The Syndicate

Re: A New Nature

Genres: Ethereal Wave, Post-Rock, Gothic Rock
Secondary Genres: Post-Punk, Dream Pop

This looks promising.

ColinIsCool wrote: ↑Mon Mar 12, 2018 6:12 pm I don't feel down at all! There really is no account for taste so having feelings about someone else's feelings about music is not my thing

dunya wrote: ↑Mon Mar 12, 2018 3:02 pm

MovingPictures07 wrote: ↑Mon Mar 12, 2018 3:00 pm Do it. Seriously. I think we're generally pretty non-judgmental and civil around here.

Well, yeah, dunya obviously excluded.

S~V~S wrote: ↑Mon Mar 12, 2018 2:47 pm I am afraid to submit an album, I am afraid I will be laughed out of the place

Like the thing I am most into right now is Jazz bagpipes, something I think NO ONE else likes

Do it. Seriously. I think we're generally pretty non-judgmental and civil around here. And you're great.

That sounds up my alley. (we need a bagpipe emoji, apparently.)

dunya wrote: ↑Mon Mar 12, 2018 2:03 pm yea, ColinIsCool, don't feel down. I submitted a Drake album as my first submission and I took all their insults personally and hated everyone on here for like a whole week. I chilled down when I realized that they simply have awful taste in music

Hey.

But seriously, I know what you mean too, [mention]ColinIsCool[/mention]. I'm certainly not an expert in Indie music for good reason, so don't take my comments on it to heart. I don't even like Arcade Fire.

I feel somewhat similarly when I throw electronic albums up for submission and people clearly don't get it.

Seriously, thanks for participating, Colin. It's cool to have a wide variety of tastes in here, even if it means inevitably some of us won't necessarily take to the submitted album.

dunya wrote: ↑Mon Mar 12, 2018 1:31 pm

MovingPictures07 wrote: ↑Mon Mar 12, 2018 1:17 pm Dunya got me thinking; I wonder how I would have rated all of these albums differently 9 years ago.

I have all my RYM ratings to go through man. Lots of edits needed to reflect dunya today.

Yeah, it's been interesting to think about how I have been rating things the last year or so since I started rating vs. at any time in the past. Even in the past year it's been about reassessment to some degree as things have grown on or off even in that time, let alone a decade. Every time I listen to something anymore I pull up the RYM page for the album to reassess my rating for it. Lol.

So I'd say my ratings are very accurate of my current tastes... but it takes a lot of upkeep to maintain that, that's for sure. It's super fun though.

Hey look at that, Week 51.

I hope we make it until at least Week 100.

Looking forward to this album, nutella! Maybe I'll even give it a listen later today.

Dunya got me thinking; I wonder how I would have rated all of these albums differently 9 years ago.

So... I struggled with Los Campesinos!, but unfortunately that's a long-running trend of my experience with Indie Rock sort of stuff. I'd say my lack of enjoyment with it falls about the same way I feel about Arcade Fire and the like though, so it's not anything against LC! in particular. Nonetheless, I do appreciate Colin putting forth a more lesser-known group and one that clearly has significant meaning for him for his first submission.

speedchuck wrote: ↑Fri Mar 09, 2018 12:07 pm

nutella wrote: ↑Thu Mar 08, 2018 1:06 am also go back and listen to previous submissions lol catch up on the whole thing eventually

That's just impossible.

Then you, my friend, are Mr. Impossible.

Hey, welcome, Enrique! Glad to see you and Colin here.

It's been... an insane week for me (but very awesome), so I've actually barely listened to any music this week (by my standards anyway, which I guess means <10 albums). I'll get to this today or this weekend and let you all know my thoughts and such.

G-Man wrote: ↑Sun Mar 04, 2018 10:06 pm

JaggedJimmyJay wrote: ↑Sun Mar 04, 2018 2:59 pm

G-Man wrote: ↑Sat Mar 03, 2018 9:09 am Go ahead and drop my submission from the list for the next batch. Mine was a spur-of-the-moment and emotional choice that I didn’t have on my list of nominees. Plus the next batch is becoming quite a lengthy list.

I will do as you ask, but if you change your mind before the new batch starts then please lemme know. It's no hassle whatsoever to include it (I don't care if the queue gets a smidge longer), and nearly every submission I have given has been the spur-of-the-moment sort.

Alright, keep my pick on the list. I've probably been overthinking each of my picks so far but that's just me. It's not like anyone is judging others here based on the albums they nominate.

Okay, I may have judged MP a little bit for his last, tinnitus-inflaming album. Sue me.

Yeah, many of my submissions have been after thinking only a bit on them myself, otherwise I could spend way too much time on it. I probably spent not enough time on some of them and could have approached them more strategically, but whatever right? I like to think we keep relatively informal about it all here, which is nice.

I think my perspective falls in line with Jay's and Sherry's here as well.

Sorry, folks, it's been really busy (was out of town most of the week). I echo the sentiments both that classical music is a weak area of my musical knowledge and that Petrushka is pretty agreeable but not mindblowing or anything. Real good stuff though.

ColinIsCool wrote: ↑Tue Feb 27, 2018 3:11 pm This is cool, I can get into something like this. I won't suggest an album until I've listened to this week's selection though, to prove my buy-in.

Hey, Colin! We'd love to have you aboard.

speedchuck wrote: ↑Mon Feb 26, 2018 6:39 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:35 pm

speedchuck wrote: ↑Mon Feb 26, 2018 6:29 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:25 pm

speedchuck wrote: ↑Mon Feb 26, 2018 6:24 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:19 pm [Plunderphonics]

I'm not even gonna ask

Too late.

I don't agree with piracy in music.

It isn't piracy; it's sampling.

Plunderphonics is just a genre tag that is associated with works that are heavily reliant on the use of sampling, almost like an audio mosaic. The most famous examples of this are DJ Shadow's Endtroducing.... and The Avalanches's Since I Left You. I'm not the biggest fan of the term (though it's not as bad as Twee Pop, Neoclassical Darkwave, or IDM), but I felt obliged to include it in the genre descriptions because this album is a clear example of it.

Arrgh, I'mma plunder yer phonics, ye scallywag!

It's too late now. This is pirate music. Shaaaaame. (I'm in a lame joke mood today)

speedchuck wrote: ↑Mon Feb 26, 2018 6:29 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:25 pm

speedchuck wrote: ↑Mon Feb 26, 2018 6:24 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:19 pm [Plunderphonics]

I'm not even gonna ask

Too late.

I don't agree with piracy in music.

It isn't piracy; it's sampling.

Plunderphonics is just a genre tag that is associated with works that are heavily reliant on the use of sampling, almost like an audio mosaic. The most famous examples of this are DJ Shadow's Endtroducing.... and The Avalanches's Since I Left You. I'm not the biggest fan of the term (though it's not as bad as Twee Pop, Neoclassical Darkwave, or IDM), but I felt obliged to include it in the genre descriptions because this album is a clear example of it.

speedchuck wrote: ↑Mon Feb 26, 2018 6:24 pm

MovingPictures07 wrote: ↑Mon Feb 26, 2018 6:19 pm [Plunderphonics]

I'm not even gonna ask

Too late.

Oneohtrix Point Never - Replica / 2011 / [Experimental Electronic] [Ambient] [Plunderphonics] / 10 tracks / 40:57 / Available on Youtube and Spotify

Sorry to go off rambling so much this week. But I guess this is a music thread after all, so you all should expect that possibility from me.

I think that's what is so great about this group though; I've already been exposed to stuff I'd probably never have heard or revisited otherwise. And I obsessively seek out music probably to an unhealthy degree. There's nothing else quite as outstanding as discovering new music, at least IMO, even if the reaction is not ideal. I still appreciate being exposed to new music even if I personally don't appreciate the product itself.

I hope we can keep this going strong for as long as possible.

speedchuck wrote: ↑Thu Feb 22, 2018 5:48 pm I tried jumping back into it again, but... agh, can't get it. I see what you guys are saying, but it's just me. Hip hop has to be very particular to catch me, and whatever Cunninlynguists did to catch me, this didn't.

It's a memorable album, though.

I can actually understand that opinion, believe it or not.

I felt the similarly about the album the first few times I heard it. First couple times I heard it like 10 years ago I didn't really think much of it, but then again I had extremely little exposure to hip hop at the time, and I specifically checked it out because of its canonized status, so I thought it was probably just me and hip hop was something I'd not appreciate that much. Then I revisited it a couple years later after successfully getting into some hip hop (mainly golden age stuff like A Tribe Called Quest, De La Soul, etc.), and I still didn't have much of a reaction. Then I thought for sure it was doomed to be one of those albums I'd never get. It wasn't until I revisited it a year or so after that after getting into even more hip hop that it hit me like a ton of bricks; I noticed I had instant appreciation for a lot of the tracks. I'm not sure exactly what it was that changed other than seeking out more music and having heard the album a few times, I suppose, but it unexpectedly grew on me. Since then I've liked more and more with each listen, and now like 7 years later here it is one of my all-time favorite albums; never thought it would be if you'd asked me when I first heard it. Even a year ago I would confidently say I really liked it but not quite as much as I do now.

So I guess you could say it was a grower album for me (unlike other albums which blew me away first time I heard them, including genres I initially struggled with, such as hip hop; see: Low End Theory by ATCQ which "unlocked" the genre for me, so to speak).

I think due to its dense nature, it can be a difficult album to approach. I nominated it anyway. Seriously, I think its unconventional nature makes it a good exposure to hip hop especially for people who aren't too acquainted with the genre. Obviously though not everyone will like it. I've heard other sentiments of this being a "grower" album for other listeners as well, so maybe there's something to it. Who knows really.

It's funny how music tastes can shift over time too, so perhaps that something to do with it for me as well. Not saying your appreciation will suddenly grow for it; obviously no one can know that, but you'd know better than me or anyone else. Nonetheless, at least for me personally, being honest I'd say I never necessarily know 100% (I may think I do, and it's really like 99.9%) whether an album will sneak up on me down the road and I'll find myself developing a liking for something I previously thought would elude me forever.

nutella wrote: ↑Thu Feb 22, 2018 3:54 pm Great summary. This album is solidly awesome and very dense. The samples and everything are really cool and the lyrics.... there is SO much going on there, with fantastic delivery as well. I've recently gotten into the habit of checking out the Genius annotations for basically everything I listen to because there's often cool meanings behind lyrics to catch, and this is one of those cases (as often with hip-hop albums in general) where I really can't even keep up with how many references, plays-on-words, etc are crammed in there. Truly fantastic

Well said, both of you. I agree that this album is the classic example of "sum is greater than its parts"; it all works together in a truly unique way despite all tracks being little eclectic hip hop snippets that lose some context in isolation. I generally listen to albums as opposed to songs/shuffle anyway when I listen to music, but if I ever try to listen to random songs from this one, I end up restarting and listening to the whole album.

A beef I have with a lot of hip hop albums in general, even ones I really like, can be the album length. For me this is easily the #1 hip hop release in terms of "I wish it was longer" every time I finish it, because it's always over way too quickly. Individual songs feel that way too. It's so hard for me to name highlights but cuts like "Meat Grinder", "Curls", "Fancy Clown", "Operation Lifesaver", and even the longer "Rhinestone Cowboy" (at 3 1/2 minutes), are just WAY too short because they're so incredible. I'm still amazed every time I hear those cuts in particular; seriously, why can't more music sound like this? It's like the best tasting candy to my ears.

Sometimes I convince myself that "Rhinestone Cowboy" in particular is like THE hip hop song of all-time. I'm not a lyrics guy as you all know, but the fucking lyrics throughout this album, and especially that track... just holy shit. Such dense poetic mastery. And that part where MF DOOM modestly says "oh, no no no, enough" to an imaginary audience clapping because he fucked up the rhyme scheme on that verse is just... too perfect. Such a weird part, but so convincing in its surrealism and MF DOOM's persona, and somehow a perfect closer to the album as a whole. Gets me every time.

I just absolutely love how MF DOOM is often rapping about real and ordinary topics yet in such a surreal and unique way (see: (1) villains as an analogy for rappers running throughout the whole album (with a self-reference to his own persona with the clip mentioning the villain "Bald headed DOOM"), (2) "Operation Lifesaver" as MF being on a date and overwhelmed by his date's bad breath and offering her a lifesaver (and worrying about how she'll take it)... I could go on. Each song is like its own surreal painting of an ordinary event, and then even better all of them placed next to each other paint an overall picture. I know that sounds pretentious as fuck, but that's how I view this album, and it's one of many reasons I think it's a genius slice of music barely matched by much else. Seriously, check out the genius page for this album if you feel inclined. It's incredible how much MF DOOM has left for us in each track. And again, that's coming from a guy who normally doesn't care much about lyrics. But this album is an exception for good reason; the lyrics and music separately are top-notch, but it's the way they work together that makes this album such a home run.

And the way Madlib finds just the perfect samples to complement the whole feel and story is incredible; the two work so well with each other it still blows my mind even though I've heard this album hundreds of times. It's true that Madlib is heavily influenced by jazz; he has a solo album in fact where he flips a bunch of samples from Blue Note records. As a fan of jazz and jazz rap, I definitely appreciate the jazz influences that come out in some of the samples, but I also appreciate how this album doesn't really feel like a jazz rap album. I certainly wouldn't call it one. Madlib's use of wide range of samples on this album make it feel eclectic and yet he knows just how to keep the whole package cohesive as well. This album illustrates why he's one of the best DJs in hip hop history, at least IMO; it might just be his best sample work ever.

Anyway, combine all of the above musings and I think the recognition of the craft put into this product by both MF DOOM and Madlib is clear, and it's why this album has become such a legend (it's currently the #47th highest ranked album of all time on RYM and 4th highest of all time in hip hop specifically) and a source of inspiration for creative hip hop in the last 14 years. It's also why nothing else still quite sounds like it nonetheless. Even though I guess I'm still a bit picky with hip hop, there are still plenty of groups and artists I love, and I feel right now even the genre is undergoing yet another creative boom. That said, still to this day no other MC/DJ combination can capture what MF DOOM and Madlib accomplish here. Incredibly influential for other abstract hip hop to follow, and yet completely unique.

Yeah, I'll stop there. I promise. Not trying to be pretentious or 'objective', but rather explain just what I love so much about this album. Really I could gush about this album for hours, sorry.

Anyway, this is an easy 5.0 every day of the week... which is something I'd say about probably less than a handful of hip hop albums ever. I could (and do) listen to this album literally in any context, and every time it absorbs me and transports me into a unique world for the entire album's duration every time. Perfection.

S~V~S wrote: ↑Wed Feb 21, 2018 7:28 pm I stopped doing this because some of the reviews became almost intimidating in their level of expertise and completeness, but reading back it would seem that we have some more casual reviewers mixed in now, too, so I might try again.

It helps that I used to love this album (I believe I picked it up from a list of MP's on maybe 8Tracks or Facebook), and haven't listened to it in a while so am looking forward to it.

Glad to have you back! Definitely you should share your thoughts on whatever however you want.

dunya wrote: ↑Wed Feb 21, 2018 6:15 pm

MovingPictures07 wrote: ↑Tue Feb 20, 2018 12:19 am Seriously though, obviously I hope you all like it, but #tastesaresubjective and all that jazz. If you don't, you don't.

Personally, this album is like my absolute ideal hip-hop album -- MF DOOM's rapping is off the hook, the lyrics are surreal but dense with wordplay and references, Madlib's sampling is beyond masterful, the skits/interludes are truly immersive, the eclecticism is always intriguing and yet the album still feels cohesive, etc.

It amuses me a lot hearing you rave about Madvillainy. I'm sorry

It's 4/5 album according to by 2010 RYM rating, but I havent listened in so long. I'll give it a relisten and new review, but I'll be praising it for sure

Haha, why's that?

Seriously though, obviously I hope you all like it, but #tastesaresubjective and all that jazz. If you don't, you don't.

Personally, this album is like my absolute ideal hip-hop album -- MF DOOM's rapping is off the hook, the lyrics are surreal but dense with wordplay and references, Madlib's sampling is beyond masterful, the skits/interludes are truly immersive, the eclecticism is always intriguing and yet the album still feels cohesive, etc.

speedchuck wrote: ↑Mon Feb 19, 2018 4:36 pm I thought, after listening to the Cunninlinguists, that I was warming up to hip hop. Apparently not.
My thought process, upon picking up the album, was "Oh, this is going to be unique, look at this cool thing it's doing to my headphones." I'll hold to that. The album was unique. Madvillain mixed in a bunch of speech-like segments, some naturally-occuring noises, and segments of odd, concept-album-like linkage that held the album together. It was an experience, I suppose. If I had the lyrics in front of me, I think they would at least hint at a real supervillain story, as they seemed to when I payed attention to them.
But, to my ears, nothing in the album was really pleasant, and the sound wasn't interesting enough to make up for that fact. I took several breaks from this music, not because it hurt my ears, but because I just couldn't derive enjoyment of it. Sure, it was different from hip-hop I might hear on the radio, but the instrumentation was repetitive and screechy at times, the odd interlude segments didn't do much for me, and the rapping itself neither sounded pleasant nor made me want to follow the beat.
This album contains none of my 'things I like in music', to the point where I'm not sure why anyone would really love this album. I look forward to seeing the opinions of others.

linki: well now I just feel out of the loop.

Man, sounds like we're listening to totally different albums to me.

Oh, cool. Time for Madvillainy.

For now all I'll say is:
(1) This is one of my all-time favorite hip hop albums
(2) Madvillain is the combination of MF DOOM as MC and Madlib as DJ

This album is one of the greatest things ever in all of music. Despite this album being a landmark slice of unconventional hip hop, even now 14 years later still there's nothing out there that sounds remotely like it.

I'll elaborate more on it later. For now, just listen, and hopefully enjoy the ride.

In terms of conventional "prog metal", Devin Townsend is my favorite artist hands-down. I don't love everything he's done, but he's got some really neat stuff, and a few of his albums are my all-time favorite metal albums. It's generally been forever since I've listened to him though.

Perhaps I'll be submitting him here in due time.

That said, I hope that it's clear that I mean the utmost respect to speedchuck and his submission, as well as anyone who does enjoy a hearty slice of cheesey prog-metal. I really wish I did, frankly, as I don't ever enjoy disliking any music. But inevitably, my tastes are just like everyone else's: just subjective things.

I tend to be picky with nearly all subgenres of metal as it is; I was always more of an electronic, jazz, and unconventional pop/rock guy, but there is definitely metal out there I really like. There is some prog metal out there I genuinely enjoy, but it tends to be more on the atmospheric sludge metal / post-metal or avant-garde metal end of the spectrum, which is quite different from stuff like Ayreon and perhaps not best categorized as "prog metal" anyway.

speedchuck wrote: ↑Sat Feb 17, 2018 11:17 pm If you want to hear unfiltered Prog-Metal CHEESE, listen to "Into the Black Hole" from the companion album to this one. It has the most overdramatic vocal delivery in existence.

Oh my god.

Yeah, the "cheese" I hear is mostly the combination of over-the-top vocal delivery that occasionally makes me cringe, as well as typical cheesy, wankery prog-metal instrumentation. The lyrics certainly don't help either but they're more minor because I can tune them out. It's a tough combination to get through, but maybe that's just me.

Ayreon. Sigh. Still absolutely not my thing. Tough to get through it. The vocals, cheese, etc. were generally much more annoying than enjoyable. I guess it could be worse, but yeah. Not much else to say. Sorry speed.

G-Man wrote: ↑Tue Feb 13, 2018 10:36 pm One track into Ryoji Ikeda's Dataplex and I'm so mad I'm laughing.

Well, laughing is good, right?

Yeah, I can't really stomach Dream Theater much anymore. Their first two albums are good for what they are though; after that, it's a gradual descent into awfulness. SFAM has some cool parts, but it gets too muddied down in technicality and cheese for its own good.

Also, the whole subjectivity v. objectivity in music bugs the fuck out of me. Even I used to previously argue the wrong side of this issue. As much as I hate to admit, clearly it's all subjective.

Yeah, full disclosure, and I've already told speedchuck this elsewhere, but Ayreon was a project I never even liked in my prog fandom days. I expect I will like this about as much as I liked Drake if I'm lucky. But we'll see! Lol.

That said, Marina and the Diamonds isn't one of my personal favorites, and you picked my least favorite album of hers from my recollection. If one name came to mind to support the above statement, my choice hands down would be Grimes. Her music occupies a very different part of the female-fronted pop spectrum than Marina's though, that's for sure.

Nonetheless I find Marina's music generally enjoyable. I'm seriously overdue revisiting her material, so thanks for nominating this.

JaggedJimmyJay wrote: ↑Mon Feb 05, 2018 12:50 pm I think we're presently in a golden age of woman-fronted pop music, and it isn't entirely acknowledged among music enthusiasts given the tendency for some to denigrate pop music -- especially this manner of pop music.

Agreed.

JaggedJimmyJay wrote: ↑Mon Feb 05, 2018 8:55 am

MovingPictures07 wrote: ↑Sun Feb 04, 2018 1:41 pm Also, I didn't at all hear the "industrial" bend that Jay mentioned, but maybe that's just me. Sounded more like it was grunge-influenced than anything.

That only lasted through the first few tracks. From there it settled into a more standard alternative/post-grunge niche.

Oh, okay, make sense. I can see that.

Also, I didn't at all hear the "industrial" bend that Jay mentioned, but maybe that's just me. Sounded more like it was grunge-influenced than anything.

Sorry G, this kind of music generally really isn't my thing. I have practically no desire to "rock out", and when I actually do, I'll pick up something weirder like Pixies or heavier/noisier like Boris. As a 90s kid, I had a tough time not hating most of what was on rock radio at the time, and that hasn't changed.

I suppose this was alright at times, but overall a definite slog to get through. I'm giving it a 2.0. That said, I like it about as much as I like other "big name" contemporaries of the time like Nirvana; in fact, I like this more. So this fared about as well with me as it probably could have.

So I gave Pescado 2 a listen earlier this morning and sorry to report it bored me to death pretty much during the entire duration. I felt it was the very definition of a 2.5 rating, just OK/inoffensive but not engaging at all. Admittedly I'm not much of a fan of 60s/70s psychedelic/blues rock stuff, even if this release does have some more unconventional stuff going on. I'll try to give it another shot later in the day and perhaps it'll make more of an impression on me.

Sorry all, I should be able to get to this one, but things are crazy lately so I've been spinning familiar stuff (less likely to distract). Looking forward to checking this out!

A Person wrote: ↑Fri Jan 19, 2018 6:17 pm Dataplex is such a tactile album if you listen with headphones, it's like someone is literally tapping on them at points. I like to think of it as a brain massage.

Agreed.

Oh man, I am such a classical noob, but I can confidently say that's a solid one. I haven't listened to Stravinsky in too long. Looking forward to it. Nice nomination.

Oh, I should also just speak to what you actually said, lol, and say yeah, you're right, even though both albums technically fall under the Glitch subgenre (Ikeda's work also occupies Microsound, which basically just means working with super short-period tones and frequencies lasting fractions of a second), Endless Summer is definitely more musical than dataplex. So I suppose for anyone who was intrigued by dataplex but thought it wasn't musical enough, this would be probably the better album to check out.

nutella wrote: ↑Wed Jan 17, 2018 7:51 pm

MovingPictures07 wrote: ↑Wed Jan 17, 2018 7:05 pm Compared to other glitch albums like Endless Summer by Fennesz, which I would give a 5 every day of the week,

Listening to this now and it's great so far! Definitely more... more music-y than dataplex, lol

And OMG, I could gush about Endless Summer for hours. One of my all-time most treasured albums. I almost submitted it instead, but decided to go the edgier route with dataplex. I still might in the future anyway, not sure yet, just so many albums to choose from. I'm trying to do something different with each one, anyway, at least for a while until I inevitably run out of different subgenres I love to throw at you all.

Glad you're checking it out and enjoying it. It's a real grower too, just slowly revealing more and more nuances over time. It's absolutely transcendent when it wants to be; I can't ever get enough of it. I am always amazed it's the result of Fennesz chopping up and piecing together basically manipulated guitar sounds (instead of tones and frequencies like dataplex) and glitchifying them to death; he knows exactly just how to piece them all together to craft something really uniquely beautiful. Sometimes I like to think it's like a machine's interpretation of what pop songs about summers at the beach sound like except when it tries to compose them it malfunctions and the album is the result. I still can't believe how groundbreaking it must have been to hear it come out in 2001. It's simultaneously fascinating but emotionally engaging on every level, at least for me. It's a perpetual summer soundtrack. I really love everything about it so much.

I won't go on more though. Just glad you checked it out.