Posted in Whathaveyou on February 6th, 2023 by JJ Koczan
Based in Seelbach, Germany, the Hoflärm Festival will host its fifth edition this August, as seemingly every weekend of Europe’s Spring and Summer fest season seems to increasingly have something going on somewhere at sometime. A glut of cool events is nothing to complain about for anyone who remembers a couple years back when there was nothing — which, as much as one tries to repress those particular memories, I still do — and the lineup here is right on in terms of vibe with Acid King, Mars Red Sky, Messa and Elephant Tree so far at the top of the bill with Rotor, Swan Valley Heights, Mondo Generator, Grin, Black Lung, Eremit, Madmess, Old Horn Tooth and Kvinna rounding out and a few black boxes on the poster like the rest of the lineup has been redacted for the purposes of protecting classified information.
And I won’t argue with Hoflärm adding another six or seven bands, but, I mean, this is already pretty killer on first blush. You’ll note this takes place over three days, so spreading the 20 bands out over that long, it seems like a pretty laid back kind of deal — at least until Mondo Generator starts ripping into Kyuss tunes, but that’s fun too — and not necessarily as overwhelming as some multi-stage fests in Europe and elsewhere. This is the five-year anniversary of the fest, and to see Acid King and Mars Red Sky alone, it’s already got me daydreaming, so I take that as a win.
Details follow as per Hoflärm‘s socials:
Hoflärm – 5th Anniversary – GO FOR THE RIDE
Join us this year for the 5th stony ride to Hoflärm 2023! We are very happy to announce the first bands of the line-up today! We also announce the start of the presale for 05.02.2023 at 5 pm!
Started in 1993, we are more than proud to welcome Acid King! The band around Lori S. looks back on 30 years of band history and will bring their new Album to Marienthal in August.
Mars Red Sky and Elephant Tree will drive you into the sunset with their all time classics like Strong Reflection or Wither! We’re already feeling the vibe around the yard!
A very special highlight we are looking forward to is Messa. The Italian doom band combines the raw and rough sides of doom with the warm summer evenings of the Hoflärm.
Just last year, stoner legend Nick Oliveri visited us with his band Stöner. Nick liked it and had reason enough to come knocking on our door again in 2023. We are looking forward to Mondo Generator, Mr. Oliveri!
We also have visitors from Berlin again, on the one hand we are happy to welcome Rotor, our tractors are running at Vollast! But on the other hand also Grin! We can’t imagine a Hoflärm without Jan, Sabine and Andre! In 2021 the three played with Earth Ship, in 2022 with Slowshine. This year, however, only Sabine and Jan will be on stage, Andre will mingle with the audience while Grin plays their crushing riffs.
Black Lung and Madmess will bring you through our hot afternoons with their heavy psych rock!
Doom over Marienthal: Eremit and Old Horn Tooth will be blasting the darkest riffs into your ears! Live Slow Die Old!
Last but not least, we are happy to welcome 2 bands that have played at the Hof in the past! Swan Valley Heights and Kvinna! Kvinna was the band that opened the first Hoflärm, who of you was there and can remember?
Stay tuned for even more announcements! We have more Bands, as well another Headliner & Co Headliner to announce!
Posted in Whathaveyou on January 31st, 2023 by JJ Koczan
This looks utterly doable. You get into London maybe Friday morning, find your way to Hackney and the Oslo venue in time for the start, check out a few killers on Friday, then spend Saturday and Sunday fully immersed in the front-to-back, digging on the variety mostly of London’s own heavy underground, but certainly from some outside as well. I kind of feel like every time Slomatics book a show at this point I end up writing about it one way or the other — they mostly play fests, so it’s almost true — but along the top line here with them is Gnome — as seen on many 2023 lineups — Conan and Esoteric. That’s a strong argument already, but with the likes of Josiah and Desert Storm and Old Horn Tooth further down the bill there’s more to dig into than headliners to be sure. If you haven’t heard Goblinsmoker yet and want a tutorial on UK sludge, they’re glad to offer.
If I had more money than gawd and fewer responsibilities than I do, this would be the kind of thing I’d pop over to hang out at. It’s not about big bands or any kind of pretense or whatever. It’s just a killer assemblage playing out over what’ll be a good weekend for those fortunate enough to see it. Some familiar, some newer acts, just the way it should be. Nothing more to ask.
Tickets are available, and the venue’s right by Hackney Central train station and there’s a Travelodge there and a Tesco down the road, so if you’re looking to set up shop coming in from out of town, it’s doable. Full lineup follows:
We’re back in the ring to take another swing!
London Doom Collective are proud to bring you the best of the underground doom/stoner/sludge with Master of the Riff II
Posted in Whathaveyou on January 27th, 2023 by JJ Koczan
Solid bill. More than solid, actually. I don’t think I need to argue in favor of Ruination Festival 2023’s headliners in Slomatics and Fatso Jetson, but check out the US/UK blend at the pre-show as well with Thunder Horse and Great Electric Quest with Old Horn Tooth and Oakenthrone and Gandalf the Green. That’s a good time even before you get to Sergeant Thunderhoof and Mastiff and Trevor’s Head and Ritual King and Goblinsmoker et al welcoming High Desert Queen and the aforementioned Fatso Jetson to England’s green and pleasant land.
Of course, the elephant in the room here, fest-wise, is Desertfest London, but there are arguments to be made here for the concise all-dayer/pre-show format, and if you want a curated sample of some of the best up and coming UK acts with some more established names on top, it’s a good way to go and a situation without the rampant timing conflicts that inherently happen at larger festivals. Even with two stages going, this seems doable to me and like a good way to pack in seeing a bunch of bands and not having to miss out on something you want to see.
The fest is a collaboration between Iron Boar Bookings and Riffolution Promotions, and you can see the full lineup and
RUINATION FESTIVAL
Ruination Festival is a joint event from Iron Boar Bookings and Riffolution Promotions. Taking place on the 13th of May across 2 stages, The Underground and Als Juke Bar!
Tickets are £15.
Make sure to RVSP to stay up to date with announcements. With some of the best stoner, doom & psych on the scene, from both UK and US.
(#127482#)(#127480#) Fatso Jetson Great Electric Quest High Desert Queen Thunder Horse
(#127468#)(#127463#) Slomatics, Sergeant Thunderhoof, Mastiff, Grave Lines, Trevors Head, Ritual King, Son of Boar, Everest Queen, Goblinsmoker, Boach, Swamp Coffin, Ironrat, Old Horn Tooth, Gandalf the Green, Oakenthrone
I hadn’t necessarily planned on doing a tribute to Desertfest London 2022. Not that it doesn’t deserve it, just that it didn’t occur to me until last week’s lineup announcement happened to hit at the right moment for my brain to connect the two things: the show and the fest. Sometimes you get these impulses and it’s a good idea to follow.
In the voice tracks here I mumble a couple times about doing a second installment because this is so packed and there’s still so much more that got left out because the show is only two hours long. I may get around to doing a second one, or I might do a Berlin one, a New York one, or a Freak Valley one, Krach am Bach, Stoned From the Underground, etc. There are many, many options, and that’s not to mention Roadburn, which is also happening in two weeks.
But god damn the lineup for Desertfest London 2022 is sick, and I’m happy to report that the playlist below follows suit accordingly.
Thanks if you listen, thanks if you’re reading. Thanks in general.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 04.01.22
Witchcraft
No Angel or Demon
Witchcraft
Electric Wizard
The Chosen Few
Witchcult Today
Greenleaf
On Wings of Gold
Echoes From a Mass
Josiah
Malpaso
Josiah
VT
Elephant Tree
Sails
Habits
Steak
Papas Special Custard
Acute Mania
YOB
Quantum Mystic
The Unreal Never Lived
Conan
Eye to Eye to Eye
Existential Void Guardian
King Witch
Under the Mountain
Under the Mountain
VT
Earthless
Gifted by the Wind
Black Heaven
Green Lung
Reaper’s Scythe
Black Harvest
MaidaVale
Another Dimension
Madness is Too Pure
Bongzilla
Free the Weed
Weedsconsin
VT
Old Horn Tooth
True Death
True Death
1782
Bloodline
From the Graveyard
Lowrider
Sernanders Krog
Refractions
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 15 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on March 25th, 2022 by JJ Koczan
Desertfest London 2022, has concocted the kind of lineup that you daydreamed about for the last two years. Adding 1000mods, Greenleaf, DVNE, Ritual King, Shooting Daggers, Old Horn Tooth and Personal Hell doesn’t hurt in that regard, and even at the cost of C.O.C. and others, I still can’t imagine anyone is gonna look at this lineup and call bullshit. Josiah headlining The Black Heart? YOB at the Roundhouse? Orange Goblin after Earthless at The Electric Ballroom? Holy mackerel. What more could you possibly want?
And if you say C.O.C., you’re missing the point.
It doesn’t look like I’m going to be there, as I was hoping to be, but if you are, you have my jealousy. If you’ll pardon me, I need to go change a diaper. Life.
From socials:
***1000MODS, GREENLEAF, DVNE + MORE ADDED TO DESERTFEST LONDON ’22***
Due to circumstances well beyond our control, the following artists are no longer able to perform at DF London ’22: Corrosion of Conformity, The Obsessed/Wino, Khemmis, Somali Yacht Club, Mos Generator, URNE, Shuck.
We know this news comes as a disappointment however, all is far from lost as we are thrilled to be welcoming 1000mods, Greenleaf, DVNE, Ritual King, Shooting Daggers, Old Horn Tooth & Personal Hell to the bill!
We hope you understand that touring is still extremely difficult to navigate during these times, with a lot of decisions taken out of our hands. But your continued support of independent live music means everything to us. We cannot wait to see you in a little over a month!
If you are still after a weekend ticket, the best thing to do is sign up to the DICE waiting list. Or you can nab yourself a Saturday + Sunday (Non-Roundhouse access) combo ticket here – https://link.dice.fm/Jb083c2cefc7
More info regarding after-parties, merch + a very exciting reveal of what’s going to be on offer down on Greenland Place is all to come.. stay tuned!
Posted in Whathaveyou on February 18th, 2022 by JJ Koczan
That’s a lot of name for a festival, the Majestic Mountain Records Festival, Oslo 2022 Think we can get away with calling it the MMR Fest for short? MMR Fest Oslo 2022? Maybe. I’ll work on it, seems like we’ll have a bit of time before June and there are more announcements to come.
Nothing like unveiling acts, though, for a first-annual festival, as Sweden’s Majestic Mountain Records follows suit behind Heavy Psych Sounds in establishing itself as a festival brand. And the fact that — like HPS fests and like Desertfest — there’s a city in the name of this festival right from the outset tells me that Majestic Mountain Records is already planning or at least considering branching out to other cities.
Perhaps, then, this inaugural edition in Oslo, Norway, might be a proving ground for the whole idea. All the more occasion for the label to do it up right, which seems to be the start they’re giving it. In the first batch of five bands announced for the lineup could be found MaMa Doom making the trip from the USA, recent-signees Old Horn Tooth doing likewise from the UK, and native Norwegian thunderbringers Jointhugger representing the home team alongside Saint Karloff and the just-nominated-for-a-Spellmann Prize Kal-El, to whom congratulations are due. The second round, also five acts, boasts Häxmästaren, The King’s Pistol, Electric Hydra, Bogwife and Grand Cadaver.
Fest is June 18 with a pre-show June 17. Poster, announcements and many, many links follow:
Majestic Mountain Records is pleased to announce the first annual MAJESTIC MOUNTAIN RECORDS FESTIVAL, OSLO
A two-day riff-fest of gargantuan proportions to commence the 17-18 of June at Blitz, Oslo PLUS a killer pre-party on Thursday the 16th at the coolest basement venue around, Revolver.
This is going to be a very special event with some incredibly cool details and exclusive performances by Majestic Mountain bands from all over with exclusive performances and super killer surprises along the way.
The MMR crew cannot wait to celebrate the Majestic roster and the return of live music with you!
Join us in June for heavy riffs, infinite headbangs, mega fuzz and good times.
Without further ado, we present you with in no certain order:
MaMa Doom (US) Jointhugger (NO) Old Horn Tooth (UK) Kal-El (NO) Saint Karloff (NO) Electric Hydra (SE) The King’s Pistol (UK) Häxmästaren (SE) Bogwife (DK) Grand Cadaver (SE)
Early Bird tickets will go up for sale on Sunday!
Majestic Mountain Records Fest Oslo is a two-day label showcase, riff-fest of gargantuan proportions to commence the 17-18 of June plus a killer pre-party on Thursday the 16th at our favourite basement venue, Revolver.
This is going to be a very special event with some incredibly cool details and exclusive performances by Majestic Mountain bands from all over and some killer surprises thrown in the mix. Announcements are flowing with more bands to come so keep those eyes peeled for all the juicy details!
The MMR crew cannot wait to bang our heads and celebrate our roster and the return of live music with you!
Thanks so much for reading and for all your excitement about this event, we’re so looking forward to seeing all of you beautiful people in June!
Posted in Whathaveyou on February 3rd, 2022 by JJ Koczan
Alright, so I put on Old Horn Tooth‘s 2021 EP, True Death (review here), to write this post and I’m not even past the organ intro yet and this shit is already epic. Any wonder Majestic Mountain Records would want to add the London trio to its growing and increasingly badass roster of talent? No, not really, but it’s good news anyway that the band have new stuff in the works and have been picked up, found a home, all that. Put them on tour with Jointhugger and watch as they lay waste to pretty much any and everything.
The news came through social media from Majestic Mountain, and whether or not you caught that single-song EP, it’s well worth digging in now. To wit, I’m gonna go do just that. Except I’m not really going to go anywhere. I’m gonna sit here, with headphones on, and be duly steamrolled. Splat.
Cheers to Old Horn Tooth and I don’t know if you’ve noticed, but the label is not-that-subtly positioning itself among Europe’s foremost purveyors of heavy. There’s a few years to go, but if you weren’t already following along through snags like Old Horn Tooth, the aforementioned Jointhugger, as well as Black Capricorn, KITE, Vessel, Bogwife, Wolves in Haze, certainly Kal-El, on and on, now’s as good a time as any to start.
Words in blue coming up:
The Majestic Mountain Records Newswire is buzzing through the midweek and excited to bring you more news of incredible signings coming to the Majestic Roster!
Please give a warm welcome to London’s Old Horn Tooth!
A humble, hardworking band flying largely under the radar but deserving of all the praise their stellar musicianship and supernatural conceptual execution should afford them.
From their methodically hypnotic and ineffably onerous 2019 self-released debut “From the Ghost Grey Depths” to their epic, orchestrally engrossing single, 20-minute track opus “True Death” in 2021, it’s no secret that OHT take their time with quality over quantity and the results hint dramatically at the sheer excitement of what lies ahead in their evolution as a band and as a true force of doomy nature.
For those who have not previously knelt at the altar of “The Tooth”, this band is a sleeping giant, and we’re primed and ready for the age of Old Horn Tooth to erupt and engulf us all.
New material coming on wax with the full Majestic treatment 2022/2023
More information to come!
Follow the Old Horn Tooth lads on ye olde socials for their uniquely prolific and cheeky banter about riffs, beers and gears.
Posted in Reviews on September 29th, 2021 by JJ Koczan
According to my notes, today is Day Three of the Fall 2021 Quarterly Review. Are you impressed to have made it this far? I kind of am, but, you know, I would be. I hope you’ve managed to find something you dig over the course of the first 20 records, and if not, why not? I’ve certainly added to a few year-end lists between debut albums, regular-old albums and short releases. Today’s no different. Without giving away any secrets ahead of time, this is a pretty wacky stylistic spread from the start and that’s how I like it. Maybe by next Tuesday it’ll all make a kind of sense, and maybe it won’t. In any case, this is apparently my idea of fun, so let’s have fun.
Quarterly Review #21-30:
Thief, The 16 Deaths of My Master
Someone used the phrase “techno for metalheads” in an email to me the other day (about something else) and I can’t get it out of my head concerning Thief‘s The 16 Deaths of My Master. From the swelling distortion of opener “Underking” to the odd bit of harpsicord that shows up in “Scorpion Mother” to the bassy rumble underscoring “Fire in the Land of Endless Rain,” the post-everything “Lover Boy,” droning “Life Clipper,” lazyman’s hip-hop on “Gorelord” and “Crestfaller” and Beck-on-acid finale in “Seance for Eight Oscillators,” there’s certainly plenty of variety to go around, but in the dance-dream “Apple Eaters” and goth-with-’90s-beatmaking “Bootleg Blood” and pretend-your-car-ride-is-a-movie-soundtrack “Wing Clipper,” the metallic underpinning of Dylan Neal (also Botanist) is still there, and the lyrical highlight “Teenage Satanist” rings true. Still, songs like the consuming washer “Night Spikes and subsequent drum’n’bass-vibing “Victim Exit Stage Left” are inventive, fascinating, short and almost poppy in themselves but part of a 16-track entirety that is head-spinning. If that’s techno for metalheads, so be it. Horns up for dat bass.
The album’s title is kind of another interpretation of the band’s name, the idea behind the Latin phrase Per Aspera Ad Astra being moving through challenges to the stars and the Santiago, Chile, one-man death-doom outfit being Rise to the Sky. Multi-instrumentalist/vocalist Sergio González Catalán reportedly wrote and arranged the title-track in the days following his father’s funeral, and the grand, flowing string sounds and engrossing heft that ensues feel genuinely mournful, capping with a progression of solo piano before “End My Night” seems to pick up where “The Loss of Hope” left off. The lyrics to closer “Only Our Past Remains” derive from a poem by Catalán‘s father, and the sense of tribute is palpable across the album’s 46 minutes. I’m not sure how the Russian folk melody bonus instrumental “Horse” might tie in, but neither is it out of place among “Deep Lament” and “Bleeding Heart,” the latter of which dares some clean vocals alongside the gutturalism, and in context, the rest of the album seems to answer with loss what opener “Life in Suspense” is waiting for.
Those familiar with Brian Ellis and Conor Riley‘s work in Astra should not be surprised to find them exploring ’70s-style progressive rock in Birth, and anybody who heard Psicomagia already knows that bassist Trevor Mast and drummer Paul Marrone (also Radio Moscow) are a rhythm section well up to whatever task you might want to set before them. Thus Birth‘s Demo arrives some four years after its recording, with “Descending Us” (posted here) leading off in dramatic Deep Purple-y fashion backed by the jammier but gloriously mellotroned and Rhodes’ed “Cosmic Wind” and “Long Way Down,” which digs itself into a righteous King Crimson payoff with due class even as it revels in its rough edges. Marrone‘s since left the band and whoever replaces him has big shoes to fill, but god damn, just put out a record already, would you?
Wielding mighty tonality and meeting Monolordian lurch with an aural space wide enough to contain it, Old Horn Tooth follow their 2019 debut LP, From the Ghost Grey Depths, with the single-song EP True Death, proffering a largesse rarely heard even from London’s ultra-populated heavy underground and working their way into, out of, back into, out of and through a nod that the converted among riff-heads likely find irresistible and hypnotic in kind. To say the trio of guitarist/vocalist Chris, bassist/keyboardist Ollie and drummer Mark ride out the groove is perhaps underselling it, but as my first exposure to the band, I’m only sorry to have missed out on both the orange tapes and the limited flash drives they were selling. So it goes. Slow riffs, fast sales. I’ll catch them next time and drown my sorrows in the interim in this immersive, probably-gonna-get-picked-up-by-some-label-for-a-vinyl-release offering. And hey, maybe if you and I both email them, they’ll press a few more cassettes.
Pro-shop-level doom from an initial public offering by Solemn Lament, bringing together the significant likes of vocalist Phil Swanson (ex-Hour of 13, Vestal Claret, countless others), drummer Justin DeTore (Magic Circle and more recently Dream Unending) as well as Blind Dead‘s Drew Wardlaw on bass and Adam Jacino on lead guitar, and Eric Wenstrom on rhythm guitar. These personages cross coastlines to three tracks and intro of grand and immersive doom metal, willfully diving into the Peaceville-three legacy on “Stricken” to find the beauty in darkness after the lumber and chug of the nine-minute “Celeste” resolves with patient grace and “Old Crow” furthers the Paradise Lost spirit in its central riff. Geography is an obvious challenge, but if Solemn Lament can build on the potential they show in this debut EP, they could be onto something really special.
A stunning third full-length from Fayetteville, Arkansas, trio Terminus, The Silent Bell Toll bridges doomed heft and roll, progressive melodicism and thoughtful heavy rock construction into a potent combination of hooks and sheer impact. It’s worth noting that the 10-minute closer of the nine-song/40-minute outing, “Oh Madrigal,” soars vocally, but hell, so does the 3:18 “Black Swan” earlier. Guitarist Sebastian Thomas (also cover art) and bassist Julian Thomas share vocal duties gorgeously throughout while drummer Scott Wood rolls songs like “The Lion’s Den” and “The Silent Bell Toll” — that nod under the solo; goodness gracious — in such a way as to highlight the epic feel even as the structure beneath is reinforced. With three instrumentals peppered throughout to break up the chapters as intro, centerpiece and penultimate, there’s all the more evidence that Terminus are considered in their approach and that the level of realization across The Silent Bell Toll is not happenstance.
Clearly named in honor of its defining intent, Recurring Nightmare is the three-song/48-minute debut full-length from Boston-based charred sludge outfit, who take the noisy heft of ultra-disaffected purveyors like Indian or Primitive Man and push it into a blackened metallic sphere further distinguished by harshly ambient drones. One can dig Neurosis-style riffing out of the 19:30 closer “Guillotine” or opener “Torch and Spear,” but the question is how much one’s hand is going to be sliced open in that process. And the answer is plenty. Their tones don’t so much rumble as crumble, vocals are willfully indecipherable throat-clenching screams, and the drums duly glacial. There is little kindness to be had in 16:43 centerpiece “Freedom Fever Dream” — originally broken into two parts as a demo in 2019 — which resolves itself lyrically in mourning a lost ideal over a dense lurch that’s met with still-atmospheric churning. Their established goal, if that’s what it is, has been met with all appropriate viciousness and extremity.
An ethic toward straight-ahead riff rock is writ large throughout Taxi Caveman‘s self-titled debut full-length, the Warsaw trio offering a face-first dive into fuzz of varying sizes and shaping their material around the sleek groove of “Prisoner” or the more aggressively bent vinyl-side-launchers “Building With Fire” and “Asteroid.” There’s a highlight hook in “I, the Witch” and the instrumental “426” leads into the Dozer-esque initial verse of 10-minute closer “Empire of the Sun,” but the three-piece find their own way through ultimately, loosening some of the verse/chorus reins in order to affect more of a jammed feel. It’s a departure from the crunch of “Asteroid” or “Prisoner” and the big, big, big sound that starts “Building With Fire,” but I’m certainly not about to hold some nascent sonic diversity against them. They’re playing to genre across these 33 minutes, but they do so without pretense and with a mind toward kicking as much ass as possible. Not changing the world, but it’s not trying to and it’s fun enough in listening that it doesn’t need to.
“Negative Libra” runs 36:36 and is the lone track on the album that bears its name from Las Vegas-based solo-project Droneroom. The flowing work of Blake Conley develops in slow, meditative form and gradually introduces lap steel to shimmer along with its post-landscape etherealities, evocative of cinema as they are without exactly playing to one or the other film-genre tropes. That is to say, Conley isn’t strictly horror soundtracking or Western soundtracking, and so on. Perhaps in part because of that, “Negative Libra” is allowed to discover its path and flourish as it goes — I’m not sure as to the layering process of making it vis-à-vis what was tracked live and put on top after — but the sense of exploration-of-moment that comes through is palpable and serene even as the guitar comes forward just before hitting the 27-minute mark to begin the transition into the song’s noisier payoff and final, concluding hum.
Blown-out vocals add an otherworldly tinge to Arizona-based one-man-band Aiwass‘ debut full-length, Wayward Gods, giving the already gargantuan tones a sense of space to match. Opener “Titan” and closer “Mythos” seem to push even further in this regard than, say, the centerpiece “Man as God” — the last track feeling particularly Monolordly in its lumbering — but by the time “Titan” and the subsequent, 10-minute inclusion “From Chains,” which ends cold with a guest solo by Vinny Tauber of Ohio’s Taubnernaut and shifts into the cawing blackbird at the outset of “Man as God” with a purposefully jarring intent. Despite the cringe-ready cartoon-boobs cover art, the newcomer project finds a heavy niche that subverts expectation as much as it meets it and sets broad ground to explore on future outings. As an idea, “gonna start a heavy, huge-sounding band during the pandemic,” is pretty straightforward. What results from that in Aiwass runs deeper.
