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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Burzum-Hvis_Lyset_Tar_Oss-Reissue-2010-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
▄ ░░▓████▀▀░ ░▀▀████▓░░ ▄ ▄
▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Burzum ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Hvis Lyset Tar Oss █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Byelobog Productions ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Black Metal ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-05-03 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2010-00-00 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 270 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 4 / 44:28 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 88.78 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
░▓█████▄░░ ▄ ▄ ░░▄█████▓░
▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
░▀▀ ▀▀████████████▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄████████████▀▀▀▀
▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Det Som En Gang Var 14:21 ████▓▄ ░
░ ▄▓████ 2 Hvis Lyset Tar Oss 8:04 ████▓▄ ░
░ ▄▓████ 3 Inn I Slottet Fra Droemmen 7:51 ████▓▄ ░
░ ▄▓████ 4 Tomhet 14:12 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 44:28 MIN ████▓░
░▓███████▄ TOTAL SIZE: 88.78 MB▄█████▓░
▀░▀████████▄ ▄█████▀░▀▀
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▄▄░▀█████╔════════════════════════════════════════════════════╗██████▀░▄▀
░▓█████▓░╟─────────────────────────────────────RELEASE NOTES╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Much like I've narrowed down the nexus of ║▀░▓████░▀▄
▄▀░████▓░▀║ superior thrash metal to largely dwell within the ║▀░▓████░▀▄
▄▀░████▓░▀║ realm of 1986-88, it really felt like black ║▀░▓████░▀▄
▄▀░████▓░▀║ metal's time had come in 1994. Granted, since ║▀░▓████░▀▄
▄▀░████▓░▀║ that time, there has never been a shortage of the ║▀░▓████░▀▄
▄▀░████▓░▀║ stuff, and quite a lot of it supreme, but as for ║▀░▓████░▀▄
▄▀░████▓░▀║ the second wave, 1994 was the spot. Many of my ║▀░▓████░▀▄
▄▀░████▓░▀║ favorite albums of the genre arrived this year, ║▀░▓████░▀▄
▄▀░████▓░▀║ and yes, most of them were Norwegian. Emperor ║▀░▓████░▀▄
▄▀░████▓░▀║ cornered the market on symphonic black early with ║▀░▓████░▀▄
▄▀░████▓░▀║ their brilliant In the Nightside Eclipse. ║▀░▓████░▀▄
▄▀░████▓░▀║ Darkthrone put out the one-track minded, ║▀░▓████░▀▄
▄▀░████▓░▀║ anomalously awesome Transilvanian Hunger. ║▀░▓████░▀▄
▄▀░████▓░▀║ Enslaved and Satyricon each released a pair of ║▀░▓████░▀▄
▄▀░████▓░▀║ cult faves. Mayhem finally arrived in full-length ║▀░▓████░▀▄
▄▀░████▓░▀║ form. Bands like Gorgoroth, Ancient, Hades, ║▀░▓████░▀▄
▄▀░████▓░▀║ Forgotten Woods and Gehenna were also making ║▀░▓████░▀▄
▄▀░████▓░▀║ their debuts, and the scene was expanding in ║▀░▓████░▀▄
▄▀░████▓░▀║ bounds of impressive expression. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Then, of course, there was Hvis Lyset Tar Oss ║▀░▓████░▀▄
▄▀░████▓░▀║ ('If the Light Takes Us'), Burzum's third album, ║▀░▓████░▀▄
▄▀░████▓░▀║ which served as an antithesis to everything I ║▀░▓████░▀▄
▄▀░████▓░▀║ just listed. While many Norse bands were off ║▀░▓████░▀▄
▄▀░████▓░▀║ exploring the heights of savagery and complexity, ║▀░▓████░▀▄
▄▀░████▓░▀║ Varg Vikernes was concentrating inward, to an ║▀░▓████░▀▄
▄▀░████▓░▀║ even more minimal approach than he had taken on ║▀░▓████░▀▄
▄▀░████▓░▀║ the past works. This is not a short album, ║▀░▓████░▀▄
▄▀░████▓░▀║ necessarily, being around 45 minutes in length, ║▀░▓████░▀▄
▄▀░████▓░▀║ but it focuses in on but four lengthy tracks, two ║▀░▓████░▀▄
▄▀░████▓░▀║ of which eclipse the 14 minute mark, and yet, ║▀░▓████░▀▄
▄▀░████▓░▀║ they never quite succumb to the dull pallor such ║▀░▓████░▀▄
▄▀░████▓░▀║ ambition usually wrests from the author. Gone are ║▀░▓████░▀▄
▄▀░████▓░▀║ the shorter, curving compositions found on Det ║▀░▓████░▀▄
▄▀░████▓░▀║ Som Engang Var. Each individual in this quartet ║▀░▓████░▀▄
▄▀░████▓░▀║ is drawn out to painstaking lengths, fully ║▀░▓████░▀▄
▄▀░████▓░▀║ saturating the witness to worlds of obscurity and ║▀░▓████░▀▄
▄▀░████▓░▀║ antiquity. In today's climate, this is not such ║▀░▓████░▀▄
▄▀░████▓░▀║ an uncommon practice. Unless you're living out in ║▀░▓████░▀▄
▄▀░████▓░▀║ the sticks, you probably couldn't stroll four ║▀░▓████░▀▄
▄▀░████▓░▀║ blocks without encountering a handful of ║▀░▓████░▀▄
▄▀░████▓░▀║ bedroom/desktop black or post-black metal artists ║▀░▓████░▀▄
▄▀░████▓░▀║ who drone their swollen dreams on for far too ║▀░▓████░▀▄
▄▀░████▓░▀║ long, offering next to nothing in the interior. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Back in 1994, it was still pretty unusual to run ║▀░▓████░▀▄
▄▀░████▓░▀║ across such a work. It would have been an act of ║▀░▓████░▀▄
▄▀░████▓░▀║ commercial suicide outside of genres like this ║▀░▓████░▀▄
▄▀░████▓░▀║ one, which were already suicide to begin with. ║▀░▓████░▀▄
▄▀░████▓░▀║ But Varg Vikernes has never been one to dwell on ║▀░▓████░▀▄
▄▀░████▓░▀║ such folly, and so Hvis Lyset Tar Oss stood as ║▀░▓████░▀▄
▄▀░████▓░▀║ his least accessible, but most impressive display ║▀░▓████░▀▄
▄▀░████▓░▀║ of carnage to its day. Thematically, the riffs ║▀░▓████░▀▄
▄▀░████▓░▀║ here are a blend of what we experienced on Burzum ║▀░▓████░▀▄
▄▀░████▓░▀║ and Det Som Engang Var. They're not as dark or ║▀░▓████░▀▄
▄▀░████▓░▀║ groove-thick as several of the tracks on the ║▀░▓████░▀▄
▄▀░████▓░▀║ sophomore, but they bring back some of the ║▀░▓████░▀▄
▄▀░████▓░▀║ piercing cold environment of Burzum. During ║▀░▓████░▀▄
▄▀░████▓░▀║ several segments of this album, I felt like I was ║▀░▓████░▀▄
▄▀░████▓░▀║ actually experienced a spiritual successor to ║▀░▓████░▀▄
▄▀░████▓░▀║ Bathory's Blood Fire Death. Not in the savage ║▀░▓████░▀▄
▄▀░████▓░▀║ semblance of its Viking motif, but just the way ║▀░▓████░▀▄
▄▀░████▓░▀║ the guitars are channeled through a raw, ║▀░▓████░▀▄
▄▀░████▓░▀║ repetitive glory that feels like a people, a ║▀░▓████░▀▄
▄▀░████▓░▀║ nation, or a glacier moving slowly towards some ║▀░▓████░▀▄
▄▀░████▓░▀║ conquest that was once unattainable. A forward ║▀░▓████░▀▄
▄▀░████▓░▀║ motion, if you will, that never ceases through ║▀░▓████░▀▄
▄▀░████▓░▀║ the metallic components of this CD, a wave that ║▀░▓████░▀▄
▄▀░████▓░▀║ escalates until finally breaking at about 30 ║▀░▓████░▀▄
▄▀░████▓░▀║ minutes into the track list. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ It begins with a soothing calm. Scintillating ║▀░▓████░▀▄
▄▀░████▓░▀║ keyboard lines with a flute-like tone are ║▀░▓████░▀▄
▄▀░████▓░▀║ measured off against ringing, emotionally charged ║▀░▓████░▀▄
▄▀░████▓░▀║ chords. This is "Det Som En Gang Var". The fact ║▀░▓████░▀▄
▄▀░████▓░▀║ that did not appear on the album of the same name ║▀░▓████░▀▄
▄▀░████▓░▀║ creates a startling continuity. Around 3:00, you ║▀░▓████░▀▄
▄▀░████▓░▀║ hear the war drums erupt and a Bathory like ║▀░▓████░▀▄
▄▀░████▓░▀║ procession of vision, not unlike "A Fine Day To ║▀░▓████░▀▄
▄▀░████▓░▀║ Die", but steadier and longer. There is little ║▀░▓████░▀▄
▄▀░████▓░▀║ else to occur here for minutes, just a repeating ║▀░▓████░▀▄
▄▀░████▓░▀║ of the drum fills, the sauntering in and out of ║▀░▓████░▀▄
▄▀░████▓░▀║ the synthesizer, and at last, 5 minutes deep, the ║▀░▓████░▀▄
▄▀░████▓░▀║ tortured tones of Vikernes' vocals arrive like a ║▀░▓████░▀▄
▄▀░████▓░▀║ strangulated hag. Rinse, repeat until about 8 ║▀░▓████░▀▄
▄▀░████▓░▀║ minutes where an arching guitar melody arrives to ║▀░▓████░▀▄
▄▀░████▓░▀║ mimic the keyboard, with a deviating tail that ║▀░▓████░▀▄
▄▀░████▓░▀║ feels like a blood caked knife being dragged ║▀░▓████░▀▄
▄▀░████▓░▀║ across the solid ice of a forgotten pond in which ║▀░▓████░▀▄
▄▀░████▓░▀║ someone drowned, their preserved corpse staring ║▀░▓████░▀▄
▄▀░████▓░▀║ through the glass miasma at the returned ║▀░▓████░▀▄
▄▀░████▓░▀║ murderer. In its waking moments, the rhythm and ║▀░▓████░▀▄
▄▀░████▓░▀║ ambiance shifts to an even slower pace, and then ║▀░▓████░▀▄
▄▀░████▓░▀║ in closure a final variation on the central ║▀░▓████░▀▄
▄▀░████▓░▀║ guitar riff arrives to carry it out to oblivion. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ "Hvis Lyset Tar Oss" itself follows, increasing ║▀░▓████░▀▄
▄▀░████▓░▀║ the pace of the album to a blast, perhaps the ║▀░▓████░▀▄
▄▀░████▓░▀║ most intense and level blast Burzum had yet ║▀░▓████░▀▄
▄▀░████▓░▀║ managed, the drums kept very low in the mix so ║▀░▓████░▀▄
▄▀░████▓░▀║ the minimal variation in the guitar can create a ║▀░▓████░▀▄
▄▀░████▓░▀║ fuzzed out clarity alongside another of the ║▀░▓████░▀▄
▄▀░████▓░▀║ beautiful but effortless synth lines. The vocals ║▀░▓████░▀▄
▄▀░████▓░▀║ here sound even more forceful than the first ║▀░▓████░▀▄
▄▀░████▓░▀║ track, as if the strangling victim had freed ║▀░▓████░▀▄
▄▀░████▓░▀║ itself, to mock and chastise a gathering of ║▀░▓████░▀▄
▄▀░████▓░▀║ onlookers, to curse them for their passive ║▀░▓████░▀▄
▄▀░████▓░▀║ fascination for its own suffering. Slight shifts ║▀░▓████░▀▄
▄▀░████▓░▀║ are carved into this mountain of atrocity beyond ║▀░▓████░▀▄
▄▀░████▓░▀║ the 2 minute mark, minimal but effective guitar ║▀░▓████░▀▄
▄▀░████▓░▀║ lines that maintain the hypnosis Vikernes is ║▀░▓████░▀▄
▄▀░████▓░▀║ striving for, and then around 6 minutes there is ║▀░▓████░▀▄
▄▀░████▓░▀║ a final, desperate rush, before the torch is ║▀░▓████░▀▄
▄▀░████▓░▀║ passed over to "Inn I Slottet Fra Droemmen (Into ║▀░▓████░▀▄
▄▀░████▓░▀║ the Castle from the Dream)" and its deceptively ║▀░▓████░▀▄
▄▀░████▓░▀║ jarring monotony. Through this track, Varg weaves ║▀░▓████░▀▄
▄▀░████▓░▀║ Voivod-like dissonance and a gleaming, methodic ║▀░▓████░▀▄
▄▀░████▓░▀║ force until a graceful breakdown half-way in, ║▀░▓████░▀▄
▄▀░████▓░▀║ guitars taking all the weight here until the ║▀░▓████░▀▄
▄▀░████▓░▀║ drums return around 5:30 and slowly gather speed ║▀░▓████░▀▄
▄▀░████▓░▀║ until the lamenting melody of its final act. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Lastly, there is "Tomhet (Emptiness)", which was ║▀░▓████░▀▄
▄▀░████▓░▀║ wisely placed so as not to erupt the rest of the ║▀░▓████░▀▄
▄▀░████▓░▀║ ritual. With good reason: this is not a metal ║▀░▓████░▀▄
▄▀░████▓░▀║ song. No, this is more akin to something ║▀░▓████░▀▄
▄▀░████▓░▀║ Tangerine Dream would have written during their ║▀░▓████░▀▄
▄▀░████▓░▀║ peak of 80s soundtracks and studio albums, a ║▀░▓████░▀▄
▄▀░████▓░▀║ highly saturated, dreaming atmosphere conjured ║▀░▓████░▀▄
▄▀░████▓░▀║ through three primary synth lines. One of them is ║▀░▓████░▀▄
▄▀░████▓░▀║ mere resonance, surviving for several minutes, ║▀░▓████░▀▄
▄▀░████▓░▀║ while the second repeats a vague, spacelike ║▀░▓████░▀▄
▄▀░████▓░▀║ pattern, and the third crowns it all with ║▀░▓████░▀▄
▄▀░████▓░▀║ benevolent, but cold bliss. Before the 7 minute ║▀░▓████░▀▄
▄▀░████▓░▀║ period, these fade into a more somber tone, as if ║▀░▓████░▀▄
▄▀░████▓░▀║ submerged in an arctic sea, the plump and plucky ║▀░▓████░▀▄
▄▀░████▓░▀║ little melodies of the depths queued by the ║▀░▓████░▀▄
▄▀░████▓░▀║ diver's exposure to the wildlife found therein, ║▀░▓████░▀▄
▄▀░████▓░▀║ calm and strewn towards its destiny of predator ║▀░▓████░▀▄
▄▀░████▓░▀║ and prey. Later, around 10 minutes, flute-like ║▀░▓████░▀▄
▄▀░████▓░▀║ sounds and tinny, recessed percussion arrive that ║▀░▓████░▀▄
▄▀░████▓░▀║ seem to leech the listener from that depth and ║▀░▓████░▀▄
▄▀░████▓░▀║ create a glade-like incandescence, as if the ║▀░▓████░▀▄
▄▀░████▓░▀║ diver had drowned and was seeing some arboreal ║▀░▓████░▀▄
▄▀░████▓░▀║ Elysium. It's quite strange, but it's also my ║▀░▓████░▀▄
▄▀░████▓░▀║ favorite track on this album... ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ As usual, with any Burzum release, you simply ║▀░▓████░▀▄
▄▀░████▓░▀║ cannot expect to experience the same emotions ║▀░▓████░▀▄
▄▀░████▓░▀║ you've found on previous releases. For all its ║▀░▓████░▀▄
▄▀░████▓░▀║ subtle similarities, there are just as many if ║▀░▓████░▀▄
▄▀░████▓░▀║ not more differences found throughout Hvis Lyset ║▀░▓████░▀▄
▄▀░████▓░▀║ Tar Oss. Here, Vikernes has mastered the ambient ║▀░▓████░▀▄
▄▀░████▓░▀║ half of his equation for the first time in ║▀░▓████░▀▄
▄▀░████▓░▀║ memory. "Tomhet" is the most rapturous voyage he ║▀░▓████░▀▄
▄▀░████▓░▀║ had yet penned outside his metal material, but ║▀░▓████░▀▄
▄▀░████▓░▀║ its stunningly simple. Just about anyone with an ║▀░▓████░▀▄
▄▀░████▓░▀║ inkling of how to hit a synthesizer chord and ║▀░▓████░▀▄
▄▀░████▓░▀║ press a 'record' button could have performed ║▀░▓████░▀▄
▄▀░████▓░▀║ this. And that's the beauty. The return to earth. ║▀░▓████░▀▄
▄▀░████▓░▀║ To elements. The rustic, puerile charm. It's an ║▀░▓████░▀▄
▄▀░████▓░▀║ enormous contrast to the charge of the first ║▀░▓████░▀▄
▄▀░████▓░▀║ three tracks, and yet ironically the perfect ║▀░▓████░▀▄
▄▀░████▓░▀║ post-script, as if all rising tension and glory ║▀░▓████░▀▄
▄▀░████▓░▀║ led to its necessary calms. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Because of moments like this, Burzum is very ║▀░▓████░▀▄
▄▀░████▓░▀║ often equated with being one of the few 'artists' ║▀░▓████░▀▄
▄▀░████▓░▀║ within the metal sphere. I'm going to tell you ║▀░▓████░▀▄
▄▀░████▓░▀║ that this is utter bullshit. Projected elitism. ║▀░▓████░▀▄
▄▀░████▓░▀║ Bleary eyed snobby smearing. Virtual reality. If ║▀░▓████░▀▄
▄▀░████▓░▀║ someone tells you this, hit them with a stick. ║▀░▓████░▀▄
▄▀░████▓░▀║ Then hit them a second time, for me. Almost all ║▀░▓████░▀▄
▄▀░████▓░▀║ metal through the ages, like other forms of the ║▀░▓████░▀▄
▄▀░████▓░▀║ medium, have been art, just of varying strengths, ║▀░▓████░▀▄
▄▀░████▓░▀║ purpose and size, of which we can argue until ║▀░▓████░▀▄
▄▀░████▓░▀║ we're blue in the face. But that Vikernes is more ║▀░▓████░▀▄
▄▀░████▓░▀║ 'artsy' than some would be hard to dispute. He ║▀░▓████░▀▄
▄▀░████▓░▀║ conjures minimal aesthetics with a clear purpose. ║▀░▓████░▀▄
▄▀░████▓░▀║ He's a masterful composer with few tools. A ║▀░▓████░▀▄
▄▀░████▓░▀║ divisive engineer of aural frustrations. Hvis ║▀░▓████░▀▄
▄▀░████▓░▀║ Lyset Tar Oss is with ease one of his most potent ║▀░▓████░▀▄
▄▀░████▓░▀║ statements, surpassed marginally by its successor ║▀░▓████░▀▄
▄▀░████▓░▀║ in my reckoning, and only by a mere elbow's ║▀░▓████░▀▄
▄▀░████▓░▀║ breadth. Armed with lyrics of loss and wrath, ║▀░▓████░▀▄
▄▀░████▓░▀║ this album forms a unique bridge to the more ║▀░▓████░▀▄
▄▀░████▓░▀║ historically, folk driven themes Vikernes would ║▀░▓████░▀▄
▄▀░████▓░▀║ use on further efforts. It's not entirely ║▀░▓████░▀▄
▄▀░████▓░▀║ flawless. There are a few minutes in the first ║▀░▓████░▀▄
▄▀░████▓░▀║ two tracks that often cause some drift (not in ║▀░▓████░▀▄
▄▀░████▓░▀║ the right direction), but on the whole this ║▀░▓████░▀▄
▄▀░████▓░▀║ remains a desperate, delicate, intricate and ║▀░▓████░▀▄
▄▀░████▓░▀║ destructive pleasure to experience. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟──────────────────────────────────────────────────╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════QUOTES╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ You give me 5 Bloods, 5 Crips 4 Mexicans and 3 ║▄▄███████▓░▀
▀░▓███████▄▄║ rednecks, this shit would have been over. Niggas ║▄▄███████▓░▀
▀░▓███████▄▄║ and Mexicans, we go over there and steal all the ║▄▄███████▓░▀
▀░▓███████▄▄║ tracks off their tanks, them tanks will be on ║▄▄███████▓░▀
▀░▓███████▄▄║ bricks. We come back home like "Who want some ║▄▄███████▓░▀
▀░▓███████▄▄║ tank tracks?". And y'all know rednecks love ║▄▄███████▓░▀
▀░▓███████▄▄║ hunting , a redneck you give that nigga rifle ║▄▄███████▓░▀
▀░▓███████▄▄║ with a scope he can hit a fly off a deer's ear ║▄▄███████▓░▀
▀░▓███████▄▄║ from 500 yards. They don't fuck around and they ║▄▄███████▓░▀
▀░▓███████▄▄║ all have a hunting dog named Petey, you know them ║▄▄███████▓░▀
▀░▓███████▄▄║ pointer motherfuckers. You drop them in ║▄▄███████▓░▀
▀░▓███████▄▄║ Afghanistan Petey gonna point at the right cave ║▄▄███████▓░▀
▀░▓███████▄▄║ [Mimicking Petey] "Mofucker in there, ║▄▄███████▓░▀
▀░▓███████▄▄║ motherfucker in there!! I smell him!!". ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Eddie Griffin ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟──────────────────────────────────────────────────╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────GROUP NEWS╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ coders, crackers and anything else ║██▄▄░░
▄▄░▀█████║ ║██████▀░▄▀
░▓█████▓░║ that may be of use to us. ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
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