Thanks so much to Japs Sergio for the thorough and illustrative interview! I wrote about Daydream Cycle on the blog a couple of months ago, when I was featuring the Philippines, and luckily Japs got in touch with me through Twitter. He was up for answering my many questions and he was even kinder to send scans of different memorabilia from the band. Daydream Cycle released two fantastic dreampop albums which were limited to small runs in their home country. If you have never heard of them, now is a good time to discover them!
++ Hi Japs! Thanks so much for being up for this interview and tell the story of Daydream Cycle! What are you doing these days? Are you still based in Manila? Still involved with music?
Ey, Roque! It is my pleasure. I have no idea how you even found out about Daydream Cycle, but thanks for your taking the time to listen to our younger selves. Yes, I am still in Manila and I’m definitely still involved with the local music scene. In early 2011, a few months after I left my more mainstream band, Rivermaya, I started making songs that was initially intended to be released one at a time online via soundcloud, just for the heck of it, since I was pretty much band-less anyway. It ended up being my debut album as ‘japsuki’ called ‘Monologue Whispers’ that I wrote & recorded for 3-4 weeks in the summer of 2011. It was released later that year and was supposed to be a one-off album… but yeah, right to that one-off thing! Hehe. Making this album was definitely the cure for my depression around that time, so its theme is pretty much a depressed me finding ‘the light’ through the process of musical creation.
Shortly after that, I was on a roll. I was already making a lot of other new stuff, but this time making music in the total opposite direction with a more guitar rock sound, and eventually formed a band called Peso Movement. I like to call our music ‘dirty rock’, and I call it the ‘Mr. Hyde’ to japsuki’s ‘Dr. Jekyll’. We released our album ‘The Gentle Sound of Chaos’ in 2014.
In 2015, I initially planned to do another solo alter-ego that would be my ‘release’ for songs that are more stripped down with more basic arrangements and all in Filipino. I also wrote and recorded it a few weeks in the summer of that year, and at the last minute, I just decided to release it as japsuki. The music definitely has a different style than the first one, so I was a bit wary of that, but the thought of making all these new social media accounts and explaining to people the difference between this and that made it an easy decision to just stick with ‘japsuki’. The album’s theme is about my observations of Filipino pop culture over the years, and it is called ‘Pinoy Pop’.
Last month (October 2017), I released a 3rd japsuki album, and this was a conscious effort to be a sequel to the debut album. I tried to capture a bit of the feel I had during the first album, but since I was not depressed this time around, it kinda messed up my mind a bit, and as much as I loved conquering another challenge, I certainly won’t do that again. Hah! The album is called ‘Stereo Mood Swings’.
*scrolls down the rest of the questions* Goodness, I have already taken up 1 page and it’s only the 1st question hahah
++ This new project of yours going solo under Japsuki, how would you describe it? How similar or different would you say it is to Daydream Cycle?
Japsuki’s mantra is ‘steady’ and it’s just me and my outdated MacBook and I record and mix everything on a Snow Leopard-era GarageBand. I’m the only one silly enough to be releasing albums like that haha! I try not to do the usual stuff I do with DDC – chords, effects, etc., mainly ‘cos I really got tired of it, but for my just-released 3rd album, there are a handful of songs I made that I would have made for DDC, if we made an album this year. I think it has been a decade since I ‘got tired of the usual DDC stuff’, so it’s about time I did it again.
++ Is there a way for people to buy them or listen your new releases?
Yeah, as I mentioned above, I have just released my 3rd baby last October, and all 3 albums (plus Peso Movement) are available in most music streaming sites. Just search for ‘japsuki’ and ‘Peso Movement’.
++ Let’s start from the beginning, what are your first music memories? Like what sort of music did you grow up listening to at home? And what was your first instrument ever?
Oh wow! I am the youngest of 5 kids, so there were a lot of times when I got to hang out with the oldies, mainly ‘cos they couldn’t really ditch me, so I got to listen to their music – anything ‘80s like Spandau Ballet, Shakatak, Kenny G, Michael Jackson, Swing Out Sister, Basia, aaaand I think you get my drift… hah! Around that time, house parties were huge and we had a neighbor that was the usual host for such parties ‘cos they were also a ‘mobile’ – the term for DJs then. I got to listen to a lot of groups that I had no idea who they were at the time, ‘cos of our neighbors and the radio, like The Cure, Depeche Mode, Tears For Fears, Duran Duran, The Smiths, etc. This was my pre-teen years so I wasn’t really THAT into music yet, but it definitely planted the seed. I remember going to another neighbor’s house, and they had this dusty old acoustic guitar that had only 1 string on it. I fooled around with it, as a young kid, trying to play the bass line of “Boys Don’t Cry”, a song that was huge on the radio for years. That was my earliest recollection of playing something on the guitar.
When the late ‘80s-early ‘90s came, it was the time when I was getting into the rock stuff with Guns N’ Roses, Metallica, britpop, the whole Seattle scene, and the like, and was starting to learn the guitar. We had this crappy acoustic guitar that me and my brother Dok (also from Daydream Cycle and other bands) shared, and I pretty much learned it from reading local music magazines that had songs with chords and chord charts.
++ At what time did you find out that you had to be in a band? What was your first band?
I’m pretty sure the release of Nirvana’s Nevermind had a lot to do with wanting to form a band with my school friends. When the idea of forming a band was brought up, everyone wanted to be the guitar player, and by virtue of them being fast enough to have dibs on the stringed instruments, the only instrument left vacant was the drums. My sister was going out with a drummer then, so I just said to myself, “How hard could banging those round things be, right? I could just have him teach me,” plus of course, the fact that I had no choice if I really wanted to be in the band, so I told them I knew how to play the drums, and instantly became the drummer. The next step was to actually learn how to play the drums. I was initially taught the basics, but the problem was the drumset he had was still in the province way up north from Manila, so I had to learn it, initially, using drum sticks and throw pillows, and for some reason, it actually worked. We had our first band gig in December 1991, at a Christmas party of a tennis clubhouse where our vocalist’s parents were members. We were called ‘Crash Course’. Looking back, it was actually a fitting name for a first band, but I just got it from Metallica’s song ‘Crash Course in Brain Surgery’.
++ What other bands aside from Daydream Cycle had you been involved with?
In my school years, as I’ve mentioned, the first one was Crash Course that eventually became Water No-No’s, from the school days. In 2000, after college, Bogs and I started what eventually became Daydream Cycle. After DDC’s 2nd live gig in 2001, I eventually became the bass player for Rivermaya. I left Rivermaya in late 2010 and took a ‘break’ from music making, and then Japsuki happened.
++ And when did Daydream Cycle start as a band? How did you all know each other? Was there a recruiting process? Lineup changes?
Shortly after college, in the summer of 2000, Bogs and I started to fool around with making our own music. He had just bought this BOSS DR-202 drum machine, and being a drummer for pretty much the whole of the ‘90s, I wanted to do something else, so I would bring a Strat-like electric guitar to his room, and we would jam along with songs of Massive Attack, Sneaker Pimps, Portishead, and the like, playing in the background. I eventually borrowed the drum machine and started making guitar riffs playing along with it. Bogs’ computer had a freshly installed loop-based recording software, Acid, so we recorded a couple of instrumental stuff that we were quite pleased with, but knew that it lacked a voice, and listening to pretty much the same stuff, we also knew that we wanted a female voice.
We were schoolmates with Kathy in college and we had mutual friends. She was steady with a hippie vibe, so I thought it was right up our alley, and I knew she wrote poetry, so I asked her if she would be comfortable singing it in a band, and that was it. The first album’s lineup was born.
++ Why the name Daydream Cycle?
In the first few months with the 3 of us, I thought of the name Electric Smooth, but at the time, there was a local band called Electric Kool-Aid, and I thought it was too similar, so that name didn’t really last. I think a handful of other names were thrown after that. The name Daydream Cycle was a product of a recurring dream that I was having at the time, and it was just perfect for our music, too, so yeah, that definitely got everybody’s vote. A few years ago, I found a test print of an idea for an album cover with the name Daydream Cycle and the former name Electric Smooth reassigned as the album title. (Photo attached)
++ How was the scene in Manila, in the Philippines, at that time? It seems there were many like-minded bands, right? Were you friendly with them? Which were your favourites?
In the early 2000s, out here, being an independent band was a no-no. It was like there was this unwritten rule that the only way you would be accepted as being a legit band was when you were signed to a major label, so yeah, we played alongside groups that were mostly underground independent types like us, and it was fun. We met a lot of different people in different fields of art, and we had mutual admiration for each other’s work, and a lot of ‘em are now huge in their fields of art. There were a lot of great bands that I was (and still am) a fan of, from Sonnet LVIII to the Buzz Nite production bands of that time, to that rare dreampop band that was signed to a major label, Sugar Hiccup, to name a few.
++ And what were your usual hangouts in Manila then? What were the venues you used to play or check out bands? Or the record stores to waste time?
A lot of small bars like 6 Underground, Mayric’s, Millenia, Sanctum, and I remember even playing once at this place called Club Sex where our slot was sandwiched in between dark metal bands hah! For some reason, we were also invited to a few metal gig prods, at the time. We were like the calm before the storm, I guess. Haha! And yes, I would spend hours inside Tower Records listening to different stuff. We were also so DIY then that I would go to select Tower Records stores myself to have DDC CDs consigned.
++ How was the creative process for the band? How did that work out?
For majority of the songs, I start with the guitar/bass riffs, and then I go to Bogs’ place and we throw it into his computer, then he puts in the beats and other magical stuff. After having a usual 4-min arrangement, we’d give it to Kathy, who then writes the words + melody, then we record it. We never really jammed out in a room to create a DDC song, especially for the first one. The music always went straight to recording and then just figured things out for live performances later.
++ The first time I heard your music was through the Shelfife Records compilation “You’re Still Young at Heart”. You contributed the song “Lousy Judge of Character” to it. Do you remember how did you end up there?
I think the guys over at Shelflife Records were checking out some bands from our neck of the woods, and we eventually signed with them for a brief time. My memory is not really that good, especially from those ‘daze’ haha, so I don’t exactly remember how we ended up on their radar, but I do remember that Laura Watling from The Autocollants, somehow, got to listen to our stuff and enjoyed it, and she was quoted in an article saying so.
I think the label gave the bands the song to interpret and we ended up with that song from The Shermans. I remember sending an email to one of The Shermans’ members and, being my young and shy self, asking for the song’s chords just to make sure we don’t fuck up their song. They didn’t really send the chords and told me to just have fun with it, so, yeah… I definitely had fun with it. Heheh. Doing our ‘process’, I started out with that guitar riff that drove the music to a totally different direction, and we went on from there. I never found out if The Shermans liked it or hated us for it haha. I do hope they found it interesting, at least.
++ That happened in the year 2000. And your first album came out the next year, in 2001. I read somewhere that this first album was originally going to be released by Shelflife Records. Is that true? If so what happened?
Ah no. Shelflife found out about us after we released our debut album in 2001. The Shelflife ‘You’re Still Young At Heart’ anniversary compilation album was released in 2003, said Google search (definitely not relying on my memory on this one haha). I don’t remember if the 1st album was supposed to be re-released under the label or if we were to do a few new songs for them, but either way, we didn’t really last long enough with them, after the compilation’s release. From what they told us, the label was having financial problems so they had to stick with their main guns, and we were one of the bands that had to be cut loose. It was a fling, but we certainly enjoyed and appreciated the Shelflife experience, especially being an underground band (even in our own country). It also gave our music the opportunity to be heard worldwide, and it’s amazing that, even up to now, more than a decade after, we still get to ‘meet’ people like you from different parts of the world, thanks to social media.
++ As I said your debut self-titled album came out in 2001 and had 12 really strong songs. It was released by your own label Metronome Recordings. How was that experience, doing the label part? Did you enjoy it? Was it hard or easy?
The label was just more of a formality. Having a registered label name was a requirement to be able to release and sell albums. It wasn’t really a legit label that had a roster of bands and all of those things that come with it.
++ What do you remember for the recording sessions of this first record? Any anecdotes you could share?
It was very ‘experimental’… ‘cos we really had no idea what we were doing. It was the first time Bogs and I got to really fool around with a music recording software. We didn’t have real gear back then. We bought a cheap ass imitation mic worth around US$2 (in today’s exchange hah) and used that for all of the vocals. I had an electric guitar and borrowed Dok’s bass guitar. Being a drummer for majority of my music life then, I didn’t even know the importance of having a tuner, but I knew how to tune a guitar, so all of the songs in that album are not really in standard guitar tuning. The tuning would be based on what felt ‘right’ at that moment when the guitar was in Bogs’ room… and it was definitely not standard, and I just tuned the bass following the guitar’s tuning. Haha. I feel sorry for those who tried to fiugure out the guitar bits… and it didn’t help that I used a lot of open chords, too. Hehe. It was literally a bedroom recording with me and Bogs seated on his bed with our heads glued to the computer. A lot of dog barking and passing car sounds also made its way onto the album, and it was all intentional, of course, ‘cos we really wanted to capture the art of noise brought about by things we were clueless of. Hahaha yes, bullshit, I know.
When Kathy hopped on board, as I mentioned earlier, Bogs and I had already made, maybe, around 5 songs, and there was no real & solid plan of releasing a full-length album. We were just genuinenly enjoying the discovery process of creation, so we made an EP’s worth of songs just for us and our friends to enjoy. To be a bit presentable, we printed out an album cover for the CD’s case, and it had a grayish vibe going on, so there is an even more rare DDC CD out there with those earlier versions of some of the songs on that album. (attached photo).
We were already happy with that, actually, but to our surprise, those songs were really enjoyed by our friends, who then passed it on to their other friends, so we decided to make it a full-length album. It was really DIY all the way. I went to a bookstore and really took a long time to pick just the right paper to be used for the CD’s sleeves. I chanced upon this glittery one that was piled under a lot of other usual paper board stuff. It was Dok who made the artwork for the grayish version and the one that ended up as the final version. We used sticker paper for the actual CD’s cover, then we printed it out using that old school dot matrix printer that took a long time to print for just 1 CD. We also just used CDRs and burned them one by one using our desktop PC. A lot of trial and error happened to achieve all of that. Haha.
It was only until after finishing the album that Bogs, Kathy, and I really thought about how the hell we were gonna play the songs live with just the 3 of us. It took some time to figure out the live part, to the point of inviting some of our friends who weren’t really musicians to try and help out in pushing buttons and stuff, and eventually, I got sober enough to realize and eventually ask my brother Dok, who is in a band with Jerome in one of the big rock bands out here called ‘Teeth’ and who happen to like our music, if they were interested in joining the band. Shortly after that, we had our first gig in the early summer of 2001, and the rest is… a lot more dazed and confused but fun times.
++ I read that this album is quite rare, that you don’t even have copies of it. How come? How many copies did you press?
The master files were only saved on zip discs, ‘cos a zip drive was the shit back then, and we just lost ‘em. The CDs weren’t really professionally pressed, as I’ve mentioned earlier, so we just printed out a few by batches before going to a gig. I remember trying out a more professional replication service, but a lot of the CDs they gave us were duds, so we ended up doing the DIY printing and burning. There were times when people wanted to buy the CD, but since they were not available in the conventional record stores, we ended up selling our personal copies, so yeah, we didn’t really get to keep one for ourselves. I have no idea how many total we sold on our own, but I’m sure it was only in the few hundreds range.
++ About your second album, “Underwater Kite“, there is very little information on the web. I don’t even think it is listed on Discogs. When was it released? Where was it recorded?
I had to double check the info at the back of the CD’s case for this one haha. It was released in 2005. This one took a longer time to be released ‘cos I was already busy with my outta nowhere mainstream band life. It was still recorded in Bogs’ room, with pretty much the same process, but with a mildly upgraded gear and a couple of years’ worth of “musical knowledge.”
++ To promote this album two promo videos were made, for “Avenue” and “Roses and Cadillacs“. How was that experience doing videos? And which one do you like best and why?
The main guys in charge of the “Roses…” video, Mark Mendoza & Manny Angeles, were fond of our music, and we had mutual friends in the art scene, so we ended up doing a quickie shoot one night with the green screen, and they just fooled around with it in post-production.
I posted on our yahoogroups looking for young video makers interested in making a music video, and one of the replies I got was from this then-college student, King Palisoc, and we exchanged emails and he ended up doing the music video for “Avenue”. That video became his “gateway drug”, and he is now a director of big films and videos, out here. We even had the chance to work together again in 2014 for my band Peso Movement’s music video for “Bawal Simangot.”
Unlike the first video, this was a half day shoot with a lot of extras in a house we borrowed from one of King’s friends. The idea was to make us become the calm, laidback kind of light in the middle of chaos & darkness, characterized by rave-like dancing.
They are 2 very different videos, in terms of the process and the execution, so I love ‘em both equally. They were also done within the confines of our limited DIY budget, hehe, so we owe a great deal of gratitude to every single one of those involved in those videos.
++ I really like the song “Roses and Cadillacs”, wonder if you could tell me the story behind this song?
I think this was the only song that was born out of a live jam. One day, after rehearsal, Bogs started it out with his then-new gadget, a Roland MC-505 Groovebox, then we both played along with it for what felt like an hour straight, with me on guitars and Bogs fooling around with the Groovebox and a bass guitar. I recorded that jam with a tape recorder, and we eventually arranged it on his computer. Like always, Kath was fully in charge of the words, and I’m not exactly sure what the story behind the song is.
++ There is also a Christmas song, “Christmas is Here”. Was this song released in any way? I could only find it on Youtube.
It was a Christmas giveaway single, released in December 2008, and I eventually just put it up on my bandcamp page japsuki.bandcamp.com. There was never a plan to release a Christmas song. One day, I bought a new bass guitar and I wanted to immediately try it out, so I got home that night and I tried to record a riff, and the first riff that came out was the bass riff for this song. I was happy with it so I ended up recording the rest of the music that night. I think it was late-November or early-December that’s why the music came out Christmas-y. I sent an mp3 to Kath and I didn’t really mention “Christmas”, but when we recorded her vocals, she nailed it, as always. Bogs was not an active member already by this time. Actually, that year, we weren’t really active as a live gig band anymore, it just so happened that I did a lot of music that I wanted it to be for a 3rd album. I was sending them mp3 copies of the music, every time I finsished a song or 2, so we were still in contact with each other, DDC-wise. For this song, Jerome was the designated engineer & co-producer when we recorded the vocals and did the overall mix.
A few years after that, a group of college kids sent me a message wanting to make a video for the song for their school project, and maybe that was the one you saw on YouTube. I think they won some school awards for their project, too, so that’s an added bonus.
++ Did you appear on any compilations?
As far back as I can remember, it was just that Shelflife Records “You’re Still Young at Heart” compilation album, released in 2003.
++ On Facebook it says you recorded a 3rd album. What happened to it? Will it see the day of light someday? Are there any other unreleased songs by the band?
As I mentioned earlier, I was making a lot of music, in 2008, designed for a DDC 3rd album. Somewhere around that year, my laptop crashed and, me being me, I didn’t get to back up my files, so a huge chunk of DDC stuff got eaten up, but I got to salvage a few that was more than enough for a full-length album. We actually managed to record probably around 7-8 (??) songs with Kathy’s vocals already, but we didn’t really get to finalize the mix. I still get to listen to those songs, every time I get friends to listen to them, and being almost a decade old now, if we were to release any of those stuff, I would want to re-record most of ‘em, if not all. Out of the many songs I made for that album, I think at least 4 of ‘em would make it, and everything else would be scrapped. I remember Jerome even telling me, almost 10 years ago now, that a track or 2 sounded like this “Chill Wave” thing starting to heat up then, and I really suck at subgenres, so I had no idea those “…wave” type genres would be as big as it is now.
Listening to them years after its supposed release, some of the music are just too “technical” for me now, with a lot of samples going on, and it doesn’t sound as “fun” to me anymore. I’m pretty sure age had a lot to do with why I did it then, and why I feel this way now. Hehe.
++ And from your whole repertoire, which would be your favourite song and why?
Aah I’m really not the guy to ask for “favorites”, especially if it involves stuff I’m a part of, but just for the heck of answering your question hehe, from the 1st album, I’ve always liked “Slow Return” the most. Last year (2016), I chanced upon this cool video on YouTube with Enigma’s “Return To Innocence” vibe going on with the slow mo reverse thing. It was made on an iPhone and this dude’s travels. I shared it on my facebook, and I got to meet the guy a few months after that when he popped up in one gig. The connecting power of the internet! Phew!
++ What about gigs? Which are the ones you remember fondly? And were there any bad ones?
There were definitely a lot of good and bad ones. There was this annual, end of the year rock awards show out here, courtesy of the now-defunct radio station NU 107.5, and in 2002, we were invited to perform on the main stage. As an independent DIY band, this was a big deal for us, and we were the only indie band to play on the main stage, and this was the era when the Korn-type bands reigned, so you can only imagine how the crowd’s raging hormones reacted to our steady music. We were like hobbits in the land of Mordor. The performance was actually not good, and majority of it was ‘cos of the terrible sound system that, after doing all of the usual sound checking earlier that day, conveniently forgot to play a crucial bit of our intro that heavily depended on a sampled track.
This was also an era when being an independent musician was a big no-no out here, so as much as the performance was not really good, as a band from the underground, unknown, and independent world, it was my most memorable DDC performance and I highly appreciate the recognition given to us by NU. It was a small “win” for us and the independent scene.
++ Did you get much attention from the press or radio?
Not really. From the FM world, it was just NU, RX 93.1, and probably 1 or 2 more who supported us and played our songs, with NU being the one who played it more. As I’ve mentioned earlier, we were active in a time when the independent scene was really underground. We would occasionally end up on some music magazines, music TV shows, and the like, but of course, being part of our other major bands helped out with that, too. Also, we were briefly adopted by a local independent label, Terno Recrodings, shortly after we released Underwater Kite. Toti, the label’s main man, definitely helped us out a lot, too. It is unfortunate that we didn’t get to release an album fully under his label.
++ Then what happened? When and why did you split?
We never disbanded. I guess it’s just the normal perception when a band is inactive. We are just always on hiatus. We created DDC for the pure love of music making, and the experience gave us other opportunities. In my case, I got to be part of one of the most influential bands of our local pop history, shortly after just our 2nd live DDC gig. And in most cases in the art world out here, something built on pure love is not realistically sustainable as the years go by, especially in this new internet era. Some people, back then, have said that we were ahead of our time, and I never really took it seriously then, but looking back, yeah I’d have to agree.
++ There have been a few reunion gigs, right? Will there be more in the near future?
Yeah, a couple, but it was more of just helping out friends’ events. I’m not ruling out anything. Nothing is ever final with this band. I definitely miss DDC that’s why after a decade of intentionally avoiding the DDC style, I finally did some of my usual + old DDC tricks on my latest japsuki album. “So why not just get the band back together?” is the usual question I get asked. Haha. It’s really challenging to get us all in one room, with different schedules and all, and for me, the time and effort to do all of that would be more productive directed elsewhere, as selfish as that may sound. Haha!
++ And what are the other band members doing these days? Still making music?
Kathy is probably the busiest, being a mother to her lovely kids. Dok & Jerome are bandmates in both Teeth and Pupil, and are also doing some album producing, engineering, mixing & mastering for other bands. Bogs is one of the main men in the top music & sound advertising supplier out here.
++ Aside from music, what do you do? Do you have any other hobbies?
Right now, I just finised an album that really drained me, and sticking to the DIY roots from the DDC tree, I have to take care of the usual stuff that comes along with an album release, so it’s mainly music for me, and I’m not complaining. ☺
++ How is Manila today, has it changed much compared to the Daydream Cycle days? If I was to visit, what would you say are the places one shouldn’t miss? And what food one has to try?
In terms of the independent music scene, it has changed tremendously, in a good way! This era is definitely way better for the indie bands, and it’s great how the younger generation can easily access & discover music from literally anywhere, nowadays. I have always been confident that the quality of local music will never dry up, and even with the help of the internet, it’s hard to keep up with the number of great new local acts coming out. I am happy for all of them/us who are still active in the music-making world. I’m not really active in the gigging scene, but do buzz me if you plan on wandering in our neck of the woods, and I’ll help point you to the right people/direction.
++ Looking back in time, what would you say was the biggest highlight for the band?
For me, the 2 albums with all of their embedded stories are basically it. It amazes me that even up to now, there are still some people, from all ages and different parts of the world, who send us messages telling us that they have just discovered our music. I don’t even know how people discover our music now, ‘cos we are not even on the usual streaming sites. That is just one of the things I love about album-making – life will go on, and eventually, as we grow older as music fans & music makers, we realize that life is not 100% about music, but through songs & albums, the music will always live forever.
++ Anything else you’d like to add?
Yes. I would like to thank you, Roque, for this interview. I still have no idea how you even found out about us, but answering these questions definitely brought back a lot of great & precious memories! I truly appreciate your interest not only with DDC but with our local independent music scene. If there’s anything else I can help you with, music-wise, just buzz me anytime. Cheers!
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