music. I swear I formed this hypothesis after listening to the album, then I rolled over to their myspace and read the direct quote: “They all get together and make music because making music is fun, especially with your friends.” And I was like, score, I was right. I am a musical scientist.
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So, check them out. Its free. Then you can go see them at the Paramount opening for Silvernsun Pickups and Against Me on July 31.
Tonight: Ariel Pink’s Haunted Graffiti
I’ll admit I don’t know much about this mysterious Ariel Pink and his Haunted Graffiti. I know he has some Paw Tracks connection with Animal Collective (don’t worry, AC Haters, Pink’s new stuff doesn’t sound like them). I know he’s released about 8 albums in the last six years, not including 2010’s recent magnum opus Before Today (4AD). I know he comes from Beverly Hills, but I don’t know if he was raised in a cult (seems everyone from California these days was raised in a cult; or by wolves). So, yeah, I’ve done some scant WWW research, but what I’ve really found is that most opinions on Before Today are similarly complimentary.
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My cursory take—after close to ten spins so far—is that much of the praise is deserved. Pink has a tantalizing way of creating artsy, fucked up pop songs with choice smatterings of found sound. And I’m not sure if this was intentional or not (thinking…not), but the ‘Haunted Graffiti’ moniker adopted by his backing band sure fits the descriptive bill when it comes to the record’s makeup. The artistic influences are intensely bold and colorful, extremely varied and (mostly) easy to identify, much like an eye-popping L-station graffiti mural. The music itself has an underlying surrealism to it, making it feel often voodoo-ish and possessed…haunted. But whatever the intent, it’s a small introductory descriptor that works well.
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I think I’ve been taken by the album mostly due to the omnipresence of a style and sound owed to glam-rock-era David Bowie and theatrical orchestra-rockers ELO. Unexpected changes, undeniable hooks, and a well-intentioned way of making the familiar sound unique. “Butt-House Blondie”—which, yes, features porno sound clips during its climax—is vintage Aladdin Sane or Ziggy Stardust, an ostentatious psych-rock jam with trippy vocals and plenty of guitar shredding. “Round and Round” may just be the jam of the year, a soft-rock groover that illuminates at the same time it teases. That first refrain really recalls Julian Lennon’s 1984 hit “Too Late For Goodbyes”. The keyboard-and-bass-driven “Beverly Kills” evokes an urban, psychedelic R&B reminiscent of Prince. (I’d also be lying if the “can’t stop the press” line in there didn’t make me think of Vicki Vale and the Batdance.) Pretty sure we can classify “Can’t Hear My Eyes” as yacht rock and “Menopause Man” as cheeky soul-funk.
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If you listen to one new song today, make it this one:
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Ariel Pink’s Haunted Graffiti plays Neumos tonight with Puro Instinct and Magic Kids. $13 adv / 21+
Chain & the Gang Might Satisfy Your Anti-Capitalist Hangover TONIGHT
Chain & the Gang has been on my list to see for awhile now, and tonight I think I might head down to the Crocodile to check ‘em out. Word has it that the K Records collective’s live show is pretty righteous. On the band’s sole LP, Down With Liberty…Up With Chains!, chain gang chief Ian Svenonius posits himself as a sharp-dressed street corner evangelist, proselytizing on the cultural ills of Liberty, Freedom, the Pursuit of Happiness and every other “democratic” ideal you probably just celebrated this past Independence Day. Really, he’s just griping about money, greed, the government, and celebrity culture like the rest of us. Only, his gripes come swathed in hokey, hair-raising gospel (“Cemetery Map”), anti-Capitalist beatnik blues (“What Is A Dollar?”), feet-shuffling garage slop (“Reparations”), and swaggering don’t-give-a-fuck guitar funk (“Interview with the Chain Gang”). Not to mention the soulful piano pop of “Room 19″ and the 60s-beset conspiratorial delirium of “Deathbed Confession”, where he cryptically “outs” the mythical culprits of the JFK, MLK, and Malcom X assassinations.
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The sonic palette might be varied, but the message certainly isn’t. Of course, hyper-cynicism is dripping from his every word. Can ya dig? Produced by masterful misfit Calvin Johnson, Svenonius (aptly hailing from D.C.) surrounds himself with a cavalry of Olympian musicians including Johnson, Faustine Hudson (formerly of the Curious Mystery), Karl Blau and Arrington de Dionyso, among others. Hey, I can listen to a well-tuned Socialist argument any day of the week.
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Hardly Art’s Golden Triangle will also be on stage tonight. I wasn’t completely taken upon first listen, but upon more recent inspection, I suspect their hazy trashcan rock will make for a fine opening act. They sound not dissimilar to Sub Pop’s Dum Dum Girls, but with a bit more bratty angst and less discontented cool. You can download a bunch of .mp3’s here.
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$8 adv
8pm
21 & over
U.S.F. Might Cure Your Juneuary Blues
In case you missed it, “Juneuary” has become one of the more popular portmanteaus being bandied amongst all the bitching about this seemingly unseasonable Seattle spring (the last few days notwithstanding). I think it’s a word both depressing and hilarious, and I’ve found myself utilizing it several times. But the reality is that we’d all like the warm summer weather to get its purty little act in gear, and sometimes we need music to be our personal weather balloon.
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One album I’ve turned to in defense of my apparent S.A.D. affliction is Ocean Sunbirds by local shoreline soundscapers U.S.F. (aka Universal Studios Florida—I think they agitated the real USF with their name). I profiled the band a few times back in April when they played Chop Suey with the Ruby Suns and have since found myself slipping in their CD more often than I anticipated. Something about it just puts me at ease and gives me a sense of calm, not unlike a gentle surf on a secluded strip of sand.
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See, for me, unseasonal weather really chaps my hide; I can handle the shitty four and five month winters around here, because that’s how it’s supposed to be. But once you start fuckin’ with my spring and summer (I’m looking at YOU, Earth’s atmosphere), that’s when I get angry. Ocean Sunbirds‘ diffusive electro-dioramas, subtle loop-iness and watery quilts of appeasing ambiance are the perfect antidote for my lack of Vitamin D (the nutriment, people, not the rapper). The first half of the record is pretty chill, and so is the second half actually, but somewhere in the middle, Jason Baxter and Kyle Hargus decide to get off their beach chairs and lightly toss the frisbee around, oscillating and throbbing with a captivating mid-tempo tenacity. The results are illuminating and refreshing and altogether uplifting.
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Check out some tunes below, as well as the Josephine (a house venue in Ballard) this Saturday, June 26th. They’ll be playing with Italic Indian and megabats.
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Frozen Bayou (featuring local one-man tribal tripper Alaskas on vocals)
Follow “The Head and the Heart”
On first listen to The Head and the Heart’s self-titled LP, you would never guess that this is their first release. You’d be more apt to think that the songs were old favorites that have somehow drifted out of mind. They teeter somewhere between newness and familiarity and given a few listens they easily nestle themselves into your waking thoughts repeating warm and comforting lyrics over and over.
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The Head and the Heart are a 6 piece ensemble composed of transplants all living here in Seattle. Their album contains 9 fully realized arrangements with amazingly rich production. I was literally stunned by the quality of the recordings. Describing the sound must begin with the dancing Beetles-inspired piano that leads the way into most every song followed by textured harmonies of voice and violin weaving through the open spaces like Boston ivy, all backed by solid but subtle rhythm and a guitar that might drip with twang as in “Couer D’Alane” or jangle along as in “Sounds like Hallelujah”. The whole package is bundled tight and under the shadow of the recent folk-revival movement it could be classified as such but I’d be more inclined to place it in a broader space of “Timeless Americana”. (even WITH the Beatles’ influence)
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The band rotates the lead vocals between songs and within individual songs giving the album a feeling of progression that unfolds like a movie script, developing all the different characters you’ll eventually fall in love with. The lyrics are heartfelt and original and yet, by the simple act of exposing their roots, they seem instantly familiar. “Down in the Valley” touches on this with what I take as references to well-known songs of Americana found in the refrain:
“Down in the Valley
with Whiskey Rivers
these are the places you will find me hiding.
These are the places I will always go.”
And as they go, they take you happily along.
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Live performances from The Head and the Heart are rumored to be dancing, stomping, clapping affairs, rousing the normally silent and pensive listeners into motion. To find out for yourselves, check out their CD release party happening this Friday at the Conor Byrne in Ballard. I’ll be surprised if folks don’t make their way up onto the pool tables and bar in order to get their groove on. At the very least, you’re promised to “remember” how much you love The Head and the Heart.
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The Head and the Heart CD Release
Friday, June 25th 9:00
Conor Byrne – Ballard Ave
21+
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Have a listen to the first 3 tracks of what Head and the Heart’s new LP has in store! I cannot recommend picking up the full album enough.
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The Head and The Heart album preview by theheadandtheheart
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For fans of Andrew Bird, Avette Brothers, early Gomez and good fucking American music.
(yeah, I know there are a lot of British references in here for an “Americana” band review.. but aren’t we all just rebellious Brits at the end of the day? Toodaloo!)
thanks to Ben Blood Photography for the pic
and thanks to Sound on the Sound for posting more songs
The Purrs – Tearing Down Paisley Garden
I’ve not been shy about heaping praise upon the Purrs, one of Seattle’s best and longest-running psych-pop bands. Their last full-length, Amused, Confused & More Bad News, still gets regular listens from me and my stereo given its all-around atmospheric attractiveness. I must say, though, it’s a tough thing to be an active fan of a band that seems to never catch the ear of the greater public. It’s not like there hasn’t been plenty of digital ink spilled recognizing their feats, as evidenced by a simple gander of the ‘Press’ page on their website. I realize many music fans prefer this pseudo-anonymity for their favorite gems, preserving against the wrath of anything remotely mainstream. But “mainstream” is out of my sphere of thought here; I just want them to headline the Showbox or something. As I’ve said before, they play the part of the underdog well, but I just wonder when the tipping point for a 10-year old talented band without a sizable cleave into the collective consciousness might take place.
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I have a feeling the Purrs may be wondering the same thing. While they’ve always had the inclination to wallow in the doldrums, and mostly continue that trend on Tearing Down Paisley Garden, the band sounds almost as if the lack of big-time success is wearing them down. To wit, on the EP’s centerpiece “Pie In The Sky”, bassist/vocalist Jima laments, “I can’t seem to reach the pie in the sky”. Honestly, it’s a fine tune, but there is a palpable despondency that genuinely permeates the song, and really the entire record. The guitars don’t sound quite as nasty, the mood quite as carefree, or the production quite as happily hazy. Perhaps this was the intent, but that blithe irritability from earlier efforts is missing (“Just A Little More” asks “who are you to bring me down?”—ha). For the record, “It Could Be So Wonderful” is an excellent barn-burning bubbler and could’ve ably fit right in on Amused.
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In the end, though, this mini-album doesn’t strike me as the end-all-be-all of the what the Purrs can produce. If a new full-length is on the way (and it is), I’m willing to pass off Tearing Down Paisley Garden as a jaded outcrop of busted dreams and sit tight for the next one. Perhaps if you check out a show or buy one of their records, it might cheer the guys up.
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The album release show will be June 24th at the Crocodile with Brent Amaker and the Rodeo. Here’s an mp3 for a cover of a song by Red Lorry, Yellow Lorry:
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Paper Astronomer’s New EP
I like Paper Astronomer. They just put out the new Minus the Bear album, and it’s not bad. Okay- that’s harsh. But really the similarities between these two Washington bands’ sound leads me to be lazy when reviewing this album. And by that I mean this: IF you like Minus the Bear for their overall laid back and chill ambient sound; Jake Snider’s voice and singing style; and that perfect mixture indie rock and experimentation, THEN you will like Paper Astronomer’s new EP.
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I feel guilty for saying that, because this band is good. I’m not suggesting that they are macking on Minus the Bear’s sound, I’m just saying Minus the Bear got there first, so whomever is second… well you know. Also, a little side note, if you check out this bands’ website/myspace there is no reference to Minus the Bear, as an influence or supporter or anything at all. Maybe they arrived at this sound without ever hearing Minus the Bear… but I am a little skeptical on that one. Whatever, I am passed that, two different bands having the same sound, cool- it’s out there, moving on.
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Paper Astronomer’s new EP The Things That Cannot Be Moved came out in April (sorry for the delay on this one) and it is pretty good. I am a fan of their style of music so the EP was good to listen to. What I really dug about this EP is the lyrics. There is an obvious story for each song, and I actually really appreciate the blog on the website where singer/guitarist Casey Luport talks about the meaning behind each song. What can I say, I really like when artists’ exploit their life experiences in order to create goods. I mean c’mon, it shows there is depth and meaning behind their work, and that is investment.
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This exploitation works really well on the songs that seem to be the most exposing into the life of Luport. For example: I was certainly a fan of the 3rd and 4th tracks, which, according to the blog, seemed to be more about Luport’s own life experiences than a story from elsewhere. Both tracks also talked about a road trip/car ride of sorts, and I definitely had a moment where I was like “this would be a killer part to a road trip mix.” But that is just the way my thought process rolls out.
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So basically, if you are a fan of this kind of sound, you like a little exploitation with your lyrics, and you are looking for a new Washington (Spokane) band to support, then I would highly suggest checking Paper Astronomer out.
Stephanie
Ok, I’ll admit it. I’m kind of a sucker for the underground, lo-fi pop and punk sounds that seem to be so fashionable these days (the Intelligence, the Lights, Real Estate, etc). Oh sure, some of my favorite bands are as big and polished as the bumper of a ‘56 Chevy, but there’s just something alternately magnetic about those coarse and concise unearthed gems that hook an ear and utilize more scratch than sleek. Like most people, I tend towards music often described as “poppy” and “catchy” (for lack of better terms), or with an underlying beat. But that “pop” or that “catch” has to be kind of weird, too. Its face has to be kind of beat up, its voice imperfect and offset, experimental elements mingling with traditional instrumentation. In music, opposite forces working towards a natural, common goal—the yin and yang, if you will—is best represented in a weird, catchy tune.
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It just so happens that the local pop under-maestros in Stephanie feel the exact same way (amazing how that happens!). The quartet—whom I admittedly know little about—has recently put together a short album for the GGNZLA Crew (more on them here), and caters nicely to my little preamble there. Just six songs deep, it’s a valiant effort of lighthearted dramatics, crisp and/or caterwauling guitars, sparkling and syncopated Casio-tones, rough-hewn production, and a deep appreciation for early 80s post-punk rhythms. The lead singer is a bit of an amateur opera man, singing in overt, theatrical registers and going against the grain of traditional rock vocalists. His unique voice, not unlike the Dead Science’s Sam Mickens, won’t appeal to everyone. But perhaps the band’s insouciant art-pop sincerity will.
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The standout tracks for me are “Freak Flag”, which has a Joy Division-meets-Tom Vek thing going on, “Meds” with its warm-blooded pulse and swirling, shimmering keys, and “WASP”, a toe curling, semi-sinister laser-punk tune with an interwoven Rasta beat. Yep. Check out a few of their songs below, and see if it doesn’t grab you. July 7th at the Cairo art gallery is their next scheduled performance.
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LCD Soundsystem’s (em)Bracing New–And Possibly Final–Record
In all honesty, does the world really need another LCD Soundsystem write up? No, probably not. Most discerning fans get it, the unmatched modern disco and electro funk elasticized by unwavering beats and sardonic, self-conscious candor. The astonishingly clever way it tugs at the fickle strings of our hearts, while concurrently inducing rubber legs and a belly laugh. Everything about the music is magic: the lyrics speak to us, the compositions make us dance, the live shows impress us. And now, James Murphy seems to have embraced the fragility and skepticism often displayed on Sound of Silver and created a bracing new batch of songs.
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But ever since Murphy intimated that This Is Happening might prove to be the band’s final record, I’ve done nothing but deliriously digest it like a crack addict on his last rock. I mean, how can you not? The off-center base from which his centered club-rock takes flight satisfies a lot of vices for people like me, and I’ve got no recourse but to highlight it. Of course, Murphy as musician will likely move forward with something else (awesome), but who knows, really? The man is so adept at taking himself either seriously or not seriously—a simultaneity that works wonders for both his psychological health and his music career—I’m not sure what to believe.
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For now, I’ll believe in the music (yes, I just wrote that slab of cheese). I’ll believe in the rangy, understated effervescence of “Dance Yrself Clean”, with it’s near-genius assessment of excluding present company (“Talking like a jerk / except you are an actual jerk”). I’ll believe in the cold, celestial synth that introduces “You Wanted A Hit”, an ironic tongue-in-cheek converse that actually is the hit (“Cuz this is how we do hits”). I’ll believe in the near 7-minute guitar “solo” that anchors “All I Want”. I’ll believe in the bullshit of the slap-happy silly brigade from “Drunk Girls”. I’ll believe in the hypnotic shout-alongs in the robotic “One Touch”. I’ll believe in Murphy’s batty beat poetry and crystalline disco-funk of “Pow Pow”. And I’ll believe in the quick, soft bounce and unseen optimism of the electro-ballad “Home”. I mean, how can I not?
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Normally, I’d post a handful of tracks to sample, but I’m sure you guys have them already, or plan to buy it, or can Google a RapidShare or MediaFire link with the best of ‘em.
