instruction:
In this task, you are given music product reviews in English language. The goal is to classify the review as "POS" if the overall sentiment of the review is positive or as "NEG" if the overall sentiment of the review is negative.
question:
not a fan, but at least they changed the name and i can respect that . if you knew me, you would probably know that i love punk music....old epitaph bands tickle my fancies greatly..they days when epitaph was THE punk label..you know, the label with all the re-mastered classics, plus phenomenal newer acts     anyways, until recently, this whole new emo/screamo thing was getting on my nerves...mainly for the reason that it was being labeled as "Punk." yes, this compilation still contains bad religion and pennywise..which is great..i mean i would never buy this for just 2 decent songs and i still pretty much hate new emo, but i can respect epitaph records now that they ditched "punk o rama" since they contain very little punk.     epitaph has a great extension in Hellcat Records to appease the punks/skins...i would surely recommend that someone pick up the "give em the boot" compilations if they want punk rock.    now, the only thing i really despise epitaph for these days is the fact that they have so many classics that are out of print and near impossible to find!     bottom line, if you want punk go to hellcat, if you want new emo and other oddity musicians come to this, the new phase of punk o rama. 2 stars because i dont really care for this, but it earns my respect
answer:
NEG


question:
You must own.  NOW. . If forced to pick one band that best exemplified the indie-rock aesthetic, one would be hard-pressed to find a better choice than Big Black.  Many of the acts typically credited with bringing alternative music to the mainstream have, for better or worse, been little more than angry pop acts (Nirvana and Nine Inch Nails being prominent examples), and even many more underground acts such as Pixies, Sonic Youth, and the Jesus Lizard released some material that was palatable to the mainstream, as their major-label runs attest.  Big Black, on the other hand, was the real deal, a band that lived out the indie philosophy in both their music and in their resolutely do-it-yourself business practices, and paid the commercial price for it.  Songs About F***ing was the perfect distillation of leader Steve Albini's philosophy: an abrasive, confrontational album that contained no concessions to the mainstream and no pretensions to socially redeeming value.  This is music at its most twisted and evil, acknowledging no taboos as it challenged listeners to take or leave its assaultive sound and unpleasant lyrical content.      The key to the lasting appeal of this release lies largely in its simplicity.  Like fellow pioneering noise-merchants Godflesh, Big Black distilled rock music to its most basic elements: guitar, bass, and drum machine.  In spite of this minimal approach, however, Songs About F***ing is hardly palatable or unchallenging.  What emerges from this combination of rock's traditional elements is a barrage of scathing, disembowling noise that pummels eardrums with a mix of astringent guitar squalls and pulsating industrial beasts.  And of course, it's all topped off with the demented vocal stylings of Albini himself, making Kurt Cobain sound like Mel Torme as he howled and screamed his tales of depravity.      Mixing metal, punk, and the then-burgeoning genre of industrial with reckless abandon, Songs About F***ing constitutes a musical roller coaster of frightening proportions, and wraps things up in barely half an hour.  The basslines and drum programming of Bad Penny and Colombian Necktie are enough to crack skulls, while Albini's vocals legitimately bring to mind a man in the midst of a nervous breakdown.  L-Dopa is all punkish speed and aggression but infinitely more frightening, and the proto-industrial rage of Precious Thing and Kasimir N. Pulaski Day would send Trent Reznor up a tree.  Even when the band slows down, as on Kitty Empire, the results are clenched, sinister, and intense.  Tiny, King of the Jews (love that title) actually manages to be somewhat atmospheric, but it still relies heavily on that mix of disconcerting guitar noise and pulsating beats.    I've listened to pretty much every noted act in the extreme-music world, from Slayer to Godflesh to Meshuggah, and Big Black may have been the scariest of all.  And Songs about F***ing in an unqualified triumph, one that oozes menace and integrity at the same time.  Own it, or pose
answer:
POS


question:
Why did I buy This? . What's worse than a bad cd?  "The Burdens of Being Upright."  I don't even know where to start.  I bought it because I really liked the first song "Mother Mother" (which is the only reason why Tracy Bonham even gets 2 stars from me)... and I was completely disappointed with the rest of the album.  The songs aren't interesting and the whole thing all in all is just simply not worth the money.  Unless its used and only costs like, two bucks.  Actually, when I went to to trade it in at the record store, they only offered me 25 cents for it because they have so many copies of it and nobody wants them.  And I took the quarter! If you like grunge music, there's a chance that you might like this, but you most likely still won't
answer:

NEG