Los Angeles experimental producer Walter Gross and San Diego turntable assassin Tenshun have joined forces for a new split release on Luana Records. Simply titled Animal Instinct, this new 7″ is lo-fi music as its most prolific and dark states from the modern productions coming out around the world. Psychedelic overtones in the red saturate out of everything, proving to add a lasting power that is as beautiful as it is haunting. It’s an in depth walk into the psychotic and unhinged states of these raw producers as they smash out drums and sonic worlds that have that grimy elegance only few can achieve with this much lasting power.
Tenshun takes up Side A with “Acid Trips”, a psychedelic free for all beat jam, where the track moves forward but makes room for everything else to fall out. The bass really drives the music into song form, spreading out a lengthy section for vocal samples and hard cutting DJ scratches. Drums are slamming and splashing everywhere in the mix as the musics raw analog state gives it that glow. The second sub song to come forth on this side is even heavier then the first, pronouncing bass and drum sequences that are mind blowing. This is psychedelic break beat hip hop where the elements of the past, present and future diverge into a cyclone of combustion. As a master of collage beat work, you can really feel something special occur from Tenshun as each section segues into the next. Tenshun really pushes his sonic framework to maximum extremes in this split and sets up Walter Gross for Side B in furious form.
Walter Gross presents the song “Find the Devil, Kill the Devil” for Side B and this new song has a slightly cleaner sense of layering and separation between tracking. The circulatory patterns in synth, percussion, basslines and samples gives it a menacing but hovering state. When I hear the dark state of the first section for this song, it’s as if a flying object came out of the clouds and started devastating the land around me with highly deadly force. Each section is heavily gravitated towards fat synth lines and dirty drums, adding to this omnipresence of destruction. Walter Gross makes a vocal appearance as well, dynamically changing the music into beat heavy and proto electronic punk psych. The overtones are incredible and it’s a song that assaults my sound system with diligence.
Luana Records has graciously lent us their help this year in our first voyages for music premieres by extending two snippet clips from each side for you to check out from the new 7″. Tenshun and Walter Gross are iconic underground west coast artists in experimental music and the joining of these two heavy weights rises to everything they have created in their legacy before and raises the bar even higher for the underground beat scene.
Limited to 100 copies, order the Animal Instinct 7″ from Luana Records by Clicking Here
“I was never of this time” from Anticon founder and pioneering poetic lyricist Sole sets out the first sounds you hear from the new 7″ Los Angeles producer Walter Gross has released on his imprint WG Records. Deep bass blasts and waves of energy around the deep heart of the drum are a central component to the multiple part song the two created together for side A. Organic, analog derived beats from Walter Gross lay out head nodding anthem work with that prophetic visual wordplay and slick rhyme meter style of Sole. It’s a perfect combination where you hear the two really feeding off each other. For side B of this special 7″ split release, Walter Gross invited K-the-I??? as the guest mc and the exploratory nature of the record takes an even more outward shift. As a continuation of their Youth:Kill project, it’s always a treat to see where these two sonic visionaries take things in collaboration. With the vocals masked in more effects and pushed deeper inside of the mix, the way K-the-I??? uses his words becomes the sonic purpose of his style. Words jump over one another as the tribal, raw beat production of Walter Gross spirals into a matrix of synth. The heart of the drum powers into the mix as traces of percussion and bass underline the chaotic nature of the overtones. Walter Gross guest appears on vocals in this 7inch split as well, something he has not committed to tape in years.
Side A is more polished, more dynamic and is mixed with Sole’s vocals riding in the front position of the mix. The beats are immaculate, punctuating that raw and elegant wild beat style that Walter is known for among many people in the world. He manages to keep a forward motion with nothing falling to the side or feeling unrealized despite how far he stretches the music. Sole is not only a prophet but his vocal style and rhythm approaches over the beats are next level. He flows over every section with a powerful command, showering down his vision of this world and the overwhelming topic of where this world is really going and what’s happening under the surface. “I could give a fuck what you swaggered on” is just one line that shows his stance on modern culture. With the digital age consuming the 21st age, it’s a good wake up call to hear a lyricist talk about these topics. Walter takes a verse late into the first side of the record, a honor considering the magnitude of what Sole has done for hip hop. The last section is my favorite section of this side, with scratches, nuclear bomb style beats, spiritual tones and another lyrical delivery from Sole that sits in my mind far after the song is done.
Walter and K-the-I??? take the 7″ on hyper drive mode on the B side. Percussion heavy, K-the-I??? is melted into the mix and placed inside of the framework of the beats and not on top of it. This adds a lo-fi, energy driven and highly illuminated sonic voyage that is as bizarre as it is primitive. Percussion and synth bass send massive shock waves into the mix as the two trade off bars for one of the most psychedelic hip hop tracks I have heard all year. The lyrical delivery sends a shape shifting visual into my mind as the tribal feeling of the beat doesn’t let go of its hold. The end sounds like amps and pa gear left turned on was thrown under a compressor and is being crushed of all life. A drill like hammering takes over and one of the oddest worlds of sound becomes evident. To fully describe this section is pointless, it’s something you have to hear and hear it very loud.
Sole and K-the-I??? came together under the psychotic musical beat orchestrations of Walter Gross for surreal passages into the canon of 21st century arts. In context of 2012, it brings something new to the hip hop world, something few can say in the 21st century.
Grab this special split vinyl release along with many other releases straight from the man himself by Clicking Here
Also for your enjoyment, a brand new 18 minute 2 track released Walter Gross put out this month on his Bandcamp page, listen below!
New Walter Gross Experimental Stop-Motion Short Film
Walter Gross presents Coward with Luana Records this month and it is one of the most cerebral albums I have heard this year. Created like a collage piece, the surrealism is in high states with this DIY musing into the sophisticated and calculated mind of WG. Highly textured and woven into intricate patterns of tonality, there is a menacing tenacity into the outer reaches of the musical hemispheres of Coward that rides into dreams of endless tells. Gritty tones interact with beautiful touches of ambiance; a communication that sets the stage for something other worldly. Nothing is what it seems in the musical world of Walter Gross and it’s as if he is stretching out the inner framework of what music is and has let go of this pull with a release of massive amounts of energy.
Exotic and exploratory, Coward shows Walter Gross in the driver seat of a one man vehicle, recording all instrumentation, vocals and selecting all sample selections. The existentialism scales into the cosmos as Coward begins its voyage. As the music plateaus into euphoric fields right away, there is a passage into the antiquity of this world that leaves the music in a spiritual mood. It’s a spiritualism that is bridged into the 21st century with melodic sheeting and oscillation that can only be constructed with modern tools. The music builds into deeper states of meditation, creating infinite patterns of harmonic shapes that are laced into gentle brush stroke movements.
Slight traces of feedback and synth create an out of body atmosphere just as the music becomes completely encased inside of this state the music is shifted into an entirely new form of being. The inclusion of an old vinyl sample segues the music into a beat heavy, experimental hip hop vibe, a switch of platforms that touches on insanity. The dilated yet laid back feeling of Walter’s lyrical presence with effects added is a perfect counter-part to the intro’s ancestral state. Piano and synth subdue the song’s temperament and bring the music back into a blissful and strident motion. Presented in the analog realm of cassette tape, the remainder of Coward becomes a vibrant story of the many worlds as created by Walter Gross. The madness comes out in the end of the first side with a superb piano sample and head nodding drum and bass hits and the surreal raps Walter spits.
Coward spirals into infinite directions, accumulating an amalgamation of sounds that feels endless. 30 minutes in length, this record is a mind blowing experience of lo-fo composition work and elevates far beyond the conventional approaches to experimental music. Bass is spiked into the red, drums are sliced into unusual forms and the harmonic field breathes a language that is as unsettling as it is beautiful. When I listen to this album, I am immediately tuned in and feel like I am on the edge of my seat. It’s a record that is impossible to classify and comes with surprise after surprise from section to section. If you love what the Anticon crew was doing in the 90′s and early 2000′s, you have to hear Coward.
Los Angeles multi-instrumentalist and producer Walter Gross is an artist who we highly respect at SCV. The setting of his music is beyond explanation and is something that is to be experienced for any fan of exploratory and new forms of modern music. There is a brash and harsh reality to his music that is achieved in the most glorious and harmonious manner. It’s controlled chaos that stretches the limitations of psyche, beat music, hip hop and much more. His music can be as dark and twisted as it is filled with beauty and a sublime way of being, something we cherish in modern music as the rules become more blurred and divided.
Walter Gross is an artist who is has found refuge in his own path and on his own terms, having produced and manufactured many of his releases himself. Experimental music is one of the loosest terms in genre labels and Walter Gross even stretches that concept inside out. Walter Gross went the extra mile for our online radio series with a special mix entitled Heavy Heart. It has everything that represents the mind and interests of a man trying to define something new in music. This year Walter has embarked on the newest phase of his career with a special split 7″ featuring the prophetic talents of Anticon Records alumni Sole and Mush Records lyricist k-the-i???. We caught up with Walter recently around his hectic schedule to dive into this release and many other areas of his music.
Walter Gross is an artist we feel is extremely underrated and it is with much pleasure that we bring to you an interview with one of LA’s most unique producers.
Sound Colour Vibration: What’s up Walter, I really appreciate you giving us a little bit of your time to talk about your new 7″ and other areas of your career. In your press notes, you explained a very lengthy process of finally getting the materials you created with Anticon’s Sole in a pressed format and onto the 7″ you are releasing this year. When did you first meet Sole and what type of working relationship have you both shared since meeting?
Walter Gross: I’ve known Sole for awhile now, through tours and also his forum through his website, “The Peoples Republic of Sole”, where I’ve met a ton of people through so there was this community that have stayed pretty tight knit over the years. And just through seeing him play live, hanging out with him, drinkin’ a beer shootin’ the shit, we became pretty good friends. Then my music started to attract his attention and he reached out to me, wanting to help me in someway to get on a bigger platform. Sole’s about the communal aspect of the art, and he’s got a vision and is super talented, so it’s great to be able to work with him. I generally don’t make beats for rappers, except him and k-the-i??? mostly, but I enjoy doin’ it, he’s always been a huge inspiration for me, gettin’ me through dark times, it’s a great combination because he’s always been one of the rawest voices out there and in a lot of ways a real life modern day prophet in my personal opinion. Everything going down right now he’s been rapping about for years. It’s wild.
SCV: You also mentioned the lengthy process it took to get this album pressed, having to save money through multiple releases and even a drug study program. There is a considerable amount of energy you had to put into this record with taking on most of the project yourself. How do you balance out a life of bills and the normal areas of life and find the resources to still press music?
WG: To put it simply, sacrifices and hustlin’ my ass off. I have never had a proper work space. I’ve lived most of my adult life without a bed to make room for a little studio. I’m just good at saving my money cuz’ I’m a cheap bastard. Bottom-line is you just gotta do what you gotta to do to make shit happen. I’m good at working with what I got, it’s been the foundation for my art since the beginning, to work within limitations, so it’s just become more of a lifestyle for me. Hopefully one day I can stretch out and work in a decent space, sleep on a bed, all that good shit.
SCV: This 7″ is your biggest release for you to date and contains material that jumps the board as far as origin of recording and conceptual design. For anyone just finding out who you are, how would you describe this release?
WG: I would say it’s my response to everything going on in America and the world and my way of offering something encouraging and hopefully inspiring. I’m tired of seeing my friends commit suicide. It’s been an epidemic it seems the past few years, so I hope this release, and it’s what I’ve always hoped for all my releases, that it reaches people where they’re at and gives them a sort of twisted smile and need to do something. Be it creative, or just the ability to do everyday things because I know how debilitating life can be and music offers up a chance to empower yourself. If I can do that with one person, I’m happy.
SCV: The 7″ will come with a 16 page booklet that you designed yourself, something I am very intrigued and excited to get my hands on. Without revealing too much, what’s inside the book and what types of processes do you partake in to complete these extra areas of your music releases?
WG: It’s a simple little thing I was able to make at my little part-time low-wage job. It’s got images I’ve spliced and collaged with, tongue-in-cheek kind of stuff with the overall message of encouragement. I went into it with an “anti-suicide” theme. For instance, the title sheet on the cover says, “Nobody Likes A Quitter”. I tried to make myself laugh.
SCV: You are releasing this split 7″ record on your own print WGREC. Do you plan to put out other artists on your imprint or will it solely by for your own releases?
WG: No. I created WGREC as something to put on all the releases I dish out myself. Probably should have started it from the start. And I’ve had a lot of help from I Had An Accident and a few other labels down the road, but WGREC was exclusively created for my own stuff.
SCV: To dive back into your history, what have been some of your most memorable releases and tours?
WG: Far as releases, each one has their own little story. The Death Of A Samplesman was a turning point for me that helped me spearhead the path of pursuing a more self-sufficient way. I’ve only been on a couple small tours, nothing big. Touring the west coast with Skrapez was fun, just to crack jokes and shit. Had some cool experiences in Europe, but towards the end there we got stranded a lot, cancelled shows and it was pretty fucking stressful. I find it hard to play shows in LA. I generally hit up San Diego for shows, the dude Mateo who runs Kava Lounge is a great friend he’s been really supportive and I always have a great time playing there, plus they have bomb ass alcoholic AND non-alcoholic drinks.
SCV: You have been a DIY artists since your conception into the arts. Why is the DIY approach very important to you?
WG: It’s not so much important as it is necessary. All this shit has always been pain-staking and super existential, so developing a DIY ethic is a way to combat the industry and my own surrender. And I’ve had some help along the way to further the approach, Vulgar really helped in the beginning and IHAA helped me get back on my feet after some disillusionment. But in the end, I just enjoy complete 100% control. From the art to the video to the music; everything. It feels good. Something about the monotony of it all I find liberating. I feel more connected with my audience.
SCV: I know that you have been collaborating with the Skrapez crew a lot in recent years. How did you meet them and what does their approach to sound mean to you?
WG: Vulgar Records who helped me with my first 2 releases put me onto Tenshun when I was living in Baltimore. He had just got out of jail for shit and I had just got my hearing back so we were both getting back into the swing of things. [I] hit him up on MySpace, traded music/art and became friends from there and he then introduced me into their Kilowattz crew and that’s when I came into contact with Psychopop and the rest of the clan. That was like in 2005, I think, and then we all finally met in person at this art show for their homies, which is captured in this video http://www.youtube.com/watch?v=MFOFvnMxa-I . That was fun, we just said what’s up real quick and immediately started jamming. They’re definitely my good brothers.
SCV: Looking back at your releases, where do you see yourself going with your craft that you haven’t been able to reach yet but you see yourself reaching in the years to come?
WG: Bigger and better things. I definitely want to branch out more with film and hopefully get the opportunity to reach a broader audience. I do vocals now which is a new phase, continue to span the spectrum of sound even wider. I don’t care to prescribe to any one genre. I’m just happy the drive is still there and despite everything I’m still having fun and enjoy the evolution and development of my craft and see where it goes. I want to do a lot. I’m careful about describing things too much, I like to let the work speak for itself – watch it all unfold with careful guidance and proficiency.
SCV: As far as gear goes, what are the tools that will always be by your side in creation and what differences does the analog and digital formats afford you while creating?
WG: MPC 1000 has always and will always be my weapon of choice. I need to get another one if I do more shows though. Like I said I dont have much room, so whatever small bullshit I can find and whatever new recording processes I can experiment with, I’ll be happy. I like trying new things. I like tapes and tape players and tracking everything off the grid in my computer for mixing. Not into midi/software too much. Just not my thing, I don’t knock it, it’s just not my bag. I like the hands on, carving out the sounds, keeping it primitive and futurist at the same time. I embrace limitation and always will and the shit you can do in Ableton seems a little too much for me and my approach. Programs like Reason, etc never really appealed to me. I don’t like staring at my computer enough as it is to make music. I’m just a contrary bastard so whatever’s “hot” at the moment, my natural inclination is to go the other way. I do notice I’m becoming increasingly anal-retentive the older I get. No room for tom-foolery bullshit. If I had any sense though, considering my living space, I probably should opt for the software stuff, but in the words of a great friend, “OHH WELL!”.
SCV: Thanks for the insight and your time Walter, hope you are great man.
WG: Much love & respect to what you do homie. Thank you.
Walter has a new cassette coming out on Luana Records that is a very limited edition print of 40 copies. The following video is for this album Coward.
*All artwork by Walter Gross
*Questions compiled by Erik Otis
Re-up of the online radio mix Walter Gross released with us as Volume 49. Modern grime at its best. Compiled and mixed with the MPC by Walter Gross.
- Ted Bundy – “Crying”
- Wolf Eyes – “Stabbed In The Face”
- Walter Gross “Sin” Tape
- Der Christer Schytts – “Remove Themselves From The Hotel As Thomas Kinkaide Pays
- His Respect To Walt Disney”
- Anthony Pateras – “Solo” (Piano) / Mutwawa – “Sacred Geometer” & Radio Tokloshe
- Youth:Kill – “2005 Demo WG Liquid Time Travel Remix”
- Sole – “Little Bank Anthem”
- Screwtape – “The Mocking Of The Devil” (WG-Big-Lurch-edit)
- Burning Witch – “Sacred Predictions”
- Climax Denial – “Untitled A Side”
- Psychopop – “Heavy Machinery Drogg” (WG-edit)
- Walter Gross – “With The Chrome To Your Dome”
- Youth:Kill – “The Anatomy Of A Criminal From Outer Space” (Tenshun Remix)
- Sole – “Little Bank Anthem”
- Dj Dogdick – “Wet & Sloppy”
- Mister Dizzle Gambini The Genie – “Untitled Rap Demo” (WG Zimulated Mashup)
- Tenshun – “Mindfuck”
- Mi Ami – “Clear Light”
- Odd Nosdam – “American Bonus Buy”
- Walter Gross – “Death Of A Samplesman” Outro
- Waylon Thornton – “You Don’t Surf So Shut Up”
Conversations With Walter Gross: Special Guest K-the-I???
Here is a transcription of a taped recording from a casual meeting between two friends & longtime collaborators, Kiki aka K-the-I??? and myself, Walter Gross at roughly, 7:00pm PST, March 27th, 2012.
This is hopefully the beginning of a series I’d like to set out and do fairly often. Casually hang out with talented people who may or may not happen to be my friend and record part of the conversation that might be insightful to the world around them. So, for what it’s worth here is the first installment of, Conversations With Walter Gross. Big thanks to SCV fam and K-the-I???, and thank you for reading.
I’ve arrived to Kiki’s via my bicycle and after almost an hour passes before I realize the TV has been repeating Zumba commercials non-stop, so I found a station that played New Age ambient music from SiriusXM and the song they played was by Tangerine Dream (not sure of the title). Apparently Kiki’s cable isn’t working so well at the moment. The new age station showed a still image of a painting of a half moon in silver and a crappy dark blue. It looked like a sad 10 year old painted it. This is where our conversation continues…
Walter Gross: ……but that’s on the DL though right? (In reference to a future release)
K-the-I???: Yea for the moment that’s why when it comes out I’ll have everything (videos) ready.
W: Is the Mush thing on the DL?
K: Yeeaaa, no. It’ll be announced later this week, so I gotta give it to them soon.
W: It’s like a 20 minute instrumental album?
K: Some shit like that, yea.
W: Nice! That’s cool.
K: I think what I’m tryin’ to do right now is step my content game up.
W: Like more volume?
K: Yea, just put out a gang of shit this year…..It’s really video I give more a fuck about – I’ve always liked messin’ with video – I don’t do it enough, that’s somethin’ I hear from people a lot.
W: It’s just the perfect match.
K: They say, “You never do video!”….I don’t…………. you’re correct.
W: Yea its true huh? Not enough out there.
K: (Addressing the request from fans) You can look on YouTube, I got showws… you can check out the set…on YouTube (laughs), that’s where you’re gonna hear that song, I never do videos.
W: What kind of stuff were you thinkin’?
K: I don´t know. I had this weird idea but i don’t know if I’ll be able to pull it off without gettin’ arrested (laughs) so I won’t do it. But I want to like set up my launch pad and play it in mad places. But really have it on so you could see the buttons and shit workin’ be in like the middle of the highway (laughs). You know, like, shit you shouldn’t be doin’. Just playin’…
W: In the mall.
K: Yea, like ignorant shit (laughs).
W: In the post office.
K: Yea like clearly have it set up the same way ya play with the lights goin’…. I think shit like that could be easily corny but it could easily be cool too. If the scenery looks right and people look that awkward enough like, “what the fuck?”. I’ve always wanted to do some shit like that. That’s what I’m thinkin’, but I don’t know how to pull it off without gettin’ arrested. Could you just like hook up in whole foods?
W: Yea that’s some dumb baller status.
K: That’s fuckin’ like jackass status.
W: There’s a shitty band that did that in the highway and they got arrested. People were pissed. (Both laughs)
W: Definitely. For your style, it requires a certain…umm…you definitely need videos for your music, it works really well with your style, def a lotta fast edits and random shit. And pretty shit, like a lotta canyons, nature, psychedelic, lotta streaks of light (laughs).
K: Yep, that sounds like the kinda shit I like to do, yep, streaks of light, that sounds about right (laughs).
W: Before people are all like where’s the video!
K: This shit is trippin’ me out. (referring to the new age music TV station)
W: I need to eat something. *End transcription 3/28/12.
Shot, edited & mixed by Walter Gross.
Additional camerawork by Lumiere Soto.
21st Century American DIY: An impressionistic glimpse into the DIY worlds of Walter Gross & Skrapez (Tenshun & Psychopop).
To be perfectly honest, I’ve been waiting for this moment my whole life. I remember being 7 or 8 years old walking around in my front yard daydreaming about making movies. Slang Yourself is a small step, but a step nevertheless. After everything that has happened, I am just glad I still have the desire to make something. I made the film for a class I’m taking at the Los Angeles City College. I’m 27 years old and have never been to college until now. I get some money through financial aid, supplemented with a minimum wage part-time job that pays under the table, I get by, I live according to a schedule and I’m able to expose different people beyond my friends to what I do. I found an SLR consumer-grade camera that shot in HD for a reasonable price, enrolled in my 3rd clinical drug study for 2 months enduring 2 spinal taps and some new pharmaceutical drug, got out, got paid and applied for a credit card with 400 dollars on it. I officially upgraded.
Six minutes is either way too short for a documentary or the perfect length to give you enough of a slice of our lives to want to know more. When I met Skrapez in 2005 through the small time French label, Vulgar Records, I felt a sense of tangible encouragement with what I was pursuing knowing that not only are there other like-minded artists I can personally relate to but they’re also scattered all across the globe. And then when I moved out west in 2008, they invited me to play with them at an art show in Santa Ana. I remember walking up the stairs to the gallery and they had already started, we briefly shook hands for the first time in person, said a few words and then I plugged in and we got lost in the session. These are the kinds of people that make such great friends, not much needs to be said, things are already understood and when the creative energies merge, very little is ever frustrating or an issue. The other important factor is that we’re just as formidable, defined and strong as solo artists, as we are when we collaborate or when Tenshun & Psychopop create as Skrapez. And that leads to a certain freedom, sense of security and an absence of any form of co-dependency that can arise in artists’ circles. We do our thing and when something needs to get done we know how to do it without any outside assistance. Collectively we’ve created close to 100 releases, Tenshun being the most prolific with over 40 albums under his belt.
I’d be lying if I said I never felt jealous, embittered, pathetic and wanting to quit. When you pour your heart and soul into something, carefully craft each one and then find it impossible to sell 15 copies of it, one starts to wonder, “What’s the fucking point?” The problem with that point is one doesn’t choose this life, I wholeheartedly believe it chooses us. The faith you must have in yourself to constantly be in mode, eyes open, ready to execute at any given hour is beyond anything of this world, in my honest opinion. There is something pressing in us that drives us to carry on despite the lack of support, major label help or even general approval & exposure. I’ll never forget those that have supported me from day one until now but at some point you have to ask yourself how long can I keep this up. And this is the driving spirit behind what we do. I know for me, it’s my language that won’t let me shut-up as well as self-therapy. Anger. Love. Inspiration. Gratitude. The ability and awareness to watch the world pass by and process it through your imagination onto some thing that a person I may never meet can hold in their hands, listen to and keep. What more could I ask for?
I’m discontent with my culture. I’m ashamed of what we’ve become and what we seek. Engaging in a creative process is the least I can do to have any form of positive impact on the world so that I don’t die as someone that just consumed and poisoned the earth. Whether or not we’ll have someone to help us along the way hasn’t been an issue for quite some time. I take heed to natural selection and remain faithful that what is sincere, powerful and with substance will live on and serve a real purpose to the people. You never know when life might get in the way, or when death may take you, so as anyone compelled to create something I believe it’s our duty to make as much as possible before the artistic clock stops ticking. It takes time to build a dimension, a mosaic for people to understand the larger picture of an artist’s aesthetic and a creative context in order to progress naturally and create without inhibition. Empires are falling apart, things are losing its meaning and life is as ambiguous as ever; we must carry on as only we know how.