Like many others last year King Gizzard raided their tape archives and pumped out live sets via their Bandcamp page to fill the void of cancelled gigs. Of course these were digital only releases and they later offered the recordings to anyone who wanted to press them up on the condition that they sent them a portion of the stock to sell. Fuzz Club have stepped up and taken eight shows plus a demos set and a teenage pre-Gizzard collection and made some of the best looking releases I’ve seen in a while. Grab these quick if you want them, they’re selling out fast, some independent shops have them on pre-order like Norman Records, and Resident Music. King Gizzard have form on this, giving away their ‘Polygondwanaland’ album to everyone to do their own versions in 2017, there are nearly 300 versions on Discogs as I write.
Year: 2012
It was a surprise to see The New Obsolescents‘ album sell out in 25 minutes a few weeks back when it went up for pre-order and it’s been even more heartening to see people posting photos online once they received them. Inevitably though there’s a small downside in the people who missed out and the buyers who immediately put copies on Discogs for anywhere between £130 to £300. You can’t stop people doing this but Castles In Space are very good at tracking who these buyers are and striking them from any future sales from the label.
The good news for those who missed out is that a repress is on the way although it won’t be a foil version like the first run because those stocks are now depleted. It’s taken a while to source something that could measure up to the Dufex covers and I’ve gone a different route. The good news is that the new sleeve will be back and front rather than just a panel that I have to stick by hand on 300 copies! Prints tests were done in the last week from various samples and now stocks are being readied, vinyl pressed (in a different colourway too) and the 2nd edition will be with us as soon as the pressing plant can press it up. There may also be a number of badges to accompany it too. Here I’ve collected the various photos posted online and at the bottom is a sneak peek of the repress tests results.
Highlights from unique, hand-stencilled, spray painted book by Savant, 2020 – 1 of 1
Ringbound, 19x19cm, 80 pages.
For more of his art visit https://savantstreetart.bigcartel.com/
Follow him on Instagram
Going back almost 19 years to April Fool’s Day 2002 and a thing titled ‘Hip Hop ABC / TV is the new religion’ this week although the date on the CD and tracklist here is most likely when it was recorded rather than transmitted. Opening with DJ Shadow’s excellent ‘Mashin’ On The Motorway’ (with edited swearing for the radio) from ‘The Private Press’ LP, an album that suffered from far too many comparisons to ‘Endtroducing’ at the time despite being amazing. Given that the album came out in June 2002, it’s early to be playing this track but I do remember versions leaked online around this time.
There’s a lot of Sesame Street spoken word throughout this mix as I was in the middle of a big Children’s Television Workshop collecting phase, compiling material for the later ‘D Is For Dig’ mix – I have to say the segue from Grover into KRS-1 is quite inspired. The first half of this mix is heavy on current hip hop of the time erring towards the independent side of things with both UK and US talent featured. I always wondered if Black Twang were hoping for some kind of football TV syndication with ‘Kik Off’ but maybe not with those lyrics. How good is that Zeb Roc Ski track featuring Blade? Big Two Hundred was an alias of Andrew Meecham aka The Emperor Machine, Bizarre Inc. Chicken Lips and more who made one album for DC Recordings, very much in the Liquid Liquid post punk style.
Halfway we switch to a mixture of funky rock and religious spoken word from Jonny Trunk & Martin Green’s excellent ‘Resurrection’ compilation, a record that sparked an interest in religious records that I’m still exploring today. The end breakdown of Mountain’s ‘Nantucket Sleighride’ was of course the theme to LWT’s ‘Weekend World’ news programme during the 70s and 80s and brings us into the TV themes, covers and library cues section with a heavy bias on old BBC shows. The secret of library music had been out since the late 90s and many labels were reissuing fantastic comps of all the big hitters, there was a nostalgia for our 70s youth being stirred up that would eventually manifest itself into the hauntology genre with labels like Trunk helping fuel the fire.
Another thing fanning those flames were sections of the mash up community fusing old TV themes to new pop acappellas for laughs, hence the ‘Dad n Bass’ extract featured here which I must have found on the web somewhere. This scene was just starting to get into gear and I always thought the best mash ups were the ones that made you laugh at the ridiculousness of their pairing. This one is just that, if anyone knows who did it then please let me know. The daddies, Coldcut, close the show with an example from the late 80s of just this, showing they were, as ever, ahead of their time. This recording seems to be from a Capital Radio broadcast with Mick Brown and the mix was later featured on the July ’88 DMC mix album which was the only place you could find it until the Cold-Cut-Outs compilation.
DJ Shadow – Mashin’ On The Motorway
Kela – Crop Circles
Antipop Consortium – Tuff Gong
Cannibal Ox – The F Word (RJD2 remix)
KRS-1 – Get Yourself Up
Edan – Mic Manipulator
Blak Twang – Kik Off
Sir Beans OBE – How Would You Put This
Zeb Roc Ski feat Blade – On The Run (Junk’s UK remix)
Big Two Hundred – Replaceable Head
unknown – The Sun Worshippers Speak
Roger Limb – Alien in the Family
Ted Taylor Organisation – He Who Would Valiant Be
Neil Merryweather – Eight Miles High
Mountain – Nuntucket Sleighride
Ronnie Hazelhurst – The Two Ronnies Theme
Heavy Action – Superstars
Martin Cook & Richard Denton – Tomorrow’s World
Dudley Simpson – The Tomorrow People
unknown – Dad ‘n’ Bass
Coldcut – Off To Work
I have to confess, I don’t own this release and have pinched photos from the web but it’s a classic case of successful 80s pop band with mega hyped comeback single (an excellent one too) being squeezed into a format of the day to brilliant effect. ‘Sowing The Seeds of Love’ saw Tears For Fears making a long overdue return with a huge nod to The Beatles and late 60s flower power and what better vessel to stow a 3″ CD in than a sunflower? No doubt causing all manner of headaches for the OCD fan as they place it on the shelf with their other TFF releases, this is a beautiful example of lateral thinking design, the only let down being the lacklustre on body disc design once inside the thing.
Here’s the second of two parts from late 1997. I don’t think I’ve heard this since it was broadcast, pretty sure this is taped from the radio broadcast as it has that lovely KISS FM compression across it and part of an ad at the end. This was my second set from the first hour of the show with PC providing the second hour.
A Reminiscent Drive made some lovely ambient / classical records on F Comm, more Plaid, Stereolab from career high ‘Dots & Loops’, oh how spoilt were we back then. No idea why I thought MC Shan would work after them but it just about does, crazy to think there’s now a documentary about this song. Wonderful Quincy Jones from his ‘Guala Matari’ LP into a way more funky, out there Hot Butter album cut than I remember, must dig that out again, it’s not all about ‘Popcorn’. Ending with Billy Cobham and ‘Storm’, part of a 4 section ‘sound portrait’ called ’Spanish Moss’ from ‘Crosswinds’, one of his increasingly electronic 70s LPs.
Track list:
A Reminiscent Drive – Footprints
Plaid – Rakimou
Stereolab – Refractions in the Plastic Pulse
MC Shan – The Bridge
Quincy Jones – Hummin’
Hot Butter – Space Walk
Billy Cobham – Storm
I did a very enjoyable interview with Tom Vek from Sleevenote about design for music past and present with an emphasis on my work for Ninja Tune and how things have changed in the digital age. It’s the first in what will be a series of interviews with designers and features an example of how the Sleevenote site is digitising LP artwork for the streaming generation to preserve the art of the sleeve in the age of the thumbnail.
Read the interview here and have a look at Sleevenote too, you can browse cover art and play tracks by clicking the interactive sleeves which are linked to Spotify and Apple Music, work on desktop or mobile.
This beautifully unique object is possibly the first example of a full album presented across three mini CDs, housed in a fragile cigarette-sized box. Sporting a Yellow Submarine-esque flip up cover, the discs are stacked as you see them below in tiered slots but the box is easy to crush or tear – as you can see here. I always found it odd that they did this album after two Dukes of the Stratosphear LPs but maybe they had dipped their toes in the psychedelic waters enough to put it out as XTC by this time.
I was asked to make a list of food-related records for something back in 2009, I forget what, again, all archived on a CDR I recently found, here again just for the hell of it.
The Dragons – Food For My Soul (Ninja Tune)
This has to be top of my list because of the title, the message and the association with The Dragons that blossomed with it. If it wasn’t for licensing this track for the ‘Now, Listen Again’ mix CD then their unreleased ‘B.F.I.’ LP wouldn’t have come to light.
10cc – Life Is A Minestrone (Mercury)
Until Godley & Creme left 10cc could do little wrong when it came to singles and this is one of the classics. Honourable mention should go to the duo’s later ‘Snack Attack’ from the ‘Ismism’ LP which has to be one of the greats.
Gong – Camembert Electrique (Virgin)
Maybe not their best album but great nevertheless, as well as the title it contains the track ‘Wet Cheese Delerium’.
Cookie Monster & The Girls – C Is For Cookie / If I Knew You Were Coming I’d Have Baked A Cake (Sesame Workshop/Ninja Tune)
Cookie Monster tracks are rarely about anything but food, the former was released in disco mix form by NInja, backed with my re-edit of the classic ‘Pinball Number Count’.
Pepé Deluxe – Apple Thief / Salami Fever (Catskills)
Can’t decide between the two of these. ‘Apple Thief’ is from my album of 2007 – ‘Spare Time Machine’ – and is pure psyche pop beauty. ‘Salami Fever’ has been a staple of my DJ sets for many a year and is a collision of rock guitars, scratches and distorted vocoder that I never tire of.
The Beach Boys – Vegetables (Capitol)
From the Smile / Smiley Smile sessions, featuring Paul McCartney on carrot (!) Has to be on the list just to get Brian Wilson and the Beach Boys on there.
Beastie Boys – Egg Man (Capitol)
Only a tenuous link with Food but Paul’s Boutique is one of my favourite records and mixing the themes from ‘Psycho’ with ‘Jaws’ just wouldn’t happen legally on a record any more. Also for the epic ‘B-Boy Bouillabaisse’ and they mention the next record too.
Hot Butter – Popcorn (Musicor Records)
Two food stuffs for the price of one, this evergreen novelty hit has been covered by quite a few including Aphex Twin and has to be on here to represent the Moog.
Frank Zappa – Lumpy Gravy (Bizarre)
The entire album – one of my favourite Zappa albums from his early days with the Mothers, pure madness on vinyl.
Various – You Are What You Eat OST (Columbia)
This is the soundtrack to a little known film which is full of all sorts of gems although only the title is about food. My favourite track is ‘Freakout’ by the Electric Flag and John Simon, a 10 minute jam of unparalleled insanity – you know when people describe things as ‘psychedelic’ and then you listen to them and it just sounds like some badly recorded garage band? – this track actually warrants using the P word.
Amazing Rick Griffin billboard poster for a Mama Cass gig that I found online at the excellent Far Out Company website.
*The date on the post is correct going by other sources, the date on the tape above is wrong, no idea why.
A shorter mix this week after last week’s hour+ special. Here’s the first of two parts from late 1997. I don’t think I’ve heard this since it was broadcast, pretty sure this is taped from the radio broadcast as it has that lovely KISS FM compression across it and part of an ad was at the end. This was my first set from the first hour of the show with PC providing the second hour.
Kicking off with Skylab, the great Mat Ducasse / Major Force West collaboration from a clear 7” on Eye Q Records – I loved everything Mat did with his Skylab project and told him so when we met later in life. He said he was inspired by listening to Solid Steel so the circle was complete, everything is getting a reissue now so no excuse if you missed it first time round. The #1 LP and ‘Oh! Skylab’ EP are essential and this track comes from the #2 LP era https://skylab.bandcamp.com/
Brandi Ifgray made the ‘Le Mutant’ LP on Puu, an offshoot of Finnish label Sahko Recordings, home of Jimi Tenor, Metri, Pansonic and more. The next three tracks I barely remember but Plaid’s ‘Not For Threes’ LP was obviously new around this time. I always felt Laika could have gone the same way as Broadcast as this is from a pretty experimental 12” with Cabbage Boy (Si Begg) and Luke Vibert among the featured remixers.
Juryman (Ian Simmonds) and Spacer (Luke Gordon) were always excellent both recording together or apart and this comes from the one collaborative LP they made. That V/Vm track? I think it may have been from the Skam Records ‘0161′ compilation? New Flesh on Big Dada, early on when Part 2 still rapped and they hadn’t dropped the ‘4 Old’ from their name, really bold UK hip hop, full of ideas.
Part 2 next week!
Track list:
Skylab – Bite This!
Brandi Ifgray – Bumble Bee
Plaid – Extork
Laika – Shut Off/Curl Up (Cabbage Boy remix)
Juryman vs Spacer – Personnel Wanted
V/Vm – Asymetric
New Flesh 4 Old – Electronic Bombardment
It’s that time of year again for the Resonance FM fundraiser, this independent radio station relies on donations to keep the lights on and having just had to relocate after what seems like years of waiting, they need it more than ever. They’re not doing the usual eBay auctions this year so Robin the Fog has taken it upon himself to put three special records up there with a little help from the Castles in Space label.
I’d like to bring your attention to a ‘Starburst’ edition of our The New Obsolescents LP, officially released today but totally sold out, this one was held back for just this occasion. Bid on this here
If you want to hear what it sounds like and maybe buy a digital copy then head to Bandcamp
Also a secret 31st edition of Robin’s last Bandcamp Friday Howlround lathe cut 7″ EP ‘Rec & Ruin’ – again, made specially. Go here to bid
Also available is a full package of CiS goodies in the form of Field Lines Cartographer‘s recent ‘Leaving In Storms’ 7″ test pressing with all the trimmings. Bids away! All proceeds go towards Resonance FM
And if you have these already or they’re just not your bag but you want to help the station out then you can donate here https://resonancefm.com/donate
The post-‘Mind Bomb’ single, again released on multiple formats including 7″, cassette, two 12″s and another 12″ box set with photos, postcard and stencil, it also came as a 3″ CD in downscaled fold out card sleeve with pocket for the disc. It’s horribly fragile, isn’t easy to keep in good shape 30 years on and hasn’t any exclusive material. I’m not sure whether the German stamp on the inner cover is the previous owner’s or a shop address.
I recently ran across this issue of Speakeasy from 1991 – a once monthly UK publication, part-comics news and interviews, part-comic shorts – and wondered if this was the peak of the late 80s / early 90s independent comic boom? Looking at the people featured in that issue alone it’s an embarrassment of riches: Grant Morrison, Dave McKean, Brian Bolland, Daniel Clowes and Simon Bisley just on the cover alone. Any two or three of those would have seen me picking up the issue and the Bisley cover has him at the height of his painterly powers.
Bisley had done Slaine: The Horned God and was in the middle of the Batman/Judge Dredd crossover Judgement on Gotham and Morrison had just finished Doom Patrol and was handing over his Drivel column to Warren Ellis. Clowes was some issues into his Eightball run and McKean was doing Sandman covers and publishing Cages, his 12 issue square format reimagining of what comics could be. Bolland had long gone over to the US to do The Killing Joke and front cover work for numerous lines but that’s not all. Also featured are interviews with Harvey Pekar on his American Splendor collection and words and pictures from Shaky Kane. That’s a pretty great collection of talent.
Top news stories are the Infinity Gauntlet saga in the Marvel universe, a Batman vs Predator team up with Dark Horse rolling out the first of their licensed Aliens, Predator and Terminator comics. Kevin Eastman’s recently-founded Tundra is still spilling out titles, early attempts to sell Manga to the West in the shape of Otomo’s Akira are reviewed and Pete Bagge is getting into his stride with Hate. Mike McMahon‘s The Last American was also mentioned and the now-classic America story had run in the Judge Dredd Megazine. So many books and stories that would go on to become classics.
On the shelves there was much from the Brits to pry the money out of a fanboy’s grubby hand but the ever-present 2000AD was looking a bit outdated in its teenage years and about to slip into a creative quagmire for much of the 90s. In competition there was the aforementioned Judge Dredd Megazine, Deadline in full flow with Tank Girl et al, Crisis was wobbling through some content troubles and Toxic had just been launched in the anarchic spirit of ’77 by some of 2000AD’s originators. Viz was at the height of its popularity, selling over a million copies an issue and anthologies like A1 and the Marvel UK reprint title, Strip were around too. And this is before your forked out for any of the American imports…
The first cracks had begun to show with the cancellation of hugely hyped Revolver the previous year after only 7 issues and with the next issue of Speakeasy the magazine was about to evolve into a full comic of its own under the name of Blast! As great as this was it would also only last 7 issues (with Speakeasy as an insert for just 5) before being cancelled and, as with Revolver the year before, it seemed that this was the last big attempt to launch a new title into an already oversaturated marketplace. One high profile failure was bad but two in the space of a year seemed to ring the alarm bells that maybe buyers couldn’t sustain this much content. Incidentally, 2000AD would also try to launch another comic (twice) in 1992 – Earthside 8 which had then morphed into Alternity – neither of which made it past the mock up stage to the shop shelves.
By the end of the year both Toxic and Crisis had also folded with Deadline ending a few years later in 1995 after blazing its way through the comics boom and hitching itself to the Britpop movement, even helping birth a Hollywood film of their lead character, Tank Girl. They had a good run and over in the US things faired a bit better with Dark Horse and Image building into hugely successful publishing houses and DC’s Vertigo imprint starting in 1993 and operating for 27 years. The biggest casualty at the time was probably Kevin Eastman’s Tundra operation, set up as a creator-owned imprint with the profits from his and Peter Laird‘s Ninja Turtles, it closed in 1993, never making a profit and costing Eastman a reputed $14 million.
The house of Tharg ultimately survived everyone, 2000AD is into its 44th year, struggled through its adolescence and has been in a second golden age for nearly 20 years now after a threadbare 90s patch. The Megazine mutated through several different formats and weathered their own Hollywood flop in the shape of the Judge Dredd film starring Stallone before finding their feet and are still on top form 30 years later.
Noah Uman‘s Music Archives Ltd Instagram is a treasure trove of hip hop memorabilia and he’s expanded into the real world with a small A5 sized booklet, written by Bill Adler, about the making of Kurtis Blow‘s rap classic, ‘Christmas Rappin’. The story of what was essentially seen as a novelty record is fascinating and you realise what a groundbreaking record it was. The booklet is full of flyers, live photos and more and breaks down the circumstances behind how it was recorded, signed and promoted. You can find copies here and it comes with two badges.
Those lovely guys from Buro Destruct in Bern, Switzerland have just launched a kickstarter for their 4th collection of design work (see excerpts above and below). I first became aware of them in the mid 90’s when we started touring Europe and when we played at the Reitschule in Bern the flyers and posters plastered over the walls were of a higher standard than normal. This was in large due to Buro Destruct who provided a lot of the work and it didn’t take longer for their work to feature in magazines and books of the time as well as their own publications collecting the work.
They’re now onto the 4th volume, featuring 12 years of work (volume 3 was back in 2009) including unused work, intermediate steps and experiments along the way. The softcover book will be 256 pages long and you can support the kickstarter here although only 5 of the early bird discounted price copies are left as I write this.
In my first exclusive new mix for subscribers I’ve chosen to make something that’s been on the ‘to-do’ list for an astonishing 10 years (!) Back in June of 2011 I made an hour long mix for Solid Steel entitled Lynch Party Mix from some of the remixes of Brendan Lynch and Martin ‘Max’ Heyes aka the Lynchmob. Working together and sometimes going by Lynch Mob (but never to be confused with the rap group of the same name) they made some of the most psychedelic, dubbed out remixes and productions of the 90s. You can find that here in the second hour.
Working primarily with Paul Weller after stints around the Acid Jazz/Talkin’ Loud camps in the late 80’s/early 90s, Lynch oversaw Weller’s return to the limelight as a solo artist, working with him on the final Style Council LP, ‘Modernism’, which initially didn’t see the light of day due to record label indifference.
With Lynch as producer and Heyes as engineer they worked on Weller’s 90’s run of albums, the self-titled debut, ‘Wild Wood’, ‘Stanley Road’, ‘Heavy Soul’ and ‘Heliocentric’ plus all points in between, Lynch even co-writing on songs like The Changingman, Sunflower and Wild Wood. Where they really excelled though was in deconstructing the songs for B sides, stretching them out and using all manner of sonic tricks to twist them inside out.
The Lynch Mob Bonus Beats mix of ‘Kosmos’ is an early example and was perfectly in tune with the then current trip hop movement. Taking that style and using it on Primal Scream’s trilogy of albums, ‘XTRMNTR’, ‘Vanishing Point’ and ‘Evil Heat’ was the next step and they also worked on several of the remixes under the band’s name for the likes of Asian Dub Foundation and Massive Attack. Remixes as the Lynchmob followed for Air, ADF, Dr John, Oasis and Ocean Colour Scene with Heyes also working on a couple of tracks with Weller drummer Steve White and ex-Councillor Mick Talbot.
If the Lynch Party Mix covered the more downtempo, dubby side of their output then part 2 picks up where that left off and slowly builds in tempo to a galloping blues rock crescendo. It includes a 6 minute megamix of various versions of the aforementioned ‘Mathur’ as well as two remixes of Weller’s ‘Brushed’ only issued as a promo. The ‘Lynch Mob Bonus Beats’ and ‘Acid Dub’ mixes came from an acetate obtained from someone who worked in the industry at the time. I love the freeform nature of all these mixes, they’re full of backwards guitars, reverb-heavy drop outs and copious amounts of delay, even if it can get a bit full on at points. I can only imagine they achieved this by doing live mixes on the desk and then editing down the results to get a modern psychedelic sound without resorting to cliché. Also it’s HEAVY, they get a big, chunky sound that recalls some sort of acid trip where the music warps and moves in and out of your headspace.
*A word about the mix – there’s some extreme panning, feedback and distortion going on throughout, this is part of the original recordings and intentional, just be careful on the volume.
I’ve used dialogue from a drug information film called The Mindbenders throughout the mix to give it a running theme, it seemed appropriate and this concludes the Lynchmob mixes. I always intended to do two as I had plenty of material for them and it feels good to finally get this one down. There will periodically be more exclusives as I go through my list of themed mix ideas and tick them off, I can’t say when but this gives me a good excuse to finally get round to doing them.
Track list:
Paul Weller – Sunflower (Lynch Mob Dub)
Primal Scream – If They Move, Kill ‘Em (12” Disco Mix edit)
Asian Dub Foundation – Free Satpal Ram (Primal Scream & Brendan Lynch Mix – DJ Food Edit)
Ocean Colour Scene – Falling To The Floor / 100 Mile City
Ocean Colour Scene – July (Forza Moderna Mix)
Indian Vibes – Mathur (Discovery of India mix / Adbhuta / Extended mix / Lynch Mob beats DJ Food re-edit)
Paul Weller – So You Want to Be A Dancer
Talbot / White – Off the Beaten Track (4-1 Dub mix)
Paul Weller – Brushed (Lynch Mob Acid Dub / Lynch Mob Bonus Beats DJ Food edit) (acetate)
Primal Scream – Burning Wheel (DJ Food edit)
Ocean Colour Scene – Flood Tide Rising
Deus – Sun Ra (Lynchmob Dub)
Paul Weller – From The Floorboards Up (Lynch Mob Instrumental Remix)
I’ve decided to start doing occasional exclusive mixes this year for subscribers to my Mixcloud Select channel, ticking off that to-do list of themed mixes I’ve been meaning to do forever but never got round to. We’re currently at 99 subscribers and once we hit 100 I’ll post the first of these – a follow up to the 2011 Lynch Party Mix that featured various remixes and productions by Brendan Lynch & Max Heyes aka the Lynchmob.
That means a lot of tripped out 90’s era Paul Weller, Primal Scream, Asian Dub Foundation, Ocean Colour Scene.. no, wait! come back! – these guys made them sound so good and it includes a couple of unreleased Weller remixes too.
For £3 a month you get a weekly archive Solid Steel mix or similar from my archives dating back to the early 90s, full track list, detailed notes and stories from the era. Future exclusives will include an Eno remix collection, the infamous unreleased Sesame Street ‘D Is For Dig’ compilation remastered and at least 2 more Kraftwerk Kover Kollections.
All brand new mixes will be exclusive for at least a year before being made public. Hit the purple button to subscribe, Friday 10.30am GMT is usually the drop time so, if one more person subscribes by then, the first exclusive goes up.
My friend Stuart has been using Maltego OSINT software to visualise links in Discogs and did one on my aliases. Each square is a different release or associated link. Right click and open in a new tab to zoom in. Thanks Stuart!
And below is Ninja Tune and associated labels – incredible!
I really don’t know how these guys do it – new video, shot and edited in 24 hrs and a new LP, ‘LW’ out in 7 days! The single sounds like a return to ‘Polygondwandland’ mixed with a bit of the microtonality of ‘Flying Microtonal Banana’ of which the previous album, ‘KW‘, was also a part 2 of. Looking at the new title and sleeve, this seems to be volume 3.
I Photoshopped the two LP covers side by side (because I’m that kind of nerd) and they match exactly.
