Architects - All Gods Have Abandoned Us (Record Review)

Architects don’t even let you get prepared for a single second, the intro song ‘Nihilist’ kicks you instantly off whatever you were sitting on and keeps punching you for the whole of its 3-minute duration with its cutting-edge lyrics. One track in and you already know that Architects have, again, leveled up in comparison to their last record ‘Lost Forever // Lost Together’. While the mood is the same, ‘All Gods Have Abandoned Us’ simply tops up on the foundation these guys have already built with all their previous releases.

‘Deathwish’ taps into the more melodic section of the group while ‘Phantom Fear’ returns with the usual doom spreading darkness that we're to expect from them. With ‘Downfall’, which had gotten released just a week before the full album dropped, Architects give every critic a flawless piece of music to frantically search for mistakes.

A highlight on the record is definitely the song they first teased, ‘A Match Made In Heaven’, which was a perfect choice to represent the entirety of the record, summoning what they do best, squished it into a song and released it onto the world.

Shaking up your emotions, more and more, track by track, Architects pull you into their minds completely with thundering drums, haunting guitar sections, electronic-beats and interludes that smoothly fade from one song to another.

The finishing touch and, definitely, the most eccentric and outstanding track on this piece of art is ‘Memento Mori’. An eight-minute long song that simply shows once more as to why Architects are such a reinventing and unique band and one of the best British exports these days. Astonishing with endless instrumental creativity and lyrical plays that will leave you with your mouth open. Not to mention Carter’s unreal vocal performance throughout the whole record. It only gets more intense than this at their live shows, which are not to be missed as these folks hit the road to promote this new release.

Favorite track(s): Downfall, Memento Mori, Nihilist

Overall: 9/10

Cheerio xx

P.S.: If you’re in the UK, do not miss the band’s upcoming tour, especially their highly anticipated London gig at the Koko. Huge and very well deserved so.

The 1975 - I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (Record Review)

What a name. What a record. What a band.

Starting off with a new recording of an instrumental piece which had already found a place on their debut record, you get the same vibe off of it at first. But, at latest, if you haven’t followed the band’s recent song releases, once 'Love Me' sets in, it’s more than clear that this is utterly different. With a perfectly chosen vibe of Bowie’s Fame, The 1975 take on society's obsession with celebrities and their standards these days, especially considering social media and the included fake PR friendships people love to show off on platforms such as Instagram. Healy’s openly mocking it just as much as himself though.

Also previously released was the following track ‘UGH!’ in which Healy confronts his own addictive personality and experiences with, specifically, cocaine. What could be taken as a very upbeat and, another, very 80s vibe song, proves itself to be far more interpretive than most music around these days. The subject itself makes you expect a dark setting, but Healy manages perfectly to bring it across in a more than intelligent and bittersweet way. While ‘Change of Heart’ has remained unreleased on the regular platforms, it did receive a play or two on BBC’s Radio1, as well as the band having presented their fans with it during their US / UK tour run back in November / December. Already at this point, it’s more than clear that the further you indulge into this record, the more bizarre it gets and the harder it gets to sort it into a certain genre. With ‘you used to have a face straight out a magazine’, one of many, what Healy loves to call, ‘Easter Eggs’ (such as in video games) reveals itself as a picked up lyric line from their debut record (specifically here, their song 'Robbers'). These can be found all over the album and give most a whole new meaning if you go back to rediscover its roots. In ‘She’s American’ Healy opens up about his problem to connect with the ‘American way of life’ as of recently, taking a piss at the things that have gotten thrown at him by, as indicated, girlfriends as much as critics. ‘If I Believe You’ tones the vibe down even more but excites with a gospel choir perfectly worked into it. With a title such as ‘Please Be Naked’, more present saxophones are to be expected and a lust-drenched creation. But it is quite the opposite with very few, very calming piano notes, staggering up with sounds of nature before ending in plain piano noises again. Slightly distorted guitar riffs introduce ‘LostMyHead’ before Healy silently starts singing a very reoccurring motif of the whole record about his own state of mind. The repeated ‘can you feel it?’ slowly but surely makes you feel as if you were floating if you close your eyes and concentrate on the individual instrumental parts of the song before it elevates you to an even higher level with the more rock-influenced sounds towards the end of it. Another distorted start, with different voices this time, the ‘Ballad of Me and my Brain’ starts, sounding rather easy at first. But as soon as Healy’s raspy vocals kick in, pleading, ‘I think I’ve gone mad, isn’t it so sad?’, and with it, further approaching the subject of his mental health and the struggles of sudden fame. Considering the fact that he taped his vocals in one single take gives it an even more outstanding aura than it already has. It lasts for almost three minutes, but the intensity of it all makes it fly by in no time. An instant second listen is inevitable.
Continuing with a personal favorite, we dive back into the groove-y sounds of ‘Somebody Else’ in which Healy shows his own fear of commitment as he cannot fully engage in such due to being in the position that he is (‘I can’t give you my soul cause we’re never alone’). With ‘I took all my things that make sounds, the rest I can do without’ he declares his undeniable dependence on and love for the band and music as a whole. A whole new turn takes ‘Loving Someone’ with a row of high-pitched yells paired with odd guitar pinches before a verse kicks off in which Healy raps, more than anything, his way through the song, criticizing today’s pressures of society. In an, what seems like an interlude worked into the song, Healy recites a piece called ‘Orange’ he had previously published on Instagram quite some time ago. Finally, the title track of the record comes along revealing itself to be another instrumental track with an immense length of six and a half minutes. Phrases are scattered across the song. Uttered. Whispered. A childish aura surrounding it for the most part, before it turns into something completely different as robotic sounds emerge, but simmering down again in the end. ‘The Sound’ is another one of the more upbeat pieces of it. It’s filled with Healy’s utterly unique way with words, especially in phrases such as ‘sycophantic prophetic socratic junkie wannabe’. Obviously, his style of writing is deeply injected in all of his creations, but sometimes it just shines more in specific moments (such as ‘Karcrashian panache’ in ‘Love Me’, absolute gold). At the beginning of ‘This Must Be My Dream’ it seems as if it has a happier turn, but it quickly becomes clear that the newly discovered relationship was just another mistake. The subject matter for ‘Paris’ stretches from other messed up people Healy meets along his way back over to his own imperfections and struggles. Undermined by the instrumental contribution, it all drowns in melancholy. In the acoustic track that is ‘Nana’ Healy deals with the death of his grandma, which is already enough of a tearjerker, but it gets even more intense with the following ‘She Lays Down’. In this, Healy speaks about his mother’s post-natal depression, sounding more close than ever as it is solely him and his acoustic guitar. Having started out with the joyful motivation of ‘Love Me’ and to end with the heaviness of ‘She Lays Down’ perfectly mirrors the weirdness and variety of sounds of this record. It’s nowhere to be placed. It’s bizarre. Each member presenting their talent in the best imaginable way, creating their very own sound. It’s exactly what The 1975 are and want to be: oddly glorious.

What a name. What a record. What a band.

Favorite songs: UGH!, Somebody Else

Overall: 9/10

Cheerio xx

The Black Queen - Fever Daydream (Record Review)

It has been a very long build up to this particular record. Starting with mystic and cryptic messages from the band itself through Instagram / Facebook / Tumblr and their newsletters. The road to this very piece of music has been long and, which makes it especially outstanding, incredibly intimate. Starting by sending out unique cassettes to the first 33 who signed up for their newsletter, developing into VHS' they randomly added to three orders of merch including even more riddles for the fans to solve, highlighting the importance of their followers by giving them special treatments through early access to their limited merch before the public eye even got as much as a glimpse of it, as well as sending them pieces of their music video 'Distanced' as another 'thank you' for being as loyal as they are and to show and treat them with as much respect as they in reverse treat the band. The bond these guys have created with their followers can only be described as exclusive, intimate and honest. Even more outstanding through the fact that The Black Queen have been involved in every little detail of this release, making it all a huge DIY project for everybody engaged.

In conclusion, the wait for the record to finally be released has challenged their fans' patience a lot. But they stayed sane and supportive and now that the record is finally out, the reactions have been nothing but positive so far.

I, myself, have been a fan of this band from the very beginning, honored to have received one of those cassettes at the start of it all. So to be able to give this piece of art a listen, is rather exciting. Here's what I think of it:

The intro is exactly what is to be expected of these guys, leading to the first proper track, and my personal favorite of the previously released ones, 'Ice To Never' which throws you back to 80s synth-pop. People who know the vocalist, Greg Puciato, from his main project The Dillinger Escape Plan, will be more than surprised as he starts singing. While he has proven often enough that he isn't just the maniacal frontman of Dillinger, but has an immense vocal range and musical talent in other genres. Clear are also the influences of fellow band member Joshua Eustis, who has been involved in bands such as Puscifer or his main project Telefon Tel-Aviv. Smoothly, it transfers into 'The End Is Where We Start' before diving into the smooth 'Secret Screams', which is drained with an erotic and sexual vibe in a way that only Nine Inch Nails' 'Closer' has done before. Another previously released track follows called 'Maybe We Should' tapping into a more dance and groove orientated corner. 'Distanced' on the other hand tones it all down again, dragging the listener to a nostalgic, but calm place. The same vibe continuous with 'Strange Quark' maintaining the previously set mood. 'That Death Cannot Touch' grabs you with its first notes and pulls you up to get back on the levels of 'Ice To Never', transferring into an almost outer-space mood as 'Taman Shud' kicks in. Ending the whole thing with the perfectly chosen track 'Apocalypse Morning', soothingly closing up the record in as much of a smooth way as it needs.

This record definitely received its proper way of marketing and promotional run till its release that it needed and deserved. The intimacy of it all is clear to everybody who listens a little more closely to it and especially the lyrics.

Another interesting aspect will be how they will present this all in a live show. Luckily, the wait for this won't be long since they're scheduled to play in front of a sold-out Complex (Glendale, LA) in just a couple of hours. Bringing it also to European grounds with a show at the Oslo Hackney in London on February 5th. These performances will certainly also be one of a kind and a must-see.

Without a doubt, even considering as early in the year as it is, this will most definitely claim its place in my personal Top 5 records of 2016.

Favorite tracks: Ice To Never, Secret Screams, The End Where We Start

Overall: 10/10

Cheerio xx

Bullet For My Valentine - Venom (Record Review)

So, to say this before anything else, I've never been too big on BFMV. But when 'No Way Out' got released and I heard it on a radio show for the first time (The Pulse on Team Rock Radio, if anybody's interested, which you should all check out anyway cause it's amazing. Get the Team Rock Radio app for free for your phone and tune it at 10PM, UK time, for two hours of brilliant music. No, I'm not getting sponsored to do this, it's genuinely an ace show), I was intrigued to listen to more.

Anyway, so, seeing as I was really into that track, it felt right to check out the whole record. Wouldn't be the first time that I'd get into a band later into their discography, e.g. BMTH who I really enjoy by now.

Here we go:

V - Fitting intro to set the mood

No Way Out - Previously released track that got me interested in the first place

Army of Noise - Nice chorus, rather redundant in general though

Worthless - Such a similar start to No Way Out, all in all a lot of similarities with that song

You Want A Battle? (Here's A War) - It all just sounds incredibly the same, same vibe as Worthless again

Broken - You know a new song is starting when Matt just screams for no reason

Venom - Did the song even change …? 

The Harder The Heart (The Harder It Breaks) - A little differential finally, rather refreshing

Skin - I'm not even gonna bother with this anymore

Hell or High Water

Pariah

Playing God

Run For Your Life

In Loving Memory

Raising Hell

I'm not too sure on their latest records, though 'Temper Temper' was a proper dive into the loo, but this one is definitely just a pile of 'same old, same old'. The songs hardly differ from each other, the riffs seem the same, the tempo is always really similar to what has come before. This record is not a roller coaster ride of new music and stunning twists and turns, but a lame slide downwards. It might be cause I've never been a fan of them, but the previously released song had given me hope. Sadly, they didn't quite deliver. 

Overall: 2/10

Favorite track: No Way Out

Cheerio xx

Twenty Øne Pil⌀ts - Blurryface

This gem got released onto the world yesterday, so here are my thoughts about it after letting it sink in for 24 hours.

Blurryface is the second full-length record to get released by TØP through Fueled By Ramen, after having released two EPs before on their own.

The duo from Columbus, Ohio, is nowhere near easy to sort into a genre at all. Billboard used a quite perfectly fitting phrase here, with which I whole heartedly agree: "The great thing about being a pop duo that treats genres like a toddler treats Legos is that even your mistakes are fascinating."

So after setting your expectations with this, here's what I think of the individual tracks.

HEAVYDIRTYSOUL introduces you to the record with a Prodigy-esque (is that even a word?) lead up to that first track, making you believe you got your hands on a drum'n'bass/electro inspired pop record. But, behold, as soon as Stressed Out kicks in, you'll be completely thrown off of that track again and get taken into a world of a more hip-hop inspired corner. With the lyrics being as nostalgicly drained as it gets, you get dragged into a more calm, yet haunting atmosphere as you, most likely, relate to a big part of it all.

Only having gotten comfortable with the new scene setting, you get lead to an almost reggae-like side with the beginning of Ride. If you don't get the feeling of just lying down immediately and pretend you're on some lonely island ... well, we clearly don't think alike.

Fairly Local doesn't give you much time before it pulls you out of the summer feeling and puts you into a fridge instead to cool down. This back and forth between songs continues throughout the whole record. At this point, it's more than obvious that Billboard basically nailed it with their description of this album and the band in general.

To have such a variety of influences on this record, stretching from Depeche Mode, The Killers to Brand New, and many more, is the final prove of their high level of creativity. Especially to create all this as a duo is another factor to increase the respect towards those guys.

I feel like my words don't really do the creativity pattern enough justice, so I'd highly suggest you go out and visit your local record store to get a copy yourself.

Overall: 8/10

Favorite tracks: HEAVYDIRTYSOUL, Fairly Local, The Judge, Goner, Message Man

As mentioned before, the record dropped yesterday, on May 19th, and is also available on iTunes and through their webstore.
They will also head out to tour across Europe and the UK in November, so check their site for a date near you! Their live show is clearly something worth watching as it gives all of their songs such a diverse intensity as to what they sound like on record. They recently played a how at the Electric Ballroom in London and, from what I read, the atmosphere was one of the most exciting and anticipation filled ones in quite some time. Don't miss out on it!

www.twentyonepilots.com

The Amity Affliction - Chasing Ghosts (Record Review)

The first two songs seem a little too similar to me already. While they are well constructed, they don't differ much from each other. To have this as a first setting for the record, isn't exactly a great start.
 RIP Bon has me finally moving along a little and definitely makes it into the upper section of my faves. Open Letter is to my liking once more, especially the drums and general structure/development of the song. Chorus and lyrics are another plus, yet the shouting seems to turn more and more monotone from song to song. I Heart H.,C. deserves a special mentioning again due to it finally being exceptionally diverse to any previous track. But the second Flowerbomb starts, we're back at square one.

This whole record is really hard to tell apart in general. While every song has a part here or there that stands out, it's all too monotone and creatively not as great as it could be. At least to me. I really dig those guys live and how they get the crowd going and communicate with their audience and I think that's how it'll remain. Great live band. Far from being as impressive on record.

Favorite Track: I Heart H.C.

Overall: 6/10

Cheerio xx

Kimbra - The Golden Echo (Record Review)

I had heard of her before and also had listened to a song or two, but only really got interested due to Ben from Dillinger post about her and report about her on Party Smasher Inc. (www.partysmasherinc.com)

That first song already has me head over heels due to that immense development of different sounds and voice interpretations within one single track. The diversity in her voice is truly amazing. Whenever she starts singing, you'd know instantly it was her without a second thought. Miracle sets me a few decades back with its unique and 'old school pop' sound. The background instrumental parts are so simple, but they sure as hell embrace you tightly like you're caught in a spider web anyway. For a change, and to my own surprise, the interludes between the songs actually fit really well and don't seem bothering at all. So another plus for that.

Sometimes the songs seem a bit too long to me though. I've said this before, but, man, her vocal diversity is so impressive.

Fave track(s): Goldmine, Madhouse and Nobody But You

Overall: 7/10

Cheerio xx

Bring Me The Horizon - Sempiternal (Record Review)

To begin with, I admit that I used to be one of those people who refused to listen to BMTH due to all the prejudices about them back in the days. No song that I heard around that time was really for me. Sadly, those prejudices got verified to me when I saw them live at Rock am Ring 2011 and wasn't impressed with their live performance, whatsoever.

But, almost a year ago in a club in the UK, Sleepwalking was playing and when I asked about the artist to find out that it was by them, I was a little taken aback, to be completely fair. Ever since then, having matured with my taste in music and generally, I#ve noted it down in my mind to check them out properly again and give them another chance.

Now, duringone of my nightshifts the other day, Sleepwalking got played again and reminded me of the face of not having listened to that album still, so here we are finally.

Can You Feel My Heart is a perfect choice as an intro, showing the more melodic side of BMTH and introducing the new sound fairly well. It's not an instant kick in the face and an all balls to the wall banger, which is rather refreshing. The House of Wolves has me interested as long as the verses are going. The rather uncreative 'brick by brick' chanting irritates me, if anything, as well as the weak chorus in comparison to the raging verses. Empire instantly has me moving again with it's crawling intro which leads to this anthem-like tack and the chanting chorus' and rhythm-drenched verses. Definitely especially dig the drums in this one. Sleepwalking is not so much a stand-out track of the record and rather drowns in it, but due to its personal meaning and emotional weight it carries, it still pulls me in. If that wasn't the fact with that track specifically, it'd be a bit more average. Go To Hell has no special spark to it instrumentally, but lyrically is very strong and keeps me curious listening. Shadow Moses leans into the heavier side again then, but sadly is too repetitive with its lyrics for me. As And The Snakes Start To Sing kicks in, I'm really enjoying the laid back and realxed atmosphere it creates, yet, the lyrics, again, are way too repetitive to me and sadly have me lose my attention towards the end. Seen It All Before doesn't really make a difference there either, resembling its previous track a bit too much. Due to all this, I'm more than glad that I get ripped right back into the record by my knickers with Antivist. It probably being the most anger fueled and powerful track on the record, it really makes you rage through a mosh pit that seizes the size of the whole floor room at Wembley. As Crooked Young starts, I really feel like I'm on a rollercoasted with continoue ups and downs throughout this record. My opinion on the album keeps continuing to look like a sinus curve and it rises a little more due to the lyrics which gets damned again though by the shorus slowing the whole thing down again. With Hospitals Of Sould, I, once more, enjoy the lyrics more than the instrumental parts. I've never been a fan of spoken pieces in a song, unless they're done really, really well.

It seems like the lyrical strength and the instrumental power often don't find their way into the same song here.

Favorite track(s): Empire & Antivist

Overall: 7/10

Cheerio xx

Neck Deep - Wishful Thinking (Record Review)

I've had a few of their songs saved on Spotify for some time already but sensed I should check out the complete record soon, too. Since my Twitter and Instagram feed were filled with talk about those folks the past days, I figured to give them a proper listen now before I forgot about it again.

So! My notes didn't really differ much from song to song this time, I'll just round it up generally.
The whole record is a mixture of tearing down walls with a sledgehammer while yelling those lyrics, wanting to dance my bum off in my underwear and in the end, lie on the floor with a lighter raised in the air to the last notes of the album. What else to expect from a Pop Punk record?

Despite all that, there's a little spark missing for me seeing as I can't really pinpoint a standout track from the whole thing.

Favorite song: Losing Teeth

With an extra .5 for some special lyrics and the appreciation for what they're currently doing/creating in the (UK) pop punk scene, I'd give it an overall: 7,5/10

Cheerio xx

Issues - Self-titled (Record Review)

So ... this bunch I first heard on The Pulse ( https://www.teamrock.com/radio/show/the-pulse ) with Mad At Myself and instantly loved the song. But never really checked out more than that. Till now!

While Sad Ghost surprised me positively with its odd intro, The Langdon House was a little too ... odd ... in ... not a good way. To put it nicely.

Anyway ... Late definitely pulled it together again, quickly over-shadowing the previous track. Old Dane really caught me off guard, not fitting into the setting at all. Stingray Affliction is more like my kinda thing again and persuades me back into the record with more interest. In some tracks, it's definitely a bit too synthesizer-heavy and the clean vocals are not always as striking as they could come out. While I hear a lot of Ateyu influences in the whole thing, Issues are missing their power on this album a few times too often. 

Genereally, I enjoy around half of the tracks and the other half leave me confused and startled by what they were thinking when including a certain sequence. The darker, and more dooming, side certainly has me moving along in a hurricane-like circle (like Personality Cult) but sadly, that's not the case most of the time. I can see their potential but they're just not for me. At least with that record.

Favorite song: Stingray Affliction

Overall: 5/10

Issues are currently on tour supporting All Time Low in the USA on their 'Future Hearts' tour. Check their website for a date near you: http://issuesrock.us/Events

Cheerio xx

Brand New - The Devil And God Are Raging Inside Me (Record Review)

First of all, how has nobody slapped me yet cause of never having listened to this before? Just how?
Cause this record left me in nothing but absolute awe. 

When Sowing Season started, I did not expect it to explode in such a way. In every song, the guitar, bass and drums are so simple, but yet so haunting. The way the vocals play with the wide range of creativit left due to the instrumental simplicity is just absolutely magnificent. Those notes leave me in a mood of an absolute peace of mind, similar to the effect Crosses' self-titled has on me, or any City & Colour album, despite the difference in genres. They all calm my mind, yet they're all one of a kind.

Some parts gave me continous waves of goosebumps such as Sowing Season when the chorus kicked in, all of Millstone, that power in You Won't Know from 1:35 on, the way one instrument after the other joins in during Handcuffs, when Luca's mood and power took a 180° turn and nearly knocked me out of bed ... I could probably elaborate on that for some more but I think you get the point.

Favorite song: Millstone

After collecting my jaw from the ground again, I can happily say that it's an overall: 10/10

Brand New are about to start a run through the US before heading over to Europe for a few shows. Check their facebook for more info: https://www.facebook.com/BrandNew

Cheerio xx

Of Mice & Men - Restoring Force (Record Review)

When they first surfaced, I checked them out but wasn't that interested in them so their path so far has somewhat slipped past me. Seeing though as they are all over the place these days, I've been thinking about giving them another chance for quite some time and now managed to listen to this.

I'm still not too sure about Austin's voice in some places, but overall, it fits the music. While the album has a few (huge) moments, it still lacks that special something for me to set them apart from the other artists in this genre. The songs mostly start off great, but then don't improve from there (apart from Another You, which gets better towards the end), which is a bit disappointing. Especially since I peeked a little into The Flood as well and found some proper gems.

Nevertheless, I still enjoyed listening to the record as a whole and was surprised when noticing that I heard some of those songs before. I can certainly say though that those songs work a whole lot better live than they do on record. There's still a lot of room for improvement though from this point on, so let's see how they continue from here on. 

Favorite song: Public Service Announcement

Overall: 6/10

Cheerio xx

All Time Low - Don't Panic (Record Review)

I was in quite an exhausted and bad mood this evening, but the second the first song started, I couldn't help but sway along to the rhythm and get better. I've abandoned my inner pop punk self for too long again, I recogn.

Was never too interested in ATL ever since I heard of them a couple of years ago but now I finally gave them a listen, I really enjoy it. Their influences clearly peek out and come through in almost every song with adds a bit of a nostalgic touch to the whole thing.

Few songs into the record, I couldn't help but crawl out of bed again and dance around the room in my pj's. While the songs are not ... let's say ... too different and varying from each other, there are still some parts that stand out. Maybe especially cause of that. E.g. the drums in Outlines, the guitar arrangement in The Irony Of (...), and so on.

Was also pleased to find out that they're from Baltimore (GO RAVENS!). What personally surprised me was the fact that I actually genuinely enjoy the vocalist seeing as I'm usually not too much into such clean and ... "innocent" voices, but hey, I guess it fits the genre pretty well. 

Favorite song: The Irony Of Choking On A Lifesaver

Overall: 9/10

Jam that shit when you're speeding across a countrside with your windows down!

Cheerio xx

The Ghost Inside - Dear Youth (Record Review)

This is my first choice since lots of people I know raved so much about it.

While I've seen them live before, I simply refused to give them a chance for some reason, but whatever, here we go.

I totally dig all these huge intros they have for each (except Phoenix Flame), I hear so many these days that cannot be told apart and I love being able to instantly get caught in a song solely by the first few notes. One thing which really bothered me, especially with the first few, were the backing vocals. Unnecessary and irritating, if you ask me. They only fit into the setting of With The Wolves. While some of the instrumental parts seemed similar and boring, some others really stood out massively, e.g. chorus of Move Me, Mercy's and The Ohter Half's intro, the riffs in Dear Youth towards the end.
Blank Pages closes up the record pretty nicely as well, setting a proper closing scenery.

Favorite song: My Endnote (so, so massive)

Overall: 6/10

Cheerio xx