Mos Generator and Sower Premiere Tracks from Upcoming Split

Posted in audiObelisk on November 17th, 2015 by H.P. Taskmaster

mos generator
Sower promo

Port Orchard, Washington, heavy rockers Mos Generator and Gorst, Washington, newcomers Sower will release a split 12″ via Devil’s Child Records on Nov. 27. It is a local affair — Washington bands, cover artist, label — but the appeal goes well beyond the region. Both groups recorded with Mos Generator guitarist/vocalist Tony Reed — joined in his band by bassist Sean Booth and drummer Jono Garrett — and as two trios playing four tracks apiece of straightforward heavy rock and roll, they showcase a diversity of experience and songwriting.

In a way, both are new bands. The connection goes back to Reed‘s time in Stone Axe, as that band’s bassist, Mike DuPont, and drummer, Mykey Haslip, feature in Sower alongside guitarist/vocalist Bo McConaghie, but Mos Generator are a new band here as well. I don’t think this split marks the first recording for Booth in the band (that might be the earlier 2015 split with Isaak or the recently-unveiled acoustic track), but it’s definitely the first output with Garrett on drums. He plays on mos generator sower splitopener “The Prow,” which is a Voivod cover taken from their 1991 full-length, and the subsequent “Wicked Willow,” which was a demo that never quite to fruition before he joined. On both the original and the cover, Mos Generator‘s stamp is unmistakable, and Garrett‘s swinging ping ride fits smoothly with Booth‘s bassline and Reed‘s riffing on “Wicked Willow,” which precedes “Red Canyons” — born out of a HeavyPink one-off jam that, if I remember right, also featured DuPont — and “Serpent’s Glance,” which is another demo, this on born out of a Reed studio session in Denmark producing the band Doublestone, boasting Booth on bass and Shawn Johnson on drums.

At least theoretically it’s a little easier to keep track of who’s doing what on Sower‘s side of the 12″. Apparently rooted in a three-piece called Sower of Discord, from whom there is some live footage dating back to 2011, this split seems to be their recorded debut, and while not exactly newcomers as players, they’re establishing themselves as a trio and the songs have a demo-style feel to them. Nonetheless, “Time and Tide,” “Forward Until Death,” “New Boss” and “Escape Pod” give an initial glimpse at some choice fuzz in the making. “Forward Until Death” particularly finds its breadth in breaking down to a section of minimalism held together by the bass until the guitar and drums reemerge for a larger, rolling apex, and “New Boss” functions similarly in its second half, trading out the roll in favor of classic rocking shuffle. Groove, hooks and engaging leads are the order of the day, and Sower embark on their first outing with a plan of action put to immediate work. It will be interesting to see how they move forward from here.

The two bands have release shows booked for Dec. 11 and 12 in, of course, Washington, and they’ll be joined by Year of the Cobra and Infinite Flux. Show details follow the tracks themselves, which you can hear on the players below.


12/11 The Valley, Tacoma, WA: Devil’s Child Records present a night to celebrate their debut release. Mos Generator / Sower split 12″ Lp. Limited run of 300. 100 Red / 100 Yellow / 100 Grey. Come out and buy them direct from the label.

INFINITE FLUX will also be slinging their mammoth debut Cd for the first time. A very exciting night for music collectors and fans of loud and heavy live music. It’s free show so come out and support the bands and labels.


12/12 Manette Saloon, Bremerton, WA: Devils Child Records PRESENTS w/MNDVA & INVISIBLE FRIEND PRODUCTIONS

Mos Generator [3RD]
Sower [2ND]
Year of the Cobra [1ST]

Mos Generator on Thee Facebooks

Sower on Thee Facebooks

Devil’s Child Records

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Mos Generator Announce Recording Plans

Posted in Whathaveyou on October 15th, 2015 by H.P. Taskmaster

At the risk of being overly analytical, I think what we’re seeing below in the hastily-drawn list of tour dates and recording plans is a pretty honest look at the mind of Mos Generator‘s Tony Reed. Now as busy on the road as he’s been the last half-decade-plus in the studio, I firmly believe the below makes complete sense to Reed‘s restless spirit, which only continues to add fire to the momentum of his reborn band. Already announced for Mos Generator in 2016 is an acoustic record (track stream here) and an appearance at the second Maryland Doom Fest (info here), and later this month the band will take a couple days after a weekender and before yet another tour to hit the studio once again.

You can see it below in bright red — “RECORDING!!” — from Oct. 26-28. Whether that’s finishing the acoustic album or putting together a different full-length entirely (knowing Mos Generator, that’s a distinct possibility), I don’t know, but it goes to show that the remarkable surge of activity the band has undertaken this year looks to continue going forward. Tour dates and some quick word from Reed follow, no doubt written as he was on his way to do something awesome:

mos generator west coast tour

Not in the mood to make some fancy tour flyer so here is whatcha get!! After this quick jaunt we take some time off to finish the next record.

MOS GENERATOR ~ West Coast Tour / Recording – Oct/Nov 2015.
10/23 PORT ORCHARD, WA The Rendezvous Tavern
10/24 PORT ANGELES, WA Coo Coos Nest
10/25 SEATTLE, WA The Sunset Tavern
10/29 GRANT’S PASS, OR G Street Bar & Grill
10/30 ARCATA. CA The Alibi
10/31 SAN JOSE, CA The Rock Shop
11/01 POMONA, CA The Glass House
11/02 LAS VEGAS, NV The Dive Bar
11/03 SAN DIEGO, CA Brick by Brick
11/05 PORTLAND, OR Dante’s
11/06 BELLINGHAM, WA The Shakedown
11/07 SEATTLE, WA El Corazon
12/03 PORT ANGELES, WA Coog’s

Mos Generator, Live in Copenhagen 2015

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John Garcia and Nick Oliveri to Share Stage Playing Kyuss Material

Posted in Whathaveyou on October 12th, 2015 by H.P. Taskmaster


Remember like an hour ago when I said there were some killer shows emerging as a result of Day of the Shred being canceled? Well, this is one of them. Nov. 1 in Pomona, California, at The Glass House, former KyussSlo BurnUnidaHermanoVista Chino, etc. frontman John Garcia — who also toured Europe this summer — will play his first show in the Los Angeles area since the release of his 2014 self-titled debut solo album (review here), and he’ll be joined on the bill by his former Kyuss bandmate Nick Oliveri as the latter’s group, Mondo Generator, wraps up a tour with Spirit Caravan.

Spirit Caravan are also set to play — and just for good measure I’ll mention the maybe-gonna-and so it shall beehappen-maybe-not-gonna-happen Royale Daemons project between Oliveri and Spirit Caravan‘s Scott “Wino” Weinrich — and ElderMos Generator and Full of Hell are also on the impressive lineup, but an onstage collaboration between Garcia and Oliveri that was originally supposed to take place at Day of the Shred is what really makes the gig stand out. For the first time since Oliveri left Kyuss Lives! following the lawsuit that eventually led that project to change its name to Vista Chino, he and Garcia will share a stage performing Kyuss material.

As to what the set might be, or when it might happen, with Garcia‘s band backing or with Mondo Generator behind them, or some combination of the two, I have no idea. None. But as I understand it, Garcia will sing while Oliveri plays bass and they’ll be playing Kyuss tunes, which even in this post-Kyuss Lives! age is something pretty special. Vista Chino are slated to appear at next year’s Hellfest in France, and with that band’s bassist, Mike Dean, potentially busy with a new album from his main outfit, Corrosion of Conformity, one can’t help but wonder if maybe this is a re-entry point for Oliveri into that group. One that might come ahead of a second record from them? Golly that would be nice.

Either way, cool show, should you happen to find yourself in SoCal the night after Halloween, as it seems many people will. Info’s sporadic, but you can find some at the links if you look hard enough.

John Garcia, Live in the Netherlands, 2015

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Maryland Doom Fest 2016 Announces Complete Lineup

Posted in Whathaveyou on October 5th, 2015 by H.P. Taskmaster


The 2016 edition of the Maryland Doom Fest will take place June 24, 25 and 26 at Cafe 611 in Frederick, MD. You might recall late in 2014, when the initial word surfaced about the festival’s inaugural billing, it was a complete lineup announced, date, and place, all done straightforward in the tradition of the style being celebrated. In that regard, 2016 will be no different. Festival organizers JB Matson (also of War Injun) and Mark Cruikshank have unveiled the complete Maryland Doom Fest 2016 lineup, and while the core remains very much in the region’s sphere of heavy downer riffs, the palette has clearly expanded as well.

A broader reach pulls in the likes of Mos Generator, Ruby the Hatchet and Hollow Leg, and while headliners Spirit Caravan are a returning act from the 2015 fest, they’ll be joined by classic heavy rockers Bang and Asylum (Unorthodox by their original name), ensuring that even as the Maryland Doom Fest 2016 reveres its finest exports, it pays strict attention to the lineage from where it all comes and the hometown crowd too. All told, it’s a wide-ranging but universally heavy grouping of bands, from the epic classic metal of Argus to the cult rock of Demon Eye, and while realistically there will probably be a shift or two in the lineup between now and next June — things fall through, people get added, and so on — it looks like it’s going to be a hell of a weekend. If and when I hear of changes, I’ll let you know.

Tickets are on sale today, and I’m honored to have my logo on the poster. Full lineup and links follow:

maryland doom fest 2016

The second edition of a weekend of doom in its purest form.

We are stoked about the second installment of The Maryland Doom Fest with 25 kickass bands!

Tickets sales begin on Monday.

The official Maryland Doom Fest web page will be up and running soon at

Tickets are on sale now:

Spirit Caravan
Asylum (Unorthodox)
War Injun
Kelly Carmichael (Internal Void) New Project
Earthen Grave
Black Urn
Mos Generator
Hollow Leg
Ruby The Hatchet
Admiral Browning
Pale Divine
Demon Eye
Wicked Inquisition
Seasick Gladiator
Karma to Burn
Eternal Black
King Giant
Wasted Theory

Asylum, “Unseen World” Live at Maryland Doom Fest 2015

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Mos Generator Premiere “Easy Evil” and Announce Acoustic Album for Early 2016

Posted in audiObelisk on September 24th, 2015 by H.P. Taskmaster

mos generator acoustic

One can hear a bit of electric guitar tucked in at the end of “Easy Evil,” but no question it’s a different listen than has come to be expected from the Tony Reed-led Port Orchard, Washington, riff specialists, who’ve probably spent more time on the road in 2015 than in the decade and a half preceding. They’ll look to keep their rather considerable momentum going into the New Year with the release of the first unplugged-style offering in the band’s history. Comprised at this point of Reed (guitar, vocals, keys, recording, studio drums) and bassist Sean BoothMos Generator have always had their foundation in memorable songwriting, and as it’s impossible to sustain an unplugged offering without that, it makes sense that sooner or later they’d wind up working in the form. As Reed notes in his comments on making the record, which will be out early 2016 on H42 Records, the project was inspired by a few acoustic shows he did earlier this year.

The album, still waiting to reveal its title and artwork, will feature material old and new. “Easy Evil” doesn’t come across so differently in structure from a lot of what Mos Generator have done across their two full-lengths — last year’s Electric Mountain Majesty (review here) and 2012’s Nomads (review here) — and sundry shorter releases, splits, etc., since returning to activity following several years’ absence. Its structure is straightforward and the guitar leads the way. Reed‘s penchant for classic rock raucousness that shows itself live is given a back seat, however, to the central melody, and that winds up being how the track makes such a memorable impression. As a first taste of a larger work yet to be revealed, it teases flourishes of arrangement in its vocal layering and the already-noted electric guitar line in the back half, but winds up in a subdued place without sounding like it’s pandering to some forced idea of moodiness. Not an easy tightrope to walk for a band on their first acoustic outing, but as ever, it’s the songwriting that stands out.

Mos Generator will release their unplugged debut on H42 Records early next year. Please find the official announcement, including Reed‘s comments, after the stream of “Easy Evil” on the player below, and enjoy:


The plugs are pulled! The very first Mos Generator acoustic album is in the works!

End of August 2015 Mos Generator went for a short first stop into the studio to records old songs as well as new songs and packed them into an acoustic garb. After their ongoing US tour with The Atomic Bitchwax they will stop for a second time in the studio to record the remaining songs for their first acoustic album.

The album appears as a limited edition Vinyl only on H42 Records early 2016!

Artwork is still in work and will be realized by the amazing Frank Popp from Germany, Berlin.

Comments Tony Reed:

This acoustic album will have some drastically different versions of songs from our back catalog and also a few new songs. I never considered doing an acoustic album for MG until I was forced to do some shows acoustically earlier this year and I realized how much different the songs were when played with open chords and sang with a mellow delivery. It’s been fun to rework the material for this style.

Album Title: TBA
Album Art: TBA by Frank Popp
Release: Early 2016
Tracklist: TBA
Label: H42 Records

Mos Generator:

H42 Records:

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Various Artists, Electric Ladyland [Redux] & The Best of James Marshall Hendrix: Scope Worthy of the Source

Posted in Reviews on August 24th, 2015 by H.P. Taskmaster


Even before you press play on Electric Ladyland [Redux] or its companion piece, The Best of James Marshall Hendrix, it’s hard not to admire the coordinating prowess of Magnetic Eye Records in making it all happen. Most people couldn’t corral three bands to put together a single show bill, and the label’s Mike Vitali has wrangled 20 acts from the US and European heavy rock underground to pay homage to Jimi Hendrix in time for what would’ve been the supra-legendary guitarist’s 75th birthday, topped it of with artwork by David Paul Seymour, whose piece for Electric Ladyland [Redux] easily stands among the best covers of 2015, and Caitlin Hackett, whose three-eyed-bird portraiture perfectly suits Hendrix‘s groundbreaking psychedelic blues. Packaged separately on 2CD and 2LP but clearly intended as complements, both tribute collections showcase staggering ambition on the part of the label putting them together, and the fact that Electric Ladyland [Redux] and The Best of James Marshall Hendrix materialized at all is an automatic, unqualified triumph. Here are the full tracklistings:

VA, Electric Ladyland [Redux]
1. Elephant Tree, “…And the Gods Made Love” 01:44
2. Open Hand, “Have You Ever Been (To Electric Ladyland)” 03:01
3. Superchief, “Crosstown Traffic” 03:32
4. All Them Witches, “Voodoo Chile” 14:59
5. Origami Horses, “Little Miss Strange” 03:52
6. The Heavy Eyes, “Long Hot Summer Night” 04:17
7. Earthless, “Come On (Let the Good Times Roll)” 05:03
8. Wo Fat, “Gypsy Eyes” 04:34
9. Mos Generator, “Burning of the Midnight Lamp” 03:34
10. Gozu, “Rainy Day, Dream Away” 08:07
11. Summoner, “1983… (A Merman I Should Turn to Be)” 12:56
12. Claymation, “Moon, Turn the Tides… Gently Gently Away” 01:24
13. Mothership, “Still Raining, Still Dreaming” 06:20
14. King Buffalo, “House Burning Down” 04:44
15. Tunga Moln, “All Along the Watchtower” 03:28
16. Elder, “Voodoo Child (Slight Return)” 07:08

VA, The Best of James Marshall Hendrix
1. Child, “In from the Storm” 04:57
2. Elephant Tree, “Manic Depression” 04:10
3. Wo Fat, “Machine Gun” 12:49
4. Stubb, “Little Wing” 04:18
5. Rosy Finch, “Foxy Lady” 05:17
6. Geezer, “Little Miss Lover” 04:50
7. Wo Fat, “Gypsy Eyes (Extended)” 07:13

As I said, staggering. Even more so in the case of Electric Ladyland [Redux], since not only do the usual comp and tribute album concerns apply of getting everything together and turning it into a cohesive listening experience, but also because in paying homage to a full-length album specifically, it’s also pivotal that Electric Ladyland [Redux] flows front to back while being comprised of 16 separate recordings taking place in 16 separate studios with 16 separate performances and treading on some of rock and roll’s most sacred, pivotal ground. Covering Hendrix? Unless you’re Stevie Ray Vaughan — and hell, even if you are — it’s a tricky proposition for one song, let alone a full record. It’s like someone asked Magnetic Eye if they wanted to go mountain biking and the label built a rocket, went to Mars, terraformed the planet and then decided to tackle Olympus Mons, on a Huffy.

va the best of james marshall hendrix

Okay, an exaggeration, but you take my meaning. And Electric Ladyand [Redux] mostly succeeds in its decidedly Herculean mission. There are one or two changes that come across choppy — an early one in the jump from the groovy vibes of Elephant Tree and Open Hand into the burlier Superchief, who give an able showing of what they do but ultimately feel out of place — but on the whole, it’s hard to argue with the results as they’re presented throughout, whether it’s King Buffalo‘s dreamy “House Burning Down” or groups making the material their own, like Wo Fat‘s “Gypsy Eyes,” Summoner‘s re-envisioned “1983… (A Merman I Should Turn to Be)” and Gozu‘s adventurous “Rainy Day, Dream Away,” which leads off the second CD of the collection after Mos Generator‘s “Burning of the Midnight Lamp” finds the Washington-based act showing the roots of their own approach to landmark hooks, as do Mothership with their “Still Raining, Still Dreaming.”

Hearing Earthless with vocals is something of a surprise, and their take on “Come on (Let the Good Times Roll)” (an Earl King cover) not only is true to their Hendrix influence, but is a decided showcase of just how influential they’ve been on the West Coast underground — there are a good number of bands out there striving to sound like Earthless covering Jimi Hendrix — and having Swedish rockers Tunga Moln perform “All Along the Watchtower” in their native language puts an unexpected spin on arguably Electric Ladyland‘s most recognizable piece. All Them Witches are right in their element jamming on “Voodoo Chile,” and Elder do justice to the album’s closer in their “Voodoo Child (Slight Return),” capping the tribute with one last highlight to round out the many before it.

There are several acts who reappear on The Best of James Marshall Hendrix, including Wo Fat and Elephant Tree, but as the latter only had the intro “…And the Gods Made Love” to lead off Electric Ladyland [Redux], it seems fair enough. In the case of Texas fuzz forerunners Wo Fat, I’m not at all going to fight with their extended jam on “Gypsy Eyes” as it closes out The Best of James Marshall Hendrix, and their 12:49 run through “Machine Gun” suits just as well. Leading off the companion tribute are Australian blues rockers Child, who give “In from the Storm” due soul and sway, and after Elephant Tree‘s “Manic Depression” and Wo Fat‘s “Machine Gun,” hearing Stubb take on the sweet melodies of “Little Wing” couldn’t be more perfect, especially leading into Rosy Finch‘s stomping “Foxy Lady,” which in turn gives way to Geezer‘s “Little Miss Lover,” coated in wah and right in the New York band’s wheelhouse, even as it gives way to a deconstructing long-form fadeout.

Wo Fat‘s extended “Gypsy Eyes” picks up from that silence with a bonus track-style vibe, but really, both releases feel like a bonus the whole time through. There are some variances in sound and style and some bands are more suited to the source material than others, but the effort that has been put into Electric Ladyland [Redux] and The Best of James Marshall Hendrix and the passion that bleeds from every second of each of these tracks are simply inarguable. It may be preaching to the choir to have heavy rock and psych bands covering Hendrix tracks, but the vibe throughout both of these tribute comps is much more of a genre paying homage to one of its founders who, sadly, didn’t live long enough to see the generation-spanning impact of his work realized. Equally admirable in mission and execution.

VA, Electric Ladyland [Redux] (2015)

VA, The Best of James Marshall Hendrix (2015)

Magnetic Eye Records on Bandcamp

Magnetic Eye on Thee Facebooks

Magnetic Eye website

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Tony Reed Releases The Lost Chronicles of Heavy Rock Vol. 1

Posted in Whathaveyou on August 24th, 2015 by H.P. Taskmaster

tony reed 2

Recorded in pieces over a span of three tumultuous years, Tony Reed‘s The Lost Chronicles of Heavy Rock Vol. 1 stands testament both to the influences and the restlessness of its creator. Reed, who in 2011 was still showcasing his love of ’70s heavy with Stone Axe prior to reigniting his once-again main outfit, Mos Generator — now a full-fledged touring act with a revamped lineup — set to covering gems from the early days of heavy rock, and while his take on Pentagram‘s “Forever My Queen” surfaced in video form two years ago, the vast bulk of this stuff will be brand new to those who embark on the free download, which is available now on Reed‘s Bandcamp.

It’s worth noting that Reed probably could’ve called this a Mos Generator release and no one would’ve blinked, even though he plays all the instruments, sings and recorded it all by himself. By keeping it under his own name, it emphasizes the personal nature of these songs and how they’ve affected him as a player and as a writer in his own rock. Sometimes you just gotta jam out a classic riff, and if you’re Tony Reed, sometimes you gotta put together a whole record of them.

Release info and stream follow:

tony reed the lost chronicles of heavy rock vol. 1

When I get a song stuck in my head it usually doesn’t go away until I cover it. With these songs I tried to be true to the original in playing and production style. It’s an exercise in recording and playing skill and a real challenge. Over the last few years I have been recording covers for what I wanted to be a proper vinyl release but I have decided to give it away for free. Many of these songs have been with me through my life and some have just been introduced to me by other fans of underground rock of the 1970’s. There are, of course, many other songs that I could have done or added to this but I have chosen these because they moved me in some way. Also, this is called “Vol. 1” for a reason.

I would like to thank Henry Vasquez for bringing much of this music to my attention over the years.

TR – August 2015

Tony Reed – All instruments and vocals, Mellotron and Hammond organ.
Recorded & Mixed by Reed at HeavyHead Recording Co. 2011 – 2014
Photos by Audrey Reed.

1. Battle (Boomerang ’72) 04:12
2. Ain’t No Lovin’ Left (Fanny Adams ’72) 06:09
3. Fifteen (Highway Robbery ’72) 03:01
4. Queen of Torture (Wishbone Ash ’70) 03:21
5. Nobody Else (Atomic Rooster ’70) 04:45
6. Garden Road (Rush ’74) 02:56
7. Still Born Beauty (Necromandus ’73) 04:04
8. Forever My Queen (Pentagram ’73) 02:21
9. Dier Not a Lover (Bloodrock ’70) 04:09
10. In the Court of the Crimson King (King Crimson ’69) 07:00

Tony Reed, The Lost Chronicles of Heavy Rock Vol. 1 (2015)

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Day of the Shred 2015 Announces Lineup

Posted in Whathaveyou on July 21st, 2015 by H.P. Taskmaster

day of the shred banner

Thief Presents continues to throw down a gauntlet with its festivals. It seemed fair after so thoroughly upping the game earlier this year with Psycho CA that big things would be in store for that fest’s autumnal counterpart, the Day of the Shred, but when you come out of the gate like it’s no big deal and be like, “Oh hey Captain Beyond is playing our fest year whatever,” you’re officially killing it. You’ve got John Garcia, Yawning Man and Ides of Gemini together, which makes me wonder if Zun won’t make an appearance, and Spirit Caravan, Elder and Crowbar, along with a righteous ton of others, up to and including Portugal’s Black Bombaim. It gets a hearty and heartfelt fucking a.

Details from the PR wire:

day of the shred 2015

Day of the Shred Festival to Light Up Southern California November 1

Dia de los Muertos-themed Concert Event to Feature Performances from Captain Beyond, Spirit Caravan, Crowbar, John Garcia, Mondo Generator, Torche and More

This fall, The Day of the Shred Festival returns to Southern California, presenting a diverse lineup of heavy music acts. Billed as an experience “to gather the living and remember the dead”, The Day of the Shred will take place on November 1 (Dia de los Muertos) in Santa Ana, CA. Celebrating monolithic riffs, skateboarding and the souls of the departed, the second annual festival will be an all day, all ages event. Presented by Thief – also the creators of the annual Psycho California Festival — The Day of the Shred will feature headliners Captain Beyond, Spirit Caravan, Crowbar, Torche, John Garcia (of Kyuss fame), Elder, Saviours, Mondo Generator and more.

Tickets for the 2015 Day of the Shred Festival are on sale now at this location. Early bird general admission tickets are $59 (+ tax) and a limited VIP ticket package (which includes express entry, a signed festival screen print, access to the artist lounge, complimentary microbrew and snacks, a limited edition record bag and an exclusive Thief X Obey concert shirt) is also available.
What: Day of the Shred Fest 2015
Where: The Observatory, Santa Ana, CA
Time: 2PM – 2AM

The just-announced lineup for The Day of the Shred 2015 is as follows:

Stay tuned in to The Day of the Shred Fest via the Facebook event page and follow THE DAY OF THE SHRED on social media:

Weedeater, “Gimme Back My Bullets” Live at Day of the Shred 2014

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