Isaac Dunbar Takes Our Pop Quiz
office gave Isaac an impromptu pop quiz where there are no wrong answers... except, of course, the wrong ones.
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office gave Isaac an impromptu pop quiz where there are no wrong answers... except, of course, the wrong ones.
Since his emergence in the industry, not only has he put forth undeniable hits under his own name and collaborated with a bucket list of impressive creative figures from Shygirl to Mura Masa, he has essentially created a new genre of music — an unheard of feat these days — the emmaculate and addictive "Compton house": a fusion of Motown, Chicago house, Detroit techno and West Coast Rap.
This week, we're lucky to have been given another taste of the multi-hyphenate's talent. With his North American tour tickets dwindling, and Real Cultural Sh*t, his debut full-length on the way, Channel Tres released a music video alongside a new single, titled '6am'. In the wake of this announcement, we spoke with Channel Tres about his creative process, his energy drink of choice and what makes him dance.
Left; coat LOEWE. Right; coat and pants LOUIS VUITTON, top JUDY TURNER, boots VINTAGE from DUSTED GARMENTS, necklaces VENEDA CARTER.
It takes a lot of courage and the ability to keep pushing when you are a full time creative — have you ever doubted the process or wanted to give up? What has been your driving force?
I find motivation in where I've been and growing up how I grew up. Seeing family members struggle through certain mindsets and bad habits. I'm also infatuated with the process of starting somewhere. You can change yourself or start a new skill if you just commit the time and dedication to it. Through my journey in music, I've seen myself in certain places, and I might focus on a certain thing that I want to have for myself for a few months and it'll literally happen. That process is very addicting to me, and that's where I find motivation. Music is one of those mediums where you can constantly challenge yourself and grow, so if you reach a plateau in one area you can go to another area and do something. I don't have all the answers, and that keeps me going, too.
What does your support system look like? Who’s your biggest supporter?
I would say my mom. She texts me all the time and calls me almost every day. It gets annoying sometimes, but it's amazing to have that as a support system. I also have a good team, great management, and great people around me. I love the people I work with. The gym has also been a great support system. I'm always working out, running, and trying to push my body past different barriers.
Do you have a mentor? Do you consider yourself a mentor to anyone, or is there anyone coming up you want to mention?
I don't have a mentor. I have friends that might be more experienced in different areas than me, and I just kinda ask them questions when I need answers, or I watch people from afar. I feel like the world is kind of my mentor. I'm not traditionally mentoring anyone. People ask me questions and maybe watch me, but I think the best mentorship is being around someone or watching someone do what they do. With that, I have a lot of mentors that are unofficial mentors.
Left; sweater LOUIS VUITTON, pants ACNE STUDIOS, t-shirt and boots VINTAGE from DUSTED GARMENTS, necklaces VENEDA CARTER. Right; sweater and pants BODE, t-shirt VINTAGE from DUSTED GARMENTS, shoes GUCCI.
Where do you find inspiration? Is there any other medium you go to for it — art, fashion, nature?
Right now, it's been traveling. I'm inspired by people, I'm inspired by movement. I like going to clubs and just listening to tracks. I might DJ with some of my friends, and we just go back to back in front of thousands of people, and it's just us there having a good time. I find inspiration from living life. I think the best songs come when you're not trying hard and just taking in what's happening. So many things happen throughout the day, so I try to work on being in the moment all the time and making sure that I'm paying attention to the details of life and watching everything as it comes, and processing it as it comes. For me, that's enough inspiration.
Are you religious or spiritual?
I grew up very religious, so I don't really do religion anymore. I would say I'm spiritual because I believe in karma, manifesting, and love. I don't really like the rules of religion. I don't like certain groups of people being x'd out of anything. I think everybody deserves love and goodness. I just kinda stay on the spiritual thing and try to be positive and good to people.
Left; top HOMME PLISSÉ ISSEY MIYAKE, jacket and pants WALES BONNER, ring VENEDA CARTER. Right; jumpsuit SAINT LAURENT.
What was the moment that pushed you to make music full time?
Yeah, I kept getting fired from every job I worked. I thought I was lazy or something but music was always something I could focus on all the time and work hard at, and so I just got to a point in my life where I just had to commit to it. It was really hard, I quit music so many times but I just couldn't do anything else consistently. But when I'm working on music, it's just natural, I feel happy, I feel good, and I always want to do it.
What’s something you like to do to relax?
I like to binge-watch shows. Recently, I've been playing Wordle every morning. It's been very good for my brain. I also like writing.
What do you do to amp yourself up?
Drink some Celsius.
Both; coat GUCCI, pants VINTAGE from DUSTED GARMENTS.
You’ve mentioned slowing down over the past few years, staying present. How does this help with your creative process? Do you get creative blocks? If so, how do you overcome?
When you're moving fast, you think you have some type of goal to achieve. Usually, when you're creating that way, the best shit won't come out. When you slow down and take it one day at a time, the songs just come to you. I wouldn't call what I experience a creative block, sometimes I just don't wanna create. But I don't force myself. I just go do something else. You go take a walk or something, come back, and then you do it.
Sometimes I'm not feeling everything that I'm doing, but then two days later, I'll listen back, and I'm like, "this shit is tight." The brain is really tricky. It's just about not taking yourself too seriously and not being so attached to the results of anything and letting all that shit go. Trusting my intuition and reminding myself that I love good music and I know how to make good music because that's what got me here in the first place. If I just keep doing that, I'm fine.
Left; top HOMME PLISSÉ ISSEY MIYAKE, jacket and pants WALES BONNER, ring VENEDA CARTER. Right; jacket Mr. Saturday, scarf AMI.
You’ve got the moves on stage but what’s your favorite song to dance to when you’re all alone?
I like the Marvin Gaye I Want You album. It's very hip movement centric, and I like moving my hips slow.
office spoke with Kish below on her new album and the Deluxe version recently dropped, trailblazing in her craft, and what the American Dream really means, below.
You’ve been making music since 2012. How have you grown or transformed since Kool Kats Klub and your debut EP, Homeschool?
I've grown in terms of subject matter and genre and just ability in general. I think when I first started, I didn't sing at all — I would just kind of whisper songs. My craft has become more of a multi-medium practice as well. When I first started it was just songs, but then I started to take on more unique themes around the projects and then integrated visuals and installation work. And then I think my relationship with music changed. When I first started, I wasn't that versed in the music industry itself. So I think throughout my career I tried a lot of different things that were expected of me as a music artist. Now my career has shifted into something that's a little bit more catered to me specifically. I've had a career that's a little bit off the beaten path.
While we're discussing your upbringing, I know you were based in Florida growing up, and then you spent some time in New York as an adult. What do you feel you learned or what were some valuable lessons the city taught you?
I moved to New York when I was 18, so I feel like I pretty much became an adult in New York. It was super formative for me and feels like a place where I was exposed to a lot of different musical styles and different kinds of people. And Florida, or at least where I was from in Orlando, was very preppy and everybody wanted to get a good job or go to a good college and get married and have kids — things like that. I think I wanted a little bit more of an adventure and I got that in New York, for sure. I think it's made its way into everything I do because I moved there on my own. I always felt this kind of separateness from the world around me. So I think cities are really unique places because you're able to have that feeling of aloneness, but then you're also amongst tons of different kinds of people. So I think my relationship with the city really impacted my songwriting style and the introspectiveness of it. I would go to restaurants all the time and people-watch and build some of these narratives around my observance of others.
I feel that a lot of your music is a commentary on the world around you. I know that you've been a voiceover character, you have a background in textile design, and you've directed some of your own music videos — do you think possessing this artistic versatility enriches your work?
I think that the various mediums all intersect or that the skills you can learn in one are transferable. So it's kind of like you're never really starting from scratch because if you can understand space and color and feeling — I think that they can translate through to different mediums. It's all about how to convey an emotion or how to convey a metaphor or a visual image. So I think that they do enrich each other and inform each other. I kind of got into a lot of these things out of necessity, doing videos and my own design. I just couldn't find people for my budget to do it in the way that I wanted it to look. So I taught myself how to do these things. I had a really specific vision, which is sometimes really different than the norm, you know? It's kind of hard in general just to be heard, as a young, black, woman artist. And when you're first starting, a lot of people are like, 'Okay, that's cute that you wanna do that, but let's just do it like this.' So I took a lot of that autonomy just out of necessity and then I was kind of rewarded for it. And it wasn't always easy to learn all these things or try to do them, but I enjoy the process of learning new things. A lot of times when I make projects, the first thing that comes to mind is the visual component. I'll start to have ideas for styling and photographs or artwork, and then a theme starts to build. Then it kind of just goes from there.
You mentioned your position in the world and how your identity affects the decisions that you get to make within your art. Since a big theme of American Gurl is the world that we currently live in and navigating it and the ways that culture has shaped us, in what ways did growing up and finding your passion in a highly-technological era affect your work and your outlook on your own work?
Well, it creates the work, right? It gives you something to talk about. It gives you something to dissect and try to understand better. But then it also gives you the headache of dissecting it and trying to understand it better. So I think it's both something that's really inspiring to me and really frustrating. I like social media and that was a huge theme of my last record, Reflections in Real Time, so this is kind of like the 2.0 version. But it bridges other ideas and thoughts as well. Ancestral history, beauty, and consumerism. But it's difficult because, like anybody else, I'm a human. So the feelings that I'm getting from the outside world, through social media, or through comparison, or through my work being commodified in this way — it's completely changed the way that music is digested.
So I think these are really interesting themes to explore, especially since we're kind of the first generations as artists to go through these things. It's the first time we're having to work under the rule of an algorithm or having non-human liaisons that are passing work through various channels. This is really new for our society. So I think it's really an interesting world. I don't know that I love it all the time. I think a lot of times it misses the mark and misses the point, obviously. I think it's made the process of making music and the world around making music really dull. It reduces the work to something that's like, 'Oh, let me stream this once,' or, 'You made an album? Cool. I listened to it — what's the next thing?' It's this insatiable need that's really, really hard to supply because artists do spend a lot of time and effort making these works. These are like two or three years that they're ruminating on ideas or really processing and assessing life in a way that I think most artists hope can bring healing or thought or comfort. But, I also believe that these channels bring possibilities for artists. I'm born of the internet era; my music wouldn't exist if there were none of these platforms. So I do think that it also adds a number of artists to the fold that wouldn't have gotten these opportunities before.
You bring up this really interesting point that I want to dive into more: this insatiable need of consumers. We are so used to now having everything at our fingertips, and having it quickly, that we don't spend as much time processing the art and what it means to us and what it means to the person who made it. This fast-paced, never-ending cycle is something that is pondered on the album. In this age, how do you remove yourself from that noise and find the peace to create from a place that's not constantly influenced by outside sources?
I don't know that it's possible for it not to be influenced, but I make an active effort to unplug from it. I think for all of us it's somewhat of an addiction, but it's also something that comes from a place of fear because when you know that you're making your money and you're making your livelihood based on the opinions and feelings of others, it's puts you in this really weird predicament. There's only so much that you can do. I think as an artist today, you have to at least be plugged in through other sources, whether that be having a plugged-in team or having someone doing your platforms for you or something. It still has to like exist in a way. I think I don't really have the answer for myself yet of what that looks like for me. For the past years, it's been just like, 'Okay, what do you need? What do you want from me?' But I think it's really tough to find that balance. I don't know that many artists are finding it. There are so many more things that are required now. And I think it's not just an artist thing, it's a societal thing. It takes bravery from various artists or public figures to try to build careers that are not so reliant on these things. To me, it's important for us to find ways to support artists that have non-traditional ways of communicating with the public because it allows for more unique spaces for people to find themselves in and follow.
I think whatever unplugging means to us is different for everybody. That was a bit of a trick question, because now it may be virtually impossible. This may be a trick question for you as well. Does the American Dream exist? What does it look like to you — all utopian facades and colloquial representations aside?
I think American Gurl was me just dissecting my own relationship to it. I don't really have a firm position one way or the other. It's like if you want the stereotypical white house and the picket fence and two kids or maybe it's a million dollars or whatever. I think those are all valid. Your dreams are your dreams, you know? I just was really interested in my relationship to achievement. It's something that I never really stopped to really think about. I felt like I was running and running and I was like, 'Wait, actually, what are the things that I actually want that have not just been put on me?' That's what American Gurl was. It was me separating my actual wants, needs, and values from the whole and trying to figure out who I am in that. Of course, I've been brought up under these same thoughts. Sometimes I do want a Prince Charming to come save me so I don't have to work. But there are also times when I wanna be an entrepreneurial superstar and have a huge office with huge windows and build an empire. So I think there are all of these things that are fighting for space in all of us. A lot of things that I've been working towards don't even necessarily align with my values or my goals. So it was really just a recalibration of my own values and trying to wash off a lot of the things that I don't want to take with me into the next space of my life. So this is my public struggle with that and me just wondering if other people think these things too.
It's not something that one day you'll wake up and you'll know. It's definitely something that takes time and growth through time to realize. What brought upon the type of thinking that gave us American Gurl?
I'm kind of always thinking in an existential way. I think that's just part of my nature. I don't know if it's anxiety or if it's just the way that my mind works. So sometimes that can lead to thoughts like these. I started writing this album around 2019, and I was being pulled to and fro. Through the years, as I learned more about the music industry, I learned the ways that artists are groomed for the industry and told what they should and should not do. The world around the music industry, it validates very specific things. So it's like, if I got a playlist cover, someone would be like, 'Oh, you're killing it!' And I would think, 'I got validation. Let me keep going.' These general markers of success in music are very unique. I think it doesn't always breed creativity. I was just doing a lot of things that I didn't actually have the care to do and I was being praised for it. For the things that I did have the care to do, I got zero feedback or got, 'Oh, that's not important.' And, in truth, those things don't matter. At the end of the day, it's a business. All this time I've been trying to be an artist in a business. I think fighting an uphill battle, being a black woman with a vision that makes alternative music, for a really long time it was not accepted or respected. Now that pop-punk has come back, it's a little bit easier. But whenever you're trying to do something unique or different, it's really not an easy path. But I think that being able to navigate that and stick to your values is a feat in itself because a lot of people get so swept up in what the industry wants and what the people want.
Self-realization is a big theme of the album. Another big theme within the album was this nostalgic arcade aspect, as the project opens with a playful nod to games. What character do you feel you play in your own game of life?
I think all people are on their own hero's journey where they're going through ups and downs. We all are put here to fight our own demons or learn our own lessons in life. And I think that those are different for every person. I think what every person unlocks, creates some kind of fuel for the next person. So I try to live my life like that. Whatever I can discover, I'll try to give and share. I think the reason that I did the arcade game was I was trying to weave in my own memories from childhood and weave in my own kind of the world around my childhood. And those also tie in with the album themes. So the arcade game is referencing that the music industry is a game. And how we have to play to win in America. Growing up in Orlando, Florida, which was really close to Coco Beach. I remember going to these places with my grandfather when I was young and seeing these arcades along the boardwalk. It's always been kind of a special place for me.
What song, whether from the Deluxe Version of the album or the original, are you most proud of and why? Can you walk me through the process of whichever song that might be?
This album was really hard to make. I think half of that was because of the pandemic, and I also had a really close death to me. The whole project has so much emotional charge to it. I don't really know what my favorite song is right now. I also don't listen to my music really until after it's settled a bit. I think it'll take me around two years from now to get a decent grasp and to look at American Gurl more objectively. All of this aside, for now, my favorite song would probably be 'Incredible World.' It actually wasn't ever supposed to be on this record. But it's a super special song because I feel like it really characterizes my songwriting style well in that it is hopeful, but then it's also kind of sarcastic and cynical. It dissects the Nuclear family and the American Dream and I really like the vocals and the production.
I think that preserving each person's own version of what the American Dream means is actually a more enlightened interpretation of that concept. As we said this is an ongoing process, but I'm sure that one of the most fulfilling parts of working on the album was being able to work through things that have been imposed upon you, realizing your goals and your actual values, and finding the strength to shed things from the past that no longer serve you. Once reemerged from this bubble of creating the album, who are you now, or who do you hope to be?
I think when you write songs, a lot of times people write to themselves, or they're writing to people that they want to be, or to things that they wish they could do. For example, in the song 'No Apology,' I'm in no way, shape, or form at the state to believe that I'm the person in the song. Maybe in five or 10 years if I'm playing the song live still, I'll have an 'Aha!' moment that I actually became what I wanted to be in that song. I think that's the beautiful part of live performance because there's depth that's added through the seasons. I'm just now learning part of the lesson of what I was trying to like teach myself in this. For me, albums are like books of time in a person's life, just like a diary or a journal could be. So to answer your question, I don't know that I fully learned all of the lessons or dissected everything that I wanted to through that. But I do hope that one day I can listen and think, 'Wow, I really did get past these things.' I do hope that I'm able to choose myself more, to trust myself more, and — even though this is cliche — to believe in the individual path that I have been given. Actually communicating with people in an honest way. Getting rid of a lot of the fluff of life. Reducing my vanity, reducing my need to be liked, and some of the more egotistical parts of what the industry breeds.
Have you always been writing music or what was kind of the switch?
Since I was 16 basically, I started writing music, I was always a writer first of all. I was always looking for so many ways to express that and poetry appealed to me from a very early age. I always loved music so writing songs felt like the natural progression of that. I remember I had a teacher in 8th grade, Miss Macdougal, who was my English teacher and she had this thing called “Coffee Talk” it was an after-school situation. Kind of like you go to a cafe and there would be slam poetry, like that vibe. She invited students to just write their poems and present them after school, she would have cookies and coffee it was so cute. I remember people would bring their guitars and sing their little songs that they were writing in 8th grade. You can imagine what that sounded like, I think at the time Paramore was huge. I mean they're still huge but they were really blowing up at the time and it was like Vans Warped Tour, that whole era. The songs were a very emo vibe. I remember also writing songs like that too but I didn’t really get encouraged to do it for real until I was like 16. I had this family friend who lived across the street from my grandmother and he had a little studio in his basement. Me and my little brother would go over there and he taught us how to make beats and gave us this software. So when I got this little computer I had this beats helper on it and I would run home from school everyday. I would watch TRL then get on the computer for hours and zone out with my headphones making beats and singing my little tunes into the shitty microphone. It’s always been apart of my life, I’ve always done it I just didn’t think I could pursue it professionally because you have all kinds of people in your ear but I think I’m at a very different place now.
What's been your journey with singing, were you always able to sing or did you take voice lessons?
I feel like I always gravitated towards certain kinds of singers like TLC; I grew up listening to Britney, that was one of the first CD’s I ever bought, “Baby One More Time”. I started off kind of just impersonating their voices, I can still to this day do a really fierce Britney impression. It’s nasty. I started out doing that but I think like so many queer babies I had this performative gene where I needed to be in front of people. I need to be doing something in front of people. At first it was spelling bees, then choir, then it became chess club. When I went to college, I did a little bit of non-musical theatre, actual plays. I wrote songs on the side and performed at open mics.
How do you feel about this new album?
I was just on the phone with a friend before I hoped on to talk to you and she was reflecting back to me the amount of grace it takes to be an artist. Not only to put your work out there but to make that the center of what you're doing. I have other little side hustles, like money gigs, but this is my main thing. I focus 85 percent if not 90 percent of my energy on this, on making songs, on the business of being a musician, on practicing, coming up with visual ideas. It really is like being a little entrepreneur. I like it that way, I’m a Leo rising and a Cancer sun so for as senstive as I am, I’m also really fierce and need to be in charge. In this version of my life, I really feel like I’m driving the ship. Anyway, she was saying it takes a lot of risk to do that and I’m aware of that. I feel like I have spent a small fortune making this album so it better pay off. I feel good. I feel so blessed to even have the ability to do any of this, to be talking to you, and to preform. I have a show tomorrow I have to prepare, I don’t know it’s just an exciting time. It feels like I’m having a birthday; it is my birthday.
How is the collaboration process, working with other people?
I feel really lucky, I have been really lucky, I have a really, really, really amazing support system. I think it is just a matter of I communicate my hopes, dreams, and desires. I seem to find or a attract people who are also vibing at the same wavelength. That’s cool because it doesn’t always happen like that. I know people attract people who are really toxic or parasitic or just take from them, want all their money. I’ve been really lucky to not have any of that, I’ve just had really good people around me who really love music and want it to be about music, the art of it. I hope it stays that way.
Was there a specific inspiration for this album?
I think coming off my first album, which I created and released mostly in the middle of the pandemic, I released it in August, August 5th 2020, when I was living on a farm. I think coming off of that and being in a space like a farm with just acreage, land, and you're growing things, you are in communion with animals and plants. You feel like you're really grounded. I knew the second album, whatever it was going to shape up to be, had to have a sense of grounding. Had to be about home and how I found home within myself. Shortly after that time, I began my medical transitioning process. I had always been living as a fluid being, as a woman, but for me it felt necessary to take certain steps to really affirm that for myself physically. Since I made that leap, I felt like the concept of home was shifted. Then it became more about how do I find comfort in my skin and my identity as a Trans woman, as a black person, as a Queer person. The first song I wrote for the album is a song called “Wildflowers”, which is about my grandmother. She died three years ago, but she remains a really strong spiritual force in my life. She had this piece of advice about gardening, because she taught me what I knew about gardening when I was young. Every Mother’s Day, me, my father, and my younger brother used to plant a garden for her. I remember we would also pull weeds in her backyard because they would grow so wildly in the summer and I always looked forward to that. I remember once I wanted to pull a weed that looked like a flower and my grandmother said “Don’t pull that. That’s a wildflower”. She basically said get rid of everything but the wildflowers. As I have gotten older and reflected on that, I took it as a metaphor or a piece of advice for my life. Let your life be a bit wild, don’t take yourself or life too seriously. Take what you need and leave the rest, that kind of thing, and make sure to give back. Caring for the Earth is always giving back, it should be like that in your relationships.
I wanted the album to have this sense of home and comfort, the sounds uphold a lot of the songs I grew up listening to, like the R&B music I was mentioning and old soul records like Patty LaBelle, Roberta Flack, Nina Simone, I just wanted it to have all of those vibes and textures.
What’s the difference between releasing this album and your first? Especially not being in Covid for this release.
I think the big difference is, well, I refuse to see that things are getting back to normal. Normal wasn’t amazing anyways. Normal was everyone dying of burnout. It was not giving. I would say that things are opening up and there is a sense of people redefining their lives. With this album, the second album, I felt a bit freer. I also had a few more resources, not just financially but I had more because, music is a long game. I think a lot of people do it for a quick hit or something viral, but to me, it really is about building a body of work over a sustained period of time that you can really rest on. I felt like I just wanted to make something beautiful and I had more resources to do it. I had more people in my life who were musical, because of my first album and where that took me and how it allowed me to travel a bit. The second album allowed that for me too, it got me to a place where now I’m signed to a small label. An indie, Queer, and trans label Get Better Records based in LA and Philly. So that’s the difference it is just more resources and more ability to create the things I want to create. I’m not under lockdown so I can actually go to studios and physically meet with people. I’m not doing facetime studio sessions which is what I was doing before.
Do you like performing live? What are your thoughts on it?
I’m obsessed. Like I've said, I have this thing where I need to be on stage, I need to be seen. I don't know if it’s a mental illness, but if so, I have it.
I’m guessing you weren’t nervous for your first show?
I was, but you know what, I am a super spiritual person. I feel very motivated by forces bigger than me. I think I am being guided to each step, a lot of the steps I have taken in my life have been made with a lot of intuition and foresight and guidance with spirituality and also just people in my life who are really grounded. I am really into performing because I feel like something is leading me to be there, I am basically fulfilling my purpose by performing.
Your stage name is Michael Love Michael, but you go by Michelle; where did the stage name come from?
It was a name that a shaman had given me, it was also what I named myself because I had gone on this journey with this shaman. It is mysterious and hard to talk about. Basically, I came out of that journey feeling really clear about the fact that I was always protected by Michael. Michael is also the name I was born with but I don’t use that name anymore. I like the idea that, that entity is now an angel that looks out for me and is the source of my creative power. I have reclaimed it a little bit.
When did you get the idea to release an album? What gave you the courage?
I had a job I was working that I really liked, but I was feeling creatively unfulfilled in a certain way. I always dreamed of like fully making an album. I remember going on my computer, and I had this file of old demos I made when I was sixteen. I had songs called like “Teenage Millionaire” and “Little Star” stuff like that. I was listening to these songs like some of these sort of slap, I would not release them now, but some of them I could hear the creativity and the energy of being that young and excited about music. I wanted to recapture that for myself; I have always had a personality where I just kind of go for things. It is the same way I moved to New York. I just went for it. Some part of me just innately trusts myself, I think because I have had to. I have taken care of myself for so long; I have been on my own basically since 17 years old. Working, paying my own bills, having apartments, and that kind of thing while still in high school. I just know that I can trust myself in the end. I basically was like I don’t want to die without having tried. What’s the worst that could happen? People hate it and I get canceled for making shitting music, but I knew myself and I knew that wouldn’t happen because I have taste.
Stream the album and checkout the album release now.