CROSSOVER PROG

— First review of this album —

MERGING CLUSTER or the fusion of the cluster in the language of MOLIERE.MERGING CLUSTER is also the "side project" of Gabriele MARCONCINI, vocalist of RAVEN SAD, a formation that I particularly appreciate and whose 2021 album had made the subject of a review and an interview on profilprog.

MERGING CLUSTER is a progressive and alternative music entity that has been dormant since 2014 and ten years is a long time if you haven't heard from the musicians, the title of the album is therefore more telling than a long speech. 'Ephemeral peak of light'. The origin of the project dates back to the winter of 2010 and the meeting of two former members of BIOFONIA (author of an album in 2005 "La Stanza - Anno 1"), Gabriele MARCONCINI (vocals) and Emiliano GALLI (keyboards) joined first by Gianfilippo INNOCENTI (guitars) and Roberto MANZANI (bass), the line up being completed a little later by Marco CASALINI (drums).

This "Peak of Ephemeral Light" includes the four tracks from the 2014 EP remixed and remastered, augmented by four new pieces for a work that exceeds sixty-eight minutes; note that the four original tracks were placed consecutively on the album (2/3/4/5) and in the same order as at the time. Let's start with the four rearranged pieces, the eponymous "Peak of Ephemeral Light" more rock than really progressive, with a rhythmic pair who brilliantly lead the affair (the sound recording of the bass and drums is remarkable), the guitar by Gianfilippo INNOCENTI being aggressive (in the good sense of the word), the keyboards of Emiliano GALLI more in the background except in the finale on the organ (8/10). Conversely "Subjective Doubles Syndrome", the longest piece on the record (by just a little) puts Emiliano in the spotlight in its introductory part, the six strings are very present but softer than in the previous track until 3:00 minutes, then more nervous while remaining melodic thereafter, the powerful singing of Gabriele MARCONCINI (with perfect English diction for an Italian vocalist) ensuring the necessary foundation for a great piece of progressive heavy music (10/10) ultimately quite close to metal.

The following title "Gift Undeserved", all restrained (music as vocals) until 4:00, reminded me of the heyday of the British airship, a piece at the crossroads again, alternative progressive in a way which turns out to be oh so brilliant and pleasant (10/10) with a sparkling six string players, certainly my favorite track of the entire work. "The Shadow Line", the last rearranged piece from 2014, plows the same furrows of progressive alterno rock with a more metal touch after the middle of the piece, although Emiliano GALLI's keyboards are on an equal footing with the guitar in fusion (like the name of the group!) by Gianfilippo INNOCENTI (9/10), it's seriously mind-blowing.

Let's move on to the four new titles with first of all "Dysrationalia" the introductory track, the keyboards first, the guitar then, the almost possessed singing of Gabriele MARCONCINI, very energetic reaching 3:16 (remarkable use of keyboards by Emiliano GALLI ), a melodic imprint which remains to be determined, hard rocking scents at times (DEEP PURPLE, RAINBOW see DEF LEPPARD), it pulses strongly in the speakers (8/10), a listen far from obvious which therefore generates a judgment complex that we find ourselves humming after several listens. Then "Planning The Renaissance" too ''gloubi boulga'' for my taste, I looked in vain for the musical score, that's all to say, I didn't like that Gabriele forced his voice there (which was otherwise excellent) , not at all progressive at all, disappointment and even more (5/10).

The penultimate piece "Land of the Wait" digs the same streaks as the previous ones, more rock than progressive, progressive alterno as I indicated above, in my opinion the most pleasant of the four new tracks (9 /10), the hushed singing of Gabriele combined with the ramblings of the two soloists and above all an interesting lyrical framework, a musical line to explore further in the future. Let's end with the relatively short "Over" more than six minutes all the same, one of the most rock (n'roll) pieces on the record, the ZEPPELIN mode is engaged here too, easily broadcast on the radio (we start typing the sole says it all), certainly a good track to warm up an audience in a concert (8/10), not my favorite but easy to listen to.

Conclusion since the vocalist is common to both groups, you should not look in MERGING CLUSTER, RAVEN SAD because you will not find any, beyond the vocal intonations of GABRIELE MARCONCINI it goes without saying.

Pattern-Seeking Animals (P-SA) is rather the prolific type. Born from the ashes of Spock's Beard, the group released their 4th album in 5 years: 'Spooky Action At A Distance'. Part of a Prog Rock that could be described as "classic", P- SA 's music is no less interesting and extremely refined. However, it will be necessary to go beyond a first listen which can leave a feeling of homogeneity without relief (lasting 1h33, bonus included!) to truly appreciate the richness of the different titles.

A rhythm worthy of a military march opens the album and "The Man Made Of Stone". This first impression is quickly forgotten when the comforting voice of Ted Leonard and the melodic power of the group intervene. We will note synthesizer sounds that catch the ear, excellent bass licks, and a magnificent cello part. An opening that sets high foundations.

A very 'catchy' synth/bass riff opens the way to "Window To The World", a track marked by a different rhythmic approach which leans towards Reggae. I particularly appreciated the placement of the vocal lines in this syncopated environment.

Once again, opening with a killer bass lick and an unconventional rhythm on "What Awaits Me". The title is magnificently served by the acoustic instruments (including unusual sitar sounds) and the contribution of the brass. In addition, the choirs are more present here, reinforcing the emotional side of the song.

Long development of more than 12 minutes, "He Once Was" is one of the central pieces of the record. A medieval/folk type melody introduces this title with superb wind instrument parts. Gradually, the title evolves towards more contemporary sounds, and we find rich instrumental sequences, an emotional "Floyd-ian" guitar solo followed by a sober but effective saxophone solo reminiscent of Supertramp.

"Underneath The Orphan Moon" has the markers of a sad nursery rhyme telling the story of a young girl who is expecting a baby and decides to leave home. The contribution of the brass reinforces the emotional side, and what can we say about the very unusual guitar solo!

Without transition, it's time for the up-tempo of "Clouds That Never Rain" and its little instrumental motif which permeates the mind. "Bulletproof", for its part, is a cover of a Spock's Beard track from the album 'Noise Floor'. It's a song that sounds rather pop and has the particularity of containing in its lyrics the name of the future group ("Just a pattern-seeking animal caught up in God's grand parade").

A more complex title than it seems, "Somewhere North Of Nowhere" is marked by a particular rhythmic signature and reveals the most Prog side of the group, notably via a bridge with a disturbing atmosphere. Small drop in speed on "Summoned From Afar" which struggles to capture attention throughout its duration, and here we arrive at the last track of the record, "Love Is Still The Light". This more classic ballad in its form, carrying a message of hope, is once again a great success thanks (among other things) to the contribution of female voices.

'Spooky Action At A Distance' is an album that's fairly easy to access, but whose beauty lies in the details. The writing and performing talents of Pattern-Seeking Animals are quite evident and allow them to now play in the big leagues.

Review originally posted on www.progcritique.com.

With another ambitious introduction for an album: the Moodies wanted to start with the sounds of a space rocket blastoff and decided that the recording provided by NASA was too thin, so they recreated it themselves and it probably sounds more impressive than any recording they could get. From there, however, the album is pretty much a traditional Moody Blues affair.

The sounds are a bit fuller, but their choice of fading in and out the songs into each other is appalling, because some songs sound abruptly cut. The sound of the album is a bit dense as well, and there is a recent "remix" version that tries to improve some things, but also loses some things, just to show how convoluted the sound of the album is. As for the songs, there is the mix of rockers, folkier, experimental, ballads. The album features a bit better songwriting than the predecessor, but the experimental and epic features are tamer (the surprise coming from Beyond, a experimental instrumental with amazing mellotron sounds composed surprisingly by Edge, who didn't compose anything but the poems before). The "core" of the album is Beyond, Out and In, Gypsy and Eternity Road. There are amazing mellotron sounds in all of these songs and they are all very strong, solid (Gypsy is even a minor success of the band) and Eternity Road shows a brief moment of the band jamming, which is very, very rare and interesting. The closing song, Watching and Waiting, is a superb ballad, one of the most beautiful Hayward performances, and finishes the album in a high note. It is also a bit nice to have a song with sitars and oriental influences, although the mellotron and cello make the song a forerunner of the distorted loudness wars songs.

Too bad that despite being a very pleasant album, it is less daring than the predecessors, and the convoluted and blurry sound with too many elements make the listening experience less interesting. Above all, the albums more or less puts Moodies back in the progressive rock evolution. They got too comfortable with the formula and never tried to push many boundaries.

When I first the album, the beginning was something magical. It still is. Probably the most amazing introduction of an album. The spacey eletronic sound on a VCS3 (which was pretty new, showing that the Moodies were on the top of their game in terms of innovation), followed by the heavenly mellotron sound, giving it the impression of the creation of the universe, an epiphany, I don't know. Of course, the lyrics are pretty corny, but it is pretty progressive with the electronic sounds and all, and then...

A collection of run-of-the-mill tunes, with a mix of everything that was fashionable in the late sixties except from prog and not much psychedelic. We have some bits of blues, folk, beat, country, garage rock, soul. The flute and mellotron give a little flair for some tunes, but most of the arrangements are a bit shy even compared to Moody Blues standards. One of the best things in those songs is to see the talents of the underrated guitarist Justin Hayward moving between the most different styles with flawless execution.

Of course, it is not only that, because there is the latest suite, which is a great song with spoken word poem, this time over electronic sounds, a beautiful ballad and the amazing The Voyage, which is the most grandiose thing done by a band not augmented by orchestral arrangements. It is ironic that such amazing song is in one of their less daring albums. That would be a feature that would kinda repeat itself in all their latter albums, unfortunately.

WIth its ups and downs, it is still a great late 60s album.

This was the final studio album for BE BOP DELUXE released in 1978, and I can't help but feel that Bill Nelson the leader of the band decided to jump on that New Wave style, ride the wave. TALKING HEADS came to mind a lot and they released their debut in 1977. It's like a different band here as suddenly the keyboardist is playing a boat load of synths and even Nelson is playing synth guitar on a couple of tracks. In one way it would have made more sense if they had called this album "Modern Music" instead of the previous one because of the change in styles to something new, because their previous album just continued in the same style as "Sunburst Finish". But having said that how ironic is that they called it "Drastic Plastic" because of the plastic synths dominating the sound.

Bill is a guitarist right? I get it he probably felt he took the band as far as he could with what they had been doing so it was time for a change. Even the vocals are noticeably different, more theatrical but not as commanding as say David Byrne making Bill's vocals simply disappointing on this one. It is interesting that the closer "Island Of The Dead" is the one track that could have fit on any of the three previous records. Mostly though we get synth dominated tunes like the opening three tracks including some robotic vocals. The fourth tune "Surreal Estate" is more light and poppy while "Dangerous Stranger" sounds like a 50's tune. "Panic In The World" screams TALKING HEADS along with a few other tracks and "Visions Of Endless Hopes" sounds out of place, pretty much being a guitar track done right.

Sounds like an 80's album beating many bands to the punch, but this is not an album I recommend at all. 2 stars, fans only.

"The Bridge" soaring electro intro drifting on a crystalline and fluid piano melody with Alessandro's keyboards; contemplative serenade leading to Federico's colorful solo; an interlude put into the mouth which sounds very pleasant modern. "Mantra" lugubrious clockwork, redundant GLASS-style piano, austere Giuseppe sax, the sound starts with a spatial electronic orchestral like ALAN PARSONS; hypnotic percussion groove before the vocal entry then the sax solo with a jazzy touch reminiscent of STRANGE POP's recent work on late-night urban legends; hushed vocals, phrasing, captivating, on the legendary Robert WYATT; everything will be fine if he tries to impress us; disillusioned, haunting air then the heavy guitar solo flight to try to chase away the viscous depth of Covid and its latent spiraling depression; romantic-dreamlike drift before the final cathartic symphonic crescendo, the return to this time which was numbered for us then. "Winter Day" takes up the tune from before, vocal and orchestration with a little more melancholy, ideal as a letter of apology for the future generation; the bass is powerful, setting a sad rhythm, a contemplative ballad from GENESIS where the synthesizer launches swirls of violins. Genesisian "Neverland", yes THE SAMURAI PROG, GENESIS everything is linked in fact given the adoration of Alessandro; the tone is groovy rock with a jazzy touch, one that rocks you, tortures you and doesn't leave you alone; Rafael's fantastic solo alternates with the Gabrielesque flute, the bass break and electronic keyboard make the head nod; this keyboard resumes, rural, the instruments leave on a symphonic space mixing progressive rock of yesteryear and updated sounds; the guitar gives the typical energy avoiding falling asleep or the weariness of vintage rock; Peter Pan revisited in a grandiose symphonic style full of certain dynamism, proven lyricism and grandiloquent beauty, hats off.

"Just Five Minutes" intro to VANGELIS Memories; it vibrates your stirrups before the jazzy tune pins you to your seat; Giuseppe's sax takes you to a smoky 'Roger Rabbit' style bar; the drums hit the eardrum, the guitar, the keyboard, everything is there to make you regress without getting bored; I have fun playing piano and guitar notes, yes jazz can be fun, in short very well done; we would forget that this title is a little over 5 minutes long. "Around the Corner" archaic piano, a note from SUPERTRAMP, a touch of rural mist; hushed vocals again, Federico goes on a fruity prog solo; the keyboard still leers on the bucolic atmospheres of BANKS, a little flute, we regress to GABRIEL; the piano seeks itself, forcing introspection; the orchestration is varied to leave the rhythm playful and navigate the memories of yesteryear while modeling the modern sound, a musical paradigm; dealing with childhood, its doubts, its expectations in a folk-jazzy then symphonic tune is art; art-rock for this breathtaking guitar finale with choirs coming straight from Olympus, magnificent. "The Question" intro that ANATHEMA loved to play, between latency, ideal atmosphere for reflection, the intimate, metronomic Floydian arpeggio; Carmine distils acoustics like a remedy for the damaged world, the sounds seem to descend from a musical waterfall, the bass explodes, the choir wanders before hearing Carmine's breathtaking electrified solo, pushing out of the album any other desire only very beautiful music; between WYATT and hard, between creation and absolute beauty; one of the most beautiful pieces of this year 2024. The dark, robotic finale with the serene piano.

"Living Like a Looner" as a bonus on CD with COLLINS-style pad, an alternative other than 'Neverland' for an eclectic, bouncy, borderline funky, quite hilarious derivation; the bad side of vintage prog which recalls certain current groups reveling in an unrenewed style, bonus it works.

INNER PROSPEKT releases this stunning album of mastery disseminating well-calibrated, non-boring jazz; intimate and atmospheric ambiances; emotion, the spleen tone, bordering on contemplative, ambient post rock; a concept for this haunting framework tinged with art-rock, symphonic and unique progressive rock. Inimitable. (4.5) Initially on Prog Profile.

I love it when I can connect with an album. When I was cycling through "Stalagmite Steeple" by UK band Returned to the Earth for review purposes I felt a bond being established. It was probably the third time through when I had to leave the house... and I didn't want to turn the music off!

Right up front I will mentioned that "Stalagmite Steeple" is very much akin with Steven Wilson's softer side, (like Hand. Cannot. Erase.). I would consider it art rock for sure, definitely progressive-adjacent. There is a high-standard of tastefulness in production, atmosphere and composition. It's an intriguing listen. Singer composer Robin Peachey's voice also reminds me of Wilson's (Peachey also performs on guitar, piano and synths).

If this album were a book, it would be a page-turner. Each track feels intimately connected and companioned- it is a spiritually cohesive whole. One concept tying it together lyrically is Robin Peachey's musings on empathy, escape, compassion and perhaps tragedy.

The album is largely slow without being plodding or diluted. Nor is it slow in the romantic or love-ballad sense. Melancholic? Maybe, but for me it's not depressing. Its only shortfall is that it deserved an exorbitant studio budget like in the days of yore when labels would spend a million dollars to record an album. On this project it would have not been wasted. So in that sense the canvas is slightly modest or sparse in parts, but since the material is so powerful it stands on its own quite confidently- a testament to all of the strong-boned melodies and composition.

The album is airy and spacious, carefully laid out and allowed to breathe, pulse, unfold deliberately and unhurriedly. That's such a different vibe than is so popular in the world right now; a world of maniacal TikToks, YouTube Shorts, busily shuffling Spotify playlists et al. Perhaps Stalagmite Steeple is a musical remedy or salve of sorts for this modern age- a balm for souls being run ragged- being pushed and pulled from all directions at once.

It's also beautiful. In fact the friend who recommended I check this album out used the word 'gorgeous', and he's right. The paradox here is that the album is also emotionally deep-cutting, drawing its listener into musical depths of profound contemplation.

There are no 'skip-pers' on this obviously carefully and lovingly crafted album. It's a consistently enjoyable listen throughout and there's even a nurturing quality or vibe I get from it. It has a timelessness to it as well.

I'm a new Returned to the Earth fan now, so I can't compare this to any of their previous 4 albums- I've not heard any of them! However I am so curious to explore them.

Fave track: Dark Morality.

The Prog dog score is 4 1/2 out of five dog bones. It's a gem.

BE BOP DELUXE had a relatively short five year career but they released five studio albums during that time in the 70's. It's been interesting going through their albums chronologically although I'm missing the debut. Bill Nelson the guitarist, vocalist and composer seems to throw everything at us here as we get a bunch of short tracks. Fifteen songs over 42 plus minutes, and "Modern Music" the next to final recording by them is full of variety and it's interesting that Bill the excellent guitarist that he is, seems to keep backing away from the spotlight as I go further into their discography.

And while I'd suggest "Futurama" their second record is my favourite it's also an immature work where we get flashy solos or Bill singing but it works to my ears better than the three albums that follow. It may be more about the songs after "Futurama" but I'm just not into the music. So while "Modern Music" and the previous record "Sunburst Finish" stand as favourites among the Prog crowd, this Prog fan just can't get into them, this not my music. So of course we get some half decent tracks here among the fifteen but this is consistently doing little for me. I like "Twilight Capers" and "Down On Terminal Street" quite a bit, especially the latter as the former is inconsistent. Some samples to open the title track which is different.

Almost half the tracks are around 2 minutes or less. 3 stars.

The second INDEXI single on Diskoton label (seventh single overall) was released sometime in the spring of 1974, probably in April, since it contains two songs performed at the festivals - one from "Opatija 74", held in late February and early March, and one from "Vas slager sezone 74", which took place on April 13, 1974. These two tracks also stem from the November 1973 recording sessions at the Radio-Television Sarajevo studios, when drummer Miroslav Saranovic and keyboardist Vlado Pravdić were still band members.

The A-side track "Samo su ruze znale" (Only the Roses Knew), penned by bassist Fadil Redzic, is a love ballad composed around acoustic guitar chords, backed by gentle organ, cymbals and effective backing vocals ("la, la, la?") reminiscent of the BEATLES. The catchy chorus brings an electric guitar accompanying the lead vocal, at moments sounding like an electric sitar due to Kovacevic's inventive use of some guitar effects. There is also a brief slide guitar solo. This is a strong "progressive" pop/schlager that was, according to singer Davorin Popovic, one of his best vocal performances up to date. Although the song was frequently aired during the Radio Sarajevo competition for the festival "Vas slager sezone", INDEXI could not appear on the final night of April 13, because Popovic and Kovacevic were denied permits to leave the military service. "The Roses" was a minor hit in June when it charted on the top-30 singles list of the Dzuboks magazine.

The flipside contains a song that is as strong if not even better. Composed by Kovacevic, "Samoco, ljubavi moja" (Loneliness, My Love) begins as a melancholy "progressive folk" relying on the dominant bass guitar, bongos-type percussion, organ, and harmony vocals. Kovacevic again excels on acoustic guitar. The chorus is strangely in odd time signature, which is typical for INDEXI who always liked to complicate arrangements and experiment with standard formats of pop songcraft. Kudos for that, but it kind of spoils the flow of the song, which is the only minor quibble on my part. Yet, this is redeemed by a phenomenal brief bridge section when Kovacevic, Redzic, and Saranovic lock in a heavy rock groove - thundering bass, firm drumming, and sizzling electric guitar solo a la Eric Clapton. For this song, Popovic and Kovacevic did get a permit from military authorities to appear at the "Opatija 74" festival, which at the time served as a Yugoslav qualification to send a representative to the Eurosong contest. The winner, however, was Korni grupa (Kornelyans) who later shared the stage with the young and coming ABBA who triumphed with "Waterloo". "The Loneliness" was also a minor hit, peaking at the number 2 position of the top list of the youth magazine Zov, and remained on the chart for 5 weeks during late March and April 1974.

The single cover was again designed by Dragan S. Stefanović, but this time he was not very inventive. He copied the earlier photo of singer Popovic from the single "Sve ove godine" (1972) and added a string of yellow-reddish stripes against a dark brown background. Not his best design by any means, but it was kind of effective and catchy. This single is much better than either the previous one or the following one, and it is exciting to pay attention to Kovacevic's acoustic guitar and Redzic's backing vocal capabilities.

As one of the most unusual and innovative new wave bands that existed in the 1980s, OINGO BOINGO led by the exceptionally talented Danny Elfman forged a unique path from his brother's previous surrealist musical theatre troupe called The Mystic Knights of the Oingo Boingo and steered the aftermath into a bizarre high-energy act that fused disparate musical genres such as zolo, punk, ska, art rock, synth-pop, jazz and even world music in the vein of The Talking Heads. The band never really made it to the big time but were extremely popular in their native Southern California and over the decades has been reevaluated as being one of the all time best new wave bands that came out during those years. Unusual for a new wave band, OINGO BOINGO garnered its following through mostly crazy energetic live performances rather than releasing singles accompanied by MTV videos.

As an Elfman led band, OINGO BOINGO debuted in 1980 with its self-titled EP and then followed with a series of highly creative albums including "Only A Lad," "Nothing To Fear," "Good For Your Soul" and a very eclectically strange soundtrack to a cult movie favorite titled "Forbidden Zone." Change was afoot and Elfman's talents did not go unrecognized but the record companies wanted him, not his creative outlet in OINGO BOINGO so a compromise was struck and one solo album titled "So-Lo" was released in 1984 before Elfman insisted on keeping OINGO BOINGO a band. After the early years of more art rock inspired albums, the first OINGO BOINGO album to emerge from the new lineup and label backing was DEAD MAN'S PARTY which found the band at the peak in terms of their popularity and new wave potential but soon Elfman would be seduced by offers of writing music for films where he would take his career soon after.

DEAD MAN'S PARTY found Elfman and OINGO BOINGO in its last leg of its full potential where Elfman was completely focused on the band before his attention became too scattered to maintain the magical qualities that made this band so utterly unique. This album came out in 1985 and was boosted by the band's only real single "Weird Science" which was featured in the silly science fiction fantasy film directed by John Hughes. This album was more streamlined than the previous ones and featured a more mainstream new wave approach except Elfman didn't compromise all the elements that made OINGO BOINGO so unique such as the jittery ska guitar riffs, excessively catchy pop hooks, punk rock guitar heft, funk bass slapping and the tirade of the horn section. Sonically speaking the album resembled what came before but lyrically and compositionally eschewed the bizarre humor and eccentricities that made the early albums a major hit amongst a particular cult following.

For those who relished the art rock years, DEAD MAN'S PARTY was a major departure and step down from what came before but from the point of a someone who simply loves new wave music done par excellence. DEAD MAN'S PARTY offered nine top notch tracks that all displayed the magic of what made OINGO BOINGO so utterly unique in just about every way. The album starts off with "Just Another Day" followed by the title track and retains a perfect flow with one track seamlessly merging to the next with similar yet varied enough themes that made the album one of the most consistent new wave albums of the entire 80s and for anyone familiar with the world of 80s new wave, they will be astutely aware that the genre generated many one-hit wonders, excellent singles but very rarely yielded completely satisfying albums that worked from beginning to end. DEAD MAN'S PARTY was a true exception with everything perfectly falling into place.

After decades of reevaluating the music of the 80s, OINGO BOINGO has emerged as one of the most respected and DEAD MAN'S PARTY is now the most popular of the band's entire legacy and for good reason. The pop hooks are flawless and creatively laid out in the same energetic display of visionary vigor and fusion music as what came before and although much more geared towards a pop audience than an art rock fanbase, this album is actually brilliant on every level but then again i'm personally a fan of synth-pop, new wave and 2 Tone ska based bands from that era. This was the end of the great OINGO BOINGO albums as the following two releases were watered down second thoughts as Elfman's solo career took off. Yes, Elfman made a huge comeback by creating a new rendition of the band into the world of alternative rock on the band's final offering "Boingo" in 1994 but as far as the new wave glory of the band's horn based punkish ska antics, DEAD MAN'S PARTY was its last hurrah and honestly one of my favorite new wave albums of all time (along with the band's previous four albums of course!) This is one i never really tire of.

As a PA side note, there is NOTHING prog or art rock about this release but i don't penalize albums that don't actually belong on a prog site for being here. This is a masterpiece of new wave music so if this music has little or zero appeal then don't even bother! You'll hate it :)