Cellar Doors - Cellar Doors

San Francisco trio Cellar Doors release their self-titled debut album via the Spiritual Pyjamas label on the 15th February. They've played limited shows in the UK but, on this showing, like Melbourne's DMA's, its set to become their spiritual home.

In the digital age, the concept of the killer opening track has dissipated some what. Cellar Doors have revoked this notion on 'City Girl'. Combining Krautrock and the aggression of Kasabian's debut album, they have delivered a truly death defying piece rock n roll. Young listeners will see this as their moment, their release from boredom. Older rock n rollers, inevitably will be closing their eyes and reminiscing of their first summer of discovery to this hazy anthem.

They say timing is everything and, as Sex Education grips the world on Netflix, Cellar Doors coming of age debut appears right on cue. The danger of 'City Girl' conjures up images of Mauve's middle finger salute and the Velvet Underground tones of 'Pale Blue' should have sound tracked the Otis and Eric's relationship.

'In A Dream' also has those teenage hallmarks of escape. The racing energy of the Roses on 'She Bangs The Drums' emerges alongside the motorik of Neu and the distorted bliss of Jesus and Mary Chain. For fans of Creation Records and the spirit Alan McGee, this is indeed a dream.

There are moments of sublime pop majesty. 'Prism' sees singer Sean Fitzpatrick deliver an angelic Paul Weller vocal circa 'English Rose' vocal amid an eruption of Kasabian's 'Reason Is Treason'. The sex and danger of Fitzpatrick's guitar playing on 'Sirens' should hopefully banish the banal dross of Arctic Monkeys for good and, on 'Frost', they have an anthem for the ages. Complete with Depeche Mode's darkness, Neu's motorik, and the lightness of early John Squire guitar playing, 'Frost' is a haunting psychedelic pop behemoth.

Is the music industry capable of being taken over by the sound of angry poetic young men anymore? We're about to find out.

Tim Burgess and The Anytime Minutes: 100 Club

For Independent Venue Week, The Charlatans frontman embarked on a tour around the UK's iconic small venues. For his London date, he came to Oxford Street's 100 Club. As any Charlatan fan will attest, they've been on a roll since 2015's 'Modern Nature' album. So, to do anything live to top that was never on the cards, was it?

Backed by members of the brilliant Average Sex (signed to Tim's O Genesis label), something magical happened this past Wednesday. Especially when Laetitia, the singer from Average Sex entered the affray. Tim and Laetitia became the post-punk Marvin and Tammi and, as a result, created a party for the ages.

'Clutching Insignificance', usually, a bewitching take on the archetype Charlatans sound became a different beast. Vocally, Laetitia is a behemoth. Her fire and 60s soul enriched the song to spark dancing both on and off stage.

Anyone who didn't fall in love with their partner or a past love all over again on 'One Last Kiss' is dead inside. On record, it’s a crisp take on classic Phil Spector and Brian Wilson records and with Average Sex in tow, heightened the icons sound.

Then, just when your thinking this party has nothing left to give, they dropped a cover version of Culture Club's 'Time (Clock of the Heart). The happiness oozing from the stage had an almost desperation to it. It had to escape, it had to infect the lives of others. The bleakness of the society had to be washed away.

Charlatans guitarist Mark Collins popped in for a stripped-back punk version of 'North Country Boy' before the party went out with a bang on Burgess' 2003 classic 'Oh My Corazon'. After this gig, the roll the Charlatans are on is going to have to pick up the pace to surpass this.

At the time of writing this review, the news has announced the tragic death of legendary comedian Jeremy Hardy. I would like to dedicate the happiness of this gig and writing about this gig to Jeremy. He has given me so many great nights out and in on Radio 4. You'll be sorely missed.

Stanleys - The Martyr

Stanleys are a Wigan four piece consisting of Tom Concannon (Vocals), Jake Dorsman (Guitar), Harry Ivory (Bass), and Rob Hilton (Drums). They released their debut EP ‘The Sound of the Stanleys’ last year and have returned with new single ‘The Martyr’.

It’s the kind of free flowing escape from a home town that can only come from youth. Vibrant and aimlessly meandering as it longs for something to drag them away from their surroundings. Lyrically, they've struck gold. This is a classic Western movie isolation and fear being diminished by a wandering hero.

It's the chorus which really lifts their lyrical prowess to the next level though:

“Beat and broken, made to work all day / dreams are forbidden, hopes are cast away as reachless”

The western imagery is given a distinct modern day British feel. Images of Clint Eastwood fade into the brave Wetherspoons staff protesting against the repugnant Timothy Randall Martin. Stick your poverty wages up your mullet you tosser!

'The Martyr' is what true outsiderdom sounds like, not millionaires preaching their salt of the earth. This single is heartfelt, riotous, and escapist. Music lacks the power of film to make prequels but, if it did, this would surely be the early years of Richard Hawley roving the streets of Sheffield.

Forget the right wing millionaires who preach outsiderdom, this is what it sounds like. Heartfelt, alone, longing to belong to something worth loving. Sadly, music cant make prequels like film. If it could, this would surely be Richard Hawley’s teenage years wandering the streets of Sheffield.

Lacuna Bloome: Nambucca, London

Brighton's Lacuna Bloome are the perfect example of why the UK needs This Feeling. At This Feeling's 'Big In 2019', they were brilliant in flashes but by no means the finished article.

For some, that won't compel gig-goers to Lacuna Bloome's next outing. However, we urge you to be a part of this journey. Anyone who witnessed an early Emily Capell or Trampolene gig will attest to the notion of a long rewarding journey.

There were moments on 'Alright' and the latest single 'Find Your Way' that guitarist Sam Leaver founder the paisley spirit of John Squire. The little flourishes of Roger McGinn's psyche and the free-flowing nature of the Primals debut album had the Nambucca's crowd loosening those shoulders.

The ambition displayed on the closing two tracks brought a warm glow to an audience desperate to have more heroes migrate to bigger venues. It also allowed the band’s personalities to shine through. Frontman Niall, a steely introverted frontman is countered by the showman Leaver on guitars. Much like their idols, they have one of the most fluid drummers in the game in Noah Haines and, in Molly Walker, the coolest bass player since Mani.

Everything is coming together for this band, we urge you to be there sooner rather than later!

*Image courtesy of Alice Sutton

Blood Red Shoes - Get Tragic

It's been five years since Brighton duo Blood Red Shoes released an album. A relaxing break? Time off to start families? Not this band. Ten years touring, only breaking to record, resulted in a bitter fall out. Laura Mary-Carter jetted off to the states to write pop songs for the likes of Rihanna, meanwhile, Steve Ansell went on a massive bender.

After reconciliation, they bonded over how laughable their lives became in the interim period. This forms bedrock of the lyrics on 'Get Tragic'. However, what they hadn't counted on, was the endless run of bad luck. Break ups, broken bones and evangelical villagers (yes, you are reading that correct) caused further delay. 'Get Tragic' is very much a tale of, what goes down, must go up again.

Carter's broken arm led her to play more keys and synths than ever before. Whilst many bands five albums in labour to a new sound, Blood Red Shoes organically moved towards theirs throng necessity.

On 'Nearer', the big riffs have been swapped for an offbeat solos and thudding synth hooks which create a Dubstep-esque sense of dread. In years gone by, Carter's vocals were synonymous with punk and post-punk. Now, there is a devilment permeating her delivery. Now we understand how Luther feels when Alice turns up!

This new approach has given them more grooves than ever before too. 'Beverley' is a dark and twisted take on Blondie. On 'Howl', the albums stand-out, everything has been thrown into the mix. Carter's vocal is comfortably the best hook of her career. Meanwhile, the melodic sexiness of Goldfrapp unfurls into a distorted glam rock fury. It's furious crescendo is a glorious sonic scream into the abyss.

For any old school fans, the old riotous instincts still prevail. 'Mexican Dress' and 'Anxiety' have the hallmarks of 'It's Getting Boring By Sea' and 'I Wish I Was Someone Better'. The aggression remains on 'Mexican Dress', an almost BRMC dirty rock n roll affair. The filthy display of riffs and synths conjures a tension and isolation that is not for the fragile of mind.

It may have been a personally tumultuous time for the band but, boy has it paid off. So many bands this far into their careers alienate their base when they start taking risks. Blood Red Shoes have produced the blueprint on how to do it.

*Image Courtesy of Sonic PR

Sad Boys Club: Nambucca, London

Eighteen months ago, en route to see Sisteray in Camden, The Blinders emerged, covered in face paint and blew our world apart. This past Saturday, North London's Nambucca beckoned us to see the jangle psyche of the Lacuna Bloome. Enter stage right, Sad Boys Club.

It's notable how much of gang Sad Boys Club look. The singer a pop icon, the bass player inevitably throwing shapes and the rest looking great but, more importantly, have a steely look of defiance. Cross one of them and you will regret it!

The pop hooks across this set, are so good that, in a parallel universe, Madonna is stabbing her record label execs for not securing these songs for her! New single 'Silverlined', indebted to The Cure, is sure to soundtrack the new romantic story lines of Stranger Things and Glow. On 'American Spirit', they echo former Fierce Panda Label greats The Crookes as they turn emotion amps up to eleven.

So, when the inevitable lazy journalists of the broadsheets announce “there's no more guitar bands” or wail about how “pop used to matter”, throw Sad Boys Club in their face. Thoughtful, credible pop music didn't begin with The Smiths and die in the mid-nineties. It lives and breathes in great risk taking bands like Sad Boys Club.

*Image courtesy of Jon Mo Photography / TW: @jonmophoto / http://jonmophotography.co.uk/

GETRZ: Nambucca, London

Swindon's Getrz kicked off This Feeling's epic 'Big In 2019' in Nambucca in style. Clearly inspired by 2018's conquering The Blinders, Getrz are intent ramping up the intensity this year.

We all crave iconic front men and women but, Getzr lack of ego was striking. In a set packed with punk rock anthems, they adopt the spirit of Primal Scream in order to deliver the best song. Whether its the more emotive 'Diazefam' or the destruction of 'P.S.A', Getrz come one and come strong.

This was a solid punk set, it's one you'd go see again. However, on 'What He Said', it became a set you'd yearn to see again. The punk became more grandiose and the devilish wobble on the guitars was sublime.

Be sure to check them out on their February tour:

https://www.skiddle.com/artists/getrz-123559059/events.html

*Image courtesy of Jon Mo Photography

Red Rum Club - Matador

The Liverpool six-piece released their debut album 'Matador' on the impeccable Modern Sky label (The Blinders & Calva Louise) earlier this month.

It's a real album of two halves. The free-flowing euphoria of the first half screams single after single before, sadly petering out. Nevertheless, their peers will have to go far to match the anthem-heavy first 6 songs.

'Angeline' is a tour de force of their home city Liverpool. Vocally, frontman Fran Doran has channelled The Zutons' Dave McCabe whilst the guitarists have found their inner Will Sergeant. The most striking aspect comes from the Midlands though. The Dexys inspired soul is warmingly rousing.

The use of brass is key to the album’s success and failures. It adds richness to 'Would You Rather Be Lonely?' and 'TV Said So', giving the true stand-out moments. The former takes the crisp soul of The Style Council and the playful side of The Coral's early work on this tale of battling loneliness. It's a song, so empathetic in nature, it could only come from the good people of their great city. 'TV Said So', continues on a similar vein James Skelly-esque vocals and the sumptuous guitar licks and wobbles.

However, in the latter stages, the brass becomes overpowering and disjointed on the Latin and Mexican grooves of 'Calexico' and 'Casanova'. The every-man soul and pop prowess disintegrate but, you cannot deny that Red Rum Club is shackle-free and willing to take chances.

Ultimately, 'Matador's cons are so few they pale into significance. This album is so well stocked in bangers that, it has the potential of a two-year run on the album charts.

Daniel Land - The Dream Of The Red Sails

Dreampop connoisseur Daniel Land has returned with his fourth album ‘The Dream Of The Red Sails’ via Hinney Beast Records.

With the focus of bygone relationships at its core, this album has the potential to be all things to all people. The multiple post-summer reflections will cart any romantic football fan back to the world cup and Gareth Southgate giving England its football soul back to the fans.

The power of Land’s imagery and music goes way beyond the summer of waistcoat love though. Recording began back in 2016, the year of Trump, Brexit, the endless loss of icons and, for Land, a cancer scare.

'Self-Portrait in Autumn Colours' deals directly with the life altering moment of the scare. The torment of not knowing the results and the romance of his partner standing by him is a remarkable feat song writing. Thankfully, Land received the all clear and, with that, delivered the lyrical heartbeat of the album “I’m not dying / I’m just another year older”. The peculiar banality provides a honesty of the situation that thankfully, most will never comprehend.

When key life moments come your way, so often comes a period of taking stock. The reflective beauty of 'Summer Song' will transport everyone back to their coming of age summer. The first love, the first gig, the endless nights out with friends, the first spliff, the first pill, the first holiday, the first love drifting away.

In the clutches of Brexit failure, medieval walls and wheels, the courageousness to produce songs this romantic is admirable. Bands like IDLES and The Blinders are rightly spitting venomous polemic but, being his late 30s, Land has brought a wisdom and wistful take on how to cope with mire.

'Long Before The Weather', sounding like Sigor Ros in English, enhances hope in these dark times with a progressive clarity:

“your history doesn't bind”

Strummer-esque slogans are a rare breed in the dreampop genre. This powerful message is delivered with a gentle arm round the shoulder but with no less polemical intent

The older one gets, the harder it becomes to believe in anything, let alone heroes. Daniel Land is a hero. To write an album amid political bile and personal turmoil is an achievement in itself. To trawl through your own personal history and relationships and not be filled regret is something us mere mortals can only dream of.

The binary disposition of Brexit positions is so prevalent it’s hard to ever find an answer for anything. 'The Dream of Red Sails' is the third way. It is the leadership we so desperately need.

*Image Courtesy of Jade Nott: https://jadenottphotography.co.uk/

Come At The King - Minesweep

London three piece Come At The King enter the affray like Tabasco heavy Bloody Mary. If anyone has any Christmas cobwebs left, their new single ‘Minesweep’ will blow them away.

It’s a furious combination of dirty BRMC riffs and the devilish blues of the 22/20s. When they hit the release valve on the solo, the fluidity of Black Keys and effortlessness of early Oasis comes to the fore.  

Come At The King have arrived in style!

The Love-Birds – In the Lovers Corner

No sooner you post your top 20 albums of the year, a tip comes your way and your left screaming “The Love-Birds” like Dr Johnson screams “sausage” in Blackadder the Third.

The four piece from San Francisco released their debut album 'In The Lovers Corner' via Trouble In My Mind records last May. As us Brits brace for winter, The Love-Birds recipe of 60s California and the 90s US underground circuit will warm both hearts and minds.

Embracing their love of Teenage Fanclub, they hired Norman Blake to master the album and, on ‘Weak Riff’ and Gerrit’, duly pay homage. ‘Weak Riff’ has the hallmarks of a Creation Records single with its hazy take on pop music. Meanwhile, ‘Gerrit’ harnesses the Fanclub’s fuzzy-grunge take of The Byrds and big emotive guitar breaks to conjure, perhaps the albums true moment of stardust.

Jangle pop reigns supreme throughout, in fact, it’s hard not to imagine the album sound tracking Friday Night Lights Matt Saracen throwing a winning pass to Tim Riggins. There are fleeting moments where they splice in other influences. ‘Hit My Head’ has a touch of Grandaddy’s eccentric production, ‘Failure and Disgrace’ is a lost Decemberists classic and on ‘Clean The Air’, singer Thomas Rubenstein manages to blend Gene Clark and Bright Eyes’ Conor Oberst.

The Love-Birds have delivered a superb introduction to themselves on this influenced led debut. Now it’s time for them to flee the nest and test themselves. Can they sail unchartered waters and find a new route?

*Image courtesy of Ava Rose and Trouble In Mind Records

Desperate Journalist - Satellite

Desperate Journalism return with their second single ‘Satellite’ from their upcoming third album 'In Search Of The Miraculous'. The London outfit, signed to the legendary Fierce Panda are, to date, one of the UK’s best kept secrets.

It is however, hard to imagine that secret lasting much longer. ‘Satellite’ is a vast expansive piece of rock n roll that simply has to dominate the airwaves.

There is a real sense of all or nothing oozing from its soul. Guitarist Rob Hardy, is so often the vehicle to shine a light on the glorious vocals of Jo Bevan. Not anymore. They’ve become duo bouncing of each other a la Pete & Karl or Brown & Squire.

The riffs alone are a joyous piece of escapism but, the solo is a destructive force that will leave souls cleansed and former detractors reeling from their mistakes.

They recently sold out London’s Oslo, on this form, Brixton beckons.

Satellite, a song by Desperate Journalist on Spotify

*Image courtesy of Fierce Panda Records

Grasshopper - Stricken

Grasshopper, a Brighton/Manchester four piece are made in the image of national treasures Joy Division, The Fall and Bauhaus.

Their new EP 'Stricken', was released at the end of November and has been gaining well deserved attention. At a glance, the desolation is striking, but, as their introspection washes over you, a bond forms, an intimate sense of us vs the world.

With the huge of success of Editors in the last decade, Javi Fedrick's vocal will inevitably draw parallels to Editors’ Tom Smith. However, EP opener ‘Grin’, with its long a Capella section, gives Fedrick a chance to clearly define himself so that, when the crisp jingle jangle guitars collide with his brutality, a new world has truly opened up.

'The Hand On The Knife’ and 'I Think It's Time To Wake Up Now' both contain the razor sharp rhythm of Bauhaus and the emotive power of The Chameleons’ Mark Burgess. It allows the merest chinks of light to creep into lyrics such as “the ceiling screams: you won’t get through today” and “I see you shaking, fury making”.

This kind of rebellion and dystopian landscape creation, opened up by Cabbage and The Blinders in 2018, couldn’t feel more appropriate at the beginning of 2019. The bleak grey skies of Brexit loom over us all like some giant morose dog turd, this is the aggressive despondent release needed.

*Image courtesy of Jim Federick

You can buy the EP here: https://bandgrasshopper.bandcamp.com/album/stricken-ep

Bugeye - Disco Dancer

Croydon outfit Bugeye, now a four piece since, have been working with Paul Tipler (Placebo, Idlewild, Stereolab) on their new single ‘Disco Dancer’.

Razor sharp basslines and highly sexed guitar riffs, this is a alt-pop anthem to conjure images of post-punk at CBGB’s in its late 70s/early 80s heyday. We defy you to not dance in the mirror at home to these licks!

The merging of Blondie’s funk and Elastica’s aggression feels a natural home for Bugeye and one they can expand upon to even greater things.

*Image courtesy of Stuart Bennett (Deacon Communication)  

MOSES – River Thames

Things are afoot for London’s MOSES. Their recent single ‘Cause You Got Me’ took their monthly Spotify plays from 1.8k to 193k. They supported the UK’s hottest band The Blinders and now, they’ve returned with their new single ‘River Thames’.

Produced by the legendary Gil Norton (Pixies & Foo Fighters), ‘River Thames’ kicks politicians’ banalities about “communities being left behind” into, well, the river! At its core, is a belief in people, a romanticism in their lives, a song writing trait that has drifted away in recent times.  

The sound of the underdog is so often, one of kicking and screaming at injustice (and quite right too). Here though, they’ve bypassed that and gone straight to euphoric victory. It’s a Sunday league football win, it’s a prank on your best mate. This is the re-emergence of believing in ordinary people and ordinary things as the greatest subject matter on earth.

 *Artwork by Ana Ban Ana

https://www.facebook.com/anabananabanica/

https://www.instagram.com/ana_ban_ana_illustration/

http://www.colorhood.com/anabanana

Asylums: Camden Assembly, London

Southend’s Asylums celebrated their 5th birthday in style this past Friday at London’s Camden Assembly.  Supported by the raw talent of BLAB, the furiously entertaining Suspects and a certain breakout act of 2019, October Drift, it was a stark reminder just how fucking great the music scene in the UK is right now.

No one can touch Asylums on the pop-punk circuit right now. They check all the boxes of the greats with great hooks, melody and angst. However, it’s the lyrics which catapult them to another plain. Intelligent, witty and of the moment, Asylums can carry you to the mosh pit and lead you out the other side a better person.

‘Joy In A Small Wage’ is this generations ‘Live Forever’. Gallagher’s sentiment of ‘We’ll see things they’ll never see’ runs throughout. As fun as the sonics are, it’s the honesty and integrity of Luke Branch’s vocal delivery which cuts through the room. It almost makes Jarvis’ heyday look trite.  

Togetherness is thrown into disarray on ‘Napalm Bubblegum’. Worlds are torn down as their brand of cosmic guitar licks enter hyper drive. “This bubbles gonna blow” is putting it mildly. It erupted into a rabid frenzied attack of the senses.

With the success of their second album ‘Alien Human Emotions’, this was the perfect send of for the 2018 by the Essex outfit. Intimate but far reaching, feral but loving, Asylums have hit a groove that will surely win hearts and minds for a long time to come.

*Image courtesy of Rob Humm / Si Deaves / Thomas Prescott 

The Blinders: The Garage, London

“I know I'd go from rags to riches
If you would only say you care”

Tony Bennett, 1953

In the space of 12 months, Doncaster trio The Blinders have gone from a support band in small venues to selling out the Garage this past Wednesday, oh we care alright!

Many will reference IDLES as the most vital UK band right now but, for TT, The Blinders, with their meshing of styles and face melting punkadelia have the edge. They also have an ability to unite scenes like no other. The Garage is awash with punks, skins, mods, hipsters, young and old.

Newcomers to the band are obvious from the moment 'Gotta Get Through' blasts through the room. You can see their jaws dropping and souls being blasted into the ether. It's an envious position, no one will forget their first hit of The Blinders.

Having their Orwellian psychedelic punk anthems validated by their fans with the release of 'Columbia' has given them a new found confidence. The power and the drama ‘Ramona Flowers’ is elevated to an extraordinary level. There is an added showmanship to the furious ‘Rat In A Cage’, our raw heroes are becoming masters of their trade before!

Politicians keep dishing out the platitudes of healing a divided nation, well, The Blinders prove talk is cheap. They've ripped up the musical landscape with their sound and forged a togetherness in the darkness that no one saw coming. Long may they reign.

*The amazing image is courtesy of Sam Crowston:

https://twitter.com/Sam_Crowston_

https://samcrowstonimaging.com/

Pink Lemonade - Space Girl

As the weather turns bitter, the enticement levels need to go up to venture outside. Thank heavens for Pink Lemonade. The three piece from Cambridge have just released their debut single ‘Space Girl’ and, if this doesn’t get your DM’s laced up for the winter nights, nothing will.

Put simply, this is perfect pop music! Vocal melodies akin to the criminally underrated Pipettes and a riff from the cheer leading gods. This is pure hairbrush (Lynx Africa for the boys) sing along in the mirror stuff.

*Image courtesy of the band

Strange Cages – Silver Queen

In September, Brighton’s Strange Cages released their second EP, ‘Silver Queen’ via the record label of the moment, Vallance Records (home to Sisteray, Beach Riot and False Heads).

Sleazy garage-psyche music, is too often devoid of emotion and passion. Too often a display of self-indulgence and mass ego. Well, Strange Cages, with influences indebted to Iggy, Toy, Neu and The Horrors are hell bent on bucking that trend.

Despite the hallmarks of the past in play, Strange Cages have found ways to make this EP relevant to 2018. There are the pop machinations of Blossoms and Goldfrapp shining through the synths on ‘The Leeches, the Fakers’. Meanwhile, ‘Children of the Gutter’ is a lost single of their peers Cabbage.

‘False Prophet Death Waltz’ and ‘Lasers of Joy’ are not the sounds of sane men. Psychotic and hullucagenic, thee early fire of the The Horrors is in full force. ‘Meanwhile, ‘Sick With Desire’ throbs like The Stooges one minute before seguing into the more beautiful moments of Syd Barrett’s Floyd era.

Ultimately, Strange Cages are a band with a clear direction and clear influences but not yet their own distinct style. It won’t stop you returning to the record but, the sense the sense that something truly great can come from this band lingers in the air.

Trampolene – The One Who Loves You

Although The Libertines career is not yet done, when you look back, the one thing that halted them from mega stardom was that one single, a ‘Wonderwall’ or ’If You Tolerate This…’ . The type the of hit that X Factor zombies couldn’t deny. Welsh underdogs Trampolene, whose soul is inextricably linked to The Libertines, have returned with that single, ‘The One Who Loves You’.

Is there a purer soul walking this divided kingdom of ours than Jack Jones at present? If this were the late 18th and early 19th century, Jones would be lauded as a romantic poet. In 2018, he is kicked into the margins and forced to scrap his way out of the gutter.

Scrap away he does and, on this unrequited love anthem, Jones has delivered a single that shouldn’t but inevitably will be ignored by day time radio, the break they truly deserve. Find me a teenage boy who wouldn’t cling to this song as they obsess over the girl they’re to shy to talk to, and we’ll drive them to therapy to work on their sociopathic tendencies.