#25
SUMMER 2007 (in progress)
by Larry "Fuzz-O" Dolman (except where noted)
all day names from Year by Angus MacLise (1962)
background by Kark (2007)

JUNE 28 2007 (DAY OF THE HEARTS BLOOD)

  

Goddamn John Bender rules....listening to the I Don't Remember Now album from 1980....like a Midwestern Suicide, sure, but with a distinct 'gentle German' influence tinging through that cold and bitter Clevelandness.... Harvey Pekar fronting Harmonia?? Robert Crumb (greeting card era) fronting Cluster?? On deck are Bender's two followup LPs, Plaster Falling (1981) and Pop Surgery (1983), and no, none of these are originals, strictly .rar..... but the real reason I'm posting is to answer a challenge. In the latest newsletter to the No Doctors mailing list, Elvis DeMorrow claimed that their new LP Origin & Tectonics "has already caused Larry Dolman to stop updating his BLASTITUDE site in sheer awe." Well, it's not the ONLY reason I've stopped, but there's no doubt that the advance copy I've received has left me rather speechless, and at first it was because it sounded so slick. It took 'em awhile to put this thing out (their first release since moving to San Francisco in 2004), and it sounds like they spent that time meticulously learning to be a massive, clean-cut, and undeniably pro-sounding rock and roll juggernaut. They've also learned how to really sing melodies and enunciate their lyrics, and I'll be honest, these were unexpected developments. Remember the non-stop yowling garbage-fi chaos of their last full-length, Hunting Season from 2003? Those blighted and decrepit streets have been completely cleaned up, as if some kind of pro-rock Rudy Giulani took over and redeveloped the neighborhood into a futuristic metallic factory complex that slowly crafts a high-tech and burnished reamalgamation of the history of rock. I'm telling you, sometimes they sound NORMAL on this album, like South by Southwest or Kemado Records normal, until you listen closer and realize that's precisely why they are now weirder than ever. Again, their always bold and wiggy lyrical concepts are now clearer and more pronounced, which can be especially disconcerting on acoustic numbers like the extra-catchy campfire song "For You," which goes "Wishing on a woman / wishin' she would strip / Take me to the ocean / wanna skinny-dip," seriously, and then asks a "fire-breathing lady" [sic] to "smoke me like a peace pipe / If you wanna end the war" [sic!]. But then after each one of these preposterous verses they pull out a sweet instrumental turn-around, driven by guitar filigree and melodic bass, and we are reminded that their motives are utterly sweet and pure. And there are other songs on here that are just plain monumental -- "Invisible Clopes" and especially "AAO" take the tempo and weight of doom metal and apply it to some new style that is just as slow but poppier, proggier, and stranger, driven by CansaFis's 'saxophone army' designs and yet more of those bold lyrical concepts. (Apparently the track sequencing reflects "the path from earth to jewel to love at the circus," and I think I'm almost getting it -- definitely getting the "earth" part because some of these lyrics, like "Yardin" and "Tuning the Sundial," are just plain eco, and around here that's a GOOD thing, OK?) "Lost in the Fog" takes the 1950s balladry that was overtly referenced on "Floating Woman" (from the ERP Saints CD EP, 2004, No Sides Records) and makes something more covert, yearning, and intense out of it, a seriously heartfelt lament for a stupefied leisure society. And that's the key -- even with all the goofin' and yardin' and perceived slickness on display, this is a seriously heartfelt record, which is why I keep listening to it.


JUNE 11 2007 (DAY OF THE HEARTS RELEASE)

FOUR SUMMER TOURS..... 16 Bitch Pile Up and Warmer Milks, the co-stars of the Blastitude #19 cover, are both starting tours on June 12, La Otracina (great new CD on Holy Mountain) is starting one today, and the mighty Avarus is coming to the States from Finland in a couple weeks:

LA OTRACINA

Monday 11-Jun Floristree (6th floor H&H building 405 w. franklin st), Baltimore, MD with PLASTIC CRIMEWAVE SOUND, VINCENT BLACK SHADOW, WOMANS WORTH

Tuesday 12-Jun Marvelous Record Store (208 S. 40th street), Philadelphia, PA with BURRS, MOUNT FUJI

Wednesday 13-Jun Cakeshop (152 Ludlow St) , NYC, NY cake-shop.com/ with CHARALAMBIDES, GHQ, SUGARBEATS

Thursday 14-Jun Velvet Lounge (915 U Street), Washington DC with BLOWFLY (seriously!), PLUMS, and more

Friday 15-Jun Spazzatorium Galleria (807 Dickinson Ave), Greenville, NC with DD/MM/YY, OICHO KABU, PONIES AND FLOWERS

Saturday 16-Jun Secret Squirrel (766 West Broad), Athens, GA with MUGU GUYMEN, 63 CRAYONS, SMOKEDOG

Sunday 17-Jun The Whig (1200 main street), Columbia, South Carolina with Jeff South Project

Monday 18-Jun TBA Nashville/Murfreesboro, TN with CJ Boyd and more

Tuesday 19-Jun Murphy's (1589 Madison Ave), Memphis, TN with TRUE SONS OF THUNDER, and more

Wednesday 20-Jun Spooky Action Palace (e-mail venue for location), St. Louis, MO spookyinfo@gmail.com with Ataraxic Ataxia, Sum Of Heroes

Thursday 21-Jun Lazer Mansion (133 54th street), Moline, IL with MONDO DRAG, LAZER MOUNTAIN

Friday 22-Jun Hideout (1354 W Wabansia), Chicago, IL with PLASTIC CRIMEWAVE SOUND, Matthew Wascovich, DRUIDS OF HUGE

Saturday 23-Jun South Union Arts (1352 S. Union), Chicago, IL with Matthew Wascovich/PLASTIC CRIMEWAVE Duo, PLASTIC BONER BAND, FOLK & VIOLENCE

Sunday 24-Jun Basement Show (216 E Hillside Drive), Bloomington, IN with RESTING ROOSTER, HOT FIGHTER #1

Monday 25-Jun Skull Lab, (271 W McMicken ) Cinncinnati, OH with Ryan Jewell, and more

Tuesday 26-Jun TBA, Columbus, OH with Ryan Jewell, more

Wednesday 27-Jun Pat’s In The Flats (2233 West Third), Cleveland, OH with MOOTDAK, 9 YR OLD MUDFLESH, THE FLAT CAN CO.

Thursday 28-Jun House Show (114 1/2 Erie Street), Edinboro, PA with DROOPY SEPTUM, TUSK LORD, FOREST DWELLER

Friday 29-Jun Garfield Artworks (4931 Penn Ave), Pittsburg, PA with TBA

Saturday 30-Jun Test Pattern Gallery (334 Adams Ave), Scranton, PA with THE MARSHMALLOW STAIRCASE, THE ULTRA VIOLET RAYS

Sunday 1-Jul Helderberg Palace (96 Sycamore St) Albany, NY with BURNT HILLS

Monday 2-Jul Brilliant Corners (163 water street), Keane, New Hampshire with KENDRA, Ian Joseph and The Toys

Tuesday 3-Jul Grow Room, Providence, RI with XERXESX, BARNACLED, CINNAMON ANEMONE

Wednesday 4-Jul off

Thursday 5-Jul Soundfix Records (110 Bedford Ave), Brooklyn, NY in-store performance


16 BITCH PILE UP

Tue June 12 ROCHESTER @ A/V SPACE with Pengo, more TBA

Wed June 13 TORONTO @ Smiling Buddha Bar w/ Disguises, gastric female reflex and the Flynns. Our first show in canada EVER!!!!!!

Thu June 14 MONTREAL @ Au Friendship Cove w/ the TDK C 90 Analogue Summer Ensemble and Hyena Hive (our second show in canada, EVER!!!!!!!)

Fri June 15 BROOKLYN @ Glasslands with Monotract, Religious Knives, Alan Licht

Sat June 16 NEW BRUNSWICK NJ @THINISU 138 Easton Ave New Brunswick, NJ 08901 w/ deep fried radio static for a new american century, ASPS and Panther Modern

Sun June 17 PITTSBURGH @ Belvedere's w/Natura Nasa, Cock Scene Investigator (edgar um, joe roemer)

MON June 18 LEXINGTON @ the frowny bear with cadaver in drag and caves

Tue June 19 CINCINNATI @ Skullab with Kevin Shields, Tik///Tik, Hentai Lacerator, Jor Dan, DJ Thumper, Evolve

Wed June 20 CHICAGO @ ENEMY with burden and magic is kuntmaster

Fri June 22 COLUMBUS @ skylab with Sword Heaven, fat worm of error


WARMER MILKS

06/12/2007 - LANCASTER, Pennsylvania - KEPPEL BUILDING W/TBA

06/13/2007 - BROOKLYN, New York - SILENT BARN W/ BLUES CONTROL, NONHORSE, PURIRI, WEIRDING MODULE

06/14/2007 - MONTAGUE, Massachusetts - MONTAGUE BOOKMILL W/ MV/EE AND CHARLAMBIDES

06/15/2007 -BOSTON, Massachusetts - TWISTED VILLAGE W/ SUNBURNED

06/16/2007 - BALTIMORE, Maryland - CURRENT W/ HUMAN BELL

06/17/2007 - WASHINGTON DC - WAREHOUSE NEXT DOOR W/ TBA

06/18/2007 - CHARLOTTESVILLE, Virginia - TWISTED BRANCH TEA BAZAAR W/ NED OLDHAM (ANOMOANON)

06/19/2007 - COLUMBUS, Ohio - CAFE BOURBON ST. W/ SWAMP LEATHER, TIME AND TEMPERATURE+TBA

06/20/2007 - CHICAGO, Illinois - S. UNION ARTS W/ TBA

06/21/2007 - LEXINGTON, Kentucky - THE FROWNY BEAR W/ CAVES, WALTER CARSON AND EVERYONE LIVES EVERYONE WINS



AVARUS

06-29 Ridgewood/Queens, NY - Silent Barn
with Manbeard, Fursaxa, Vanishing Voice and Watersports (Blues Control folks)

06-30 Philadelphia, PA - Johnny Brenda's
with Manbeard, Bardo Pond

07-01 Baltimore, MD - Floristree
with Manbeard, Jack Rose, Sri Aurobindo

07-02 Asheville, NC - Harvest Records
with Manbeard

07-03 Knoxville, TN - The Pilot Light
with Manbeard

07-05 Nashville, TN - Springwater
with Manbeard, Taiwan Deth, The Cherry Blossoms

07-06 Louisville, KY - Lisa's Oak Street Lounge
with Manbeard, Caboladies, Deep Pockets (Son Of Earth, Sapat folks)

07-07 Cleveland, OH - Parish Hall
with Manbeard, Thee Scarcity Of Tanks, Terminal Lovers

07-08 Chicago, IL - The Hideout
with Manbeard, Spires That in the Sunset Rise

07-09 Cincinnati, OH - Skull Lab
with Manbeard, Wasteland Jazz Unit

07-10 Pittsburgh, PA - Belvedere's
with Manbeard

07-11 Washington, DC - Velvet Lounge
with Manbeard, Kohoutek, Insect Factory

07-12 Point Pleasant Beach, NJ - Om Baby Yoga Studio
with Manbeard, Phasmida

07-13 North Adams, MA - Robot Mansion at Mass MoCA
with Manbeard, Spires That in the Sunset Rise, Aethr Myth'D (Sunburned, Feathers folks)

07-14 Providence, RI - Foo Festival at AS220 - Annual FREE street festival with 20+
bands on two stages (inside and outside), artist booths, games, craft/record/book
vendors and more more more. FREE FREE FREE all day/night from 12pm to 1am. Other artists include Chinese Stars, Neptune, Stinking Lizaveta, Aa, Spires That in the Sunset Rise, Pwrfl Power, Lazy Magnet, Alec K Redfearn + The Eyesores, Japanther, etc.


JUNE 9 2007 (DAY OF COLUMBA)

LIVE ON WBLSTD (777.666 FM CHICAGO)
Davis Redford Triad "Into the Mist" (Holy Mountain)
Davis Redford Triad "Violent Stupid Friend" (Holy Mountain)
Air Conditioning "Where To Litter/Trash Burning" (Load)
Greg Malcolm "Mob Job" (K-RAA-K)
Mighty Baby "Virgin Spring" (Sunbeam)
Cherry Blossoms "The Wind It Blows" (Apostasy / Blackvelvetfuckere / Breaking World / Consanguineous / Hank the Herald Angel / Yeay!)
Poor School "[Voor Niets In Zijn track one]" (Cut Hands)
White Lichens "Stolas, or Stolos" (Holy Mountain)
Pink Reason "Goodbye" (Siltbreeze)
The Index "You Keep Me Hanging On" (Voxx)
Derek Bailey "Concert in Milwaukee (excerpt)" (Woodland Patterns)
Rod Poole "The Death Adder" (W.I.N.)
High Speed and the Afflicted Man "Zip Ead" (Rock Toilet Records)
Darkthrone "Det Svartner Nĺ" (The End)
Women in Tragedy "Lost in the Rays of the Sun" (Cut Hands)
Ex-Cocaine "With The With The When The One" (Siltbreeze)
Cherry Blossoms "Golden Windows" (Apostasy / Blackvelvetfuckere / Breaking World / Consanguineous / Hank the Herald Angel / Yeay!)


JUNE 8 2007 (DAY OF GAMMADION)

Album of the month(s) right now is Those Are Pearls That Were His Eyes, by Charles Cohen and Ed Wilcox, an edition-of-500 CD release on the Ruby Red label from Portugal, intense and quietly active electro-acoustic synth/drums duo improv by two beyond-seasoned veterans from the fringes of Philadelphia. Of course the "beeps and boops" of antique space-age synthesizer and the urban rainforest tickle of post-free post-jazz percussion have always been a match made in heaven, but I can't think of another time they been so blended as what Cohen on "Buchla Music Easel" and Wilcox on "drums and gongs" have laid to tape here. Feel free to turn it way up, because both musicians employ an uncannily sympathetic light touch throughout -- in 10 tracks and 48 minutes, the music never agitates or explodes, it only ripples and patters and somehow, at any volume in any environment, seems to remain just under the threshold. Cohen and Wilcox also played together on one of my favorite rippling/pattering under-the-threshold mutant jam albums of the 1990s, the phenomenally wrecked Bullet In2 Mesmer's Brain! (Bulb Records, 1998), by Wilcox's long-running revolving-door concern Temple of Bon Matin. There were nine people in the band for the sessions, such a rarefied space-jazz-noise unit that when the CD came out, the band had been rechristened Laser Temple of Bon Matin for that album only. Wilcox's mix is unbelievable, multiple performances layered and separated and crossfaded with dubwise boldness through tiny sonic prisms into swinging mind-sized shadow paintings. Yeah, it's been good to pull out Mesmer's again, and good to have it spurred by Cohen and Wilcox's stunning new duo music CD. (And this just in: "Well over six hours worth of Charles Cohen on the Buchla Music Easel.")

And speaking of multiple performances layered and separated, crossfaded with dubwise boldness, that kinda talk reminds me of this new Excepter double-CD release called Streams (Fusetron), compiled from 36 hours of performance, all originally streamed over three years' time from their website and podcast. In an excellent interview over at the Sweet Pea Review website, Excepter's John Fell Ryan sez, "We use the tools of electronic dance music, but in the services of dissolving boundaries between different kinds of music." Taken out of the full interview's rich context, this might sound like a typical musician talk, but there are indeed countless actual moments of boundary dissolve throughout these two discs. For one example, I put on Streams expecting Excepter's one-of-a-kind foggy reimagining of electronic dance music as a confusing, bemused, and patiently ambling dérive .....and that I got. But I got lots of other things too, and the thing I noticed the most was lots of feral and fearless vocalising, nutso growling and yowling wolf transformation type stuff, reminding me of a New York City band from 40 years ago, The Godz, as much as any of Excepter's electronic-styled contemporaries. St. Julian was talking about the same thing over at his Head Heritage review of Streams, when he brought up "post-Amon Duul 1 protest chanting in a ‘Help Me, I’m A Rock’ free rock-style as orchestrated by two mush-mouthed Kim Fowley and J. Morrison types performing through Adrian Sherwood’s On-U-Sound filter." Hell yeah, and there's plenty more boundary dissolve waiting for you and me on Streams, or any other Excepter release -- always the same, always different, pick up any one and see.

Monotract has put out two albums less than a year apart. First in mid-2006 was the acclaimed Xprmntl Lvrs on Ecstatic Peace, which I missed completely, but on my stereo right now is Trueno Oscuro, their early 2007 followup on Load Records, and if this is what they're up to now it's no wonder Xprmntl was acclaimed. Opening track “Muddy Thunder” sets a great tone with a staccato electronic futuristic robot rhythm, doubled by live drums, accented by thoughtfully applied bursts of static and subtle Magic Band guitar clipping around the edges, all of which turns out to be a long prelude to something almost totally different, a big-guitar power-anthem with rad 80s punk vocals by Nancy. That's just "Muddy Thunder," but every track on this album ends up being a punk song, it's just that many different styles and approaches are used to get there, from the mysterio-femme tone-poem of "Under My Arm," to "The Ballad of Lechon" (vocals like Dave Byrne if he actually was weird, backed with ripping post-punk echo guitar), the heavy beat street funk (seriously) of "Big N" and "Cofu y Kaka" (you can really hear the Caribbean roots in these jams, almost like steel drums are clipping along with the infernal punk grooves), the amazing electric guitar freenoise coda of "Red Tide".... and so on. I can't tell you how many different weird musical styles from the last 20 years they brilliantly allude to on these seven songs, and it all goes down in a blistering 30 minutes. Yep, not counting the Red Tape, Trueno Oscuro has gotta be Monotract's finest release thus far.

Great split LP of solo guitar from the Belgium-based Glasvocht label, with Harris Newman (from Montreal, Quebec) on the A side, and Mauro Antonio Pawlowski (from Belgium) on the B. This is my introduction to Newman, having missed his opening set at a Six Organs of Admittance show back in March 2005. During the Six Organs set, Chasny called him "the future of acoustic guitar," and now over two years later I can finally see why. First track is an instant grabber, Newman laying down an unstoppable spooky bluesy theme which he proceeds to stop, restart, lead slowly into strange dead ends, stop again for uncomfortable silences in haunted echo chambers, restart again right back into the thick of it, somehow constantly developing it for over 10 minutes while still keeping it stuck in the same place. The title, "Onset of Tourette's," hints at what's going on, as if the song is a close examination of how a motif can become a tic. The remaining two tracks are also excellent compositions, one short and bluesier, the other sounding like a slower, more focused, and way intense reprise of "Tourette's." Really, a perfect album side. The Pawlowski side makes me think of a friend of mine who was getting to know free improvisational music. He thought Derek Bailey and a few others ruled, but he could never really get deeper into the genre. "I wanna like it," I remember him saying, "but it always ends up sounding like guys playing their instruments funny." And he meant it like 'funny peculiar', I guess. I never really agreed with him, but I can't help but think about his statement when going from the experimental but deeply idiomatic music of Harris Newman to the more quirky, atonal, and decidedly non-idiomatic music of Mauro Pawlowski on the flip. The good news is Mauro seems well aware that this music is funny peculiar, because he plays short pieces (ten in all) with titles like "The Emperor's Shy Bladder," "The Paranormal Olympics Cancelled," and "The Last Living Beatle." He has a nice humming and spooky guitar tone too, not unlike Newman's, and the end result is a pleasantly surrealist style that he calls "ethnical Belgian improvisation music."


JUNE 1 2007 (DAY OF THE ROSE)

Wow, can you believe I once said I was gonna do daily posts? I wish I could tell you that this summer issue (#25) is going to be the "Reviews Issue" and that I might even increase updates to, I don't know, once a week. You never know -- right now I'm getting myself psyched by listening to the new Ex-Cocaine album on Siltbreeze. It's called Esta Guerra, and two tracks in I'd say it's a definite improvement on Keep America Mellow. That was a good debut for sure, it sat there and spread out nicely, but the sundazed Dead C-meets-Allmans Montana-raga style that was budding on that album is really blossoming here, adorned with strange weeds like the Milford Graves Percussion Ensemble and the thought of a completely twee-free Tyrannosaurus Rex. When they really get the songs moving it can be easy to forget they're just a duo of electric guitar and hand drums, and side two really nails it with the long album-closer "With The With The When The One."

Holy shit, this Futurians CDR with Mr. Spock on the cover is fuckin’ great. It’s probably almost a year old too, but you know sometimes it takes me a while. The first two or three tracks are just totally tranced-out sci-fi garage garbage rock -- I think each time they just pushed the button marked 'retardo dunt loop', turned the knob marked 'tempo' down until the sound got nice and fuzzy, and then kinda wandered out of the room for awhile. Eventually they came back with some beers and started yelling from across the room so it would be a ‘song’. And it definitely is. In fact, I've been walking around the city singing these songs all week. Strangers keep hearing me quietly yelp the phrase "pure green blood" over and over. You can imagine the looks I get, but it's well worth it. At least I'm not singing the nutso last track, which sounds like some boom-box outtake from the Flowers of Romance sessions, special guest Yoko Ono... Anyway, it's called Spock Ritual -- great black-on-silver silkscreen design on this thing too -- kudos to the Invisible Generation label for this edition-of-300 rock masterwork.

The Barge Recordings label put out an excellent compilation last year called Innature, and they've made a strong move with their second release too. It's a CD called Life-Size Psychoses by a duo called The Fun Years. I knew nothing about 'em whatsoever but this thing had me within about 45 seconds, opening as it does with an exquisitely controlled aeons-wide endlessly-slowed-down sad soul music loop. I swear it just keeps going for a good 20 minutes, holding that same mood while all the oxygen slowly leaves the room and the world quietly dies. Not bad for a duo of turntable and baritone guitar. The whole piece/CD runs about 45 minutes, and even if 3/4th of the way through I'm starting to think these guys might still have a couple Tortoise albums in their collection(s), that first half is such a grabber that all is forgiven.

I hardly ever listen to the Double Leopards and I think it's because they're too good and I'm actually a little afraid. I don't know if it's the fear that the sound will finally devour and dissolve my mind completely, or a fear that it will all come crashing down like a house of cards because after all aren't they mostly just groaning through pedals? Either way, I really didn't know what to expect when I warily put on this solo album by founding DL member Marcia Bassett, recording as Zaimph, but my first thought after the record started to sink in was, "Man, no wonder the Double Leopards are so good." These are four long soft hums of hymnal electricity, "live room recordings" from 2006, and for each track it's amazing to imagine any mere room, anywhere, ever sounding like this in real-time. It's just too mysterious and gorgeous, but yet here it is, in my room, somehow contained on 180 gram vinyl. It's called Mirage of the Other, and sure enough, I'm already a little afraid to listen to it again. Another new hymnal electric album from the same label (Gipsy Sphinx of Belgium) is Djid Hums by Bear Bones, Lay Low. It's not in the same league as the Zaimph, but not many are, and it's certainly still recommendable. It has a more 'computery' heaven-drone sound to it, not unlike Neil Campbell's recordings as Astral Social Club, with Burning Star Core/Carlos Giffoni/No Fun Productions vibes as well, especially on Side 1. Side 2 is more of a guitar maelstrom kind of thing -- real good, and if it runs a little long, it's still worth it for the space-froggy voice coda. Great cover art too on another fine 180 gram Gipsy Sphinx vinyl pressing. Bear Bones, Lay Low is one to watch, an 18 year old kid from Venezuela who moved to Belgium with his family to avoid social unrest in the wake of Chavez! Read all about it, along with due props to Tool, in this interview at Foxy Digitalis.

And sounding pretty good on the stereo right now is some heavy way-out free-rock destructo-jam action, lots of blubbering and rampaging low end with attacking drums. A single 15-minute jam. Blue Humans vibe, but coming more from the free noise tradition than the free jazz tradition. If I was in a blindfold test I might even guess this was Eloe Omoe, but I know that's not right (because that's a duo and this seems to be a trio). It's just that I'm making dinner while wife and kids are at the library, which means stereo-cranketh time is NOWETH, and this is the first thing that came up on the old CD shuffler. It's really blowing out some cobwebs, perfect for 15 minutes of house-to-myself after a stupid day at work. Of course, I might never play this thing again, but who cares? I'm not writing about all these hundreds of records so you'll buy them all and play them all in your home and/or rip them to your iPods (although that might all be cool), I'm writing about 'em to let you know WHAT'S BEING DONE OUT THERE. And what's being done right here is some variation on the basic heavy Blue Humans template by some free-thinking weirdos out there somewhere. (I still don't know who this is.) (Turns out this thing is a 3" CDR by the Western Massachusets group Grey Skull, recorded live in Providence, RI waaaaay back in October 2004, as released by Breaking World Records. I've heard a couple weird stripped-down noise-type releases from Grey Skull, but I believe this is the only time I've heard 'em play in a stand-up rock-trio style.....maybe they were indeed directly influenced by some Eloe Omoe shows.....they both live in Massachusets.....)