Ami Suzuki [Reincarnation] (30th Single)

Reincarnation
Dub-I-Dub
Reincarnation (Extended Version)

Ami Suzuki’s 30th single starts off with the a-side Reincarnation. Um… what was this? I remember watching the video to this and thinking I was high, because it didn’t make any sense and I didn’t like the song either. I normally like the song once I hear it on the single, but not in this case, its just strangely boring. The arrangement makes me feel like I’m trapped in some sort of time-warp during the verses and then it gets trippy during the chorus. I guess this is suppose to be techno, its pretty mild compared to her previous singles and sounds more like a dance beat. Ami’s vocal performance was pretty pass. I don’t like how slow she sings the verses, it just came across as very pointless to me, especially considering how she speeds up during the chorus. I don’t know, this track just does nothing for me and with a title like ‘reincarnation’ I was expecting something better than this. I really wish she’d return to her old style, or try out a new one, because this has gotten beyond old.

The next track on the album is a cover, Dub-I-Dub. Its a cover by some group called Me&My, that I’ve of course never heard of. Anyways, I’ll admit this is an interesting song, but I didn’t like it either. The arrangement is very techo, euro, dance dance. Ami’s vocal performance seemed to mesh with it, so I’m assuming she was under vocoder during this recording, of course. The only part of this song I liked was the ‘dub-i-dub’ parts, otherwise this song just went completely over my head. It played a lot better than the a-side though, I’ll give it that.

The last track on the single is Reincarnation (Extended Version). Ah, because the original just wasn’t long and torturous enough. It could have been worse, I liked this extended version a lot more than Perfume’s ‘edge’.

-GRADE: C
Rating: * star

Ami Suzuki’s 30th single Reincarnation was not as good as the cover art suggested it would be. I don’t like how its just another re-hashed version of all her other techno stuff, the only difference is it leans more towards dance than her previous techno material. Dub-I-Dub actually saved this single from a D, because even though I don’t like that track either, I do like the catchy-ness of the chorus. The extended version is self-explanatory, but surprisingly enough a lot more tolerable than the original, imagine that. I don’t know how much more of this I can take from Ami, she’s beyond boring to me now and has ventured into Kuraki Mai territory, hopefully her next single picks things up a little.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 14th, 2009]

Ami Suzuki [DOLCE] (Sixth album)

FREE FREE
feel the beat (album version)
Potential Breakup Song
Bitter…
SWEET DANCE
The WeekeND
SUPER MUSIC MAKER (radio edit)
MUSIC
Stereo Love
Ai no uta (アイノウタ, Love Song)
Futari wa POP (２人はPOP; Our Pop)
Atarashī Hibi (新しい日々, New Days)
if (Bonus)

The album starts off with the energetic FREE FREE Ami Suzuki joins Nakata Yasutaka (capsule). I love this song. I didn’t too much care for it when it came out, but that was because I was trying to get use to this whole techno thing Ami is sporting now. The arrangement is crazy and seems so frenzied and rushed, but manages to exude a sexy aura that is so very engaging even if after a while it becomes grating. Ami’s vocals were great during the chorus, the high-ness of the: ‘you set me free!’ and the low-ness of: ‘i believe you set me free’ her voice was a bit too deep during the sparse verses, but I found it endearing. This was a nice start to the album, certainly makes you anticipate the rest.

The next track on the album is the underwhelming feel the beat (album version) Ami Suzuki joins Sugiurumn. Is there a non-album version of this? Anyways, I always find my dislike for this song grows every time I listen to it. I think this is the only song on this album that I dislike and I try to give it the benefit of the doubt, but I can’t. Its arrangement is a –duh– techno beat looped, so I heard the same ‘b-do-b’ sound over and over. I can’t comment on Ami’s vocals because she says the same thing in the same way: ‘feel the beat’ over and over and over again. I felt like my brain was going to melt and drip out of my ears. Also, why is this song so long? It has no substance and offers nothing!

The next track on the album is Potential Breakup Song Ami Suzuki joins Aly & AJ. I like Aly and AJ they come out with some really good songs that I find I really enjoy, the main one being ‘Into The Rush’ from the movie Twitches with Tia and Tamera. I didn’t too much like this song from them, but eventually it grew on me. I was a little surprised to find that Ami had decided to cover it and also a bit wary. I went into it with no expectations and came out pretty pleased. The added techno is a nice flare and Ami’s vocals are pretty darn good in this song. I also thought it was neat how Aly and AJ did the backing vocals in Japanese.

The next track on the album is the somewhat down-tempo Bitter… Ami Suzuki joins S.A. (Studio Apartment). This is hands down my favorite Ami song from her Avex era, because my favorite song by her period is Alone in my room. The arrangement is so smooth and sensual in such a laid-back an casual way. Ami’s vocal performance was really good, especially during the chorus which was the best and most engaging part of the whole song and honestly was she on vocoder, because it didn’t sound like she was. This is a good song, stand-out track on the album.

The next track on the album is the rather bland SWEET DANCE Ami Suzuki joins Ram Rider. I guess the first few times I listened to this I was half-listening, because now I find I don’t like this song at all. The arrangement is pretty stagnant and hardly does anything to make the song even remotely interesting. Ami’s vocals seem to reflect it because she sounds so bored and monotonous, it made me imagine her just standing in the studio singing this song with absolutely no emotion. I’ll be surprised if she didn’t fall a sleep while standing up, its completely uninspired and dull.

The next track on the album is the upbeat The WeekeND Ami Suzuki joins Captain Funk. This song is so nineties pop and really gives off a fun and youthful feel. I love how the arrangement is so fresh despite it being techno laced it made me think of how we use to turn on the fire hydrants and get soaked on those hot summer days back when I was a kid. Ami’s vocals are a bit serious and I’m wishing she would have had a bit of fun with this song, but I still liked her vocal performance. The only real problem I had with this song is the fact that its kind of unnecessarily long (over six minutes) and there seemed to be no end in sight. I got a bit tired of it after a while.

The next track on the album is the infectious SUPER MUSIC MAKER (radio edit) Ami Suzuki joins Nakata Yasutaka (capsule). This is a definite favorite of mine. The arrangement is your typical techno fare sounded a lot static but it went with the whole flow of the song and managed to stay at least somewhat interesting throughout and oddly not repetitive. Ami’s vocals are way tech’d up but it seemed to be what this song called for because I didn’t mind in the least. The robotic sound of her voice actually made this song fun. I love the: ‘hey, you, yeah!’ parts, a lot.

The next track on the album is the casual MUSIC Ami Suzuki joins Ram Rider. This song is pretty hit or miss because it doesn’t really have anything going for it. The arrangement is nothing new but its fitting. Ami’s vocals were dull but still interesting. The verses are forgettable but the, ‘music’ of the chorus is strangely engaging, enough to actually make me like this song.

The next track on the album is the light Stereo Love Ami Suzuki joins Tomoe Shinohara. Normally I wouldn’t like a song like this since it doesn’t really have anything to offer, but I think its cute. The arrangement is very pop and gave me the feeling of bright colors which in a sense is very disconcerting but fun. Ami’s vocals were as light and pop-ish as the arrangement and it seemed like she was enjoying herself, what with the casualness in which she sung this. I mean I hardly noticed that this was a techno song, because it didn’t come across as one. That certainly bumped the enjoyment factor up and how adorable was Ami’s laugh at the end?

The next track on the album is the somewhat frenzied Ai no uta (アイノウタ, Love Song) Ami Suzuki joins Rocketman featuring You The Rock. This is quite the fun track. It’s another infamous ‘ai no uta’ track that seems to be prevalent in J-music as of late. It separates itself though by not being a ballad, but an up-tempo pop track that seems to scream ‘world love’ what with the ‘peace, love, unity!’ ol’ dude shouts out. I thought the arrangement was fresh and up-beat and Ami’s vocals though sparse really did there part. The Rock was the high light of the song, because he brought an exuberance that made this song quite the enjoyable listen. This would have made for a good and interesting video.

The next track on the album is the nostalgic Futari wa POP (２人はPOP; Our Pop) Ami Suzuki joins Hoff Dylan. Oh, I love this song. I mean next to ‘bitter…’ this is my favorite track off the album. It’s so throwback and I mean throwback straight to the ’50’s. I don’t really care for 50’s music, but that was a time when everything was innocent in a sense. The arrangement gives off such an air of youth, I mean its so refreshing. Ami’s vocals are love, I just adore we when she sings the chorus its just so cute. This song always makes me smile and I really wish she would have released this as a single, the video would have been nice–done right of course.

The second to last track on the album brings the pace back down with Atarashī Hibi (新しい日々, New Days) Ami Suzuki joins Yo-King. This is one of those songs that passes right by you, but you manage to retain at least something from it. The arrangement is pretty sorrowful in a sense with the piano, drums and loved the guitar especially at the closing of the song. It seems to wrench at the heart, though I’m not sure if that was Ami’s intention. I really liked her vocal performance in this song, though I can’t really recall the verses the chorus certainly stood out.

The last track on the album is a bonus, if. I use to be pretty indifferent towards this track, but I really like it now as Ami’s light vocals and the nice arrangement makes it such a sweet listen.

-GRADE: A
Rating: *** stars

Ami Suzuki’s sixth album DOLCE is still as good as it was when I first listened to it. Honestly this is my favorite Avex album from her and I really think she did a good job with it. There was just so much variety and you can listen to this album again and again and not get tired of it, because its such a fun listen and every track offers something new an different. I’m surprised at the fact that though this was a techno venture, it doesn’t really play like one a lot of the time it didn’t even sound like she was on vocoder, in fact the only songs that sounded like she was on vocoder were: FREE FREE and SUPER MUSIC MAKER if I recall correctly and that really bumped up the enjoyment factor for me, because it gave me the opportunity to enjoy the songs without thinking of them as a chore or exasperating. Its only so long I can listen to someone sing like a computer before my mind starts to numb. DOLCE was a good album I just always enjoy listening to it and I hope The Supreme Show is just as good of a listen.

Ami Suzuki [CONNETTA] (Fifth Album)

Aozora to Water
Alright!
Peace Otodoke!!♥ (Peaceお届け!!♥)
Dancin’ Little Woman
Hare Moyou. (ハレもよう。)
To be free
Squall ni Nurete (スコールにぬれて)
EVERYTHING TO me
O.K. Funky God
Fantastic
Crystal
Sore mo Kitto Shiawase (それもきっとしあわせ)
Like a Love?
Aishiteru Kitto (愛してる　きっと)

The album starts off with the rather whimsical Aozora to Water (青空とWater). The song starts off with this guy (Kaji Hideki?) introducing her. This almost seems like a throwback to the thirties or the fifties where they use to sing live on those variety shows I get that vibe from this song, in which makes it very homely. The arrangement was very flowing and sparkly, I really enjoyed it as well as Ami’s vocals which were very nice and seemed rather at ease. A tame way to start off the album, but its still a nice song.

The next track on the album ups the pace with Alright!. This is really your typical feel-good song, the type of song that will put a smile on your face no matter what type of pissy mood you are in. The arrangement is a bit generic and way sparkly, I mean I kept hearing these chime sounds throughout that really sounded like sparkles popping or something and its a nice touch because it gives you such a feeling of youth and vibrancy. Ami’s vocals were light in this song as well, though her voice was a bit strained. This song is pretty long and after a while you tend to realize how long it really is and you start really wishing it would end already, because at a certain point I got pretty disinterested in the track. However, the ‘let’s take me to your heart’ parts makes it worth the wait.

The next track is the quirky Peace Otodoke!!♥ (Peaceお届け!!♥). I use to LOATHE this song, I really did. I use to think it was just so stupid and never bothered to actually listen to it. My mistake, this is such a fun and engaging song. It has a bit of a rock element to it which surprised me, but I thought the guitar was a lovely and much needed touch to give this song just the right amount of energy. Ami’s vocals were really cute for some reason and it sounded like she had a lot of fun recording this. The chorus is the best part, really makes you want to get up and… sing along. A nice song for a concert I must say.

The next track is the rather bland Dancin’ Little Woman. I don’t want to get too in-depth with this song, because the faster I write this the faster I can forget about it. It has an acoustic air to it due to the minimal instrumentation, but what little there is is very much so forgettable, irritating and distracting. Ami’s vocals were even worse though, for some reason she sounded like she was drunk and trying to sing karaoke–it was just awful. I don’t know what went wrong, but this song is bad for no reason.

The next track on the album is the warm Hare Moyou. (ハレもよう。). Ami slows it down with this track and I can’t say for sure whether I really like it or not. On the one hand I like the easy-going-ness of it, it makes it a very nice listen for when you want to wind down and Ami’s vocals are really smooth despite her sounding like she has a cold or something; however, the song is pretty boring. I’m still inclined to like it though.

The next track on the album is the bland To be free. I guess this song has potential, but it just really goes over my head. The arrangement is just really quite stagnant and plays like wind, very boring wind (what?) and Ami’s vocals weren’t really all that great. The song dragged on for what seemed like forever and at one point I was debating on whether I should just go to the next track because it felt like my ears were about to bleed.

The next track is Squall ni Nurete (スコールにぬれて). This is a really interesting song, I’d have to admit. I didn’t go into it expecting it to be a ballad, it isn’t, it leans more towards down-tempo and its pretty powerful in a quiet, subtle sense. I thought the arrangement was pretty intriguing but nothing particularly memorable. Ami’s vocals were nice, but what really pulled me into this song and made me like it was the chorus towards the end when Ami holds the note its rather intense and she put a lot of emotion into it to make it felt.

The next track is the lovely EVERYTHING TO me. I really do adore this song. I love how it sounds so familiar like a person you may have known in the past but you can’t quite put your finger on just who it is. The arrangement was really nice, lovely use of the drums gave the song such a nostalgic appeal. Ami’s vocals were a bit muffled (I wonder why her voice sounds like that?) but I could really feel the emotion in her voice and it really made me connect with the song. At one point, I think towards the second verse the song tends to die out, I wonder if it was intentional? If so, nice effect. This song is pretty wistful to me, for some reason it sounds like a song you would play as a montage for someone who has passed and with the right type of imagery it could quite possible bring you to tears. The title also makes my heart ache.

The next track is the bizarre O.K. Funky God. The title alone made me uneasy and I was right to feel uneasy, because this song makes no sense. Its starts off on a nice note, like a choir, the effect was really nice and engaging–plus it sounded like the type of singing you’d hear in an anime like Death Note or D. Gray Man. However, after the nice gospel-esque beginning the song goes downhill and it crashes and burns. The arrangement is just the most basic and its boring; speaking of boring, Ami’s vocals were just the dullest, it was so monotonous and after awhile you just want to kill yourself, because this song is just so bad and warped. It reminds me of something my Jazz teacher said; ‘this is stupid’ that about sums up this ridiculous song. There’s no way God is going to get funky to this…

The next track is the surprising Fantastic. This song is pop pure and true, and honestly I don’t have any problem with that. The arrangement was awfully nice and pretty creative and atmospheric, though a bit electronica and a bit techno; I have to say though I can totally see this song being played in a gay club. Ami’s vocals were really good, she had a lot of depth in her voice and it stayed consistent letting me know she was really into the song. This track really shocked me, I did not expect it to be as good as it was, definite album favorite.

The next track is the dull Crystal. After Fantastic blew me away I actually expected to like this song since both of them seem really similar to me. Well, needless to say I didn’t. The arrangement is nice got a sparkly, crystal like quality to it that makes it a nice listen, but that doesn’t change the fact that it doesn’t really do anything. Ami’s vocals were pretty dull, that whole muffled tone was there again and it made her sound very weird–plus I thought her vocal performance was a bit uninspired. This song has the potential to be good, its not as bad as it could of been, but its just a little too boring for my tastes.

The next track is the slow-paced Sore mo Kitto Shiawase (それもきっとしあわせ). This song is rather charming. I mean it’s incredibly slow and never seems to go anywhere. The arrangement was very bare, but I kept hearing this whistle-like sound that made me think of a flute, it was nice. Ami’s vocals are a bit innocent in this and she never does anything with her tone she just keeps singing it at the same pace and that got a little frustrating. This song gives off a very wistful air and made me think of walking in a big city on a windy day just glancing around. It gives you this isolated and yet hopeful feel. Its a song that can get boring and in a sense it is boring, but I like it.

The next track is the pretty tame Like a Love?. I finally came across a name I do recognize (well other than HAL) and that name being Otsuka Ai! This actually does sound like it could be an Otsuka Ai song and that is what really drew me in and made me connect with this track. Its pretty down-tempo, but I thought the arrangement was interesting even if it did make me feel utterly isolated. Ami’s vocals were really nice, I like how she sung this song in an un-hurried sense, staying consistent and not making it a tedious listen.

The last track on the album is the endearing Aishiteru Kitto (愛してる　きっと). This song reminds me so much of her DOLCE song Futari wa POP for some reason, even though the songs aren’t really all that similar it just gave me that same care-free vibe. This song is really quite interesting, I thought the arrangement was nice and Ami’s vocal performance was good, but it wasn’t that, that really drew me into the song–It was mostly the whole flow and atmosphere of the track. It was all so very sad to me, but very comforting in a sense.

-GRADE: B
Rating: ** stars

Ami Suzuki’s fifth album CONNETTA really surprised me… in a good way. This is her first full blown collaboration album and I must say she chose some top-notch people to work with, because these are some pretty good songs. Yes, I really hate O.K. Funky God but maybe it just wasn’t a good day for Buffalo Daughter???? Anyways, I did enjoy this album a whole lot more than I thought I would for this review and its almost crazy because after INFINITY EIGHTEEN VOL. 2 Ami’s music style changed so drastically I found my interest in her fading to the point where I wasn’t even going to try and keep up with her music anymore, because everything just screamed desperate and lazy. DOLCE changed my mind, but after being a bit unimpressed with her last two post-DOLCE singles I’m sure I’ll find my interest in her wanning again, especially if she’s content to stay on the techno bandwagon. CONNETTA was a huge step up from her previous album AROUND THE WORLD and in truth I wouldn’t mind hearing a CONNETTA pt. 2, but then again… maybe not.

Ami Suzuki [can't stop the DISCO] (29th Single)

can’t stop the DISCO
climb up to the top
SUPER MUSIC MAKER (SA’08S/A mix)

Ami Suzuki’s 30th single starts off with the a-side can’t stop the DISCO. I’m not sure if I really like this song as much as I think I do, mostly because it is WAY too repetitive and the blaring techno beat is just WAY too annoying. Despite those two glaring upsets this song is rather appealing. The arrangement is pretty unique even if it is your typical techno, overly synthesized and layered club beat. Ami has a good voice for this genre of music she totally proved that with DOLCE and her voice mixes very well. However, I don’t know what she is saying and it seems like she’s too computerized and sounds like a robot saying the same thing over and over; the whole effect is just irritating and jarring and makes the song nearly impossible, plus for not a lot to be going on song-wise it certainly goes on for a long time, long enough to make me wish I would go deaf.

The b-side is the nauseating climb up to the top. I don’t know maybe I’m being biased, but I liked this even less than can’t stop the DISCO. Was there even a song? It started out a little erotically and that caught my attention, but as soon as the beat started up my interest faded never to return. The arrangement is very typical and a bit amateurish, I’m sure it did not take them long to mix up this beat it sounds so very elementary and grating. I can’t say much about Ami’s vocals in this, because the lyrics are very sparse, as in the only thing she says is ‘climb up to the top!’ in some sort of techno’d yell and it got old fast. Then to add insult to injury this song is just impossibly long, way too long for it to be tolerable. As soon as I thought it couldn’t possibly get any longer, it gets longer. This song is just impossible.

The third track on here is the remix SUPER MUSIC MAKER (SA’08S/A mix). I’m not a fan of remixes and thought I was going to hate this, but to my great surprise I enjoyed this a lot more than both the a-side and b-side of this single. Its a nice remix, very enjoyable.

-GRADE: C
Rating: * star

Ami Suzuki’s 30th single can’t stop the DISCO is just not good to me. It could be because I’m not all into techno and don’t really care for it as a genre of music, but at the same time I enjoyed her DOLCE album like crazy. I guess I just wish she would go back to her INFINITY EIGHTEEN style or just give the techno a break for a bit. Its getting old in my opinion and I’m personally sick of hearing it from her.

Ami Suzuki [AROUND THE WORLD] (Fourth Album)

AROUND THE WORLD
Hopeful ~OVERHEAD CHAMPION REMIX~
Beautiful
Sweet Voice
Delightful
For yourself
Negaigoto
Risk
Eventful
with you
Times
I’m alone

My least favorite album by Ami Suzuki starts off with the techno-poppish, experimental AROUND THE WORLD. The title track is rather refreshing and catchy and starts this album off on a somewhat positive note. I do love Ami’s vocals in this song even if they are digitally enhanced. This is in truth my favorite song off the album.

Ami keeps the upbeat tracks coming with Hopeful ~OVERHEAD CHAMPION REMIX~. Which is one up-tempo track that can fall into mediocrity and pretty fast. I mean it’s catchy, has a nice little club friendly beat to it, but it’s rather cheesy and the instrumental arrangement sort of reminds me of those seizure inducing flashing lights in some animations and movies. I still somewhat like this song though, despite the cheese factor. I wonder what the original sounded like? I wonder if it was better?

The next track is the rather fresh Beautiful. I pictured this as a down-tempo song for some reason and was pleased that it wasn’t, because it worked best as a mid-tempo, techno-pop track. The song gives you this somewhat under water feeling and Ami’s vocals are good though somewhat robotic. I didn’t too much like the, ‘beautiful days, beautiful boy/girls’ parts, but it does give this song that added flavor and the instrumental is pretty good as well with it’s drop beats.

Ami slows it down with one of the most uninspired and lazy vocal performances I have ever heard. Sweet Voice is a pathetic attempt at bringing emotion, what we get is a wilted performance with a basic beat and abysmal vocals from Ami. This song is terribly boring, but so bad you don’t even get the pleasure of ignoring it, because you’re too busy cringing at it’s glaring awfulness. One of her worst songs, ever.

As if Sweet Voice wasn’t bad enough Ami decides to kick it up a notch with the abysmal Delightful. This song is over four minutes long and consists of the most watered down and basic techno club beat I have ever heard. It was like absolutely no effort had been put into this song, since there is no song, the entire track consists of the awful beat and Ami saying, ‘La, la, la’ and other forgettable ad-libs that seem to fade into the background. Ami’s voice also sounded like Ayu’s back in her LOVEppears era. This is worst than Sweet Voice and should be forgotten as soon as it ends and skipped every time it plays.

The next song gets me somewhat back on track with this album. For yourself is a colorful song that gives off an aesthetic Island-like flavor. I really enjoyed the instrumental, which was very calming in peaceful. Ami also gives forth a very nice and genuine vocal performance.

We go into another down-tempo track with Negaigoto. In a sense it’s a rather forgettable ballad, but unlike Sweet Voice it’s actually a nice song. Ami puts more effort in emotion into this song and the arrangement is also quite pretty and somewhat sparkly in a sense. Ami has much better ballads, but it’s still a nice listen.

The pace picks up again with the up-tempo pop track Risk. Which to my great surprise I actually found myself liking. I wish that Ami would have went all out for this song, because she sings the verses and the chorus in a sort of bored tone that really makes you feel as if she is uninterested and just wants the song to be over. It really brings the enjoyment value down; but there are few good tracks on this album and this is one of the good ones.

Ami picks it up with what must be the best track on this mediocre album. Eventful is what Delightful should have been, a nice techno pop club beat and an above average vocal performance that brings life to the dullness that resonates through this album. At this point you would probably be half-sleep, but this song certainly wakes you up and in my opinion is the best song on this album.

The next track with you is somewhat in the same vein as Eventful. We continue along with the same old, same old club friendly techno-pop beats that this album seems to be going for and by this time it’s all starting to sound the same: underwhelming. This track is forgettable, boring and a waste of track space.

The second to last track is the utterly forgettable and mind-numbing Times. That you forget as soon as it begins and not only do you forget it, but you ignore it as well. The only thing I recall hearing is the blaring techno beat, I just couldn’t wait for this song to be over.

The album finally ends with the down-tempo track I’m alone. That even though it is one of the better down-tempo tracks on this album seems to come and go and why is that? Because it’s only two minutes and fifty-six seconds long! This is no 289.

-GRADE: D
Rating: 1/2 a star

This album was absolutely painful to listen too, because it’s so awful. This is Ami Suzuki’s worst album to date which is ridiculous because it’s her first album under Avex trax which is the record company with some of J-Pops greatest acts. It was like no effort had been put into this album; every beat sounds the same and it’s almost like some throwaway gay-club soundtrack for some obscure dance movie. The only songs that stand out are: AROUND THE WORLD and Eventful, but compared to it’s competition they aren’t good at all. I’d recommend this album to only hardcore Ami Suzuki fans (in which I am not one of them), anyone else this isn’t even good enough for a download. AVOID!!!!