I was surprised to see that I haven’t shared this song on here before, because this is seriously one of my favourite instrumental/wordless pieces by Enya. It comes from her album with the same title, and it’s very special to me because there is something so very bittersweet about this whole album that I love. The title of both this song and the album comes, as nearly always, from Enya’s lyricist – Roma Ryan – who was inspired by the druidic tradition of placing great importance on trees in their religion and culture. The Celts considered trees – oaks in particular but all trees really – to be sacred and have each their own powers, even the word druid is supposed to come from the Celtic word for oaktree (druids, in case you don’t know, were very basically like Celtic priests). Enya says this title isn’t meant to be any kind of an ecological statement and it’s up to a listener to imagine whatever comes up in the mind upon seeing the title. As for me, the title The Memory of Trees makes me think of all sorts of memories that trees hold, that they could tell us about if they could, all sorts of things they have witnessed over the years. It sounds fascinating. Does this title make you think of anything in particular? How about this piece?
Hey people! 🙂
Today I’d like to share with you a piece from Clannad that I really like. It’s traditional, and here are the English lyrics which are from
On the green stubble-fields of autumn
I saw you, my sweetheart
Nice were your feet in shoes
And wonderful your nimble gait
Your hair the color of roses
And your ringlets tightly plaited
Alas that we’re not married
Or on board ship sailing away
The boys around here are
Complaining and getting fired up
And the ones with the high-piled hair
Are making homes for my brown-haired girl
If the King of Spain would
Go abroad with his assembled men
I would trample pasture and wilderness
And I would be with my brown-haired girl
If only my brown-haired girl and I
Were buying cows at the fair
Go and come first love
Until we go over to Gaoth-Bearra
Even if the tops of the branches were parted
And the swan were separated from the waves
That would not separate us
And those who go against us are foolish
Hey people! 🙂
I thought that today I’d share with you this lyrical piece by Cornelis Vreeswijk. I like it a lot because, well, Cornelis being one of my faza subjects, I’ve been very interested in him as an individual, and this song tells us a whole lot about what his love life and relationships generally looked like. I once found a Swedish programme called “Cornelis Och Kärleken” (Cornelis and Love) where a few people analysed in quite an interesting way some of his lyrics that are about love and women – since a lot of his lyrics and poems talk about various women – and how they illustrated the way his relationships looked like. Having had lived a stormy life overall, it was no less stormy and intense with love, because while on one hand he was seeking love and closeness quite desperately, he had some extreme difficulty with forming and maintaining relationships and whenever there was indeed a possibility of having a closer, deeper relationship with someone, he would basically run away almost in panic immediately. It’s flamin’ difficult having fears which conflict with your basic needs. He was also pathologically jealous – largely due to abusing alcohol and all sorts of drugs and other things, many of which can do such things to your brain – so it also wasn’t easy for the other side to be with him for sure.
And in this song, it really shows, in a both lyrical and raw way. Its lyrics weren’t awfully difficult to translate so I tried my best to do it although there may be some errors in here.
My beloved is like a sparkler,
like a sparkler easily ignited.
She burns so hot when she catches fire,
my beloved is like a sparkler,
like a sparkler easily ignited.
Red-hot like a kiln are my sweetheart’s embers,
but no fire is eternal.
Cold it is for the charcoal burner when his kiln dies out,
my sweethearts embers are so red, so red,
but no fire is eternal.
My beloved is like a race,
a race where neither of us can win.
Where no one catches the other,
my sweethearts lovemaking is like a race,
a race where neither of us can win.
Yes, love is like a sparkler,
like a sparkler easily ignited.
It burns red when it reaches us.
My soul – i am like a sparkler,
and no fire is eternal.
Hey people! 🙂
Today I’d like to share with you this amazing piece from Enya. There is just something so majestic and stunning about it that I love, it gives me goosebumps every time I listen to it.
This piece is part of Enya’s album The Celts, which is the soundtrack of BBC TV series of the same title. Apparently the BBC people who stood behind the series had a lot of music to choose from as the soundtrack of the series, but they didn’t like anything of that, so finally they decided to ring Enya, or more exactly her manager Nicky Ryan, and ask if they’d be interested. The way I understand it from what I read, March of the Celts was the first piece that they – Enya and Nicky – sent to them, and ended up being commissioned to write the whole soundtrack. Just who wouldn’t like to have a soundtrack ike this to a series they were making?! 😀
This song is mostly created of mouth sounds, as a lot of Enya’s music, and apparently the only actual (Irish) lyrics that are in there say
Hey people! 🙂
Today, I’d like to share with you a little children’s song by Plu. You may remember, if you have been around here for a while, that Plu is a Welsh alt-folk trio, consisting of Gwilym Bowen Rhys (who has been my most recent faza subject) and his two sisters Elan and Marged, with Elan being the leader of the group. They have recorded an album solely dedicated to songs about animals for children, it’s called Holl Anifeiliaid I Goedwig (All The Animals of the Forest). Naturally, being a children’s songs album, it feels a bit different from their usual, otherworldly, psychedelic music, but I really like it. It has such a fun, carefree, innocent feel to it. I believe that at least some of these songs are traditional, but I have no clue as for who wrote/composed this one, Spotify credits don’t say anything and I don’t know any other version of this song. Milgi means greyhound in Welsh, and that’s exactly what this song is about, and also about a little hare. I think that, musically, it’s my favourite one from this album. Well maybe except Melangell which I shared a few years ago.
Hey guys! 🙂
Today I’d like to share another song by Enya with you. I think if I were to make a ranking of my favourite songs by her, it could get into the top 10 or not far below. I really like the overall, reflective but at the same time light and soothing feel of this piece. Hope you’ll enjoy it too. 🙂
Hey people! 🙂
Today, I’ve got quite a quirky song for you. As some of you perhaps remember, Y Bandana is a band fronted by Gwilym Bowen Rhys – my most recent major faza subject. – He was the vocalist and guitarist in it, and apart from him there were also his two cousins – Tomos Jones on keyboards and Siôn Owens on bass guitar – and Gwilym’s school friend Robin Llwyd Jones on percussion. – It was something they were doing in their teens and early twenties, and the band is no longer alive, however it shows in such a cool way how musically versatile Gwilym actually is. For those who don’t know – albeit I write so much about my fazas that I’m not sure there is someone reading this who doesn’t know already – Gwilym’s main musical interest evolve around Welsh folk/acoustic music. Even in this genre alone, he can be very flexible, but it’s fun to see that he’s also had some experience with pop-rock like this and they were really good at it. They had very characteristically catchy songs, and usually somehow mischievous/humourous lyrics. And that’s definitely the case with this song. I really regret that I can’t translate it to you so that you’d have more of a context but my understanding of it is a bit patchy so that probably wouldn’t be the best idea, however I do know enough to say that it’s all about another person being very smelly. I like when people are inventive with song topics, even when they’re sometimes a little gross like that. :DIt really made me laugh when, after having listened to Y Bandana for a while already and starting to learn Welsh, I started picking up some bits of lyrics and figured out very roughly what this song is about, that really made me laugh. It’s funny when listening to music in other languages that you barely know or not at all, to realise that something you’ve been listening to concerns such a fascinating topic.
Hey guys! 🙂
Hope you’re having a great start of the new year. For the start of the new year at My Inner Mishmash, I chose a song from one of my major fazas – Declan Galbraith aka Child Of Mind. – Because I realised that while I shared music from his debut album while he was 10, and his most recent music now that he is an adult and writing his own lyrics under the name of Child Of Mind, I haven’t shared anything from any of his teenage albums. So today I chose to share the title song from his 2007 album You And Me. If I’m counting right, he was 14 at the time. As you may know if you’ve read my previous posts where I wrote about him, he is British of Irish and Scottish heritage, but this particular album, as well as the one released the year before, was recorded in Germany and brought him particular fame there. Maybe not like sky-high fame but if people were likely to know his music anywhere, it was most likely in Germany.
He was undergoing voice change at the time, so I believe there’s a bit of autotune in there even though normally he has quite remarkable vocal control, and he sounds quite characteristic on this particular album. Also his music was quite different at the time than what he’s been creating most recently as Child Of Mind, and he mostly covered other people’s songs, or at least if he did write some of them they were not as ambitious as they are now, which is totally understandable given his age, but it’s just kind of striking when you have a closer look at his music as a whole picture.
At the time of my having a dominant faza on him, which was about 2013 (I guess) this was his newest album to date and I liked it the most, mostly because it was the most versatile musically and a bit more light rock-y than pop-y which I liked. But now that I know his later music, I do like it a lot more than You And Me and I must say that if I didn’t know him now, at this point in my life, and my first encounter with his music would be with this 2007 album, I’d probably not end up having a faza on him. Which would be sad, and I’d miss out on so much! 😀 So I’m glad it went differently and I came across his music much earlier, being a teen myself. So here is You And Me. 🙂
This is a very interesting song by Enya. According to Enya’s lyricist – Roma Ryan – it was inspired by ancient sounds. As I understand it, the lyrics are a combination of mouth sounds, and some Irish and Scottish Gaelic. The song is also inspired by weaving, and the rhythm of it is the same as in weaving, that’s also what the lyrics concern. And as for the title, Ebudae is a pre Celtic name for Hebrides. So this is a very Celtic, very minimalistic piece, and I like this minimalistic feel about it. Here is the translation of the lyrics:
Look, women are working each day and into the night,
they sing of the brighter days that were,
the long road, back and forth forever.
Time for another Enya song. This is probably one of her most relatable songs for me, after Evacuee and Dreams Are More Precious. I just love listening to it, although it is very sad. I think it could also be relatable for many people, but in different ways, possibly many ways for one person as is the case with me.
The YouTube link for this song appears to be unavailable for something, so if you have your preferred streaming service, I’ll put a link to Songwhip below, and for those of you who use Spotify like me, there is a link to Spotify.
Here is another song from one of my previous major fazas, Declan Galbraith aka Child Of Mind. Child of Mind is his relatively recent musical project, where, unlike in previous years of his musical career, he has been writing his own songs, rather than mostly covering. And, as I’ve written before, I think that’s a very good idea because he’s an interesting songwriter and that adds quality and a bit of a special feel to his music that makes him stand out a bit more. This song in terms of lyrics reminds me of one of his first self-penned songs that we were introduced to I guess it was in 2016, called “Strange World”. It has a similar embittered, you could say cynical even, feel. Here it is for you.
I don’t know how it happened, that despite I have had a faza on Enya and shared a lot of her music here, as well as some of her older sister Maire’s, I’ve never shared any music by their family band – Clannad – where Enya started out her music career. I really like a lot of their music, so it’s unfair! Big time to make a change!
You may know Clannad from some movies, to which they made music, like “Robin Hood”, “Harry’s Game” or “The Last Of The Mohicans”. My Mum was a huge U2 fan in the 90’s or so, and they also performed one track with Bono – the lead singer of U2 – and that’s where she knows them from, so you may too if you listen to U2. In any case, for a folk band, especially one which doesn’t always sing in English, they’re pretty famous.
This piece is also from a film score, namely from “The Last Of The Mohicans”. I’ve never ever watched the film, but I absolutely love this piece. It is very atmospheric, but I also just have so many nice associations and memories with. I used to be wondering what language they are singing this in – except for English. – They often do sing in their native Irish, but that doesn’t sound at all like Irish. And actually the answer is quite straightforward and obvious – it’s Mohican, and also apparently Cherokee. I have no clue what these Mohican/Cherokee bits mean, but a large part of it is in English, and whatever the rest of the lyrics are about, the song is really beautiful.
Hey people! 🙂
As I wrote yesterday in the MIMRA post, I’ve had quite an intense time lately but things are getting calmer so let’s try catching up on the regular posts, and later on I’d also like to write a couple longer ones.
Here is another beautiful piece – instrumental this time round – from Enya’s newest album “Dark Sky Island”. And like many tracks on this album it’s also inspired by nature. I really like it’s harmonies and it’s nicely light and just pleasant.
Hey people! 🙂
If you have been reading my blog for a while, you might remember that I have been sharing some music about this Cecilia Lind girl, also by Cornelis Vreeswijk. And I have, only that time it was in Swedish, and this time, it will be in Dutch. If I know a few versions of a song in different languages, especially if it’s by the same artist or I like both of them almost equally, or even if there are two different interpretations of the same song in one language that I like equally, I like to share them both together. But I guess I must have forgotten to include the other version of this song in the post I made years ago.
Swedish “Balladen Om Herr Fredrik Åkare Och Den Söta Fröken Cecilia Lind” (The Ballad About Fredrik Åkare and The Sweet Miss Cecilia Lind) is a classic, has been covered by many artists, and it seems like pretty much every Swede knows it. In The Netherlands – not quite so. – But generally, despite Cornelis Vreeswijk was Dutch, he seems quite a lot less popular in his home country than in Sweden where he created most of his songs and poems and lived a large part of his life.
I don’t know how different the Dutch version is from the Swedish, I only have a very foggy idea of the Dutch language so far and most of what I understand of it is via my vocab from other Germanic languages, as it has a lot of common ground in terms of vocabulary both with English and with Swedish. I am sure the overall context is the same, and that some minor details have been changed, but overall I don’t really know how much they differ from each other. Given that Cornelis had written both version, and he appears to often be rather lax with translations because they were supposed to be more poetic and musical rather than literal, there could be a lot of small and maybe some not so small differences.
You can see my post about the Swedish version with the English translation of the Swedish lyrics
I don’t have a translation of the Dutch version though, but at least from the post above you can get the idea of what the song is about, if you haven’t read it before. .
I will share the link to this song on Spotify, because I’m not sure it is on YouTube at all, and below the Spotify link there will be a link to Songwhip where you can find this song on some other streaming services in case you don’t use Spotify, there is also a link to YouTube but the version in the YouTube link is actually in Swedish, so I guess there must be some mishap with tags or whatever.
Hey people! 🙂
I think this is my favourite out of Enya’s more popular songs. I have so many positive feelings and associations related to it. This song was meant to be very daydream-y, and it feels right away, which is why I’ve always used it for some bigger daydreaming, relaxing visualisations and stuff. It has really helped me through so many situations and it is so relaxing and nourishing for the imagination.
As always in Enya’s case, when this song was created, the music came first, and then, when Enya’s lyricist – Roma Ryan – heard it, it made her think of the Caribbean, hence the title. It’s not as popular as Orinoco Flow, Only Time or May It Be, but people who aren’t Enya geeks yet at the same time know some more of her music than just these three songs, will typically remember hearing Caribbean Blue somewhere and able to tell that it’s Enya, or will even be well acquainted with it if they either have a bit of liking for Enya or generally 80’s music that is not necessarily disco. In Europe, it can also be heard in radio stations which play some light pop or a bit older stuff, here in Poland for example an oldies station called Radio Plus plays it regularly. So maybe you have also heard Caribbean Blue before, even if you are not a crazy Enya fan? In any case, if you are an escapist, I reckon you’ll like it even if you haven’t heard it before.
Hi guys! 🙂
Today I’d like to show you another piece from the beautiful project which was a result of collaboration of two, seemingly very distinct, Welsh band – alt-folk/psychedelic folk Plu (which consists of my most recent faza object Gwilym Bowen Rhys and his two sisters, Marged and Elan), and Carwyn Ellis from indie Colorama. – I wrote about that earlier because I shared with you two pieces from their collective album already. The project is called Bendith (which means blessing in Welsh) and this is also the title of the album. The album is very strongly inspired by Carwyn Ellis’ (who initiated the whole idea) fond childhood memories.
I love how this particular piece is so very atmospheric and evocative, and so rich and simply incredibly beautiful. It’s definitely one of my favourites from this album and I think there’s something totally captivating about it.
Hi people! 🙂
I’d like to share with you a song by one of my main fazas, more exactly the object of my second faza – Declan Galbraith, aka Child Of Mind. I’ve shared some of his music, earlier and more current, before, so you may know that he has started his singing career at the age of 11, and is from England but has a lot of Celtic heritage on both sides of his family. Currently he has this Child Of Mind project going on, and although in the earlier years of his career he mostly covered some popular songs, now he writes his own lyrics and they are very interesting and often quite deep or at least can make you think. The song I want to share with you now is one of these and is called Maybe We Can Find A Way. I chose to show you a live version, for no other reason that I saw it first when looking for you on youTube, and lives are typically more genuine so if they’re good audio quality and well performed I’m all for lives instead of album versions unless I have some strong preference for the album version for some reason. As you’ll be able to hear, this is from his gig in Italy.
Hi people! 🙂
So I’m quite behind with this series, which is quite a pity, because on 12 November was one of my main fazas – Cornelis Vreeswijk’s – death anniversary. It’s been 37 years since he passed away!… As I always say, way too many! And I originally wanted to commemorate him exactly on that day but oh well… at least I can do it now.
I’ve been feeling kinda crappy lately so I chose a poem which, deep down, between the lines – but it’s quite easily readable – is also about feeling shitty with and about yourself, which generally is very different from how I am experiencing it yet at the same time very similar because essentially it’s all about having an overactive and spiteful self-critic and hating yourself as a result, just the ways this hatred manifests are different between different people I think.
The author of the poem, however, is not Cornelis, although as you may remember from my blog he himself was also a poet in addition to being a singer. This poem was written by an early 20th century Swedish poet Gustav Fröding, who is really loved in Sweden, although, just like Vreeswijk he was also quite controversial in his time and if I remember correctly even had an episode where he faced a trial for obscenity because of one poem he wrote. Also, again just like Vreeswijk, he had a life-long problem with alcohol as well as intimate relationships with women. Interestingly, in my Dad’s dictionary, a troll means someone who drinks heavily and chronically. Fröding spent a large part of his life in all sorts of mental health institutions though it’s not clear what diagnosis he had exactly, it sounds like some sort of psychotic disorder and depression, the latter ran in his family. More exactly it was his mother who suffered from it when he was a child, and as a result wasn’t able to parent him properly and so he had a rather difficult childhood. Years ago when I was learning a lot about Fröding and reading his poems simply because I knew Vreeswijk appreciated him and they appeared to have so freaking much in common (and if you’ve got any idea about fazas you know that for someone who has a faza anything even remotely related to their faza object is interesting and worth digging into), I’ve come across an opinion that this early separation from his mother was the main factor contributing to his later problems with relationships and pretty much all the other emotional and mental health related difficulties that he was experiencing, including the self-hatred thing that we’re focusing on since that’s what the poem focuses on.
Cornelis Vreeswijk, as you may know since I’ve written about that a few times earlier when writing about him in more detail, also struggled with similar emotional issues (though he did not have any official mental health diagnosis as far as I am aware, though he did suffer from extreme paranoia and stuff). He had terrible problems with intimacy and closeness and often wrote about craving it, and had relationships with many women in his life, but when things started to get more deep, it scared him, or something else made the relationship impossible to be stable for longer and things were constantly stormy and messy from what you can observe when having a closer look at his life. He was always very shy though it may be hard to believe just when hearing him live a few times, I had a problem with that anyway because he is so eloquent and has a sort of jovial, kinda boisterous air about him. But when you observe things for longer, listen to many more live recordings, read some more and listen to some interviews like I did, it does show a lot, plus obviously it is there in his poems and lyrics. It often amazes me how he could mask it so well but from what I understand he saw his outside personality as some sort of a role he was supposed to play in life, or something. Must have been so freakishly exhausting, would surely be for me anyway haha. And of course there’s that whole self-loathing and self-destruction thing which is just so sad. I remember when watching the 2010 Amir Hamdin’s film “Cornelis” (which was a real struggle since I didn’t really have any audiodescription or anything and with my less than perfect Swedish skills didn’t always understand everything fully but still I think I understood a lot on that first watching, I did have English subtitles to help myself with though when need be but back then my Swedish was actually better than my English) that was what affected me the most when I saw the level of his self-destructivity, perhaps because, while I am not an addict in the classical understanding of this word, I struggle with other self-destructive behaviours like self-harm and can deeply relate to what it’s like feeling awful about yourself, so I guess it must have struck a chord or something. So it seems quite natural that Cornelis would feel some affinity with Fröding as they shared so much, and I am actually a bit surprised that he didn’t interpret more of his poems because apparently a lot of Swedish singers did that.
He released his interpretation of it, with a very jazzy/bluesy feel on his 1970 album “Poem, Ballader Och Lite Blues” (Poems, Ballads And A Bit Of Blues). It’s not as very prone to setting to music as many other Frödings poems are, so probably for that reason, rather than an actual song, it’s more like sing-speak, which is something Vreeswijk used a lot in his music and I think it often makes it more expressive than just singing and is very characteristic of his style.
But a couple years ago, quite some time later after I acquainted myself with Cornelis’ discography, I came across his live performance of this song on YouTube, in collaboration with a 70’s jazzrock band Made In Sweden. I like the album version a lot and it’s not much different at all, despite the instrumentalists are different, but I slightly prefer the rocky live version rather than the jazzy album version as it just speaks to me more, so that is why I chose to share the live one with you.
For contrast, there is another artist from Sweden called Sofia Karlsson whom I absolutely love (I shared her cover of Vreeswijk’s Grimasch Om Morgonen in the very beginnings of this blog), who also interpreted this poem in 2009, but in such a starkly different way! While Cornelis’ version is so raw and jaggy, intense and frenzied, raving and just so very directly conveying the feeling of this poem, Sofia’s version, while no less expressive, is so much subtler, sophisticated and I’d say more from an observer’s point of view, if you get what I mean. For some people it might make it more bearable. 😀 I love both!
In Cornelis’ live version, he makes a brief introduction just like on the album and says that: “Gustav Fröding was a hip poet. He tried to drown his sorrows. But they could swim”. I think it’s such an interesting and Vreeswijkish way to put it lol. Below is a (free, not literal) translation of this poem, so that you know what it’s all about. I took it from
It’s a pity though that most of you probably can’t understand the Swedish version and there are so many cool words that I’ve never heard anywhere else, my favourite is klumpkloss, which in the translation below is interpreted as “object of fright”, I’m not exactly sure how to translate it to English but I suppose it would be something like a lump. I find this word really funny but sadly never had an occasion to use it in a real conversation, I don’t even know if people actually use it. 😀
The evening draws on apace now
The night will be dark and drear;
I ought to go up to my place now,
But ’tis pleasanter far down here.
Mid the peaks where the storm is yelling
‘Tis lonely and empty and cold;
But ’tis merry where people are dwelling,
In the beautiful dale’s green fold.
And I think that when I was last here
A princess wondrously fair,
Soft gold on her head, went past here;
She’d make a sweet morsel, I swear!
The rest fled, for none dared linger,
But they turned when far off to cry,
While each of them pointed a finger:
“What a great, nasty troll! oh, fie!”
But the princess, friendly and mild-eyed,
Gazed up at me, object of fright,
Though I must have looked evil and wild-eyed,
And all fair things from us take flight.
Next time I will kiss her and hold her,
Though ugly of mouth am I,
And cradle and lull on my shoulder,
Saying: “Bye, little sweet-snout, bye!”
And into a sack I’ll get her,
And take her home with me straight,
And then at Yule I will eat her
Served up on a fine gold plate.
But hum, a-hum! I am mighty dumb,–
Who’d look at me then so kindly?
I’m a silly dullard–a-hum, a-hum!
To think the thing out so blindly.
Let the Christian child go in peace, then;
As for us, we’re but trolls, are we.
She’d make such a savory mess, then,
It is hard to let her be.
But such things too easily move us,
When we’re lonely and wicked and dumb,
Some teaching would surely improve us.
Well, I’ll go home to sleep-a-hum!!
Hi people! 🙂
Today I want to share with you another song by Enya. It comes from her last album – Dark Sky Island – which as a whole was largely inspired by her various journeys, but this song is one of these by her that are particularly focused on nature, and Enya drew the inspiration from one of her walks, when she saw the sun, and how it it looked like there were diamonds on the water. So like she says herself, it’s a very “visual” song. I think it’s a very reflective and mindful piece and may appeal to a lot of people because of this.
Hey guys! 🙂
Today I have a very beautiful song for you from an album which is a result of collaboration between two quite distinctively different Welsh bands – Colorama (which is more like alternative rock with some psychedelic and indie stuff as well as folk motives thrown in there) and Plu (which is classified as alt-folk or psychedelic folk). They called this project, as well as the album that came out of it, Bendith, which means blessing in English. The album focuses on pleasant childhood memories and so generally feels rather nostalgic, more specifically it evolves around Carwyn Ellis’ (the leader of Colorama and the initiator of this collaboration) fond childhood memories of Carmarthenshire. Plu is one of the bands where Gwilym Bowen Rhys – the object of my most recent major faza as you may know – is involved as a singer, guitarist and other stringed instruments player. I love Plu so this album is very special to me, even though it’s not exactly what you’d expect from your typical Plu album. I shared one song from this album in the past and a few others from Plu. I think, despite it came out in February, it’s a great listen for autumn. And I wonder whether they’ll be doing something more together. This song is one of my favourites from this album because it sounds very much like the sound of Plu. It just has a great feel to it.