Awakening

I'm only 31, but I felt super cool getting into Sacred Reich around ten years ago. I felt like I found this amazing thrash band not many people heard of. "Ignorance" and "The American Way" were on constant repeat. I still say, "Crimes Against Humanity" is one of the best thrash songs ever written. I didn't really bother with the rest of Sacred Reich's catalogue because I didn't see the point. I was pretty excited when I heard they were releasing a new album. I still didn't listen to 90s Reich much, but felt like I was finally mature enough to handle whatever they threw at me.

What I got was..okay? I guess? I applaud them for making a comeback, I really do. It can't be easy picking up those instruments again and banging out a new record that's even just mediocre. I respect the band for that, but it honestly feels like it doesn't know how to portray itself. You have thrashy songs on here mixed with hard rock, you have Phil Rind trying to actually sing when it's obvious he's not fully back to how he used to be, but then you have these well written solos sprinkled throughout. It's kind of all over the place.

Things start off pretty rough. The title track is kind of annoying. The whole time Phil is just saying words that don't really have anything in common. It goes into "Divide & Conquer" and while it's better than "Awakening", him trying to hit those higher notes doesn't really work. Thankfully the album gets better from there as "Salvation", "Manifest Reality" and "Killing Machine" return to their thrashy roots. They aren't thrash masterpieces, but they are definitely okay and are catchy enough to get stuck in your head for the rest of the day. The last three songs are overly forgettable.

It's not so much these songs are bad, but they just don't really go anywhere. The only thing to really look forward to is the solos. Most songs have decent solos that break up the mediocrity of everything else on this album. Both Wiley Arnett and Joey Radziwill do a great job. In fact, the instrumentals on this album are pretty tight. It's just the structure of the songs are super odd and while you have tight playing, the songs themselves are either boring or don't know which genre they want to be.

Overall, this is a disappointment honestly. I know most people shit on "The American Way", but I feel like that was the last great example of Sacred Reich. I have come to terms that they will never be able to write a banger like "Ignorance" again. I don't really blame them. If you want to listen to "Ignorance"-era Reich, then listen to "Ignorance". A ton of bands came back this year after long hiatus', but Sacred Reich is probably the worst one. I really wanted to love this album. Unfortunately, I can't turn a blind eye just because of their past.

Recs: "Manifest Reality" and "Salvation"

Okay, so I own this album because I pre-ordered some fancy coloured vinyl before hearing the album. Secondly because I own all other Sacred Reich stuff. I am a huge, a very huge, fan of especially the Surf Nicaragua EP. That titletrack is one of my favorite thrash metal songs. Ever. Ignorance was great (even though a bit simplistic/straight forward) and The American Way was also great despite lacking a bit in the ‘uptempo’ department. Maybe that’s why I stil love Surf the most. It was the perfect mixture of aggression from the first album and the songwriting finesse of the second full length. The other two albums? Well, read my reviews on those. Independent had only 6 out of 11 enjoyable songs and Heal was only a partial return to form.

Fast forward to 2016. The reunited Sacred Reich perform on Dynamo Metal Fest (The Netherlands) and they totally ruled the day. As if time had stood still since 1990. Yes they were that good! ‘Death Squad’ and ‘Surf Nicaragua’ sounded as if the band were still tireless teens
And forward again to 2019. Sacred Reich now turn out to be only 50% of the group that released their three best releases as well as only 50% of the band that totally destroyed DMF 2016. We have a new guy called Joey Radziwill on rhythm guitar. Also ex-Machine Head drummer Dave McClain (who played in SR earlier on 'Independent' & 'Heal') has reunited with the band.

Positive note: McClain’s performance here is truly great and very organic! Love the natural sound of the drums as well. None of those NuclearBlasty digital sounding overproduced drums. Also Phil’s vocals are produced well and his voice sounds better than ever!

On a negative side: What on earth happened to everyone’s hearing while mixing/producing this album? How could anyone, anywhere, consider the guitar sound on this album even remotely ‘okay’. It’s thin, flat, dull, harmless!

Anyway, on to the songs. We have a few good moments. Opening title track ‘Awakening’ is uptempo and despite the simplistic main riff enough stuff happens in the rhythm section and vocal department to keep it interesting. The opening riff on ‘Manifest Reality’ is blatantly stolen from Sepultura’s ‘Inner Self’ but fortunately evolves into its own beast. Manifest Reaility, though really simplistic, even turns out to be one of the best songs on the album. The other great songs being the crossover-ish trasher ‘Revolution’ and (possibly the best song here) ‘Divide and Conquer’.

Unfortunately this is where the fun ends. We had just over 15 minutes of fun/good stuff. Barely enough to justify a small 12 inch release.

The rest should (and probably will) be forgotten in time. Even though I do – in a way – enjoy the hippie cowboy song ‘Death Valley’ I don’t think it is something actually working on a Sacred Reich album and certainly not this one. Possibly ‘Don't Do It Donnie’ from the earlier split EP with Iron Reagan would’ve been a better fit. ‘Salvation’, ‘Killing Machine’ and especially ‘Something to Believe’ are disgustingly boring! I am talking musically here because lyrics alone are never a reason to buy an album. I'll leave discussions about Sacred Reich lyrics to others. These songs are exactly what I didn’t like about the majority of material from their last two nineties releases. A bit too much of a grungy approach to the vocal lines and the pace quite often just a bit slow or plain monotonous. ‘Killing Machine’ sounds exactly like Anthrax during the Stomp442 era (with Rind singing instead of Bush) and ‘Salvation’ sounding like leftover riffs from the AmericanWay sessions with a vocal line coming from the Independent recording.

Such a shame. I really, REALLY, wanted to like this album because I am still wearing my old SR shirts after all these decades. After about 10-15 spins I just deleted the four worst songs from my playlist and I am now left with ‘The Awakening EP’ clocking in at a meager 15:20 minutes

Only worth it (also in this order)
- Divide & Conquer
- Revolution
- Manifest Reality
- Awakening

In recent years, the metal community has seen more than its fair share of comebacks after long stints of silence. Cryonic Temple (9 years), Ancestral (10 years), Cellador (11 years) and many others have all awoken from hibernation in the last few years to release albums of varying - but generally good - quality. In the case of veteran political thrashers Sacred Reich, it's been an almighty 23 years since their last full-length record! That's not a hiatus, that's a fucking coma! Okay, strictly speaking, the Arizonans haven't been totally comatose; there have been compilations, splits, EPs etc. since the mid-2000s. But here in 2019, the generically-titled Awakening marks their first proper LP since 1996's incredibly mixed Heal. In terms of line-up, this is as close to a classic reunion as fans are likely to get, so what kind of aggressive, anti-fascist power statement have they got for us?

Oh... Eight songs? Half an hour? You sure this shouldn't be another EP? I don't mean to be a backseat manager here, but I truly believe fans deserve so much more material after such a colossal gap. Perhaps if the material on offer was of such spectacular, mould-breaking, phenomenal quality, I could forgive the brevity. Unfortunately, Awakening only reaches hints of greatness - and even then, not very often. A big talking point among critics has been the odd production quality which, admittedly, does bring back a taste of the old school - as I'm sure is the band's intention. But, even though I have no major issue with it, perhaps now was the time to bring the Reich's sound into the 2010s. At least mainman Phil Rind delivers a solid performance. For a man of 50, he still sounds pretty gruff and ready for business at this album's best points. His vocals only take a hit when the songwriting falters.

Other than the duration, Awakening's biggest issue is with the lack of creativity in songwriting, particularly with regards to riffs and choruses. I'm a simple man who loves chugging two-note riffs, but even I yearn for some extra fret usage on some of these tracks. For example - despite being one of the best tracks - does the main riff to "Killing Machine" really need that much open E-string rape? The choruses, too, tend to just be the song title repeated with very little development. The worst offender in this area is "Divide & Conquer". Ironically my favourite cut here is the opening title-track which, arguably, has the least creative riffs and the simplest refrain! "Awakening" is a beast of a track which makes the most of its simplicity with a bombastic snare-fronted rhythm and endless two-note breakdown (which I can NOT get enough of!). Second single, "Manifest Reality", is also an explosive thrasher that could almost have fit on the classic Ignorance. Again, it makes its rudimentary two-note riff work for itself.

Elsewhere, energy dips and artistry lacks. Not even that cowbell can convince me that the tame, inoffensive "Death Valley" is anything other than yawn-worthy fodder. Along with the whimpering, Soundgarden-esque "Something To Believe", it's easily the worst cut on the disc. "Salvation", too, merely meanders along despite having a relatively enjoyable main riff. There is a moment of glory on the furious "Revolution", but it's too little too late. I had hoped to give this LP a huge write-up, and that this would be a crown on the legacy of the political thrash metallers. Unfortunately, it's turned out to be one of the biggest disappointments of 2019 and I'm struggling to articulate my mixed feelings. Sacred Reich deserve more than what I'm about to say but: this is mildly enjoyable background music.

First things first: It's a shame that it took legendary thrash metal band Sacred Reich twenty-three and a half years to release a new studio album even though the band was only very briefly split up for six years. After such a long time, it's also a shame that the new record only includes eight songs with a meager running time of thirty-one minutes. The band could have at least included the brilliant punk rock tune "Dont Do It, Donnie" from the split with Iron Reagan released earlier this year. Let's hope Sacred Reich's next album won't take another two and a half decades.

With those negative comments out of the way, let's focus on Awakening. The record sounds so youthful, passionate, inspired, fluid, entertaining, energetic, diversified and authentic as if the band had never been away at all. "Divide and Conquer" for instance has such a liberating punk rock vibe that it recalls Anthrax's greatest carefree moments in the mid-eighties. "Death Valley" shows that the band is still open for new influences as this is a vibrant hard rock tune with plenty of cowbell sounds. Thrash metal purists are also served with songs like the vibrant opening title track "Awakening" with its dry riffs, precise drum play and overall cool and gloomy vibe.

Every single song on this album has something unique to offer as Awakening fluidly meanders from hard rock over punk rock to thrash metal and heavy metal and back again. The varied guitar play is inspired. The pumping bass guitar is vibrant. The drum play is precise and energetic. The vocals sound surprisingly youthful and find the right balance between melodic hooks and raw undertones. The lyrics are equally appealing and vary from important political messages to more personal topics. The dry yet vibrant production blends in perfectly and gives the record a contemporary hard rock touch without sounding too modern.

Sacred Reich's Awakening is a convincing comeback and serious candidate for thrash metal record of the year. This short but sweet comeback includes only killers and no fillers. Grab this record, catch the band on tour and cross your fingers that these guys are finally back for good.

Sacred Reich are back? Cool - and the artwork looks like the picture they did not use for "Ignorance"! So my expectations are clear. I will surely be blown away by another ignorant assault. Rind and Arnett go back to the roots. That's okay, let's forget all these meandering albums that diluted their sound steadily. We are generous, not resentful and let those of us throw the first stone who are free from sin.

Now let the thrash metal feast begin. "Awakening", the track, kicks off the album with staccato sounds that invite a drilling lead guitar to give pretty harsh impulses. The sound, crystal clear and full of pressure, supports the composition in an excellent way. I decide to forget 30 flavours in a matter of seconds. Thrash metal is the only law, albeit this song does not belong to the wildest orgies of all times. Hordes of adolescent thrashers in South America who just have discovered the magic of "Pleasure to Kill" or "Obsessed by Cruelty" will call this track lame and useless, but come on, you know nothing, you snotty brats. It gets even better with the next track, Sacred Reich accelerate the tempo. They are playing almost fast now! I have to pause for a moment... ...the moment still lasts... ...here I am again. This is so goddamn heavy, fast and thrashy...

No, it's not. It's one of these NOTs that Scott Not Ian once showed on stage, more or less at that time when Sacred Reich still were a promising, rebellious combo. Must have been shortly after World War II. "Awakening" is no - and please underline no - thrash metal album, it's a thrash metal EP at best. A playtime of 31 minutes is ridiculous and a slap in the face. I wait for the comeback of a so-called legend after 31 years that offers a release which clocks in at 23 minutes. But that's not the only reason why I call this offering a thrash metal EP. The greater problem is that songs like "Salvation" pass by like a slightly harsher version of an ordinary rock song. Not to mention the jingling called "Death Valley". People who call this kind of music thrash metal are also of the opinion that it makes sense to demonstrate the misanthropic essence of black metal by an "Abrahadabra" listening session. Given these lukewarm, anti-aggressive stinkers, we can hardly speak of a thrash metal album, but of a thrash metal EP (at best, as mentioned above). This finding hurts. Thank God, the closer "Something to Believe" does not add flavour no. 32. But beware, this does not mean that you can expect a formidable thrasher. The number rather sounds like a jam session that has accidentally become a song...

...with pacifist lyrics. Phil Rind might be a clever guy, but his politically correct opinions are maybe mostly comprehensible, but always boring. He is the opposite of the young Sodomic, the Brazilian mastermind of Power from Hell who always wrote about raping women and comparable bullshit. (The hordes of adolescent thrashers in South America blame me for being a poser right now.) Well, in case of Sodomic's poetic art, I prefer the lyrics of Rind, nevertheless, they are less important than he thinks.

The album is not immune against self-quotation. The beginning of "Salvation" reminds me of the drum intro of "Crimes Against Humanity" and the first section of "Manifest Reality" revitalizes the spirit of "One Nation". By the way, this would be a really good track, but its chorus completely sucks. A sonic catastrophe without dynamic, melody or any aspects of tension. It's annoying to see that Rind's powerful vocal performance has its weakest moment exactly during this chorus, because there is actually not much to complain. So what remains? "Killing Machine" and "Revolution" are great, the first one with an acceptable degree of Anthrax-harshness and a titanic chorus, the other one has, in alignment with its title, a tendency to punk, maybe it's their new "I Don't Know"? I don't know.

My personal problem is that I never were able to hate the band from the bottom of my heart, because its good songs are truly fantastic. I still love the title track of "The American Way", albeit the album celebrates a triumph of predictable mediocrity. The same applies, for example, for "The Power of the Written Word" and "Heal". Anyhow, it seems as if Sacred Reich want to polarize, but this time they have gone a step too far, because they animate both aversion and affection in me. Thus, the result is neither black nor white, but an average rating. That's my respond to their strategy. And now I forget the bloodless songs of this album and celebrate a thrashing party with the remaining EP.

Though now considered a bygone era to a generation that has seen the resurgence of denim vested madmen riffing out at breakneck speeds in tribute to the past, the days of late 80s thrash metal are still fresh in the mind of this aging latter day Gen X trustee. It was particularly marked as a period where the style began to shed its early fascination with the occult, horror and the sort of violence-driven lyrical pursuits that would become the staples of death metal for a sonically safer and lyrically comical and/or socially aware approach. Largely fueled by the accessible and streamlined character of Anthrax’s State Of Euphoria, Testament’s Practice What You Preach and Nuclear Assault’s Handle With Care, this was an era that was dubbed as the one where thrash metal started becoming mature. While opinions varied on whether this was a good thing for a style that was originally the most extreme end of the metal spectrum, the commercial viability that resulted saw most of the scene following suit.

It is into this context that the Arizona-based thrashing machine that was Sacred Reich discovered what many of their fans dub their signature sound, embodied in such politically charged and occasionally tongue-in-cheek albums such as Surf Nicaragua and The American Way. They found themselves often compared to Metallica due to vocalist/bassist Phil Rind having a similar tinge to his gruff shouts as James Hetfield, but musically they were a fairly different beast, originally exploring slightly more aggressive and dark territory on their 1987 debut Ignorance and then pivoting into a sound comparably lighter and more mainline relative to the 80s output of the style’s aforementioned pioneering act. The changing trends in metal as the 1990s folded proved a bit less favorable to their prospects, resulting in a couple of lackluster studio offerings prior to folding tent for a time. But with old school thrash metal now riding on a more than decade long resurgence, the time is ripe for this long absent fold of riff happy ideologues to speak their piece yet again.

Awakening, Sacred Reich’s long awaited 5th studio LP, is a rather curious affair in thrash revivalism that defies a number of current conventions. In direct contrast to the vast majority of older bands that have been more prolific, it is a less modernized, less exaggerated take on modernity that sports a sound less like the towering mammoth that has been Exodus’ or Testament’s output over the past 15 years and more like the lighter, greyer sound the dominated the style in the early 1990s. Musically it trends more towards the rugged, working class simplicity that was this band’s staple during their formative years, yet lacking the overt violence of their debut or the punk-like comical character of Surf Nicaragua. In essence, it goes the route of picking things up where the band left off prior to the groove metal craze, and the quality of the performance of all persons involved, but particularly the vocal work of Rind, showcases a band that seems to have scarcely aged a day over the past 23 years since they were in the studio.

The resulting set of songs that emerges from this measured approach of having one foot in the past and one in the present are mostly high on impact, but also measured and well-rounded, avoiding a number of the excesses that tend to go on both the revivalist and modern sides respectively. Vertebrae-crushing anthems such as “Manifest Reality”, “Divide & Conquer” and the somewhat more punk-infused “Revolution” showcase a band that doesn’t skip up on the speed and fury, all the while still keeping to a very basic structure. A few more mid-paced anthems found on here throw in the occasional curveball, such as the military snare beat that kicks off “Killing Machine” (arguably one of the most intense and versatile vocal performance Rind has every mustered) and an almost tribal-like drum intro to the shuffling slayer “Salvation”. Barring the exceptions of the more groove/rocking and melodic offerings “Something To Believe” and “Death Valley”, both which listen like slightly improved versions of songs that graced their 1993 mixed bag Independent, it’s all thrash, all the time.

Old time fans of this band will definitely find a winner in this admittedly short but very satisfying offering, as it checks all of the needed boxes that made their earlier days distinct, and also a few needed ones to keep it from being a full on throwback. Although only half of the fold that made up their 80s incarnation has endured as contributors here, this is the full package that embodies most of the best elements that made up their 1988-1990 era, while playing down a lot of the awkward comedy that they never could get right in the old days even when trying to directly ape what Nuclear Assault was doing. They aren’t the most evil sounding act to claw their way out of the mid-1980s, nor are they the sort of fun-loving, pizza and beer party band here that they were in the past (and arguably help to popularize among today’s younger thrash acts), but they thrash it up within their own brand of distinctiveness where solid execution and infectious hooks make for a formidable 3rd way in a still raging scene.

Originally written for Sonic Perspectives (www.sonicperspectives.com)

Seeing that Sacred Reich are an older band that haven’t released a full-length in over twenty years, I was pleasantly surprised at how well their newest effort Awakening turned out. Earlier this year, they did a split with Iron Reagan titled “Don’t Do It Donnie” that showed some strong potential; but a whole album of those would have been questionable. They still lay down the American political backbone (like they always have), and this disc exceeded my expectations based off of that short number.

One of the key ingredients here is fueling the songs with anger, a common tactic in thrash metal. Though Sacred Reich have always been closer to the crossover end of things, this album doesn’t reflect much hardcore, if at all. “Killing Machine” may be the only exception to this, as it’s crafted on punky stomps, garnished with an unsettling, whiny solo. “Divide And Conquer” reaches even more pissed-off levels with buzzing speed-balls of riffs and vocals that hone in on fury.

The other end of the pole holds different fruits, as Awakening is quite melodic and sticks to the more accessible end of the thrash spectrum. “Death Valley” is an easy-going tune with cleaner passages that are more similar to the classic metal acts; not to mention it’s got cowbell! And I can’t deny the hookiness of the chorus as well as strong solo work in “Salvation.” Despite the heaviness fluctuating, the overall tone stays consistent.

What probably helped this record is the fact that it barely crosses the half-hour mark, cutting any and all bullshit right out. That allows for a refreshing spin, and the fact that the songs themselves are this well-written still impresses me. Old thrashers like Overkill and Death Angel putting out new material is pretty hit-or-miss, but what we have here, is a hit!

Originally written for Indy Metal Vault

I'm a simple thrash fan. When I saw that Sacred Reich had announced its will to work on new material that would sound old-school, I smiled, I was happy. Indeed, even though I'm not a big fan of this band overall, "Surf Nicaragua" was one of my first doors to thrash - and, by the bye, one of the first songs I've learned at the guitar. I was also amazed by this change of tempo more than efficient in "Death Squad", after the long intro - poor me who didn't know Sodom yet... - and later I took my first blow in thrash metal with "Ignorance". So, Sacred Reich that awakes after twenty-three years in lethargy after a few streaks of bad luck, not without reminding other bands like Xentrix, and that announces us their will to produce an album which would pay tribute to their old-school roots, what more could anybody ask? Thing is, if the band had told me that they rather decided to honour their "Independent" period, I think that I would have not jumped that high...

Some signs are tell-tale: when we see that Metal Blade Records classifies this album as "heavy metal" on the info sheet, we have the right to ask us some questions on what's going to happen, especially if you saw the two awful music videos of "Awakening" and "Manifest Reality". Back then, I still wished that these titles would have been the worse of the album and that the best was still to come. But when I saw this "heavy metal", when I saw that the band almost spent as much time talking about the lyrics than the music itself and most of all when I saw that the producer that had been chosen was Arthur Rizk, known for the very old-school and smooth sounds of bands like Power Trip, Smoulder, Eternal Champion, Sumerlands or, more recently, Enforced, I was expecting the worse... and still was disappointed.

Let's clarify some things: Rizk did an amazing job on the two Power Trip albums, even though musically speaking it's not that much my cup of tea, one must admit that this old-school sonority is of very good taste and brings another dimension to the music - and this statement could also apply to the other thrash or death metal albums, like Tomb Mold's latest, that he produced. But on "Awakening"... It's hard. It's hard for me to appreciate this sound and it's even harder for me to understand it. It seems that the band is fully satisfied with it and so are the fans. They seem very happy about the fact that the band didn't choose a very modern sound for guys who made their feat of arms some decades ago and it is true that, at least, one can't reproach Sacred Reich for choosing a sound that would denature their music, in a time where some other bands like Exhorder also seem to awake from their lethargy, opting this time for the very blockbuster production that Nuclear Blast uses to propose. But to me... it doesn't go through. Which is presented as "a true comeback to old-school thrash roots" is materialised by an extremely weak sound, which is rather unwelcomed when we, on the contrary, want to convince with punchy and efficient riffs. Eventually, we end with a bunch of riffs that have a production that would perfectly fit for other genres and purposes, but not this one at all.

Don't hope either to content yourself with the purely musical aspect of the album without taking care of its production because there are as well some reasons to be disappointed. First of all the two longest titles length four and five minutes for eight songs and a total hardly passing half an hour, it sets the tone. I understand that the perfect thrash metal album shouldn't length one hour - unless you're called Reign of Fury - but the more a band decides to shorten its disc, the more it has to be convincing, which is also more complicated because you have less time to do it, which is logical. Here... well, it's almost an exploit but the band manages to do the opposite, which means that it seems that despite everything this half-an-hour is too long for this band and that it has nothing special to show us. The riffs couldn't be blander (no kidding, this opening riff on "Awakening" is the kind of thing I do on the guitar to warm myself up) with open strings everywhere to fill as much void as possible. Even in some songs a bit more convincing like "Divide and Conquer" that offers a kind of a bit of diversity with an okay chorus and a rather cool solo we once again find way too much open strings. Once again, I perfectly understand that this is a pure code of the genre, but when your music is at first pointless, the vacuum appears even clearer.

But, deep down, could we have expected this album? The answer, that might surprise, is yes. Because one must recognise that Sacred Reich no longer an in-your-face thrash metal band for a long time, not since "Ignorance" actually. When we take a closer look at the discography of the Americans, their transition is performed right from their EP "Surf Nicaragua" with another cover of Black Sabbath - the first one, "Sweet Leaf", was featured as a bonus track on their debut album - directly included in the disc, as if the band didn't any longer fear to show their love for the tranquil, calm heavy metal that would progressively supplant the aggressive thrash. And, consequently, the band showed it to us with "The American Way" that was already slowing things down to propose something more alternative (by judging the final track "31 Flavours") and the very average "Independent" which clearly was surfing on this groove metal trend with a quite hopping thrash metal - that would be confirmed on "Heal" - and, here as well crossed with heavy influences. So, at the end, when Sacred Reich announces us their will to come back with an unchanged formula... they're not wrong, in the sense where we find everything we previously disliked in their music: third-world riffs, weak drumming - though a bit diversified, we could hardly reproach anything to the newly-added Dave McClain -, short songs and a voice... well, I'm not going to criticize Rind's voice. It's thrash metal, it's like pouring water on a drowning man. But still, I heard better. By the bye, we find this much more heavy-than-thrash side on the song "Death Valley" that clearly sounds like rock with its easy-going atmosphere and the presence of instruments that aren't really metal like a cowbell cymbal in the chorus, which reminds me more of an American ranch song than a "Tapping the Vein".

In short, Sacred Reich proposes us a Metal Church-like heavy/thrash, not much incisive nor efficient and rather repetitive and bland. It has nothing to get your teeth into and it ends quite quickly, the overall with not suitable at all production that weakens even more the disc.

https://realmsofmisfortune.blogspot.com/