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youngboy-oldmind · 3 years

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DISCOGRAPHY REVIEW: 1) THE INCREDIBLE TRUE STORY ft. My Girlfriend

“Tell me what I wouldn't wanna give for a life like this, arm and a leg quite like this/ Fuck around wanna fight like this, take a hike like this/ I might just, might just, I don't know/ Reinvention, that's my intention/ Want so much more than this third-dimension/ That's not to mention my true ascension is a bigger picture/ No metaphor, I’m being real with ya”

Overall Thoughts

After the success and impressive display Under Pressure, Logic follows up with his sophomore album The Incredible True Story: A perfect embodiment of Logic as a person, rapper, and artist. Here, he is at his most creative, telling an entire story through the lens of a futuristic fictional sci-fi story. Filled with narratives, skits that give insight to the crew’s personalities, and an overall message that resonates even after the album concludes, The Incredible True Story is the perfect reflection of Logic as an artist.

If someone asked me to introduce them to Logic, I’d start with this album. If you start with a deeper, more experimental album like Everybody or a project not quite as unique like Under Pressure, they may be left unsatisfied or unimpressed. But it’s near impossible to dislike his most rounded and well-constructed project.

I’ve said this with every project of his, but the production was excellent. The techy, spacey instrumentals perfectly parallel the theme and tone of the project. The vocal inflections on “Fade Away”, “Young Jesus”, “Run It” and the choir in the first half of “City of Stars” were all brilliantly executed. Also, Logic allowed collaborations on some tracks and they were some of the highlights on the album: Big Lenbo on “Young Jesus”, Lucy Rose on “Innermission”, and Jesse Boykins III on “Paradise”. Overall, the construction of each song on this album was near perfect. It can’t be overstated.

Logic branched out stylistically on this project. On Under Pressure, each song had a relatively similar tone, which made that project very consistent yet unspectacular. The fixed tone was good for the purpose of that project but restricted him from reaching a high peak. Here, his delivery, instrumentals, and lyrical style varied and was less consistent, allowing him to reach highs like “Fade Away” and “City of Stars” while also allowing him to reach lows like “I Am The Greatest”. Despite that flaw, the unique style of the album improves its overall ranking and separates him from the issue of his last project; the issue of being indistinct and being a carbon copy of his influences.

That’s one of the biggest strengths of this album. While I can think of other artists that could do Under Pressure or No Pressure, I don’t think anyone can do The Incredible True Story. Logic has a niche combination of lyrical talent, production skills, and geekiness that shines profusely.

The main theme of this project is doing what you love and finding life. This theme paired the fictional nature of the album’s structure loosens the restraint on Logic. Before, he was limited by discussing his experiences and thoughts in an autobiographical way, whereas now he’s allowed to discuss things from an outside perspective and speak more prophetically.

Album Breakdown

Side Note: I will be adding comments and thoughts from my girlfriend who also loves this album. Her comments will be bolded.

1. Contact

This was extremely creative. I was instantly drawn into the music. Sounded like a soundtrack I'd hear in a movie. And the introductory conversation between the two men established a very interesting and compelling start to the album and makes it feel like I'm getting ready to start a story book. Solid start, can't wait to see what happens.

2. Fade Away

Off the rip, this track had me excited. As I mentioned earlier, the composition and instrumental is excellent. He also comes through with an intense flex of delivery and rhyming and syllable scheme construction. This is the first song I’ve ever heard from Logic and it still gets my hype every time I hear it.

The flow in this song just hit me like a truck. The lyrics were pretty good and not necessarily a brag, but more of a showcase of pride. The music was also very catchy and had my bobbing my head before he started rapping. But the flow! Absolutely loved it. Def a hype song for me.

3. Upgrade

This track transitions well from the previous song discussing kai upgrading his system. Logic discusses “upgrading” from his old life and mindset. The space background with a simple drum pattern is satisfying.

Loved how the intro music played off of the space theme established by the intro. The music was already banging, and the countdown had me anticipating what's to come. Liked how the lyrics also incorporated space elements. Somewhat simple song with somewhat basic lyrics, but overall still quite enjoyable.

4. White People (Scene)

This was super fun to listen to and I was laughing when the black guy made fun of the white-man-horror-movie stereotype. I was almost wishing for them to investigate. I am really liking this album so far. Who knew Logic was such a innovative storyteller.

5. Like Woah

Although this song doesn’t say much content wise, the vocals were pretty slick and the instrumental was constructed well. Verses were average and I found the chorus a little iffy. But overall, it’s one of the more mid tracks.

The others definitely fit the theme of the space, but this song felt more of a Top 100 hits song. The flow was not as stellar as the songs so far, definitely no Fade Away, but still steady and impressive nonetheless. Nerdy comment, but the music reminded me of something I'd hear in a video game with the female singing--maybe Zelda or Fire Emblem.

6. Young Jesus

Although this song isn’t in my top 3, it’s still one of my favorite on the album. The boom bap 90s throwback mixes well with the modern, techy sound of the album. Logic and Big Lenbo both flow perfectly; this some of the best chemistry Logic has had with another rapper, the only other contender being Big Sean. Instrumentally this song stands out the most because its composition derives so much from the rest of the track list.

This throwback to the 90s flow with a slight modern twist was fresh as hell and a very fun listen. I actually very much enjoyed Logic's flow in this song. "See I'm a self diagnosed hypochrondria/ Either at the crib, or on the tour bus, is where you'll find me at" was a fun, funky flow that had me smiling as I listened to it. Would have definitely enjoyed if he did this flow and slight drawl in words a bit more. Big Lenbo was perfect for this song. His voice has that 90s feel and his lyrics fit the bragging feel seen in old hip hop songs.

7. Innermission

Another top track on this project, “Innermission” features Logic discussing his life’s purpose and “inner mission”. Lucy Rose on the chorus is beautiful. The mellow beat allows Logic to truly dive into his thoughts without being overwhelmed by the instrumental. And I loved the skit at the end.

Not gonna lie, the music initially reminds me of elevator music, but the lyrics hit hard. Hearing his story of his home life and his friend in prison was...heartfelt? It made me introspective of my role in my friend's lives and my own background. This song has a nostalgia to it as Logic retrospects his life before reaching fame, yet an almost hopeful undertone as he contemplates why he wanted this lifestyle and how he managed to actually accomplish it. And, of course, ending the song with a child continuing the space them fully establishes the air of wistfulness as I hear the kid's innocent tone reminiscing about his home. Genius move.

8. I Am The Greatest

There are few songs that make me rush to the skip button. “I Am The Greatest” is one of them. I hate this song. The different voice clips have no rhythm or syncopation, seemingly haphazardly tossed together. The beat is underwhelming and the yelling is obnoxious. And logics lyrics and delivery are really bad. I strongly believe this should’ve been cut or put on a project like Bobby Tarantino.

9. The Cube (Scene)

As someone who can rap and solve a Rubiks cube, I found this very funny. But also ironic, since I pulled exactly 0 girls from solving it. But, Logic is a nerd and this skit fits his personality well.

So this didn't make much sense until I looked up "logic the cube" and saw some videos of him solving a Rubik’s cube. Cute that he inserted a past time into this.

10. Lord Willin’

Logic has a very distinct flow throughout this album. It's very similar in each song with similar rhythm--I find myself bobbing my head at the same speed as his other songs. Not a bad thing, but just an interesting note. I actually quite like it, though. It makes the songs in this album more harmonious and makes it feel like one long story, rather than several songs thrown together onto one album. The lyrics themselves were actually quite inspirational. I felt a sense of pride in myself swell as I listened to him overcoming and living a full life and encouraging me to do the same.

11. City of Stars

Arguably one of the best on the album, “City of Stars” features Logic discusses his negative/toxic relationship with the hip hop industry. The spacey beat and echoey chorus vocals area AWESOME. The echo on the snare paints a visual of singing in a wide open space. Logic’s singing is above average, his use of auto-tune isn’t bad either. The beat switch to an intense boom bap and going in sent shivers down my spine. Although this has been done before, its definitely an excellently put together concept.

Also, only hip hop fans will notice but Logic incorporates patterns and lyrics from other songs: Drake’s “Forever”, Kanye West’s “Last Call” & “Two Words” of The College Dropout, and Talib Kewli’s “Get By”. Logic isn’t one to shy away from nodding to his influences, but here it feels like paying homage instead of stealing. Top 3 track.

12. Stainless

This song is 100% dope. From the vocals on the chorus, complex background in the instrumental, Logic’s intense flow and delivery, along with the content. Another top 3 on the album.

Bruuuh, this song slapped from the moment it started. The music had a flow different from the other songs, and his energy from the first few lyrics was solid as hell. I was hype and smiling not even 20 seconds in. This is a riding-with-the-windows-down-with-the-volume-blarring-on-the-highway-as-you-flaunt-your-youth-and-just-jam-hard kind of song. I would have def played this before a basketball game to get myself hype.

13. Babel (Scene)

“Babel” was the best skit by far. I think this plays well into the theme of the album: The concept of doing what you love and finding life. This skit mentions how “paradise” may not be something you find, but something you make and maintain. And on the flip side, you can also turn paradise into “purgatory”. So this journey is about creating the best and making your own incredible life instead of trying to find it. It also transitions well into the next song both musically and thematically.

14. Paradise

This was an interesting song. When he described Paradise initially, he spoke of it as a land of racial equality. I had not expected race to play a major role in this story, but it makes sense, given his background, why he would consider this Paradise. As a fellow biracial person born without a silver spoon, I can relate to his struggle. So hearing him describe this planet called Paradise, I can see why it earned that name. But the beat change. I find it interesting that he switched the message behind his lyrics up. It changed to perseverance and strength to overcome haters and obstacles and doubt. It gives me this feeling of self-worth as I push through the negativity to achieve Paradise. Interesting that he decided to include this message after describing what Paradise looks like. Did he do this to highlight the struggle it would take to get there? The challenge? Saying how "Of those around me that down and pray on my demise/But it only makes it that much better when I rise" definitely encapsulates his ability to attain Paradise. I'm not sure, maybe he did so as proof that he finally reached the top.

15. Never Been

Years ago, I used to be a hater of Logic. I used to despise when people complimented or praised him. So this song about remaining positive and persevering while blocking out negative hits even harder. He battles with fears of being inadequate while projecting a message of not letting those fears control your life and potential success. Amazing message. Musically, the track is very solid. The sped up, high pitched vocals on the chorus and outro remind me of Kanye’s style, and the simple beat isn’t distracting emphasizes the introspective nature of the song.

"Talk all you want about me homie, I'mma let it live/Hater this, hater that, say I sound repetitive/ Hatin' in your blood, you was born to be negative" now THAT is how you diss someone. If someone said this to me, I'd just walk away because what do you say to that? I appreciate that he is able to both dis and praise in a song, yet not come off as cocky and arrogant and braggy. Listening to him, it truly sounds like he worked his ass off to achieve his fame, so hearing him brush off haters and telling me I can do it too actually makes me feel like he's right. This songs has an introspective vibe as he recounts his insecurities of failing, yet how he can't afford to "let the devil in."

16. Run It

“Run It” is another very good track on the album. The flow and beat were dope and simple yet effective and pleasing. I think this song’s placement was strange. After hard hitters like “Stainless”, “Paradise”, and “Never Been”, “Run it” feels underwhelming by comparison. I could see this after between “Like Woah” and the White People Skit. But this late into the album, this song’s tone sit right. Ultimately a great song though.

17. Lucidity

“Lucidity” gives good insight on the theme of the album. Thomas describes taking for granted people on Earth having dreams and wants instead of living to find paradise. I like the concept of one’s life and story being defined by pursuing what you want. Mostly a set up for the final song, it’s still a solid scene.

18. The Incredible True Story

This track can be defined by one word: epic. From the first half with Logic’s vocals and singing, encapsulating the whole question in this album “Who Am I?”. The instrumentation is beautiful. Then the second half with the crew landing on Paradise is so powerful and well constructed. As a listener, I feel like I’m there with the crew. You can feel everyone’s fear, nervousness, excitement, anticipation, and hope.

What. An. Ending. I had no idea how Logic was going to end this and he did not disappoint. His lyrics in the beginning. The sub-sequential inspirational message of following your desires. The 2 men as they get ready to land on Paradise. All of that was flawless. My favorite part was the music change as the female finished her countdown of the landing and it changed to this soft, exploring sound full of hope. Hearing the 2 men talk in wonder as the sounds of nature slowly encompassed the music before hearing the woman say "Life" literally made me so fucking emotional, I'm tearing up thinking about it.

Final Thoughts

The Incredible True Story is the embodiment of Logic as an artist. It is strengthened by being unsafe. Under Pressure felt like bowling with the rails up. You’re definitely gonna score, and you may hit a strike on your own, but it’s just not as good as bowling without safety rails. And yes, you may hit gutters (”I Am The Greatest”), but putting everything on the table and living/creating unrestrictedly allows you to reach highs in life/art you wouldn’t otherwise reach. And I think by allowing himself to create riskily and unhindered, he fulfilled his own theme.

As an avid bibliophile, I will tell you that most sequels are shit. But damn, this album was fucking amazing. I have been sleeping on Logic. Honestly, 12/10 ending. Logic wanted to leave a statement that he could still be one of the best even after his debut album and, trust me, he proved it. This ending alone proved that he knows how to do this shit. I feel like I just finished reading a great book. Who knew rap could be like this?

Top 3 Tracks:

1) City of Stars 1) Stainless

2) Paradise 2) Paradise

3) Innermission 3) Incredible True Story

Overall Grade: A+

Album Link:

https://open.spotify.com/album/5dOpbgAmJeyoakKQ0QLWkR?si=bAQ0FEA4RMupkUEspycH1Q

#music review #album review #hip hop review #hip hop #logic

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oosteven-universe · 5 years

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Section Zero #1

Section Zero #1 Shadowline/Image Comics 2019 Created & Written by Karl Kesel Created & Illustrated by Tom Grummett Coloured by Ben Dimagmaliw Lettered by Comicraft’s Richard Starkings “GROUND ZERO,” Part One A team of fearless adventurers uncovers the secrets behind UFOs, MONSTERS, and LOST CIVILIZATIONS! It’s “JACK-KIRBY-does-The-X-Files” in this miniseries! Oh, my sweet Caroline! All I knew going into this was that it was a first issue from Image and I wanted to read it based on that alone. Yeah, I am a sucker for first issues, but then again doing these reviews have shown me that a lot of folks don’t take chances and first issues are always important to spotlight. Imagine my surprise upon seeing this plethora of talent involved with this, oh and Jerry Ordway cover I mean shut the front door! It is my teenage years all over again and guess what, it’s just as good as ever if not more so. This is the kind of thing that happens when talented, skilled and seasoned creators put their heads together. I really hope this is going to be a regular ongoing series or at least a series of arcs that continue to come out. The way that this first issue is structured is sensational and I love the way the ebb & flow of the book makes me feel. The opening is perfectly done, it starts off with something of a mystery and by using old school communication is something I fondly still use and it’s nice to see I am not the only one. I do like it pulls you into the story and how this communication is the perfect jumping point into what’s to come. It is also great at making me, the reader, wanting to know and see more. Alright, so one of the aspects of this that I am really liking is that this is a formation arc. They are forming a group but in order to do so, they need to find members and what better way to do that than how we are seeing here. While the unknown of how anyone obtains their unique abilities remains hidden from us for now, mostly, and I personally would like that to continue for a bit. I like that bit of intrigue that keeps us coming us back. Then there is the founder, creator, mentor for these guys and what he does which is hinted at but again I think what I perceive from him if it’s indeed accurate than it’s freakin genius. Oh sweet Bartles & Jaymes, Tom you continue to impress and amaze me with the skill and natural born talent you have. While the style is unmistakable, which is ever so sweet to see, the attention to detail that is brought to this issue, including the detail utilised in the backgrounds, is astounding. The manipulation of the varying weights of the linework to create all this is simply stunning to see on the page. There is some absolutely lovely creativity and imagination on display here and in creating new characters whom we’ve never seen before like we do here is mind-boggling. Ben’s colour work here too helps complete the visuals beautifully. The use of light sources in creating shading and the utilisation of pops of colour to draw our attention to something is magnificent. The one thing I would like to see is more gradation being utilised. The utilisation of the page layouts and how we see the angles and perspective in the panels along with how we see backgrounds here show off a stellar eye for storytelling. I’m totally chuffed by everything I am seeing here. This only keeps reaffirming my belief that comics can be current and not have to be dark and angst-ridden. We can have hope amid horrors and we can enjoy seeing characterisation through words, dialogue, actions and visuals. Why Old School is considered a negative thing is beyond me because this feels old school to me and it’s completely new, fresh and now. This is the kind of superhero book I want to read.

#comic books #comics reviews #shadowline #image comics #karl kesel #tom grummett

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nashvillesingersblog · 6 years

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HOW CAN I KEEP FROM SINGING by Crossroads

A review by Todd Wilson

So I got a text on July 20th from my friend Fred Farrell. The point of his contact was to ask if I would consider publishing a review of Crossroads' fourth CD release, How Can I Keep from Singing.

Before Fred, Jim, Brandon and Mike came together from other notable champion quartets to form Crossroads, and quickly won the International Quartet Championship in 2009. I have appreciated their friendship and admired their individual musicianship. As I pondered Fred's request for a hot minute, the first word that came to my mind was "Wow!" Like my own championship foursome ACOUSTIX, Crossroads sings a wide variety of musical styles including vocal jazz, blues, gospel, pop classics, and classic American standards. While I have served as a judge at a number of singing events, and for the Contemporary A Cappella Recording Awards over a span of almost 20 years, I have never been asked to review a new CD, so I am looking forward to this new journey in my music-filled life. LISTENING ENVIRONMENTS: I listened to these tracks in my car, on my Bose Sound Dock, and using my Fostex T20RP studio headphones. I enjoyed this recording the best in my car, as I could get more gain. My next favorite was the headphones as I could diminish background noise. The Bose speakers were last, but are portable and convenient. DISCLAIMER: Reviews are so very subjective. What I will share are my candid, personal opinions. I do not expect everyone to agree with my assessment.

01 - Just One of Those Things This refreshing new Aaron Dale arrangement opens with a scat solo by bass singer Dr. Jim Henry, and includes a wide variety of musical elements to keep things interesting. While I have no critique of the singing, Crossroads never disappoints in that category - the dynamic range felt a bit too compressed. The mix throughout this project does seem a bit dry for my personal taste but does allow Crossroads to better replicate what you might hear in an an up close and personal live performance in someone's living room at an after, afterglow. The tag was a nice musical surprise, but did not have the climactic feel you might expect. Regardless, this track showcases the amazing skills of these four singers quite well. 02 - Butter Outta Cream I've never heard this composition before and am grateful to Crossroads for expanding my horizons with this one. Great storytelling exhibited with this performance throughout. The melodic line of this song is not easy, but Mike Slamka makes difficult passages sound so effortless. Jim's solo was equally masterful and expressive, but I'd love to hear him showcased a bit more by diminishing the gain of the BGVs a wee bit and adding a touch more verb. The dry mix worked better for me on this track, than the first, however, the compressed dynamic range still left me wanting more of what we might experience from a live performance. And YES, these guys do look like they enjoy butter and cream. : ) 03 - This Heart of Mine This song grabbed me from the first word and held my attention to the very end. That statement defines emotional engagement. On the first two tracks, my ears were drawn more to (lead and bass) Mike and Jim. Fred and Brandon did nothing to call attention to what they were doing or distract me in any way. This ballad was a great vehicle to demonstrate the mood you can create when four gifted voices come together to tell a powerful story. But, it really showcased the vocal prowess of Brandon on baritone and Freddie on tenor. All four singers OWNED this performance. Hearing this made me want to reach out to arranger Brent Graham to request the sheet music so I could perform this song with my brothers in the Nashville Singers. My favorite track so far. Well done gents. 04 - A Wonderful Time Up There Intros can be a chance to capture the attention of the listener, get you in the right mood, and set the tone for the rest of the song. That said, I could have done without the first 10 seconds of this track. With the Blackwood Brothers, this southern Gospel classic showcased their bass singer, J.D. Sumner. David Wright's arrangement, while dominated by the dulcet tones of bass singer Dr. Jim Henry, also included solos by lead singer Mike Slamka and baritone Brandon Guyton. When it comes to nailing the soulfulness you often hear in great gospel quartet soloist, Brandon Guyton won the authenticity award in this mini version of the "Sing-Off." Jim's mastery of his voice through a huge range is very impressive. The over use of the off beat "dots" from the BGVs got a bit tedious for my taste. In a coaching session, I would encourage an alternative of some kind.

05 - St. Louis Blues A song/arrangement like this was meant for Crossroads. Mike has such a soulful, expressive interpretation of this W.C. Handy masterpiece, arranged by David Wright. The rest of his quartet mates add the icing to the cake. They have fun with the dissonance and occasional bending of the pitch to blues it up a bit, but not too much. Jim drops a low C a few times and I could almost envision him winking as he does it. The guys exhibit a tasteful and appropriate contrast in dynamics. 06 - The Devil Ain't Lazy This chart opens with Dr. Jim and again, he does not disappoint. All four singers generate a great deal of vocal excitement, executing close jazzy chords and tricky rhythms like pros. These guys are consummate storytellers. 07 - Not Like This Wow. Just wow. OK, that's not much of a review. Let me elaborate. Take Crossroads, add the the international mixed quartet champion, Double Date, throw in a killer arrangement by Dr. Jim Henry and a soulful solo by Brandon Guyton and what you get with this track is both magical and beautiful at the same time. I have listened to this track over and over again and do not tire of it. No critique necessary. It's marvelous, and worth the price of the CD on its own. 08 - Get On Board I think you'll enjoy this catchy, uptempo toe-tapper originally popularized by The Isaacs, and arranged by Mike's son-in-law Nathan Johnson. I loved the key changes and solos. 09 - They Could Not I really like this Steve Armstrong arrangement, Mike's treatment on the melody and of course the message. These guys came together to present a majestic performance of this Sandi Patty song written by Ron Harris and Claire Cloninger. 10 - Hello Young Lovers Rodgers and Hammerstein collaborated on this composition for "The King and I." Arranged by David Wright, this is a huge departure from the original interpretation. Kudos to David for his creativity and vision and to the guys in Crossroads for bringing it to life. I really enjoyed this jazzy uptempo treatment, the wacky chords, and Dr. Jim's walking bass lines. 11 - How Can I Keep From Singing The lush, fat, and warm chords in the intro set the tone for this gorgeous hymn quite nicely. This David Wright arrangement showcases the sweet, tenderness in Mike's lead voice. He makes it sound so effortless. Jim Henry has many solo sections on this project, but his delivery on this song is my favorite of the bunch. That said, from a mixing point of view, I would have pulled the fader bar down a bit on the BGVs to let Jim's warmth and resonance wrap around me (the listener) even more. The tenderness, dynamics and reverence complemented the message perfectly. Bravo guys!

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12 - You're My Best Friend The final cut on this project has Crossroads performing a Queen song arranged by Aaron Dale, includes Vocal Spectrum, solos by Mike Slamka and Tim Waurick, and vocal percussion by Nick Gerard. As with track 7, when you bring that much talent to the table, expectations are going to be huge. Were they met? Almost. But when your expectations are that lofty, "almost" is still very, very impressive. The singing by both quartets (as expected) was superb. The VP wasn't as distracting as I thought it might be. The arrangement kept things interesting, captured the essence of the original Queen score and introduced some new elements to boot. When you record a rock classic like this, comparisons to the original are unavoidable. The solos were stellar, but none of them delivered the sometimes "over the top" edge and passion delivered by the late Freddie Mercury. But then again, not many singers are born with those kinds of pipes? Still, this track left me wanting more. Pardon the minutia again, but similar to one of my observations in track 4, I was a bit distracted by the repeated "dah" on the tonic C note. I probably would have modified this to a "doo" and/or lower the gain a wee bit on that particular element. I liked the sweet and tender treatment at the beginning, but as the arrangement unfolded, I was hoping to hear some more edgy expressiveness to complement what was happening in the arrangement. Speaking of comparisons, when you include a contemporary a cappella chart in your project, my musical brain could not help but wonder what a few of the best collegiate a cappella groups, like the Tufts Beelzebubs or On the Rocks might have done with this chart? To end this review on a night note, (excuse the pun) another thing this track has going for it is a four-octave spread on the last chord. Nice!

In closing, this is a very fine, quality recording project with something for everyone. I encourage you to order your CD or digital download today. It's been nine years since Crossroads won the International Quartet Championship of the Barbershop Harmony Society and these four guys continue to raise the bar musically. It's an honor to have them as my friends and brothers in the Association of International Champions. They have been and will continue to be outstanding ambassadors for the a cappella community. It is no surprise that Crossroads was awarded "Quartet of the Year" in May 2018 by the inaugural A Cappella Music Awards program.

Order a copy of this or other CDs by Crossroads by clicking this link https://www.crossroadsquartet.com/cds/

#cd review #crossroads

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