Carry Ripple is the Memphis-based project of artist, video creator and music producer, Carter Earheart-Brown, who has been releasing music under the project for a few years now. Today, carry ripple returns with, “Ailanthus Altissima”, the first single off of his upcoming record carry ripple 2, the sequel that has been in the making since the debut carry ripple was released back in 2024. Now accompanied by Kaleb Collins (The Louisville Orchestra), Sofie Pedersen (candynavia) and Heaven Schmit (Grumpy), Earheart-Brown continues to experiment with songwriting and new sonic flavors as “Ailanthus Altissima” becomes a song reeling through obsession and ecological and personal disparages.
With a dribble of acoustic guitar, “Ailanthus Altissima” seeps into the soil, steady and patient as a harmony of strings begin to nourish the dense roots that will soon make up some heavy ground. Referring to Ailanthus Altissima, or commonly known as the tree of heaven, a native plant in China that has become an invasive species here in North America, Earheart-Brown laments in its ecological havoc, singing “you’re more like a tree of hell”. The track waivers between natural whimsy and eager chaos as warming runs of woodwinds sprout underneath Earheart-Brown’s vocals that begin to grow erratically amongst the track’s flourishing melodies. At the same time, these natural elements begin to be overrun by alien-like effects and electronic fixations, wrapping around his words as Earheart-Brown sings, “Now every time I see a tree, I’m bound to think of you,” where these intrusive plants begin to be a disruption in not just space, but in thought as well.
Listen to “Ailanthus Altissima” here:
About the song, Earheart-Brown shares;
“The song idea started when I learned some people call it the tree of hell because of how annoying they are! It is an invasive plant that is often a host for the spotted lanternfly! While some of the lyrics are metaphorical, it really is about the actual plant.
I wrote it last summer when Kaleb and I were practicing for two acoustic shows opening for villagerrr and Tombstone Poetry. Tracked my vocals and the guitar with my friend Spence Bailey. Heaven, Kaleb, and Sofie recorded their parts remotely. We reamped some of the clarinets through guitar pedals for a glitchy sound. I attempted to write most of these songs without drums, so I wanted the sound to lean into that.”
You can listen to “Ailanthus Altissima” anywhere you find your music.
Written by Shea Roney | Featured Photo Courtesy of carry ripple
Today, Dear Life Records and Pretty Purgatory share Songs of Hope for Gaza, a collection of songs by 33 artists written in solidarity with Palestine. The comp consists of artists such as Little Mazarn, Thanya Iyer, Tashi Dorji, Ava Mirzadegan, Lady Queen Paradise, Ther, Adeline Hotel, and many more. In his essay titled “Notes on Craft: Writing in the Hour of Genocide”, Fargo Tbakhi says, “creative work readies us for material work, by offering a space to try out strategies, think through contradictions, remind us of our own agency.” That agency becomes the benchmark of our community, to be able to gather in shared space, utilize our tools, to connect, to listen, to lift voices, to create and to call for collective action.
You can pre-order the full album on bandcamp now for any amount you can give. The full compilation will be released on October 28th. All proceeds from this compilation will go to ANERA to support humanitarian aid and emergency relief in Gaza and beyond.
In a mission statement by the compilation’s curator, Liza Victoria, she says;
“Songs of Hope For Gaza is a compilation organized as an effort to join together as a music community to write music in solidarity for Palestine. Each musician was given a call to action to write a protest song of their own interpretation, in solidarity with Palestine. The cover painting & title is a nod to Bottles of Hope For Gaza, where in Egypt, bottles containing rice, flour, and beans were thrown into sea in hopes that they would reach the shores of Gaza. In organizing this project, I hope to offer encouragement to anyone in the music community, to speak up in song and to utilize our collective power. I believe it is vital to our own hearts, and our lives as artists, to empathize and show empathy to this cause.”
The track list of Songs of Hope for Gaza is a collection of 33 original songs written in solidarity with Palestine. The collection was mastered by Hamilton Belk.
Katie-Krysta
In The Olive Tree- Thanya Iyer
In Palestine- Christy Armstrong
Worse Than Bombs- Matt Bachmann
Sunbirds- Will Stratton
Carolina Wren- Ava Mirzadegan ft. Jason Calhoun
It Is Within You Where The Falcon Sang/ May All The Ancient Olive Trees Return Tashi Dorji
Epitaph- שאַנדע (Shande)
Nana’s Story- Guy Capecelatro III
This Very Hour- Little Mazarn
Sunbird- Stephen Kerr
The Economics Of Despair Pt. 1- Ther
The Economics Of Despair Pt.2- Lady Queen Paradise
Twila Ping- Blood Things
Sand Castles- Lisa/Liza
Precious Memory- Liam Grant
Bound To Live-Adeline Hotel
Enduring Silence – Peter McLaughlin
How Do We, Country – Ava Brennan
Nothing Fire in the Sky part II- Dee Dee and the Weeds
Two Parts-Tremolo Fields
BREAD- Young Moon
Setting Ourselves on Fire- Sam Pawlowski
All On The Lake- Amelia Riggs
Humanity- Good Good Blood
A Balm For Those Hearts Burnt and Burning Still- Mellifer
Ice Fall- Florida Ghost
The Birds Never Ask if They Deserve to Exist – Slow Hymn
Live Triptych for Gaza- Haven’s Den
Weird Dream- Glass Machine
Sending Heart- Josh Burkette
Arena- Jacob Augustine
War Cry– Asher Platts
Listen to Songs of Hope for Gaza now premiering here!
There are also statements from the artists that are featured in this collection about their own interpretations of a protest song and what it means to be in solidarity.
“This song is actually bits and pieces of conversations had about the flood in Central Texas a few weeks ago in which many children perished. One of my friends offered a prayer to the grieving parents, that children’s spirits fly to the afterworld faster than most. This conversation has been deeply intertwined with many conversations here about climate change and the need to grieve the natural world we once knew in order to adapt and live into the future. When asked if I would write a song in solidarity with Palestine, these conversations glowed bright in my mind as we here in Texas grieve the catastrophic loss of life from the flood. We are all connected in our joys and sorrows, the marrow of our days. May we walk together towards peace. This very hour.”
– Lindsey Verrill of Little Mazarn
“and the lens is a gun
hope like the sun
resistance in the make up
of water and love
water and love”
– Lyrics from “Blood Things”, Twila Ping
“This song is about the lengths that people/news media/the US and other countries countries will go to avoid witnessing genocide. But also, the ways I too unsee Palestinian death; how reading about starvation is now part of my morning routine, but my days go largely unchanged. I appreciate being a part of this compilation and other actions in solidarity with Palestinians as a way to feel less alone in my witnessing and hopefully bring some mobilization, no matter how small, towards change/relief/ending genocide and occupation.”
– Matt Bachmann
“Anas Al-Sharif was assassinated by Israel. In his last will, he said, “If I die, I die steadfast upon my principles.” We can decide to always be this clear about what we stand for.”
– Lady Queen Paradise
“songs, like history, often rhyme. when we bring struggle home and in our hearts, we create echoes of dreams that predate us, we carry them best when we do it together“
– Ther
“When care and safety is an innate human right of all people, it is such a moral imperative to speak up when that is actively being taken away and deprived of through the use of violence, starvation and murder. At this stage, the accounts of injustices enacted by Israel onto the Palestinian people are near innumerable. All people deserve safety, and all children deserve a childhood. Hearing the suffering cries of a baby which cannot be soothed due to severe burns and shrapnel wounds should be enough to mobilize anyone to act and to use their voice. This sound alone I know I will carry for the rest of my life. This is not a war, this is a genocide, and it must end.”
– Christy Armstrong
“The song is a repeated mantra peeking out from the corners of a meditative but jagged soundscape—to kill the body, but not the idea, which is bound to live. I took the words from an old labor poster that sits beside my desk and contains the quote: “it is true, indeed, that they can execute the body, but they cannot execute the idea which is bound to live.” No violence, no war, no terror inflicted by the oppressor upon the oppressed can ever truly destroy the bonds of solidarity or extinguish the flame of liberation.”
– Adeline Hotel
Victoria continues about the comp, sharing, “it was a privilege to work with each of these artists and hear their perspectives and heart show through. I am so grateful for the dedication and time they each put into this. Free Palestine. Thanks to Dear Life Records, Frank Meadows, Peter McLaughlin, Chel Painting, Hamilton Belk, Pretty Purgatory, Ava Mirzadegan, & to all the musicians involved.”
You can preorder Songs of Hope for Gaza via Dear Life Records and Pretty Purgatory now with all proceeds going to ANERA.
Modern Nun, who describe themselves as ‘queering their religious upbringing’, have developed a type of spirituality brought out by refinement and shared experience as they navigate their place in music, community and identity. But as they have continued to grow, now composed of Edie Mckenna (guitar, vocals), Haley Webster (drums), Lee Simmons (guitar) and Sam Peifer (bass), Modern Nun hold an edge to progression, a searing bit of hindsight and a little caution to the wind, as the group cuts through with both ambition and empathy. Today Modern Nun is sharing their new single “Lunch”, the second track released ahead of their upcoming EP It All out November 7th.
The band comes in as a rock n roll force, playing with a noticeable punch as “Lunch” soon breaks for immediacy amongst heavy instrumentation and gritty textures. The song feels heavier than previous Modern Nun tracks, not one solely in debt to any malice, but rather laying out an array of options for the picking as McKenna’s voice soars with deep intention. Combing through the give and takes of a soured relationship with a thinning bristled broom, McKenna sings, “I’m fantastic and you’re just alright/ I keep my sunglasses on at night”, searing with self-worth as the track collects up anything less than what is expected. These feelings are messy and sometimes unforgiving, but “Lunch” leans into it, like glue on the tips of your fingers, becoming an obsession as you peel off piece after piece. And as the guitars grumble and the drums crash with such intensity, there is some relief that comes from shedding something that was lucky enough to be a part of you for just a second.
Listen to “Lunch” here;
It All is set to be released November 7th. You can listen to Modern Nun’s other single “Unkind” as well as all their previous releases anywhere you find your music.
Dan Knishkowy, the creative stamina behind the New York project Adeline Hotel, recently announced the project’s return with his new record Watch the Sunflowers out October 24th via Ruination Records. Today, the ugly hug is premiering the second single “Just Like You”, a stunning display of attachment and self-agency in the face of a deeply rooted patterns.
“Dog tooth violence, rare blood run. Where’s my wild rose? Where will I become,” Knishkowy begins, his words linger like footsteps in an empty hallway, each step more and more pronounced as the direction and distance becomes more clear. As the track falls into its groove, ruminating in varying textures of strings and rich colors of instrumental shadows, a defiant guitar solo breaks through, dripping with distortion and unaligned with any classic structure, as “Just Like You” becomes a dynamic exchange, a transfer of self as Knishkowy pulls from this deep need to disengage with what he knows best. It’s a song that grapples with the ghosts that we have yet to become acquainted with, but Knishkowy’s writing has always held an edge to perspective, animating their presence with both curiosity and foretold hindsight when the moment comes to look those ghosts in the eyes. And in classic Adeline Hotel commotion, he shakes out the dust of folkloric expectations as the fluent instrumentation, the crack of the drums and the weightless harmonies begin to pack up their belongings and make their way to the door.
About the single, Knishkowy shares, “We started Sunflowers and left it unfinished for years. On returning, we felt inspired to totally reimagine it, ripping it apart to its bones and rebuilding it into a kaleidoscopic experience. We very much took the Yankee Hotel Foxtrot approach of ‘well, we made it, so we can also destroy it if we want to.’
The song itself mirrors that process, taking a hard look at ingrained patterning and the attempt to grow beyond that. Whether inherited generational trauma (‘in the hallways of my skin’), or the safe appeal of culturally sacred institutions, the narrator decides not to acquiesce any longer to the ease of familiarity (‘I cannot kneel’).
The titular line remains elusive still, even to me. Is it ‘I’m just like you’, a self-aware acknowledgement of how deep that conditioning goes, or ‘I just like you’, the rare feeling of connection you find with a person also committed to breaking these cycles?”
You can listen to “Just Like You” anywhere you find your music as well as preorder Watch the Sunflowers on vinyl.
Today, Motocrossed share “Drown (Country Girl)”, the second single off their upcoming debut self-titled record out October 3rd via the legendary Trash Tape Records. Coming up through Charlotte, North Carolina, this band is nothing new to the surrounding scene, although there have been some notable changes. Originally named sayurblaires, the project was formed by songwriter Blaire Fullagar, leaning into territories of digital soundscapes and emo inspired song structures. But sayurblaires soon became a project embedded with collaboration, as Colin Read (guitar), Caroyln Becht (drums) and AJ George (guitar) joined the live crew, before shortly offering to the writing process for new songs between 2023 and 2024. What came out was this newfound level of alt-country chaos as Motocrossed became the next step for the NC musicians.
In a clash of noise, Fullagar asks, “Do you wanna walk and laugh along the streetlights? We can just talk and pretend everything’s fine,” her voice falling into the motion with both confidence and an underlying layer of trust that there is something below to catch her in case she gets ahead of herself. And with that, “Drown” becomes a team effort, a culmination of distinct voicings that each bring something unique to the track, and cultivating this scenic dispute of love, curiosity, heartbreak and comradery. In the same way that we all know that Walmart parking lots have the best sunsets, the amount of noise put into the environment brings out the best of each color; loose harmonies shooting the shit amongst distorted guitars, a fiddle doing what it does best, and the rich tones from a few sax runs pull us closer into the ruckus. “Country Girl, you’re my world. But I’m not sure you should be just yet,” feels messy, but pure, and you can’t help but admire that feeling.
We recently got to talk to Blaire and Carolyn about “Drown (Country Girl)”, shifting genres, and what this project means to them.
This interview has been edited for length and clarity
You made music under the name sayurblaires for a while, but now shifting genres completely and now writing and performing under the name Motocrossed, what sparked you to want to reset everything?
Blaire: So, in 2023, we started the sayurblaires band, and we would play renditions of songs on the sayurblaires album as a full band. They were fun to play, but I feel like we kind of got detached from them and we started to write new songs. They were all just way different, because I switched to writing on guitar instead of just on my computer. They turned out a lot different, of course. And so, sayurblaires just didn’t feel right, especially because we formed the band, and then it felt like we all wrote these songs together by the time that they were actually written as a full band.
Carolyn: And it was so sonically different from what we were doing as sayurblaires, which was like, a digital, emo, screamo project, and this is, way different conceptually, unrelated almost. Not unrelated, but… we’re calling ourselves alt-country now.
Blaire: The songs that we would play, the songs that eventually became Motocrossed songs, we’d play them in the middle of the sayurblaires set, and it would feel really bizarre, honestly. So, it just felt right to switch to Motocrossed, and we’ve just played shows under Motocrossed, and we’ve only played Motocross songs since then.
Did you find that there was a shift in the shows you were playing and the crowds that were coming out?
Blaire: Yeah, when we were sayurblaires we played with bands like Your Arms Are My Cocoons and Awake But Still in Bed, which I don’t think we would have gotten those shows now. They probably wouldn’t have reached out to us. It was cool, I like those bands, and I do like emo, but ultimately, now, bands that I like a lot more are reaching out, and I feel like I’m just more in the scene that I’ve always listened to.
As that original four-piece, was it natural for everyone else to adjust to this all-country route?
Blaire: Yeah, I mean, I think everybody was super down for it, especially having the ability to write their own parts instead of the ones that I wrote for them. I think it naturally played out well. Like AJ [George], our guitarist, listens to a little bit of alt-country, but mainly they listen to a lot of really, really heavy shoegaze, so what they provide for the band is all the heavy parts. And then I feel like Colin [Read], our other guitarist and lap steel player, listens to a lot of everything, so Colin’s playing just kind of goes off of whatever the thing calls for. I think that it just naturally worked out perfectly.
With these singles, it sounds like there’s so many different voicings that you’re trying out, that it feels like it should be chaotic, but it works really well. Especially going from a 4-piece to 6 members and counting, how does this inclusion of new players represent what you wanted this project to be as you were continuing to shift and evolve and try something new?
Blaire: When we started recording these songs, I already had in mind that I wanted it to be a big band. I mean, I still want to keep adding people, I’m not against going up further. I just started reaching out to people to record on these songs that I had written. Like, the 8 songs that we have right now have probably gone through 6 or 7 versions each, just sounding different from having different people record on them.
With your new single “Drown”, you’re writing about a relationship of love and worry and complexity. What did this song mean to you as you were choosing singles and how did it come together?
Blaire: I write songs in a way where I will write one part, and then that part kind of sticks with me for a while. And then eventually, I’ll find another part that goes with it. So, this song existed as three separate parts. There was the beginning, and then the middle part, the country girl part, and then there was the end. And it came together nicely once I sat down and really wrote it. But, I’d say, more than anything, it’s just a love song. I’ve had a long on-and-off relationship for 10 years that’s messy and complicated, and that’s ultimately what it’s about. The album in general is a lot of love songs, but more than anything, it’s an album about being in love with music and the people around you. “Drown” doesn’t really feel like it’s specifically about one person in any real way, but I think it’s a good representation of the album.
You can listen to “Drown (Country Girl)” anywhere you find your music. Motocrossed is set to be released Oct 3rd via Trash Tape Records which you can preorder now!
Written by Shea Roney | Photos by Valentina Calderon
Edging is a Chicago based four piece comprised of self proclaimed “Landscaper Punks”, who make (Ugly Hug proclaimed), really fucking awesome music. Yesterday, they shared “Scam Likely”, the single the latest addition to a discography packed with overripe frustrations, charged vocals, animated riffs, and plenty of innuendos. The unapologetically explosive “Scam Likely” is a vibrant punk track that confronts late stage capitalism and the piggish mercenaries upholding unjust systems that are, well, a scam. Lines of “You take what you want”, and “you wish I wasn’t born”, and “suck up all the money”, are whacked with charged repetitions “scam likely” that beg to be sung along to. Luckily, there are plenty of opportunities for this, as Edging leaves for tour this week supporting Lambrini Girls.
Recently, our photographer David Williams took photos of Edging in Chicago. Listen to “Scam Likely” and check out the photoshoot below!
As the dog days of summer have come and gone, the newly formed Bloomington-based band Just Penelope is here to stay as they share their debut single “June, July”. Just Penelope, consisting of University of Indiana classmates Ella Curiel (vocals/guitar), Ethan Cantrell (drums/vocals) and Drew Goforth (bass), recently signed to Angel Tapes, the Chicago-based imprint of Fire Talk Records. Upon the release of their new single, Just Penelope lay it all out within their type of midwestern exceptionalism, where the blend of dynamic noise and earnest storytelling find revelries in the caricatures that live and foster life in the middle country.
Singing the praises of the power pop connoisseurs and starry-eyed romantics alike, Just Penelope enters rattled, but not deterred, as Curiel breaks ahead, singing “June, July / My shoes untied”, and leading the calloused guitars and clotted percussive motion on a mission. Written about a skateboarding injury following a parental spat, the song levels that teenage potency, where emotions feel too big to put into words and heavy distortion and scrapped knees both hold a place of fondness for rebellion and self-determination. As the song builds, embracing the heavy undertones and the melodic strains, the break in the song’s dynamic pacing showcases the intentionality behind the gives and takes of our day-to-day actions, throwing caution to the wind as we relish in that invincibility we feel in the moment.
Watch the music video for “June, July” directed and edited by Keegan Priest.
You can listen to “June, July” out everywhere you find your music. Keep an eye out for more to come from Just Penelope.
Written by Shea Roney | Photo Courtesy of Just Penelope
The first time we featured Lefty Parker in the Ugly Hug, it was for his visual art. He shared a few posters in a show flyer feature of our Newsletter, done in his medium of choice – Etch a Sketch. Its a creative tool that certainly garners novelty points, and anyone who has dabbled in one of those red boxes in their lifetime can attest to the fact that creating anything legible on there is an impressive feat in itself. But what Lefty is able to do on Etch A Sketch, and his ability to hone so much life through mere two dimensional scratches, is breathtaking. In a world pulverized by stimulation, it can often feel the price tag to attention is a never-ending slew of hollow maximalism. It’s exhausting, which is why I think today more than ever, we crave art that subverts excess. Art that is grounded in imperfection and art that takes a step back. I think that is what makes the “Etches” Lefty does so moving; the depth of sensitivity found in a portrait or animal or shower head juxtaposed against the perceived limits and simplicity of the medium. I would urge you to check them out if you have not yet.
This post is about Lefty’s music, but I choose to lead with that context because I like the parallels between his crafts. Today, Lefty announced his forthcoming record, Ark, sharing lead single, “Illusions”. It’s a story of staggering heartache through a deeply human lens; of asking the sky for answers, of the achey impacts of a memory saturated town, of the inescapable wear and tear that comes with being alive. Featuring Buck Meek, “Illusions” leaves a stubborn mark in the same way that Lefty’s Etch A Sketch pictures do – as tender vignettes unravel on a familiar folk canvas, the track is profound and touching without any sort of gimmicks. It rewards intentionality; with each listen the soft woodwinds and warm twangy melodies grow in beauty while the harmonized somber vignettes cut deeper. By rooting itself in an earnest simplicity, “Illusions” captures yearning in its most honest and delicate form. It’s refreshing and complex, and a lovely sliver of the kind of calloused storytelling we can expect from Ark.
Ark will be out October 24th. You can listen to “Illusions” now.
Sometimes the most harrowing heart break tracks are not necessarily the most immediate. Rather, they draw from a wound that is neither fresh nor healed, loitering in a state of emotional limerence and nourished more by romanticized illusion than reality. Think Yo La Tengo’s “My Heart’s Not In It” or “Antenna” by Sonic Youth. What makes these narratives so brutal lies in their inward nature – when dust settles and time dulls at the ration behind a relationship’s dissolution, there is space from a “what if” shaped hole begging to be filled with one’s own yearning. Or, in the case of bloodsports, patched up with a surge of jagged percussion. Out today, “Rosary” nods to the wistful sensitivity that lies beneath an enamel of exasperated song structures and tough sounding band name, as bloodsports paves a robust buildup sure to knock out even the worst case of self-inflicted longing.
“Rosary” comes as the lead single for bloodsports’ debut record, Anything Can Be A Hammer, announced today as well. The track builds on feats found in bloodsports’ existing discography – the melodic tensions that grip their self titled EP, the pensive lyricism bottled in 2024 single “canary”, the potency of their live sets. It also veers into new textures, leaning into a sharper sound and hinting to the dynamism we can anticipate on their debut.
I noted the nature of their sets, but for those who have yet to experience bloodsports live, I will emphasize that the four piece is well versed on the impact of oscillation. They have a knack for suspense through contoured structures, assertive drumming, and compelling buildups. The latter serves as the foundation for “Rosary”, which leads with tender vocal harmonies over bare chord progressions and ends on a blazing riff. The track’s gentle onset is armed with unease, inciting tension as you wait for an impending sonic inflation.
About the single, Sam shares, “This song was written about a relationship that I ended, and reminiscing about the feelings months after the fact. Lyrically, it’s a very bittersweet song. It looks back positively on the time that was spent but there’s also a layer of regret about the things that never quite came to fruition. It’s strange to sing live now because the relationship that it’s referencing has since been rekindled but I can still connect to those feelings from back then.”
Anything Can Be A Hammer is set to come out October 17th via Good English Records. It marks the first release for Good English, a New York and Nashville based label dedicated to creative freedom and a DIY ethos.
You can pre-order Anything Can Be A Hammer on Bandcamp.
Montana’s latest addition to the summer heat comes from the newly formed group Les Duck, who are sharing their debut single “Head Fell Off” with us all today. Coming from the pop-driven minds of Lukas Phelan (Fantasy Suite) and Sanders Smith (Soft Maybe, Wrinkles), this track is the first bit of taste-testing from Les Duck’s debut album “Love Is The Dirt” set to be released August 29th via Anything Bagel, bringing in a collection of players who embody the likings of “fast cars, loud guitars, family and friendship.”
From the daydreams that take the reins in a moment of stillness, “Head Fell Off” finds sincerity in the off-kiltered melodic fixings that Les Duck take for a joy ride with both pure excitement and full commitment. It’s a riveting collection of thoughts, unhindered by any expectations of structure or rules, where Phelan lays the dots and the sprightly instrumental voices connect em. “When my head falls off, what will they say about me? “what a fool” they will say, “though he was nice,” Phelan sings, while the track begins to unravel with charm-filled possibilities, instinctive foot tapping and a reminder that there is a bit of Timothee Chalamet in all of us.
About the single, Phelan shared, “this is a song I wrote on a walk by the river while my kids were being real wacky and getting into trouble. I guess it’s a song about feeling like a different person than the person I was before I was a parent, or at least a dumber and more scattered person. Also pondering what legacy and artistic expression means for me now that I’m like that. Not complaining though, I love it!”
Listen to “Head Fell Off” here!
You can pre-order “Love Is The Dirt” now as well as on vinyl and/or one of the Bagel’s specialty screen printed tape.
the ugly hug 