Can we talk about just a little bit? Yeah. And how you made it, How we Yeah, kind of how it came to be. And you know for sure. I came up with, like, kind of the base. The first chord progression, the melody and stuff, like, kind of like the skeleton of the song. Uh, it was called just a little rain because I'm terrible with coming up with titles, but it was, like, kind of member any day in the studio and just kind of like a bomb in. And, you know, you gotta you gotta get some juice out. And you're kind of, like, kind of like, you know, gloomy and sad. And you're like, I want to make some, like, sweet sounds that make me feel better. So that was kind of how it started. And then, um, that song was really the first song that, uh, I got to write with our new bass player, Josh, that we really like, sat down together and finished and wrote a whole song. And, uh, yeah, I just kind of started coming together really naturally like that, you know? So we got it to that point, recorded the three of us on it, and then I started recording our friends on it, too. So it has has tons of other people on it. There's two horns. There's a Eric Luba is on keyboards, just kind of like became this thing where this is the first kind of like new sound that we're working on. And, uh, it's just very organic like So we put that out by itself because it's like this is just a little like a little bit of like, the new thing that we're doing. And then the artwork that went with it was like this bear getting into this hunting pot was just like he's just getting a little taste, you know, like it's a little bit and again, like the sweetness. I feel like that song makes me think of like sugary nectar. Everything's It's the sweetness, you know. It's like kind of laid back in the middle. It gets up to the breakdown, and then it's like funky dance party at the end. And, uh, yeah, just kind of came together really naturally And what programs were used and you mentioned a Bolton. Yeah, that you're It's kind of like a combination of platforms. The process changes all the time. But like I'll start writing songs in a Bolton, we'll take them to the boys, will write other parts around it and then either recorded in one instrument at a time or sometimes going in live, recorded and just, like, play over the track and record our parts. And then I'll rebuild the track around what we've recorded. But we go in and do that in pro tools. So that's all in like an analog studio by Red Rocks, which Josh runs called Scan Hope Sound. And it's Yeah, it's kind of It's where the fusion style comes in is like this old school recording technique and like very rock based kind of stuff, meeting with throwing it back in the Hamilton. And then we layer in synthesizers that, like you can't replicate any other way. Like digital sound has come so far. It's like just use all the tools that are at your disposal. Um, but it's It's a Hamilton is primarily like I've messed with logic a little bit, but it's like I just understand it with insulin that works for me, and I feel like people use different ones like, um, using logic to produce and then playing live with a Bolton or some people use FL Studio Man. You know, it's like, whatever, really, whatever tools work best for you to get what's in your head out onto paper, so to speak, on onto tape, you know, then that's what you should use. You know what I mean? But for me, it's like I got a built in five years ago. I was like, This is the coolest thing ever. Like I can play like 10 instruments at once. It's amazing, you know? So that's what works for me.