I have some alluring new music to tickle your ears. Hailing from Gothenburg, Sweden, the captivating music of KÅRP has been dubbed as ‘death disco,’ a new genre to add to an already long list. KÅRP has a dark love for the paranormal, outer space and the apocalyptic state of our times, which are recurring themes in their music and lyrics.
KÅRP released their debut single Therapist^2 in October 2017, and their debut album, Album 1, was released in 2019. The album was awarded the Swedish Manifest Prize in early 2020.
KÅRP‘s forthcoming triptych of EPs has the theme of the three stages of the apocalypse: Chaos, Silence and The New World Order.
The chaos represented on the first EP features heavy, dark beats and twisted voices invoking the Berlin underground. Their new single’ It Looks Bad‘ is the first track out from the Swedish death disco ambassadors’ triptych of EP’s in 2022.
“In February 2019, we came back to Sweden from a show in LA to go on tour in Scandinavia,” the band comments. “As the pandemic came, the plans were changed. Instead, we’ve been in the studio for about two years to compose this epic series of releases on the grand theme of apocalypse.”
‘It Looks Bad’ is about how the world is burning and how our generation has zero faith in the future. It’s about how the things close to you are all that matter when the world is going down. If anything even matters. We see deadly police brutality, wildfires, pandemics, nazis in the European parliaments, George Floyd. We’re fucked. It looks bad, to put it simple.”
“That’s why the first leg of this triptych of EP’s is pretty dark sounding. The next one will be slightly more mellow. And on the last one, we’re allowing ourselves a few major chords and some hope.”
I won’t spend much time today elaborating on who Vonamor is. I will leave that until February and the album release, which I look forward to with bated breath.
Suffice to say, this track is mesmerizing and the message, well I’ll let the band tell you: “Through our darkwave music and words, we search for the question, the ambiguity, the multiform influence of a variety of demons. We feel the urgency of questioning ourselves, our fellow human beings and the reality around us,” says Giulia Bottaro.
Francesca Bottaro adds, “With VONAMOR, we turned such a feeling into a sound of female and male voices, wrapping bass-lines and electronic beats, woodwind instruments chasing and caressing you, till we make you dance and move and love with us.”
VONAMOR is made up of sisters Giulia Bottaro (voice, bass, metal flute) and Francesca Bottaro (drum station, sequencer, sax, clarinet) and vocalist Luca Guidobaldi, with Francesco Bassoli (guitars and loops) and Martino Cappelli (guitars, mandolin, bouzouki, oud, loops) joining the trio for live performances.
‘Take Your Heart’ is now available across online stores and streaming platforms, including Apple Music, Tidal, Deezer, Spotify, etc. The full-length album will be available digitally and on CD in February 2022. It can be pre-ordered directly from Time To Kill Records
Ava Vox, that’s a cool name. I like it. So, let’s break it down. Ava is a word of Scottish origin that means ‘all of’. All of something, in this case, all of vox. Vox is from Latin and means ‘voice’ specifically or sound by extension. Those definitions bring us to all of voice or sound—a full voice, which is a good descriptor of Ava Vox.
What else can we say about Ava Vox? She is an emerging artist from the Dublin, Ireland, alternative music scene. She currently lives in County Meath, and when not performing as Ava Vox, she is Elaine Hannon. In the mid-1980s, Elaine formed the gothic rock / post-punk band Seventh Veil, which had an album named Vox Animae, which seems to have morphed into the persona of Ava Vox. I like that evolution from Vox Animae to Ava Vox, to quote Abed Nadir, “Cool. Cool cool cool.”
In February 2021, Ava Vox debuted with her rendition of The Cure’s ‘Love Song,’ which she slowed down with only the accompaniment of Ray McLoughlin on piano. That is a total 180 from her last recording with Seventh Veil, which is full speed in-your-face power rock.
Ava Vox followed that with a 2-track release that included her rendition of the Soft Cell hit ‘Tainted Love’ and the classic David Bowie song ‘Life on Mars.’
Ava Vox counts numerous artists among her influences, including David Bowie, no surprise there, Patti Smith, The Cure (another one that doesn’t need elaborating), Siouxsie and the Banshees, Cocteau Twins, Bauhaus, Japan and The Cult.
“Crash brings you somewhere – to a place, to another dimension, another time / futuristic. The music and the words lead me to create a music video (forthcoming) about the consequences of Global warming/climate change, to our planet and the human race,” says Ava Vox.
“In the music video, a White Witch Goddess (the White Witch Goddess symbolizes mother nature, who loves the earth and all its species/human race), she gives you a glimpse of the present destruction/devastation caused by Global warming/ climate change and then shows what the future could be if we don’t try to save our planet, ‘the end of the world/extinction of species/human race.”
‘Crash‘ is available across online stores and streaming services, including Apple Music, Spotify and Bandcamp. Ava Vox is currently completing work on a new album ‘Immortalised,’ due for release in early 2022.
Take one bass guitar, a drum kit, and a singer who can channel the best of what punk music should sound like, blend well with a healthy dash of electronic wizardry, and you will be listening to a band called No Captains.
Based in San Francisco, No Captains consist of Danny Sando (bass and back vocals), Vince Shore (drums and percussion, he is a doppelganger of my friend from Russia, Anton) and Alex Shonkoff (vocals). I admire bands that can pull off minimalism; Japandroids immediately come to mind when I think of bands that can pull off sounding more extensive than they physically are.
No Captains can get a groove going and ride it through multiple genres. I won’t even hazard a guess as to where they fit in the dictionary of music genres. https://www.musicgenreslist.com. I prefer just listening to the music and taking it for what it is without trying to force it into a box or, in this case, boxes.
Just listening to the music on their newest album, Friends Like These, what did I hear? I heard some funky bass playing. Is this a funk band? No, Danny Sando gets funky on the bass, but No Captains are not a reincarnation of Parliament. I listened to some punk on Friends Like These, but No Captains are not confined to being a punk band. Alex Shonkoff can growl lyrics with the best of the punk movement without being limited to that genre. She also triggered memories of Annie Lennox as I listened to her singing. My ears also feasted on some choice psychedelic morsels, such as the song 13th Moon. No Captains are not the 13th Floor Elevators but they are an excellent example of getting a trippy groove going and working it. There are also elements of indie rock, progressive rock, metal, and probably more, more than enough to give you an idea of what No Captains have going on.
Without getting all analytical and pretentious, I sat down at my hobby workstation and relistened to this album without an agenda while I puttered about my latest project. I liked Friends Like These so much I listened to it yet again. I will probably spin it one more time before this day ends. Is it that good, you may ask yourself. I think it is, and I am a reasonably well-informed listener. This album twists and turns and adds flavour here and there that keeps me coming back for more because I keep hearing new bits and pieces and re-enjoying other parts. This recording deserves to be on end-of-the-year lists, which reminds me, I need to start compiling mine.
I suppose an argument could be made that Deep Purple had turned to crime a long time ago with some of their less than classic albums. I enjoyed Deep Purple up to the Mark IV version (Wikipedia), with some reservations about the Come Taste The Band album in 1975. Then the wheels fell off for thirty years. And then their new album, Turning to Crime, came out on November 26, and I fell in love with Deep Purple all over again.
I liked the original Deep Purple and still have most of their early albums, which I occasionally go back and listen to, Shades of Deep Purple, Machine Head and Live in Japan in particular. Those albums captured an era in both my life and in the history of rock and roll music. They are considered one of the founding father bands of heavy metal music.
Back to the future, Deep Purple released Turning to Crime, and it grabbed my attention right off the bat with the first track, 7 and 7 Is, a retake of the classic rocker from Arthur Lee. The current lineup of Deep Purple, Mk VII, amazingly retains three members from their earliest years as a band. Ian Paice has been on percussion since 1968, Roger Glover and Ian Gillan have done their work with Deep Purple since 1969. Steve Morse is a relative newcomer not joining the Purple parade until 1994, and Don Airey has been on the keys since 2002, an impressive run in its own right of close to 20 years. I never had a single job for 20 years in my career; 14 and 16 were the longest I was at any position. Kudos to all the members of Deep Purple for hanging in there as long as they have.
The Deep Purple attack track #2, Rockin Pneumonia and the Boogie Woogie Flu, they don’t just do a cover; they pull out the jams with this number.
The next song is a bit of an outlier from Fleetwood Mac, Oh Well. This song never featured on an album and was initially released as a single. Peter Green was the writer and singer, and this is a bit of a forgotten gem that makes it an interesting choice as a cover for the Deep Purple lads.
Next in the queue is Jenny Take A Ride which was initially a medley by Mitch Ryder & the Detroit Wheels‘ built around the blues standard See See Rider. The Deep Purple are giving us a history lesson with their choice of songs on Turning To Crime.
Continuing the blues feeling, we have Watching The River Flow, yet another song initially released as a single; this one is by Bob Dylan. Watching The River Flow eventually found an album home on the 1971 Bob Dylan’s Greatest Hits Vol. II. Deep Purple ramps up the energy and breath new life into the song.
Track six takes us into twelve-bar blues with the song Let The Good Times Roll, originally the B side of a release by Louis Jordan, Ain’t Nobody Here But Us Chickens. The Hammond organ sounds Deep Purple had in their early years, through the contribution of Jon Lord, are featured on Let The Good Times Roll, played by Don Airey on their cover of this all out rock and roll tune. It still amazes me that the original versions of these songs are seldom recognized as being early versions of rock music. Yes, they had jazz, blues or even big band sounds but they still rocked.
On the topic of chickens, the next track is Dixie Chicken, arguably the signature song for the band Little Feat. I need to get a copy of this and the rest of the Lowell George era albums by this often overlooked band. Fortunately, Deep Purple didn’t ignore them, and they give us this energetic cover of Dixie Chicken.
Next up, we have the song Shapes of Things which The Yardbirds initially recorded. I like the Deep Purple version better myself.
The next track is The Battle New Orleans, written and originally recorded by Jimmy Driftwood but popularized by Johnny Horton. There have been umpteen covers done of this song, and Deep Purple have recorded a respectable job of it, but the Johnny Horton version is so ingrained in my brain that I find it hard to get my mind around alternate versions. Just for the fun of it, give the Nitty Gritty Dirt Band‘s performance from their album Symphonion Dream a spin on your virtual turntable.
Lucifer, by Bob Seger taken off his third studio album, Mongrel, is a deep-cut cover. I must have handled hundreds of copies of Against The Wind, but I don’t remember ever holding a copy of Mongrel. Apparently, Deep Purple had because they do a cover of it on Turning To Crime. Heck, AppleMusic didn’t even have a copy of it. I had to listen on YouTube tohear what the original sounded like, which reinforced why I don’t own any Bob Seger albums.
The second to the last track is my favourite cut on this album, White Room. Cream, of course, did the original, which is a staple of any rock and roll collection. Yes, I do have a copy of it in my collection. Deep Purple do an excellent cover of this iconic song, which I applaud because the original is so deeply embedded that hearing a new version can be jarring. Deep Purple pull it off with great aplomb.
The album Turning To Crime ends with a medley that they title Caught in the Act. The listed songs are thus, Going Down, Green Onions, Hot ‘Lanta, Dazed and Confused, and Gimme Some Lovin’. Caught in the Act an ok closer, but I feel it is too scattered and doesn’t have enough glue holding it together to make it a strong closing statement.
At the end of the day, I consider Turning to Crime a good album. I would give it 8 out of 10. A better closer would have brought it up to 9, and the last digit is scattered through the album. Congrats to Bob Ezrin for suggesting this project to Deep Purple, and congrats to them for pulling it off as well as they did. Just because we are old don’t mean we’re slow, rock on Deep Purple, rock on.
Swedish-Australian indie-pop outfit Tiny Fighter presents their new single ‘Rewind,’ the first taster and the title track of their new album of the same name, slated for release in the first week of December. Filmmaker Christian Rutegård and Therese Karlsson created a relaxed grounding video for this track. Formed in 2017, Tiny Fighter grew from a collaboration between Therese Karlsson (a truck driver from Kalmar in the deep south of Sweden) and Tim Spelman (a doctor from the deep south of Australia) into a full band with members from all over the globe (Poland, Israel, UK, Australia, Sweden). They have released a string of singles and EPs, a live album, a remix collection and the full-length debut album ‘Going Home.’
After racking up 1 million views on YouTube, over 700,000 Spotify streams and successful tours through the US, Canada and Europe, Tiny Fighter were on the brink of a small but significant slice of world domination. Then came COVID, effectively putting the brakes on the whole machine. Faced with an extended period of no touring, a fan campaign led by a collection of locked-down Tiny Fighter supporters began to follow up the band’s celebrated ‘Loft Sessions (Live in New York)’ album. The problem –there was no live music, much less any touring. The solution –record an entirely new record combining brand new songs with re-interpretations of some of their fan-favourites. Thus, the ‘Rewind‘ album was born.
Different times call for other methods. The ‘Rewind‘ recording sessions saw the band bring in a whole sack full of new instruments, including mandolins, dobro, trumpets, flugelhorns, pedal steel and drum machines. In their most Scandinavian moment to date, Tiny Fighter recorded vocals in the studio sauna (arguably because of the excellent sound-proofing and bonus warmth. Tim Spelman comments, “This record represents somewhat of a departure from our previous pop-rock-based releases, with a heavier reliance on acoustic instruments and bringing in new layers including brass, mandolins, pedal steel and drum machines. The pop is still there, but it’s more intimate and stripped back –that’s why we recorded the vocals in our sauna”. This long player again sees Tiny Fighter team up Swedish metal legend and multi-Grammy award-winning producer Thomas “Plec” Johansson. Tiny Fighter recorded Rewind at The Panic Room Studio in Skövde and Stockholm, Sweden.” Our new album is a more acoustic take on our songs that already exist, except for one cover and a Swedish version of one of our songs. It has been fun looking into our own rearview mirror and now bringing some of our songs to light once more with an acoustic touch. So for this album, we are rewinding time, and, at the same time, we look forward to seeing what lies ahead of us,” says Therese Karlsson.” Usually, I receive the music from Tim, so first, I get particular feelings from the music, and that feeling turns into words and, in the end, it becomes a story. The lyrics are inspired by other people, their life stories or my own inner feelings or observations about society. This ‘Rewind‘ album sees a mix of all of that.”
On December 3, the ‘Rewind‘ album will be available via Bay Terrace Records and everywhere, including Spotify, Apple Music, and Bandcamp, available for pre-order.
Norman, a WeatheredMusic co-founder, adds, “This album piqued my interest due to the unlikely pairing of a Swedish truck driver and an Australian doctor. Somehow or another, magic happens, and they have created a splendid album. Therese Karlsson has a mesmerizing voice, and the music envelopes that voice and brings life to the lyrics. Rewind is good music, all day, any day, and it is just plain good listening.
I like it when I blog about Canadian musicians to support my hometown artists. I haven’t had any from the Isle of Harris, my paternal grandmother’s roots; I am sure they have a few that I just haven’t heard yet. I also like getting Swedish musicians, my maternal grandparent’s birthplace. And today, I dip my pen into the inkwell to jot down some words about Tilde, who found her musical muse in Gothenburg, a long way from Korpilombolo, where my grandfather was born.
Enough of the genealogy; let’s get down to the reason for this dispatch, the music. Tilde has a solid and expressive voice that draws the listener in and then holds them there. She doesn’t just tell a story; she builds it within the framework of compelling music. The smooth reverb on the guitar is luscious. The strings are gentle but mighty. The percussion is understated but able to hold the rhythm with ease. And the voice. The voice. Oh my, what a voice. Tilde draws inspiration from Nina Simone to Amy Winehouse and then belts the songs out with a voice that is all her own. Do your ears a favour and listen to this album, you will not regret it.
I am a stickler for details, and little quirks that I don’t think should be there. I can’t find any on this album. It is as solid as the rock that Sweden sits on. We just had a lunar eclipse that turned the moon a dull red, not quite the Pink Moon that Tilde has crafted but close. A total eclipse is a beautiful sight to behold, and a Pink Moon is beautiful music to hear.
‘Pink Moon’ comes out on 19 November 2021 via Vacanze Records.
I have been listening to this album repeatedly, trying to find the correct approach to this piece of music. I haven’t seen it yet, but I am still listening and looking.
The album is by a band out of Toronto, one of the two epicentres of music in Canada, the other being Vancouver. For a band to rise above the rabble in Toronto is a feat in its own right. To put out an album of such high quality as this is incredible. Kudos to Sean-Patrick Nolan and Shawn Tucker, the cocreators of TRAITRS and this album, Horses In The Abattoir.
Let’s get that album name out of the way first. Horses in an abattoir are a bit unsettling. I know it happens, but that doesn’t make it any easier to read. Shawn Tucker gives some background to the name. “The theme of the record pulls heavily from the title: taking something innocent and beautiful and ending its life for no reason.”
The second thing that stood out at first glance was the band’s name, TRAITRS. I can honestly confess that I am not a fan of this type of wordplay. The proper phonetic spelling of traitors in American English is ˈtreɪtərz. In British writing, it is ˈtreɪtəz. In everyday English, it is trey-terz or trey-ders. I can see where they were coming from, but it’s just not my thing.
What is my thing is this album, Horses In The Abattoir. I still don’t have an angle on what is going on within this album. I hear a lot of 1980’s pop-synth, a tribute to those who have gone before, I suppose. If you are a fan of Wolf Parade, The Cure, New Order, The Smiths or Depeche Mode, you will, in all likelihood, enjoy this album. I did.
Putting all my criticism aside, this is good enough that TRAITRS should be headlining shows once it becomes safe to do so. In the interim, we can all do with some good listening to pass the hours and days of the pandemic enjoyably. Horses In The Abattoir will do that for you. I put this album on and went about some tasks, and before I knew it, done. So I played it again. And then I read the lyrics and listened with intent. I listened to hear the sounds within that we don’t hear when we treat music like elevator Musik.
“To me, this record is about passing time and ageing, the frailty and impermanence of existence. How everything we know and love exists briefly before disappearing into nothing. This record covers a wide emotional spectrum from the beautiful to the horrific, overwhelming strength to heartbreaking vulnerability. We started writing ‘Horses In The Abattoir‘ in Toronto during the summer of 2018 and continued writing the album on tour overseas. If there was any spare time between shows, we spent it writing in backstage areas, hotels and while crashing on the couches and floors of our closest friends. The album encapsulates both the promise and darkness that we experienced during this very exciting but equally intense period of our lives,” says Sean-Patrick Nolan.
“Professionally, TRAITRS was on the rise, and our shows were getting bigger and better, but personally, both Shawn and I felt like we were crumbling under the weight of personal loss, depression and exhaustion. It was a life-changing time period, for better and for worse, and ‘Horses’ documents both the darkness and light that Shawn and I endured during this time. Lyrically and musically, this is the most personal and brutally honest we have ever been. Blemishes and all, this is who we are.”
“The theme of the record pulls heavily from the title: taking something innocent and beautiful and ending its life for no reason. In retrospect, ‘Horses’ captures the darkest period of our entire lives, and that hurt bleeds out all over the record. I can definitely say we are still the same band, but certainly not the same inside ourselves. Somehow ‘Horses’ became its own beast and solidified its own place in the world. At times, it seemed like all we had left was ‘Horses,’ and the record felt much stronger and self-contained than us,” says Shawn Tucker.
“We stepped out of ourselves for a while, imploding, almost not finding our way back. It was a destructive time, and I didn’t even realize what was happening until the storm had finally passed. Despite all this, we had written 17 songs, over a hundred fragments and were excited to start a new phase of our career with Freakwave Records. When I hear this record, it pulls things out of me that you might not want to feel or confront, but that’s what making art should be about. This record’s filled with anger, sadness, beauty, hurt, love, loss and beyond. I’m very proud of this record. It’s our best work to date, hands down, our post-depression record.”
I agree it is TRAITRS’ best work to date, and it fits in perfectly with the dragged-out and tedious screed of the Covid era. The lyrics are clever and sung with the perfect voicing to convey the songs to us. I endorse this album without a second thought about its worthiness. If you like 80’s synth-pop, you absolutely must listen to this recording because it captures that era’s sound and gives it a modern take. I love it.
Horses In The Abattoir drops today, November 19, at the venues listed below. This album would be perfect for your weekend. Sit back with your beverage of choice, get comfortable and let the music soak into your brain.
This album was recorded with producer Josh Korody (F*cked Up, Japandroids, Dilly Dally, Beliefs, Nailbiter) at Candle Recording Studio and mastered by Pete Maher (U2, Nick Cave and the Bad Seeds, Depeche Mode, Nine Inch Nails, Prince, Linkin Park, Katy Perry).
Coming out of New York, the music collective Loud Apartment released their new album, New Future, on November 10. Since then, I have been listening to it daily; that’s five days ago for those who are counting.
Loud Apartment is a fusion band fronted by Nevaris A.C., featured on keyboards, percussion and vocals on this new musical excursion. NYC’s musical melting pot also provided some golden nuggets of musicians, Bill Laswell on bass, turntablist DJ Logic, multi-instrumentalist Peter Apfelbaum (flute/sax), guitarist Will Bernard and drummer Location. The album also features a guest performance by Garrison Hawk.
This new album presents the sound of New York Fusion – a blend of sounds that have funk as a core ingredient. Primarily influenced by music from the ’70s and early ’80s, this is actually a modern sound that pays respect to the tune of New York. For this release, Bill Laswell created three Dub mixes from the tracks, designed as the second side of the vinyl pressing. These mixes create a sonic landscape reflecting on the themes of ‘Technology,’ ‘Rebellion,’ and ‘Rhythm and Rhyme.’
“The album looks to the future with hope but not in a naive way. There’s a lot of trouble in the world right now, especially with regards to the environment and human rights. It’s an urgent plea for radical change and a different world.” Nevaris A.C. tells us, “As the lyrics read, “technological revolution can bring solutions/innovation creation no degradation no pollution / too much exploitation from the governments and corporations/privacy invasion intrusion and manipulation.”
Loud Apartment manages to take the influences of funk, soul, rock, reggae, dub and hip hop, and the experience of growing up on the old upper west side listening to everything from Parliament-Funkadelic to Miles Davis. From Santana to Gil Scott Heron, Mongo Santamaria and Ray Barretto. Loud Apartment toss these influences together, and it comes out as a New Future.
Bill Laswell mixed and produced New Future, engineered by James Dellatacoma and mastered by Michael Fossenkemper. All of this comes together as a beautiful listening experience. I recommend a good set of over-the-ear headphones or a listening room with more prominent speakers that have room to breathe. No matter what your listening preference, this album will delight you with its blend of music styles and a vision of where music is heading, a New Future.
Post-punk swamp-goth rockersInca Babieshave released their new single ‘Crawling Garage Gasoline.’ The title reflects the imaginative gritty sound that the Manchester-based deathrock/postpunk outfit has become known for in the decades since forming in 1983. This single comes with b-side ‘Grunt Cadillac Hotel.’ Harry Stafford produced the accompanying film at NoiseBoy Studios in Salford.
With a guitar case full of new material, the Incas are gearing up to release their eighth studio album,‘Swamp Street Soul.’
Produced by Simon ‘Ding’ Archer(The Fall, PJ Harvey) at 6Db Studios, the clarity and fullness of sound on this 11-track offering surpass that of any previous Inca release.
“This ‘Crawling Garage Gasoline’ is a retelling of a 1980s Inca’s classic, all bluster and ‘pedal to the metal’ speed punk. The urge to re-record this came from its popularity as a live song at recent Inca gigs. Now paired down and with more bite, it has certainly stood the test of time. It was originally released on the ‘Surfin’ in Locustland’ EP back in 1985 and was also recorded for the Incas’ third John Peel session in June that year,” says Harry Stafford.
Today Inca Babies is a trio made up of Harry Stafford (guitar, keys, vocals), bassist Vince Hunt (A Witness, Blue Orchids) and Rob Haynes (The Membranes, Goldblade) on drums and percussion. It’s been seven years since the final release of their Death Blues Trilogy – ‘Death Message Blues’ (2010), ‘Deep Dark Blue(2012) and ‘The Stereo Plan’ (2014).
‘Swamp Street Soul’ takes us across a tightly euphoric path of differing moods and new arenas of guitar songwriting. Frontman Harry Stafford has written a gritty collection of tales that speak of madness, fearfully larger-than-life characters and over-the-top yarns, backed by a no-nonsense rhythm section locked into a pounding backbeat.
A vibrant part of Britain’s early postpunk/deathrock scene, Inca Babies’ story, began in 1983 in Hulme (Manchester). True to DIY ethos, they self-released their debut single ‘Interior’ in 1984.
With a further six singles and four albums over five years, all of which entered the UK Indie Charts, they also recorded four sessions for BBC’s John Peel show in 1984-1988 before calling it quits. Since reforming in 2007, they’ve released three albums and toured extensively around Europe, including Russia and North America and India. Renewed interest in the Incas was propelled by Cherry Red Records’ Best Of’ compilation release‘Inca Babies 1983-87: Plutonium’.