Drums: Daniel Sax
Bass & Vocals: Klaus Friedrich
Guitar: Marcin Morawski
Hello all, today I am feeling nice and mellow a feeling I enjoy, though it often evades me. But that’s okay. Good mellows are often fleeting things and should be enjoyed in the moment without worrying about getting back to the grind. For me the moment came on my morning commute to work as I tuned the world around me out with the music on my iPhone and took a 43 minute interstellar jaunt into the cosmos as I road the city bus with all the bleary eyed early morning commuters.
Playing in my headphones was the music of a trio of Heavy Psyche rockers from Berlin, Germany called Cosmic Fall. Some of you may recall me reviewing their split album with APHODYL called “Starsplit” last year that left me wanting to hear more of their music. Well seems I got my wish for more Cosmic Fall. On March 30th the Cosmic Fall released its 3rd album ‘In Search Of Outer Space’ that is currently available as a digital download or CD, and soon to follow is The Vinyl which will be released May 30th and available for Preorder April 30th. Whew, now that I got all that out I can tell you you are in for amazing Heavy Psych music with this new release.
Filled with swinging bass grooves, and jazzy drumming done by bassist Klaus Friedrich and drummer Danial Sax Jabberwocky wows the listener as the new Cosmic Fall guitarist Marcin Morawski begins lay down the space fuzz while Klaus surprises the listeners with some mellow vocals.
Though I ain’t into Narcotics the album’s 2nd track Narcotic Vortex feels like a good replacement for them. The guitar and bass have a real dirty feel that becomes real mellow before Dan begins his drum solo creating a bridge for Klaus and Martin to bring the music to its peak. Track 3 and 4 Purification and Lumberjam seem to be aptly named and are quite possibly my favorites from this album. Dan’s soft taping on the cymbals while Klaus gently noodles his bass and Martin does some soothing pick work that feels like a refreshing rain storm that cleans the city streets. Next is Lumberjam. Dan and Klaus set a rhythm as Martin saws out the leads like a buzz saw. Feeling like a musical version of the Voyager Satellite traveling through deep space, Dan and Klaus set a nice smooth rollin tempo while Martin picks and uses what I believe are effects peddles and the volume knobs to create the spaced out feeling to this song. Closing “In Search Of Outer Space” is Cosmic Fall’s retelling of the Greek tale of Icarus. Klaus really doesn’t have to sing a word. You can feel the tale with its lofty soaring guitar that finally comes crashing down.
“In Search Of Outer Space” is definitely worth owning on vinyl. Full of mind blowing Heavy Psych rock. The album artwork is by Klaus Friedrich and layout by Daniel Sax. The album was Mixed and Produced by Marcin Morawski & Co-produced Sax and Friedrich; making this a self produced gem!! Highly recommend!
Legend of the Seagullmen are Danny Carey – drums (Tool) Brent Hinds – guitars (Mastodon) Jimmy Hayward – guitar (Director – Jonah Hex) David ‘The Doctor’ Dreyer – vocals Zappa Meets Zappa’s Peter Griffin – bass Chris DiGiovanni – synth // keys
Hello friends this is the Ancient One and recently I found myself having a flashback to some of the crappy music that MTV tried to force feed music fans in the 1980’s. Specifically the music of A Flock of Seagulls. Yes I hated that band. So when my friend “Matthew Thomas” Messaged me and said “Hey Ancient One you gotta listen to these guys called Legend of the Seagullmen.” I had a name association flashback and like a punch drunk boxer that hears a distant bell, I flew off the handle and responded with a stream of profanity in all caps about how I despised that band. Thankfully I kept my cool and looked up their website…
When I eyeballed the Legend of the Seagullmen’s website I was still a little hesitant but the Ancient One isn’t one to knock any music till he hears it first. While some may automatically look into who a band is before listening I try not to do that so I can keep any personal bias out of my listening experience so I skipped looking up the press release that was used to hype the band to the audience, and instead followed the link I was given by “Matthew” to the album. From the moment I hit play to the end of the album I found myself entertained by the Legend of the Seagullmen’s with some amazing, eclectic rock.
Hooked like a fish, I had to know more about this band that calls themselves Legend of the Seagullmen. In their description on Bandcamp and their band page Legend of the Seagullmen states “ Legend of the Seagullmen is a genre destroying super-group crafting conceptual rock ‘n’ roll hymns of epic proportions.” What I managed to learn from their Bandcamp page is the band is made up of Tool’s Danny Carey on drums, Mastodon’s Brent Hinds on guitar, the director of films such as Jonah Hex Jimmy Hayward on guitar, Zappa Meets Zappa’s Peter Griffin on bass, Chris DiGiovanni on synth/keys & David ‘The Doctor’ Dreyer on vocals. Seeking more info about the front man I searched the web until I came across an article in the The mighty Rolling Stone Magazine that said “The Seagullmen concept is the brainchild of three brothers, Frank, Chris and David Dreyer, who have put on appropriately theatrical concerts and made movies about the band’s long-running legend in recent years” Which is as far as I could seem to get with details about him. Well no matter I loved the music.
I could easily heap praise upon Legend of the Seagullmen’s Danny Carey, Brent Hinds, and Peter Griffin because they are the three most well known musicians but would be unfair to the band as a whole. They also have a guitar playing film director Jimmy Hayward, a keyboard playing Production Manager from Blue Sky Animation Studios Chris DiGiovanni and a mysterious vocalist David ‘The Doctor’ Dreyer are able to take their place on stage and in the studio with them and not embarrass themselves is quite a feat in itself.
If I were to describe the music I’d say it’s a wonderfully cheesy Rock ‘N’ Roll meets, Spaghetti Western meets, Nautical Adventure movie. Some of my favorite tunes on this are…all of them!! I recommend listening to this gem straight through like being at a Drive-In Movie Theater watching a double feature of kick ass B movie re-runs. This is definitely an album I’d recommend.
The Death and Resurrection of Krautrock: Omega – LP // CD // DD
Sulatron Records – Released: Jan 18th, 2018 on DD // CD & LP Feb. 23, 2018
Reviewed by Mike Hackenschmidt
Blake Fleming – drums
Jeremy White – bass, vox
Gordan Tomić – guitar, vox
Niko Potočnjak – guitar, synth
Review: Why are we here? Mankind has been asking this question for a very long time, with some interesting replies. But have you ever drilled the question down a little deeper? Why am I herehere? Like why am I here writing this on a Sunday morning? Why are you here reading it? WTF does this have to do with Seven That Spells? I promise, there is a point.
And as if a gift from the gods, here’s how Seven That Spells describe their answer on their Facebook page:
Beyond. We are the dogs of western Jazz society looking for dope.
Modern, aggressive psychedelic wall of sound incorporating poly-metrics and occasional Viking funeral rites; hailing from the 23rd century where rock is dead, Seven That Spells returned in time where its still possible to change the tragic course of the boring history.
LOL. I swear I didn’t know they had that up before I posed the question in the first paragraph. In fact, that wasn’t even the point I was going to make – but isn’t it just a little creepy since they claim to be from the future? Like they read this and responded. Perhaps what I was going to say was too boring?
Well now that the course of history is changed, let’s dive into the album. First and foremost, Omega is part 3 of a 3 part series. It started with “AUM” then “IO” and finally “Omega”. I mean, I assume it ends here.
Interestingly, each album follows the same structure. It begins with a track called “In”, which is numbered to identify which part it is in the series. It’s followed up by the title track, which pushes close to 20 mins in each case. That’s followed by 2 more tracks and each album closes with “Out” (simply “Out”, Out II, Out III). Despite only having 5 tracks, these are all full length albums. Though this review is meant to only focus on “Omega”, it’s hard to ignore the previous 2.
Seven That Spells Mastermind, Niko, with his Sword and Sonic Boom!!
Stylistically speaking this is Krautrock. If you’re like me and never even heard the word, I’m not going to explain what it is. Someone has already done this on Wikipedia so I’m just going to hyperlink. And despite STS’s best efforts to railroad me in another direction, I’m going to share why I’m here here. See, I’m into metal – not necessarily mainstream but let’s say the better known genres like black, symphonic, death etc. And here on Taste Nation LLC, we tend to dig a little deeper. Matt Thomas keeps throwing me these strange, lessen known acts from sub-genres I’ve never heard of that stretch my knowledge and more importantly, my comfort zone. I’m forced to think: not outside the box; there is no box. The answer of why am I here here is essentially Seven That Spells. This is my theory on what it’s all about… and I could be wrong, there’s always that possibility too. But here goes…
Traditional music is meant to take you out of your head. The idea is the catchy beat and rhythm take over your brain waves connecting neurons associated with emotion making you feel happy, sad, angry etc. Once overcome with emotion, thought is no longer prevalent. We dance and sing or jump and mosh and just have a crazy good time without really thinking too too much about our troubles at home or work… frustrations with the significant other… kids struggling in school… fuck I think I need to get the brakes done… my boss wants me to do all the work while Dave jerks off in the corner… etc. Music is supposed to wipe all that away. If it’s any good, that’s what it does. But this Krautrock (at least I believe) is intended to do something different.
Instead of taking us out of our heads, it’s my belief that The Death and Resurrection of Krautrock trilogy intends to instead drive us back in. We’re not supposed to dance and sing (not yet). Hell, when there are lyrics it’s hard to decipher what’s being said. But we’re not supposed to dwell on our troubles either. To me, this is a guided tour of the vastness of our insides. We get brought “In”. The music takes us on a tour with a spacey, psychedelic vibe. Where it takes you, exactly, I believe is personal. I end up in space marveling at the wonders of gravity, light and time awed by the immensity of what we don’t know. It’s easy to get dragged in and not realize how much time has passed. Track 4 – “Future Lords” breaks things up a bit with a catchy little beat. If you’re deep enough in, as you should be by now – the urge to dance in your new found plane may overcome you. The mood shift is grounding but the atmosphere is still spacey; we’re still on the inside.
Finally, we’re guided “Out”. It’s a nice smooth journey, nothing too jerking or jarring, just a gentle guide from the inner recesses of our minds back to the land of the living, the plane of the physical where we can perhaps spend a prolonged period of time out of our heads, worry and care free.
Tracklist: She’s On My Mind 02:56
Little Late For Love 04:16
Rabbit Hole 03:54
Electric Red 02:51
Arcadian Child are a rock band from Limassol, Cyprus, Greece and this album is the debut release by the band.
This album is a great blend of Classic Rock influences, Modern Rock, and little sprinkles of psychedelia. Musically they remind me of Wolfmother and those other “modern classic” rock bands like The White Stripes, Queens of the Stone Age, (1990s) Divinyls and many others that continued writing and performing music as if it were still the late 70s.
That “modern classic” style started in the early 90s and continued into the new millennium. (With some bands still carrying the torch, like Arcadian Child. Even the track-listing is set up for a vinyl release (if the right people get a hold of the rights. Which they totally should…)
She’s On My Mind 02:56 – This is a great track to start the album with, and in my case, it is a track that will stick in your head for days afterwards. If it weren’t for the effects used on the tracks this track could be from the 70s. The music video is a trip as well.
Little Late For Love 04:16 – This track works great as a cool down from the first high energy track. It is more chill but it still is an experience though, there are spots were they compress and pan the music during instrumental parts. This track also has more of a groove than the first.
Rabbit Hole 03:54 (Favorite track) – Here they bring their psychedelic influences in a little more. They take their time to set up the world of the song with slow strumming of the guitar and after a few seconds they introduce the drums and vocals. The lyrics are especially in that vein; “How deep can you go? Can you trick your mind? Are you deep in the zone? Can you deceive your soul? Would you walk bare footed at the edge of the unknown?”
Electric Red 02:51 – In this song we go back to a harder rocking track, reminding me a little of King Crimson’s Red. I feel like this track is miss titled and should have been called Don’t Ask Me Why.
Irresistible 03:15 – This is a much darker track, lyrically, than the first four. With lyrics like; “Down the broken road, You will find us all, Don’t caress their hopes, Love our absent soul” and “Solemnly abide, To all that make you smile, All things in between, Burn in melting ice” Musically it is similar to Rabbit Hole.
Run 04:54 – This song has a very 90s alternative feel and I cannot quite place why. It might be the simple repeated riffs or the affects used of the vocals as flange-y sounding guitars.
Afterglow 03:39 – Back to a hard rocker but still holding on to that 90’s feel. Maybe because of how the lyrics are set up; “You make me feel like the only man alive, Loved and caressed by your controlling lies, Addicted and free, I’m certainly involved, You make me feel like an empty broken soul”
Used 03:47 – We are left on a slow burn of a song that rounds out the album well. It sounds like they mix together a good chunk of the aforementioned influences. There is Rock, psychedelic, modern rock and a good solo.
Final Thoughts: For some reason it sounds like there are tracks missing or maybe it is just that I want more… I’ll be keeping my eye on this band. Hopefully they continue this trend on their next release. If you are in the mood for some modern rock with that classic and psychedelic feel you should definitely pick this album up!
As In Life (13:26)
Forth By Light (10:46)
A Flock Of Leaves (17:18)
Days Of Wrath (13:30)
True uniqueness in music is hard to come by, especially in this day and age. It almost feels as though everything’s already been done and nothing is truly original anymore. Once in a blue moon, though, a band like The Quartet of Woah comes along and re-instills something of a sense of wonder – perhaps we haven’t reached the bottom of the barrel just yet.
The Quartet of Woah are a Heavy Progressive Rock band from Portugal; in case the song titles and lengths didn’t already give that away. Their individual songs, though, reach everywhere from Prog to Psychedelia to Folk to Blues and everywhere in between. Every song is crafted with artisan skill and precision and every note is crisp, clear, and audible. Each song brings a sense of energy and soul that is never wasted – it’s almost like a perpetual motion machine, never slowing down, never ceasing until its message is conveyed.
This album is not without its left turns into oddity land, though. Opener “As In Life” contains a drum solo and a flute outro and personal favorite “Forth By Light” veers off into some positively bizarre chromatic riffing and noodley organs that work far better than one would expect. What does remain constant, though, is the groove. The Quartet of Woah are experts in the art of groove and are ready and willing to show it off. It’s not exactly dancey, but don’t be surprised if you end up bobbing your head several times.
The Quartet of Woah are a band that set out to do what no one else had, to chart uncharted territory, and have done exactly that with their stellar debut. If you love heavy music with progressive tendencies and lack an aversion to really, really long and strange compositions, then do yourself a favor and listen and support this wonderful indie release and a band with a very bright future!
German Riffonauts BLACK SPACE RIDERS will release new EP Amoretum Vol. 1 on January 26, 2018.The LP can be pre-ordered on all digital platforms, including Bandcamp, as well as at www.blackspaceriders.com/shop
The album flows from song to song as if from a single cast. The listener wonders after 45 minutes whether everything is really already over, and wants to go back to the beginning again immediately.
But of course everything is not over after 45 minutes in the world of BLACK SPACE RIDERS. The band also announces a second chapter for 2018 … Amoretum Vol. 2 is waiting for us, while we are looking forward to Amoretum Vol 1.
Track List: Lovely Lovelie
Another Sort of Homecoming
Soul Shelter (Inside of Me)
Come and Follow
Friends Are Falling
Fire! Fire! (Death of a Giant)
BLACK SPACE RIDERS are:
JE: Lead Vocals, Guitars, Organ, Piano, Electronics
SEB: Lead vocals, Keyboards, Electronics
C.RIP: Drums, Percussion, Didgeridoo
SAQ: Bass Guitar
MEI: Bass Guitar
Review: One might expect and album that opens with a piano excerpt from “Entry of the Gladiators”, more commonly known as the song they play at the circus as the clowns pile out of their tiny car and climb on their unicycles to juggle bowling pins, or break into a tumbling routine or whatever else clowns do… well you might expect an album that opens with this to be a bit of a joke.
But you’re not quite right. While Mountains of Gaia does have its fun moments, most are relegated to the opening track which is appropriately named “Circus”. Once the piano fades behind the percussion, the bass takes over, carrying the tune while distorted screams point us in a different direction. Thankfully, the screams give way to more melodic, though still filtered, singing. Really, this is where the lightheartedness goes out the window and we begin a musical adventure.
“Backstabber” takes us to a completely different locale of Container’s sound with a little 70’s Black Sabbath worship and an edge all their own. It’s a bit stoner and a bit “garage”, as they put it. It’s clear listening to the band that this was recorded in a studio, but I still think garage is a very apt term to describe a certain rawness or lack of refinement in Container’s style.
“Challenger” is an 8 minute, long, slow piece that musically reminds me of the Doors. Maybe Riders on the Storm or LA Woman, but then there’s some spoken word reminiscent of Rage Against the Machine, if you can imagine these two together. That’s only the first couple of minutes. It picks up with more of a Vol. 4 ambiance before slowing again to that Doors-y, wandering-through-the-dessert-on-peyote feeling with one last increase in pace to close it out.
Even though we’re only about halfway through, it’s hard now to look back and remember the silliness Mountains of Gaia opened with. The album leads us down a path of variety with different tracks blending the (aforementioned) base elements, stoner rock & “garage rock”, with a touch of post-rock, punk and hardcore. The result is an eclectic adventure that might seem to stray yet is uniquely Container. It’s almost surreal how after the 8th and final, the title track, another 8 minute opus taking us through the Mountains of Gaia until the music ends. Surreal, I mean if we decide to press play and take the trip again. We realize we’re started back at Circus. Is it a metaphor?
Tracklist: God of the Sun (11:12)
Coming Home (4:23)
Signs of the Time (6:43)
Lost in Oblivion (4:28)
Figaro’s Whore (1:04)
Divine Addiction (4:42)
Opus Maximus (10:39)
American Rock Supergroup featuring:
Mike Portnoy – Drums
Derek Sherinian – Keyboards
Ron “Bumblefoot” Thal – Guitar
Billy Sheehan – Bass
Jeff Scott Soto – Vocal
Former Dream Theater drummer Mike Portnoy is a man with many hats. Granted, most of those hats are as a drummer, he has many hats nonetheless. His latest project, yet another Progressive Metal Supergroup called the Sons of Apollo, may actually be his strongest. Sons of Apollo, comprised of Portnoy, fellow Ex-Dream Theater bandmate Derek Sherinian on Keyboards, former Guns N’ Roses guitarist Ron “Bumblefoot” Thal, Mr. Big Bassist Billy Sheehan, and Trans-Siberian Orchestra vocalist Jeff Scott Soto.
Psychotic Symphony is essentially exactly what you would expect from a Portnoy excursion – it’s essentially a Dream Theater album with a harder edge. That’s not a bad thing, however. As long as you like this very distinct and often-imitated sound, you will be very pleased with this album. Solos galore, plenty of irregular time signatures, and top-notch musicianship abound.
As a slightly lesser-known name in the music business, one would expect Jeff Scott Soto to be something of a weak link in the band, but that is simply not true. Soto has a very muscular baritone that does the music plenty of justice and he is a welcome addition to the band. During the Sons of Apollo’s formative year, they sampled quite a few vocalists, such as Strapping Young Lad Virtuoso Devin Townsend and King’s X wailer Doug Pinnick, and Soto just happened to be the one to stick around.
The Production on this album is notable, being performed by band members Portnoy and Sherinian. The mix is very, very bassy, with a lot of priority being given to lower tones over higher ones. The bass is very audible and few keyboard lines go to very high pitches. Even the guitar is tuned as a baritone guitar, all the way down to B Standard tuning for any guitar players reading this. This grants the entire album significant edge and weight, allowing for a heavy groove in nearly every song. However, such a priority on lower sounds can occasionally result in the songs sounding muddled, especially in faster songs like the blistering “Lost in Oblivion”.
As usual with Progressive Metal, the longer tracks are easily the highlight — in this case, “God of the Sun” and the Instrumental “Opus Maximus”, but this whole album is a recommended listen for any and all fans of Progressive Metal. If musical self-indulgence and sheer showcases of talent is a turnoff for you, then this probably earns a skip, but if those things instead pique your interest, then you’ve probably already bought this album. Otherwise, go pick up Sons of Apollo’s “Psychotic Symphony”.
Rise Above Records – (Re-Release / Remastered) October 13, 2017
Reviewed by Terry “The Ancient One” Cuyler
Dancing in the Witches Garden
Hello Tasters today I’m gonna serve up some tasty music from a band called Uncle Acid & The deadbeats. Formed in Cambridge England in 2009 by Kevin Starrs, Uncle Acid & The deadbeats was originally: Mastermind & Frontman Kevin Starrs, on vocals and guitars, Kat on Bass, and Red on Drums. While Uncle Acid & The deadbeats transformed from a power trio into a quartet after Kat and Red left. It was with then that Uncle Acid & The deadbeats established it’s signature sound using elements of acid rock, British pop, and metal, with themes on occult, horror, drugs, murder and mayhem.
For those who are unfamiliar with them, until October this year a search on Amazon and iTunes would have only turned up Uncle Acid & The Deadbeats’ 2nd, 3rd, and 4th albums on CD and MP3 . Though it would be released as a limited edition vinyl in 2014 The album Vol. 1 was initially used like a demo. Marketed directly to the fans on MySpace & YouTube with a limited release of 30 albums on CD-R Vol.1 helped the band purchase better recording equipment for their 2nd self produced and recorded album Blood Lust. Which after a limited release of 100 on CD-R was picked up by Rise Above Records in 2011 and re-released introducing Uncle Acid’s signature sound to a wider audience.
While I can find no fault with Uncle Acids decision to initially only release Vol. 1 on vinyl, it was on the pricey side. Those who wanted to listen to it had to seek it out on YouTube and burn a copy from a friends album if they didn’t want to buy it on vinyl. Now that Vol. 1 has been reissued on CD, Vinyl, and MP3 fans can throw away and delete their bootleg copies and get the real deal. Although Blood Lust was the album that got myself and many other fans into Uncle Acid & The Deadbeats it all started with Vol.1.
What I enjoyed most about Vol. 1 is knowing that although it had to be done on a limited budget, Uncle Acid & The deadbeats still managed to create an auditory work of art. Opening with “Crystal Spiders,” I was immediately sucked into the album and still find myself having to fight the urge to dance around like a hippie on LSD when I listen to Vol. 1 in public. I like all of the songs on Vol. 1 but some of the best are “Witches Garden” and “Lonely And Strange.” Both tracks are sort of has The Doors does metal feel with some creepy electric organ and the latter having some stellar electric and acoustic guitar work by Kevin Starrs that boarders on the divine.
Then once again we get to listen to that amazing electric guitar and electric organ in “Vampire Circus.” “Do What Your Love Tells You” the album’s 6th track has just got some gnarly fuzzed out psychedelic riffs. Closing the album out is the creepy song ‘Wind Up Toys.” For those who intend to buy this album on vinyl if you get the band’s special edition it will include the bonus track of Uncle Acid’s cover of the Kinks song “Wicked Annabella”.
Bass: Chris Cappiello
Drums: Kevin Flynn
Vocals: Ed Grabianowski
Guitar: Richard Root
Five Days in a Hole (5:34)
That Witch Rises (6:56)
Warlike Prelude (1:16)
Hollow Moon (4:11)
The Old Road (3:09)
Black Sword (4:28)
Review: Monster Magnet is a band whose far-reaching influence on the world of Rock music is not always properly appreciated. Without them, such Hard Rock giants such as Queens of the Stone Age and Eagles of Death Metal may have never seen the light of day, and yet Monster Magnet has never become the household name that they probably should be. After all, the school of Monster Magnet is a deceptively large one, and an excellent recent graduate of that school has recently surfaced with the name of Spacelord.
There are Monster Magnet followers of two basic varieties: Desert Rockers a laQueens of the Stone Age, Brant Bjork and Kyuss; and Stoner/Sludge Metallers a laSoundgarden and Red Fang. Spacelord straddles this line a bit, but tends to adhere a bit more to the Stoner Metal side of things. As a matter of fact, Spacelord’s self-titled debut is quite reminiscent of the early days, sounding like they’d be right at home among the track-list of Louder than Love, especially tracks like the 6-minute sludgey atom bomb “Warlike”, which opens with lots of reverb and closes with sinewy guitar lines that Soundgarden’s Kim Thayil would be proud of.
Spacelord is first and foremost a very genuine affair. There’s nothing absolutely perfect here. It is perfect in its imperfection. That’s not to say the music is bad – in fact, it’s very much the opposite – But a huge amount of personality is found in those little moments where a backing vocal is a little flat, or a guitar comes in the tiniest bit late. This is not a tightly-composed Progressive Rock opus, and it shouldn’t be. This is an intentionally organic album. The performance here is not done by robots programmed to hit every note with surgical precision, it is done by humans – real living humans, and the interplay and charm associated with such a work breaths through this album impeccably.
Spacelord is the album that it needs to be and not an iota less. With their very first record, Spacelord has asserted a very real identity for themselves. It is one that regales you with the feeling of the early 90’s, when Stoner Metal was at its absolute finest. It gives you hope for another golden era that Monster Magnet and Kyuss would likely welcome with open arms.