Yeah I need to buy the new Pentagram, I heard a couple songs love 'em. Oh man Internal Void! I still rock my "Standing on The Sun" cassette all the time! I don't think I have heard the "Show 'em How" songs but I did see the trainwreck when Bobby was backed by them at the Black Cat in 2005.
Snailhook...
i know i'm all late,
but i just noticed spectrum played in baltimore recently. i would kill to have them back.
but i just noticed spectrum played in baltimore recently. i would kill to have them back.
That shit killed.
Screen Vinyl get better each time I see them too.
Screen Vinyl get better each time I see them too.
seriously! their last show at the black cat was amazing. would've made it out to their show at galaxy had i known too.
when the fuck is their followup album coming? they've been cock teasing us for so long.
when the fuck is their followup album coming? they've been cock teasing us for so long.
azaghal1981 wrote:
That shit killed.
Screen Vinyl get better each time I see them too.
Agree and agree.
As you and Joe know, Sonic Boom literally knocked me off my feet even before the show started! (Inside joke yet literally true.)
Definitely like SVI's new direction. It's not just full of great Psychedelic droning noises but more attention was invested into writing good melodic songs. Makes for a very good balance.
teepo wrote:
when the fuck is their followup album coming? they've been cock teasing us for so long.
If you mean SVI, they just released their Siberian single on Fan Death Records. I've got the songs currently airing on Air Atlantic Underground Radio. Really good.
As far as an album goes, they are working on it so be just a little bit more patient. ;)
snailhook wrote:
Friday 5/6 @ Velvet Lounge: Ghost Box Orchestra (psych-folk from Boston), Phonic Riot, The Last Tide
$8, doors at 9pm, 21+
Anyone debating about this show or just looking for something to do tonight (Fri May 6th) should try to get out to this show. Ghost Box Orchestra is a pretty cool Psy Post-Rock band. I'd be there if I weren't so far away. I still have some correspondence with the band for an article I need to write for my website. Anyway, worth checking out. Those who go, please come back and give your review as I'd really like to know how they come off live though I suspect pretty good.
This bill got exponentially better with Dark Sea Dream replacing Last Tide.
Last Tide are kind of horrible and Dark Sea Dream are kind of awesome. And by "kind of," I mean extremely.
Last Tide are kind of horrible and Dark Sea Dream are kind of awesome. And by "kind of," I mean extremely.
Last Tide's Shapeshifter is ok.
Maybe they are just bad live? I haven't heard any recordings.
Last Tide are very medicore. Wouldn't say horrible, just really bland. Dark Sea Dream is so much better it's not even worth comparing.
Clavius Productions and Capital Bop present a very special show at the Red Door on Sunday, featuring Rob Mazurek's (Isotope 217/Chicago Underground Duo/Mandarin Movie/Exploding Star Orchestra) new ensemble, Starlicker Trio, with drummer John Herndon of post-rock legends Tortoise and vibraphone upstart Jason Adasiewicz. And OOO (Luke Stewart/Aaron Martin/Sam Lohman) will be augmented by Scott Verrastro on percussion and Mike Sebastian on tenor sax. Info below. Clavius Productions is also presenting D Charles Speer & The Helix, whose recent recordings for Thrill Jockey show a band as adept as any at recreating the classic early '70s Muscle Shoals southern soul-rock sound injected with a healthy dose of The Band and '71 Stones. Fuck the Black Crowes, these guys are the real deal. Also on the horizon, Kohoutek/Sediment Club at Amma House on June 5 and Bobb Trimble/Kuschty Rye Ergot on June 17.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Get psyched for CapitalBop's hard-hitting D.C. Jazz Loft Series at the DC Jazz Fest next month with some wild aural hors d'oeuvres: http://bit.ly/may8loft
Rob Mazurek's Starlicker (Chicago avant-jazz trio featuring John Herndon of TORTOISE)
Elijah Jamal Balbed (DC hard-bop saxophone sensation)
OOO (local free jazz monsters augmented by Scott Verrastro of Kohoutek and Mike Sebastian of DCIC)
U St. All-Stars (top bop improvisers :: set ends in an open jam session)
Sunday, May 8
Red Door
443 I St NW
$10 suggested donation
7pm, all ages
BYOB!
Word on the street:
"[T]he showcase that the local jazz scene has needed for years." -Washington City Paper
"Modeled after the jazz lofts that used to take place in New York during jazz's heyday, the D.C. Jazz Loft shows have a strong DIY feel to them and give musicians a chance to play more original and innovative music." -DCist
"Holler at the @capitalbop time machine" -@blogsupreme (NPR Music Twitter)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Thursday, May 12
Velvet Lounge
915 U St NW WDC
http://www.velvetloungedc.com
202-462-3213
$8, doors at 7:30pm, 21+
D Charles Speer & The Helix (Thrill Jockey/Three Lobed, mem. of No Neck Blues Band/Sunburned Hand of the Man/Hans Chew Band/Enos Slaughter)
Zachary Cale
one local tba
D Charles Speer & The Helix
http://www.dcharlesspeer.com/
"A rockin' slab of cosmic country boogie that makes Commander Cody sound like Brad Paisley. It's dense, fuzzy, and dripping in an ominously psychedelic reverb." (Village Voice)
"Folk, Country and Rockabilly wells mined and harnessed to yield Some Forgotten Country, an album of home-recordings as metaphysical western, a handful of cover tunes as respectful homage, songs as well-oiled chants." (Stylus)
"Shuford's romps channel both dusty open spaces and cramped dim places, scars and bars from the Deep South and Old West." (Dusted)
Zachary Cale
http://www.allhandselectric.com/zacharycale.html
"Zachary Cale is a songwriter's songwriter, as prolific as he is original. His voice can be delicate for love or wry for satire. The ability to hear what is in a song has guided him well in the making of his own." -John Allen (WFMU)
?New York transplant Zachary Cale?s folk sound is as beautifully raw as they come. Local audiences enjoy quietly reflective ballads from this shaggy haired musician. His unusual voice and poetic songwriting are pleasantly welcomed surprises.? -NYC?s BEST LOCAL MUSICIANS Bea Broderick (CBS NY)
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Get psyched for CapitalBop's hard-hitting D.C. Jazz Loft Series at the DC Jazz Fest next month with some wild aural hors d'oeuvres: http://bit.ly/may8loft
Rob Mazurek's Starlicker (Chicago avant-jazz trio featuring John Herndon of TORTOISE)
Elijah Jamal Balbed (DC hard-bop saxophone sensation)
OOO (local free jazz monsters augmented by Scott Verrastro of Kohoutek and Mike Sebastian of DCIC)
U St. All-Stars (top bop improvisers :: set ends in an open jam session)
Sunday, May 8
Red Door
443 I St NW
$10 suggested donation
7pm, all ages
BYOB!
Word on the street:
"[T]he showcase that the local jazz scene has needed for years." -Washington City Paper
"Modeled after the jazz lofts that used to take place in New York during jazz's heyday, the D.C. Jazz Loft shows have a strong DIY feel to them and give musicians a chance to play more original and innovative music." -DCist
"Holler at the @capitalbop time machine" -@blogsupreme (NPR Music Twitter)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Thursday, May 12
Velvet Lounge
915 U St NW WDC
http://www.velvetloungedc.com
202-462-3213
$8, doors at 7:30pm, 21+
D Charles Speer & The Helix (Thrill Jockey/Three Lobed, mem. of No Neck Blues Band/Sunburned Hand of the Man/Hans Chew Band/Enos Slaughter)
Zachary Cale
one local tba
D Charles Speer & The Helix
http://www.dcharlesspeer.com/
"A rockin' slab of cosmic country boogie that makes Commander Cody sound like Brad Paisley. It's dense, fuzzy, and dripping in an ominously psychedelic reverb." (Village Voice)
"Folk, Country and Rockabilly wells mined and harnessed to yield Some Forgotten Country, an album of home-recordings as metaphysical western, a handful of cover tunes as respectful homage, songs as well-oiled chants." (Stylus)
"Shuford's romps channel both dusty open spaces and cramped dim places, scars and bars from the Deep South and Old West." (Dusted)
Zachary Cale
http://www.allhandselectric.com/zacharycale.html
"Zachary Cale is a songwriter's songwriter, as prolific as he is original. His voice can be delicate for love or wry for satire. The ability to hear what is in a song has guided him well in the making of his own." -John Allen (WFMU)
?New York transplant Zachary Cale?s folk sound is as beautifully raw as they come. Local audiences enjoy quietly reflective ballads from this shaggy haired musician. His unusual voice and poetic songwriting are pleasantly welcomed surprises.? -NYC?s BEST LOCAL MUSICIANS Bea Broderick (CBS NY)
Did you book that OTC Rotunda gig? Nice pull if so.
The worst part? Those spam posts LOOK like a line-up that azaghal would request for Snailhook…
;D
i do not get noise. seems to me like the type of "music" (term used loosely) you make when you don't have talent and/or don't know what you're doing. plugging a power drill to a microphone and letting a guitar distort freely in front of an amp isn't impressive to me.
i was in a noise band once… when i was 14 and we had just bought instruments. we thought we were awesome. eventually we learned power chords and snare-kick combos, and we upgraded from "noise" to "punk" ;D
seriously tho, there are very talented people who make noise in a very purposeful way - merzbow comes to mind. but far too much of the noise i've come across are people yelling incomprehensibly into a mic with a lot of white noise in the background. it's like interpretative dance - there is some amazing stuff out there, and there is a hell of a lot more attention-seeking hippies throwing themselves from side to side. like my 14-year-old self, i'm sure they're enjoying themselves.
i was in a noise band once… when i was 14 and we had just bought instruments. we thought we were awesome. eventually we learned power chords and snare-kick combos, and we upgraded from "noise" to "punk" ;D
seriously tho, there are very talented people who make noise in a very purposeful way - merzbow comes to mind. but far too much of the noise i've come across are people yelling incomprehensibly into a mic with a lot of white noise in the background. it's like interpretative dance - there is some amazing stuff out there, and there is a hell of a lot more attention-seeking hippies throwing themselves from side to side. like my 14-year-old self, i'm sure they're enjoying themselves.
The "few great artists, mostly crap" line can be attributed to every musical genre, no?
But with noise, I think the vast majority of it is made for the moment for both the performers and the audience in attendance; something that more often than not, if documented, does look and sound pretty stupid out of context. You did say you enjoyed playing and experimenting with instruments when you got them. Doing random things with instruments, musical and otherwise, just to see what sound they would make is fun. The people profiled in that doc also seem to be having a great time as do the audiences. Some people just like being hit over the head with sound regardless of whether it is coming from a drill being taken to a mic, guitar feedback, a small explosion, concrete mixer or sheet metal being ground (Faust would often do this). It is something that definitely needs to be experienced live (and maybe you have done so already) before being discounted completely.
But with noise, I think the vast majority of it is made for the moment for both the performers and the audience in attendance; something that more often than not, if documented, does look and sound pretty stupid out of context. You did say you enjoyed playing and experimenting with instruments when you got them. Doing random things with instruments, musical and otherwise, just to see what sound they would make is fun. The people profiled in that doc also seem to be having a great time as do the audiences. Some people just like being hit over the head with sound regardless of whether it is coming from a drill being taken to a mic, guitar feedback, a small explosion, concrete mixer or sheet metal being ground (Faust would often do this). It is something that definitely needs to be experienced live (and maybe you have done so already) before being discounted completely.
Ditto what azaghal just said. Sure, there are lots of "bad" noise acts out there, but at least they're doing something to attempt to break standard musical form. The best noise is as exhilarating and inspirational as anything out there. It certainly takes talent, intellect, and emotional capacity to sculp sound into something provocative and appealing.
Azaghal, when you refer to OTC, do you mean Olivia Tremor Control? I do not have anything confirmed at the Rotunda in the coming months but I'm sure that will change soon.
Azaghal, when you refer to OTC, do you mean Olivia Tremor Control? I do not have anything confirmed at the Rotunda in the coming months but I'm sure that will change soon.
Clavius Productions presents a night of bone-crushing riffage and bludgeoning psychedelic sludge at the Velvet Lounge. EYE, from Columbus, features Matt Bailey of the late, lamented Teeth of the Hydra, who Kohoutek had the pleasure of playing with in Philly years ago. Their tourmates and Columbus brethren, Lo-Pan, update Kyuss desert rock with a healthy dose of Midwest aggro attitude. This is Kohoutek's first DC show since opening for Roedelius in October, and probably last til the spring, so get your fill of pummeling space boogie while you get the chance.
Friday, March 2
Velvet Lounge
915 U St NW WDC
http://www.velvetloungedc.com/
202-462-3213
$8, doors at 9pm, 21+
Kohoutek (Philly/DC improv psych, Prophase Records)
Lo-Pan (Columbus, Small Stone Records)
EYE (Columbus, ex-Teeth of the Hydra/Deadsea)
Ambition Burning (NoVA hardcore/post-metal, think early Neurosis, ex-Durga Temple/VOG)
Kohoutek
http://www.claviusproductions.org/
?People interested in music that defies the pop song convention, music that challenges that part of your brain that lies dormant during most aural experiences, need a band like Kohoutek. This ensemble began their wildly meandering journey across the more peripheral realms of free-form psych rock a few years back and from the very beginning they seemed determined to try to cross swathes of interstellar drone, guitar squall and loose, slowly evolving improvisations of drum and bass grooves and squelchy electronics with tapestries of gravitationally flowing darkness.? (Mats Gustafsson)
?If I was still young and devious (not that I ever was devious, of course?) I?d be tempted to slap a United Artists label on this one, scuff up the sleeve and palm it off as a lost classic from 1971. Filed alongside a host of highly collectable Can, Man, Hawkwind and Amon Duul II LPs nobody would ever be the wiser. And that, to my mind, is no bad thing.? (Phil McMullen, Ptolemaic Terrascope)
Lo-Pan
http://lopandemic.com/
http://www.facebook.com/pages/Lo-Pan/130592378248?sk=wall
Talk about grabbing the brass ring when it comes within striking distance – Columbus, Ohio's Lo-Pan waste not an ounce of opportunity to impress with their first new album for Small Stone (and third overall), Salvador, which truly brought new hope of "salvation" to the stoner rock masses upon its release in early 2011. Yes, the promising signs were already quite evident on the group's sophomore opus, Sasquanaut (reissued just prior to this third LP), but on Salvador, Lo-Pan achieve a fluid balance of guitar-driven muscle and songwriting immediacy that amazingly leaves its predecessor sounding somewhat unfocused by comparison – and it was really anything but. Yet such is the power achieved by steel-plated nuggets like "El Dorado," "Deciduous," and "Chichen Itza," groove-driven efforts like "Bleeding Out" and "Generations," and even histrionic slow-burners like the seriously psychedelic "Bird of Prey" and convincingly bluesy "Struck Match," where Lo-Pan's remarkable singer, Jeff Martin, eerily sounds like a reborn Joe Lynn f**king Turner?in the best possible sense. It's ultimately that old-school sensibility and recurring ties to classic rock of the 1970s, wed to a modern sonic power standard, that fuel and freshen Lo-Pan's material to oftentimes alchemical, transcendent thresholds, and should allow them to stand out from the herd in today's crowded heavy rock scene. (Eduardo Rivadavia, AMG)
EYE
http://eyemusic.bandcamp.com/
https://www.facebook.com/EYE00
Unbeknownst to most of the world, the little burb of Columbus, Ohio has been the epicenter of metal?s evolution for nearly a decade now. At the beginning of this new wave, there was a triumvirate of bands spanning the spectrum of heavy vibes: the epic virtuoso sprawl of Deadsea (who still exist), the visceral thrash of Teeth of the Hydra, and the freaky psychedelic low-end theories of Pretty Weapons. Though each represented their own charged statement as separate units, this cabal of musicians seemed to thrive as alchemists of metal?s core elements, constantly experimenting, collaborating and pushing each other towards a transcendental summit. It has never been the want for innovation or hipster trends (you won?t find odes to black metal or irrelevant growling) that have propelled them up that mountain as it has been the drive to align the spheres that dominate the genre into one pure and mammoth equinox. It was only matter of time before they joined forces.
EYE arrives as Columbus? latest supergroup, a trio consisting of bassist Matt Bailey (formerly of TOTH), guitarist Matt Auxier and drummer Brandon Smith (both of Pretty Weapons), who rightfully go above and beyond that peak with their self-released debut, Center of the Sun. At nearly 20 minutes, the title track alone would have sufficed as a perfect example of the exemplary evolution that has manifested in Columbus. The trio?s scope is massive and it?s no surprise that Adam ?Smitty? Smith (of Deadsea), who produced the record, also contributes organ, Moog and Arp to accentuate this infinite journey; his band?s Desiderata has become a foundation for this blend of cinematic metal exploration. Within that course, EYE locks the listener into a strand that incorporates everything from Floydian dark space and darker moons, the spastic improvisation of Amon Duul?s Yeti, some effects dabbling befitting Goblin soundtracks, and plenty of shreds just to keep your pulse at a maximum. Of course, any metal band who runs the gamut of influence (with Sabbath always being the bedrock) is subject to comparisons, but with much of today?s heavier heroes (Mastadon, I?m looking at you), the results of such meddling leads to disjointed, usually overdubbed garble with no clear intent. EYE can pride themselves on laying most of Center of the Sun down in one take, which makes the complex fusion changes of ?Rik Rite? something to behold. It?s there that the trio shows their chops, splitting hairs between the Mahavishnu Orchestra and the deep grooves of Iommi, Butler and Ward. Having seen EYE perform a number of times, it has become evident that these four songs have become a foundation of perfection. Each time they play live, they strive to make it heavier, more profound, than the last time. If there ever was an anthem for EYE, it would be the ominous march of ?Ursuper,? a synchronized headbang that becomes ingrained into the conscious as a sort of aural call-to-arms the more times you hear it.
As omniscient overseer, Auxier leads EYE through a number of insurmountable cosmic valleys and crag-filled sonic terrains with his guitar leads. It?s his forward vision. Even when he looks back to the scratch-riddled records of his cool uncle?s record collection, there?s a movement and a layer you didn?t notice before. The nuance and elaboration of those dominating spheres take on strange formations and deafening power. I?d like to think of Center of the Sun as its own towering monolith, surely to be eclipsed by Columbus metal?s next giant step. Whether that?s another EYE record or a further evolution is anyone?s guess. (Kevin J. Elliott, Agit Reader)
Friday, March 2
Velvet Lounge
915 U St NW WDC
http://www.velvetloungedc.com/
202-462-3213
$8, doors at 9pm, 21+
Kohoutek (Philly/DC improv psych, Prophase Records)
Lo-Pan (Columbus, Small Stone Records)
EYE (Columbus, ex-Teeth of the Hydra/Deadsea)
Ambition Burning (NoVA hardcore/post-metal, think early Neurosis, ex-Durga Temple/VOG)
Kohoutek
http://www.claviusproductions.org/
?People interested in music that defies the pop song convention, music that challenges that part of your brain that lies dormant during most aural experiences, need a band like Kohoutek. This ensemble began their wildly meandering journey across the more peripheral realms of free-form psych rock a few years back and from the very beginning they seemed determined to try to cross swathes of interstellar drone, guitar squall and loose, slowly evolving improvisations of drum and bass grooves and squelchy electronics with tapestries of gravitationally flowing darkness.? (Mats Gustafsson)
?If I was still young and devious (not that I ever was devious, of course?) I?d be tempted to slap a United Artists label on this one, scuff up the sleeve and palm it off as a lost classic from 1971. Filed alongside a host of highly collectable Can, Man, Hawkwind and Amon Duul II LPs nobody would ever be the wiser. And that, to my mind, is no bad thing.? (Phil McMullen, Ptolemaic Terrascope)
Lo-Pan
http://lopandemic.com/
http://www.facebook.com/pages/Lo-Pan/130592378248?sk=wall
Talk about grabbing the brass ring when it comes within striking distance – Columbus, Ohio's Lo-Pan waste not an ounce of opportunity to impress with their first new album for Small Stone (and third overall), Salvador, which truly brought new hope of "salvation" to the stoner rock masses upon its release in early 2011. Yes, the promising signs were already quite evident on the group's sophomore opus, Sasquanaut (reissued just prior to this third LP), but on Salvador, Lo-Pan achieve a fluid balance of guitar-driven muscle and songwriting immediacy that amazingly leaves its predecessor sounding somewhat unfocused by comparison – and it was really anything but. Yet such is the power achieved by steel-plated nuggets like "El Dorado," "Deciduous," and "Chichen Itza," groove-driven efforts like "Bleeding Out" and "Generations," and even histrionic slow-burners like the seriously psychedelic "Bird of Prey" and convincingly bluesy "Struck Match," where Lo-Pan's remarkable singer, Jeff Martin, eerily sounds like a reborn Joe Lynn f**king Turner?in the best possible sense. It's ultimately that old-school sensibility and recurring ties to classic rock of the 1970s, wed to a modern sonic power standard, that fuel and freshen Lo-Pan's material to oftentimes alchemical, transcendent thresholds, and should allow them to stand out from the herd in today's crowded heavy rock scene. (Eduardo Rivadavia, AMG)
EYE
http://eyemusic.bandcamp.com/
https://www.facebook.com/EYE00
Unbeknownst to most of the world, the little burb of Columbus, Ohio has been the epicenter of metal?s evolution for nearly a decade now. At the beginning of this new wave, there was a triumvirate of bands spanning the spectrum of heavy vibes: the epic virtuoso sprawl of Deadsea (who still exist), the visceral thrash of Teeth of the Hydra, and the freaky psychedelic low-end theories of Pretty Weapons. Though each represented their own charged statement as separate units, this cabal of musicians seemed to thrive as alchemists of metal?s core elements, constantly experimenting, collaborating and pushing each other towards a transcendental summit. It has never been the want for innovation or hipster trends (you won?t find odes to black metal or irrelevant growling) that have propelled them up that mountain as it has been the drive to align the spheres that dominate the genre into one pure and mammoth equinox. It was only matter of time before they joined forces.
EYE arrives as Columbus? latest supergroup, a trio consisting of bassist Matt Bailey (formerly of TOTH), guitarist Matt Auxier and drummer Brandon Smith (both of Pretty Weapons), who rightfully go above and beyond that peak with their self-released debut, Center of the Sun. At nearly 20 minutes, the title track alone would have sufficed as a perfect example of the exemplary evolution that has manifested in Columbus. The trio?s scope is massive and it?s no surprise that Adam ?Smitty? Smith (of Deadsea), who produced the record, also contributes organ, Moog and Arp to accentuate this infinite journey; his band?s Desiderata has become a foundation for this blend of cinematic metal exploration. Within that course, EYE locks the listener into a strand that incorporates everything from Floydian dark space and darker moons, the spastic improvisation of Amon Duul?s Yeti, some effects dabbling befitting Goblin soundtracks, and plenty of shreds just to keep your pulse at a maximum. Of course, any metal band who runs the gamut of influence (with Sabbath always being the bedrock) is subject to comparisons, but with much of today?s heavier heroes (Mastadon, I?m looking at you), the results of such meddling leads to disjointed, usually overdubbed garble with no clear intent. EYE can pride themselves on laying most of Center of the Sun down in one take, which makes the complex fusion changes of ?Rik Rite? something to behold. It?s there that the trio shows their chops, splitting hairs between the Mahavishnu Orchestra and the deep grooves of Iommi, Butler and Ward. Having seen EYE perform a number of times, it has become evident that these four songs have become a foundation of perfection. Each time they play live, they strive to make it heavier, more profound, than the last time. If there ever was an anthem for EYE, it would be the ominous march of ?Ursuper,? a synchronized headbang that becomes ingrained into the conscious as a sort of aural call-to-arms the more times you hear it.
As omniscient overseer, Auxier leads EYE through a number of insurmountable cosmic valleys and crag-filled sonic terrains with his guitar leads. It?s his forward vision. Even when he looks back to the scratch-riddled records of his cool uncle?s record collection, there?s a movement and a layer you didn?t notice before. The nuance and elaboration of those dominating spheres take on strange formations and deafening power. I?d like to think of Center of the Sun as its own towering monolith, surely to be eclipsed by Columbus metal?s next giant step. Whether that?s another EYE record or a further evolution is anyone?s guess. (Kevin J. Elliott, Agit Reader)