Tabs Out | GUiLT – Anthology One

GUiLT – Anthology One

2.8.19 by Ryan Masteller

Guilt. It sits there in your stomach like a lump of undigested beef, festering next to the liver and the kidneys and the duodenum until you can’t take it anymore and are forced to do something about it. Admit to whatever it is that’s making you feel guilty, maybe. Apologize for it. Anything to alleviate the pressure of despondency it’s causing, the claustrophobia of its menacing presence. It’s suffocating living under a veil of total guilt.

Here on “Anthology One” we’re living under a veil of tonal GUiLT, capitalized weirdly because I’m now referring to it as a proper name, and tonal because we’re hearing it. GUiLT specializes in experimental drone, the kind that keeps you on edge, that makes you grit your teeth upon hearing it, grinding away at those molars for the entire hour GUiLT’s recorded oeuvre is playing. At times ominously drifting, at others ear-splittingly intimidating, at even others scolding in its use of samples, “Anthology One” plays like a song cycle for the inner demons hammering away at your black heart. It’s hellish, but not in the fire-and-brimstone-y way popularized ever-so-effectively by Dante Alighieri. No, this hellscape is crafted by the absence of reason and logic, by the fear of the unknown, by the feelings of being alone with your internal pain and suffering for eternity. Here, GUiLT/guilt reigns supreme, an ever-present reminder that something’s gone horribly amiss, and you’re now powerless to rectify it, no matter how much you want to.

That’s real GUiLT.

Or you can turn off this tape and go say you’re sorry and immediately start feeling better about yourself. But why would you ever want to do that???

Why would you indeed. You can still grab one of these from Lurker Bias if you’ve got the stomach for it.

Tabs Out | Penance Stare – Solanaceae

Penance Stare – Solanaceae

2.6.19 by Ryan Masteller

Does atmospheric black metal with goth and shoegaze aspirations get a bad rap today? I mean, there’s pretty much only one band that comes to mind when we’re talking about this in conjunction with “bad raps,” and that’s Deafheaven. Real talk: I’ve always been a Deafheaven fan (more so their early stuff), but man, they really seem to get thrown under the bus a lot these days.

Penance Stare is not Deafheaven, not even remotely, but that’s not a bad place to start the discussion. It’ll help orient you – and I know there are some of you out there (not me, obvs), who are like, “Black metal? Isn’t that Satanic music? Isn’t it just a maelstrom of noise and hate?” And I’ll respond with, “‘Maelstrom of noise and hate’? There’s no way you’re smart enough or articulate enough to come up with such a poetic thought. You’re quite misinformed, and you also live in the 1980s, probably at the evangelical church I grew up attending and have now outgrown. But to answer you, briefly: no.”

Tangent aside, Penance Stare, the solo (!) moniker of UK-based shredder Esmé Louise Newman is a heavy affair – heavy atmosphere that is. Utilizing definite shoegaze tropes (those guitar tones) and post-rock progressions, Newman builds up worlds of static and fuzz and shatters them with machine-gun beats and dissonant breakdowns on her new album “Solanaceae.” Her voice floats above it all, Cocteau Twins style, in a gentle counterpoint. She even drifts (literally!) into ambient territory near the end of the tape, with “The Remains of the Wooden Icebreaker Lie Submerged” sounding exactly like the title implies, following that with another dense and frigid slab of drone with “Bensedin Petrichor.”

In short: beautiful, heavy, intense. Edition of 50 from Crow Versus Crow.


Tabs Out | moduS ponY & VLK – split

moduS ponY & VLK – split

2.4.19 by Ryan Masteller

This cassette is evenly divided. Perfectly. Right down the middle. On one side, the white one, Strategic Tape Reserve stalwart moduS ponY brandishes multiple implements of sonic construction, combining them in unusual and powerful ways, sometimes like weirding weapons in “Dune” (but not dangerous). Strategic Tape Reserve stalwart VLK eschews Sean Hannity and Avril Lavigne samples for the red side, drawing on a much more democratic array of sound sources and matching moduS ponY’s side vibe for vibe in a true spirit of camaraderie.

Yeah, yeah: this is a two-tone cassette.

What we do know: Sound files shot back and forth across the internet, from California (moduS ponY) to Cologne (VLK) and back, serving as inspiration and source material for this split. Nevermind that hackers can totally rip through your computer system with malevolent code and steal these brilliant ideas – the two intrepid artists threw caution to the wind. With moduS ponY you get a surreal instrumental slurry, both acoustic and sample-based, sounding exactly like what you would imagine something like “Black Lasagna” sounds like: meaty, dark, confusing, dystopian, and ultimately satisfying. VLK shakes a “Mario Party” jar until all the candy comes out, variously colored, tactile, smooth, generous, “Dizzy.” Disorienting? Sometimes. Who the heck is laughing on “Gallic Shrug”?

What we don’t know: What “Adriatic ports,” “gymnastic displays of groinal flexibility,” and “low-temperature banana confections” really sound like – no point of reference. Although I can guess on the flexibility one, what with my all-star levels of athletic ability.

This gnarly split comes in an edition of only 22 from Strategic Tape Reserve, so act fast, or I’m gonna email you and call you dumb to your face!

Tab Out | Already Dead drops their third Retrospective

Already Dead drops their third Retrospective

2.1.19 by Ryan Masteller

This is the 185th “VIP” (Very Important Piece) I’ve written for Tabs Out. Why is that important? It’s not a round number. It’s not even a funny one. But the point is, it’s pretty big. Think about this: there are only 138 Tabs Out episodes (editor’s note: there’s more if you count Laser Focus and Bonus episodes like this one, but whatever…). You can look at it as if I’ve lapped the Delaware crew. Also, it takes me at least 6.9 hours to write one of these things too, just in case you think “more goes into” a podcast or whatever.

Point is, 300 is also a big number (unless you’re from Sparta, then it’s unimaginably small). And we’re here today to celebrate the 300th release by Already Dead Tapes and Records, now based out of Atlanta. There’s been some Already Dead coverage on this website before, perhaps most notably Scott Scholz’s Space Age Pressure Pad writeup on a bunch of AD releases – almost a year ago? That can’t be. Anyway, as is the label’s wont, they’ve dropped a massive compilation on us as catalog number AD300, which they’ve done before for catalog numbers AD200 and AD100. And it’s a doozy!

I don’t know how you all can keep up with all the stuff AD releases, but these “Documents” serve as a reminder that I often only scratch the surface of their catalog. Sure, I’ve written things about Comfort Food, Curt Oren, Complainer, Cop Funeral, Claire Rousay and even artists that DON’T start with the letter C, such as Alien Trilogy, Michael Potter, A.M. Stations, and The Myriad Ones. … OK, turns out I’m actually pretty familiar with the last 100 releases, so I can vouch for them. But you – YOU, newbie, you’ve got to catch up!

Fortunately there’s a “cheat code” for you to do just that.

Each physical copy of “Document III” comes with a “Golden Ticket,” just like Willy Wonka put in his chocolate bars in Tim Burton’s hilariously original film retelling of Roald Dahl’s beloved book. This “Golden Ticket” takes you to a magical URL (if you have a computer), where you’ll be able to skip and dance around a playground of download links for AD101 through AD199, a veritable wonderland of MP3 files that will allow you to catch up on all the amazing Already Dead releases you missed. Then you can buy the tapes for the ones you like – since this is a cassette website after all – presuming they’re in print still, of course.

“Document III” is still in print. Edition of 100, though, so act fast!

Comfort Food – A Cordial Warning
Mu Vonz – Hypnotize
Curt Oren – Moab
Complainer – Fucking Droid
cop funeral – try
Mezzanine Swimmers – Black Cat in Heat
Excessive Visage – Verwöhnt von Happiness
The Hell Hole Store – Musician Street
Michael Potter – Can One Make Two
YMDSIH – Legacy of Nothing
Painted Faces – Keep on Rocking in the Freak World
the binary marketing show – daydream (i cannot)
A.M. Stations – Attic Money
NONZOO – GREAT AMERICAN TROUGH
Coastal Car – Ultraviolet Light
Claire Rousay – Definitive Attributes
Alien Trilogy – Barlow
Imbue – Ghost Stories Pt. 1 (ft. iAlive & Carl Kavorkian)
The Myriad Ones – La Luv
SHOTO – Worship Nothing
Dead Tenants – Rubbed Out
Unsung – Bowl of Honeydew
About a Million – Wakin’ Me Up
Forget the Times – Some Tolerance for Silence (Document III Edit)
talk midway – night

Tabs Out | OGRE and Dallas Campbell – All Hallows’ II

OGRE and Dallas Campbell – All Hallows’ II

1.31.19 by Ryan Masteller

I know this is going against protocol, but…

THIS TAPE IS SO SCARY AND I LOVE IT!

OGRE (aka Robin Ogden, not the one you’re thinking of) and Dallas Campbell are transatlantic buddies who just want to frighten the bejeezus out of each other. Fresh(ish) off their rescore of George A. Romero’s classic zombie flick “Night of the Living Dead” (Lakeshore Records, whoa!), the boys are back in town, virtually, through a secure internet connection. This time they’re cooking up a sequel to their hit “All Hallows” with another soundtrack to an imaginary thriller. And this one’s real nightmare fuel, check it:

“35 years ago investigative journalist Ellis Ledstone admitted himself as a patient to an alternative healthcare facility, The Shepard Institute For Psionic Inquiry. 6 months later, police would break down its doors to discover the remains of a dozen patients in The Institute’s basement.”

Oh snap! That sounds terrifying, in all the right ways. Not uncoincidentally, this is right up your alley if you’re a “Stranger Things” fan, as that soundtrack was also released on Lakeshore – Lakeshore is like a genre film soundtrack hall of fame! Delightful synthwork conjures fabulous moods, and you can pretty much imagine how the “film” “All Hallows’ II” is going to play out, just by listening. You thought John Carpenter knew how to cook up the heebie jeebies, make your skin crawl, but you won’t be disappointed with OGRE and Dallas Campbell, not even a little bit. Plus, we all know it’s better to celebrate Halloween in January anyway – it’s sneakier that way.

And hey, you guys are a bunch of fucking nerds, right? Then you’re gonna love the equipment listings:

Dallas’ Gear: ARP Axxe, Odyssey|Casio SK1|Crudman V2|Doepfer Dark Time|EHX Deluxe Memory Man|Farfisa Syntorchestra|Kawai SX240|Maestro RK4|Multivox MX312, MXD7|Pioneer RT707|Roland CR78, CR8000, Dimension D, Juno 6, MKS 70, SH101, SVC 350|SCI Pro One, Prophet 600|Star Instruments Synare 3|Tape Loops|Tascam Portastudio 424|Yamaha SK30.

Robin’s Gear: Arturia Microbrute|Doepfer, MAKENOISE & Mutable Instruments Eurorack System| Kawai SP-100|KNAS Moisturizer|KOMA Field Kit|Korg Mono/Poly, MS-20, Poly 800 MK II|Moog MF Delay, Mother 32, Minitaur|Novation Bass Station Rack|Roland VP-330|Tape Loops|Tascam Portastudio 414|Voltage Controlled Walkman|WEM Copicat Super IC|Yamaha TX81Z. 

Preorder from OGRE now: “pad printed shell, loaded with pro dubbed Type I ferric grade tape. Made in the U.K. Also includes original Shepard Institute Of Psionic Inquiry Flyer and a digital copy of the All Hallows’ II Case File as a 38 page .PDF.”

Tabs Out | Odd Narrative – Parks

Odd Narrative – Parks

1.30.19 by Ryan Masteller

Under a blanket made out of soft light, I receive Odd Narrative’s “Parks” like the chosen one I so clearly am. How else am I to approach this duo’s work, this collaboration between Koma Elektronik’s Wouter Jaspers and Hainbach? Am I supposed to ignore it, let it do its thing, and move on to some other expectant sucker? No! I’ll shoulder my delightful burden like a Marvel superhero (NOT DC!), though willingly, not all, “I don’t want this burden, but if I have to…” I’m nothing if not enthusiastic about “Parks.”

And if you’re not … why not? Seriously, that’s a question I really have to ask. Because there’s no situation in life where “Parks” becomes an unwanted object. Its composers use a variety of sources to craft their work – “vocal sampling, field recordings, tape loops, contact mics, voltage-driven motors, washes of gorgeous synth pads, … radio transmissions, and much, much more” (yeah, I can read onesheets) – and that very “playfulness” that Jaspers and Hainbach embrace filters through into the process and the results. Yeah, this is ambient music – it’s on Muzan Editions after all – but it’s SO MUCH MORE than ambient music. It’s a cerebral journey of complex adventure, yet smooth and gently beveled like this pebble that I’m about to fling over the surface of the river and hope for multiple skips before it sinks.

Nope, giant plop. I’m not great at stone skipping.

But Jaspers and Hainbach are great at this, great at being Odd Narrative, great at making “Parks” and hopefully other things. You can be a hero too, a chosen one blanketed by the sweet events that unfold herein. All you have to do is buy one of these tapes (edition of 100). But there are only fourteen left as of this writing…

Tabs Out | Flower Room – What’s Cooking in Brunswick, Maine?

Flower Room – What’s Cooking in Brunswick, Maine?

1.29.19 by Ryan Masteller

I’m a Pennsylvania transplant living in Florida, and I gotta be honest with you – Maine is one of the most gorgeous places in the world. My friends who’ve lived there won’t tell you that – they’ve all drifted to other parts of the country, turning their backs on the rural environments of their youths, decrying it as “backward” or “redneck” or whatever. I don’t get that. I’ve never felt more welcomed to a place than when I’ve passed through Waterville or Portland (not rural, I get it). Way more welcomed than a place like, say, randomly, Delaware. Yuck.

Flower Room, the tape (and sometimes, ahem, record) label seems like good people too, and though I’ve never been to Brunswick, I’ll have to make it a point to get there someday. Because the showrunners seem to be pretty specific about their welcoming attitude, generously presented to anybody from anywhere, and as such I feel like it’s important to shine a light on that behavior and hold it up as an example of how we should all act. It’s not easy, I’ll admit; but you’ve just gotta embrace it when you encounter it, especially during these days of barely (and not so) contained rage. Here, have a little descriptive copy, courtesy of the label itself, to get you in the benevolent mood that you need to be in: “Exploration & Discoveries in Improvisation & Harmonization ☄ Virtual rurality experiences, sonic sage cleansing, and hymns to manifest a more harmonious You-We-All ☤ Welcome.”

You guys hear that? “You-We-All ☤ Welcome.” I think I’m gonna like these Flower Room people. Let’s see what they’ve got for us, shall we?


STARBIRTHED – Chakra Three / Starbirthed / Messages From…

Three tapes from Starbirthed, the duo of Ash Brooks and ML Wah, and it seems like maybe this is the flagship recording moniker for Flower Room. I’m not 100 percent here, as the “About” section of the Flower Room website is emblazoned with “Coming Soon,” but there’s also a photograph of two people who may or may not be Ash and ML. I’m gonna guess that they are those people. Prove me wrong! Next, we must point out that all six of the beautiful tapes that arrived in the mail are presented in a “wraparound full-color tip-on cover in a clear polybox.” Just stunning work. “Chakra Three” is a guided meditation, two tracks, one on each side, in “yellow jasper gemstone to aid in balancing the third chakra (Solar Plexus / Will center).” I don’t know what that means, but I’m along for the ride here! “Starbirthed” also happens to be the duo’s vinyl debut, but we don’t talk about that here. The tape is a “deep-space violet semi-translucent shell,” also with the wraparound tip-on treatment. This, like “Messages From…” (green and black cover, silver cassette shell), is the very definition of cosmic, way-out zones, deep-space transmissions from star hearts and galactic centers and civilizations waaaay more advanced than we are. Makes me feel small. I kind of like it that way, keeps me centered, focused.


THICK AIR – Concert for Malakut

Thick Air conjures actual thick air indeed, as the one-person drone machine (and “French-Canadian mystic and scholar”) Arman de Chardin plies his polyphonic synthesizer to reach out spiritually to Malakut, or “Realm of Dominion,” which in “Islamic cosmology [contains] several metaphysical beings and places in Islamic lore, like angels, demons, jinn, hell, and the seven heavens.” Thanks, Wikipedia, for the assist! This “Islam” sounds more and more like Christianity the more I read about it. Weird. Anyhoo, Although the two pieces, “Astral Audience” and “Clairaudience,” were performed live at Green Lodge in Matra Point, Maine, de Chardin is truly trying to transcend these earthly shackles by reaching toward the spiritual and the infinite. And it’s true, as Flower Room suggests, that “Concert for Malakut” is a “complete out-of-body listening experience,” a transcended batch of tones that shift us ever closer to the divine. But not too close – we couldn’t survive, like, even a little bit if we came into the presence of the divine! Just imagine.


ASH BROOKS – Crown of Thyme

Starbirthed’s (and MAYBE Flower Room’s [see above]) Ash Brooks steps out on her own here on “Crown of Thyme,” her solo debut. Unlike the other releases we’ve already gone through, “Crown of Thyme” is an earthly mythology, a freak-folk concoction for people who spell “fairy” as “faerie” and “magick” with a “k” and participate in complicated forest rituals. Based around autoharp and voice (with some acoustic guitar thrown in here and there and an assist from ML Wah on loops, sitar, whatever the hell a “mijwiz” is, 10-string acoustic guitar, and percussion), “Crown of Thyme” is a heady mix of cosmic drone, outsider folk, and pagan ceremony. As intense as it is fascinating, Brooks’s work stands alone and apart from her work in Starbirthed, and on equal footing. I’m totally tripped out on it right now. Oh! Also, “moss agate gemstone package,” “transparent emerald cassette shell, hand-stamped in gold ink on both sides.”


MATT LAJOIE – Free to Be…

Sticking around in the acoustic spectrum of these soundtracks for astral projection, we have Matt LaJoie’s (NOT Matt LeBlanc – don’t make the same mistake I did) “Free to Be…,” a delightfully introspective yet imaginative acoustic guitar record. That’s right, just Matt and his “hybrid nylon/steel string” axe reading each other’s vibe and improvising delightful and patient trifles over the course of two Maine winter days. How can I describe what you’ll hear over the two sides of “Free to Be…”? How about simply using the first track’s title: “Meeting a Guide on the Sands of Time.” Mysterious, cosmic, ancient, full of meaning. (There’s also a track called “Delivering Mangoes,” but I’m not describing a Jimmy Buffett record, am I?) LaJoie’s a perfect foil to everything we’ve heard so far, a little more down to earth, a little more introspective. We’ll take that.


TONAL COSMOLOGY – In the Key of I

OK, now this is getting ridiculous. Tonal Cosmology is Ash Brooks and Matt LaJoie – is Flower Room just like this big inbred musical enterprise? I guess that’s OK if it is. More mind-melding that way, I imagine. Everybody on the same page. Here we’re introduced to the Tonal Cosmology “system,” whereby you’ll have the “opportunity to hear and become acquainted with your own Cosmic Chord.” This “astromusical system for reading and hearing the harmony of the spheres” is applied in this instance to “two major planetary transits,” and each “automatic composition” is “based on the ‘Cosmic Chord’ derived from the TC system’s music theory for those transits.” *Shakes head to clear it* That’s a lot of quotations! I mean, how the heck am I supposed to paraphrase that? Let’s just call these two long-form drones what they are: exquisite otherworldly compositions shimmering in the psychic darkness of deep space. “The Key of I” is ethereal bliss. Is this supposed to be emanating from myself?


Till next time, friendly Mainers!

Tabs Out | Adrian Knight – Vacation Man

Adrian Knight – Vacation Man

1.28.19 by Ryan Masteller

I wish I was Adrian Knight. I mean, not even a little bit – I WANT to be him, like BE HIM be him. That unflinching coolness is something to aspire to, and no reviewer worth their salt would ever omit the term “smooth operator” in a write up of one of his albums. I wanted to get that out of the way so you know I’m serious. I’m not joking in any way at all. I want to – no, I MUST attain a modicum of that lifestyle in order to truly feel like I’m a complete version of myself.

But to dismiss Knight’s laid-back cocktail funk as a put-on, as some kind of nu-yacht rock is a little disingenuous. This isn’t the Swedish expat’s first rodeo, as he’s got a couple other releases on Galtta, both of the solo variety and as part of Blue Jazz TV, and elsewhere, as part of Private Elevators and Synthetic Love Dream Ensemble. He’s an unstoppable force of dreamy, self-reflective and utterly streamlined songwriting, and he continues to hone his craft into amazing disco-pop-funk reveries. Kind of like if fellow countryman Jens Lekman ended up fronting a live vaporwave band, or something along those lines. That’s not even close to a perfect description. But it sure sounds fun!

“Vacation Man” will convince you that you need a permanent holiday from everyday business life, as if the boardrooms and the corner offices don’t hold the secrets to success that you once dreamed of. I feel this way too – I’m with you guys. But even though this is exactly the kind of situation the music of “Vacation Man” seems to shove into your imagination, it’s actually – and, shhh, it might be a secret – kind of a condemnation of it. See, the title track itself even goes “Stand down, Vacation Man, no one can save you now” on its chorus. Whaddayou mean by that?! Does that mean that every hope sprung forth by Adrian Knight here, every desire, is just a wisp of nothingness that’ll leave me hollow inside?

I don’t know what to think – I don’t even know who I am anymore.

No, wait – I’ll just press play on “Vacation Man,” then I’ll feel good about myself again. Well, until I realize what the lyrics are telling me, that is. Get your own copy (of 125) from Galtta!

Tabs Out | JRM – Clock

JRM – Clock

1.25.19 by Ryan Masteller

By now we know Tingo Tongo Tapes as the upstarts, the disruptors, the game-changers in this underground world of outsider music. Mike even took some heavy stock in them at one point. But TTT is nothing if not a fun bunch, and you’re never quite sure what you’re going to get with any one of their releases. That’s the exciting part – what’s gonna happen next? What fringe act are they gonna rip to tape before said fringe act disappears back into the ether? Are they gonna print the cover art upside down on the jcard? Are they gonna get the track order right?

The answers to all four questions are, we’ll find out here, JRM, yes, no. TTT today stands for Tingo Tongo techno, as shadow act JRM deals in propulsive longform microhouse on “Clock,” a charming full-length release and one of my favorites that the label has released. Over the course of an hour, the shady shaman serves up what SHOULD be a batch of electronic standards, dark club classics that pulse through PAs and seep into your bones, causing you to wiggle and jiggle, but in like a blacklit, robotic, German way. I don’t know what that means either, but I do know it’s a lot of fun. And I’m the kind of person who goes to bed at 10 p.m. and STAYS THE HELL AWAY FROM ANY CLUBS.

Kids these days.

You can buy JRM’s “Clock” from Tingo Tongo Tapes, but only by emailing them! Have at it: tingotongotapes at gmail dot com. I don’t know how many they’ve got left, it’s all a friggin’ mystery.

Tabs Out | Larry Wish – -Ning Bugs

Larry Wish – -Ning Bugs

1.24.19 by Ryan Masteller

Gosh, if I didn’t know that Larry Wish ran Bumpy out of Minneapolis, I’d be all like, yuck, Larry Wish and Bumpy have their hands all over each other’s business. It’s gross. But since they’re essentially the same entity, we can let it slide this time, instead pretending those hands are waving in front of our faces and leaving chemtrails because I think we’re tripping hard off “-Ning Bugs.” This is so disorienting – I wanna get comfortable and slip into this tape; I want it to caress my every pop fantasy and nourish me like a candy bar. But no – it’s making me think!

Also caressing my every pop fantasy too, I guess. Just in a cockeyed fashion that I wasn’t necessarily expecting.

Larry Wish recorded “-Ning Bugs” (slang for hounds, not some sort of Fraggle creature that lost its “Light”) in 2012, and here we are in 2019 with its delightful new physical presence in reissued and (finally) mastered form. It’s like it’s never been gone, like it hasn’t been seven whole years since its kaleidoscopic and off-kilter melodies graced our ears. Not that we should be upset or anything – Larry Wish certainly has kept us sated for Larry Wish–related musicality, and pretty much everything he touches could be described with “kaleidoscopic” and “off-kilter melody,” like he were fronting the Electric Mayhem as they melted under a heat lamp.

“-Ning Bugs” teeters on the edge of naïveté, but as Larry describes it, it’s a knowing naïveté, like you’re aware that you don’t really have a grasp on anything. While that might sound bleak – and this is the kind of dead-of-winter philosophizing you might expect in January or February in Minnesota – it’s actually quite freeing: there’s a lot that you can embrace and experience with that worldview. And Larry Wish – whose real name is Adam Werven (what?!?) – flits back and forth among the blooming flowers he’s imagining and painting his sonic canvas with vivid, celebratory colors. He even covers Stone Temple Pilots. I dunno man, when you’re in the right mood, you can do whatever you want.

So wave those hands in front of your frickin face till you’re all wobbly, then embrace the technicolor weirdness of “-Ning Bugs” in all its resonant glory. There are 100 of these suckers just waiting to be purchased.