Lamb Of God – Walk With Me In Hell
Trivium – Entrance Of The Conflagration
Tool – Parabola
System Of A Down – Sad Statue
Arch Enemy – Savage Messiah
Lynch/Pilson – The Evil That You Are
Machine Head – Crashing Around You
Korn – Trash
Alice In Chains – Black Gives Way To Blue
Sevendust – Crucified
Mudvayne – Mercy, Severity
Slipknot – Before I Forget
In Flames – Cloud Connected

This week we review new albums by Benedictum, Alestrom, Barn Burner, Black Country Communion, Job For A Cowboy, Between The Buried And Me, Kingdom Come, The Black Dalia Murder, and In Flames.

Benedictum – Dominion

BENEDICTUM returns with their third album, their first for FRONTIERS RECORDS. What drew me to the band originally was VERONICA FREEMAN’s powerhouse vocals. They are a nice blend of GRACE SLICK and RONNIE JAMES DIO. As a matter of fact, the band has covered plenty of DIO and DIO fronted BLACK SABBATH material.

The album is a big step forward for the band; it seems as if they have combined all of the right ingredients this time around. Uncreation had some strong tracks, and I, like most fans of the band, waited attentively for the follow up Seasons Of Tradegedy. Unfortunately this album fell very short of expectations; aside from the title track, it was almost as if the band had taken the proverbial step backwards.

With this said, I went into Dominion with a lot of hesitation, hence the reason why it took me so long to give the album an opportunity. I’m delighted to say that I was pleasantly surprised when I heard the album. Although we had seen flashes of what PETE WELLS could do on previous albums, his work really stands out this time around. The rhythm section of CHRIS SHRUM and MIKEY PANNONE are really in synch this time around, and TONY DIAZ adds the right amount of keyboards without going overboard like so many other female fronted metal acts.

The album starts off very strong, with the title track “Dominion” before heading off into “At The Gates”, “Seer” and “Grind It”. From here the middle section varies from good to decent, before kicking into the “Epsilon” which is another highlight on the album. As has become customary for this band, they wrap the album up with two covers, RUSH’s “Overture/Temple Of Syrinx”.

The band has brought their game to the next level, adding more of a thrash aspect to their music, and including guttural vocal where needed. As mentioned above, guitarist CHRIS WELLS shines and rivals what VERONICA FREEDMAN brings to the table on Dominion.

Grade: B

Alestrom – Back Through Time

Marketers have invented all types of interesting terms to sell albums these past few years. So why should metal be any different? You have pagan metal, folk metal, viking metal, and pirate metal. ALESTROM is from Scotland, and they would be classified as the latter. They do after all dress like pirates, and have pirates on the cover of their albums, so this is a lob for most marketers. The reason I bring all of these other styles up is that they don’t vary all that much from one another. Ok, I’m sure someone out there is calling me a tool at the moment (or worse), for not brining up exact points regarding why they’re all different. The lyrical themes obviously change, but the music is very similar. Back Through Time isn’t a bad album, it’s just more of the same, and more of what a million bands are currently doing. The title track opens the album, and it is by far the strongest track on the album. If you’re a diehard fan of the band, or this type of metal, I’m sure you’ll enjoy what this album has to offer. For someone like myself, I’ll play select tracks now and then, and get my fill.

Grade: C+

Barn Burner – Bangers II: Scum Of The Earth
This album really stood out to me, I enjoyed it from start to finish. I should also say it kicks ass from start to finish. I had not previously heard of the band, and thanks to this album, it fueled me to listen to and review all of the albums that appear in this section. Good albums have always made me want to search out other good albums.

Bangers II: Scum Of The Earth walks the fine line between stoner rock, hard rock and some metal here and there. To make a poor comparison, think a stripped down version of MASTODON mixed with the structure and groove of the heaviest aspects of THIN LIZZY, the swagger of MOTORHEAD and a few NWOBHM moments in the vein of bands like DIAMOND HEAD and SAMSON.

The tracks are full of energy and very live feeling. They are so catchy you can almost imagine what it would be like to see them performed at a show or festival. The tracks that stood out me where the opener “Scum Of The Earth”, “Dark Side Of The Barn”, “Keg Stand and Deliver” and the album closer “Ghost Jam”.

Definitely recommend this album to fans of any of the bands listed in this review.

Grade: A

Black Country Communion – Black Country Communion II

I really wanted to like their debut album, but aside from the lead off track “Black Country” the album felt very sterile. Shortly after the first album came out, news came out that they were working on a follow up. I figured they just wanted to get their feet wet with the first album, and really follow it up with a monster the second time out of the box. Boy was I wrong.

The album has one great track, the lead off “The Outsider”, but aside from “Man In The Middle” which is more reminiscent of SAMMY HAGAR era VAN HALEN, “I Can See Your Spirit” which has a riff that sounds a lot like “Misty Mountain Hop” and the closer “Cold” the rest of the album is just that cold, sterile, and in my opinion forgettable.

This band has some monster players, GLENN HUGHES, JASON BONHAM, JOE BONAMASSA, and DERRICK SHERRINIAN. But they’ve relegated themselves to recording a third rate LED ZEPPELIN knock off albums. It is a very linear, pro-tooled album, with no dynamic what so ever, with Zeppelin it was quite the opposite. There is no dirt, there is no sloppiness, it is all clean, refined and almost too perfect sounding.

I would love for this band to go in and work with Jimmy Page, to see him get out of them what he could do with Zeppelin. It obviously wouldn’t compare to the work he’s done in the past with the legendary band, but at least there would be some type of dynamic, some type of feeling to the album.

Grade: D

Job For A Cowboy – Gloom

I’m going to admit that I’m not the biggest JOB FOR A COWBOY fan. As a matter of a fact, I have grown sick and tired hearing how great they are, and how this is the next big band, the chosen band of this generation, etc. With that said, I felt that I owed it to myself to give it a listen, put all bullshit aside, and see if I thought Gloom was any good.

I have to say I was pleasantly surprised with the first two tracks “Misery Reformatory” and “Plastic Idols”, especially with the first track. Think MAX CAVALERA era SEPULTURA meets ARCH ENEMY. The solo section itself sounds as the AMMOTT brothers had constructed it and gifted it to the band. The last two tracks don’t catch my attention as much, because it becomes more of the same that we’ve come to expect from the band, and pretty much any other band that is performing this type of metal.

Grade: B-

Between The Buried And Me – The Parallax: Hypersleep Dialogues

I’ve been meaning to write something up regarding this album for a while, but life somehow got in the way!

This EP has to be a marketer’s worst nightmare. The sounds like comparison could be a mile long, at times it sounds like so many things, that you could easily list twenty bands that have influenced each song. For example, dare I bring up names like FAITH NO MORE, QUEEN, MEGADETH, SATYRICON, RUSH, DREAM THEATER? And that’s just the first three minutes of “Specular Reflection”, which lasts eleven minutes, twenty one seconds! “Augment Of Rebirth” picks up where the first track left off, with a heavy FAITH NO MORE/SYSTEM OF A DOWN influence in certain spots. The third track on this EP is “Lunar Wilderness”, the “mellowest” of the three tracks. This track offers two extremes, the mellow side, and a swift kick upside the head when going into the heavier sections of the song.

Three track, thirty minutes, and possibly three of the best songs to come out this year.

Grade: A

Kingdom Come – Rendered Waters

LENNY WOLFE returns to a more meat and potatoes approach. His albums (including those with STONE FURY and solo) have always had a track here and there that were catchy, and stuck in your head. But the rest of the album, although not bad, was just sort of there, nothing that really stood out. This album is no different. The lead off track “Can’t Deny” is probably the strongest. But the main riff is a blatant rip off of MICHAEL SCHENKER’s “Desert Song”. “The Wind” is a decent track, as is “Should I”, but after this the album meanders into mediocrity. Again, it isn’t bad; it just doesn’t stick out to me.

Grade: C+

The Black Dahlia Murder – Ritual

This is another band that I’ve never really been into, so take my review for what you will. The lead off track “A Shrine To Madness” is easily the best track on the album. The band, as pioneering as it may be has fallen into the same trap that so many other bands before them have. Once you advance beyond the first track they quickly become a band that is just regurgitating what they’ve done in the past. If you’re not a diehard, that may not be a big deal. If you are a diehard, maybe this is what a lot of you are looking for.

But I’ve already heard/read so many things about this album, how it’s more of the same, and how other bands have surpassed them, etc. The album is alright, but nothing outside of the first tack, and maybe “Moonlight Equilibrium” really stands out. The rest sounds like your run of the mill material from the band.

Grade: C

In Flames – Sounds Of A Playground Fading

I saw IN FLAMES at the KOBETASONIK FESTIVAL back in 2009. I had never seen them before, and outside of a few odd tracks, I can’t say that I’ve been a huge fan of the band. After seeing them live I went out and purchased Clayman and A Sense Of Purpose. Although lifelong fans of the band sort of poo-pooed the latter album, I still managed to enjoy it.

So I waited attentively for Sounds Of A Playground Fading to come out. I started seeing the promos the band was releasing of them recording the album. Unfortunately I can’t help but draw similarities to VINCENT CHASE’s Medellin trailer! Check the series ENTROURAGE out if you don’t know what I’m referring to. The trailer had all of the right parts pieced together, and really hyped me up for the album. The first single “Deliver Us” came out, and I really started to get excited, until I heard the rest of the album, and thought to myself, wow the bird on the cover has pulled his skin over his ears to not listen!

This album is flat; the band has lost its bite. I’ve mentioned sterile in a previous review, and that’s how this album comes off. Aside from “Deliver Us” there is nothing else that sticks out. Well maybe them ripping off COMBICHRIST during “Jester’s Door”, but aside from that there is nothing that really sticks out.

This album is just a safe continuation of what they have been doing with their last two releases. Nothing challenging, and maybe this is just their stepping stone or way of dealing with the loss of founding member JESPER STRÖMBLAD.

Grade: C-

During the latest episode of the Mars Attacks Podcast we have the extra special pleasure of interviewing Kirk Windstein of Crowbar, Down, and Kingdom of Sorrow. During the episode we discuss (among other things) Crowbar’s latest album Sever The Wicked Hand with Kirk, if he or the other members of Down have ever felt pressure to follow up the band’s classic debut Nola, as well as what he has taught or learned over the years while working with two of metal’s premier frontmen in Phil Anselmo, and Jamey Jasta.

Mix of new and classic cuts by Crowbar are played throughout the show.

The podcast can be streamed or downloaded from here:

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Tonight’s Mars Attacks Radio features some of the best tracks from the previous decade. Everything from Slipknot, to System Of A Down, to Lamb Of God and everything in between.

The show debuts 8PM EST / 5PM PST on stream A of MarkStriglRadio.com

Judas Priest – Blood Stained
Katmandu – God Part II
Souls At Zero – Souls At Zero
Soundgarden – Face Pollution
Screaming Trees – Tomorrow’s Dream
Sacred Reich – Heal
Monster Magnet – Atomic Clock
Ministry – Just One Fix
Prong – Prove You Wrong
White Zombie – Black Sunshine
Suicidal Tendencies – Possessed (90s version)
Life Of Agony – Drained
Iommi – Flame On

This month’s Classic Albums Column focuses on Prong’s Cleansing. Mars Attacks Podcast episode 38 features an interview with Prong guitarist/lead singer Tommy Victor, along with comments from Gene Hoglan. As we established with the previous podcast we also discuss why this album was selected. You will find the podcast at the bottom of this post.

Click here to go to an index page that gives you details on everyone involved in the column.

This time around we have an interview with Ted Parsons drummer of Prong on Cleansing. As you can see from the interview he has been quite busy since his time in the band!

What was it like to write Cleansing?

It was a collaboration between Tommy , myself and sometimes Raven.. I would come up with a groove or Tommy would come up with a riff and we would jam in the studio and write tunes old school.

Tell us a little bit about the recording process.

It was the first time working with Terry date which was great. I´m sure Tommy can go in to more detail. We were all still living in NYC at the time. It was the first time I thought we finally had our sound and songs. We mixed at Electric Lady land which I thought was a big bore. I hate big fancy studios run by snobs.

Was there anything that the band was trying to accomplish with this album?

We wanted to make a great record of course, dry and in your face. I think we succeeded.

There is a big Killing Joke influence with this particular album, was this done intentionally?

Tommy and I have always been musically influenced by Killing Joke from the start. It just felt natural with Raven in the mix.

How did bringing Paul Raven and John Bechdel into the band affect the album?

Ravens bass sound was more what Tommy and I wanted. John brought in the added effects to spice up the tracks in the studio. We needed a key board player so we could do the samples live. I was playing most of the sounds using triggers and it freed me up to concentrate on drumming.

Does it surprise you that tracks off of this album are still played on metal radio, and at sporting events?

No not at all it still sounds fresh.

Does it bother you that more than a few bands have heavily “borrowed” from Prong, while not properly acknowledging the band’s influence?

No not really. Everyone rips off ideas and sounds from other people. It´s just how you present it.

In hindsight what impact do you think Cleansing made on your career and on metal?

It was definitely one of the best Prong albums in my opinion. Good songs, good drumming, great production. I never thought being in Prong as a career. Drumming is something that I needed to do and always will be doing.

Before Raven’s passing there was a rumor that this lineup might get back together again and tour, is there any truth to that?

Yes there was talk about it but nothing ever came of it. Raven was kicking around the idea to me a couple times. Tommy asked me a few years ago to come back to play with Prong after Raven died. They were opening for Soul Fly for a US tour and the drummer at the time, Aaron Rossi was off doing a Revolting Cocks tour. I was too busy with moving and other things. I can’t say if I would go back to play Prong music, but never say never.

What are you currently working on?

Building a new recording studio /rehearsal space. Jesu, Treponem Pal,Dark Drive Clinic (producer John Fryers project). Necessary, Teledubgnosis, Dub Neurotic and a host of other projects. I have done a lot of session work over the years. And been teaching drums in Oslo Norway where I live.

Where can people go to keep up to date with what you’re doing?

Facebook,and My space is a good start. Always looking for interesting bands and musicians to work with. Contact me through Facebook for some TP drumming!

Ted Parson MySpace
Ted Parson Facebook
Necessary MySpace
Jesu MySpace
Teleduenosis Official Web Site
Gretsh Drums
Remo Heads
Zildjian Artist Page
Artist Page

“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”
- Hunter S. Thompson

Here are comments that have been contributed to us by others regarding this album. Remember to check out the index page if you’re not sure who someone is, or to check out their sites to find out more about what they do. Again, these comments are in the order we’ve received them.

Dan Lorenzo – In 1992 NON-FICTION were hoping to open for Prong in Europe. We were shot down by Tommy Victor because we “weren’t heavy enough.”. Almost 20 years later you still remember stuff like this. I don’t own or know this cd. I know Prong had a few amazing songs. I know Tommy also once said he was the first guy to tune down to C in 1994. By that time I had already recorded 3 cds tuned down to C. But Jimmy Page did it before me.

Jon Leon – Never got into prong but they had a unique sound.

Joel Gausten – The first four songs are strong enough to make up for the dragging parts in the album’s second half. To be honest, I’ve never been a fan of the drum sound on this one, although Ted Parsons is a stellar player and one of the nicest guys on the planet.

Metal Mike – When I heard this, I said this is new. It was Metal, but not only. It has a new way of playing and structuring guitar riffs. I listened to this album non stop for a while.

Erik Kluiber – Hung out with the drummer and did a zine interview with him back in the 90s. Very down to earth guy.

Scott Middleton – Definitely one of the most underrated bands ever. I loved how heavy and simple this band could be. Tommy Victor’s vocals and guitar riffs always had purpose and carried such sinister melody. Snap Your Fingers, Snap Your Neck is a 90′s metal classic that still sounds far more evil than most extreme metal. Combining influences from metal, industrial and post hardcore, Cleansing is truly a record that stood apart from so many other at the time.

Jane Alisabeth Grey – As riff-laden and aggressive as Prong is, what is striking about their “Cleansing” album is
their ability to groove. Bands like Prong and Faith No More sidestepped
that whole “metal can only be brutal” ethos and pioneered the idea that Heavy Music can be aggressive as hell while being unabashed about the song
having a groove to it. I feel that Prong are the obvious Progenitors of
bands like Biohazard & Pantera, however, now that industrial metal has some history, you can clearly hear the influence(recognized or not) by bands like Nine Inch Nails. This album has multiple moving guitar parts that sync together like a clock or time piece that really originate the modern industrial music sound.

JL – The 90s saw a change towards new forms of metal, Prong were pioneers in this sense. For this album, the crushing sound that has characterized Terry Date’s productions helped form a solid base that is displayed on this album. It also manifests what would become popular in metal shortly thereafter.

David Gonzalez – I actually don’t know Prong, or any of their hit. But since the album appeared on the list, I went back and listened to Cleansing. Initially it sounds like a good thrash album (with a leaning towards what seems to be their hardcore past), but the album doesn’t totally convince me. The album is possibly the band’s biggest release, and the guitars on the album sound very powerful, but I’m not fully convinced. The drumming on the album sounds too monotonous on every track. Something similar happens with the singing as well (the same thing happens when I listen to Fu Manchu), the singing just sounds all alike, and just tires me after a while. Perhaps my evaluation of this album isn’t good, and I’m not saying this is necessarily a bad album; it’s just a matter of opinion. I just feel that it doesn’t stand out as much as other albums that came out around the same time.

Angel Rubin – I still remember the impact made by several albums released in that year, like Chaos A.D. by Sepultura, Far Beyond Driven by Pantera, and Cleansing by the New York band Prong. Oh how metal world changed during the early 90s. You could almost see it on the horizon, metal was going to get quite a bit heavier. Tommy Victor, Ted Parsons, Paul Raven and John Bechdel who helped incorporate keyboards on this album. They were able to create a project that was pure hardcore thrash, full of masterful riffs by Tommy Victor, one of the great riff masters of the 90s. Machine Head themselves took notice of Tommy’s riffs, and used them as a reference when laying down guitar tracks on so many of their albums.

The album is well ahead of its time with potent tracks like “Another Worldly Device” which makes you bounce from the first infectious beat that is laid down by Ted Parsons. His playing is consistent, and powerful throughout. Another bombastic track is “Whose Fist Is This Anyway?”, when listening to this track today you can tell where a band like Rammstein get a good bit of inspiration. “Snap Your Fingers, Snap Your Neck” is one of the band’s most recognizable tracks. The song’s riffs are borderline thrash, and are mixed in with machine like drumming that moves full speed ahead. The track also features some double bass by Ted, and Tommy showing his teeth while mixing some rap like aspects into his frantic style of singing. The album moves forward with the pure thrash of Cut-Rate, the track surprises with a great solo during the middle of the song. On Broken Peace we start to see other influences creep in, this track contains a riff that contains a heavy reggae leanings before converting itself into a punishing heavy track with a killer chorus.

The album moves on with tracks like One Outnumbered, Out Of This Misery, and No Question which is a clear influence on Machine Head’s 90s albums. On Not Of This Earth the band seems to experiment a bit, trying to expand their musical horizons. To me this song has always reminded me of Alice In Chains. While Home Rule, and Sublime, hese are tracks that are more experimental, more personal, and different from the rest, with a hint of darkness. With Test they stylistically return to the first few songs off of the album, perhaps sounding a bit closer to Agnostic Front and Madball in the process, but adding that extra ingredient that separates Prong from the pack. The track also includes a quick but intense solo.

Summing things up, I think the band was a big influence on all of the bands mentioned above, along with a million other “metal-core” bands. Groups like Chimaira, Still Remains, Caliban, Throwdown, Slipknot, Hatebreed, and Pantera themselves. These bands owe Prong a debt of gratitude as most of them would not sound the same or would simply not existed if it was not for Prong.

The podcast portion can be streamed or downloaded from here:

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Tonight’s episode features an all 90s line up of hard rock and metal. You’ll hear everything from Katmandu which was fronted by current Flogging Molly lead singer Dave King, a remake by Suicidal Tendencies, some Judas Priest, bands that where in a tug-o-war between metal and grunge, some thrash, some industrial influenced metal as well. The episode debuts tonight at 8PM EST / 5PM PST on stream A of MarkStriglRadio.com. The show is followed by the 80s, and 70s specials that have debuted the past few weeks.

A while back I had read on Blabbermouth how Ozzy would be rereleasing Blizzard Of Oz and Diary Of A Madman, and my first thought was here we go again! Would this rerelease contain Trujillo and Borden? Or Daisley and Kerslake? The other thing to come to mind was an old VH1 special where Ozzy bashes Kiss and Gene Simmons, when they’ve had the dignity to only rerelease their albums once, while this is the fourth release on CD of these two albums.

I’m happy to say that Ozzy and his team have gone out of their way to make this release special. I purchased the 30th Anniversary Collectors Edition, it contains the following items:

Blizzard Of Ozz (expanded edition)
Diary Of A Madman (2 CD- Legacy Edition)
Blizzard Of Ozz and Diary Of A Madman (Vinyl Edition)
DVD – Thirty Years After The Blizzard
100 Page Coffee Book
Poster and replica of Ozzy’s cross

The tracks are remastered with Daisley and Kerslake being featured on both studio albums. This boxed set also features the first vinyl I’ve purchased in twenty years. The vinyl looks exactly like the original vinyls that came out in the 80s on Jet Records. The Diary Of A Madman CD is exactly the same as the original album, while Blizzard of Ozz contains the tracks “You Looking At Me, Looking At You”, and a 2010 remix of “Goodbye To Romance” which only features Ozzy and RANDY RHOADS. The one thing that is confusing is the live CD, it is listed as Ozzy Live on the back of the boxed set, and when I pop it into my system, iTunes detects it as Diary Of A Madman CD 2.

That aside, the real gems here are the live CD and DVD. Listening and watching both of these brought me right back to when I bought the Tribute album on vinyl as a kid. I remember getting home, going over to my neighbor’s house and reading him the notes, and checking out the pictures with him. Playing the album was mind blowing. I was too young to see Randy live (I was 9 when he died), and hearing him play so many classic songs live was just amazing.

RUDY SARZO’s book Off The Rails makes reference to the show that was used on the Tribute album, and alludes to the fact that one other show was recorded for WESTWOOD ONE. I am assuming that this is the show included in the boxed set. On a side note the track “No Bone Movies” that appears on Tribute actually comes from this other show. Randy’s playing is just amazing on the new CD. Although some of the licks are the same on these tracks, most are not. How many bands do you see nowadays that do this? Normally they’re playing everything identically the same no matter when you see them on tour. If you’re not familiar with his playing, he doesn’t get to the point where his playing is over the top, he’s tastefully accenting the songs.

What really blew me away was the DVD. It is great to see people like LEMMY talk about Randy and OZZY, ROB HALFORD. But what about STEVE VAI who mention something to the effect of Blizzard Of Ozz being the first album in a long time to offer something new guitarwise. The live footage is what makes this all worth wild, seeing Randy play live makes it all worth wild. Of course we’ve all seen bits and pieces of the band on AFTERHOURS. This footage is on YouTube and was heavily featured in the “Crazy Train” video that came out along with the Tribute album. Seeing him live at the Palladium in New York, in San Antonio during the Diary Of A Madman Tour is just way beyond cool. He shreds so effortlessly, and conveys emotion through his playing in a way that we haven’t felt and heard before on the studio albums, or in countless pictures that we’ve seen over the years. It almost makes his loss even greater.

Rounding out the live band is the aforementioned SARZO on bass and ever so influential TOMMY ALDRIDGE. All you have to do is compare his playing on the live tracks to KERSLAKE’s on the studio albums to see what I’m referring to (can you say double bass).

I would recommend this boxed set to any die hard OZZY or RANDY RHOADS fans. The live components alone make this boxed set worth its wild. Throw in the coffee book which features a lot of obscure pictures from that era, the poster, the cross (will anyone actually wear this?), and some classic vinyls and CDs, and you’ve got one of the best boxed sets that has been released in the past few years.

Grade: A+

Twisted Sister – The Kids Are Back
Van Halen – Loss Of Control
Iron Maiden – Sea Of Madness
Helloween – Save Us
Black Sabbath – Disturbing The Priest
Anthrax – Among The Living
Overkill – Powersurge
Ozzy Osbourne – S.A.T.O.
Metallica – Crash Course In Brain Surgery
Manowar – Black Wind, Fire And Steel
Krokus – Stay Awake All Night
W.A.S.P. – Animal (Fuck Like A Beast)
Danzig – Twist Of Cain

During the latest episode of the Mars Attacks Podcast we have the pleasure of interviewing Erik Barath of INC, or Indestructible Noise Command. During the episode he explains why now was the right time to put INC back together, what it was like to record Heaven Sent…Hellbound, how it varies from the Bleed The Line EP, and why Bumblefoot got involved in the project.

Select cuts from the band’s new album are played throughout the show.

The podcast can be streamed or downloaded from here:

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