Tag: cracked machine

Cracked Machine at The Southgate

If many space-rock acts have more band member changes than most other musicians change their socks, Hawkwind are the exemplar of the tendency. There might be some scientific theory for this, equally there may not. What is more probable is that it is an occupational hazard for members to get as lost in space as Dr. Zachary Smith. Cracked Machine, here tonight to provide the entertainment at the Devizes’ Southgate, are also prone to getting through some keyboardists and drummers, though if the lead guitarist-frontman and bassist remain steadfast, this propensity is not the only element to them comparable with Hawkwind, and that’s a good thing in my opinion…..

If you’ve any hazy recollection of a maintaining a horizontal posture in a bedroom for the duration of a scratched long player with a gatefold sleeve, staring at patterns either in the mould on the wall or blu-tacked Mandelbrot set posters covering them up, in a smoky haze proportionate to your memories and stenching of wood burner and red Leb, whether only with a bong for a friend or a few stragglers with no more conversation than the bong, save a few comments like “oh wow, man, can you see it?!” then Cracked Machine is the band to seek such fond memories, and bring them to the forefront of your fragile cerebral cortex, through a preponderance of sublime bassy rock bliss.

For if space-rock is a natural progression from Led Zeppelin, Flyod or Hendrix’s overextended bridges of swirling sonic electric guitar skullduggery and wobbly sound effects, Cracked Machine nailed it some years ago and show no sign of altering their methodology. In fact, the tendency is to get harder. Though Hawkwind allowed vocals, Frome’s Ozric Tentacles may be a better comparison for space-rock aficionados.

In this, it’s been some years since I’ve caught up with them live, despite reviewing albums one, two and three. It was left up to Ben Niamor and Andy Fawthrop to review their last two appearances at the Southgate, respectively in November 2022, and October 2018. For me, I will always have the 2019 Devizes Street Festival, when Pete of Vinyl Realm paid and hosted our local stage idea on the corner of St John’s and townsfolk slow-roasted on deckchairs while Cracked Machine’s definitive sound caressed their very souls. But while Cracked Machine’s lineup has changed since then, their devotion to the sound and ability to knock it out to the shimmering rafters, isn’t. 

In that, I knew what I was letting myself in for. It was another one of those birthday things for me, which always seems to charge me with ever-increasing speed. There wasn’t actually much else happening in town Saturday night, much I would’ve missed this for a wanton jig to Motown or some-other such-like, elsewhere. Suppose I had the option to go down the Bin afterwards, but as it was advised by Vince Bell who I met on the bus, such a recommendation had to be taken with a pinch of salt, and was best at 52 to get a taxi direct to my duvet! For a while there though, it was a party, as it is in The Southgate, with it’s no frills hospitable atmosphere, affordable range of drinks, and general “proper pub” tenet. The affectionately dubbed “Gate” doesn’t change like band members of a space-rock band, and it’s a cracking party there more often than not.

Tom Harris kicked off the proceedings with his guitar, belting vocals and the expressions of a hyperalgesic at the dentist. Impossible to fault, Tom delivers the banter as well as his songs, divides covers equally from originals, so if he’s not charming an emotive blues ballad of his own pen, it’s perhaps a scatological one or he’s made amusing entertainment from a slyly chosen cover. Rob Thomas’ Santana summer smoothie reflects the unusually clement climate for March, and Tenacious D’s hilarious Tribute was surely perfect for Tom, and he handled them with might, until drummer Gary Martin arrived from a support slot at the Pump with Clock Radio, and the main act was completed and ready to rock.

They didn’t come up for air throughout these lengthy compositions of prog rock formulated instrumentals, and as a result of not taking advantage of the customary break, their set ran off too early. Landlord Dave encouraged them to pull something else out of the bag, saving the necessity of the crowd’s cliche call for an encore, which you know would’ve happened anyway. To which they considered how to continue, yet what elapsed was another drifting spacey masterpiece of fifteen minutes or more. We loved it.

If the template of Cracked Machine’s sound is arguably narrow, and narrative is vague due to only being expressions of instruments, their nature is stylised, and works wonders, creating a spellbinding ambience. Cracked Machine are always welcomed by the Southgate regulars, for even if the pub strives to diversify, it’s electric blues and prog rock which they favour, and this, with those wobbly keyboard noises and subtly placed samples, is simply a psychedelic progression from it which is decades old, yet Cracked Machine proves it’s worth in the modern world.

Space rock, or acid rock, a direct descendant of Pink Floyd and Zep’s tolkienesque The Battle of Evermore, also acts as the bridge from rock to electronica and ambient house, a bridge the guarding troll usually confounds most rock subgenres with a riddle and renders them unable to cross, that’s why I love it, and that’s while I will only have good things to say about Cracked Machine.

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In Retrospect With Gary Martian

So yeah, not only has Cracked Machine and Clock Radio drummer Gary Martin added a letter A to his name to make it sound more extraterrestrial, he’s also fired a sonic blast back to planet Earth in the form of a whopper of a solo rock album! In Retrospect does what it says on the tin, taking inspiration from his most treasured rock bands of yore, and does it loud and proudly…..

Starter for ten, now Gary Martian, proves he’s a supernova of a multi-instrumentalist, taking the helm of every aspect from guitar to drum and the recording, mastering and distribution of this heavily-laced monster. If Cracked Machine are known for returning us to those heady days of space-rock, the intro to the opening track Lifeboats feels this is going the same direction, but in seconds we’re awash with slamming guitar and drum combos letting rip of a riff more akin to grunge. Whoa, it didn’t even wait for me to attach keychains to my flared cargo trozzers.

Yet while there’s rising and falling influences from nineties grunge like Nirvana and Therapy? I also taste nods not only to pioneers of the Seattle sound like Alice in Chains, but a broader spectrum of alt-rock too, and even rooted at the few tender moments, with electric blues and the soundscapes of Floyd, such as the closing of a few tracks, one called Bang in particular. Thing is, this value for your dollar, twelve dynamite tracks perpetually exploding at an average full four minutes each, and an epilogue song, Red Handed running into the twenty-minute margin, sublimely. Time enough then to input a carrossel of nods to every influence which has inspired Gary over time.

And there are Syd Barrett moments of whimsical psychedelia, something about Your Coffee Table, there’s metal grinding like Pearl Jam, breezy moments of The Smashing Pumpkins, such as Summer in the Autumn, and brief commercially viable moments like Jane’s Addiction. “It’s a big-ol’ rock album,” Gary told me, “inspired by the bands I love.”

I’m not in my comfort zone connoting such heavy rock and nailing its influences, I confess. I just say what I like, and like recent outfits coming out of Swindon, I See Orange and Liddington Hill, this is the kind of thing which causes me to regret my ignorance to harder rock subgenres, particularly during the ravey nineties. I guess it was all that slushy “soft metal” previously, for it was an impermanent trend which put me off track; still time for me to catch up, isn’t there?!

This album erodes the Muppet’s Animal stereotype of drummers just being drummers and bit bonkers, as Gary excels in mastering not only all the instruments required to stage an entire rock band, but also in the composition of them. In Retrospect was released across all streaming platforms and is downloadable from Bandcamp, at the beginning of the month, apologies for the delay, but this will rock your cosy Christmas foozies off!

Spotify, Apple Music, iTunes, Deezer, etc…. https://distrokid.com/hyperfollow/garymartian/in-retrospect

Youtube Music: https://music.youtube.com/playlist…

Amazon Music: https://amazon.co.uk/music/player/albums/B0DPHGW1MT…

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How High’s The Crammer, Mamma?

A month since the UK came to terms with the consequences of drought, understood the significance of a raindance and why Johnny Cash asked “how…

Lady Nade’s New Album, Identity

There’s musical acts which play united on equal pegging, and then there’s those which follow the lead of a virtuoso. Be it guitar, like Hendrix,…

Wormwood; Cracked Machine’s New Album

A third instalment of space rock swirls and cosmic heavy duty guitar riffs was unleashed in January from our homegrown purveyors of psychedelia, Cracked Machine. Plug in and prepare for takeoff, Wormwood continues on their already stunning discography of celestial shenanigans….

Pretty much where we left off with the Gates of Keras, Wormwood offers that prog-rock gorgeousness, as beefy as Bovril on the boil, heavy-laden guitar riffs beguiling the stoner or non-stoner alike; you need not skin up to be immersed in this. Pink Floyd’s moments of drifting ambience, meets contemporary likes of the Ozric Tentacles here, it’s a trip more than an album, flowing from track to track and taking you along for a ride of euphoria and headbanging moments, in equal measure. Someone, pass me a lava lamp, pronto.

All instrumental, and mentally metal, gorge yourself stupid, encased in its epic journeys. By its very flowing nature, it makes it tricky to say much more as a way of review, I found the summit track, Eigenstate particularly ‘aving it, and when it falls into eight minutes of Return to Anatres, you’re drifting back through clouds of guitar riffs as solid as tungsten. Yet, if space-rock as a subgenre has welded into the likes of Spiritized or Spaceman 3, Cracked Machine are more likeable to Hawkwind, which in my most humblest of opinions is no bad thing. Wormwood doesn’t go on whim of experimentation or try to slide anything unexpected into it, it just ripples along a course like a stream. Although intros like that of Desert Haze can cause you to assume things are going to get all trancy-techno, it doesn’t stop at that riverbank.

You may have caught them down the Gate for their album release show, I was gutted to have had to miss it. You may have seen them before, such as the year Vinyl Realm hosted a stage at Devizes Street Festival and all took flight from the Market Place to erect deckchairs at St John’s and lie in mega bliss. Such is the accomplished Cracked Machine, forging space-rock into a new era, yet not forgetting its rich history. Put this on and be submerged. 

Here’s their LinkTree, fill your boots, open your third eye…..

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My River, New Single from M3G

Tomorrow, Friday 2nd October, sees a new single from Chippenham indie folk singer-songwriter Meg Hoy, or M3G, and it’s called My River….. If you…

Flora Fiora Kicking the Tyres

Chedworth, Gloucestershire; proud village soloist, songwriter and model Flora Fiora is kicking the tyres and smashing windows in with a new single, and it’s…

Review: Cracked Machine at the Southgate

by Ben Romain and Victoria Stanley

Following a night in the Corn Exchange Friday, the chance arose for something completely different, something new to our ears……

Life got in the way, and the support- Clock Radio were regrettably missed on this occasion, one to look out for soon…

Wondering into a rammed Southgate just in time for Cracked Machine’s set we were aware of them clearly having a strong following.

How can we describe the sound? Heavy but relaxing? The strongest bass delivery you are likely to hear anywhere, incredible layering of sound from that bold bass, the prodigious lead guitar and backed with some fine, crisp delivery from the drums.

With no vocals, comes a name to hold court with musicianship. It didn’t appear to pose any pressure for this machine. We found ourselves captivated, enthralled entirely by something so different.

Our limited research prior to the gig, (we were encouraged to try by drummer Gary) threw up a tag of ‘space rock’. There’s not a huge amount of it anywhere in the world it appears, Germany and Japan seemingly the widest exponents.

Yet here we are in Devizes, in what guitarist Bill Denton proclaimed as ‘the best live music venue in Wiltshire’ watching space rock. (Ed’s note: yes, here’s a review of them at The Gate by Andy, from 2018.)

In the same way fans like ourselves might immerse their senses in big musical landscapes of say Pink Floyd, you find yourself in fact listening mesmerised, personally oddly relaxed…. there’s that driving bass and sufficient volume to shake the rafters, yet it’s like you’ve found yourself in the bars of Tatooine.

Years of music collecting and gigs have left no reference, no recollection of anything quite like it. So, chatting with the band, Prog Rock people often like them, space rock people love them, and as of yesterday so do we!

Check them out! I cannot remember the last time a band I liked left me with such difficulty describing their incredible music.

As ever and in full agreement with Bill, thank you Deb and Dave at The Gate for their unrivalled passion for live music in Devizes. Thank you to Cracked Machine, look forward to next time.

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JP Oldfield’s Saltwater Gospel

Devizes favourite southern fried gothic-Delta blues one man band, JP Oldfield has an EP released at the end of the week, Saltwater Gospel. It’s a…

Jess Chiver’s Sunrise Comparison

I’ve found myself sympathising about post-punk recently, how they scrambled around in the dark somewhat, taking pot shots at reggae, claiming a “new wave,” or…

Top Twenty Local Music CDs For Christmas

Bag yourself some of our recommended long players for your friends, family or even yourself this Christmas and help a local musical talent.

Look at him, Grumpus Maximus, slouching on his sofa-throne investigating the inside of his y-fronts with one hand and clasping a tinnie with the other. He’ll need Google maps to find his local watering hole when things return to normal, and if he has to endure Kirstie Allsopp for one more half-hour episode he’ll threaten to relocate to his shed for the yule. What do you get for someone like pops this Christmas, or anyone who’s lost the will of independent thought due to the modest inability to enjoy the odd fellow and guitar down their pub of choice, for that matter?

How about this suggestion; buy a CD from a local hero? Because not only will you cheer the old bugger up enough for him to consider shaving once a week, but you’ll be putting your hard-earned shekels into the hands of a local independent creative sort, who, without revenue from standing in a draughty pub alcove singing the blues, really needs some pocket money right now.

It’s not my idea, I say let them scavenge for dead flies on their filthy windowsills while insanely mumbling a ditty about minute pixies invading grassroot venues. Thanks to our reader, George for this suggestion. Of course, this is the 21st century, or so I’ve been informed, and nowadays next to nothing is physical. Much as we find the online format or download accessible, you can’t wrap an online stream up with a pretty bow and put it under your tree. So, our list is restricted to the ones putting out a CD copy; that’s a compact disc to youngsters, or even, dare I say it, vinyl, you know, some archaic listening format.

But how, ye cry. I’m going to provide links where I can, but another shot is your local indie record store; for if they care one iota for music, they’ll stock a range of locally sourced sounds. If they don’t tell them to, without swearing.

Here’s an ideal template to use: “the brilliant, one and only Vinyl Realm Music Store in old Devizes town stocks many local artist discs, so I suggest if you want to be half as good as them, you’d consider it.” And that, is one good place to start; open the yellow door on Northgate Street, turn to your right and by the window there’s a stand with some local outpourings on. If you get lost ask one of the owners, they bite but not hard. I know, shopping is beneath you, be aware they have an online service and will deliver, cos they’re nice like that.

Am I waffling now? I tend to tangent, like to, did you come here for that, or are you looking for some music options? Very well, sit quietly, or stand noisily if you like, and I shall begin…. hopefully before Boxing Day. But oi, bear in mind this isn’t a top twenty countdown, I just used that as the title for clickbait. I’ve not put these in any kind of hierarchy or rank, just listed alphabetical by artist name, to prove I know my A, B, C!

Billy Green 3: Still

Released at the beginning of this year, Devizes post-Britpop trio produce a beguiling sound that could’ve come straight from indie’s finest hour. It’s scooterist, with a taste of mod and soul, but it’s passionately scribed and delivered proudly. Review. Buy@ Vinyl Realm.

Chris Tweedie: Reflections

Affectionately reviewed at the beginning of the month, Melksham-based monarch of chill, Chris Tweedie has produced a mind-blowing album. If you like Mike Oldfield, Crosby, Stills and Nash, or George Harrison, you need to check this one out. Review. Buy.

Cracked Machine: Gates of Keras

Hometown space-rock has never been so good. This is the outfit’s second album, and its journey of spacey rock like no other. Fans of Pink Floyd or the Ozrics will relive every minute of their misspent youth and clamber to the loft to find their fractural posters and chillum! Review. Buy.

Erin Bardwell: Interval

This year, without his Collective, Swindon’s rock steady keyboard virtuoso blessed us with this unique lockdown inspired bundle of distant memories over sparse two-tone and reggae beats. If you think this genre can be samey, you’ve not heard Erin Bardwell. This album is one of a kind. Review. Buy.

George Wilding: Being Ragdollian

Let the arguments begin, this 2013 EP is the definitive George Wilding. One not to collate tracks to an album, the EP may only contain three songs, but their brilliance makes up for at least ten mediocre ones. You can grab this at Vinyl Realm.

Joe Edwards: Keep on Running

Whilst it’s had glowing international reviews, locally I feel this is severely unacquainted. Though I did say at the time of review I’ll be hard pressed to find another ‘album of the year,’ back in May, this still stands. This is melancholic Americana played out with utter perfection, and I will never tire of its authentic and sublime stories. Review. Buy.

Jon Amor: Colour in the Sky

Though we fondly reviewed Jon’s latest album just yesterday, like I said, that’s one which is only on download at the moment. Take his 2018 masterpiece of quirky electric blues as red, red as his telephone; this is the must-have album for every fan of local music. You can buy this in Devizes Books as well as Vinyl Realm, or you can buy online. Here’s a review from all those heavenly years ago, when Devizine was funny.

The King Dukes: Numb Tongues

Out in 2018, if you like your music with a taste of old-timey soul and blues, The King Dukes of Bristol do this with bells on. Numb Tongues is lively and memorable. Review. Buy.

Little Geneva: Eel Pie

Freshly produced and lively sixties mod-blues-rock done supremely, Little Geneva are Bristol-based but the Docherty brothers have the Devizes connection, enough to debut this down the Bear’s Cellar Bar a few years ago, and boy, was it a sweaty and memorable night! Buy.

Mr Love & Justice: Watchword

Mr Love himself, Swindon’s Steve Cox’s 2009 album is a must, a classic, even though I haven’t reviewed it, because it’s dated, its gorgeous acoustic goodness extends beyond atypical country-rock sounds and branches into many genres, even bhangra at one point. You can find this in Vinyl Realm for a mere fiver.

Mr Tea & The Minions: Mutiny!

Oh my, this chunk of energetic Balkan-ska influenced Bristol folk is breathtakingly good. I reviewed it last year, haven’t gotten over it yet! Review. Buy.

Paul Lappin: The Boy Who Wants to Fly

Breezy Britpop acoustics shine throughout this ingeniously written debut from Swindon’s Paul Lappin. Highly recommended and all-round good vibes. Review. Buy.

Phil Cooper: These Revelation Games

Trow-Vegas legend, Phil Cooper really gives it some with his latest offering, rocking out the lockdown. Review. Buy.

Ruzz Guitar’s Blues Revue: Live at the Louisiana

No list would be complete without a bit of Ruzz Guitar and the gang; guitar by name and nature. This album captures his skill where he does it best, live. Rock n roll the night away as if you were there; this is a must have album for blues and rock n roll fans. Review. Buy.

Sound Effects: Everyday Escapism

Self-penned Irish-fashioned folk at it’s most divine, Swindon duo Cath and Gouldy classic here. This is sweet and thought-provoking. Review. Buy.

Strange Tales: Unknown to Science

I’m unsure how old this is, but I do recall Pewsey singer Sally Dobson running back to her car to get me a copy at the long-lost Saddleback Festival. With Paul Sloots, Strange Tales are a wonderful if occasional electronica gothic-rock duo, and Unknown to Science is a spookily glorious album. Review. Buy or at Vinyl Realm.

Talk in Code: Resolve

True, Swindon’s darlings of indie-pop have come along way since this 2018 album, fashioned closer each time to retrospective eighties electronica, Resolve stands as a testament to their dedication, but more importantly highlights their roots in indie-rock. Review. Buy.

Tamsin Quin: Gypsy Blood

Man-about-Devizes, surely, you’ve a copy of this already? Tamsin Quin’s debut 2018 debut album is something kinda wonderful, eight self-penned nuggets of goodness introduces you to the now one third of the Lost Trades and personifies anything that was awesome about our local music circuit. A local classic. Review. Available in Vinyl Realm, or online.

The Lost Trades: EP

When three of our most loved local musicians officially bonded, debuting at the Pump just prior to lockdown, it was clear all their talents combined into this one project and could only ever be a winner. We highly anticipate the debut album, but for now, this five track EP will whisk you to a better era of folk harmonies. All original songs, there’s a taste of Phil, Jamie and Tamsin’s song writing talents, though each track wouldn’t look out of place on the Oh Brother Where Art Thou? soundtrack. Review. Buy.

Ya Freshness & the Big Boss Band: Knockout

Boots and braces time, get skanking to the loud and proud ska sound of Ya Freshness and the Big Boss Band. This is joyful, fun and chockful of ska and rock steady riddims from 2018. We eagerly await a new double-album promised from these Bristol misfits of ska, but for now, this is great. Review. Buy.

No way is this list exhaustive; I’ve basically run this off adlib and will no doubt suddenly think, “oh bugger, I forget this or that.” But I’ve nailed it down to twenty, which was tricky. Do feel free to add a comment on something I might have overlooked, and apologises if I did. Remember, it should be available as physical copy. This is an interactive article!

Message my advice line if you’re still in the dark for a pressie for Dad. Helpful hint, look through his old records. If you see one of a pig floating above Battersea power station, or a plain black album with a spectrum shining through a triangle, try Cracked Machine. If you see lots of black and white chequered patterns or a naked girl’s torso with Tighten Up written across her abdomen, try Erin Bardwell or Ya Freshness. And if you see a rather splendidly busty woman carrying a hosepipe and various decorating equipment, try The Lost Trades; best of luck!

A Cracked Machine at the Gates of Keras

Don my headphones, chillax with a cider, and prepare my eardrums for a new album from our local purveyors of space-rock goodness; Cracked Machine is a wild ride….

There are few occasions when mellowed music truly suspends me in the moment, when it just exists in the air like oxygen and totally incarcerates and engulfs my psyche. Jah Shaka and ambient house rascals the Orb both achieved this a couple of dusks at Glastonbury, but the same with likewise happenings, I confess I was intoxicated on matter maturity caused me to long leave in my past!

The issue for any reborn psychedelic-head is pondering the notion, will it ever be the same again, will music and art tease my perception to quite the same degree. The sorry answer is no, unless your intransigent mate slips something in your drink. Yet it’s not all despair, with a sound as rich and absorbing as Cracked Machine, it’s doable without drugtaking shenanigans.

They proved this at the most fantastic day in Devizes last year, which was that bit more fantastic, when what was intended to be a bolt-on feature became the highlight of DOCA’s Street Festival. Funded and arranged by Pete and Jacki of Vinyl Realm, the second stage highlighted everything positive about local music; a historic occasion we’ll be harking on for some time yet. I nipped away briefly after Daydream Runaways stole the early part of the day. But where the lively indie-pop newcomers had roused the audience, I returned to witness a hypnotised crowd and a mesmerising ambience distilling the blistering summer air. Smalltalk was numbed, as if the area was suspended in time. A doubletake to confirm we were still perpendicular, sitting in deckchairs or slouching against a wall on the corner of Long Street and St Johns and not slipped through a time vortex to a Hawkwind set at a 1970 free-party love-in. I was beyond mesmerised, but not surprised.

For this is how it was with their impressive 2017 debut album, I, Cosmonaut, the soundscapes just drifted through me, as I causally drafted the review, reminding me of a smoky haze of yore, giggling in a mate’s bedroom, listening to Hawkwind’s Masters of Universe. Youth of my era though, were subjected to electronic transformation in music, which would soon engulf us. Rave culture cut our space-rock honeymoon short, though, Spaceman 3 were a precursor to the ambient house movement of the Orb, Aphex Twin and KLF, others changed their style, like Frome’s Ozric Tentacles merging into Eat Static, and a perpetually changing line-up for Hawkwind appeased the older rock diehards.

I love I, Cosmonaut, it manages to subtly borrow from electronica and trance, only enough to make it contemporary, but keep it from being classed as anything else other than space-rock. I felt their second album, The Call of the Void avoided this slice of Tangerine Dream, and submerged itself totally in the hard rock edge; bloody headbangers! Therefore, it’s a refreshing notion to note newly released Gates of Keras bonds the two albums and sits between them perfectly.

Again, there’s little to scrutinise as it rarely changes, it meanders, trundles me to a world beyond wordplay, as these completely instrumental tracks roll into one another, gorgeously. A Deep Purple styled heavy bass guitar may kick it off, yet the opening track Cold Iron Light takes me to the flipside of Floyd’s Meddle, with seven and half minutes of crashing drums and rolling guitar riffs. Temple of Zaum continues on theme, Ozrics-inspired funkier bassline, and we’re off on the drifting journey, splicing subtle influences. The Woods Demon, for example, stands out for particularly smooth almost Latino guitar riff, making it my personal fave. Yet Move 37 is heavier, upbeat, like the second album. Low Winter Sun is sublime blues-inspired, imagine Led Zeppelin created Satisfaction rather than the Stones, if you will.

Recorded back in November, this is eight lengthy soundscapes of pure bliss, and will guarantee you a safe trip. A signature album for a lonely lockdown of dark, yet emersed in a time of Tolkien-esque vibes and mandelbrot set fractal posters. If this was released in the mid-seventies-to early-eighties every spotty teenager would be inking their army surplus school bag with a biro-version of Cracked Machine’s logo. As it is, age taking its toll and all, I have no idea if this still happens, but doubt it. None of that matters, here is a matured era of the genre, only with a glimpse of how it once was. Nicely done.