Kilo Kish Takes Flight

July 09, 2018

It’s finally summer and Elizabeth Street is feeling relaxingly breezy. I breathe in the fresh air while my phone makes a call to the West Coast. A few rings later, I’m greeted by musician and multidisciplinary creative Kilo Kish whose delightful and insightful energy immediately radiates through the phone, making it that much more breezy. It feels like I'm catching up with an old friend.

Kish emerged on the scene back in 2012 with the release of her first EP Homeschool. Her most recent full-length album Reflections In Real Time arrived in 2016, expanding her range by exploring her thoughts on the self and giving listeners a strong sense of her expressive wit and playfully sarcastic delivery.

Interview by Charles Caesar
Photos by John Clayton Lee
Styling by Annina Mislin
Makeup by Sara Tagaloa

Kish stays busy between albums with projects including a suit collaboration with designer Allie Teliz and the presentation of Real - Safe, her debut visual art show at Downtown LA’s HVW8 gallery. Over the next half hour we delved into the creative process behind her forthcoming EP, touring with Gorillaz and the delightfulness of growing up in the Sunshine State.

You rocked some stunning blazers, boots and skirts for our photoshoot with John Clayton Lee. Talk to me about your personal style.

It really depends on my mood. Right now I’m going through a vintage vibe; lots of 80’s dresses that I find in vintage shops in LA. I’m also into bows a lot right now for my hair - the whole 80’s prom look. It changes all the time! For my last record Reflections in Real Time, I was in this ‘bummed-out accountant’ phase. I just wanted to wear suits all the time and be very plain. Right now I’m having a little bit more fun with myself.

How does your onstage style differ from your daily looks/streetwear?

It really depends on what I’m working on, that often dictates my look. Sometimes I’m doing a lot of design work and not going out or seeing people as much. For those days it’s just dress pants and a black t-shirt, like every day.

My next project is a bit more fun and colorful, so I’m wearing my 80’s looks. I don’t know why I chose the 80’s in particular but I wanted to have more fun with my dress; go more prom-y. For stage I love the juxtaposition of wearing something beautiful and sweet looking while performing over really hard beats and bass. Something that adds an additional layer for the audience.

Dress by Ellery, hair clip by Miu Miu, shoes by Robert Clergerie

I noticed that you referenced Sade as a style inspiration for the cover of your first album; that look of classic, fresh-faced beauty. Are there any other artists whose style you admire?

Right now I’m on a 70’s and 80’s rock vibe. Debbie Harry, Courtney Love; artists like that. Usually I like to create characters or personalities for myself and build out from there. I feel like everything right now is very aesthetically-driven. Like curated very ‘nicely’ with all of the pieces and looks being super put-together. I’m kind of on a tacky vibe just for the sake of tackiness. I just wanna have fun!

Tackiness can be very chic!

Yeah! I want to make my look about fun. It’s not about whatever the cool brand is, or the season. I’m more about looking into the past and finding what’s interesting there.

Are there any visual artists that are inspiring you right now or any that you’d want to collaborate with on future album art?

I love the album artwork by Tom Hingston for the new Young Fathers record. He also did a series of Massive Attack covers which I adore. He has a great design sensibility. I’m also really into the MM Paris studio who work with Bjork. Outside of that, I find inspiration from all kinds of things, including lots of Swiss poster designs. The cover for my next EP will not be a portrait. I do usually love a portrait of myself for covers but this will be a piece of graphic design, which I’m obsessed with. For the next full-length album I think I’ll do a portrait and need to brainstorm around who I’d like to do it with!

You wrote the song "Hello Lakisha" as a reflection on the perceptions and prejudices you’ve experienced from people drawing conclusions around your first name.

Yes, but it’s like a funny version of it. It’s really not meant to be any sort of activism statement but more like my sarcastic version of explaining my experience.

Shirt, skirt and boots by Calvin Klein 205W39NYC, gloves by The Stockroom

Do you feel that our country is evolving on how blackness is perceived by mainstream culture?

I think that we’re evolving. At least the conversations are happening. The thing that I find myself pushing against most is being a black artist in spaces that are not traditionally or predominantly black. That is the main thing that is frustrating to me. As far as being a black artist, I do fight the battle of being able to be seen outside of my blackness and just being able to be who I am and go into whatever genres I want and make whatever music I want while not being typecast into an R&B role or anything like that. That's more of what I deal with, like more than my hair or other genuine problems that aren’t necessarily my problems.

You wrote all twenty tracks on your last album save for one song. That’s an incredible endeavor! Have you been working on any new music in a similar way?

Yes! I have an EP coming out pretty soon called Mothe. That’s M-O-T-H-E. I added an E cause I thought it looked better even if the word doesn’t need one! From there I’ll begin working on my next album. It’s kind of hard for me to start two projects at the same time; I love to get a response from one project and then start working on the next one. Once Mothe is out I’ll begin working on the album. Hopefully I’ll be able to create it in a space that’s super isolated; really get into it. I want to make music that’s different than what I’ve released in the past. For me, Mothe is a bridge between what I’ve made and where I’m attempting to go next. It’s just an EP, but it’s really important for me to put down my flag in a certain place. I’m really excited for it to be out! I’ve been waiting forever, and I’m excited to hear the response.

If you could give me two creative pillars to describe Mothe, what would they be?

Well, with Reflections In Real Time and a lot of my other projects I was basically dissecting people’s use of technology and the ways in which we communicate with each other. With Mothe, I’m focusing more outwardly towards the relationship between nature and technology. Nature is constantly reforming itself; I’m comparing that with the way that we’re able to create different versions of ourselves through technology. The entire project has a video game element to it and I’ve created different visuals that are all centered around the idea of creating yourself or respawning yourself. It’s also a reference to moths the insects. This is not so much a butterfly but more of a moth; like the less-pretty version of change. That gave me the album title, and from there I built installation work centered around that concept so hopefully I’ll be able to take it around to New York and overseas. I’ve already shown one soft-project around the EP in Los Angeles and hopefully once the EP is out I’ll be able to take it to more cities.

We’re stoked to see the installation! The album concept reminds me of losing a life in a video game and respawning with an added ability.

Yes!

You were recently announced as part of the lineup for the second-annual Demon Dayz Festival which is being held in Los Angeles this year. Will music from Mothe be part of the set list?

I’ve been playing Mothe out at little LA shows and testing songs, so I’m just really excited about having people know the music. For now I’m kind of just throwing it at people and they’re like, “I have not heard any of this music before!" It’ll be great to perform the project once it’s out. I’m excited for Demon Dayz because my friends The Internet will be there, and I always love playing with Gorillaz. We performed on tour together last year!

Is there anything you bring on tour with you to make it more enjoyable?

With my show, I’m always throwing myself around the entire time. On my last tour, I broke my finger and didn’t even realize it until the next day. When you have adrenaline you don’t really feel the knocks! After a show, I usually do a shot and lay down on my heating pad. A yoga mat comes in handy when we’re just parked somewhere; I’ll take it out and just lay in the sun. There’s a lot of free time on tour, so I’m always doing zumba on YouTube or doing random meditations or watching TED-Eds. So I guess my laptop is also super key.

Heating pads, TED-Eds, and a shot. All key to a good tour.

And hot cheetos! Flaming hot.

Suit by Alexander McQueen; Blazer, skirt and hair clip by Miu Miu, Shoes by Robert Clergerie

You’re originally from Orlando. Do you ever reflect on your time in the Sunshine State as inspiration?

Always, always. People give Florida so much shit like, “It’s the weirdest place!!” I’ve had someone literally say ‘ew’ when I tell them I’m from Florida.

Rude!

I’m tired of Florida getting a bad rap. I think that growing up there was really cool and really different. It has a lot of people and culture from South America, Central America, and the Caribbean. I liked growing up there. It’s also uniquely mundane. I’m from Orlando, so the mundaneness of shopping centers and the stillness of pace is very real to me. I guess anyone from a smaller town would know. I always want to shoot videos in Florida because there are so many cool locations. You also grow up around a lot of absurdities. In Orlando, you live right in between Disneyworld and Gatorland. There are snakes and swampy stuff. I had a turtle growing up. I love Florida. My grandpa took us fishing all the time and we would stop at Ron Jon Surf Shop and hang out. All these weird Florida things. I’m kind of a bro because I grew up in Florida. A shrimp basket and a beer, and I’m good.

What do you love about living in LA versus New York?

I like that you can get a lot of both worlds. There is quiet and there is Hollywood scene-y stuff if you want. I enjoy the ability to be with myself and get work done. In New York, I was out a lot and never really had the time to get to know myself fully. Every single night I was doing something, and I was also working really hard. I made a name there but felt like I wasn’t getting as far as I wanted to creatively. Living in LA afforded me the opportunity to be by myself and figure out what I wanted to do. The switch to LA can be frustrating the first couple of years because you’re so used to being busy all the time, so when you’re not busy it feels weird. But you do adjust to it and you can learn a lot about yourself. That’s why I like LA. I think that’s a lot of the same reason I like Florida. In California there are so many places like Burbank or deep in the Valley that feel untouched and random. You can really find a lot of oddities.

Is there anything in particular you miss about living in New York City?

I miss restaurants being really small. I’m a person who likes to sit in a restaurant and read by myself or write notes on my iPhone or write poems; that’s so me. I’m starting to find more places in LA that I like for that but it took a long time. In New York there’s a cool bar on every street where you can have a beer and sit by yourself without feeling weird. In LA it’s a bit more strange to be in a restaurant alone. In LA people are more about being at home and having people in their homes whereas in New York you can just be out alone and strike up a conversation with people. There’s more friendliness with people out and about just being people. I also miss the vibe of New York. The feeling of crossing the bridges, going from Brooklyn into the city. All of that is nostalgia for me, all of the times I’ve had there.

Is there anything else you want to tell office readers?

Be on the lookout for Mothe! The drop date is not set yet so it will take you by surprise.

Music

The Possession of Saint Sebastian: Evanora:Unlimited

March 27, 2024

Orion Ohana, the artist behind industrial-punk project, Evanora:Unlimited, may have gotten possessed. Or exorcized. We’re not really sure. It was a full moon the night they filmed the music video for their song, “No Country,” off their latest album, Perfect Answer. Randomly, they had come up with a scene for the video, offhandedly suggesting they get tied to a tree and beat with clubs. But after filming, there was a newfound heaviness that felt sinister. “I felt with everything inside of me that I had accidentally done something very wrong and dark,” says Orion. Upon returning to their apartment, hours are lost to their memory. They later found out about their erratic behavior, uncontrollable movements, and petrification at the sight of an evil eye pendant. After repeating, “I’m not okay…I’m not okay…” and hyperventilating, Orion eventually came back. They have no recollection of this. “I had unknowingly done some sort of dark ritual,” says Orion.

Coincidentally (or not), Orion found a religious painting that depicted exactly the scene they had shot in the woods — the same scene that seemed to have summoned whatever dark forces were at play during Orion’s lost hours. Researching, they discovered the story of martyr Saint Sebastian, who was tied to a tree, shot with arrows, and then clubbed to death. The parallels are uncanny. From the unknowing yet scarily accurate recreation of Saint Sebastian’s death, to Saint Sebastian’s status as the patron saint of the archers for whom Orion is named — the coincidences are too strong to be anything but. We sat down with Orion to talk about their mythic ordeal and the music behind it all.

By Izzy Capulong
Photography by Karolina Gawrońska

office — Tell me about what happened in the woods. How’d you come across that house? What were you feeling when you first started filming? At what point do you remember the energy shifting?

Orion — The two primary scenes were shot in two different wooded locations — the one of me bloody and tied to a tree was shot in Berlin 2023 in the woods of Tegelersee, a few feet away from a famous tree known as Dicke Marie the oldest tree in Berlin (which unfortunately was too thick to tie me to). The other primary scene with the chainsaws, lake, and woodchopping was shot in Mendocino, California at my friend Angus’s (who shot the video) stepfather’s cabin which we used as a getaway in 2022 to work on projects. Both had very pure wholesome energy as usual. This might be just me and maybe from a 3rd person perspective it's different, but I take pride in knowing that, no matter how crazy or dark I make something, no matter the amount of horror, guns, blood, and gore, there is still some sort of wholesome undertone. That also felt true for this shoot. But I didn't feel any shift in energy until specifically finishing the shot of me tied to the tree, as we walked out of the dark woods to where we could call an Uber home.

What do you think happened to you? Possession? Accidental rituals?

What happened still remains a mystery to me. It felt like a form of possession or accidental invocation of some sort of force, but I can't fully comprehend or explain it. It was a moment of profound disorientation and loss of control. A little bit of half and half. I definitely think I did some sort of something, not a ritual but just something that put further power, belief, and whatnot into the work and its meanings to me. Possession is a little bit of a reach, but it’s really the only word I can use to describe the experience.

My path and my dreams hold a tragic end with a watery hell awaiting me, all for exchange of its fantasy. The dark Scarface-esque ending I'm writing for myself is pre-written.

You say martyrdom is a throughline for your work — can you talk about that?

Martyrdom has been important to me and my work because it represents sacrifice, suffering, and a willingness to endure pain or persecution for a greater belief or cause. Conscious or not, I feel that’s an important part of all human experience in different ways. It would be important to quickly explain the basic plot of Evanora:Unlimited to clarify this specifically in relation to the project.

“Evanora:Unlimited” is not a person, but an anomalous unknown power or energy. It’s the overall cinematic world and bigger picture. The current focal character in this world is my secondary project, Marjorie W.C Sinclair, who is an accentuated version of my true self and a shapeshifting amalgamation of my life and past lives. Marjorie is a sort of anti-hero Tony Montana or Tetsuo from Akira archetype character — some weak kid who has found or been taken over by some sort of energy or power. They’re on a lifelong self-destructive voyage in search of “understanding Evanora,” trying to gain control of it and find enlightenment and peace. They gracefully spiral in a slow-motion car crash toward a tragic fate and loss of all they love, as they quickly begin to lose control of this unknown force. The project and its plot are very much an analogy of my real-life beliefs, fears, delusions, and experiences — myself being the weak protagonist character, later to have a power inside them awaken changing everything. Just like Marjorie chasing Evanora, or Tetsuo chasing Akira, I myself will also spend the rest of my life on an endless journey for understanding and control of “Evanora.”

Evanora, simply put, is the fundamental power of belief and universal programming that all life possesses within. It lays dormant, but when activated and harnessed, it can be a nuclear reactor of energy to be directed. Yet, even when careful, this energy has the possibility to grow into something far beyond control. A personal and literal example of this “power awoken” could simply be the ability that I've gained via therapy through my projects — turning my fears, insecurities, pain, and mistakes into positivity and strengths. My projects have changed my life and bestowed me with all I could ask for and experiences I could have never imagined — even just simple things like love, self-love, confidence, happiness, freedom, etc.

However as I see the puzzle pieces of my life and story align and signs and symbols appear, I often have this strong sinking feeling of impending doom — that my path and my dreams hold a tragic end with a watery hell awaiting me in place of its fantasy. That the dark Scarface-esc ending story I'm writing for myself is pre-written & has never been in my control. As what I create grows beyond my control, It will engulf me in its inescapable growing nuclear flames just as it’s done to so many throughout history much stronger than myself. I’ve come to terms with it more but at times I still can get completely consumed by this feeling, with a strong premonition and every feeling in my gut telling me that I should quit while I'm ahead. However, the chance at life I've been blessed with is one in a billion, and I know that I have an opportunity beyond the art, a possibility to build something bigger than myself, to build a platform of genuine resources, connections, and wealth that I can spread to others to build further upon and share, creating a butterfly effect of change on larger scales; to give voice to others to tell stories and show visions of worlds unseen with beauty that brings me to tears — that I wish for the world to know but may never be. I think it would be an absolutely selfish waste of life and blessing for me to give up on this path just because the road ahead might be dark. It’s what I chose and I will endure anything that comes with it and if it takes dying and losing everything I love behind the dream, so be it, but hopefully not lol.

Before filming "No Country", what was the writing process? Walk me through the lyrics.

The writing process was just kind of spontaneous and unplanned as usual. I mostly start by writing things as poems with no instrumental — just a cadence in my head left to sit in my notes, sometimes for years. I’ll later separately create a production and the pieces will snap together and make perfect sense exactly when they are meant to.

Lyrics:

“Trust me, the candles won't burn very long”

A reminder warning that a flame, just like everything else, won't burn forever.

“Lusting for a life after tasting her”

Expressing desire to have a life after loss of the sweetness you grew accustomed to

“No country for old men let them die alone”

Could be taken different ways, but I think I initially wrote it in the sense of ‘when I'm no longer young and beautiful will you still love me?’ like Lana Del Rey

“A machine celebrating anything at all”

Pretty straightforward — the human machine senselessly celebrating at every chance they get.

“Plum trees, she can’t tell summer from the fall”

Apples and Oranges

“The sun bleeds, reflecting something very wrong”

Red flags all around

What I create grows beyond my control. It will engulf me in its inescapable growing nuclear flames, just as it’s done to so many.

Were you religious / spiritual before filming? Has that changed since then?

I don't think my views have really changed since the experience, but I’ve definitely always been both spiritual and religious – everything and nothing type beat, you feel me? You name it, I believe there’s some truth in it.

Prior to this, have you ever had any paranormal / unexplainable experiences?

Absolutely. I have had a lot of paranormal experiences and unexplainable ones. I mean, just waking up is unexplainable. But yeah the apartment I live in currently with my partner actually seems like a hotbed for this kind of shit. I feel like it would be insensitive to get into specifics, but a previous resident of our apartment died inside the house and it’s still completely full of his belongings. I don’t know if this has anything to do with it at all, but everyone who has spent time in our apartment has felt some spirit or energy is still in the house. There’s also a specific corner of the apartment that often has strange anomalies — that’s also specifically where I had my exorcist moment.

How are you coping now? Do you still feel that same unease or has it subsided?

Initially, I felt like the experience was negative. But after my research and with time passing I've come to feel that it actually was something positive and protective.

If you could communicate with whatever possessed you, what would you say?

“Im finna hit the store rite quick you want anything?” I don’t know, probably force it to listen to some music I’ve been working on or some dumb shit.

Music

Bad Gyal and Anitta's "Bota Niña"

Watch the music video below.

Music

Unavoidable Blue Skies

Though it's in the name, Los Angeles is not home in Blue Angeles. L.A. is what sits on the other side of home: a mirage of past desires. Haux, who grew up in Massachusetts, started to put the album together after returning to the woods of the East Coast, overwhelmed with Los Angeles' overstimulating urbanity. Finding a home in his good friend’s grandmother’s spiritual retreat amidst interspersed trips out west, he finished what would become Blue Angeles alongside a team of tight-nit collaborators and old companions.

Blue Angeles is an impressively cohesive sonic universe. In an era where consistency in records is often undervalued in favor of single based collections which utilize disparate teams of producers and songwriters, Blue Angeles stands apart in its pointedness.The record’s ethereal palette and cinematic song selection feel like natural developments of each other. This is in many ways a product of the record's reality as it is a product of stagnated isolation and an organically cultivated team of contributors.

On the day of Blue Angeles’s release, Haux hopped on a call with me over Zoom from the woods of Upstate New York to delve deeper into the story behind the album's creative process, his relationship to LA, and his growth as a person and an artist.

I know that the title of the record references LA, and from what i’ve read about the album leading up to its release it sounds like the album is in part a reflection of a contentious relationship to it in the sense that the city is in part what you’re reacting to and/or growing apart from in the record. Am I catching something real with that?

It’s funny because LA is kind of interspersed throughout the whole record. I went there to try it out back in 2020. I got a good feeling from it, it was a place I always wanted to go. I wrote a couple songs there, mainly what would become the second half of the record on that first trip. Then throughout the process — mainly over the last three years — I'd stay there in the winter and return to the Berkshires in the summer. But yeah, throughout that process LA was the place I realized that I didn’t want to stay.

The record feels like it reflects that. You can tell when an album is a product of the LA session grind — not that there’s anything necessarily wrong with that — but this record really feels like you built a world with a small community. It sounds really intentional. It’s apparent that you really took the time to be with yourself during its creation away from LA, which I really appreciated.

I know exactly what you mean. Sometimes a record can be finished in one session or a couple sessions. These songs are on the completely otherside of the spectrum. You know it’s been three years and some of these songs were written in 2020. I’ve had them in my soundcloud forever. It’s really funny, because it’s hard to relate to them now because it's been so long. But at the same time, I think it’s important to put it all together for me because it encapsulates this transition, this season of my life in one fell swoop I guess.

Right. And that season is a period of around three years right? What do you feel like you were processing in that three year period?

I guess this album is adolescence for me. I’ve had a lot of time to think about it and my thoughts have changed a lot over time, and as we change we have new ideas, but this one has stuck around like a good melody does. The last album, Violence in a Quiet Mind, I always felt like I was writing songs from the perspective of like an 8 year old to a 12 year old. They were all songs based on my childhood: what I went through as a kid with a single mom who was working really, hard, dealing with substance abuse, and these bigger heavier topics: really figuring out how it felt emotionally. But this album, Blue Angeles, it's really the adolescence chapter, the chapter of stepping out into the world and being myself, wearing clothes that don’t fit, and thinking of myself as an individual. Rather than thinking of myself as this kind of insular part of someone else's life.

Totally, like fostering a kind of autonomy. And given that you’re from Massachusetts it makes sense that the east coast would be an integral part in that process. Were there particular places on the east coast that aided you in that process?

Yeah totally. There’s this place I called “The Mountain,” it's over in Great Barrington. It’s my friend's grandmother’s property that she ran as a spiritual retreat center. It’s right off the Appalachian trail and it’s also a hikers quarters. But that kind of shut down when she got older and for Covid. I would basically return there from LA in the summer with my friend and his grandma. We’d basically live up there, I wouldn’t leave often. He’s also a musician and a producer on this record, my friend Aug E. Rose. So that place was really influential for me coming back to the east coast.

Wow, that's really interesting. Were you practicing at the retreat? Like was there a regimented spiritual nature to what you were doing? Or was it more free?

It was really free. I kind of knew the context of where I was but I wasn’t thinking about it in any structured way. I knew I had been in LA for a couple years and really had been beaten down by the concrete and the noise. I’m a pretty sensitive person, and I was living next to the freeway in Silverlake and the freeway was just killing me. So coming back to this place was a way for me to rest and recover. It was really quiet because it’s up in the woods. I guess the way life unravels sometimes you don’t know why you chose something but all of a sudden you’re there and it feels good, so you’re just like “well I might as well stay.” So it was free in that sense.

I can hear that freedom in the songs on the record too. I’m curious in that regard how that experience formed the way the record was produced. Both in terms of the literal process but also what you ended up going for sonically and artistically with the project. When you were in the midst of returning to this place and writing the songs for the record were you thinking about how you wanted the world you were aiming to create to sound when it was produced? I’m curious about the differences between the perspective you embarked on your journey with the record with and where you ended up at the end.

I think it evolved through the course of making it. So I put the part I wrote first for the second half of the record and the part I wrote second for the first half of the record. I think it breaks up for me into these two sections of time. The part that I wrote first I worked on with Thomas Bartlett. He’s a friend, and we worked on Violence in a Quiet Mind together. And so I had this working relationship with him. I wrote those songs in LA in the beginning and he just felt like the right person to bring it too. After we kind of figured out what those songs were I sat on them for like a year and a half. I was in the midst of writing new stuff in LA and just going through growing pains out there so I started writing new songs, and eventually I put everything together and felt like I had an album. I then sent it to my friend Maxwell Byrne who’s a producer from Australia. I had an idea about what I wanted him to bring, but I think it was really about giving him everything and just kind of let him take a stab at it. He brought a lot of texture and grittiness and that 90s feel which was a part of a lot of the music I was listening to at the time. He brought this summer attitude because it was summer for him at the time in Australia. And so I think a lot of what he brought represented that L.A. feeling to me. But I never really go out wanting it to sound a certain way with my songs. They kind of take on a life of their own as I build them. And who I work with has a big influence on how they sound as well.

Well I think it ended up sounding really cohesive. There’s also a really existential element to what you’re tackling in the record. I’m curious if you could elaborate on your relationship to the existential or spiritual condition that you were channeling into your process of creation at the time, and what you hoped to be received through that?

Blue Angeles really gave me the time to explore myself and my old pattern of taking care of others before taking care of myself. And through that deep self-reflection I noticed my old patterns more and more until I outgrew them. So, yeah I hope this album gives other people the time and space to practice their own self-reflection. And that this spirituality is based around the idea that if we take the time to care for ourselves, we make space to care for the world around us.

the way life unravels sometimes you don’t know why you chose something but all of a sudden you’re there and it feels good, so you’re just like 'well I might as well stay.'

My last question is about the title of the record. I can cerebrally understand the title in the sense it definitely feels right, but as an interviewer I’m curious about what specifically went into choosing it.

It’s funny because naming things is really fun to me but it’s also really challenging. I went through a million names for this but “Blue Angeles” I felt encapsulated it in a way that recognized my time in LA and how it felt. I think that basically it was just this feeling of unavoidable blue skies in Los Angeles and that was really the only nature I was able to connect with out there.

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