Now that the dust has settled, please take a moment to enjoy some sights and sounds from last week’s Saisonscape: Decay tour, where Howlround played a trio of dates across the UK alongside the great sound artist and tape-loop manipulator Mr. William Basinski and recent Quantum Natives signing Kepla. The video and images shown here were from the final night of the tour at The Kazimier in Liverpool, which was perhaps the most visually impressive of the three, with the loops teetering and wobbling upwards from the stage and disappearing over the balcony. It’s a miracle the whole thing held together at all, quite frankly, even with all the scaffolding parts and other heavy metallic items lying about backstage that we borrowed to stop the tape jumping off the spools…
My enormous gratitude must go to Art Assembly, in particular the amazing Julia Dempsey, as well as Messers Basinski and Kepla for being such affable and entertaining touring companions, not forgetting Victoria Hastings for doing such a fantastic job of documenting the whole thing. More photos to follow, no doubt, but I think it’s this one that makes me the most proud:
Must also thank everyone at The Kazimier as well as Cafe Oto in London and Salford’s Islington Mill for their warm welcome. I haven’t had a moment to go through all the recordings yet, but doubtless more audio from these events will surface before long. The response from the crowd each night was hugely encouraging and bodes well for the imminent release of our new album…. but more on that later!
Presenting for your approval, Howlround‘s remix of a track from the new album by Devon Loch. Sleep Scale is out now on the redoubtable Kit Records, and also includes interpretations by Beams, Yaaard, Adam Ono and others:
The title ‘Howlround Follows Them Down’ stems from the fact that our quartet of tape machines were each going through a particularly ropey patch at the time and throwing some decidedly wonky shapes into the mix, a state of affairs that I was mindfully attempting to embrace, rather than submitting to hand-wringing despair. Were I permitted to don my philosophical hat, I might speculate that part of what gives Howlround’s music its distinctive savour is the knowledge that both the elderly reel-to-reel machines and the magnetic tape on which it is produced are all gradually degrading and that each turn of the loop only hastens their demise. I might then add that perhaps such ‘managed decline’, if treated sympathetically can produce music of a distinct and fragile beauty, rather like the way dying leaves change colour in the autumn, before winter comes and they turn into withered husks lying forlornly around the place, completely incapable of anything productive and just waiting for you to stub your toe.
For these reasons, and with all philosophical headgear firmly removed, I was and am determined as far as possible to follow the Revoxes down the slippery spiral to the scrapheap and hopefully create some kind of extended swan-song out of the results. After all, you can never be sure with these machines just how much time you have left, a fact that a more gifted writer would doubtless be able to wring all sorts of metaphorical postulation from. As for me, I’ll just settle for remembering that the pioneering Louis and Bebe Barron produced some of their most far-out sounds for the Forbidden Planet soundtrack by actually recording the death-throes of the primitive electronic circuits as they burnt out. The results still sound amazing six decades later and so you could say that those primitive circuits have out-lived them both. And Leslie Nielson.
All this lofty aspersion and dubious metaphor aside, however, I was a little unsure upon listening back to my interpretation of ‘Rapid’ as to whether I was actually satisfied with it. You can waffle on about the beauty of decay all you like (and I do), but it still has to function as music or at least offer a pleasing listen. My initial concern was that it made everything sound quite knackered, as though the bottom had fallen out of the track. Thankfully, when Devon Loch himself finally got to hear it his response was most positive:
Job done. So, moving on, now that the remix is out in the world, a couple of people have asked me to elaborate on the origins of the ‘ghostly and enigmatic’ voices that gradually emerge from under the sea of crackle and hiss in the opening seconds. And what a can of worms they’ve unwittingly opened in doing so, for while I’m normally hesitant in revealing my sources; on this occasion I’ve decided to allow you all a tantalising peek up my sleeve. To that effect, I can confirm that they are taken from THIS festering little object found nestling amongst the usual piles of Johnny Mathis and David Essex in an otherwise unremarkable charity shop:
A flexi-disc! With a title that unblushingly hints at sordid delights supposedly buried within it’s floppy grooves! I paid my 50p, ignored the cashier’s accusing stare, and headed straight for the nearest turntable.
If you’ve never had the pleasure of, ahem, handling one, these disposable, low-quality discs were often given away free with gentleman’s specialist magazines in the seventies and eighties, providing an aural dose of dirty smut to complement their centrefold images – or so I’ve been informed. At the same time they were also used by Readers Digest to flog their box sets of Andy Williams and James Last, though I’ll leave it to you to decide which was the more sordid use of the medium.
Anyway, for added value and because I have nothing better to do with my afternoon, I’ve taken the trouble of transcribing some of the contents of this unsavoury little disc below. Our story begins (or rather it lurches falteringly into motion) with the appearance of one Mr. Brewer, a man who sounds not unlike the Grandfather in the Werthers Original advert fallen on hard times; and who has arrived to hold up his end (ahem) of an appointment with a lady. Or has he? OR HAS HE?! Sit back and let the gripping narrative sweep you into a whirlwind of drama, intrigue and simmering eroticism:
Woman: At last, I was beginning to have my doubts about him. [calling] Who is it?
Mr. Brewer [outside]: It’s me. I mean. Mr. Brewer. Tom Brewer. I rang a little while ago and, and I made an appointment.
Woman: I’m sorry, Sir. We’re terribly busy. There must have been some mistake. Are you sure you’ve come to the right place?
Mr. Brewer [outside]: Yes, yes, I’m absolutely sure. I know I’ve come to the right address. I took it down from your advert. Please let me in. You do remember me. Please. It’s beastly cold out here. I might catch something frightful like pneumonia. Please let me in.
Woman: What did you say your name was?
Mr. Brewer [outside]: Er, Tom Brewer.
Woman: Brewer… Brewer, no I can’t say I recall that name, [and yet in clear contrast to what I’ve just said] it does sound faintly familiar. Did you say you phoned?
Mr. Brewer [outside]: I-I did. Please believe me. It was only half an hour ago.
Woman: Ah, yes, of course. I remember now. Do come in…
[This is where a more accurate dramatic portrayal might have inserted a door-opening sound effect]
Woman: Oh, you poor thing, you look so miserably cold, let’s warm you up with a nice cup of tea and take your coat off for you.
Mr. Brewer : Thank you. I didn’t expect to be treated like this. You know…
Woman: Now, don’t be like that, Mr. Brewer, if that is your name. There are some very peculiar men come knocking on the door. Disgusting men. I hate to think what sort of a place they imagine this to be. They’re dangerous too. Especially a night like tonight when I’m all alone. A lady has to be so careful.
Mr. Brewer : Of course, well, how stupid of me, I should have realised. How can I apologise enough for sounding so rude?
Woman: I should think so!
They continue on in this manner for some time. Just in case you’ve forgotten, gentle reader, that last harrumphing retort from our female protagonist has brought us almost halfway through a so-called ‘Uncensored Sex Party’. Do feel free to stop me if you were offended by any of the above, but I can’t help finding that title inaccurate on at least two counts – a third if you feel that it takes at least three people, some finger-food and the presence of a children’s entertainer to make a party.
For example, while this recording may indeed contain the full, unedited account of what transpired that cold evening; can something really be marketed as ‘uncensored’ if nothing that actually might require censure transpires? Surely this would mean programmes such as ‘Songs Of Praise’ or ‘Gardener’s Question Time’ could also market themselves as uncensored, suggestively-shaped vegetables notwithstanding? It’s all rather misleading, quite frankly, though from a commercial angle I am forced to concede that ‘Uncensored Sex Party’ does have more of a ring to it than other, more appropriate titles such as ‘Dreary Discussion Through Doorway’ or ‘Write It Down Next Time, You Dozy Tart!’
Not that my opinion counts for much amongst all this seediness, of course. As an outsider granted the merest occasional peep, I’ve always found the world of audio-only erotica slightly confusing. Remember my ‘Mucky Mixxxtape’ of a couple years back? The odds are that you do, it was by far one of the most successful endeavours I’ve ever placed a gentle-yet-firm hand upon. And after that there was my attempt to produce a short work for radio by systematically editing all of the smut out of a 1972 LP entitled ‘Midnight Cowpoke’. To my astonishment the resulting two minutes (from a forty-minute long-player) completely failed to make the final cut of a Radio 4 programme with the theme of ‘Misadventure’ – and I had been so confident they would bite my hand off. The point I’m trying to make here is that on both occasions you might recall my wondering aloud just what sort of audience might actually find these records appealing? Who were they aimed at? Why would anyone want to listen to the sound of two jobbing actors faking it?
Well, as far as I’m concerned the discovery of this flexi-disc has only deepened the mystery. The only form of intercourse engaged in during this ‘Sex Party’ is mumbling through some meaningless, utterly perfunctory dialogue that seems almost scientifically programmed not to be listened to. When you further reflect that anyone as concerned about catching ‘something frightful like pneumonia’ as Mr. Brewer would surely not be keen to partake of any activity that involved wearing less clothes, or that our unnamed female appears to be in the dichotomous sate of both expecting and being utterly flummoxed by his arrival; it becomes yet another entry into my canon of things that shouldn’t exist, but somehow do. It’s growing to be quite an impressive list, with recent additions including John Leslie’s Scavengers (Wheel Of Fortune presenter in deep space!), the ‘Loving Remembrance Musical Egg’ and THIS*.
Well, we’ve probably allowed ourselves to get a little side-tracked from our main thrust of business here. This is partly because today is a slow day and partly because I was so utterly depressed by the results of the recent election that I guess I’m looking for any excuse to lose myself in ephemera and try to forget that we’re now essentially living in a giant copy of the Daily Mail. The main thing you should take away from all this is that the Devon Loch LP Sleep Scale is out now on Kit Records and a beautiful thing it is too. Limited vinyl with a handful of tasty remixes and beautiful artwork by Sarah Tanat-Jones. Buy it here while you still can and let’s put an end to all this filth!
* If you clicked here and managed to last right the way through the musical number, I’ll happily stand you a pint. You’ll be needing it.
Howlround are hereby deeply proud and very excited to be officially announcing the release of our third album Torridon Gate on cult blog and record label A Year In The Country! Today’s post is in entirely black and white in tribute to their stark and arresting sense of aesthetics – and arrives only a full week after the album actually came out, but I think you’re about ready by now.
So, Torridon Gate, then. I’ve been told it sounds like the title of a lost novel by Philip K. Dick. But as it happens the thinking behind that title is actually rather prosaic – all of the music on this new album was created from a single recording of a suburban garden gate on Torridon Road, Hither Green, London. And that’s it. We attached a contact microphone to the metalwork of the gate and recorded as it opened and shut and moved in the wind. These sounds were then processed, looped and edited on three reel-to-reel tape machines with all electronic effects or artificial reverb strictly forbidden. Despite such restrictions and the limited sound palette in comparison to our previous work, we like to think the results are as haunting and beguiling as anything from our other albums, shifting from ethereal tone-patterns to demonic scrunches and back again. It’s certainly a long journey from the pleasant suburban street where it all began. Who would have thought a single ‘common or garden’ gate (pun intended) could offer such hidden wealth? Well, perhaps these two had an inkling:
The project started life as a prize on Resonance FM‘s most recent annual fundraiser, but quickly spiralled upwards and outwards. Perhaps you remember our ‘Howlround’s Home Haunting‘ auction item back in February, where we offered to provide a unique sonic portrait of the dwelling place of the highest bidder? Well, our thanks and gratitude must go to gate-owners Tony Alpe and Kathryn Everett, not only for a very generous winning bid (every penny of which went towards keeping Resonance on air, of course), but also for allowing us to share the results! ‘The gate was one of the things that attracted us to the house in the first place!’ says Tony, and hopefully after listening to this album you’ll join me in fully concurring with this statement!
Actually, there’s been a fair amount of concurrage (as it were) already, and I’ve included below a couple of extracts from my favourites so far (click on the link to read the whole review), In fact, feel free to send in some feedback of your own – if it’s particularly obsequious I’ll share it!! 😉
“The result – a modern piece of musique concrete – is extraordinary, like the soundtrack of an old horror movie of the 50s, a fog of sounds in sepia tones that seem to emanate from another time” (trans.) – Rui Migel Abreu, 33-45.org
“Is it a portal to other worlds, a site of ghostly hauntings which follow on from the car crashes which resulted from not paying attention to all the road safety films… or perhaps the passageway between the galaxies that Quatermass must pass through in streaks of video feedback and ominous lighting effects in order to save London from a fate worse than Edward Heath?” – Richard Fontenoy, Freq
“I think the world inside a mirror would be very interested in you” – BBC Cantonese
EXCITING TORRIDON GATE QUIZ:
Now for the fun part. Written below are three statements, each as inherently plausible and theoretically sound as the other. And yet only ONE of them is factually accurate. Can YOU, dear reader, separate the wheat of truth from the chaff of falsehood? Read on:
The widely-reported appearance of agiant dirigible emblazoned with Howlround’s distinctive logo above London’s fashionable Hither Green district was the first indication that an album of earth-shattering significance was, as they say, ‘about to drop’. And the hiss of escaping air caused by a leaky valve some twenty minutes later was the first indication that life was about to imitate art. Profuse apologies if that was your greenhouse.
Secret solid gold copies of ‘Torridon Gate were hidden in Ironmongeries in five major cities across the world (including Barrow-in-Furness). Each copy contained two or three different numbers scratched directly onto the disc, and it is rumoured that when combined in the correct order, the full set of these numbers would allow the finder to make nuisance calls to Howlround member Chris Weaver. Luckily for him, only two have surfaced to date, one of which recently sold online for well over $1,000.
The album was mastered by the brilliant James Edward Barker of Veneration Music, recording engineer, genius musician and the composer of the soundtrack to the notoriously unwatchable and completely-banned-forever video nasty Human Centipede 2. He was paid for his superb mastering efforts by having a large consignment of Butterscotch Flavour Angel Delight delivered to his house.
I admit, it’s tricky – they all just sound so entirely likely, don’t they?
Don’t they, James?
Answers on a postcard, please….
So, after months of labouring away in secret, here it is. Available now in a series of four beautiful limited editions from A Year In The Country, the label and blog that has developed a cult following through its continuous ‘searching for an expression of an underlying unsettledness to the English bucolic countryside dream’. Each edition – Night, Day, Dawn and Dusk – comes with a selection of unique hand-finished artwork and packaging, while the Night edition also includes a selection of badges, sections of the original tape loops used to make the album and more. All are available now from AYITC’s ‘Artefacts Shop’ with a download also available for those who no longer meddle with discs. We’re really proud of this one and hope you’ll like it too!
You might think that taking over a week to upload some sound and images to these pages from Howlround‘s triumphant gig at 4’33” Café in Barcelona is a rather shoddy way to run a website. And I’d be inclined to agree with you, while letting slip the fact that since we returned I still haven’t got round to the necessary but highly-tedious task of untangling the huge pile of tape loops that were hurriedly scooped off the floor at the close of the performance, our de-rigging having been made all the more urgent by the promise of some impending late-night tapas. And the fact that I still haven’t done any laundry. But in truth, it’s been another busy week. I’m heading off to the US in a few days, hoping to find fresh inspiration recording desert ghost towns and other haunted spaces, so I’ve been trying hard to wrap up all of my various affairs before I go. I’ve also spent a considerable amount of time swearing at Photoshop while fiddling with the cover artwork for a new Howlround release scheduled for the autumn, but more on that at a later date.
What is rather shoddy, however, is leaving it this long to give huge thanks and gratitude to JP and Ale of 4’33” Café for being such fantastic, supportive and entertaining hosts (and for taking the above photos), to Robert and the Base Elements Gallery for allowing us to perform in their magnificent 12th century basement in the Gothic quarter; and also to our many new friends in the large and enthusiastic crowd who gave us such a huge reception – our set met with an ovation and our first ever encore!
Speaking of which, perhaps the strangest moment of the entire trip occurred a few hours before the show as we were returning to our B&B in the Montjuic district to pick up our gear. Walking up the road towards our lodgings, we were suddenly stopped in the street by a lady who pointed at the Outer Church T-shirt I was wearing and asked ‘Are you Robin?’ Despite the enormously high profile I enjoy from years of art radio broadcasting, DJ-ing between bands and creating obscure sound art, it’s still a surprisingly rare thing for me to be recognised in the street, particularly when that street is in a city I last visited on a school art trip at the age of 16. But then this interloper was no ordinary lady – it was Rosa Arutti, local musician, sound artist, part of the rather super Nad Spiro and subsequent gig attendee. I guess you could call this a tribute to the enduring influence of Mr. Joseph Stannard‘s great institution and to the power of T-shirt sloganeering. But even so, I wonder what kind of crazy alignment the planets must have been in to allow this chance meeting in a small side-street in a strange city at the very door of our bed & breakfast? How does Rosa herself account for this amazing coincidence?
‘Well,’ she commented in a subsequent email, ‘they say Montjuic is the magic hill. I think I’m going to get myself an Outer Church t-shirt !’
Nad Spiro have something of the magic about them too. Check out this recent album:
Before we left, JP and Ale also took some time to show us around the site for their new venue, currently under construction, which they intend to open as Barcelona’s answer to our own Cafe Oto here in London. The prospect of such a venue opening and what it might offer to the city is a most enticing one, as is the hope of being able to accept their invitation to come back and perform there once it does so!
In other news, I noticed while flipping through the latest issue of The Wire on the plane over that I get a mention in their charts page – another minor ambition fulfilled with thanks to The Geography Trip! Incidentally, if you haven’t bought their latest release by The Resource Centre yet, you jolly well ought to go and do that now – it’s a quiet marvel and is apparently recommended ‘for fans of Terry Riley, birdwatching, John Cage, that warm feeling you get when remembering your first school and Music concrete’; which I imagine will tick plenty of your boxes too. I can’t find that much coverage of this splendid label anywhere else online, which is rather an oversight on the part of the internet.
As for the immediate future, Chris has returned to Dubai to continue his residency (which appears to be going really well – you can keep up to date with his exploits on his own blog here) and I’m going to be packing my trusty Edirol and an 8GB flashcard in my hand-baggage and hoping for some fresh audio adventures in California in the coming week (but no earthquakes, please). Work on our next release(s?) will continue remotely, though our original plan of sending demos to one another via tape spools in the post has been abandoned for the far more economical benefits of We Transfer. It’s much less romantic but infinitely more practical and I guarantee you won’t be able to spot the difference.
It was great to have Chris back, though, and what an amazing month we had. And, once again, how lucky we are to have so many good friends who support what we do. And to have friends who make nice T-shirts. Glad to know them all!
Thanks to everyone who came to see us HEADLINE the Friday night of the Beacons festival – and as we were the last act of the evening in the only tent left open, I feel I can declare this statement technically accurate. Look, we’ve even got an appropriately surrealistic picture by the great Matt Colquhoun to prove it:
As some of you will be aware, the specific nature of a Howlround performance often requires having my back to the crowd; but my spies cunningly placed among the festival-goers in attendance have revealed that the reception to our set fell into three broad categories – a small but noble group who were enchanted, a slightly larger group who were rather baffled and a very small group of one who was actually quite outraged. This is all to the good – the last thing anybody wants to inspire is indifference. My favourite comments so far have included ‘brilliant’, ‘strangely remedial’, ‘eerie as f**k’ and ‘is this supposed to be an act?’, all of which I’m hoping to fit on the sticker attached to our next LP. Why not have a listen to this brief extract and send me your own three-word review? I’ll print the best ones!
From my own perspective, our set was not without it’s challenges, particularly as our new UHER reporter machines were proving a little impetuous and uncooperative. But of course that element of risk and the chance that it might all implode at any moment is a key factor in Howlround’s live performances – the frequent bouts of frantic loop un-tangling, bursts of unexplained noise and sudden huge silences should always be considered part of the experience. Allowing this margin for error, failure or perhaps even outright disaster is what gives the performance an extra frisson. Not that this is the easiest thing to explain to a crowd of mashed-up ravers who have spent the last few hours ‘going hard’ in the Resident Advisor tent. As it were…
Our thanks once again must go to John and Glenn from the Octopus Collective for inviting us and being the entertaining and fascinating company they always are. One of my personal highlights from the festival was Glenn’s Bread Board Orchestra workshop, which turned several large groups of random strangers into chopstick-wielding band-mates, jamming for hours and making a wonderful racket – like a Tescos-powered Gamelan ensemble. I’m hoping they’ll put some of the recordings on-line at some point so I can share them with you. Naturally Chris and I had to have a go. Followed by another. And another…
Other favourite moments included Dām-Funk‘s vocoder-keytar jams (deserving a far higher billing), Special Request‘s house set suddenly ramping into an hour of glorious, teeth-grinding jungle, an extended tea and cake session with our old mucker Jonny Mugwump and Jez Riley-French treating me to a personal performance of his hydrophone recordings (it was very early in the morning and I was the only other person in the tent). Even the appalling weather was not without it’s comedy value, particularly when Chris got whacked and nearly blown over by a flying sign-post warning him to expect high winds. Who says Mother Nature doesn’t have a sense of humour?
Howlround are very proud and excited to announce that our first gig for several months (and our last UK gig for 2014) will occur this weekend in the ‘Into The Woods’ tent, at the Beacons Festival, Skipton, Yorkshire. And it’s a particularly special one for us as it marks the debut outing for our vastly more portable new live soundsystem!
With our recently-acquired quartet of (comparatively) lightweight ‘reporter’-style machines, we’re hoping to massively increase our range and effectiveness as a live unit while massively decreasing the risk of damage to our spines, our heavy-yet fragile Revoxes and the walls and door-ways of my flat. From henceforth the plan is that these much-smaller UHERs will take on our live duties while the Revoxes remain permanently set-up in the Howlround studio, which will hopefully save lots of endless rigging and de-rigging every time we perform and increase our productivity by a factor of hundreds.
Working with tape is never that simple, of course, and it’s entirely unlikely to prove plain sailing: these new machines run at a much slower speed, half that of the PR99s, which has meant some frantic work re-dubbing and cutting new loops over the past week. We also haven’t had time to properly put our new quartet through its paces yet, or monitor it’s effectiveness ‘in the field’ – going by past experience there’s always that slight chance that they’ll take umbrage with the atmospheric conditions, the country air or the position of the moon. However, I’ve no doubt that such unpredictability will add an extra extra frisson to our ‘witching hour’ live set, which will occur in the small hours of Saturday morning. And of course we will be testing the machines in an actual field…
Thanks to our friends The Octopus Collective of Barrow-in-Furness for once again asking us to perform. And as ever there’s a superb line-up of performances, films and other happenings to enjoy; including The Aleph, Ex-Easter Island Head, Jez Riley-French and the brilliantly named Shatner’s Bassoon amongst many others. Further details can be found here.
Howlround’s live manipulation of stretched, looped reel-reel tapes craft shifting soundscapes Fri 2am Into the Woods http://t.co/0rpUQbvGiI
For those of you who somehow found last Sunday afternoon’s weather conducive to doing anything other than staying in and listening to the radio (and found themselves lacking a smartphone or internet-ready umbrella), I’m very pleased to inform you that the latest edition of the Alien Jams show on NTS Radio featuring SPECIAL GUESTS HOWLROUND!!! (my caps) is now online for your streaming pleasure. We took the opportunity to road-test some brand new material from our as-yet-completely-unfinished next release, and indeed a sizeable chunk of airtime was given over to brand new works fresh off the spools, plus at least one new piece that will probably never be heard or referenced ever again. It’s something of a departure from our previous LPs, but we think it fits into the Howlround niche quite nicely. Dig in, won’t you?:
There’s other news this month, both very good and slightly bad. The very good news is that we’re excited to be playing The Electric Dog show at Power Lunches in Dalston on May 7th. Brought to you by Soft Bodies Records, we’re playing alongside Quimper and Gyratory System and it looks set to be yet another killer line-up to be slotted into! Further details here and there’s also a Facebook Event Page as there so often is with these modern events. The slightly bad news is that this will be your last chance to catch Howlround live for the FORESEEABLE FUTURE!
But before your throw up your hands and commence wailing and gnashing, I must reassure you that this is by no means the end of the our tape loop adventures, though given that I’ve just been boasting about playing exclusive new material from a forthcoming release, you may already have picked up on that. Aside from avoiding very real damage being caused to our quartet of Revoxes every time they leave my studio (not to mention our spines!), we’ve decided that now is a good time to hunker down and concentrate on building a solid repertoire of tape music while they still just about work. That way, when each machine is assumed into Revox Heaven (and the day cannot be that far off), we’ll have lots and lots of material in reserve that we can release posthumously in a steady drip-feed, while raking in the cash. A bit like Tupac. Oh, and Chris is moving to Dubai. Did I mention that?
So, a bit of a change on the horizon. I must admit I shall greatly miss jamming with my indispensable partner-in-tape who has bought so much to the project over the past year; but work will continue thanks to the wonders of THE INTERNET and we’re both very excited about where things are going (quite literally, in Chris’s case). I hope that after a listen to the new material on the Alien Jams show you’ll be just a little excited too. Just a little…