In the fall of 2016, I spent ten days on the road with a band from New Jersey called Young Rising Sons. Part of my duties were setting up and tearing down drummer Steve Patrick’s rig every night, and that opportunity gave me some amazing insight into Patrick’s work and what it means to be a professional musician. I got an excellent behind the scenes look at how much work goes into planning and executing a successful tour, and how integral Patrick was in keeping each night’s performance on point. My favorite experience however, was during fan meet-and-greets when Patrick would not rest until he had met every single fan, signed something for them, and taken loads of photos. His compassion for fans is unrivaled and his enthusiasm for his craft is what lead me to respect him so much today.img_0079

Patrick has been a great friend since the end of that tour, and he was kind enough to answer a few of my questions for the inaugural article of a new interview series titled “Drummer’s Corner.” In this series I will explore what it’s like for contemporary drummers on the road, in the studio, and navigating the ever-confusing business side of today’s music industry.


ZF: The first thing I noticed about your kit was the muffling on your snare drum. Some drummers use moon gels or studio rings, but you’ve got something a little different. Please explain what it is and how it differs from other products on the market.

SP: I’ve recently been using something called a Big Fat Snare Drum. They are a company based out of Massachusetts I believe. I randomly happened across the 14” Original BFSD at a local music shop and bought it on a whim as I heard a friend of mine raving about it. I took it and dropped it on my snare and immediately noticed the difference. Since then I’ve used it on all of my snares and it does exactly what it says it does: turns your snare into a big fat tonal masterpiece. I’ve been using a Truth Custom Coke Bottle Acrylic snare recently and it has tons of crack to it, but lacks in low end and has a lot of overtones. The BFSD tightens it up and no matter how the head is tuned, it has a perfect, fat beefy tone to it. It also is great on fly dates where we have to use rented backline equipment. No more tuning a snare that has been abused for years, you just drop on the BFSD and go.

ZF: Do you use a different kit for recording than you do performing live?

SP: Yeah, live I play a Gretsch kit and it is just great across the board for any application. It’s so versatile and sounds gorgeous even if we toss it up on stage and go without tuning it. It’s my favorite kit I’ve ever owned and I can’t say enough good things about it, but when we are recording we have more time and space to find out what works; so we kind of create a Frankenstein drum kit to get all of the sounds we are looking for on a song-to-song basis. Most recently we used a Bubinga Tama Starclassic and it sounds beautiful. The kick has this controlled low end thump that is perfect for the studio, and the floor tom has a bit of a growl but doesn’t break up when you tune it low, which makes it perfect for all the tom parts I play. We tend to mix and match cymbals based on the song, but I’ve always used Zildjian K Custom Dark Hats, they are super dry and smoky sounding but still really musical, so they work in almost any vibe.

img_0075ZF: Which producer(s) do you normally record with, and what is the recording process like for tracking drums?

SP: For the past two years we’ve been with the same few producers: Shep Goodman, Aaron Accetta, and Christian Medice. Tracking drums with them is kind of funny. Christian is the only one with drumming experience so when they like something I do, they have to use Christian as a translator to describe what part they liked and why. On my end it’s a little hectic and confusing but it keeps me on my toes and challenges me a little bit to just nail it based on what I think they are looking for. We’ve tracked things a few different ways as well which has been challenging, but fun.

We’ve occasionally recorded the drums and cymbals separately to really give the drum tones isolation and stop cymbal bleed entirely. It’s useful on the songs that have more electronic MIDI sounds blended with the drums themselves. Recording that way is equal parts challenging and fun. You can let your brain relax a bit and really lay into the backbeat for most of the song but then you get to a fill and have to stop your natural muscle memory from hitting the cymbals. So certain parts feel a bit more cerebral than normal, which is fun for me because I’m always up for a new challenge. With all of that said, typically tracking drums for Young Rising Sons is a breeze. I can sit down and knock out songs in a couple of takes and then we listen and make sure it feels good.

ZF: You use a laptop and Roland SPD-SX pad while performing live. What do you use these for and why?

SP: Yeah! I think in today’s industry there are lots of tools you can use to sound as close to the actual recordings as possible while also expanding what you’ve done and delivering that new element to the crowd. I love the technology side of things and finding out what I can add on without making the live set feel contrived or like it’s a different band. We run Ableton on a MacBook Pro for a few reasons, and the backbone of it is we can send a metronome to myself and the other guys as well as certain synth tracks and other miscellaneous sounds that wouldn’t be practical to create ourselves on stage. A huge part of it is being able to trigger and automate our intro and song transitions so the show stays fluid, while those on-stage things that have to occur can go on (tuning, guitar switches, beer chugs, instrument changes, etc.). It’s also allowed us to program and automate a light show which gives us freedom to make the lights appear however we wish as they are triggered entirely in Ableton and never miss a cue. If we decide to change color schemes or design, we can easily go back to the drawing board and re-model them ourselves.

The Roland SPD-SX pad is my favorite part though, as it becomes an extension of my drum kit and lets me play all of those MIDI drum parts I spoke about earlier. Some of our songs have drum parts that are all electronic, or a blend of acoustic and electronic drums and the SPD-SX gives me an easy and effective way of accomplishing just that. I can just drop in the sounds I want, assign them to a pad, and play entire sections of songs on the pad just the way they were written. For example, I can use a snare on the pad but play the rest of the groove on my kit or I can assign sounds to a kick and snare trigger and blend my kit sounds with the MIDI sounds for just the right tone! It has endless applications, all of which allow me to customize and control more and more of the instrumentation of our live set, which is ideally what you want as a musician. The ability to control all of the sounds and manipulate them where I see fit has been a game-changer for us. Not to mention, it’s just loads of fun to mess around with, even in an acoustic or studio setting (or when you’re bored and binge-watching Stranger Things and you want to match the soundtrack). Roland gets an A+ from me, that thing is my new BFF.

Steve’s Specs:

Gretsch Catalina Club 14×26 Kick
Gretsch Catalina Club 8×12 Rack Tom
Gretsch Catalina Club 16×16 Floor Tom

Truth Custom Acrylic 7×14 Snare
Ludwig Supraphonic 6.5×14 Snare

Zildian A 23” Sweet Ride
Zildjian A 21” Sweet Ride
Zildjian 14” K Custom Dark Hats

Vic Firth 5A and 5B drumsticks

Roland SPD-SX
Roland RT-30 Drum Triggers

ZF: While shooting your music video for “Undefeatable,” you had to mute your cymbals and drums in order to play along to a backing track. How hard is it to mimic live-performance for the cameras?

SP: It’s always a strange feeling that I think most film crews don’t really understand. As a drummer, it’s SUPER easy to get in your head if something just feels a little off, so it’s a hurdle you kind of need to handle alone behind your kit. I think it’s all about knowing you’re going to look silly for the first few takes and then settling in and just pretending like it’s a real show. Once you’re adjusted it really isn’t so bad, but I do always find myself chuckling at it here and there.

ZF: You just got off a two-week tour with 888 and The Moth & The Flame. Describe a typical day on tour.

SP: We keep it pretty simple: wake up, shower, get dressed, COFFEE, drive to venue, load in, build stage, FOOD, soundcheck, MORE COFFEE, hang out—usually everyone has their own free time, interviews, photos, drinks, warm-ups, perform, take photos with every last fan, load out, drive to hotel, sleep, repeat! It always varies depending on the city and what press we may have or how long certain drives are, but this is the typical day I would say. Super exciting, right?

ZF: How do you warm-up for a show?

SP: I wish I had a better warm-up, but really I just drink Jameson and stretch. I’ll pull out the drum pad and work through some rudiments for a bit and if I’m feeling particularly stiff I’ll do a few jumping jacks or push-ups to get the blood pumping. It’s mostly the Jameson that does it.Processed with VSCOcam with f2 preset

ZF: What back-up gear do you always keep with you on the road or in the studio?

SP: Mostly just back-up snares. We were on tour with The Kooks when I somehow hit my snare so hard that the rim of the drum broke in half and I was SUPER thankful to have an extra! (Don’t ask me how, I think it was a defective rim or something – I’m not even that strong).

ZF: What is the best show you’ve played?

SP: This is a tough one! Honestly we have played so many good ones that I can’t pick, so I’m going to go with the lazy option and choose a hometown show! We played Starland Ballroom in NJ with The 1975. It was the first time our friends and family had ever seen us play at home in New Jersey since we had signed a record deal and it was a special moment. Running into old friends and new friends who were all equally excited for us was a cool feeling. There was a sense of family in that room, plus it was right before the holidays so it was a talking point when we got home among all of our friends and family. It was a really memorable night.

ZF: On your most recent tour, the band performed several free acoustic sets for fans under 21 who were unable to attend your concerts. Explain how the band came up with this idea and describe your acoustic setup.

SP: A large portion of our fan base is under 21 and a few venues wouldn’t budge on their age restrictions due to local laws, so we wanted to figure out a way to still say hello to our fans that we haven’t seen in a while that couldn’t make it in. I think Andy came up with the idea to do acoustic meet and greets and obviously we thought it was a great idea. As for our acoustic set up, we wanted to figure out a cool way to get everyone involved and it so happened I started playing ukulele recently, so we figured why not try it out. It brightened up the performance and every song seemed to translate well on it. We had messed around with it for a bit when we realized it was missing a percussive element. I was already using a cajon as a seat and realized, I can’t use my hands but a kick drum pedal would work! So I grabbed one and we just went with it.

The whole idea behind the acoustic set is that all three of us can be flexible and play any of the instruments we’re using, so it allows us to mess around and swap instruments to create a new feel to a song we may have played 100 times in a different way. It’s a fun challenge for me to sing, play ukulele, and also play kick patterns while Julian uses a tambourine as a snare. It’s like I’m solving a real-time puzzle in my brain and it all fits together in motion.img_0076

ZF: Is Julian a better tambourine player than you?

SP: IN HIS DREAMS! I am the tambourine master. He’s pretty damn good though, he looks so good while playing it.

ZF: You’ve been playing drums for 15 years and signed to Interscope Records in 2014. How has the transition been from aspiring musician to signed professional?

SP: It’s interesting, I don’t feel any different! I just enjoy it immensely and I’m lucky to be able to wake up every day and play. Just enjoying the ride!

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Young Rising Sons is an alternative rock band from Red Bank, New Jersey who signed to Interscope Records in 2014. With label mates such as Eminem, U2 and Lady Gaga, the Sons have a lot to live up to. I was fortunate enough to spend ten days on the road with them in October 2016 as they embarked upon a west coast tour with The Moth & The Flame and 888 and what I witnessed each night was no less than spectacular. I saw a group of guys who are passionate, driven, and most of all, talented. The energy that they exuded on stage each night was infectious, and song after song found me dancing backstage, singing along to every catchy melody.

While the band’s music and live show impressed me, what captivated me the most was their attention to fans. The Sons family is widespread and far-reaching, and there was definitely a sense of kinship as fans lined up for pictures and autographs at the end of each concert every night. I heard stories of how the band’s songs helped people get through hard times, overcome their fears, and pursue their passions. I saw fans young and old come together to scream the words that reached into the very depths of their souls. As an outsider looking in, it was obvious to me that the Sons have something special.yrs-admat

Day 1 – Los Angeles, CA

  • I land in Santa Ana, California and take a scenic drive north to West Hollywood. Upon arriving at the venue, I reunite with tour manager Stephen Goldstein and the Sons, whom I haven’t seen since they toured with The Kooks in 2015.
  • I begin setting up drums and a guitar station side stage where I’ll be tuning and changing guitars for the band’s set each night.
  • The show goes off without a hitch and I spend the rest of the evening hustling CDs of the band’s latest EP “Undefeatable + 2,” which contains their most recent single, a cover, and an acoustic tune.
  • Bass player Julian Dimagiba’s birthday lands at midnight and we spend the rest of the night celebrating at a lounge on Santa Monica Beach. It feels good to be back in California.

Day 2 – Santa Ana, CA

  • After taking a morning stroll to shoot photos of the infamous Hollywood sign, I make my way to In-N-Out Burger for some lunch. It’s not as good as I remember.
  • I meet the band at Guitar Center where we gear up for the next run of shows. This will be a recurring chore as the band members require new drumsticks, guitar pics, cables and tuners on an almost every-other-day basis.
  • As we arrive at the venue, we realize that it is actually several venues in one. In the parking lot, a stage is being built for Bon Iver to play the next evening. Next door to our show is Taking Back Sunday, whom I have the pleasure of watching on and off throughout the night. Then there’s our room, which is a mid-sized venue and finally another outdoor space that seems to double as a sand volleyball court. Very punk rock.
  • This evening I actually have time to watch 888 and The Moth & The Flame perform and am blown away by the high standard of musicianship which I will be surrounded by over the next couple of weeks.

Day 3 – San Diego, CA

  • After waking up on a stranger’s floor due to an old Russian woman pushing an empty shopping cart outside of my window, I get an awesome home-cooked meal and have a chance to take in the scenery.
  • The band and I depart for the next show which is 21+, so the Sons decide to put on an impromptu acoustic set in the park for their underage fans. At the drop of a tweet, a slew of kids show up and the band again proves their dedication to the Sons family as they spend almost two hours performing, taking photos, and signing autographs for everyone who came out.
  • As we make our way to the venue, we fall into the similar routine of unloading, setting up, sound-checking, tearing down, setting up again, performing, tearing down, and loading up for the final time each evening. This is beginning to feel like work.

    yrs-candid-1
    Just another day with the Sons

Day 4 – San Diego, CA to Phoenix, AZ

  • I try my best to get up early and catch a ride to the beach. This will be my last day on the coast before we head into the desolate interior of the American southwest. I make it to South Mission Beach and hike out onto a rock pier where I spend way too much time taking selfies and trying to figure out where that seal sound is coming from.
  • On an off-day like today, we spend seven-plus hours driving through the desert in order to make it to Phoenix for the next day’s show. Van time is bonding time and after only four days in, I’m beginning to feel like a member of the Sons family.

Day 5 – Phoenix, AZ

  • Because the guys in Young Rising Sons are the biggest sweethearts you’ll ever meet, they put on yet another free acoustic concert for their fans under 21 which takes place a few blocks away from the venue in a beautiful downtown green space.
  • We do another meet and greet and learn that one of the fans had also been at the Los Angeles show just a few days prior. He is one half of the Linford Twins, who covered Young Rising Sons’ “King of the World” for a reality television show competition.
  • The show at the venue goes well, but we get most excited about the amazing kale salad that the venue provides us for dinner. It’s the little things that count on the road, and eating healthy is one of them.
  • After packing up and having fourthmeal at a creepy, haunted, baby-doll infested former warehouse, we make it to our hotel in Flagstaff, AZ. The curious thing about traveling is noticing when the weather changes. Though it was nearly 100 degrees during the day, by the time we arrive and get out of the van, it’s only 49 degrees. Arizona is a strange place.

    yrs-new-mexico
    The Sons love you 10/26/16

Day 6 – Albuquerque, NM

  • We wake up early and start making the scenic drive toward Albuquerque. This is one of the most beautiful drives as we see mountains, trains, rock formations, desert, and a guy driving a pick-up truck down the freeway without a tailgate, leaving his two dogs chained to the back of the bed.
  • There’s not much else to say about New Mexico.

Day 7 – Denver, CO

  • Denver is a beautiful place. I wander around the city with touring guitarist Max Dean, who is possibly one of the greatest guys I’ve ever met. He decides to get a spontaneous tattoo and within 15 minutes he’s got fresh ink, the word “adventure” penned into his forearm. As we walk back to the venue, we pop into a guitar repair shop where the owner gives Max some free gear to repair his guitar. Max loves Denver.
  • The band does a photo shoot in the alley behind the venue with an amazing photographer named Nikolai Puc whose creativity astounds us. You can check out his work here.
  • As always, the band plays an amazing set with the aid of front-of-house engineer Shane Vetter, who has become a mentor to everyone on the tour.
  • After the show, we pack up and return to our hotel, but that doesn’t last long. Before we know it, we are back at Denny’s for the third or fourth time this week. I am sick of Denny’s.

    yrs-fist
    The world will keep on turnin’

Day 8 – Greeley, CO

  • Greeley is an interesting town. It was founded during the gold rush and even once housed German POWs during WWII. Everything about it screams “wild, wild west,” and as we are eating veggie burgers at an old saloon, a picture frame mysteriously flies off the wall. This town is probably haunted.
  • One of the more unique venues on the tour, the Moxi Theater turns out to be a blast. An old theater perched on the second floor, the space is large, inviting, and just kitschy enough to be cool.
  • This is, in my opinion, one of the most fun nights on the tour. Marissa of Ares Exposures takes a load of fun photos backstage which can be viewed here.

Day 9 – Denver, CO

  • The Sons wake up early to shoot a video for “Undefeatable” at the Decibel Garden, a recording studio space at The Lot @ RiNo, a multi-media collective based in Denver. The video shoot could not have been more fun and inspiring as all of the staff were professional, creative and kind.

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    Music video shoot for “Undefeatable” in Denver
  • A restaurant in Denver called Illegal Pete’s curates a “starving artist” program where they feed touring bands, but we fail to get a voucher on time. We go to Illegal Pete’s anyway and have some amazing Mexican food before we make our way to Utah.
  • Driving through the night, we catch glimpses of beauty through a desert rainstorm as we pass out-of-this-world rock formations and scenery. I earn five good samaritan points by letting a stranger in a broken-down truck at the rest area use my cell phone. After over eight hours, we finally make it to our hotel in Utah.

Day 10 – Provo, UT

  • Velour Live in Provo takes the cake for the most interesting venue on this tour. Provo is another town founded in the mid-1800s and the interior of the venue is decorated as such.
  • As this is my last night on the tour, I make sure to take it all in one last time; watching 888 and their creative live show, singing along with the Sons and enjoying my time as their tech, and watching The Moth & The Flame play to a sold-out crowd in their hometown.
  • The boys drop me off at a Sheraton in the middle of the night in Salt Lake City and I could not be more devastated. After spending ten days crammed into a Sprinter van with these guys, it feels more like leaving home than going home. I’m looking forward to the next adventure.yrs-utah-lake

**Special thanks to Young Rising Sons and Max, Stephen, 888, The Moth & The Flame, Shane, Alex and everybody else I met on this tour who made such a positive impact on my life.**

/ZF/

One of my earliest musical memories is watching Michael Jackson videos on TV and begging my dad to tape them and painstakingly write down all of the lyrics so I could sing along. He didn’t hesitate to buy me a guitar, and didn’t scold me when I never touched it and asked for a drumset a year later. I ended up playing drums in various bands for about ten years before I picked up guitar and vocals around the year 2008. I remember telling all of my friends that I was going to release a solo album, and I honestly really tried. I’ve probably written 20 – 30 songs a year since then, but have never really been satisfied or had the time to pursue releasing a proper album.

All that changed a couple of years ago when I woke up in the middle of the night in a tent in the mountains of West Virginia with a tune running through my head. I had fallen asleep the night before listening to Rufus Wainwright’s latest album and thought maybe for a second that whatever was stuck in my head was simply a reincarnation of one of his songs. Conveniently I had brought my ukulele and iPhone camping with me, as I never leave home without them, and started demoing this song, much to the chagrin of my neighbors (which is a whole other unbelievable story).

That song turned out to be “Wrecking Ball,” which is my first proper solo release and single which is now officially on iTunes, Spotify, and the like. It’s the first song I wrote where I didn’t poorly rip off Neutral Milk Hotel or attempt to sing high-pitched whiny pop-punk songs just to fit into a mold which didn’t fit me. I also recorded, mixed, and mastered all of it myself, except for the help of audio engineer Ryan Liptak (of Happy Tooth & Dug fame) who recorded the drums and lead guitar.

This is the guy that I probably ripped off.
This is the guy that I probably ripped off.

In the year 2015, I set one and only one goal for myself: to finally release my solo album. I even came up with a fancy name, “Some Things Never Change,” which is spot on considering this has been my great white buffalo for the past six years. I’ve written and demoed the majority of the songs, buying fancy recording equipment and trying to push myself to the outer limits of my comfort zone. It has been rewarding and stressful all at the same time, and when you actually think about everything that goes in to making an album, it can certainly seem daunting.

The first step in creating an album is being a competent musician. In all my years of private lessons, practice, ripping off my favorite bands, and trying to create a niche for myself, I finally feel competent enough as a musician to be able to write a decent song. I usually start with a lyric, or a “hook,” craft a melody based off of that, then pick up an instrument. My go to instrument is usually guitar, ukulele, or piano as of late, and helps me craft the chords with which the song will take shape.

Then I do a free-write to help me fill in the lyrical holes, and basically just journal like a sixth-grade girl until I pull something from deep enough within to be taken seriously as an artist. Being a marketing graduate, I crafted a press kit with the quote “lyrical topics include accepting your past, fatherly advice, marriage and income inequality, suicide, and of course a self-deprecating song about hipsters.” Pretty serious stuff, right? It’s not all bad, I did attempt to write a self-deprecating song about hipsters, but honestly it seems so gimmicky and vapid that I’m not sure it will even make the cut.

Dear Diary: Why Aren't I a Rockstar yet? :(
Dear Diary: Why Aren’t I a Rockstar yet? 😦

So I’ve got the bare bones of the song done; chords, melodies, and lyrics, and the next thing to do is to record a scratch track or demo track. These two are not technically the same thing, but I’ll often demo a song and use it as a scratch track later when I’m recording the master. Many engineers and musicians will tell you to always record drums first, and I’ll have to agree with them. Trying to record drums over anything is a serious pain in the ass, even if you’ve followed your metronome like a robot. But music isn’t robotic. Music ebbs and flows and is rarely static.

I always record drums first, and always close enough to a click that it sounds like I know what I’m doing. I guess I forgot to mention the step where I also have to write the drum part. One summer when I was on Vans Warped Tour I spent the whole two months without access to recording gear, so I would listen to my acoustic demos and tap out drum parts with my hands or think of them in my head. I remember my bass player asking me with a genuinely confused look why I always listen to myself. He must have thought I was extremely self-centered. Well, he wouldn’t be wrong in assuming that.

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Photo Credit: twitter.com/THAOphoto

I write and record the drums, and then it’s off to the races with the rest of the rhythm tracks. I lay down a rhythm guitar, bass guitar, scratch vocal, then I start crafting my leads. I never truly appreciated leads until I joined the band Someone Like You and we recorded our debut EP as professionally as we could afford to. I watched our three guitarists come up with lead after lead and heard them seemlessly melt into the verses and choruses, adding texture, melody, and harmony to an otherwise bland rhythm guitar.

Once I have all the leads written, I record the main vocal, add some harmony, back-ups, and listen to the song on repeat enough that if it were on Spotify I’d be rich by now. The next phase is mixing and mastering, which is honestly so much of a science that I wouldn’t do it justice by discussing it here. I add some compression, equalization, reverb and delay, adjust the levels, and once all that is sorted out I start the mastering phase. When mastering, I always refer to the phrase “Radio Ready” to compare my final mix with what one might hear on the radio. Is it loud enough? Have I panned appropriately? Is it clipping anywhere? What about unwanted noise, or even sounds getting lost in the mix?

Mixing and mastering is probably the hardest part of the whole album process, as you can never truly be done mixing. I learned early on to realize when something is the best it’s going to get and just roll with it. Once I’ve got the masters, I can start uploading them to bandcamp, SoundCloud, YouTube, and get my wavs sent off to iTunes, Spotify, Amazon and other digital retailers. At this point in the game, I’ve spent practically no money on recording as I already own or borrow the instruments, have cheap home recording gear, and most websites and retailers are free. I’ll spend about $20 getting CD Baby or TuneCore to put my music on iTunes, but it’s not a bad return on investment.

This s**t takes forever.
This s**t takes forever.

Artwork and photography are a very important visual representation of your music. I’ve got a decent camera and some free editing software, and can easily come up with some promo pics and album artwork. In the day and age of digital purchases, artwork is less important, but it’s not difficult to create something professional on your own in one evening. Next I’ll take my camera and make some YouTube videos, lyric videos, or promotional videos, throw them up for free online and publish them to my social media accounts.


I went to school for marketing and public relations, so it’s easy for me to come up with branding, distribution, press releases and media kits. I work in business administration so I’m able to stay organized and within budget. I’m just a kid from a small town in Ohio, so trust me when I say that if I can do this, anyone can. Getting out and playing shows is the next step, and honestly networking is key. Music is all about community and one of the most valuable lessons I learned playing in punk rock bands is that we all look out for each other. Trading shows with bands or getting added at the last second is common, and concerts are one of the most important means of keeping the momentum of your music going.

If this sounds like a lot of work, it is. You’ll likely have to invest some money before you even get started, and be prepared to make a lot of personal sacrifices (sorry babe). I can only imagine that I won’t earn much income with my music, and having a day job and a personal life can hinder that even more. The important thing is having fun, not putting too much stress on yourself, and sharing one of the most basic human rituals with others. That’s why I’ve decided that in 2015, I’m finally going to release a new album for a new year.