Wednesday, May 31, 2006

2006, Part Eighteen

Lo-Fi-FNK - Boylife (2006)

Europeans are strange people, and yet, time and time again, they prove their electronic ventures to be more effortlessly successful than our own. Lo-Fi-FNK do not make electronic music, but decidedly electronically-based, and wonderfully odd pop music. There are a variety of strangely isolated samples on this record - weird yelps, "WHOOP"'s, and grunts, belieing the Nordic-accented vocal melodies that comprise the majority of the album. It all seems unstrained, too, and just undeniably intriguing in the ease with which these guys seemed to make this record despite the oddness that is the result. Here's some songs:

Download "System (feat Maiden)"
Download "What's On Your Mind"

their website

Monday, May 29, 2006

________ in the house, yeah

So Daft Punk at Coachella this year was easily one of the best performances I've ever attended, and, apparently, either somebody was granted a soundboard patch or they acquired the result of one, because an incredibly clear recording of the whole performance is now circulating online in mp3 format. Here it is:

Download Daft Punk's performance from Coachella 2006 (4-29-06)

It's nearly a 150 meg file, but it's worth a listen.

Saturday, May 27, 2006

drop the citrus fruit lolz

This is probably the ninth time I've mentioned Drop the Lime on this blog (or the second, whatever), but he deserves the recognition. His new full-length We Never Sleep is circulating, and finds Venezia (Drop the Lime) moving in more of a sort of "grimy dance music" direction (if that makes any sense), abandoning some of his trademark breakcore flair for captivatingly abrasive and snarling lower BPM. It is a stylistic change that was hinted at on this year's Shot Shot Hearts EP, and realized here, thankfully, with effectivity and tremendous resourcefulness. Here's some songs:

Wednesday, May 24, 2006

i like my neighborhood

Some tracks from the upcoming album of everyone's favorite slightly divisive craziness, Xiu Xiu, have apparently leaked. I hope Jamie Stewart doesn't write a song about me posting these, especially considering they sound unmastered, but here goes:

Download "Watermelon Vs. The Pineapple"

Download "Buzz Saw"
Download "Boy Soprano"

The aforementioned full-length, The Air Force, is due on September 15th.

their website

Monday, May 22, 2006


I make a series of mixes for people to download via my getfile every year, and I thought I'd put up one of my (in retrospect not-so-great) mixes from last year in a nod to self-appreciation. Here's the tracklisting:

01 - Sun Kil Moon - "Exit Does Not Exist" (Modest Mouse Cover) - Tiny Cities
02 - Patrick Wolf - "Teignmouth" - Wind In the Wires
03 - Xiu Xiu - "Muppet Face" - La Foret
04 - Deerhoof - "Odyssey" - The Runners Four
05 - Flotation Toy Warning - "Losing Carolina; For Drusky"- Bluffers Guide To the Flight Deck
06 - Devendra Banhart -"The Beatles" - Cripple Crow
07 - Calla - "Stumble" - Collisions
08 - Clap Your Hands Say Yeah - "Heavy Metal" - Clap Your Hands Say Yeah!
09 - Holopaw - "Curious" - Quit +/or Fight
10 - The Most Serene Republic - "Proposition 61" - Underwater Cinematographer
11 - The Kallikak Family - "Guitar 1" - May 23rd, 2007
12 - Angels Of Light - "Michael's White Hands" - Sing 'Other People'
13 - Dwight Trible & the Life-Force Trio - "Waves Of Infinite Harmony" - Love Is the Answer
14 - Broadcast - "Corporeal" - Tender Buttons
15 - Super Furry Animals - "Frequency" - Love Kraft
16 - Jamie Lidell - "Multiply" - Multiply
17 - Wolf Parade - "Fancy Claps" - Apologies To the Queen Mary
18 - The Joggers - "Since You're Already Up" - With A Cape And A Cane
19 - Out Hud - "Old Nude" - Let Us Never Speak Of It Again
20 - Colder - "The Winter's Fields" - Heat
21 - Terminal 11 - "C'est What" - Illegal Nervous Habits
22 - Wilderness - "Post Plethoric Rhetoric" - Wilderness


Friday, May 19, 2006

2006, Part Seventeen

Kazumasa Hashimoto - Gllia (2006)

Continuing in my recent Japanophilia, Kazumasa Hashimoto's Gllia caught my ear with its extremely warm organic instrumentation pastiches, pieced together with a skill and meticulousness rarely found in electronic composition. Hashimoto shapes oboes, strings, xylophones, piano, guitar and other vehicles of relative instrumental obscurity into a fluffy pillow of pleasant noise, laying computer voice generators and other vocal manipulations onto that. It's a really cool listen, especially with some headphones. Here's some songs:

Download "Mr. Gleam"

Download "Milmils"

his website

Wednesday, May 17, 2006

2006, Part Sixteen

Alex Smoke - Paradolia (2006)

Why this is getting little to no attention beyond word-of-mouth buzz is beyond me - Alex Smoke's Paradolia has skyrocketed to easily one of my favorite albums of this year. I was intrigued by last year's Incommunicado, but "Smoke" seems to have tightened his sound into an even sexier, thumping, lucid electronic juggernaut. Just when you think the album's settling into a steady cadence of beat oblivion, Smoke throws you a curveball with weird vocoder tricks and organic samples. Just ridiculously good stuff. Here's some songs:

Download "Make My Day"
Download "We Like It Insipid"

soma records

Tuesday, May 16, 2006

2006, Part Two Thousand And Fifty-Two I Mean Fifteen

Human Television - Look At Who You're Talking To (2006)

Oh wait I have a blog, don't I? I should probably update. Sorry, I promise that was only temporary. I was doing okay for a while though, update-wise, you have to admit. Anyway:

Human Television are riding a wave of 90's pop-rock revivalism and doing it really, really well. Look At Who You're Talking To is a delightfully fun album with all sorts of dreamy guitar lines, swelling vocal distortion, and sublime pop hooks. It's the sort of album you can put on and listen to without a great deal of discernment and, yet, derive a tremendous amount of pleasure while doing so. Anyway it's a completely benign indie-rock record so you should listen to it if you want something fun and catchy yet effective. Here's some songs:

Download "On and On"
Download "I Laughed"

their website

Monday, May 08, 2006

2006, Part Fourteen

Christina Carter - Lace Heart (2006)

This is a good follow-up post to Sibylle Baier, as Christina Carter could be viewed as a modern corollary to Baier's earlier work - loosely, at least. One half of generally lauded experimental duo Charalambides, Christina's solo work is slightly more accessible than her collaborative work. That being said, it still is full of disassociative melodies and the long, sprawling beginnings of freak-outs, just decidedly toned down, with gentle electric guitar strumming or picking her primary instrument beyond her own voice. Sounds decidedly Moon Pix-era Cat Power-ish at times (to make a really obnoxious generalization). Really, a pretty wonderful album, and one I've been listening to for a while, so I don't know why I didn't display it here earlier. Here's a song:

Download "Dream Long"

Friday, May 05, 2006

2006, Part Thirteen

Sibylle Baier - Colour Green (2006)

This is, strangely, the second album this year I've enjoyed tremendously which also happens to be the first official release of relatively ancient underground recordings (the first, Darando's Let My People Go, seems to have mysteriously disappeared when I toyed with my Blogger Template's code a few weeks ago. Sorry about that, I'll work on getting it back up sometime soon, hopefully).

Sibylle Baier was a moody German twentysomething in the early 70's, and one day went on a road trip across Europe which inspired her to write this, a collection of equally moody, smokey, generally wonderful acoustic musings. The recordings were originally put on a reel-to-reel, which has been circulating in tape-trading circles, apparently, for years, and this is just the first time the recording has seen official release. Anyway, it's a wonderful piece of contemplative and sexy singer-songwriter material. Here's a song:

Download "Softly"

Thursday, May 04, 2006

Coachella: Top Of the Pops (Day Two)

Here's the second installment of my Coachella "review," this time of Sunday. Again, I didn't have a digital camera with me, so all of these photos are either from somebody over at the Coachella Message Board, or from some other source I shouldn't be taking them from. Like I've said before: I never said I was professional.

Giant Drag
Started out the day with these guys. I'm not a huge fan of the former goth girl angst found on their album, but the set was fun to watch. Annie Hardy, the lead singer and guitarist, was delightfully quirky in between songs, muttering such totally controversial (!!) things as "When I was 8, my boyfriend broke my heart and my hymen, and this is a song I wrote for him." (sic) And then, there was...

The Dears
I was a big fan of No Cities Left - in 2002. It's strange that these guys are still playing songs from that album (although, apparently, there's a new one due in Canada). Anyway, hearing "Same Old Plot" was great, but otherwise this band, like many bands of the weekend, seemed over-confident in the virtuousity of the synth. It drowned out their greatest asset: lead singer Murray Lightborn's Morrissey-like beltings. Not entirely what I had hoped, but still, I suppose, good to see them. We then went and saw a series of bands/acts in short succession starting with...

Murs, here. Pretty good, really. Seemed like he had some good crowd interaction going on. His three songs, also, were all about women, including a "song about blue balls."

We caught a glimpse of Senegalese blind couple Amadou & Mariam here. Seemed like a a pretty good romp through traditional African music (i.e. a bunch of white people with fannypacks and no rhythm feigning an understanding of a culture far removed from their own), but we only stayed for two songs. Checking out last year's Dimance a Bamanko is reccomended.

Caught a little Mates Of State and Louie Vega next. Mates of State have some good songs from this year's Bring It Back, which they played to the numerous dancing indie girls in flowy skirts in the audience. We were some yards out, though. Louie Vega we only caught about half a song of, prompted by the Daft Punk song which mentions both him and Joey Beltram, also at the festival. We both think we saw some of Gabriel & Dresden while waiting for him. Whatever, though - I mean, it was house music.

Ted Leo & the Pharmacists
Tyranny Of Distance is one of my more returned-to albums of the past decade, but Ted Leo hasn't been so good to me as of late. I thought Shake the Streets was essentially just the sound of Leo spinning his wheels (with the exception of "Me & Mia," which, itself, is essentially a rehash of Leo's tried melodic formulas). That being said, seeing him was still fairly enjoyable. I got to hear him play, arguably, his flagship song, "Where Have All the Rude Boys Gone?", as well as "Me & Mia," so I was happy. At one point he played an A-chord a few times and sang "We're gonna celebrate," to lead into asking us if we also thought Daft Punk was "fucking awesome last night." (sic) Yes, yes I did, Ted Leo. Anyway, good to see him, if nothing else, but no, nothing amazing. He probably would be better seen in a smaller setting.

My friend enjoyed this band and, recently, their upcoming full-length It's Never Been Like That leaked on the good 'ol internet here and I liked what I heard, so we checked these guys out. They were pretty good. The performance wasn't particularly energetic, but the strength of their "dance-Strokes" tunes is undeniable. Apparently, this is Sofia Coppola's favorite band, and my friend said he thinks he saw her peering on from backstage. Celbrity sighteeng!!11111111 Anyway, it was enjoyable.

(stolen from Dave)
Jamie Lidell
Without question my second favorite performance of the weekend behind Daft Punk. Jamie is a British crooner who delivers with a vintage soul sort of style, for the unfamiliar. His album from last year, Multiply, is pretty awesome. However, his live performance is even better: mixing up insane beatboxing, vocal looping and manipulation, and singing over that, essentially, plus a bunch of stage theatrics (including costumes and crowd interaction) - it was just a spectacle. You MUST see this guy live if you get the chance. I only wish it could have been longer. So, we left that with huge, goofy grins on our faces, and went to...

Bloc Party
Silent Alarm was one of my favorite albums of this past year, and one of the factors informing that decision was undeniably their performance during last year's Coachella. Then, they played inside a relatively intimate tent with 5000+ people cheering them on only two to three months following the U.S. debut of their LP. The energy during the tent that night, both from the crowd and the band, was palpable, and frontman Kele Okereke even acknowledged that they were nervous (translation: excited) about playing such a large crowd at the time.

This year's performance, after being inundated with the sounds of "Helicopter" and "Banquet" for over a year, was a little less thrilling from a personal standpoint. Moreover, however, the band seemed much more tour-weary, and were, essentially, going through the motions. But, oh, new songs! They weren't very good. Of course, I will have to wait to hear the studio renditions to make a verdict, but the one lyric I remember was from a slow ballad, and mentioned "MTV taught me how to grow my hair long." (sic) Ech. Anyway, not really a highlight, and we were hungry so we went to eat 7 dollar slices of pizza.

Caught a glimpse of the Yeah Yeah Yeahs after eating and hanging out in the film tent to cool down, which stopped working while we were inside. We were ridiculously far out from the teeming masses watching them, however, so we couldn't hear much, really, but looked fun. Apparently Karen O said something like, "This is the biggest fucking crowd we've ever fucking played to," and I wouldn't doubt she was telling the truth.

I've always thought this band's record was nothing to write home about - good, catchy tunes, but the same sort of anthemic, feel-good "adult" British rock that's been a trend for some time now. However, album aside, these guys completely blew me away with their live performance. It's possible, as my friend pointed out, that this was the largest U.S. crowd they'd played to yet, which is impressive considering Madonna was playing just next door, and a large crowd during her set, for any band, is impressive. Regardless of whether or not this was their biggest crowd, they played their hearts out, building huge swells around their soaring songs of love, urban ennui, and friendship. Really an amazing performance, and my hat's off to them for bringing the kind of grateful energy any band, up-and-coming or not, should bring to the stage every time.

Caught a glimpse of Madonna, but couldn't hear anything with 30,000 people cramming the tent and spilling out of its sides. Apparently she wasn't that special, and came on twenty minutes late. Anyway, we just wanted to say we had tried to get a glimpse.

We saw a little Mogwai at this point, who looked like they were absolutely amazing. As my friend said, "I wish I had gotten high and been in the first three rows. (sic)" And then:

Massive Attack
Compared to last year, Coachella was, generally, a lot less about showcasing bands who served as a pre-cursor to the newer acts playing alongside them - Massive Attack was one of this year's notable exceptions. Their influence on modern electronic, industrial, and trip-hop music is undeniable. That being said, this was a very, very cool set to witness. Bringing out Horace Andy and Elizabeth Frazier just added to the awesomeness. I sure wish Elizabeth had made an appearance last year with the Cocteau Twins instead of this (assuming she wouldn't have done both), but it was, still, undeniably awesome, and a great way for her to "make it up" to festivalgoers.

The only downside to this set was Massive Attack's inclusion in a long list of bands on both Saturday and Sunday who felt the need to bring up the Iraqi war. I, like most of the music obsessive crowd, am not very hot on the whole issue, either, but artists need to realize that, for the most part, they don't have the proper grace to write protest songs. Thankfully, Massive Attack did not display a whole song involving the war, only text on their LED display, but still. Anyway, this only detracted minorly.

Art Brut
So after Massive Attack, my friend and I, exhausted at this point, went to see the final act we planned to see for Coachella 2006: Art Brut. Admittedly, I've always been slightly resistant to Art Brut. I enjoyed them and their album, but felt they were, perhaps, more gimmick than substance. Their performance convinced me that they are, at the very least, almost completely singular, if only because of frontman Eddie Argos' cynnical accented musings.

Anyway, story: as we approached the tent they were playing in, it was obvious that the previous band, Dungen, had gone a little overtime, and by a little I mean a full 20 minutes. Never being a huge Dungen fan, I wasn't too excited to see the end of their set, and less excited to see that they had gone so far over. You see, at Coachella, bands are each allotted 50 minutes per set, and everything has to end by midnight, or Golden Voice (Coachella's curators) face a $2000.00 per minute fine toward Indio's noise curfew. I assumed Golden Voice would not pay for a band as fresh-faced and relatively "unimportant" as Art Brut to play beyond midnight, but I was wrong. Coming on a full twenty-five minutes after they were scheduled to start, Eddie announced that Golden Voice had allowed them to play a full 15 minutes after curfew. For those not too good at math (don't worry, neither am I), that's $30,000 Golden Voice was willing to shell out for Art Brut. Eddie was just as baffled by this, but what ensued was just fucking great.

Say what you will about their album, but this band was meant to play live. Tons of back-and-forth, banter, just general charm. Eddie skipped rope with his microphone cord, walked through the audience, threatened to strangle us if we don't each start a band, etc. Oh, and in possibly the best on-stage moment of Coachella, the band played two or three minutes longer than allowed, resulting in the stage manager literally screaming at the drummer, pulling at his leg attempting to get him to stop doing rolls and getting us to scream. It was a momentary embodiment of what Art Brut does best: lighthearted meta-rock, and a far better way to end Coachella than watching TOOL while crammed together with 30,000 sweaty dudes in black.

And so was Coachella 2006. I'm sure I'll be back again, time and place allowing. It was a sweaty, intense experience, and I recommend it as a Hajj of sorts for any underground/indie enthusiast.

Tuesday, May 02, 2006

Coachella: Top Of the Pops (Day One)

Oh, hey guys. So I'm back from Coachella, and man am I tired! No, seriously, I am. Moreover, I didn't bring a digital camera, and neither did my friend, so this is going to be a completely non-visceral experience! ARE OYU READY FOR TEH EXCITEMENT!?!11

Just kidding, you guys. I'll use this guy's pictures from his cell phone for some sort of basic visual component, as well as stock publicity photos! Yeah, I know, how cool of me, but it's better than just text. I'm sure I'll be able to obtain better quality pictures of the performances later, and when I do so, I'll sneak them in. Anyway:

Day One

This year was hot - hotter than last year, but not as hot as my first year (2004). Before the heat was apparent, my friend and I arrived at the Salton Sea, our campground, at about 9:30 at night, where we futilely attempted to make a fire, set up a tent, and generally camp effectively. I also had a semi-argument with some drunk hipster dude in an adjacent campsite about whether or not Elliott Smith's fans thought his suicide was expected and/or appropriate. We then woke up, had a mediocre "Date Shake" from the Date Gardens down Highway 111 (one of the most generally unnecessary concotions ever conceived), arrived at the polo fields by 10:45, walked in like the semi-veterans we were, remarked at how the Sahara Tent looked really fucked up this year, etc., then went and saw the following:

Head Automatica
Pretty mediocre, manic New York scenester rock, but they were, to their credit, "into it." This seemed odd in retrospect, however, when my friend informed me that lead singer Daryl Palumbo is also the lead singer for Glassjaw. Glassjaw, for the unfamiliar, is a semi-emo outfit which is basically Palumbo's creative outlet for his living with chronic Crohn's Disease. He obviously is feeling a little better if these are his new digs. Anyway, it was a way to start off the day, especially considering it was outside, giving us a glimpse of what seeing the other bands of the day would be like when 75% of them happened to be playing out in the sun instead of in one of tent stages. Oops.

The Like
Pretty mediocre, also, but perhaps more so. An all-girl band composed of the offspring of music industry pseudo-royalty, and they sounded as such. My friend thought one of the riffs sounded like The Pixies' "Where Is My Mind?" and dubbed it "Where Is My Vagina?" (lolz w/ Villa) We caught a few songs before apathy got the best of us.

White Rose Movement
Early part of this day just wasn't very good, and these guys were, in my opinion, probably the worst of the crop. 80's revivalist synth pop that sounded like something an EMI exec was convinced is the "NEXT KILLERS" and threw cash and big name producers at. The skinny spectre of a lead singer, on the other hand, was convinced he could sell his legitimacy by dancing like Ian Curtis, with is odd considering Ian Curtis danced, unattractively, like the epileptic white boy he was. Pretty much the guy was a huge douche bag, therefore. The music itself wasn't terrible, but this is the sort of thing I could do without in the "indie" scene.

The Walkmen
So finally, the "oh hey we're indie rock HEY GUYS HEY HEY LOOK AT US!" bands ended and someone who is only, as it were, incidentally indie began. I have been a Walkmen fan for quite some time, and have even seen them once before at my school's "music festival." They were, then, quite unenthused by our student body's surfer/stoner drunkard reception. Here they played the mainstage to a considerably more enthusiastic and familiar crowd. A fucking great performance, really. The songs on the new album (which has, less than a month from release, strangely eluded leaking) sounded great, particularly a big loud anthemic guitar song they used as an opener. Yes, they also played "The Rat," and lead singer Hamilton Leithauser is going to lose his voice by the age of 40 if he keeps continues to scream the way he did. They closed with their new single, "Lousiana," for which they used a saxophone and trumpet player for the end horn section, which I was happy about. Horns just inexplicably make me happy.

Animal Collective
Undoubtedly the weirdest set of the weekend, but I didn't expect anything less. Having a band like Animal Collective play a) in the middle of the day, b) on an outside stage, and c) for only 50 minutes, however, is a terrible idea. They only were able to play about 4 songs, and lost most of their supposedly semi-elaborate stage show as a result of the setting. Still, they were just as creatively enthused, conjuring up all sorts of psychotic unveilings. The new songs sound fairly decent - more reminiscent of their pre-Sung Tongs work (far more sprawling). We had to leave this, unfortunately, to go see:

Clap Your Hands Say Yeah
These guys don't upset me or piss me off in the least - in fact, they have some good songs, and their album's, overall, good. However, it's been generally established (not by me, just anyone who doesn't write for an online music mag) that they've received a tremendous amount of undue affection (9/10! ****1/2 out of *****! INSTANT CLASSIC, etc.), and their Coachella performance was perhaps the best evidence of that. These guys are a run-of-the-mill, in almost the truest sense of the word, indie rock band with nothing particularly remarkable about them except that they don't suck, and yet, easily, 5000 people were watching them play in a packed tent. I'm happy if those people find enjoyment in this band, but throwing all of your hopes and dreams on Clap Your Hands Say Yeah to revolutionize the world of pop music with what they've put on the table is just silly. If anything, this might be the single best example of people not taking with a grain of salt/sense of individual taste. Anyway, moving beyond my soapboxing, the performance really didn't carry all that well, either. They essentially went through the motions, and were about as energetic in front of 5000 people as they were in front of 500 during the video I saw of them at South By Southwest. We left after a few songs.

We managed to catch the very tail end of Common's set, and despite throwing out some pretty heavy-handed pseudo-Christian sentiment to all of us, his last few songs had a lot of good energy. This probably wasn't the biggest crowd he had played to, but he acted like it anyway.

Kanye West
Dude's definitely an ego-maniac, but I already knew that. His setlist was decidedly oriented toward crowd pleasing and not exploring the meat of his albums, but it still was, overall, a good performance. At one point he played A-Ha's "Take On Me" over the PA, to which the crowd sang along 7000 or so strong, and Kanye danced in a shuffle-step 80's fashion. lolz oh kanye

Sigur Ros
I was expecting goodness from these guys, but was completely blown away by how completely they delivered. Almost a full orchestra, horn section, plus the normal drummer, bass player, and, of course, the cello bow on the electric guitar. They played stuff mostly from last year's Takk, which was fine, since that album is just as consistent as their previous material. Said cello bow was, at one pont, broken when lead singer/"cello guitarist" Jon kept repeatedly hitting the bow to his fretboard in a cathartic swell of sound. Only problem with the set was that the sound for the orchestra was a little muffled, but really, the pure energy did away with any unpleasantness. Also, I just have to say, as I did to my friend that weekend, that there's no where else where I could see Kanye West followed by Sigur Ros on the same stage but Coachella. I'm not sure if I actually desired for that to ever happen, but Golden Voice thrusted it upon me, so I'm grateful for the experience. Thanks, guys.

The Juan Maclean
My friend and I missed out on their set during ArthurFest this past fall because they took so long to set up (over an hour past their scheduled time), and, at the time, we wanted to go see Cat Power. Ironically, they were a) playing at the same time as Cat Power again, and b) took, again, very long to set up. Neither aspect kept us from enjoying the show this time, since we both had decided long before coming to see Juan Maclean this time around, and they only took a half-hour to set up this time! Ha. Anyway, their equipment is a virtual circus of electronic regalia, which is both what makes them take so long to set up, and what makes seeing them live awesome. They essentially produce everything (a sort of, at times, Kraftwerkian dance music, for those unfamiliar) on the fly, with very little in the way of samples. There must have been 35 different manually-operated electronic instruments and panels up there between three guys. Anyway, a great set, especially, of course, "Give Me Every Little Thing."

We then caught a little of Depeche Mode, who were pretty cool. Very elaborate stage set-up. However, I'm not one to go to Depeche Mode conventions (yes, those exist), and neither is my friend, so we both have the intelligence to realize the worth of seeing Daft Punk in their first U.S. appearance in five years and their only one this year. And so...

Daft Punk
Wow. Appropriately, their set was "announced" by way of the alien greeting from Close Encounters Of the Third Kind ("Boo-boo-boo-boo-boo"), and then the curtain dropped, revealing a huge LED pyramid with two men in full robot helmet and leather flight suit regalia on top. Just absolutely mind-blowing. A lot has been said about this set elsewhere, so I don't want to be redundant, but go over to and search for "Daft Punk Coachella" and you'll find plenty of videos. Just absolutely amazing, and, I'm more than positive, a once-in-a-lifetime experience.

That's it for day one. Day two on Wednesday.