SACRIVERSUM COMES BACK TO THE STAGE  

Polish SACRIVERSUM, death/thrash metal formation from Łódź is back! On the thirtieth anniversary of the band's founding, which suspended their activities in 2005, a re-edition of their debut album "The Shadow of the Golden Fire" will be released on CD. Its premiere will be combined with a reactivation concert. The event will take place on October 22 (Saturday) 2022 in Klubopiwiarnia "Warkot" at ul. Narutowicza 7/9 in Łódź.

The album will be released by Thrashing Madness Prod., while the promoter will be Old Shool Metal Maniac Mag. As the co-founder, vocalist and bassist of Sacriversum, Remigiusz "Remo" Mielczarek, says, the intention to re-release the debut album gave a strong impulse to reactivate the band. - When Leszek, the boss of Thrashing Madness, called me with a proposal to re-release this album, the topic of reactivating the band immediately appeared, exactly on the thirtieth anniversary of its founding - Remo explains.

After releasing the demo "Dreams of Destiny" (Carnage Rec.) in 1992 and then the first album "The Shadow of the Golden Fire" (Baron Rec.) two years later, SACRIVERSUM began to undergo a period of intense stylistic and composition changes. Each of the following four albums was recorded with two vocal lines: the death metal growling was combined with a female, clear voice. This is how many bands played then, and the decade of the nineties was considered the time of the popularity of gothic metal. - We were looking for greater possibilities of expression then, composing with more keys and developing double vocal lines. In fact, many bands went that way: for example The Gathering, Theater of Tragedy, Orphanage, Within Temptation or our native Sirrah - says Remo. - Therefore, it has become inevitable to separate our fans into two groups: supporters of old death / thrash style and those who prefered a new, slightly less aggressive face of the band. Now there is the idea of ​​reactivating SACRIVERSUM back to the roots of the formation. - Before the pandemic, we intended to revive a band close to the late period - Remo explains. - Today, however, we want to recall the spirit of the early years. At the reactivation concert, we will only play songs from the demo and the first album. There will be no female vocals, we will be reminded in our home city of Lodz to old homies who remember our first days. On the thirtieth anniversary of the uprising, it is mainly of a sentimental dimension. Krzysztof "Baran" Baranowicz, keyboardist, co-composer of the repertoire from the debut album, returned to the band. Other musicians from that period could not be gathered. - The drummer, Michał "Ślepy" Ślebocki, unfortunately, is no longer alive. The guitarist Herszt could not take part in the reactivation for important reasons. Fortunately, we have a worthy replacement for both of them! - Remo rejoices. Krystian "MacKozer" Kozerawski, the guitarist of SACRIVERSUM in the last years of the band, whose compositions can be heard on the albums "Mozartia" and "Sigma Draconis", will play the guitar. A young, very talented musician from Łódź, Janek Traciński, will play the drums.

On Saturday, October 22, 2022, the band invites everyone - older and younger - fans of the band to the SACRIVERSUM reactivation concert, combined with the release (for the first time on a Polish CD) of their debut album. The invited special guests will also appear and their names are going to be reveil continously.

Sacriversum c/o : Remo Mielczarek, tel. 517 443 912, Adres poczty elektronicznej jest chroniony przed robotami spamującymi. W przeglądarce musi być włączona obsługa JavaScript, żeby go zobaczyć.

1. Before we go to the essence of this interview, let me ask you how SACRIVERSUM came into being - what was your starting point to create your own band? How did you meet each other?

- Those were beautiful times. Exactly thirty years ago, in 1992. We were young, strong, still had long hair and could swing our right wrists quickly, buahahahahaha! Imagine three students terribly excited by the desire to play in a metal band. Herszt and Slepy had such a local formation called DEAD EVIL, which began to fall apart. For me, the short, only three-month apprenticeship period at PANDEMONIUM ended. After another fat party with TV sets being blown through hotel windows, I decided that it was not for me. To this day, I don't understand why, hahaha! Anyway, Szymon came back to PANDS, and I got to grips with Herszt and Blind, who told me to play bass and also assigned the function of a guttural. We wanted to play death thrash metal because they both were more like thrash, and I was definitely death, though. The stylistic gathering at the very source already became a determinant of SACRIVERSUM's activities: in this band, people with sometimes even extreme musical preferences, who added something to the overall style, always use to met later. The three of us also started to combine with the atmosphere, because playing everything in the speed version, although very pleasant, also turned out to be monotonous. In contrast, we wanted to slow down a bit sometimes. The first demo of "Dreams of Destiny" was recorded by the three of us, but soon the keyboard player Baran joined us - an extremely musical man, bluesman and rocker, but with great respect for metal issues.

1. Your beginnings fall on the period when death metal celebrated its triumphs, but your music, although it did not protect itself from significant influences of this genre, does not quite fit into this convention, if only because of the use of keyboard instruments, which in that time few bands performing death metal used, and if it happened, like in Nocturnus, it was treated as a complement to the whole, musical background, not how did you have an instrument on an equal footing with others?

- Indeed, for us, the adoption of the keyboard player came not only from the need for originality or to be a bit different from everyone else - but also from the natural desire to seek other means of expression. It was not a struggle for originality by force, but the conviction that the keyboard instrument would broaden our range of musical influence. Our music, quite varied in tempo, where fast fragments intertwined with slowdowns, left a lot of space for the keys as an instrument straight from other musical worlds. Baran entered this space very boldly, not worrying at all that it is not appropriate to use a keyboard in metal music, but unceremoniously throw in his classic or blues inserts there, haha! To this day, he has been left with this courage, and we liked the fact that we are not some "headless riders", but our friend expands the offer we have for the audience with his view of music... A risky action, but very attractive to the musicians themselves. And giving a lot of satisfaction. But it is also known that NOCTURNUS used the keys in a completely different way, being the originality accepted by the fans at the time - for the atmosphere. Such open genre bands such as OPETH or KATATONIA only later began to experiment with the style. We were definitely one of the first such weirdos.

1. In your music, especially on "The Shadow of the Golden Fire" I hear a lot of Therion influences, especially from the first three albums, is that a coincidence? Or did this band have any influence on your work? What then inspired you to play such music?

- Of course, also the early THERION, although you will probably be surprised that more certainly "Of Darkness ..." and "Beyond Sanctorum" than the next "... Ho Drakon ...", where there are more pronounced doom and goth influences. Such raw, death, Swedish music, as presented on their first albums back then: ENTOMBED, GRAVE, DISMEMBER, UNLEASHED, TIAMAT, THERION or - apart from Sweden - ASPHYX or AUTOPSY, inspired me a lot at that time. And the guys had of course their: METALLICA, SLAYER, then PANTERA later on. Somewhere, all these fascinations, mixed together, can be heard on our first recordings. I always say that if everyone in a team has the opportunity to show their temperament and passion, only beneficial effects can come out of it.

1. Let's go back for a moment to your first demo "Dreams of Destiny" recorded in Studio-8 in Gdansk within 2 days - how do you recall this session, can you tell us something more about it?

- Well, it was a real opportunity for us at the time. As a bass player of PANDEMONIUM I played, among others, a concert in Gdynia, where I met Wojtek Kita, a very nice man, a music promoter under the Warrior Prod. banner. I do not know what is happening with him today, but then he helped many bands, from the Łódź underground and not only ... Thanks to a two-day, quick session in Krzysiek Maszota's studio in Obłuże, district of Gdynia, we managed to record this demo for a small amount of money. It was only four intro songs, but I remember we were so excited to have a demo that we were simply burned! After all, we had our repertoire ready in a few weeks, and then everything happened very quickly. We "released" this cassette ourselves, with a photocopied insert - and of course Mariusz Kmiołek also received such a copy, asking for a review in Thrashem'All Magazine. A moment later, Mariusz offered us to re-release this material, this time under the flag of Carnage Rec. As if we would then fucking touch the hell itself, hahahahahah! In the first year of operation, we already had a chance to stand close to the most important teams in the country: VADER, ARMAGEDON, PANDEMONIUM, BETRAYER, CHRIST AGONY... I remember how much excited we went with Slepy to Hala Mirowska in Warsaw to pick up our "original copies" in the shop from Mariusz and Krzysiek from PASCAL. As fans and readers of zines, we quickly became interview heroes in almost every such underground magazine. The touring has also started. Another world simply, hehehe...

1. Before Carnage Rec. released "Dreams of Destiny", you released this material on your own in a limited edition of 100 cassettes - how did you get to the label of Mariusz Kmiołek, was anyone else besides Carnage interested in releasing Sacriversum?

- Well, there were a few of these proposals. Please forgive me, but I don't remember the exact names of the people who contacted us about this at the time. We chose Mariusz's offer for an obvious reason: Carnage, after the release of "Morbid Reich" of VADER or "Devilri" of PANDEMONIUM, was already a cult label in the Polish underground, widely recognized as a top. On the other hand, there was, of course, Metal Mind Production, but everyone knew that the bands that interacted with them were not treated fairly. Such matters have been passed on from word of mouth to mouth from the moment KAT took legal action against the MMP. In those years (we're talking about 1992), Carnage offered the only publishing offer of a comparable quality - and we were excited about the fact that we got it at all. I do not regret it to this day, Mariusz Kmiołek always fulfilled all arrangements in relation to SACRIVERSUM. Relationships were fair. Another thing is that soon there were bands talking out loud about their problems with Carnage Rec., but I have to emphasize once again that we did not experience such problems. Maybe because we didn't have too high expectations towards the label then and we agreed on the conditions of releasing the material, which I would boldly call today as mediocre. But these conditions were respected. That's how I remember it today. When assessing your own past and experiences, it is worth having the necessary dose of humility.

1. How was "Dreams of Destiny" received in the underground then? Have you been involved in tape trading? Did you exchange your recordings with other bands then?

- As a band of the so-called underground, we certainly did not advance to the top league, in which the above-mentioned Carnage "locomotives" played, as well as the MMP bands, and KAT - which, as a precursor of the entire metal scene in Poland, first had its own separate audience, and secondly after parting ways with Metal Mind, he himself dealt with publishing his own albums, selecting only distributors. We've played some concerts, but I can't talk about any audience’s madness at the "DoD" stage. This first, own circulation, of course, was basically all intended for exchanges and gifts. Our situation was improved only by the release in 1994 of the first full-minute cassette, "The Shadow of the Golden Fire" by Baron Rec. I owe this fact to Szymon from TENEBRIS, who somehow then quit playing bass in PANDEMONIUM, focusing on developing his own way creative. I remember the enthusiasm with which Szymon talked about the opportunity for them to meet Janusz Baron from Piekary Śląskie and enter the publishing deal with him. Let us remember that we are talking about the years when the provisions of the Copyright Act were not yet in force in Poland. "Publishers" such as Baron traveled to Germany, brought CDs from there - for example, Madonna, Michael Jackson - and then, by the thousands, beat "licensed" tapes in the rooms filled with tape recorders at night, throwing them onto the domestic market. Everywhere, to music stores, kiosks, even disco stalls. They earned massive amount of money, they didn't know what to do with them. And they sponsored recording sessions with local bands, probably a bit like money laundering. Janusz focused on helping and supporting metal bands. We slipped into it following TENEBRIS's footsteps, and with us the next ones: TARANIS, MORDOR, MASTIPHAL, HOLY DEATH (you know something about that, hahaha!), MORTAL SLAUGHTER and others ... Then even such big names as PANDEMONIUM and VADER found better conditions with the Baron Rec. than with other publishers, for example Peter of VADER released "Sothis" there, an EP, immediately on cassette and CD, if I remember correctly. It was an underground paradise. Happiness lasted until the copyright law came into force. Baron collapsed overnight, as did several of his colleagues in business. However, we also took advantage of the possibility of a really good concert promotion, because Janusz paid us to play during Dziubiński's MMP Rec. events - twice, in Chorzów and Warsaw, Poland - as a support for TIAMAT and SENTENCED. At that time, it was an epochal event for a medium-sized underground band like ours. Johan Edlund was at the stage of promoting "Wildhoney", AMORPHIS was to play this tour (which earlier, probably in Germany, was forced to leave the bus by the other two bands - probably because their rapping vocal, Patsi, was considered then to be not very true, hahaha!). And we, who play twice for a thousand-strong audience, all chanting our name, both in the Premiere Club in Chorzów (now defunct) and in Warsaw's club called Stodoła. I will not forget it for the rest of my life. Because although ten years later, as a band from the MMP catalog, at different times and with a different line-up, we played again before TIAMAT supporting their concerts in Poland, the atmosphere of both events cannot be compared at all. From this first mini-tour, I have such a funny memory that after the transfer from Silesia to Warsaw, at the Stodoła club, and before the concert, we sat down with SENTENCED for a beer nearby - and we talked about who knew what words in their languages. It is known that Taneli Jarva was developing his IMPALED NAZARENE in parallel at that time. Well, we said to them: "Listen, we only know three words in Finnish: Suomi Finland and Perkele." They burst out laughing, because we accidentally combined the two most pathetic words, meaning the holy motherland, with the greatest blasphemy. Something like: "Republic, fucking, Poland". I am not sure if the title of the third Impaled album came from this conversation, or if we happened to come across their own idea of ​​such a word cluster, which they had earlier. These concerts were in the winter of early 1995 (January) and their album was officially released, according to today's sources, a few months earlier (October 94). It is difficult for me to determine if they managed to give it the title at the last minute after drinking with us.

1. Two years after the release of your first demo, your second material "The Shadow of the Golden Fire" was released. It was originally released by Baron Rec., It is much better produced and arranged stuff and you can see that you have made a lot of progress in your music and that these two years were a very busy period for you ...

- Musically, it was just like you say. For us, then students dependent on their parents, there were no obstacles such as work or kids. We could basically spend all our time playing, and we did it with enthusiasm. Instead of exploring scientific reading, we only did some basic things for classes, leaving everything for the duration of the examination session. We played, everyone alone at home and then in the rehearsal room, all day long. Hence the good pace of creating the material for "The Shadow ..." and a veeery cool atmosphere of excitement, which can be heard in this music also today. Baran, who then appeared in the band, had many other musical obligations (he is still a sought-after blues and rock keyboard player, he was still playing with someone somewhere then) - but it did not change any percent of his involvement in SACRIVERSUM. He always came to the rehearsal and our every concert, even if he was barely rolling the pavement and the keyboards followed him, buahahahahahahaahahaha! We all had it, because I forgot to say that we had a very social and bottle-like atmosphere inside the band then. Such there, the beginnings of rock and roll in Poland. We were known in the underground for partying behind the scenes, although it was always very cheerful, without any aggression or material losses. We were levellers, but polite ones.

1. The cassette edition of "The Shadow of the Golden Fire" by Baron Rec. is not the only one that was released on the market at that time?

- This is a story from a bit later times. Because for many years we were looking forward to releasing this material on CD. It became possible only after concluding a publishing contract with the German label Serenades Rec. But first of all: when more rumours about us has been heard after releasing "The Shadow…" on cassette and concerts with Tiamat, the second album - "Soteria" - we already recorded for Morbid Noizz Prod. It was also a time of profound personal and stylistic changes in the band, and the adoption of a woman as a vocal. But the Germans liked Soteria very much, so they bought a license to publish it outside Poland, for other markets. Their range was not very great, but after we broke off relations with Paweł Kamiński, the boss of Morbid Noizz, we signed a contract with these Germans to release three albums. Licensed "Soteria" was the first of them, and then it was time for "Beckettia" (released with great problems due to the financial failure of the label) and "The Shadow ..." - because our German partners decided that if you had to fulfill the contract and there is no money for the next recording session, you can re-edit old stuff. Ordnung muss sein. And this is the genesis of the creation of "The Shadow of the Golden Fire - Early Days", which is our first full –minute recording enriched with material from the demo "Dreams of Destiny", plus two versions of songs from this tape recorded again during the session of "The Shadow…". It was in 2001, the re-edition album was released in the West in CD format - but not in Poland, where this version was difficult to access. Today we make up for it, because thanks to Old School Metal Maniac and Thrashing Madness Prod. it has just re-launched, for the first time on the domestic market. It all is a bit confusing, but I'm glad that thanks to this situation, however, SACRIVERSUM got a very strong impulse to get up, exactly 30 years after the band was founded. And yet 17 years ago (2005) we suspended our activities.

1. The year 1994 is a time when the Internet was only slowly beginning to develop, so it was not a significant promotional tool as it is now; concerts were the best way to promote a young band back then - what was it like for you back then? Did you play concerts often then?

- Yes, but it wasn't that we suddenly had to drop everything, because there were a tremendous amount of proposals. As I mentioned, around 1995 we started to think about changing the stylistic concept. But we must have looked a bit, unknowingly, at TIAMAT and its evolution. The changes took place gradually. Baran and Herszt were gone, then Slepy as well. I was left alone from the founding group, and other musicians used to come and go to the band. Everyone is an equally important link for me today, everyone added something from each other and pushed this band further. But the transformation of the style into more doom / gothic did not make our task easier in terms of position stability on the stage. Fans, the more radical ones, started to turn away from us. New arrivals were coming along with the release of "Soteria" - but the split in the audience group had become a fact. Years passed, things were different, since 2002 we and MacKozer (who today participates in the band's reactivation) also played in ARTROSIS, thanks to which SACRIVERSUM also got a bit of a kick up, signed another contract, this time with MMP. But three years later the momentum faded, personal matters led to the suspension of the team. Fortunately, today we meet again and - as part of the fight against the late midlife crisis - we are experiencing a second youth.

1. Which of your concerts stuck in your memory in a special way? I know that in your concert history there have been performances of incl. alongside Tiamat, Napalm Death, then it seemed like an extraordinary ennoblement for you, right?

- Yes, the band was lucky to participate exceptionally pleasant concert events. These early performances supporting TIAMAT, as I wrote about here, were revolutionary, but there was also a lot of interesting going on after that. In fact, in 2001 we played in Poznań's Eskulap Club before NAPALM DEATH, then BEHEMOTH, SCEPTIC, HORRORSCOPE, ANIMA DAMNATA and AD PATRES also performed. But we didn't get very warmly received, maybe because „napalm” fans don't really feel much love for metal goth genre, haha! More was happening behind really underground stages, but I don't have too many specific memories of these concerts, because they are drowning in hectoliters of drunk drugs, haha! We had a good time at events in Remont Club, Warsaw (Vox Mortis Festival), or at the legendary Smash Fest 2002, including GRAVE or BLOOD RED THRONE, where the wind blew the stage and torn tents. There was a lot of gigs, we came back from all over the place full of extraordinary experiences. Sometimes you can find archival reports on the Internet, much more reliable today than my lame memories of today.

1. The first half of the 90’s in Poland saw several major underground festivals such as S'thrash'ydło, Shark Attack, Thrash Camp, Drrrama - did you go to these events?

- Well, no. We did not make it. All these cult festivals you mentioned prospered well in the late eighties and in the years when we started publishing our first materials or performing more widely (i.e. from 92) we were dealing with the decline of these events. They started to collapse one by one, which I regret to this day. As a fan, I also didn't manage to participate in any of them. At that time, you heard a lot about the trouble that aggressive crew members - for example the famous Szczecin - stirred up at these events or before them, commuting by trains. After that, the organizers for sure got into trouble because of this. The change of the political system also did its job, the economic changes entering our homeland did not always allow the organizers to bear the costs of the project (in comunism this funding probably came from various "cultural institutions", and in the new times you had to provide it yourself, without having sufficient funds to do so. ). But these festivals played a vital role in the development of the scene, not only in Poland. Many years later, when I met the boys from SAMAEL, they told me what extremes it was for them when the two brothers (Vorph and Xytras) traveled to Ciechanów by train. From Switzerland to S'thrahydło, to the castle. They traveled by the Polish railway from the border, through Silesia. As they saw those smoking chimneys and mines, while they are rather unbelievers, on the way they said, “Mon Dieu!”. Hahahahaha! Well, let's make an appointment, it was an ecological massacre, then the Swiss, seeing this view through the window, could really be shocked. But to this day, they say in interviews that these visits to Poland and the insane reactions of our fans for "Into the Pentagram" made them feel strongly about their further activity, believed in themselves and realized that their further action makes sense. That was the strength back then, and the bands shared information from mouth to mouth all over Europe about the reaction of Polish maniacs at local concerts. It came from those first underground festivals. And SACRIVERSUM, however, was a bit late for this time, because the performances at early national festivals included bands older than us and those considered at the time to be at the forefront of the Polish scene. It's a pity these festivals are not dwelling yet. Today I am in good contact with the guys who organized S'thrash’ydlo just because my brother-in-law lives with his family in Ciechanów, and I am a frequent guest there. Organizing such events today is extremely expensive - and in the absence of strong sponsors, simply unprofitable. Nobody will risk private financial resources, because attendance is always an unknown and the cost is always to pay. The costs are immediately payable before the first band even hits the stage. This is the main reason why we no longer have these legendary names on the map of Polish festivals. Fortunately, there are more. For many years, I have had the honor to collaborate on subsequent editions of the ever more beautifully developing metal event: Summer Dying Loud in Aleksandrów Łódzki. This fest was possible thanks to the financial help of the City, and the director and originator of SDL, Tomasz Barszcz, always takes a few steps forward at each subsequent edition of this event. This is already one of the best metal festivals in the country and will soon be one of the best metal festivals in Europe. I cordially invite everyone to come to Aleksandrów every first weekend of September.

1. This year's re-release of your first two materials in the CD version coincided with your reactivation and the concert scheduled for the premiere. Why did you wait so long with both? What can I wish at the end of this SACRIVERSUM interview? Thank you very much for the interview, if you want to say something to your fans, go ahead ...

- We wanted to reactivate the band several times before. I say "we", mainly bearing in mind MacKozer, who always said that as long as Remo is alive, SACRIVERSUM will exist, hehe ... However, personnel issues have always stood in the way. Years later, and seventeen of them have passed since the band was suspended, the line-up was always burdened with problems. There was always someone missing. Recently, just before the pandemic, we made an attempt to reactivate the band in a line-up close to the last years. But the virus, and with it the necessity to suspend rehearsals, have ruined our work again. I was already sure that if fate wanted it so, it would be fine. And then suddenly Leszek Wojnicz appeared, that is you, hahaha! And there was a proposal to re-release the first album by Thrashing Madness / Old School Metal Maniac. It coincided with the 30th anniversary of SACRIVERSUM, to be exact, so I took it as a sign again - and decided to take that train so it wouldn't leave this time too. Maybe this is the last chance for us to get this band back on its feet. We don't get younger… I knew right away that MacKozer had to play the guitar after reactivation, because for many years he was the only man who somehow kept this "flame" so that it would not die out until the end. However, it was also necessary to address the old comrades who contributed to our first album. Slepy, original drummer, unfortunately is no longer alive. Herszt, the guitarist, for various personal reasons could not join us, but, so to speak, gave us his blessing and full support. As expected, I was not disappointed at Baran, although Krzysztof Baranowicz is one of the musicians who are very busy and in demand. But he never refused to help me when I turned to him, and it has happened now. He remembered the old sounds quickly. We only needed a drummer to be happy and the elite of Łódź drummers helped us a lot in this matter. We asked a few if they would join. I asked for help, among others to Gerard Klawe, but his duties at Farben Lehre unfortunately tied his hands. However, Żeruś is our brother, so he quickly offered us Janek Traciński, one of the young drummers in Łódź, fully aware that he was putting a diamond in our hands. During the first rehearsal, our shoes fell off as soon as we heard what Janek was doing behind the drums. It took me four hours of playing to get my right wrist back to the speed it used to be thirty years ago, hahaha! But now we are full of optimism, because the so-called fresh blood was essential in the band, especially when it comes to the drum, i.e. the drive. Now all the pieces of our puzzle are finally completed and in place. Thus, we return to the early, root face of the band. We invite everyone to the reactivation concert, 22/10/2022 at Klubopiwiarnia Warkot Club in Łódź, Poland, Narutowicza Rd. 7/9. Follow the event on FB. All the details are there. It will be a concert for the group of our first fans, or rather buddies and friends from those years, even before the "gothic" face of the band appeared. For today, we are not planning to return to this face, because the wildness and power of the old songs now played during rehearsals make us realize how much potential they still have in them. We got really into the early stuff and we'll play it all at the show, I think: complete songs from "The Shadow ..." and certainly some of the earlier stuff. Okay, maybe at least one track from later albums, so that the exception would prove the rule, haha! Anyway, we apologize the fans of the late SACRIVERSUM: maybe someday, in the future, we will broaden the concert repertoire. However, we do not plan to return the woman singer to the line-up, at least not permanently. Thank you very much to you, Lech, for the opportunity to talk and for this whole reviving idea - we would like to cordially invite everyone to our reactivation. This is a very important moment, so we would like to have with us those who grew up musically with us in those years. And the younger ones, whenever they feel like it, are very welcome. We haven't gotten old enough yet not to burn fire on the stage haha! What to wish us? Only persistence. Today there are different times and completely different priorities: health, work, kids, fighting with living problems. But we are not going to give up once the machine has been restarted. What do we wish you!