Invoking Your True Self: An Interview With Poppet

Abe Goren is one of the most prolific artists we have ever covered. In just a few years they have released a couple of dozen albums and EPs under a number of different projects and genres. We first came into contact when writing about their masonic Dungeon Synth project Lodge of Research, our first endeavor into the growing world of Dungeon Synth that borders on the edges of much of the post-industrial that is our bread and butter. Now their syncretic style is back here with Poppet, a project that shifts between neofolk, Dungeon Synth, metal, and just strange eclectic weirdness, and so we wanted to jump back into it and talk with Abe about some of the concepts behind this project, which ranges from nordic mythology to the personal search for gender identity. Abe’s own journey is especially informative for us since it talks about the process many people have gone through in the edge genres where political consciousness clashes right up against the presence of far-right bands in the scene, and maybe even our playlists.
How did this project Poppet form?  What was the thinking behind it?
I started getting heavily into black metal around late 2015. Interest in projects such as Mütiilation, Aniroe, Summoning, I Shalt Become, Bal-Sagoth and sadly, some sketchier bands like Inquisition and Burzum were primary influences for making ambient black metal. I was using GarageBand at the time, and I had no access to drums or guitar sounds, so I used a monosynth VST called “festival lead” to create black metal noises, and then did vocals and synth pads over it. A Poppet is a doll used in British folk magic, essentially the Western equivalent to a so-called “voodoo doll,” I was very into occultism in high school, and as I started college, I got heavily back into occultism. I wanted a venue of music to discuss religions such as Tibetan Buddhism, Ethiopian Orthodoxy, Santeria, Rastafari, Sufism and Left-Hand Path Satanism, and started the product as such. I had released several songs from this project on Soundcloud before, but 2017 was the real watershed moment. I was friends at the time with a fairly right-wing friend, and I was in a black metal band themed around the civil war with him, called Quantrill. I was the resident keyboardist, but it was a full band, suprisingly multi-ethnic for such a sketch band too. It was probably the sketchiest project I was in, and it wasn’t that good either, essentially sounding like a worse produced Peste Noire. This project was posted on Atmospheric Black Metal albums and got terrible reviews. This inspired me to seek feedback for my music as Poppet, and in early 2018, I posted my Enter the Numinous Realm album on Bandcamp. A couple of weeks later, I got feedback from the dungeon synth community, saying that they really enjoyed my project and how weird it was. This inspired me to hang out with the dungeon synth crowd, and release more dungeon synth inspired music on a regular basis, I continued to use it as a basis for discussing Sufism, Eastern and Oriental Orthodoxy, Kabbalah and Tibetan Buddhism, and made several friends I am still in correspondence with these days. I keep Poppet as a form of discipline, where I will constantly try to better myself and write more engaging and challenging works.
What challenged you to stand up against the right wing bands? What motivated you to stop supporting far-right musicians?
Back in 2015 and 2016, my politics could be understood as provocative. I had a very neoliberal attitude, thinking that whatever riled people up was the way to go. That said, I never dipped fully into reactionary territory due to me being Jewish, and having a close friend in high school who transitioned her gender. I had my first romantic partner in 2017, and being around that person allowed me to see how reactionary and provocatory politics were exactly that, and that in order to understand people you have to listen to them. In 2018, being around dungeon synth people actually exposed me to a wide gamut of more left wing ideas, and since I had such a plethora of amazing and non-sketchy bands in black metal, neofolk and dungeon synth to check out from that community I didn’t need to support sketchy bands. Whenever I listened to a far-right band and enjoy the music, it’s always tainted by the fact they’d kill me if they got the chance. Listening to non-sketchy bands I get the same pleasure with none of the guilt. This is why it’s important to build spaces with innovative music inspired by those bands but with none of those messages.
How did your own politics evolve in this time?
In 2015 I lived on my own for the first time, as I started college. Living in an independent space without my parents, I was exposed ot a lot of ideas on the left and on the right, and I was annoyed by a lot of the “radical ideologies” on the left. I had close friends with right wing beliefs, and the friends I had who were left-wing I grew distant from at this time from seeing them post on Facebook about bad shit all the time. My shift to the right was also motivated by me being a frequent user of the KiwiFarms from 2014 until mid-2017, a trolling website, which I maintain when it started wasn’t a hotbed of transphobia, islamobhobia, racism and ableism but rather an outgrowth of the same people who obsess over Chris-Chan. The site while intially funny, wore off quick and became a heavy obsession of mine. I posted bad deviantart pictures there constantly as a sort of discipline. Whenever I tried to correctly gender someone there, I was bombarded by many transphobes saying “don’t feed into their delusions.” I am glad I left that shithole. Even if it wasn’t as bad when it started, it was still really bad, and it just got worse as it continued. Around this time I started picking up on more and more esoteric far-right ideologies, which I liked because they were mystical and magical, and as a religion major, I didn’t like how communism as I knew it was “atheistic.” Around 2017, my politics matured after finding a partner, I read less about traditionalism and the esoteric far-right and cared more about being a good person than wanting to pick an ideology to shock. In 2018, when I was exposed to the dungeon synth community, I began reading about various kinds of leftism, and at the same time I was exposed to Marxist theories in my criminology class (despite the teacher having a lot of criticisms of Marx), which made me more motivated to read about Marxism. From there I’ve moved more to the left, which I find is a funny coincidence because it had to do with me becoming part of the DS scene at the same time.
Why do you think its important for other artists to do the same and speak out against sketchy bands?
I believe that everyone who isn’t a nazi (which is most people) into extreme music should be able to have their voices heard. If we support “free speech” the widest variety of opinions will be heard if nazis don’t get a platform. This is why I support bands that carve out a unique space in music, leftist or not, as long as they’re not nazis. We need to create a space where nazis aren’t the only people making creative and innovative music. I love this blog for this very reason, neofolk is an amazingly beautiful genre, ruined by some of the most backwards simpletons and yahoos into extreme music. If we want all ideas to be heard, we must remove people who will censor all other opinions if they got a chance to.
Why did you turn towards neofolk? How do you define this project?

Neofolk was something I was always aware of, even before I was aware of DS. I was a fan of Agalloch’s neofolk output, as well as Wolves in the Throne Room. Neofolk to me occupies a similar role to dungeon synth in how interludes of both sorts are often used in black metal songs. My album Infernally, I Wander, which we will discuss in more depth eventually, was created not out of a love for neofolk (that came more in 2019 when I dug deep into the works of David Tibet and Ulver) but out of me playing around with guitar sounds on Garageband, to create a sort of medieval vibe. My album Chapter I was a more conscious effort to recreate the sounds of neofolk at large, to capture a more singer/songwriter vibe of my music, rather than simple improvisation.

What relationship does dungeon synth have to neofolk?
Neofolk is unique as a genre in that it started out of the industrial scene, but got revived thanks to black metal fans listening to old neofolk records. Dungeon Synth grew out of black metal fans (sometimes the same ones) listening to industrial and ambient records and creating fantasy soundscapes out of it. Both genres attempt to paint classical and artistic music in the context of extreme music. There’s a reason why Wongraven’s Fjelltronen is both dungeon synth and neofolk, the dark folk scene grew out of Norway at the same time DS artists like Mortiis were making some rounds. I think both genres excel at capturing a haunting ambience, but both generes are flexible enough to also become agressive, intense and extreme in an occult context. They certainly both love their forests. Both genres are also similar because Dungeon Synth is largely distinct from the rest of synth and electronic music, you don’t hear as many drops, acid bass or drum patterns. Likewise, neofolk is distinct from folk music because it’s less “homey” and “rugged” and more decidedly “ethereal” and “ominous” in its sound. To compare Sangre de Muerdago to The Lumineers is like comparing Aphex Twin to Fogweaver.
How does the Norse tradition inform Þrymskviða? 
Þrymskviða was created when I was in Ireland, and getting heavily into the Norse Tradition. At around the same time, I was begining to question my gender and transition, which lead me to reading about certain kinds of runes such as Peord, Berkano and Gebo which weren’t as commonly touched by Heathens due to their feminine nature. I was especially drawn to the story of Odin living his (her?) last years as a woman, because of their Seidr practice, and as such was considered “unmanly” by Loki. I had always been drawn to Odin, and this more feminine aspect of Odin, was far more engaging than anything NSBM cultivated. I sought to tell a story of Norse and Germanic people defying roles of toxic masculinity rather than falling within those traps. Gender divergence has always existed, and I’d like to think that I captured an aspect of the mythos most metal bands either ignore or don’t know about.
How did your own personal journey inform Þrymskviða?
As mentioned before, when I was living in Ireland, I began to heavily question my gender, and identify less as a man and more as what I believe to be myself, to live authentically. The choral parts of this album were informed by a sketchy (and shitty) DS tape, that I thought I could improve on heavily. In one track, I started with male voices chanting but eventually changed them to female voices through my DAW. This is a not-so-subtle hint at the early stages of my transition at the time. These interests and new found interest in shifting my identity led me to learning about aspects of the Norse traditions that appeal more towards LGBTQ peoples than your average Brodinist.
What speaks to you from the Norse traditions?

I’m not too sure where to define my religion today, but its a fluid part of my identity. Like with most mythologies, I appreciate the nature of gender divergence within the Norse deities. They’re not fixed in one aspect. Many people hate Loki, but I find how he lived his life as a mare and got pregnant to bare Slepnir a fascinating case of how even in ancient tales, gender isn’t fixed. The runes are also endlessly fascinating, being very similar to my native Hebrew, in how each character serves a spritiual meaning and signifcance. Reading about them when first coming to a realization of my gender identity made me resonate with the far more obscure runes Nazis didn’t use. I did a split with a project called Peord, and Peord is inherently connected to women’s issues.

Your music really developed with Infernally, I wander? Why did you go in this direction? What was the thinking behind it?
That album was started while I was writing another album called Future Tense. I was messing around with guitar presets and ended up creating a beautiful medieval piece. That piece is the last on that album. For Infernally, I Wander I limited myself to two sounds on Garageband, a guitar and a flute. This limitation ended up making some bizarre music, and for this album, I leaned into my project’s outsider nature, of which I skirted around before. This embrace of weirdness, coupled with free flowing and creative song structures made an album I’m truly proud of. Afterwards I started to listen to more neofolk in order to bolster more creativity out of myself.
Walk me thorough how you are producing the music? What does the production process entail? Is it purely a solo project?
I initially started producing music through Garageband, using a midi controller, although often I use the Musical Typing setting. I will typically record an improvisation and then record another improvisation over that improvisation, but as I have learned more skills of how to edit sounds, I’ve been pushing myself to make more challenging and competent works of synthery. I will often include my vocals, and increasingly include drums. It is a solo project, but I actually have some group projects and remixes in store, not just with Poppet but with other projects. Now, I use Logic, which has multi-tracking, a stronger editing system and more VSTs, most of which are easily editable. This has greatly expanded my array of sounds.
How does your antifascist politics inform May the Braying of the Horn Smite Those of Hatred Great?
This album was created for three reasons, the first being how I felt there was a deficit in my music that wasn’t tackling political issues, around this time Dungeon Synth: No Fash Edition was created as a group, which I appreciate, but was also controversial as the group was mostly drama. Created on a bus ride to Belfast, I thought I wanted to make a tough and industrial album from my project. There was a micro scene called “tuff synth” embodied by bands like Xuthal of the Dusk, that revolve around distorted horns. The third reason I created the album was the most important. I was sick and tired of seeing antisemitic memes and sentiment across the internet. I am Jewish ethnically, and it should come as no surprise that I stand against Nazism and white supremacy as a result. As such, this album acted as a “diss track” towards people thinking dungeon synth needs to have more Pro-European themes, whatever that means. May the Braying of the Horn Smite Those of Hatred Great is a call to destroy those who destroy marginalized peoples and communities, using Biblical themes as an epic, sword-and-sandal backdrop from which to juxtapose conflicts against trans people, people of color, queer people, Jews, Muslims and politcal radicals against hegemonic powers-that-be.
What’s coming next for you?
Under one of my many other projects, Wagemage, I have a remix album of gabber versions of black metal tracks coming out soon. Under Poppet, I’m working on drum heavy dungeon synth, inspired by an irl friend’s Witch House project, wwithout. As long as I’m here, I’m gonna be pumping out more albums, and who knows what might greet you in the future!

We are embedding the albums that were mentioned here and we encourage you to check out all of Poppet’s library. We have also added Poppet tracks to the Antifascist Neofolk Playlist on Spotify, so remember to add that as well.


Depressive Creativity: An Interview With Realm and Ritual Records

The antifascist neofolk and genre community is not just a matter of the incredible bands building the sound, but also the labels, producers, and promoters getting this moving. We want to start raising the voices of some of these independent labels talking about the work they are doing to bring in left bands in this scene.

So here is our early release of an interview with the folks behind Realm and Ritual records, a cassette label that specialized in black metal, dungeon synth, and a whole range of stuff. This includes a number of antifascist bands, which we will be excited to profile (and one we will release an interview with shortly).

How did your label come together? What bands are on it and what is the mission?

Realm and Ritual started a little over a year ago in my bedroom in Boston, MA. I had wanted to run a label since unsuccessfully doing so forever ago when I was in high school. It wasn’t until recently that I felt that I had enough time, patience, and disposable income to actually make RAR a reality. My mission statement was to release black metal and dungeon synth that I felt an emotional connection to on my favorite format, cassette. I knew I wanted to release red and anarchist black metal–I am both anti-capitalist and anti-fascist–but I actually wan’t intending the label to be overtly political. However, after seeing NSBM out in the open–bands using nazi imagery, espousing racist, misogynistic, and fascist ideologies–and seeing much of the black metal community support, sympathize, or remain ambivalent on this, I wanted to be clear where I stood.

I’ve released music by some outspoken anti-fascist projects: Gudsforladt, Awenden, and Howling Waste. Though most of my releases haven’t been by overtly political projects, I do vet everyone I work with to ensure they don’t support NSBM or right-wing extremism. I am cool providing a platform for a variety of topics and themes; I’ve put out tapes based on His Dark Materials Trilogy, Shining Force (the RPG for Sega Genesis), and space exploration. My only rule of thumb is that I have to like it and it can’t be ideologically shitty.

Why is it so central to have anarchism and antifascism in the music scene?

It’s important to have anarchism and antifascism represented in music as a counter to right-wing extremism. While I think this is important across the board, I think it’s especially important to have anti-fascist views present in music for younger people first discovering these communities. I want kids getting into black metal to know that it’s not Burzum or bust, that extreme music is not synonymous with white supremacy or edgelord bullshit. The alt-right is a propaganda machine and it’s so easy for disillusioned folks to point their anger in the wrong direction. It’s our job to educate and provide a counter-narrative.

What kind of music do you focus on for the label?

I try to keep a balance between black metal in its various forms–atmo-black, DSBM, RABM, Cascadian etc.–with dungeon synth and dark ambient. I try not to get too distracted by genre labels but at the same time use them as a basic guideline. There are a few other labels with a similar focus that have been successful with maintaining a balance between interconnected but often musically disparate styles. I’m trying to do the same.

Have you dealt with white nationalist attitudes in the black metal and neofolk scene?

In short, yes. With black metal it’s so prevalent that I ended up joining a Facebook group devoted to identifying which projects have fascist ties. It’s astounding to me that the black metal community by in large accepts shit like Peste Noire, Satanic Warmaster, and Hate Forest. I don’t think that most folks who listen to this identify as white-nationalists, but there is a willingness to overlook harmful belief systems in service of “black metal should be dangerous” or “I just listen for the riffs”. These statements come from a place of  privilege and ignorance.

In terms of neofolk, I’ve only just recently started to dip my toes into it. It can be difficult to navigate a new genre of music that has been identified as having a problem with NS views. I’m really enjoying your site though and have found a couple of artists I like: Hindarfjäll and Deafest come to mind immediately.

How do you think people can deal with the fascist presence in neofolk?

I think there are many ways to fight fascism in music. For a starting point, support outspoken anti-fascist artists. Post their music, buy their physical media, recommend them to friends, see their shows. It’s ok to start small, a social media post is fine. To confront fascism, I think one place to start is to call out bad behavior, shitty ideals, and bad practice. Often online arguments feel like they don’t result in any actionable change but having these conversations out loud lets people know that there are multiple sides to this. If you’re involved in your local music scene, stop booking right wing extremists (or sympathizers). Don’t support venues that put on these shows. Let the organizers know you’re uncomfortable with a band being on a bill. Confront people wearing Goatmoon patches.

How does green anarchism play into projects on the label?

While I’m not sure where each artist I work with stands on this, I’d be happy to share my own base understanding of the concept. In any situation where we’re looking for sustainable models for the future, protection of the environment and ceasing our reliance on fossil fuels must be at the core. I’m reminded of a Marx quote, “Capitalist production, therefore, develops technology, and the combining together of various processes into a social whole, only by sapping the original sources of all wealth—the soil and the laborer.” If we are looking to stop exploitative processes inevitable in capitalist society, we must build something that protects workers and the environment.

What is next for the label?

The plan is to continue releasing tapes, with releases from Wounds of Recollection, Orb of the Moons, and Feralia coming up in September. I’m planning on trying to vend more in person and have a trip planned to Seattle for the upcoming Dungeon Siege West.

Check out some of their bands:


Anti-fascist black metal with an interest in indigenous people that initially occupied New England

Howling Waste–“Bitter Tears, Dreams of Dawn”

Monastic & Marxist project from Glasgow, Scotland. My favorite track off this record is adapted from Tecumseh’s “Speech to the Osages”

Anti-fascist Cascadian project. Anarcho-primitive belief system and natural reverence are major themes on the EP.

Wooded Memory

A great ambient/dungeon synth project.


We are adding tracks from Wooded Memory and Awenden to our Antifascist Neofolk Playlist on Spotify.

MIDI Junkies of Dungeon Synth: An Interview With Lodge of Research



There is a slow, whispered creep that comes from Lodge of Research, a solo project that comes at the intersection of neofolk and dungeon synth. A melancholic flute and single keyboard notation accompany barely spoken words, reminding you of the masonic inspiration of secrets, ritual, and esoteric knowledge that has driven its creation.

We did an interview with Lodge of Research about their process, what they are doing with the Dungeon Synth genre, and why there is no middle ground with fascism.

How did Lodge of Research come together? Is this your first musical project?

Lodge of Research is not my first musical project, my first serious one was Poppet (dungeon synth/occult black metal with some scant neofolk influences). Lodge of Research was founded essentially to have a more coherent space in my music for neofolk. At the time I was making it, I was listening heavily to Current 93 and the Legendary Pink Dots and reading a lot about Freemasonry and esotericism.

Initially I was inspired to make a bass heavy neofolk project as a joke – Having slap bass as a sound inspired by Seinfeld. However, when playing around with this slap bass sound on Garageband, it made me realise it could work as a legitimate project. Being inspired by the Legendary Pink Dots and John Fahey’s Mill Pond, I wanted to make a project which sounded like it, so I grafted all of these influences together and created an esoteric and bizarre neofolk project.



Take me through your music writing process. Is it a fully solo project? What instruments do you use? How do you build your songs?

My project is fully solo and I use Garageband, and occasionally a Casio CTK-2400. I start off with synthesizing sounds on Garageband – I choose presets and add reverb plugins. I then play the track in musical typing, typically in a minor scale. I then add another instrument and play against that instrument. Afterwards I add vocals, usually they are ad libbed. Most of the music is completely improvised, coming up with stuff off the top of my head as to what works best.



What is Dungeon Synth and how does it relate to neofolk?

Dungeon Synth is a subgenre of progressive electronic that draws heavy influence from black metal aesthetics. It is a genre that focuses on atmosphere with lo-fi keyboard sounds. You may have heard of artists such as Wongraven and Mortiis before, and they essentially took the black metal sound while removing the black metal. Neofolk is very similar, a lot of black metal artists have started neofolk projects as ways to continue their themes while changing their sound. 

Other bands, such as Falls of Rauros, have incorporated a neofolk sound into their music, much as bands such as Summoning have incorporated a Dungeon Synth sound. Both Dungeon Synth and neofolk are heavily influenced by minor key scales, nature, occultism and the woods in particular. I define my sound as influenced by both because it is composed entirely on digital instruments, primarily MIDI. As a lot of dungeon synth sounds like dark folk tunes played on cheap Casios, the sounds tend to blend quite often.



This unique process of ad libbing and electronic meshing has created something intensely original, how do you define its genre and type?

My sound is bass heavy, experimental and industrial neofolk with occasional harsh vocals. The music is improvised, bizarre, surreal and working class.

I try not to spend money to create or promote my music at all, instead creating what I can when I can and always trying to improve. 



What are some of the driving ideas behind Lodge of Research?

My interest in fraternal societies such as Freemasons and Oddfellows drove me to create a thematic neofolk project. Dungeon Synth, the scene where I came out of, is heavily dependent on thematic projects, I see that less in neofolk, so wanting to create a thematic project is my way of making my mark. Freemasons have this fascinating and in depth system of allegories and rituals, coupled with a really old school aesthetic that would translate incredibly well to ambient music. I’m not a Freemason, although I highly respect their work. Songs are also influenced by Thelema and witchcraft. One of my songs was my attempt at creating a song about how I was initially attracted to occult fascist imagery, citing them as “symbols of great power” but I’m unsure if the message got lost in translation or not.


Do you feel like you are really a part of the neofolk scene?

I feel more distant to them than I do the Dungeon Synth scene. I find it easier to reach out to those contacts in neofolk who I might already know from interacting in the Dungeon Community. As a lot are fans of both, I find it easy to reach out. I love the sound that neofolk is able to make, the themes it is able to cover, but I often feel like its power is mishandled by the wrong people. I try to listen to bands in the genre that either aren’t fascist or use it simply as an aesthetic choice and make that clear. This makes listening to martial industrial much more difficult, as I can’t tell half of the time. I never plan on making a collaboration with someone like David Tibet, because I’m in a different scene and a different world. Lodge of Research I think is most powerful when there is one person operating it, although I certainly am open to splits. I also identify heavily with the folk-horror side of the genre, which is more cinematic in nature than expressly political. In order to be truly apolitical you have to denounce fascism, pretty simple.



Why is antifascism important to you?

Antifascism is important to me because of my identity as a Jewish person with autism growing up in New York City. I do not have a shadow of a doubt that practically everyone I know and love in a fascist state would perish. The most insidious thing about fascism, in my eyes, is that while it may claim to have a diversity of opinions and those promoting it shares a “diversity of thought” their opinions are ultimately destructive, violent and disastrous. I vehemently disagree with an anti-diversity sentiment from growing up in the center of Brooklyn, New York and being exposed to a wide, wide, wide variety of culture. Being in the metal scene, fascist iconography and symbolism has always been a presence, and I understand when someone wants to use it to shock. However, I feel like people using such imagery have to ask themselves if they want to invite the company of people who unironically believe the things they are using for shock value. I’ve seen people in metal communities fall down right-wing rabbit holes, ultimately leading them to say things they wouldn’t have said when I first met them. Therefore it is important to destroy the systems that enable destructive behavior.



How do you think more artists can stand up against fascism in the neofolk scene?

I think it’s pretty simple. Don’t do collaborations with artists who have been accused, and if you do so, make sure they aren’t fascist, have it on record. I truly believe having more explicitly antifascist neofolk bands (and not simply black metal mixed with neofolk, but honest-to-Baldr neofolk) would help create a community for fans to find before getting that death’s head tattoo. I think having a neofolk presence at antifascist concerts and benefit shows is also important, I absolutely hate folk punk with every fiber in my body (except Blackbird Raum), so having more musical diversity is important for getting more people to be actively involved in the fight against genocide.



What artists do you recommend for antifascist neofolk fans?

I recommend Deliverer and I believe that you’ve had an interview with him in the past.

Incredibly nice guy who makes dark accordion music with fascinatingly vivid iconography.

I also recommend Rabor, who is an antifascist rarity in the russian scene. His music is very bright, homey and atmospheric and puts a smile on my face when I listen to it.

Evergreen Refuge is another great artist, and also a great person. They are a pleasure to talk to and share ideas with, as well as being an anarchist.

As for the classics (I.E artists I’ve never met), I take a lot of influence from Ulver, Current 93, Sangre de Muerdago, Legendary Pink Dots, Incredible String Band, Alan Stivel, Richard Thompson, Gae Bolg and the Church of Fand, Elk, Falls of Rauros, Dead Raven Choir and Agalloch, amongst others. 



What’s coming next for you?

I’m working on a Poppet album that should be coming out soon – that takes heavy influence from neofolk, amongst other genres. I’m experimenting with writing my songs out beforehand and committing them to song structures. I’m always looking to improve, change and vary my sound. I don’t have immediate plans for a new Lodge of Research record, but there might be one soon. May the words of what I said chisel your soul anew!


We are sharing tracks from both of Lodge of Research’s albums below from their Bandcamp, but they are not on Spotify yet so we cannot add them to the Antifascst Neofolk playlist on Spotify.

And make sure to support us on Patreon if you can!