The Go! Team has always had a knack for embracing 1970s and 1980s nostalgia without a hint of mockery or irony. It’s part of what has given their discography — including the highlights Thunder, Lightning, Strike and Rolling Blackouts— a particular kind of endurance. The latest album from the Ian Parton-headed project, Get Up Sequences Part One, is no different. These 10 songs, though at times more streamlined than most of their previous projects, never lack in enthusiasm. The opening track ‘Let the Seasons Work’ feels like an overture that hits on several of the band’s trademark musical devices — shiny horn lines, rolling percussion, laser-shooting electronic sounds. “Stay right here/ ‘Cause it’s coming/ ‘Round again,” Ninja declares as if she’s singing not only of the seasons but of the band itself.
And around again they’ve come. ‘A Memo for Maceo’, despite starting with a winding rush of noise, quickly pivots into a sunny urgent instrumental featuring grooving rhythms and Parton’s playful harmonica. The single ‘Pow’ turns to another time-tested formula: Ninja rapping verses over a catchy hook that are broken up by hard-hitting drumlines. ‘A Bee Without Its Sting’, which features Detroit vocalist Jessie Miller, is among the album’s brightest songs despite its exploration of the darker dynamics of power (“We’ll keep trying to take it away/ After all, it’s all wе can do”).
The album also contains more sparse and straightforward moments. ‘Cookie Scene’ relies on little more than a bouncing recorder melody and some percussion. Though a fun song — one that listeners could imagine playing hopscotch to — it sounds like a stripped-down version of ‘A Bee Without Its Sting’ (the song still succeeds thanks to Indigo Yaj’s unyielding delivery). Instrumental ‘Tame the Great Plains’, despite its rallying horn lines, never evolves across its three-minute runtime: it’s a song that could be trimmed a minute and be just as effective. That it’s also the album’s penultimate track makes its placement all the more puzzling.
Yet The Go! Team still throws in some twists throughout Get Up Sequences Part One. ‘Freedom Now’ is the most sonically experimental on the album; the song trades in hook-laden melodies for a whirlwind of percussion and teasing vocal samples. The band also doesn’t spare on its trademark blend of go-lucky aesthetics with lyrical depth or emotion. ‘We Do It But Never Know Why’ captures a fresh relationship at a crossroads: “Just let me know/ Say the word and we’ll never be lonely,” Ninja sings, her delivery free of pressure or sadness. The album ends with the thumping ‘World Remember Me Now’, a title that would be too on-the-nose if not for the existential weight of its lyrics. “Flip the calendar and pop the toast/ World remеmber me now,” Ninja sings alongside a parade of steel drums and brass lines that echo her melodies.
In the time between 2018’s Semicircle and this record, Parton suffered severe hearing loss and the loss of his father. These are significant and devastating events, which makes the arrival of Get Up Sequences Part One all the more special: at just over a half-hour, the album packs enough fun to make for an enjoyable listen. Six albums and counting, The Go! Team’s endurance has yet to falter.
Sonic Youth founder Thurston Moore is set to release a new memoir entitled Sonic Life. According to thepublishing industry site The Bookseller, the book will explore the “wild music and endless wonder” of Moore’s life and career and will come out in 2023 through Faber in the UK and Doubleday in the US.
A synopsis reads: “From his infatuation and engagement with the Seventies punk and ‘no wave’ scenes in New York City to the 1981 formation of his legendary rock group to 30 years of relentless recording, touring, and musical experimentation, birthing the Nirvana-era of alternative rock, and beyond, it is all told via the personal prism of the author’s intensive archives and research.”
Angel Olsen has announced a new EP of ’80s covers called Aisles. The project, which is out August 20, features her takes on songs by Laura Branigan, Billy Idol, Men Without Hats, Orchestral Manoeuvres in the Dark, and Alphaville. Check out Olsen’s cover of Branigan’s ‘Gloria’ below, and find the EP’s cover artwork and tracklist.
The Aisles EP was recorded in the winter of 2020 with co-producer and engineer Adam McDaniel at Drop of Sun Studios in Ashville. “I told Adam I had an idea to record some covers and bring some of the band into the mix, or add other players,” Olsen said in a press release. “I needed to laugh and have fun and be a little less serious about the recording process in general. I thought about completely changing some of the songs and turning them inside out. I’d come over to find Adam had set up 5 or so synthesisers, and we’d get lost on a part for a while messing with some obscure pedal I knew nothing about. We’d spend a good amount of time going through sounds before finding one or two, sometimes we’d get real weird and decide to just go with it.”
Speaking about her decision to cover ‘Gloria’, she added: “I’d heard ‘Gloria’ for the first time at a family Christmas gathering and was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that’s when I got the idea to slow the entire song down and try it out in this way.”
Aisles will be released via Olsen’s new Jagjaguwar imprint somethingscosmic. “I’m very excited to be introducing somethingscosmic, an imprint that will serve as the home for all my covers, collaborations, and one off singles,” said Olsen. “In this time away from touring I have been inspired to create more, and somethingscosmic will give the me flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar. The hope is that it will become a place for all of my creative endeavors, music and otherwise.”
1. Gloria (Laura Branigan Cover)
2. Eyes Without A Face (Billy Idol Cover)
3. Safety Dance (Men Without Hats Cover)
4. If You Leave (Orchestral Manoeuvres in the Dark Cover)
5. Forever Young (Alphaville Cover)
After announcing that her fourth album would be produced by Nine Inch Nails’ Trent Reznor and Atticus Ross, Halsey has now revealed the project’s release date and cover artwork. If I Can’t Have Love, I WantPower arrives August 27 via Capitol Records. Check out the album artwork, which was unveiled in a video shot at New York City’s Metropolitan Museum of Art, below.
“This album is a concept album about the joys and horrors of pregnancy and childbirth,” Halsey explained on Instagram. “It was very important to me that the cover art conveyed the sentiment of my journey over the past few months. The dichotomy of the Madonna and the Whore. The idea that me as a sexual being and my body as a vessel and gift to my child are two concepts that can co-exist peacefully and powerfully. My body has belonged to the world in many different ways the past few years, and this image is my means of reclaiming my autonomy and establishing my pride and strength as a life force for my human being.”
She added: “This cover image celebrates pregnant and postpartum bodies as something beautiful, to be admired. We have a long way to go with eradicating the social stigma around bodies & breastfeeding. I hope this can be a step in the right direction!”
Self Esteem – aka Rebecca Taylor – has announced her second album, Prioritise Pleasure. The follow-up to her 2019 debut Compliments Please will be released on October 22 via Fiction Records. Today, Self Esteem has shared the album’s title track, alongside a self-directed video. Check it out below and scroll down for the LP’s cover artwork and tracklist.
“The song is a wide screen mantra, remembering to put myself first and in turn making myself a better, more present person,” Taylor explained in a press release. “My journey to accept myself is far from over, but over the last few years some of the age old simple shit has started to finally kick in. Love yourself, be in the moment, put your needs first – that all used to feel so abstract and impossible but with a bit of will power (and writing a tonne of songs about it), I finally not only see the benefits but am actively enjoying them.”
Taylor added: “The video is of course a homage to Madonna’s blonde ambition tour and also a testament to how hard work pays off. Me and the girls in the band did lots of zoom rehearsals and us nailing this choreo was a really triumphant moment for us, and choreographer Stuart Rogers who never doubts we’ll get there.”
Taylor describes Prioritise Pleasure as “13 songs of cleansing myself of the guilt and fear of being a woman who is ‘too much’ and replacing that very notion with a celebration of myself, of you, of being a human and the way that isn’t always easy or perfect, and that’s ok. Sorry to my parents for the lyric “shave my pussy, that’s just for me” but i think it’s maybe my finest hour!”
Prioritise Pleasure Cover Artwork:
Prioritise Pleasure Tracklist:
1. I’m Fine
2. Fucking Wizardry
3. Hobbies 2
4. Prioritise Pleasure
5. I Do This All The Time
6. Moody
7. Still Reigning
8. How Can I Help You
9. It’s Been A While
10. The 345
11. John Elton
12. You Forever
13. Just Kids
The Goon Sax have shared a new single from their upcoming album Mirror II ahead of its release tomorrow (July 9). Written by drummer Riley Jones, ‘Desire’ arrives with an accompanying music video directed by Eddie Whelan. Check it out below.
Jones said of the new track in a statement:
When I wrote ‘Desire’, I lived with James and Louis in a share house in Paddington, Brisbane called Fantasy Planet. Technically, it was written out like “$ ◇ a Planet”, it was my friend Tim Green’s reference to the psychoanalytic theory of Jacques Lacan. In my basic understanding of the way Lacan theorised fantasy, desire is founded upon a lack. The diamond (◇) represents all the ways we relate to a lost object: everything above, below, around, more than, less than, with, without, in spite of, and because of it. The cause of our desire is a gap that we are always trying to fill, even while it constantly evades us.
Desire is complex. Unconscious attachments hang on invisible threads. Fantasies and daydreams emerge, dangerous hallucinations cause reckless actions, mis-remembrance causes total distortion. I think that’s why we have to resort to symbols to express it. This song is my symbol (◇). I wanted it to feel as expansive as a Les Rallizes Dénudés song – to reverberate beneath waters that flood all the crevices of the earth, to leave no gap unfilled and I wanted it to be as universal as one of those crushing Elvis songs – so poignant that its sentiment seems to ring out forever, just like Desire.
HBO has unveiled the trailer for Woodstock ‘99: Peace, Love, and Rage, an upcoming documentary about the infamous three-day music festival. The film, directed by Garret Price and executive-produced by The Ringer’s Bill Simmons, is part of the network’s Music Box documentary series, which includes films about Alanis Morissette, DMX, Kenny G, and Juice WRLD. Watch the trailer below.
Woodstock ‘99: Peace, Love, and Rage features interviews with Woodstock organizers Michael Lang and John Scher as well as musicians including Moby, The Roots’ Black Thought, Korn’s Jonathan Davis, the Offspring, and Creed’s Scott Stapp. Music journalist Steven Hyden, whose Woodstock ‘99 podcast Break Stuff: The Story of Woodstock ’99 debuted on Simmons’ Ringer podcast network two years ago, is the consulting producer on documentary and a talking head in the trailer.
Woodstock ‘99: Peace, Love, and Rage premieres July 23 on HBO and HBO Max.
Mabe Fratti is a Guatemalan cellist, composer, and producer currently based in Mexico City. Though she moved there in 2016 after being attracted to the city’s vibrant music scene, the stress of the pandemic led Fratti to La Orduña, an abandoned juice factory turned artist residence in Veracruz. During her stay there, Fratti recorded the follow-up to her 2019 debut, Pies Sobre la Tierra, drawing inspiration as much from her natural surroundings as her encounters with fellow residents in the space. Fittingly for a largely improvised album about human communication, Será que ahora podremos entendernos? – released on June 25 via Unheard of Hope – features collaborations with the likes of Texas-based experimentalist claire rousay, multi-instrumentalist Pedro Tirado, and the drone rock band Tajak, though Fratti carves out a vision that is distinctly hers. The record’s title, which translates to Will we be able to understand each other now?, not only alludes to the conversations Fratti imagines through her music, but also evokes the cyclical, unending nature of its journey towards a shared intimacy. Wrapped around a hypnotic combination of cello, synths, and field recordings, Fratti’s ethereal voice posits questions and suspends them in time through repetition, oscillating between hope and fear, briefly turning personal insecurities into avenues for connection and openness.
We caught up with Mabe Fratti for this edition of our Artist Spotlight interview series to talk about her musical journey, the making of her new album, and more.
You started playing music as a pastime withyour sister. How do you look back on those memories of connecting to music at a young age?
It was kind of just trying to understand the magic of it. I come from a religious family where music kind of has this power from, like, an external entity. So I kind of knew about that energy, that load to music, but once I started playing, especially just going to the academy and stuff, it was more about knowing how I could make it. I remember playing some long notes on the cello, or, as I was practicing my exercises, finding something that was very resonant to me and enjoying that; enjoying the exercises or enjoying a scale, finding things that I felt a lot as I was playing.
Was there an interactive or conversational aspect to it at the time when you were playing with your sister?
We played together sometimes like a game, but it started like a game and then it became our discipline, and we kind of just went alone to our rooms and practiced. So what started like a game very fastly became more aboutour personal process. I found out about the conversational way later.
As you mentioned, you both went to study music at a small academy, where you decided to focus on the saxophone, only to be told by the academy’s director that you didn’t have the breath for it. Did you feel strongly about this at the time?
I don’t remember my reaction, but I remember that I kept when going to the ensemble to see my sister play the violin. I just started just seeing all the other instruments and I went, “I wanna play the cello.” Now I have a saxophone, and I’m learning saxophone now. [laughs] I didn’t feel like I was defeated in any way, I was like, “Okay, if that’s the thing, I can see other options.”
During that time when you were studying music as an academic practice, why did you then decide to abandon it?
I kind of felt stuck. There’s a series of exercises made by Karl Popper – there’s like different levels, and the last level is too much. I was feeling that I was not going forward. And I think that, parallel to my teenage mind – I was like, rebelling from everything, not doing anything, kind of being very nihilistic about life and all that. So I just felt stuck and stopped practicing.
How did you fall back into it?
In my rebelling years, my teenager years, I started listening to more music that was more like what was going on on TV and all that. My mother was against TV, so I didn’t see MTV or anything like that. I jumped into music in general, listening to contemporary music, like bands and stuff – that was with Ares and Limewire and all those software that you used to download music. And I met people that were listening to music that made me feel like, “Oh, what’s this?” Because of that, I just came like back into music from another perspective that was more like, “Okay, I want to make those kinds of sounds, how can I make them with an instrument I know how to play?” And I saw the beauty of the cello as well, the sounds still resonated when I played them. That feeling came back; it was always there, I just didn’t remember.
Could you try to describe that feeling?
It just makes me feel really attentive of what’s going on with the sound. It’s like a meditation thing, when you are very present.
You mentioned getting into more contemporary and popular music, but were introduced to experimental music at all at the time? Was it something that you were aware of?
It’s funny because in Guatemala, there’s no such direct access to experimental music. Here in Mexico City, you can go to a place where they are playing noise or people are improvising. In Guatemala it’s not too much like that, but I did meet a couple of people in the academic circle that were into more contemporary music with extended techniques; but more into the academic perspective, not very punk, not very trashy stuff. I felt a connection to music that sounded, like, difficult, and I started learning more about it through conversations and books, but it was all academic. I learned a little bit about free jazz as well. But then I got a residency here in Mexico in 2015, and I met crucial people in my life: I met Julian Bonequi, who is a noise artist and improviser, and Gudrun Gut, from the German band Malaria!, and met one of the members of Faust. We were in a residency made by the Goethe Institut, and I started just talking about music and I remember I was very amazed and surprised at the things that I didn’t know yet. That was like an awakening for me and my curiosity. They kind of opened this door for me, like, “Hey, this is something that you haven’t explored too much.” After that I eventually came to live here.
What did you like about the improvisation scene in Mexico City?
What I really like about improvisation is the energy that it transmits to me. It’s the kind of music that I really enjoy seeing live, because I just feel hypnotized by this kind of music; I like the fastness of it, or just how it’s not perfect, it’s not planned. And here in Mexico City, it’s very vibrant, because it’s a really noisy and chaotic city and there’s too many things going on all the time. And you can see that also in the places where people improvise.
It must also be difficult sometimes precisely because it’s not planned, and you can’t always control where that energy comes from. And for your new album specifically, I read that it was hard for you to find inspiration at first, but the project started taking shape while you were staying in La Orduña. In what ways did this artist space influence the recordings? The opening track, ‘Nadie Sabe’, seems to be particularly inspired by the surroundings.
I was very paranoid about the pandemic and there were so many things going on with my life. I remember one of my friends, who is a partner of one of the persons that live in the factory, she told me that she was going to go to the factory, and I’m like, “I’m going with you.” And then, when I go to the factory, I just have this enormous open space. There’s a lot of fauna, but on top of that it was summer so there were lots of animals and insects especially. You could feel the presence of so much life. And I was with friends, and we were having lots of conversations talking about music and we were listening to each other’s stuff. Being in that environment, I felt so safe, and didn’t feel so much the pressures that I felt in the city.
And in the first track, because I was given a room in a house, and I opened the windows and I recorded with the windows open – it’s funny because there are so many coincidences in the tracks where I sing and a bird responds, or I play the cello and there’s also a bird, like in ‘Hacia el Vacío’.
What inspired you, then, to focus on the theme of human communication, even though nature plays such a big part in this project?
Yeah, but we are also nature in a way. This topic specifically, with Coco [Badán] – he’s one of the people that collaborated, he’s the bass player of Tajak, the band that was mixing their album there – we’re just sitting and I remember we were talking about, like, not being able to say something. And because he always gets too many ideas in his head, he’s like, “You know what? Nothing.” [laughs] And he’s like, “I always get this feeling that I want to say something, I feel like I have it in my head, but I just cannot say it because I don’t know how.” We’re talking about the idea – all of this information and finally just having one small organ that translates and condenses all of these ideas. So, after that conversation, I was like, “Yeah, this is something very human, and I feel like that all the time, I want to talk about it.”
To what extent do you see improvisation as a way of having a conversation or a dialogue with yourself?
I think we are always, in a way, improvising, right? With myself, I sometimes can be very neurotic in my everyday life, but there are moments where I feel extremely fluent and that’s when I feel extremely comfortable. I see improvisation as a means to understand yourself better, or even enrich or nourish yourself. I really connect intuition with improvisation, and I do really like to explore my intuition because that’s how I think that I’ve come to understand the color palette I use to make music. So it’s a means to understand myself and my own musical language. I suppose that also applies to me; the way that I talk, my language skills.
With this album, did you feel like you were trying to balance this intuitive approach with something more intentional in your writing?
Yeah, I was trying to kind of balance it out without leaving away the improvisation, because you can actually configure yourself in a gesture to make an improvisation. Like, “We’re going to play very slow and very quiet,” like that is a configuration that you decide before improvising with whoever is going to play with you. And in this sense, I was configurating myself, like, “I’m going to talk about this, I’m just gonna let myself write.” But I did correct stuff and I did edit stuff as I was writing.
I was reading about this idea of “diagramación” that you used to build these tracks, and I was wondering if you could elaborate on that concept.
I have this idea, when you go to a psychologist as a kid and they tell you to draw like a sun and a mountain and they analyze where you put the sun and where you put the mountain – when I relate that to my tracks, I can make the analogy with a drawing or a canvas. I really like to see this, like, white space with minute 0-4 or whatever, and I try to think like, “Where will I put the vocals?” I do a lot of organizing like that as I am going with the production or composition of a track. I just come with an idea and then I start to position things as where you would put a table in a room – it’s like management of space. I was really aware of that as I was producing and mixing.
With that said, what is your headspace like now? Is there anything that you’re working on or that you’re excited to share in the future?
I have a couple of more releases this year, but with collaborations, and I have made music for a Mexican movie that I really enjoyed. I’m in the mindset of creating a new album, but I have to find myself the space and time where I can focus on that.
What’s something that you’ve learned from this process that you’d like to apply to the next album?
I want to simplify and not use, like, spatial effects – there’s always simulations in effects, right, especially the ones that are like reverb and delay and stuff. And I don’t want to use that simulation now, I just want to find a space where I can take the acoustic of the space and just work with that. I just got this really cool microphone that can capture from 10 Hz to 30,000 Hz, so it’s not even something that you can really listen; it’s a very sensitive microphone. I’m really into the idea of making very clear sounds, like, absurdly hi-fi sounds. We’ll see what happens.
This interview has been edited and condensed for clarity and length.
Courtney Barnett has announced her third studio album, Things Take Time, Take Time. The follow-up to 2018’s Tell Me How You Really Feel is set for release on November 12 via Marathon Artists. Today, the singer-songwriter has shared the lead single and album opener ‘Rae Street’, which comes with an accompanying video directed by W.A.M. Bleakley. Check it out below and scroll down for the LP’s cover artwork and tracklist.
Barnett wrote Things Take Time, Take Time over a period of two years. The album was recorded towards the end of 2020 and early 2021 in Sydney, Northern NSW and Melbourne alongside producer/drummer Stella Mozgawa (Warpaint, Cate le Bon, Kurt Vile).
Things Take Time, Take Time Cover Artwork:
Things Take Time, Take Time Tracklist:
1. Rae Street 2. Sunfair Sundown 3. Here’s the Thing 4. Before You Gotta Go 5. Turning Green 6. Take it Day By Day 7. If I Don’t Hear From You Tonight 8. Write a List of Things to Look Forward To 9. Splendour 10. Oh the Night
For many people, breakups mean a complete end of any communication with their ex-partners. In some cases, they even come from lovers to enemies. Some people treat their exes like the sex dolls and often engage in sexual intercourse wth no strings attached with them. However, some manage to maintain a good relationship with their exes, even though the romantic feelings have already vanished.
If you are interested in why for some people, the hackneyed phrase let’s stay friends means precisely what it says, this article is for you! Below, you will find a few reasons why exes stay friends, including sentimentalism, pragmatic motives, shared resources, continued romantic attraction, being polite and civil towards each other, and some more. Read on and learn more about relationships with exes!
Affirming that You’re a Cool Person
At the beginning of the relationship, you can talk about all your private life – your family, friends, hobbies, and interests. As soon as you break up, the other person will take a closer look at your life, and they might realize that there is nothing interesting in it apart from them. If you stay friends with your exes, they can still see an interesting side of you and know that you are still a cool person!
Continuing to Help Each Other
While you were together, your ex could help you with different things. Now that you are not dating anymore, he or she can still offer you some support or feed you with information about something. You can ask for them to show you around the city or give you tips on how to become a good cook. This way, you will save money and get new skills as well!
You Want to Be Polite
It’s very difficult to stay away from someone you used to love, especially when you know that he or she feels the same about you. In this case, being civil towards each other is the best solution. After all, there is no need to fight over something that has already ended!
Keeping Your Options Open
It happens sometimes that a partner breaks up with us because they have found someone better who suits them better than we do. A person who stays in touch with his or her exes might develop romantic feelings again. So if you want to keep your options open, just stay friends with your exes!
Shared Friends and Interests
It’s hard to give up your share of friends and interests just because one of you is no longer there. So if you would like to continue doing things together with people whom you both know and like, being friends with your ex might be a good option. Besides, if for some reason you have been living together in the past, it makes sense to share the expenses even after splitting up!
You Don’t Want to Give Up on Them
For people who believe in soulmates and true love, breakups might seem unnatural and even cruel. Therefore, staying friends with your ex might be an alternative to simply giving up on each other! However, such couples are usually very cautious when it comes to letting their feelings out since they don’t want to jeopardize their friendship!
Pure Jealousy
If you have recently broken up with your partner and feel jealous about any guys or gals who approach him or her, staying friends with your ex might be the best idea! You will be able to see everything he or she does and won’t allow anyone to steal your ex from you!
Fear of Change
If your partner left you long ago but you still feel hurt and sad, it might be difficult for you to get yourself back on track and adjust to the new situation. Being friends with your ex is an absolutely safe way of keeping contact with someone who used to be close to you. This way, you won’t have to commit to anything new!
Making Them Jealous
If you have found a new partner, but your ex is still not over you, staying friends with him or her might make him or her jealous. This way, you will show that you don’t care about him/her and that you are 100% over the relationship!
You Value Their Opinion
Your ex might be able to offer you some great advice on how to handle a certain situation in your life. It could also happen that he or she has gone through something similar before and could help you figure out what went wrong. This way, being friends with your ex can be quite beneficial for both of you!
They Won’t Let You Go
This is one of the worst reasons why people stay friends with their exes, but it happens sometimes. Some people can make too much fuss when a breakup happens, and in this case, it’s better to be civil just to avoid any unpleasantness and arguments. However, if you start staying in touch with your ex for this reason, there is a high chance that you will end up with an emotionally dependent relationship again.
You Don’t See Any Alternatives
When a breakup happens, we don’t know how to cope with the situation and what to do next. That’s why staying friends with your ex might seem like a good idea – at least you have someone who cares about you around. However, as soon as you adjust to the new situation, it would be better to start moving forward without holding onto the past!
You Hope to Get Back Together
Some people believe that they were born for each other, so breakups mean nothing more than a temporary separation. They will always hope that one day they will get back together again and continue their relationship where they left off. In this case, staying in touch with your exes is an excellent way of maintaining your hopes alive!
In Conclusion
It’s hard to understand why some people decide to stay friends with their exes. Maybe it’s just an effort to keep their options open, or perhaps they are afraid of being alone. You may find yourself in a situation where you’re still friends with your ex and don’t really know why, hopefully, this article has cleared some things out to you. In any case, you should never live in the past. Even if you remain friends with your ex – you need to think about the future and build your relationship. During a pandemic, many people are looking for new acquaintances on dating sites where they can meet Asian women or men.
