Buzzard Buzzard Buzzard – ‘Skinwalker’ (Communion Records)

Buzzard Buzzard Buzzard – ‘Skinwalker’ (Communion Records)

‘Backhand Deals’, the debut album from Cardiff based indie power pop sensations Buzzard Buzzard Buzzard made waves amongst those in the know back in 2022. With an image straight out of a Hanna-Barbera cartoon circa ‘77 and an album choc-a-bloc with radio-friendly singles such as ‘New Age Millennial Magic’ and ‘Good Day’, they channelled the pomp and circumstance of Queen, the guitar-driven glam rock of T Rex and the quirky songwriting magic of Jellyfish. How could they fail?

Fast forward 2 years and the band’s sophomore long player ‘Skinwalker’ sees singer and main songwriter Tom Reese take his band in a different direction than anyone could have expected.

In the lead-up to this album’s release, Buzzard Buzzard Buzzard opted to tour playing none of their older songs. Apart from the recent singles, it was all unfamiliar songs. A very brave or a very stupid move depending on your perspective. Turns out that there’s a newfound intensity to Tom’s songwriting and these songs sounded fresh, vital and cool as fuck in a live environment. I snapped up a copy of the tour exclusive ‘blood splatter’ vinyl from the merch stand without hesitation, as soon as the band finished playing.

‘Skinwalker’ is a rollercoaster ride through the mind of Tom Reese as he comes to terms with depression, anxiety and a trip into therapy. As well as the metaphorical nods to the shifts in the band such as the album title and the Blair Witch styled cover art, there are the physical ones. Gone are the stripey jumpers and the quirky haircuts, the singer has shaved his head, wears Black Sabbath t-shirts and has penned a set of tunes that seem to be a reaction to the definite power pop of the debut.

The trademark layered vocals are still omnipresent, but the music is a gargantuan alt-rock, fuzzy monster. The album opens with a doomy, heavy metal chord that will make you jump and reach for the volume button before we glide into the first single ‘National Rust’, a Talking Heads-inspired alt-rock ditty, full of glorious bass and drums. Next, the Sabbathy fuzz of ‘Chew’, with its rising dance beat and lush harmonies takes over.

The brilliantly titled ‘My Starsign Is A Bassett Hound’ is next level. It was a standout live track for me and showcased not only great songwriting dynamics but also what an outstanding drummer they have. It verges on prog rock, and I mean that in a good way. Layers of Queen-like vocal harmonies cry out over stabs of rhythmic beats and furious, fuzzy guitars, it sounds massive.

The ghost of Silver Sun rears its golden skin on the fuzz-drenched ‘Sugar Sandwich’. With its sublime “sugar, sugar, sugar” refrain, it’s an earworm that remains after multiple listens. And when we flip the record over ‘Leather Bound’ has much the same impact. 

We delve deeper into Tom’s headfuck with ‘Therapy’, a six-minute plus dark and macabre alt-rock dance tune that rides on a throbbing bass groove and comes on like Viagra Boys for the win.

Epic closer ‘Night Of The Skinwalker’ is a full-on 70’s glam rock throwback, like Freddie Mercury and Richard O’Brien directing a Black Midi opus. As theatrical as it is guitar-driven, it feels like a hellish journey through one man’s headfuck as we come out the other side intact following a massive crescendo of noise.

Changing your sound, and your image and discarding your back catalogue is a brave move for any band no matter the stature, and ‘Skinwalker’ is a literal shedding of the skin of one of Wales’ finest musical exports in recent years.

If you witnessed them live recently, you know how good these tunes come across, and what a beast of a band they have become. If you are one of the few diehards that flicked ‘em two fingers and walked away because they didn’t play the old stuff, then more fool you!

Once this album has worn in and the dust has settled, it could turn out to be Buzzard Buzzard Buzzard’s ‘The Holy Bible’ or Tom Reese’s ‘The Wall’. And whether they do play the old stuff again in future, or implode after 12 months is anyone’s guess, but at least I can say I was there when they changed their world.

Seek out ‘Skinwalker’, buy ‘Skinwalker’, and experience the blood, sweat and tears that have gone into making one of the standout surprise releases of the year so far.

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Author:Ben Hughes

The Unknowns – ‘East Coast Low’ (Drunken Sailor Records)

The Unknowns – ‘East Coast Low’ (Drunken Sailor Records)

The European release of The Unknowns second album, released on Bargain Bin Records in Australia is now out on Drunken Sailor Records in the UK.

The recently expanded four-piece has been bolstered by the addition of The Chats’ Eamon Sandwith on guitar, sees this Brisbane no-nonsense punk release their no frills just business album ‘East Coast Low’. It is not rocket science, it’s punk rock and it’s top-notch punk rock. It manages to draw from some pretty catchy pop tunes and collide it with ragged punk rock Aussie style it has the spirit of The Saints mashed up with The Ramones. It’s energetic, melodic, catchy and bang on the fucking money.

It all kicks off with the infectious big riff-a-rama of ‘Shot Down’. Its snotty, raw and bouncing with attitude. It’s the new school rockin the old school and has a ripping guitar break that’s not flash but spot on. You wont have to play it over and over to join in with the chorus but you’ll be on the bed with the tennis racket ripping out the solo before getting all sweaty with the feedback as the song crashes and burns. However, ‘Dianne’ is like the Dead Boys tipping up with a Ramones Chord book and a bunch of 77 choruses. Perfect!

Its not reinventing the wheel but its cruising along with the tool our forefathers left behind its thunder meets Dee Dee meets the Boys and of Course The Saints and threw them all in the back seat and went cruising round for a killer house party to crash. Garage punk, power pop, and straight-up rock n’ roll its all sewn into the rich tapestry that The Unknowns deliver.

‘East Coast Low’ is ten tracks of anthemic sing-along punk rock n roll and don’t worry about it dragging on it clocks in well under half an hour and is a no brainer if you are looking for a fix of snotty punk n roll done with a carefree attitude ‘Thinking About You’, and ‘I Don’t Know’ and ‘Beat Me’ are full of dumb fun and who doesn’t like that? Its like The Ramones never happened.

We’ve written about Australian Punk Rock and we’ll write about it again right here right now. Punk Rock is in safe hands with them folk down under they sure can rock n roll they do it just about better than most folks do you can now say that The Unknowns are going to come steaming to the front and centre of the cool kids looking for their next fix of sunshine, beer-swilling punk rockers The album crashes and burns with the blinding ‘Supersonic Love’ if AC/DC had grown up on the Ramones and Stooges and had short hair they could have sounded this good. Remember the name kids ‘East Coast Low’ is the Unknowns aiming high and on this evidence they’ve got every chance of success because they certainly got the chops, Buy It!

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Author: Dom Daley

Fast Eddy – ‘To The Stars’ (Beluga Records, Spaghetty Town Records)

Fast Eddy – ‘To The Stars’ (Beluga Records, Spaghetty Town Records)

Great records come in all styles and all genres and sometimes it’s the ones you least expect that bring you the most pleasure. Fast Eddy has been on the RPM radar for a while and this latest offering is head and shoulders the best thing they’ve done thus far and right from the first few minutes you hear the class and top songwriting oozing out of your speakers. The album’s title track is a rock-solid introduction to the album that just gets better with every play. ‘Lucky Strike’ might not be the mantra we should be endorsing but this is excellent “Steal a car Rob a Bank and smoke a cigarette” is certainly old school head space but one thing I do know is it’s one hell of a tune that burrows into your ear and heads straight for the brain and those good vibe receptors.

Fast Eddy embrace the old school when bands like Aerosmith and AC/DC only put four songs on each side of the album. The album veers through the rocky road of high-energy Rock and Roll with Guitar, Bass And Drums being the MO and uses the weapons to write and play the best songs possible. From the title track through ‘Lost Child’ to the high energy ‘Spirit Commander’ that penultimately closes this mighty fine record. Fast Eddy manages to mix pop sensible tunes (‘Grey Day’) with the more full-bloodied rockers they have shades of Cheap Trick mixed with the DNA of Iggy And The Stooges and a whole lot besides it’s a real melting pot of a whole lot of influences and out of the process they have a record full of energy and excitement as well as melodies and some really stylish playing. Produced by Tuk Smith it has the shine and confidence you’d expect but the bottom line is without the songs they’d be nowhere and they could have the best production ever but thankfully they knocked this album out of the park and fill it with earworms that keep on giving throughout. ‘To The Stars’ is an excellent album, You’ll have to trust me on this. buy It!

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Author: Dom Daley

The DeRellas want you to trust them for their new album

The DeRellas want you to trust them for their new album

Kickstarter Album Launch – Here

Trust Me, This Is Going to Hurt” is the Killer New Album from London Glam Punks, The DeRellas. 

Infused with the spirit of Dead Boys, Heartbreakers and MC5, it’s been three years since The DeRellas last studio album, and after tearing up stages across the UK and Europe, They’re ready to unleash another glorious slab of fiercely independent, in-your-face rock ‘n’ roll.

With a darker edge than 2021’s Something’s Got to Give, “Trust Me, This Is Going to Hurt” is fishnets and fag ends, heartaches and hangovers. It’s a glam-punk goldmine. 

They funded two of their earlier albums through Kickstarter.  Your support has kept them independent and built a community of great people around the world who are more than just fans, you’re their friends and your belief means everything.  

By helping them fund ‘Trust Me, This is Going to Hurt’ you’ll be one of the first to hear and to hold the new album, and it means they can pay for studio sessions, pay for the best production – They’ll be recording at the legendary Pat Collier’s studio to ensure the album sounds as massive as it feels.  They’ll also be able to wrap it all up in quality artwork and packaging to make sure it looks as good as it sounds.  

Most of all you’ll help Keep Music Alive!

Rewards from CD’s to vinyl, Studio visit to private performances and more hit em up at the link – Here

The Scaners – ‘iii’ (Beluga Records)

The Scaners – ‘iii’ (Beluga Records)

Strap in and we can begin. Synth punks The Scanners rev up their engine for a blast of pure punk rock synth style. Blasting off into orbit with their sharp yet oh-so-enjoyable blasts of punk rock. It’s rapid, retro yet thoroughly futuristic from the opening energetic race off that is ‘No Return’ It is like friends are electric and whilst they might have one foot firmly planted in the Devo or Numanoid past they are doing it all on their own terms and mixing the furious punk rock/new wave with guitars very much involved there is a fuller sound with the pops and sequenced tweaks of modern technology and none more than the opening energetic blast that is ‘No Return’. This sets the tone for what’s to come.

This electro bop til you drop is rapid and contains boundless energy as the band blasts through the eleven tracks on offer you get whipped up in the maelstrom and I found myself daydreaming about what out there and would they welcome this soundtrack. ‘Brutal City’ is…Brutal I guess, it can be the only way to describe what’s going on. then the pace relents as the bass throbbing ‘Zero Gravity’ sort of mashes up the Britpop bass sound preferred by dare I say it Blur and their more Buzzcocks-inspired songs of their younger days. These gonzo synth punks kick up one hell of a shitstorm as the album careers towards oblivion as their Lo-Fi punches through your speakers tracks like ‘R.O.B.O.T.’ shift through the gears dreaming of space voyages whilst making one hell of a noise it’s a captivating ride and a lot of fun.

None of the songs overstay their welcome and are pretty much all short and very sharp. they also manage to create a variety throughout the record and it never manages to sound boring or samey and who doesn’t love those distorted Tubeway Army style vocals or that whirling synth on tracks like ‘Feel The Blade’ or the thrashing ‘Satellite Rain’ that race to its own implosion.

There are gems throughout this album and every play I think I’ve identified a new favourite song and ‘Cosmos Kid’ might just be the latest. Buried deep in the record its purposeful guitar riff is perfectly complimented by the keyboard tweaks and whirls that really mess with your head (in a good way of course).

I love that bands like Scaners exist and labels like Beluga release them I only regret more people don’t get fully invested in what’s going on. Pick up this glorious racket and spread the word The Scaners ‘iii’ is a banger, that’s a fact kids, let this into your musical orbit and strap yourself in for one hell of a punk rocket ride. Buy It!

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Author: Dom Daley

The Libertines – ‘All Quiet On The Eastern Esplanade’ (EMI)

The Libertines – ‘All Quiet On The Eastern Esplanade’ (EMI)

The Fourth Libertines album has been on some journey. After being put back for one reason or another the release is finally upon us. All the anticipation and build-up has been an age but that wait is over and ‘All Is Quiet On The Eastern Esplanade’ is with us, and if it could be summed up in one sentence (Which it can’t) it is fair to say its the most Libertines album you could wish for in 2024 – predictable yet unpredictable it weaves a rich tapestry as the band deliver what might well turn out to be a career highlight.

After a short run of tiny club dates to wet the appetite of the salivating masses the album kicks off in true swaggering ragged glory with the albums lead single ‘Run Run Run’ but that is only the start of it. Buckle up kids this is one hell of an album and as the band open up the ragged ‘Mustang’ as they go through the gears they enter cruise control for the Carl-led song that is masterfully captured on wax, this truly sounds like the band has managed to bottle that spirit and jour de vivre and give it a sound as they weave their merry melodies.

‘Have A Friend’ is Docherty rattling off the vocals, but it’s the energy they’ve captured here from the tight rhythm to the heartfelt lyrics that fall from his mouth – it’s pure audio joy before the relaxed and trippy ‘Merry Old England’ enters the ether. With a slightly dreamy tempo and piano leading the way it’s like a mature (should I call it that?) trip with the solid beat as Pete tackles how people coming to this island might view this land and a song of hope that the real beating heart of a country is still welcoming and hospitable and a place where people can come and make it their own adding to its rich tapestry wherever they come from and its all wrapped up in a very busy arrangement from the backing vocals to the lush string in its undertow. great song.

‘Man With A Melody’ is the record’s first ballad-like track. With its pace slowed right down and the vocals intertwined perfectly as the song unfolds having all voices heard on the twisting vision of a busker (Carls Words) but possibly the most un Libertines track on offer here showing you can indeed teach an old dog new tricks.

Back on brand ‘Oh Shit’ is a blast, shaking off any cobwebs and sure to be a live favourite. On offer with this new album is essentially eleven songs that weave their merry way via uptempo rockers and the slower more thoughtful songs as well as the more jazzy ragged numbers such as the gentle ‘Barons Claw’ as its loose barroom number complete with jazzy trumpet and piano tinkling and hushed late-night vocals.

The second side of the record is certainly a more varied ensemble of tunes than the opening side as the Libertines spread their wings. ‘Shiver’ sounds like Pete opening another chapter of his soul then ‘Be Young’ picks up the pace as Carl spits out the lyrics the energy of the verses then a handbreak turn on the chorus before the bridge of a reggaefied verse before tearing up the solo. An excellent song which only leaves the final thoughtful ‘Songs They Never Play On The Radio’ as the band gently signs off a rather splendid album that twists and turns and draws out the best this band can offer which is so identifiable and original without being original and delivering an album that will be tough to ignore. Exactly the album you want from these four reliable, adventurous, unpredictable but thoroughly excellent – A massive big up The Libertines and ‘Alls Quiet’ their perfect album for this moment in time. A band that it would seem to have found peace with who they are and how and where they fit in, and a sort of maturity (Libertines and maturity? Never) to change it up yet still be those lads full of piss and vinegar who know how to deliver their craft better than pretty much everyone else out of their genre. ‘All Quiet On The Easter Esplanade’ will prove to be a bit of a masterpiece, mark my words – Buy It!


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Author: Dom Daley

MILLIE MANDERS AND THE SHUTUP Announce double AA Side single and Tour

MILLIE MANDERS AND THE SHUTUP Announce double AA Side single and Tour

ANGRY SIDE // CAN I GET OFF?

DOUBLE AA SIDE 7” SINGLE – 5 APRIL 2024

ANGRY SIDE UK TOUR – APRIL & MAY 2024

Fresh from their recent Slam Dunk Winter Jam tour in January with Zebrahead, Teenage Bottle Rocket and [Spunge] cross-genre punk band MILLIE MANDERS AND THE SHUTUP have announced a double AA side 7” single to coincide with their previously announced UK tour throughout the spring.

ANGRY SIDE and CAN I GET OFF? will be released on 5 April alongside a range of new T-Shirts to help raise funds for Mercy Without Limits: https://mwlimits.org

Talking about the single, Millie Manders says:

“Angry Side is, I guess, a letter from my teenage self, apologising for being so angry and wanting to burn down the world. I had a lot going on back then and I hid behind bravado a lot. I suppose it’s also me telling my younger self that it’s OK to have been that angry when I went through a bunch of trauma that I couldn’t process well enough to deal with it all. I was a kid.”

“The western world is privileged because it has pillaged resources from everyone else in the world. We need to unlearn what we know and recognise the suffering people are going through as a result of our greed. Can I Get Off? is an outpouring of my frustrations about that and, ultimately, the reason we are fundraising for Mercy Without Limits.”

7” single and T-Shirt bundles pre-order: https://milliemanders.bigcartel.com/category/double-a-side

Riskee & The Ridicule/Split Dogs/ The Shunkos – The Cab, Newport 29.03.24

Riskee & The Ridicule/Split Dogs/ The Shunkos – The Cab, Newport 29.03.24

A sold-out Cab in Newport on a Good Friday Bank Holiday seemed like the only place to be as the South Wales punk rock community welcomed Port Talbot neerdowells to the stage for their Newport baptism on this most holy of days as they proceeded to entertain the gathered congregation to the ways of the steel towns finest exponents of what has been best described as pub punk. For the next thirty-plus minutes the band stormed through their repertoire of zero fucks punks rock at an impressive speed. The mostly uninitiated seemed to very much appreciate the music being doled out by these young guns who’ve just recorded their debut album of working-class punk anthems. Ending the set with their party anthem ‘Beer & Gear’ most definitely made everything alright. The Shunkos don’t take themselves too seriously but their music is honest and they do it very well indeed and are a ray of sunshine on any bill. Sadly several of the bands pulled out of the originally advertised show meaning next up were South West punks Split Dogs.

Split Dogs made the short hop across the border to perform their uncompromising street punk and they wasted no time in delivering their blunt yet really enjoyable set kicking off with the stylish ‘Why Does It Hurt’. Split Dogs are the go-to band along this stretch of the M4 and it’s easy to see why. They get on with the job and play uncompromising punk rock – it’s no-nonsense but they do it with a cheeky smile whilst chomping at the bit and snarling like a rabid dog. Songs like ‘Prison Bitch and ‘Lafayette’ land solidly on your jaw and in Harry they have the frontwoman to captivate as she covers every inch of the stage like a fireball, leading the band through their brutal set. Is it hot in here or am I having some sort of episode? Such is the intensity of Split Dogs performance tonight the place is a sweaty den of noise. The band finishing off with an intimidating ‘Tears of a Clown’ which seemed on point and there was no way they could top that – Job done. Another day another really enjoyable set from the impressive Split Dogs.

Headlines Riskee & The Ridicule take no time at all hitting the tight stage of The Cab and get on with the job of following two worthy support bands as they rise to the challenge and pump out the title track of their latest album of Grime meets Street punk ‘Platinum Statue’ and with a half decent sound things get messy as frontman Scott oozes passion and a love for his job of leading the band through what amounts to four albums worth of honest impressive punk rock. Scott engages with the appreciative audience as the pit gets off right from the opening title track of that fourth album. I reviewed Body Bag many moons ago it would seem and have caught sets from the band when they went out with The Bar Stool Preachers as well as sets at Rebellion Festival. After warming up (not that the venue needed warming up) the band hit their stride when they blitzed out ‘Molotov Cocktail’ the excellent ‘Kaboom’ and a splendid rendition of Lana Del Rays ‘Young And Beautiful’ before closing with a fantastic ‘Our Time’.

No bullshit, No encore, No fucking about it was turn up get on with business, do it to the best of your ability and get the fuck out of dodge and tonight Riskee And The Ridicule certainly delivered another excellent set. Top night of punk rock from three quite different bands all doing their music proud and all with new records either just out or on the way, Proving punk rock is alive and well and in safe hands. Also cool venues like The Cab being the perfect venue for nights like this. I love nights like this and I love punk rock – long live the underground! The only complaint would be no ‘Blue Jacket’ not being in the set but hey ho you can’t have everything. Next time yeah?

Author: Dom Daley

Laura Jane Grace – ‘Hole In My Head’ (Big Scary Monster)

Laura Jane Grace – ‘Hole In My Head’ (Big Scary Monster)

Laura Jane Grace is back with her fourth solo album ‘Hole In My Head’, which has taken a while to land at RPM HQ even if it has been out in the wild for a few weeks. After absorbing the content it’s fair to say its top notch Grace with all the vim and vigour of previous outings and fury of Against Me rolled into one but with a softer sound, it reminds me more of the acoustic ‘White crosses’ release.

‘Hole In My Head’ has all the expected ingredients and some of it is pent-up anger mixed with equal amounts of anxiety and a fair sprinkling of fear to keep the listener on their toes. Having long been outspoken and confrontational Laura Jane Grace is a major player on the alt-rock scene and rightly so.

It was way back in 2012 when LJG went public with her gender transition in the pages of Rolling Stone. The journey has stayed true to the angst and political outspokeness continues alongside the gender journey and all that goes on with it politics and the in your face lyrics rightly continuing.

Less Rock and more Americana acoustic guitar driven with Folk and poetry pushing more to the fore on this outing makes for a really epic and highly enjoyable record. but worry not because the more easy and gentler sound dovetails well with the more anarchic and roudy attack takes the songs in a different direction by using a different approach but it all makes for a thoroughly enjoyable journey for the listener.

As far as alt rock goes this is pretty much as good as it gets and all the solo work has enabled Grace to reach this point. the title track is a roudy affair with muted distortion overdriven guitars thrashing away for the vibrant and attention grabbing opener. ‘I’m Not A Cop’ is a little T-rexified but the Dylanesque ‘Dysphoria Hoodie’ is simple and powerful.

The stripped back nature of ‘Birds Talk Too’ really works well and whilst it sounds so simple that’s because Laura makes it sound that way. ‘Punk Rock In /basements’ is like an American punk rock ‘brim full of asha’. This is where the album veers off into a more laid back stripped bare acoustic offering which really works culminating in the final cut of ‘Give Up The Ghost’ where a thoughtful Grace delivers a moving and through provoking final swansong on what is a sparkling album that has the lot. Rebel songs for people who want some weight in their music and for it to mean something whilst entertaining them from start to finish with variety and plenty of charm. Buy It!

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Author: Dom Daley

Then Comes Silence – ‘Trickery’ (Metropolis Records)

Then Comes Silence – ‘Trickery’ (Metropolis Records)

As all of you gothic rockers out there know, it’s currently a very healthy, varied genre. Indeed, labelling music does it few favours; you either dig a band or you don’t. You can’t force it. But if we must define a genre, Then Comes Silence are, no offence, way ahead of their contemporaries. Perhaps in part because Alex Svenson has been writing and performing for a long time, honing the sound and range of the band. 

This, their seventh album, is the first on the Metropolis label, who were no doubt impressed by the ‘Hunger’ album released in 2022. From the opening notes of ‘Ride Or Die’, their sound is instantly recognisable, whilst across the album the keyboards are more prominent than before, which keeps it interesting and gives the band more scope. Alex refers to their bond, their dedication to each other; “you read my mind, I’m right behind, together we die”.

‘Like A Hammer’ is even more infectious, it’s on regular rotation chez moi. Apparently, each of their albums has “an ABBA moment, a Ramones moment and a  Judas Priest moment”, and this is their ABBA one. They certainly have a knack with addictive chord sequences, so there is that similarity. The metronomic drumming of Jonas really drives the song along.

‘Feel The Cold’ wraps layers of sound around your ears, pumping synths and simple, effective melodies. Since Mattias left, Hugo handles all the guitar parts, and as they’ve shown on their recent tours, this works really well live in conjunction with the backing tracks. ‘Tears And Cries’ is a dark, glam duet with shades of the Glitter Band. ‘Stay Strange’ melds a punchy riff to an unexpected middle-eight, and ‘Stiffs’, with its refrain of “if I can’t have your soul, I can take your bones” should alert the local mortician, with an end like a haunted merry-go-round.

‘Blind Eye’ is the kind of tune that longtime fan Wayne Hussey would be proud of; sinister and catchy. As he said, they’ve got the tunes and the looks. And, of course, Alex’s voice. But the ace up their sleeve (sorry) is that they are greater than the sum of their influences. They have created their own personality. ‘The Masquerade’ proves this by sounding only like Then Comes Silence.

‘Never Change’ has a chiming, spacious riff, similar to Killing Joke, while ‘Dead Friend’ gets a little heavier on the guitars. ‘Runners’ is one of their most atmospheric songs to date, a sign of their desire for progression without losing their identity. With ‘Ghost House’, the album ends on one of their most commercially accessible songs, worthy of radio play, in an ideal world. I’d already preordered, knowing that Then Comes Silence always deliver quality tunes. With every new release, more people are recognising that this band are special. Join us. W.O.O.O.U, as they would say.

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Author: Martin Chamarette