Dethroned By The Comatorium. De - Loused In The Comatorium / The Mars Volta - Summer Demo Sessions (2002) Bootleg Review

After the release of Tremulant, and a small first official tour changing many members, The Mars Volta considered themselves more than prepared to record their first full length album. Changing from producer Alex Newport to something much more surprising for both the band and the fans: iconic Rick Rubin. It all lead to the recording sessions starting at some point in late 2002, on the Mansion in Laurel Canyon, California, leading to a number of early mixes and demos that got leaked online on the form of the "Summer Demo Sessions", giving some fans a look of what was to come regarding the band's music.

It is not certain how many of these demos/rough mixes were leaked online, but there is a possibility that the entire tracklist of De-Loused had been leaked, among with re-recordings of Concertina and Eunuch Provocateur, but the specific amount of tracks that floated around at the time is not clear, and maybe it will never be. Still, the more accepted number of tracks that came from this event are compiled into this bootleg. Eight different tracks that show the importance and weight of production that production/mixing/mastering can have on a final product.

Starting with an Inertiatic rough demo, already implementing the Son et Lumiere intro, extending itself a little bit more than on the final version, letting see the details that are used for atmosphere coming from Ward, just to then go to the dry version of the final song. Of course, since it is just a demo take with more likely some of the first attempts to produce the song, it is very rough around the edges (unpolished instrumentals at some sections, not mixed, with dry vocals), but it lets people witness the layers that would come to be complemented in the final release. Owen's keyboards have much more presence here (something that is not all that appreciated on the final product), while the bass (assumed to be performed by Flea during these sessions) gets lost in the background, and the drums can be heard more clearly than the rest of the instruments. But just taking into consideration the fact that all of these are demos, it is quite impressive the leap taken regarding the overall sound of the band, and it is understandable why people started to build a big expectation towards this record. The second track, the rough demo of Roulette Dares, follows on the same spirit of what could be seen on the previous song. There are some missing parts, like the guitar solo two minutes in just to name an example, and a lot of the background effects and elements found on the final version are not implemented, but the appreciation for the almost raw instrumentals is something to be appreciated for sure. This would be the only album recording where the band would play together on a same setting, and one can tell that the live energy is somewhat transferred to a more polished/cleaner studio quality.

After that, the Drunkship demo is the one that shows the importance that the effects, mixing, and production had to add to the immersion of the final product, and even to the live performances. There is a big absence of the sound manipulation and the use of effects for the instruments, the vocal performance feels much different with no modulation or reverb, the mixing is still something off, with segments missing, but then again, it wouldn't be a demo if it was (and even if it wasn't a demo, this is a great track). One of the last demos presented here is for Eriatarka, where there seems to be a search for the elements that would end up being used in the final master, presenting the same issues as the rest of the leaks. After this point, there are three rough mixes, songs very similar to the final versions seen on the album, with some minor details missing at some parts. In the case of Cicatriz, the middle section still lacks a lot of the atmospheric sound manipulation that would come on the final master. This Apparatus Must Be Unearthed is almost the exact same track as the final version, but with a lack of effects and sound manipulation, particularly in the end, where Jon's drum solo can be hear without all the FX effects and distortion going on. A very similar case happens with Take the Veil, where some bass segments are too quiet and other elements are plain missing, sounding less polished than the final counterpart, but still managing to be an outstanding track.

Finally, and the main reason why the leaks needed to be checked out, is one of the tracks that were recorded during these sessions, but ended up not having an official release. The Eunuch Provocateur re-recording, showing the potential of that the new production values added to the Volta sound. Comparing this mere "demo/rough mix" to the version in the EP and saying that it improved on every single front its just an understatement. The reduction of atmospheric experimentation from the Tremulant version in favor of a more layered track serves wonder for the song, with backing vocals, a better instrumental performance where every instrument shines (including a fantastic drum solo from Theodore), a superior vocal performance, foreshadowing elements of Fraces the Mute, and so many elements added to the track itself (including backing vocals to be reused on Day of the Baphomets), making it a highlight on the entire Mars Volta catalog. The balance between energetic performances with a polished quality makes up for a unique sound that is similar to a live setting, capturing the essence of the band on a great way, also giving out the name of the upcoming debut between the lyrics.

Besides all the main De Loused tracks, there were also recordings of Ambuletz, A Plague Upon Your Hissing, and Concertina getting leaked as well. Along side Eunuch, they would all be shelved (except for Ambuletz, found on special editions of the De Loused), never to see the light of day on an official release. Despite that, it all lead to a big expectation for the debut album of The Mars Volta. The demos here are highly enjoyable despite just being mere rough tracks that still needed work on them in order to see a proper release. And the culmination of all of that would be seen a year later, in 2003. But that is an extensive story for another time.

But for now, this is recommended for all fans who want to be deeper into the comatorium.

Overall Rating: 8.5/10

Favorite Track: Eunuch Provocateur / Take The Veil Cerpin Taxt

¡Échale semilla a esa maraca pa' que suene esta noche! / 2002/03/31 Osterrocknacht, Philipshalle, Dusseldorf (2002) Bootleg Review

Starting in 2002, The Mars Volta's reputation started to grow exponentially due to the fact that, despite their relatively small fanbase, their live performances were some of the most intense and energetic to be seen at the time. It is no understatement, Volta's early shows, even before their mainstream success, where they would explode on big stages, was something truly unique, and characterized for its frenzy nature. Ever since the first lineup started touring officially, even before the release of the Tremulant EP, the heavy drug use, the wild chemistry between the members, and the overall intensity delivered onstage was a staple of the band, and this 2002 live broadcast recording from the Osterrocknacht music festival in Germany is certainly proof of all those things.

This turned out to be an incomplete recording of the concert, since it lacks the performance of Cicatrix and its edited in a way that small interviews with the band are put between each track being performed live. It all gets arranged in a way that one can see how the band was usually backstage around this time, and it gives a closer look to how the interaction between all the members created some outstanding performances, very chaotic between all the complexity and energy that is being displayed onstage. Something that this also shows is that the description of "heavy drug use" used for this early period is no exaggeration. One doesn't have to be a genius to see that, during the interviews, the members are high as all hell, but they still manage to convey a message that is very close to their music.  

It is very interesting to see the De-Loused track starting to come into a place where they are complete, with new sections expanded compared to the previous live shows. Kicking off with Inertiatic, with an early version of the Son et Lumiere intro, with Ward's work far from the stage, but still being important to create a consistent and balanced sound, Owen's important keyboards to give ambient to what is going on (something that is sadly underappreciated in studio, with people not noticing the importance of the keyboard melodies to give the track rhythm), Gardner's potential as a very strong and talented bassist, keeping things relatively calm compared to the rest of the band, Theodore's explosive drumming (also a look at his talent starting to blossom at this point), Omar's heavy pedal use to his advantage, shifting in tone and sound from section to section on a really great way, and Cedric's intense singing and frenzy attitude on the podium. It is still not a complete track, but the way its presented makes it feel really worth watching, with every member performing the best they can, and it shows. Letting all the talent on the performance, the first interview shows Cedric and Jon stoned out of their mind, showing their charisma talking about Jon's cute red toes and both the members complementing each other.

After that, and the missing footage of Cicatrix, the Tremulant repertoire starts being played. And the performance of these three tracks certainly overshadows the quality presented on the EP on every single level. Cut That City starts things off in a great way, with the members going insane onstage, Cedric improvising some vocal segments (with Omar adding some backing vocals) and things getting to a crazy intense level where everything gets loud and every member shines with their instrument, all culminating in one of the best performances of the track. The second interview show's Theodore's view on how the band plays hard just like how they would like to see a band onstage, and his concern on how his hair looks. Following that up is one of the highlights of the concert, with Concertina being performed in a flawless way. Ward's sound management making no instrument overshadow the other, and presenting a stronger instrumental version than the one seen on the EP, with Owen's keyboard being a definitive highlight of the performance, and Cedric's vocals putting his Tremulant performance to shame, showing a lot of dynamism in his voice, very well achieved.

The third interview shows just how fucking stoned these guys were, comparing themselves to boybands and talking about getting with celebrities, all having a hilarious tone to it, but leading to the best stretch of the concert. It all starts with the climax of this concert, the best live recording of Eunuch Provocateur, being miles better than what is seen on Tremulant. This is something that has to be seen to be understood, which is something you can do, with every member entering a frenzy stage where the performance is some of the most energetic to ever be conveyed by any lineup of the band. Even going to the extent of having a little jam section, with Cedric dual drumming with Jon, and Omar dancing onstage while he screams in spanish, just to then return to the song, with Gardner and Owens providing simple atmospheric melodies that would later join the final chaos. Lyrics might be nonsensical, the song structure might be unusual, but this was The Mars Volta. Unique, frantic, organized, a blend of many influences, providing a fantastic performance from a wonderful group. Something that few bands have been able to replicate. 

Finally, everything closes with a still early version of Roulette Dares (titled The Haunt of Roulette Dares, not to far off the final title), showing a more complete version of the track, expanding on a lot of segments compared to the 2001 sections. Carrying the energy of the last track, it all makes up for a really mesmerizing and fierce performance, showing the high potential of the band compared to what would be delivered in Tremulant. Finally, it all closes down with the last interview, where besides the great Cedric line "We're like Neu! We're like fucking CAN! We're like Faust!" (not only showing part of the band's influences at the time, but showing a high way to describe how they felt back then) where Jon provides an actual message representing their attitude in a great way: "Everybody in this thing today, everybody spent their lives trying to learn how to play something. How can you say Rock'n'Roll is dead?...As far as our generation goes, I know a ton of people who have put all their time into trying to make sure they are doing something well". 

This first lineup of The Mars Volta wouldn't last for much longer, with Gardner leaving the band not long after starting the tour, ending a run that promised so much more in the future, but still, a bright future would come. However, the intensity was showcased on great ways, and at this point, John Frusciante and Flea from the RHCP had become good friends with Omar, and had aimed to help with the recording of the first album. It is a shame that these live performances managed to outshine the Tremulant song versions, showing why the band wanted to replicate that energy on studio with some production value added to the performances. Still, they would succeed at that in their own ways. It also shows how much the band would change after getting their shit together and leaving their drug use, showing a part of the group that was unusual to perceive. But when it comes to this early period, this something definitely worthy of being checked out. 

Overall Rating: 8.5/10

Favorite Track: Eunuch Provocateur 

In Denial, File This Under A Bridge That He Can't Leave / The Mars Volta - Tremulant (2002) EP Review

No one really knew what to expect from the members of At the Drive-In after they released one incredibly unique farewell album before they "took an undetermined hiatus" in the early 2000's. The many distinct styles and influences from every member came to a climax with Relationship of Command, but one could feel the very unique styles clashing together on one balance that indicated a lot of different paths that the band could take in order to expand their sound in future projects. However, it was that same clash of ideals that lead to the breakup of the band in two different groups. On the first hand, there was Jim Ward's more conventional approach to writing music, with the help of Hinojos and Hajjar he would come to start the band Sparta, debuting in 2002 with their studio work, receiving minor success. 

On the other hand, there was something that would be much more sporadic and recognized overall, and that would be the path that Omar Rodriguez Lopez and Cedric Bixler Zavala would take with their music. With the help of Jeremy Michael Ward and Isaiah Owens, De Facto would be born, letting their influences and performances dive into the experimental Dub side, leading to a very coherent and unique sound. And expanding upon the basic ideas found there, in 2001 they would incorporate Jon Theodore on drums and Eva Gardner on bass to then present the first lineup of The Mars Volta. Instantly recognized for their intense live performances, with heavy drug use and a more than unique sound, they would start building a name for themselves in small venues, where they played a repertoire of songs that were obviously on their initial stages, but still managed to provide a memorable and energetic show. This all lead to the recording of an EP later that year, being released in early 2002 under the name of Tremulant.

It was the official recording from the band to include Eva Gardner on bass, and it was produced by an old friend of Omar and Cedric, Alex Newport (known for producing In/Casino/Out and Vaya). With just three songs, this was the presentation card from The Mars Volta. The style of the tracks was certainly the bridge between the post-hardcore attitude from At the Drive-In and the technical and layered style that The Mars Volta would provide with their future releases. Based on the live performances, it can be determined that these were the tracks that were completed out of the entire setlist, mainly because the rest of the tracks were modified with the passing of one show to another. But all the essential elements that characterized the band can be found here, a perfect blend of the Drive-In energy and attitude, the atmospheric and psychedelic soundscapes that were provided with the sound manipulation and the interaction between instruments at some passages, and the complexity that Volta would bring at the table. The vocals were even more cryptic than what was seen previously from Cedric, with the lyrics being more visual and surreal, focusing more on adding to the music than on communicating something specific, something that would be carried and perfected over the course of each release. 

However, the EP does present a lot of flaws. To get things out of the way, the need to capture their live energy on studio would be something transferred to The Mars Volta. The main issue here is the same one seen on In/Casino/Out, it is a good approach, but still far from being a perfect replication. The chemistry can be felt, and one can tell that there is a lot of energy invested in the tracks, but the production feels unpolished, with some performances not working to their full potential. 

It all starts with Cut That City, that introduces itself with a two minute atmospheric passage were Ward uses his sound manipulation to create a relaxing and immersive passage leading into the classic sound burst into the start of the track. The instrumentals are great, Owen's keyboard playing going along well with Omar's frantic and unpredictable guitar, Gardner's calmed bass, and Theodore's bombastic drumming. Different time signatures, a focus on the sound effects with the pedals and the manipulation of certain elements, it all makes for a remarkable instrumental. However, the main issue here is the vocal performance, feeling very stiff overall, something that would be common on all three tracks, being the thing that takes away from the overall experience, contrasted with the big leap taken in future releases. It all feels very unpolished in the production section, where despite the many elements implemented, vocal manipulation, reverb, atmosphere, it all feels as if there was still a lot of work to be done in that regard.

The second track, Concertina, is also affected by all of this. What was one of their live highlights feels butchered by the vocal performance (evidently in the spanish bridge) and the production, where Cedric's voice has a weird modulated feeling to it. But still, the instrumental performance is great, showing an early peak at the dynamic between soft segments and intense explosions at determined points. Owen's keys take a big subtle presence here, with Omar's guitar licks being very unpredictable and rather unique, and the bass adding up to a more complete sound. Lyrically, this is supposed to be a track that references the thoughts and actions of Ben Rodriguez, who Omar and Cedric accused of tormenting Julio Venegas, but it all still falls under the surreal storytelling more focused on portraying an image than telling a coherent story. With better vocals and a much more polished production, this would be a perfect track, but it is still something really enjoyable.

The last track is the one that certainly shows a more unique "Volta" personality to it, being the longest song on the album and being the one that expands all the concepts seen on the previous tracks on a very distinct way. Omar and Eva's coordination opening the track, to then give place to a really dynamic and segmented instrumentation. Just with Theodore's drumming alone we can see the complex qualities of the time signatures, going from 4/4 to a 3/4 section before a small atmospheric break just to then burst once again. After this, it all leads to the three final minutes, where the intensity of the instrumentals gets carried to the closing atmospheric section, where the production value and Ward's sound manipulation come into play offering an immersive segment full of details like reversed vocals and reverbed soundscapes, ending up the EP in a really nice way (but still being very different and shorter than the live versions, with the band experimenting and jamming together instead of providing those soundscapes). This is the track that would be the most similar to what the band would do next, showing elements that would be fleshed out and used in diverse ways, while presenting a glimpse at the dynamic and varied compositions. The lyrics are at their most bizarre here, with the vocals being used more as another instrument than a complementary element. Despite there not being a clear message or concept, it is all very psychedelic, not aiming to be understood, just enjoyed throughout the rhythm and vocal performance. This would be the track that easily shines above the rest, with even a foreshadowing at the title of the band's first album in the lyrics, and it is the one that manages to work with the production the best, but it still has a lot of space for improvement.   

The quality of the songs found here just wasn't even close to the energy and intensity of their live counterparts. A great example of that is this performance of Eunuch Provocateur in Osterrocknacht, Germany, with the same lineup, around the same dates as the release of the EP. Without the need of production values, just with pure onstage collaboration between all the members makes up for a more lively and unpredictable performance, feeling sporadic but still full of precision and a noticeable potency. It has a lot more to offer, with every member shining on their respective instrument, offering a more than outstanding performance. Just like what happened with At the Drive-In, Volta aimed to replicate that live chaos on their studio recording, and it was clear that this EP was a first try at that, but it was still a lot of work to be done (the band seemed so aware of this in fact, that when they got to enter recording sessions with Rick Rubin they re-recorded both Concertina and Eunuch, with Concertina providing for a much more lively vocal performance and the entirety of Eunuch being executed in a much better way). But, despite all of that, this was a more than great EP to open a career with. 

Tremulant showed glimpses of a lot of things, and Mars Volta was starting to build a name for themselves with it, touring more and performing the best they could. Eva Gardner would sadly leave the band not long after their first official tour started due to the sudden death of her father, leading to the end of her short time with the band. Isaiah Owens would also see himself leaving the band for a bit within that same tour, but he would return for the recording of the first album. Both of those duties would be shorty fulfilled by Ralph Jasso on bass and Linda Good on the keys, both being kicked out of the band because of Omar's nitpicking with their performance and chemistry onstage. This new lineup would expand the live repertoire with more songs from the upcoming debut. All of this still provided for great live shows, making the band more known over the world, but the overall chemistry and energy was different, something that would be recovered and expanded in the future. 

While being far from something perfect or well accomplished, this EP showed members that were eager to expand their sound, to create a sound that defined who they were on a great way. The production values and performances would take a big leap in the next projects, but Tremulant was the start of everything. And for what it was, Tremulant was enjoyable and unique, being a sound that presented so many influences within its compositions, providing a remarkable first look at the wonderful music that would come. 

Overall Rating: 8/10

Favorite Track: Eunuch Provocateur

Acuestate En La Tierra De La Realidad De Tu Sueño / The Mars Volta - 2001/10/31 Dallas, Texas (2001) Bootleg Review

Just at the beginning of the new millennium, At the Drive-In's third studio album showed a band that went through a long road in order to achieve their studio masterpiece, a project where all the creative ideas, influences, and performances blended together on one great recording that had a lot to offer. However, after that point, two different points of view born out of creative differences and the feelings of the members regarding the project were formed within the band, leading to an eventual breakup. The first group was lead by Jim Ward's vision of moving towards a much more conventional and alternative branch of rock, where he was joined by Hajjar and Hinojos forming Sparta. And the second one was formed by Omar Rodriguez Lopez, Cedric Bixler, and Jeremy Michael Ward, who wanted to make something much more unconventional, psychedelic, and experimental, so they separated and, after teaming up with keyboardist Isaiah Owens, formed the Dub jam band De Facto. Despite the fact that the run of that band was mostly made up by live jams, it marked an important part of the next step that the band would take in the future. The members managed to find their chemistry onstage and on studio, with an experimental focus on their sound, blending their many influences into one unique form of heavy psychedelic/atmospheric Dub. Not only were they starting to find their comfortable spot in their compositions, but one could slowly feel the ambition to achieve something much more accomplished and "complete". All of this lead to the incorporation of Eva Gardner on bass on De Facto, making Omar switch to guitar, and then Jon Theodore on drums, with Cedric shifting to main vocals. And  that is how, in 2001, the first lineup of The Mars Volta was born.

One thing that characterized The Mars Volta in comparison to any of the previous projects that any of the members were involved with was the fact that there was a much more bigger focus on writing and elaboration of the track. However, it wasn't an entirely collaborative effort. It has been stated that one of the reasons why Omar got tired of At the Drive-In was the fact that the song-writing and compositions required a reunion between all the members, and he felt very limited that that sort of creative process. The direction that Omar wanted to take could be felt on De Facto, but much more clear on The Mars Volta. He wrote all the music and Cedric helped in the process with the lyrics and some parts of the songwriting, while the rest of the band followed the tone and compositions that were already established, expanding on these parts on their own unique way. And what made all of that work, and what lead to members staying consistently on the lineup for years, was the chemistry that was felt when they all played onstage, something that was being built ever since the De Facto days, but that found its proper execution and notoriety on The Mars Volta. Omar and Cedric wanted to take their previous post-hardcore project to a place where they made their own version of Pink Floyd's "The Piper at the Gates of Dawn", one of the main impacts in their songwriting. Tackle music on a psychedelic, technical, precise way, with music that blended all their influences, all their careers, on one coherent sound, where the performances were energetic and the music was organized lunacy, where every single instrument had a reason to be. And the slow process of coming up with ideas for songs and working on them until finding their final form can be tracked down to the very early live shows from the band, and one example of that is their 2001 performance in Dallas.

De Facto already found some moderate success mainly due to the fact that it had the reputation of having members from "El Paso's At the Drive-In", but they still had to play in small gigs and concerts in order to build a name for themselves. Same thing happened with The Mars Volta, starting from the ground up, playing in small venues, where they were free to start showing their true colors with their heavy drug use (another reason for Omar and Cedric's departure from their early band) and their intense performances. That can be felt in many ways during this show, where the band plays a lot of early versions of their songs, showing that they already had very basic ideas on how their music would sound like and how it would be structured. The overall compositions and performances convey a big attitude carried from "At the Drive-In", but expanded into a much more technical, energetic, and psychedelic place, were everything is calculated while still letting space for improvisation and demonstration of skill. Theodore's intense drumming, managing to stay at the pace of Omar's frenzy attitude on the guitar, being very dynamic and pedal heavy, with Gardner's talent on the bass, showing a big ability with the instrument, Owen's subtle and atmospheric keyboards, offering some immersive passages and almost background playing to complete the tracks, Ward's almost unnoticeable sound manipulation, and Cedric's energetic vocals, very varied and potent. At this very early stage, it is evident that the music was still finding an identity of its own, but it still felt as a big breath of fresh air coming from a band of the early 2000's.

Kicking off, as it would become a tradition on that period for them, with Inertiatic, early version of Inertiatic ESP, where the track starts off with a fast paced drum intro instead of building atmosphere with Son et Lumiere. It is still a very early version of a track, even for a live performance. The instrumental pace and basic structure is there, but there are spaces that feel incomplete, specially on the last section, but it all still managed to be effective. The incredibly charismatic and intense stage presence from the band is something that characterized them from the very beginning, and even in such a small space like this one they let themselves dominate every inch of the podium. The performance is as energetic as ever, very anxious, rushed, precise, with every member interacting in a great way, even starting show their heavy FX use onstage, with the already iconic drops and unusual song structures, and Cedric being one charismatic vocalist, almost frantic on the way he moves around the stage. It all leads into a small atmospheric section, just to transition into the early version of Cicatriz ESP, Cicatrix, where the very bare bones of the track can be felt, being a hint of what would eventually one of the most extended songs by the band on studio and on their shows, with the choruses and the verses being present very early on. The important thing here is the fact that the live jam qualities that the members had built on De Facto were expanded here, showing a lot of segments for improvisation on their shows. The main difference relied on the fact that Volta's improvisation was very technical and coherent, despite it being a jam section, there were lyrics, melody, groove, rhythm, being extended for an uncertain amount of time, and one of the early examples of that is the extended jam at the end of Cicatrix, named by fans "Caught in the Sun". Very relaxed, energetic, and a sign of what would be elaborated in the future.

Then it all leads to the two songs that feel the more accomplished and completed from the bunch, Cut That City and Concertina. These wouldn't be very different from their studio counterparts instrumentally, but the performances are the thing that sell these as something to behold. Much more lively, intense, frantic on their execution, almost like what the finished versions of the songs should have been. Both of these are the ones that fall more into the "short" structure of At the Drive-In, carrying a similar energy to what Omar and Cedric would have done on that era, its much more layered of course, and it shows a lot of the future things to come. Cut That City has the rushed tone, presenting more complex writing, and Concertina has the energetic dynamic between soft segments and chorus bursting in sound, incrementing as the song progresses. The focus on effects, the cryptic vocals, the keys and the bass adapting to every tone, the intense guitar playing, and the bombastic drums; they all find their place on a memorable performance. And finally, it all leads to Roulette Dares, the final song, and the one that shines above the rest of the early versions being performed. It feels very similar to what would be found on De-Loused, taking the concepts from the two previous songs and expanding them to a longer track, with different segments that have their own tone and mood, while still feeling part of the same experience, presenting the soft section transitioning into an incomplete final segment, that slowly dies down on a calm way, ending such a concert on a very high note.

Even so early in their career, The Mars Volta presented itself as a very creative and unique band, with their own sound and presence onstage. Despite the early versions of the tracks, they all make up for a very memorable experience, very enjoyable and chaotic, despite it all being calculated and written in order for the band to carry the songs forward. Despite the fact that Omar even got to call himself as a "dictator" within the long run fo the band, it is evident that he managed to pick musicians that had a lot to offer when it came to the performances as one group of different members. The chemistry is very evident, and it shows the potential from every single member before it was further pushed to its limits in the following years (and showing that Gardner was a more than talented bassist that could have moved forward with the band). A must listen for all fans, thankfully being available on its entirety on youtube, and one interesting look at the early stages of a band that would continue to expand their identity with each new show and compositions performed on such vibrant and intense ways.

Overall Rating: 8/10

Favorite Track: Concertina / Roulette Dares

Tell Me Are We All Dying? Dying To Confess? / De Facto - Legende du Scorpion a Quatre Queues (2001) Album Review

De Facto's studio career, despite its short run due to the fact that all their releases were issued at different points of 2001, was surprisingly varied. Their first official EP presented a Dub project focused heavily on sound and atmosphere experimentation, with a lot of layers used due to the fact that it was the only release to be made with actual studio production. The three tracks were short, but highly calming, enjoyable just for a quick listen. But despite the laid down spirit, it presented a lot of the ideas that made De Facto such an special and important band for the transition of the members into what would eventually become The Mars Volta. The latin influences, the atmospheric passages, the dialogue sampling at some points, the live jams that had a lot of mesmerizing technicality to them, and the overall chemistry between the members. And all those ideas would be even further expanded on the band's debut album, ¡Megaton Shotblast! This would come to be the place where all the members were given the chance to experiment on home studios, to expand their sound into a range of different influences that all lead to the creation of  a unique and surprisingly varied album, where the Dub factor isn't the prominent element, just becoming one of the many elements used all around. In many ways, this project became the most evident place where people could track the many elements in atmosphere and influence that would become a part of future projects where Omar Rodriguez Lopez played a big role. It wasn't perfect or overly ambitious, it was just a group of people coming together to improvise in order to create some psychedelic delights that had a lot to offer with the layers that they were built upon, crafting highly enjoyable tunes. But after this point, what was to come?

In October of 2001, not long after the release of their first album, the band decided to re-issue their first EP under the name "How Do You Dub? You Fight For Dub. You Plug Dub In.", and one could see the leap that they had taken considering the quality of the rest of their catalog. Some songs presented here would have been expanded on their live performance, but on this state they stand as simple snippets from a band that would go onto fleshing out the concepts properly. Relatively short "songs", making up for a twenty minute experience, where the main ideas from the band can be felt, but not in a way on which they are done justice. Coaxial's version here shows the atmospheric emphasis of Ward, with some minor drum playing, Owen's haunting keys, and Omar's background bass. Madagascar could be cataloged as the "highlight" because its the one that manages to work the elements the best on one of the longest songs on the EP, with Agua Mineral feeling like an underwhelming follow up that at least presents the latin influences that the group was using on certain tracks. Defacto experiments with the sound and sample manipulation, Thick Vinyl Plate differs a lot from its live counterpart, Radio Rebelde feels more like a nice novelty with some ambient focus and dialogue samples, and the closer, which is also the longest song on the release, seems to try and implement transitions between different segments, but it ends up working on a pretty mediocre way, lasting longer than it should. Despite this being a decent release, it showed the early period of the band in studio and the leap that they had taken on their studio releases, and even more, with the live jams that they managed to pull off. After this in November of that same year, the band released what would become their last studio effort, and their follow up full length album to their debut: Legende du Scorpion a Quatre Queues.

In many ways, what characterizes this release compared to the other studio projects from the band is the fact that this could be cataloged as their more conventional Dub album. Sure, De Facto were labeled as a Dub band, but their music and onstage performances involved a lot of unusual aspects when it came to creating a psychedelic, packed, and dense atmosphere. Legende is no exception, but it sure is the release that seems to present the least amount of experimentation out of the four official studio albums by the band. It is much more laid back, with a mood that is maintained throughout the album (feeling more repetitive than Megaton in many ways, but that is not necessarily a bad thing), but it focuses more on the reggae aspects than it does the blending elements together to create something new within that formula (also considering that it has only one feature compared to the surprising amount of guests on their debut), and having more notable differences with the production used in the different songs but still managing to pull off another record where tunes flow well between them. However, De Facto's sophomore full length album still manages to persist on being a highly enjoyable experience.

The opener, Legend of the Four-Tailed Scorpion, uses the vocals from guest Michel Edward to create a sort of ambient that sets the tone of the entire album, backed up by one of the most atmospheric tracks from the band, where Owen's keyboard and Cedric's drums have the biggest presence throughout the entire track, with Omar's subtle bass lines feeling almost unnoticed on the background, just like the many details that Ward implements at every given moment (even introducing some latin percussion for a brief moment). However, the track feels somewhat unfinished, feeling as if more could have been done with the ideas presented over the course of the song. After a sudden ending, a short piece comes in setting up the tone for the next track, transitioning in what seems like an abrupt way, but still managing to work, into AMKHZ. In many ways, this track feels like a taste of what their live performances felt like. Short, layered, loosen, but heavy on the Dub aspect, with some minor sound manipulation from Ward. It feels like the kind of track that one can feel expanded and fleshed out to a bigger extent on a live performance. 

And talking about live performances, what follows up is one of the two live tracks, and one of the definitive highlights of the album. Hoxadrine shows how impressive Legende is in the sense that the live jams feel almost indistinguishable in their execution and tone to the studio tracks. The main difference, of course, being that these live performances take their time to expand upon the ideas that are presented, fleshing out the concepts to a place where one can truly feel the potential. Hoxadrine is one of the songs that has a lot in common with the tracks presented in Megaton more than anything, but still presenting some interesting variation of the conventional Dub formula. The song feels dynamic and segmented, with parts where the tone and melodies take a subtle but noticeable change (felt more evidently on Owen's keyboards), while slowly implementing small elements until getting to the end of the track, where Cedric's vocals lead the track to its end. That all transitions into Muerte Inoxia, a studio track that feels as if tries to implement elements from the previous song into its own composition, pulling more focus on atmosphere due to Ward's heavy use of sound manipulation, and also presenting a nice break in the last segment of the song, but still feeling short and unfinished. However, that leads the way into the second highlight of the album, Vesica Pisces, an extension of the studio track seen on the first De Facto EP. While it doesn't present the studio production with the samples and vocals, it is still performed and expanded with a lot of grace. This particular live jam showed the ability of the band to evolve one small idea into one impressively relaxing and extended performance. Pulling a surprising amount of dynamic ideas with the sound manipulation offered here, with Ward's relaxing harmonica, Owen's psychedelic keys, Omar's now rhythmic bass, and Cedric's varied drum fills; all leading to a sudden ending, where the crowd cheers for the relaxing soundscapes that they witnessed.

The next studio track is presented as an alternative version of Cordova, one of the live jams seen on the band's debut. Shorter, more condensed, and with a heavier use of the production values to create more elaborated atmospheres with the keyboards and reverbed instrumentals. There is even an interesting vocal passage by Ward, which definitely feels as one of the stand out moments of the entire project. Despite all of these added pieces, the track doesn't get to the level of the live performances, feeling short and with an abrupt finale, making all of the added little details feel as nice novelties more than anything. That leads into the "original version" of 120E7, another composition already seen on the first official EP, with an alternative vocal work where Ward takes more presence vocally (interpreting what seems as the Omar background vocals on the EP version), and the field samples are also used to provide nice ambient to what is going on, with some minor percussion work at points. The similarities to the version on the EP are mostly on the instrumental side, but the other versions have much more to offer regarding their execution. All the elements here, taking into consideration that this is considered an "original version", feel much more well implemented on the EP versions, with placements and production that feel much more thought out and well put together. Finally, the closer of the album reintroduces Edward's vocals to end up things on a coherent way, with the album feeling as coming full circle, following up the instrumental ideas seen on the opener, just with more interesting use of the vocals right at the end. 

One thing to take into consideration is the fact that Legende is a shorter album than Megaton, and as stated earlier, it doesn't have as much experimentation or variation as that project. The experimental/almost electronic variation of Dub is certainly unique, but it feel more like a collection of unfinished tracks than an album that is straight forward with its ideas, feeling somewhat rushed on the studio tracks. However, what might feel as somewhat highly repetitive ends up being a joy to listen to, a surprisingly consistent album that, specially with the live jams, show the high potential of all the members and the chemistry that was held between all of them. Sure, there is much more to take from Megaton regarding the elements that the members would expand in the future, but Legende still presents itself as a highly enjoyable album, being able to be put on the same level of Megaton just for how all the tracks made up for a coherent release.

And in that way, De Facto's short lived studio run came to an end. The band would keep performing onstage over the years (but not many recordings of those shows have come to light), even getting help from John Frusciante at some points. After that point, multiple statements of new material being elaborated came to light, but no actual end products have been revealed just yet. However, Ward's death in 2003 and Owen's death on 2014 have made reunions or recording of new material appear highly unlikely. Still, this little project from a creative group of members still lives on with the interesting material that they managed to craft, capturing a high energy and talent despite the relaxed and psychedelic soundscapes. That chemistry between the members felt so high, and Omar's ambition to come up with new material diving into different genres blending all sorts of influences was really noticeable, that in 2001 they implemented bassist Eva Gardner and drummer Jon Theodore into the known De Facto line-up to dive deep into a new sound, where all that was built on that short studio run gave light to a completely innovative era for all the members.

Definitely recordings that are worthy of being checked out.

Overall Rating: 7/10

Favorite Track: Vesica Pisces / Hoxadrine

Nace. Y Nace Y No Muere. No Muere Señor / De Facto - ¡Megaton Shotblast! (2001) Album Review

After the first "hiatus" taken from the El Paso legendary band, At the Drive-In, the band was split on two big groups that focused their creativity on very different ways. Jim Ward, along side Hinojos and Hajjar would start tackling post-hardcore with alternative rock on their band Sparta, bringing some rather decent projects along the way. However, the other half of the group, with Omar Rodriguez Lopez and vocalist Cedric Bixler Zavala would start diving into a rather extensive and layered career full of experimentation fronting their recognized progressive rock influenced project under the name of The Mars Volta. However, before getting to that point there was a point of transition that many fans seem to overlook. After big shows, during At the Drive-In's big days, Omar and Cedric, along side Ward's cousin, Jeremy Michael Ward, would begin performing small jam sessions, and after deciding to become a full fleshed project, going back and forth with some members, Omar brought Ikey Owens on keyboards and the first consistent line-up of De Facto was born. Since the band consisted mostly on live performances on their home town of El Paso, studio recordings seemed unlikely. However, in 2001 a series of official releases from the project came into light, presenting a series of interesting ideas that touched the Dub genre.

Reportedly, the band had a first short-pressed EP released under the new self-titled name in 1999 (that would be later re-released as the second EP from the band), but their first acknowledgement of a first official project would come in the form of 456132015 (also technically a self titled release, under a numerical code), released in March 2001. This first effort cemented the fundamentals that the rest of the releases would follow. It is the only De Facto release that featured an entirely studio clean quality to it, and also being the only release featuring Cedric on vocals, besides the use of Jeremy's and Omar's backing performances. What ended up being offered here were three calm and incredibly layered tracks, that let all the members get loose to experiment in many ways (after all, it was mainly a project driven by live jams). It also has a big importance when one tracks down the transition from At the Drive-In's energetic and punkish attitude to The Mars Volta's ambitious technical and kaleidoscopic sound bonanza. 

Heavy focus of experimentation with atmosphere, with the blend of all the components to create a sort of surreal narrative that unveils with every passing moment (specially in both versions of 120E7, where Omar seems to be taking the role of someone who is asking for someone to call firemen due to the fire that is going around, and Jeremy's reverbed vocals on all three tracks, giving a rather unique and memorable feeling to his performance and the tracks). But there are some unique things that would start to shine from this project. In particular, Cedric and Omar's use of percussion to add flavor to the overall compositions, Owen's atmospheric keyboards, that sometimes have their own moment to shine and introduce themselves on a great and memorable way, and Jeremy's rather unique sound manipulation. What ended up being established from this early point was the rather laid back and experimental sound that was conveyed with each track, presenting De Facto as a project with unique performances from each member. Sure, Dub and Reggae were the predominant elements, but the latin and psychedelic influences were noticeable as well, ending up getting blended together on a really functional way. Omar's soft bass, Jeremy's soundscapes and harmonica, Isaiah's mesmerizing and subtle keyboards, and Cedric's rhythmic drums; they all managed to capture a really unique attitude that was presented on a consistent way, with tracks that didn't really aim to be masterpieces, just enjoyable tunes with trip-like layers put onto them. And a couple of months later, the band would expand on this concept even more with the release of their first full length album, ¡Megaton Shotblast!

De Facto's debut album is definitely a good example of what the band was as a whole. While the EP showed the potential of the band on studio with relatively short and "structured" tracks, ¡Megaton Shotblast! has a structure to it. A mix between tracks recorded live and the ones recorded at the members's home recording studios. All the elements found on the EP are expanded on their execution here, leaving space for extended jams and condensed tracks where the psychedelia comes into play. A lot of the elements found on The Mars Volta and even Omar's solo discography can find their roots here on a clear way. There is a bigger balance with the influences converging into the sound of the album, with big spaces for latin segments (later used by Omar on A Manual Dexterity) and atmospheric soundscapes that serve a lot of different purposes (things that would be used on De-Loused and Frances The Mute). There are also early signs of what would become a staple on the Omar projects to come, a great amount of collaborators to take place on different tracks, providing a big variety to the album's structure and flow. 

It is safe to say that the thing that was more prominent here was the bigger involvement of Omar regarding the music. There is an evolution regarding his experimentation with atmospheric segments compared to previous projects he worked in, with the help of all the remaining members, but analyzing future projects led by him, one is able to feel the amount of creative input that the El Paso guitarist started to have on the music (something that would increase even more on the following years). But at this point, De Facto was more focused on creating live jams where the relaxing tone was the main event, something that ran through the entirety of the album. Of course, since its mostly jams, big improvisations with one basic idea to expand on for huge amounts of time, some sort of repetition in the instrumentation and mood can be found, but it is definitely not a bad album. 

The album opens up with Manual Dexterity, a short introduction where Ward's sound manipulation and harmonica take the spotlight, with Cedric's reverbed drums and vocals start humming in in the background, definitely setting up the mood for the entirety of the project. Cordova is one of the live recordings present here, where over the course of ten minutes there is a bigger focus on atmosphere, with Owens putting a big focus on his keyboards, with dynamic segments shifting on tone and module, but still managing to showcase the talent from Owens on his respective instrument. Cedric's rhythm drums go incredibly well through the entire track, with some segments where all speeds up, with Omar's subtle bass almost fading in the background, and Ward's vocal sound manipulation helping with the atmospheric and relaxed soundscapes. It all gets expanded until fading slowly right on the end, where the bass is much more noticeable, and Ward's final vocal contribution closes everything, just to then hear the small audience clap. 

One thing that is notable on the entire album is that tracks flow really well into each other. In the case of the presence of crowd noises or dialogue samples, it is not really noticeable or annoying, and it all goes really well despite the presence of the live tracks. El Professor Contra De Facto is where the latin and salsa influences can be much more palpable, with Alberto Aragonez being the main feature this time around due to his noticeable use of percussion driving the entire track on this very experimental line of dub with latin and jazz elements. Fingertrap is one of the shortest tracks and the one that can be used to show the De Facto sound executed on a great way, Owen's haunting keyboards, Cedric's simple yet effective drums, Ward's distortion on some parts of the sound (being felt specially on the end), Omar's background bass, the different elements in the percussion, and even a feature of David Lopez on trumpet; they all make this one simple and catchy tune, with surprising amounts of sound layers that manage to capture the listener on a great way. It all transitions to Descarga De Facto, the second live jam where all the elements on Cordova can be felt once again, just under a different, more melodic way, with less focus on the atmosphere presented (also letting the latin influences be noticeable on the keyboards).

Mitchel Edward Klik, despite feeling like a track that drags itself longer than it should, lives up to its  name, presenting a more slowed down and sound manipulated song where everything goes into a dream like state, very psychedelic and laid down in tone (almost feeling like it recycles the previous tracks in order to provide certain samples). That leads to the third, and final, live performance found here, Thick Vinyl Plate. Despite being the shortest of the jams, it is still the weakest ones, mainly due to the fact that it is all presented on a rather rushed way, without fleshing out anything besides the atmosphere that Ward presents from the start. But still, it manages to be a very enjoyable and calm track. Coaxial is one of the longer studio tracks that tries to provide the same emotion as the live performances, having more in common with Thick Vinyl Plate than any of the other live jams, with the implementation of Owen's modulated keyboards and Omar's simple basslines at some points. Simian Cobblestone being one of the more straight forward tracks with the "De Facto sound" developing the atmosphere and letting every member have their respective moment over the course of the entire track and ending on a sudden way with Ward's vocal sound manipulation. The closer Rodche Defects, is one of the highlights of the album due to how well it manages to pull of the latin sound merged well with the dub elements so far, even getting to the point of Ángel Marcelo Rodríguez on vocals, Aragonez on percussion and Lopez on trumpet, providing a really complete track that fleshes out pretty nicely despite the relatively short length, ending the album on a high note.

De Facto's short length studio run was definitely something unique when it came out. All the elements presented make up for a relaxed project where the atmosphere and psychedelic elements are the main focus. The many influences from the band start coming into place on this project (and would be further expanded on The Mars Volta), with jams that don't aim to be something mind blowing or extremely technical/masterful, just calm and enjoyable tunes to let the mind float with the soundscapes being presented. You can see that live talent from the band right here, and then come to recognize the great way of how it was transmitted through this debut album. And despite the repetition or simplicity that is provided here, the talent displayed on every track can not be denied by anyone. The reggae and electronic elements get lost with all the unique sounds that are being implemented, creating an album with an identity of its own. 

The members to what they have to do, having fun onstage, and crafting highly enjoyable music.

Overall Rating: 7.5/10

Favorite Track: Rodche Defects / Fingertrap / Descarga De Facto / Cordova

Sabe Que La Lucha Es Cruel y Es Mucha, Pero Lucha y Se Desangra Por La Fe Que Lo Empecina. / Julio Sosa - 20 grandes éxitos (1976) Album Review

El Tango es una parte de la música que siempre ha estado en busca de una definición concreta respecto a lo que representa tanto musical como emocionalmente. Surgido de una mezcla ciertamente única y reconocible, pero que sinceramente es difícil de llegar a describir de manera teórica. Aun así, dos cosas son seguras. La primera es la evidente influencia europea que presenta en la mayoría de su identidad, poco a poco adornada con otras vertientes latinas y extranjeras. La instrumentación ya icónica reconocible por el uso del bandoneón, el piano, y el violín; formando parte de composiciones orquestales que danzan entre la elegancia, la picardía, y la melancolía. Lo segundo, las múltiples voces que acompañaban a estas composiciones, que daban vida a los temas, a las atmósferas únicas que se presentaban. Carlos Gardel, Roberto Goyeneche, Edmundo Rivero. Y el maravilloso Julio Sosa.   

Julio Sosa, El Varón del Tango, figura prominente del género del cual se extrajo dicho apodo, que prosperó en el mundo de la música a pesar de las amarguras y las algarabías que la vida le llevó a sus pies. Uruguayo en sus orígenes, nacido de la pobreza, ejerciendo cualquier oficio que se cruzaba por su camino, casándose con tan solo 16 años, quedando soltero a los 19, para luego mudarse a Argentina con 21 años. 15 años de trayectoria lo llevaron a marcar una carrera exitosa, participando en orquestas con las cuales llegaría a sacar varios de sus grandes éxitos. Un trágico accidente de automóvil lo llevaría a su muerte en 1964, falleciendo a la edad de 38 años, finalizando una carrera que apuntaba a muchas más cosas en su futuro.

Aun así, Sosa es mantenido como uno de los íconos de toda la historia del tango. Su trayectoria musical dio fruto a un gran número de interpretaciones inolvidables, eternas dentro de la historia argentina. Su carrera fue relativamente corta, pero aun así fue fantástico el legado que se dejó por detrás. Esta compilación presenta lo que ofrece en el título. Veinte canciones que sangran tristeza, que se ven rodeadas por nostalgia, y que hablan de rencor, amargura, melancolía, pero, sobre todo, añoranza a un amor que ya fue, o que quizás podría ser. Pero ¿Por qué esta compilación en específico?

Pocas personas dentro de mi vida tuvieron tanto impacto como mi abuelo.  Cuando era pequeño, apenas entrando en la adolescencia, no había varias cosas que me sacaran de la depresión y el aire de desánimo que sentía día a día. Pero cada cierto tiempo, en vacaciones, tenía la fortuna de ir a casa de aquellos viejos a acompañarlos, estando tranquilo, contento. Mi abuelo padecía de Alzheimer, y al encontrarme consciente de su situación, me encantaba hacerle compañía en su habitación y en el patio de la casa, en la cual él tenía su asiento para reflexionar durante horas, junto a los perros que nos hacían compañía.

Aquellos eran los pocos momentos en los cuales dejaba de lado mi música para escuchar lo que sea que aquel hombre estuviera escuchando. Música folclórica, temas del ayer, programas de radio de una estación que nunca cambiaba, y tangos. Cambalache fue el primer tema de tango que llegué a escuchar en mi vida, y me llego a hipnotizar tanto como lo llegaba a hacer para mi abuelo. Dentro de toda la miseria que estaba siendo comunicada, Julio Sosa mantenía una elegancia, un tono constante que conducía toda la canción a algo disfrutable, memorable, irónicamente alegre. Nada, Madame Ivonne, María, En Esta Tarde Gris; excelentes temas que presentaban la picardía, el sarcasmo, la amargura, y el amorío exagerado que cargaban las distintas historias siendo presentadas con tal instrumentación icónica, con tal voz tan reconocible como entrañable.

No sabía, ni tampoco se, en detalle la clase de vida que mi abuelo había llegado a vivir. Sabía uno que otro detalle, pero lo suficiente para reconocer como aquella música lo transportaba a algún lugar en sus años de juventud. Era la figura que consideraba mi modelo a seguir, no por lo que hubiera hecho, sino por donde se encontraba. Dentro de su condición no paraba de destellar con carisma, con agradecimiento a estar vivo, con un claro amor a sus nietos. Una de las pocas personas con las que realmente me llegaba a sentir tranquilo, a salvo. Con aquel sarcasmo y humor que solo era equiparado por Cambalache. Es por eso que su fallecimiento fue un peso demasiado grande. Saber que no volvería a llegar a sentarme a su lado por una última vez, sin siquiera haber podido decir un adiós. Es entonces que revisitar a Julio Sosa por mi cuenta tuvo mucho más efecto en mí, llegar a comprender la tragedia y la pena que ocurría en la atmosfera de la música.

Mucho cambió luego de aquel suceso. Debido a que era muy cerrado con los demás no era fácil compartir esta emoción con cualquiera. Es por eso que abrirme de esta forma la segunda persona en mi vida a la que llegué a estimar tanto como a mi abuelo significó mucho para mí. Una alegría que tuvo la fortuna de ser larga, pero que acabó de manera brusca. Volver a visitar los Tangos de Sosa con aquella nueva sensación adquirida hizo comprender lo universal y poética que llegaban a ser las canciones. Uno, Que Falta Que Me Hacés, Rencor; todos estos temas no simplemente eran nostalgia pura, hermosa, sino que ahora eran empáticas en muchos sentidos. Amargura, sarcasmo, ironía, pero amor puro que perdura a pesar del tiempo.

“El ancla más linda que ataba mis sueños. Era mi amor, pero un día se fue de mis cosas, y entró a ser un recuerdo.”

Hay algo dentro del Tango que comunica lo que es sentirse vivo dentro de la tragedia. No hablan del amor como un recuerdo placentero, hablan de aquellas experiencias que marcan a una persona, llevándola a añorar un futuro mejor, incluso con el sentimiento vivo dentro del corazón. Incluso dentro de toda la fineza que se presenta, la emoción es pura. Y considero que esta colección de temas son los que presentan aquellas características de la manera más evidente y bella que se podría llegar a encontrar. 

Lo dice el mismo Sosa en su interpretación icónica de La Cumparsita:

“Porque el tango es fuerte. Tiene olor a vida. Tiene gusto a muerte.”

Soy una persona totalmente distinta a la que vivía en aquel ayer, pero no hay nada que yo no daría por volver al lado de aquel viejo al que yo quería más que a mi propia vida, por escuchar una última vez aquella voz juguetona que al mismo tiempo se preocupaba por su familia. Años después de su partida, de experiencias distintas, de vivencias hermosas a la par de desagradables, aún anhelo volver a dejar el estrés por detrás para regresar a casa de mis abuelos y entrar a aquel cuarto a pasar horas tranquilo escuchando toda clase de música de aquella radio negra más vieja que todos los años que me encontraba vivo. Para revivir el sentimiento de alegría y tranquilidad que espero alguna vez volver a replicar en su totalidad. Aun así, los recuerdos siguen apegados a mi ser, tan eternos como los temas que se encuentran en esta compilación.

 Incluso si estas no son las canciones exactas que sonaban en aquel entonces, me da una extraña sensación de relajación y nostalgia. Es lo más cerca que puedo llegar a aquellos tiempos, y no podría estar más agradecido por aquello.

Hermoso.