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Coming of Age With MICHELLE
Regardless of the genre, MICHELLE's lyrics hold true to the bedroom singer-songwriter attitude that makes us remember that these are just a bunch of groupchat members-turned-friends. The story of MICHELLE is one big coming of age-movie, soundtracked for and by six kids who grew up in the city who just happened to be making music at the same time. We sat down with each of the members of MICHELLE to see what they’ve grown up with and how they’re going about it now.
Where are you from?
I’m a lower Manhattan native. It took until I was in my early teens to realize most people didn’t live in and between skyscrapers.
Did you have a musical upbringing?
I’ve taken piano lessons since early elementary school, and started playing the drums in fourth grade. All of my piano teachers have always insisted piano wasn’t for me, and all my drum teachers wished I committed more to the drums.
What’s your role in the band?
In the live show, I play the drums and wear the wife pleasers. In the studio, I go between scowling and laughing until the song is as good as it can be.
First MICHELLE memory?
FaceTiming with Charlie in the spring of my freshman year of college, conceptualizing the album that would go on to become heatwave.
One genre you haven’t explored yet that you’d like to?
This isn’t necessarily a genre, but I would love to make music that is wet and reverberant. Our music is generally dry and in your face, recorded close up in dead rooms. I would love to make an album in a church and use lots of room mics to create a larger than life resonant reverberant sound.
What have you been listening to lately?
I heard a song called “Gecko (Overdrive)” by Oliver Heldens and Becky Hill while I was getting dinner near my studio and have been vibing to it all evening. Very cool housey poppy track.
Guilty pleasure?
Corn muffins from my local bodega for sure.
Pet peeve?
When people don't clean up after themselves in shared spaces. I’m not @ing anyone specific here it’s a recurrent pet peeve I have in my life.
Weirdest experience while filming in public?
Maybe not the weirdest, but the wettest I’ve ever been was at our pulse video shoot. It took me a solid hour under my blankets to finally feel a semblance of warmth again.
One word to describe MICHELLE’s music:
For this upcoming album? “True”
What’s your warm-up routine?
For the stage, I have found that physical warmups are more helpful than mental warmups. I used to practice mindfulness before going on, and found that I always started the show dissociated and confused. Nowadays I try to stretch for about 10 minutes before going on. There’s nothing better than feeling loosey goosey in front of a crowd.
How have you changed since starting MICHELLE?
Since the band started, I’ve acquired a bunch more synths, microphones, preamps, and drums. So now I’m a man who has a lot more synths, audio gear, and drums than the man I was before.
In an alternate universe, what are you doing right now?
I’m one of four singers in a boy band called Michael. I’m the one with short curly hair and the iconic falsetto. I also have a tattoo sleeve I think?
Where are you from?
I grew up in the East Village.
Did you have a musical upbringing?
There was always a lot of music and dancing in my home. I took piano lessons but stopped in third grade. I started singing with friends at lunch in high school and taught myself just enough guitar to write small songs.
What’s your role in the band?
Singer, songwriter, choreographer, eyes-on-the-art, and friend.
First MICHELLE memory?
Sitting in my college dorm facetiming Julian. It was the first time we’d ever spoken on the phone and he was explaining what writing and singing with other people might be like.
One genre you haven’t explored yet that you’d like to?
I’d like to listen to everything more. But to sing right now I’d say country. I heard Tammy Wynette’s “‘Til I Get it Right” and I was so taken by it. There is a simplicity and a clever clearness in the writing. I found it very moving and I’d like to try singing that song or writing in that way.
What have you been listening to lately?
Lana Del Rey. I was late to “NFR” and I really enjoy it. Also Democracy Now- I realized a couple months ago that the audio from their shows go up on Spotify so I listen there.
Guilty pleasure?
Selling Sunset.
Pet peeve?
Bitter, rude people. And I saw Julian’s answer, probably that too while we are here.
Weirdest experience while filming in public?
Maybe not weird but there were plenty of uncomfortable moments. I got my period while we were filming at the beach, I’ve been terribly cold and ridiculously hot during certain shoots.
One word to describe MICHELLE’s music:
“Ooaahtsssz”
What’s your warm-up routine?
Before a show, I enjoy the ritual of putting on makeup with the other vocalists. We are howling our “ooos,” climbing up and falling down in the scale, applying blush and crisp liner in between. MICHELLE drinks a lot of throat coat tea. We dance in the live show so I make sure to get in my body and stretch too.
How have you changed since starting MICHELLE?
I think I've gotten better at saying no or rather not saying yes to everything. I've grown my hair out long.
In an alternate universe, what are you doing right now?
My head is shaved and I'm feeding cows somewhere in Europe. It’s fresh and a little damp out, I’m in a big navy knit sweater.
If you could choose one musician to play a show with, who would it be?
Karen O
Where are you from?
I’m from Clinton Hill.
Did you have a musical upbringing?
Both of my parents are musicians so yes - music was imposed upon me. I grew up on a lot of reggae, Beatles, bachata, Aretha and jazz. It has definitely informed my sound and vocal stylization. I sang and sang and sang and then I was 24.
What’s your role in the band?
Singer, songwriter, performer.
First MICHELLE memory?
Sitting on Julian’s bedroom floor, getting ready to start writing on a HEATWAVE track. Emma opened up an email from her college and I realized that I was attending the same school in the fall.
One genre you haven’t explored yet that you’d like to?
Country blues/folk music. Something that exists in the Mississippi John Hurt/Elizabeth Cotten/Karen Dalton world.
What have you been listening to lately?
Tucker Zimmerman <3. Also ‘A Written Testimony’ by Jay Electroncia. And ‘Open the Door’ by Betty Carter on repeat, to release stuck emotions.
Guilty pleasure?
Shit TV.
Pet peeve?
Disrespect.
Weirdest experience while filming in public?
There have been multiple instances of us filming in public and dealing with strangers either filming us themselves or getting involved in some way. When we were filming our Agnostic socials campaign on the handball courts at Rockaway, some guy and his wife shouted at us from the boardwalk mid-shot. He told us to demonstrate the game of handball for his wife to watch because she “didn’t know what the game looked like.” We told him we weren’t actually playing the game and were shooting something, to which he insisted that we fulfill his request regardless (we did not).
One word to describe MICHELLE’s music:
Lofty.
What’s your warm-up routine?
Ee-ee-ee-ee-ee-ee-ee-ee aye-aye-aye-aye-aye-aye-aye-aye ah-ah-ah-ah-ah-ah-ah-ah-ah.
How have you changed since starting MICHELLE?
Before MICHELLE I had aggressive stage fright. I was additionally incredibly socially anxious. Joining the band was my trial-by-fire, and I gradually outgrew my fear. Now I can get onstage and throw ass in front of strangers without ruminating on it for the following 3 days.
In an alternate universe, what are you doing right now?
I’m a quantum physicist who dabbles in contortion.
If you could choose one musician to play a show with, who would it be?
I can’t choose one, I’m sorry - Caroline Polachek, Moses Sumney, Jessica Pratt, Pussy Riot, Hozier, Willow, too many more man….
Where are you from?
I'm from New York City, born and raised babyyyy.
Did you have a musical upbringing?
I'd say I had a pretty musical upbringing. I sang in an all girls choir from ages 12 to 18, and I played bass in high school.
What’s your role in the band?
I'm singer, songwriter, and performer in MICHELLE.
First MICHELLE memory?
My first MICHELLE memory was writing "2.25" and "STUCK ON U" in the summer of 2018. Charlie, Julian, and I wrote and recorded the songs in a day and a half. We were just hanging out in Julian's old apartment and eating chicken nuggets while writing. It was super run and gun.
One genre you haven’t explored yet that you’d like to?
Maybe hyper pop or country?
What have you been listening to lately?
I've been listening to the new Kali Uchis album ORCHÍDEAS on repeat.
Guilty pleasure?
I love a shitty reality TV show. The shittier the better.
Pet peeve?
When I ask someone what kind of music they listen to and they respond with "everything." Like c'mon, I wanna know specifics! At the very least, tell me a couple of genres or artists you like.
Weirdest experience while filming in public?
We got a lot of confused stares in the supermarket while we were filming videos for THE PEACH.
One word to describe MICHELLE’s music:
Eclectic
What’s your warm-up routine?
For my body, I try to stretch every day. For my voice, I'll sing scales and vocal slides.
How have you changed since starting MICHELLE?
Prior to MICHELLE, I was very STEM focused, partially because I loved science and partially because it felt like a practical career path. I've always been musically inclined, but I treated music as just an outlet or a hobby before MICHELLE. Now, I'm definitely more tapped into my creative side and I've allowed myself to identify as an artist. It feels silly to admit now, but it was a big shift for me, especially since my Korean mother had always expected me to be a doctor.
In an alternate universe, what are you doing right now?
Living off the grid in a cabin in the woods. I’m the most centered and peaceful version of myself when I surround myself with beautiful nature.
If you could choose one musician to play a show with, who would it be?
Victoria Monet <3
Where are you from?
Born and raised in NYC! I grew up on the Upper East Side.
Did you have a musical upbringing?
My musical upbringing consisted of my parents always having music playing in the house, whether it was the radio or our favorite CD’s. Bee Gees, Queen, KISS, Led Zeppelin, The Beatles, Norah Jones, Wham!, and Yazoo were always on heavy rotation. I’ve always been obsessed with performing. I took piano, guitar, and singing lessons, and formed my first band when I was 14.
What’s your role in the band?
In MICHELLE, I am a vocalist and songwriter.
First MICHELLE memory?
In 2018, going to Julian’s apartment in an all-pink jumpsuit and my pink mustang guitar to work on some music that would become part of our first album HEATWAVE.
One genre you haven’t explored yet that you’d like to?
Chanting. Or IDM.
What have you been listening to lately?
I’m currently obsessed with the songs “God Sent Me Here to Rock You” by Naomi Elizabeth and “I Think I’m In Love With You” by Jessica Simpson. I’m also a devoted listener of the podcast How Long Gone.
Guilty pleasure?
A drunk cigarette after doing a DJ set.
Pet peeve?
I get sooooooo peeved when people hate on others for living their best life.
Weirdest experience while filming in public?
We tried filming some content near Coney Island and someone on the board walk starting photographing us and chatting with us as if they were our hired photographer. While flattering, it was interfering with getting the shot we needed.
One word to describe MICHELLE’s music:
Legitness.
What’s your warm-up routine?
For me, warming up is about getting connected with my body. So I do a lot of breathing and stretching to remember what it’s like to have a body. I do a lot of lip trills to get the phlegm out from my vocal folds, it also lets the air massage them. Sometimes some planks and mountain climbers to get the heart rate up and build some heat. Jumping jacks are fun too.
How have you changed since starting MICHELLE?
I’ve become a better listener to music, to others, and to my own body.
In an alternate universe, what are you doing right now?
I’m in grad school writing papers, reading primary sources, and serving academic cunt around campus.
If you could choose one musician to play a show with, who would it be?
The 1975
Where are you from?
Raised (not born - spent the first two shameful years of my life in San Francisco) in NYC!
Did you have a musical upbringing?
Very musical upbringing, both parents were musicians.My grandmother could play the piano with her toes.
What’s your role in the band?
Producer, songwriter, optimist. For the live shows, I play bass and make knowing eye contact with Julian whenever I fuck something up.
First MICHELLE memory?
Rambling, inebriated facetime sessions with Julian trying to think of all the good singers we knew.
One genre you haven’t explored yet that you’d like to?
Hardcore. I know it’ll never happen though - I simply can’t play that fast.
What have you been listening to lately? Labi Siffre, Floating Points, Louis Jordan, Brahms. Many of my friends are visual artists, and they always put me onto great shit because they can just listen to music in the background all day. Being a musician is terrible because you can’t listen to music while doing it.
Guilty pleasure?
Taking 45+ minute poops.
Pet peeve?
Being rushed. Needless anxiety. That type of thing.
Weirdest experience while filming in public?
I tend to zone out pretty hard between takes, so I miss a lot of the exciting stuff. That said, there’s an unreleased music video nobody will ever see for a song called LOVE UR NAME in which I get slapped in the face, and while filming, some stranger stopped by and taught us proper face-slapping technique.
One word to describe MICHELLE’s music:
Not sure I can do that. I can do six words, one word per member, maybe… MICHELLE‘s music feels too stuffed with information to fit into one word.
What’s your warm-up routine?
No such thing. I start every show ice cold and end every show red hot.
How have you changed since starting MICHELLE?
I’ve awakened to the joy in very mundane parts of life that I never imagined being enjoyable as a teen. Also, when we made HEATWAVE I would eat an entire Freshdirect frozen pizza for lunch at Julian’s house every day. If I tried that as a 25-year-old I would shit my pants and spontaneously combust.
In an alternate universe, what are you doing right now?
Being taller.
If you could choose one musician to play a show with, who would it be?
Alternate universe taller Charlie.
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Skillibeng to the Universe
office caught up with Skillibeng ahead of the release of his newest single and his upcoming Mr. Universe album. Read our conversation below.
Hey Skillibeng! Where are you right now?
I’m at home in Jamaica!
How often are you at home these days?
It varies. I've been resting for most of last year, the year before it was a bunch of traveling. It was 50/50 with being home and traveling.
What’s your favorite place you’ve traveled to?
In the States — Miami, and New York. I love LA too. I love it.
How did music start for you? Was there a moment where you decided you wanted to be a musician?
It was in my latest days of high school. Actually the last year of high school, that's when I decided I wanted to become an artist.
Who were some of your early influences?
I looked up to everybody. I definitely have main influences, though. Vybz Kartel, Popcaan, Mavado, Aidonia. I listen to a lot of rap too. So I listen to Lil Wayne, Future, Young Thug.
You said in the past that you wanted to be a household name one day like those artists, and now you’re on your way. How does it feel watching your dream actually come true?
It's crazy, because everybody thinks it's something out of the norm that's happened. It's just like me doing what I do best, which is just creating music and watching everything else come to life.
Now that you have introduced a lot of people in the US and internationally to Dancehall, what would you say is like the heart of Dancehall? What do you think makes it a special genre?
It’s the language and it's the culture. How small the island [of Jamaica] is, but how relatable it is to the rest of the world. I want Dancehall to represent Jamaica and the culture, but also music overall because Dancehall is actually a genre that mixes with a lot of different genres. It is actually connected to a lot of different types of music in the world and it's also a Jamaican thing.
Tell me about the upcoming single and the album. What inspired this project?
The upcoming single — I was in England for Wireless [Festival] and I had a couple of meetups with some producers and P2J was one of those producers. That's how the upcoming track that we're about to release came about. And the album, the name is Mr. Universe, so it's just me showing the world that you know, I'm just a Jamaican kid who is very relatable through music internationally.
Speaking of Mr. Universe, you've collaborated recently with a handful of artists from other countries, including some American artists. How has it been to collaborate with artists from other genres, and is there anyone you haven’t collaborated with yet but want to?
The thing is, as music goes by, I don't really choose who I collaborate with. It's a natural thing, you know, if I like a person's sound or flow or something, and the label comes across to me and say, “hey, you could actually get a feature with this person,” I say okay. So it's really a natural thing. I don't really differentiate between artists, as long as they're actually good artists that take music seriously and sound really good.
But yeah, Lil Wayne or Future. Those are some of the artists that I haven't collaborated with yet internationally. As a kid, the only person that I really wanted to collaborate with was Vybz Kartel, and now I already have two Vybz Kartel collaborations. And I've already collaborated with the queen of rap Nicki Minaj. Twice.
How did those collabs with Nicki come about?
Oh, that song was just hot. That song “Crocodile Teeth” was literally just hot. I think Drake had told her, “you know that this kid is ripping the streets up, he’s going places, I think you should jump on that track.” And she actually did, and she put it on her mixtape.
You've accomplished so much already, but there's still such a long future ahead of you. Where do you hope to see your career in the future?
As we initially started, with the conversation about household artists — that's the main aim, you know, to be respected musically. For the people to know that music is just my thing, and accept me even 20 years after, for me to be able to still drop a track. It's like a supermarket. People gonna go to the supermarket that everybody trusts and they got the products they want.
So me as an artist, I’m trying to differentiate myself from other artists who might come up and fade away. That's not what I'm trying to pursue.
Thank you so much for making the time for this conversation. Congratulations on all your success and I look forward to seeing where you go.
Respect. It's already past the first month but happy new year, may it be a very prosperous one. Stay focused.
Thank you, you too.
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Searching for Soul With Samir
When did music become a thing for you?
Music was always a way to feel connected to Lebanon. I was born in Tripoli, in Lebanon, and moved to London when I was six years old. I remember my mum playing Fairuz in the morning, and Umm Kulthum at night. When we’d go for drives in the car together, we’d listen to Wael Kfoury, Najwa Karam, Elissa, Nawal Al Zoghbi…
I was obsessed with Star Academy, this 24-hour Lebanese TV channel kind of like the X Factor, where you’d see singers doing vocal exercises, note reading, music theory. I actually auditioned a couple of times to go on the show when I was younger.
I was also really into performing arts and musical theater like the Rahbani musicals. I would secretly go to ballet at Urdang, a performing arts college near Farringdon, until my dad caught me with my ballet clothes one time and stopped my pocket money. So I never really had the opportunity to explore that side of myself when I was younger.
Would UK sounds play into that, at all?
I didn’t actually know who the Beatles were when I started Music at school. Or Amy Winehouse, Madonna, Destiny’s Child… none of that! I got heavily bullied for it. People weren’t curious about the music I liked, and there wasn’t much room for songs outside of the curriculum anyway.
Okay, wow. I didn’t realize that!
Yeah! This is something that has stayed with me throughout the years. It’s been a constant chase for a community that’s connected by Arabic music.
Did trips to Lebanon ever bring a sense of reconciliation, then?
Sort of. I’d take vocal training classes there over the summers, but I felt limited to a specific style. It was very gendered: the repertoire for men was songs by Zaki Nassif, Nasri Shamseddine and Wadih El Safi. I just wanted to sing Carole Samaha! I was much more drawn to the female sound, the softness and gentleness.
What’s been your approach to learning and growing as a music artist?
I think on the one hand, I’ve often tied my musical talent and ability to qualifications, so I was always chasing this idea of being formally trained in Arabic music, as many traditional artists do. I do really enjoy focusing on traditional Arabic singing, for the way it highlights the maqams,* and for how long and sophisticated the finished piece turns out. So after I graduated from university, I moved to Lebanon for a longer period of time to start vocal training. I took courses at USEK, the Holy Spirit of Kaslik with Ghada Shbeir, who specializes in Arabic, Syriac, Arameic music and muwashhahat(a poetic form that uses complex rhythms originating from Al Andalus).
But at the same time, I didn’t want to be tied to a certain curriculum that focused exclusively on tarab.** I wanted to learn about pop singers too! I listen to Assala, Sherine… I mean, Haifa Wehbe, one of the most iconic pop singers, got a lot of media backlash at first because she wasn’t technically trained in tarab like most musicians at the time. But that welcomed this era of Arab pop stars like Marwa, Myriam Fares, Nancy Ajram, Nicole Saba, where it became just as much about their image as their musicianship.
*A 24-tone melodic mode system, consisting of microtones, built on a scale of 7 notes.
** Loosely meaning ‘enchantment,’ tarab is a traditional artform that unfolds as a long, stirring musical performance that coaxes the audience into a state of rapture.
So it’s about honoring the old and new, for you?
Yeah, and this is something I’m exploring currently in my own music, embedding maqams into my sound as a way to preserve the culture. There’s an absence of sophisticated maqams in Arabic pop music today. I want to be able to take classical Arabic music but make it my own, as someone who grew up in London, and bridge the identities.
When was the moment you started to view yourself as a music artist, or take your singing seriously?
A few years ago, I went to a Pride of Arabia party in London and it was the first time I felt that being Arab and queer could coexist. What I loved about the community was how we were able to speak in Arabic to each other. Language is so important to me. That — as well as Pxssy Palace — was a space that made it seem more possible that there was an audience for my sound.
There was this one performance I eventually did at a Pride of Arabia show — I wanted to embrace and highlight my femininity with an outfit referencing Haifa Wehbe. I’m so inspired by her as a performer and in terms of what she stood for: freedom. She’s one of those fierce women that stood the test of time despite getting shit in the media. Absolute icon.
At the show, I opened with "Ya Tayeb" by Angham, which I used to sing to my mum when I was younger, then I followed with a muwashah —partly because that’s what I’d gone to Lebanon to learn, but partly as a way of preserving the artform. I also sang an original song that I had written, an acapella. I remember feeling so loved and so supported as an artist; people were surprised, singing along, hugging me. That’s what encouraged me to move to Egypt.
I feel like we’ve both come so far since meeting in Cairo. What were you thinking or hoping that the city would bring, when you first made the move?
I remember I’d gathered a list of people to reach out to before arriving but had no idea what I was doing at the time. I just knew that I had some songs, I wanted to meet producers — three months and then I’m out. That three months turned into two years.
How do you feel that being in Egypt has shaped your sound?
So many ways! I’ve been lucky enough to take Oud classes with Hazem Shaheen, one of the most prominent independent artists in the Arab world, and I’ve attended Sufi zar performances…. I’ve also been practicing Tagweed and Talawat (learning the maqam through Sheikhs reading the Quran). I always wanted to take this and embed it into my own music.
I’d also say being here has guided my interest in music for healing. I took up classes with Mohammed Antar, an Egyptian ney (flute) player and specialist in the maqam tuning system, where we went through each of the different maqams. The approach was also from a spiritual healing perspective: what sensation or emotion does each maqam evoke? That resonated with me. I always talk of music being very emotional, deep, raw. A lot of the songs I’ve written are about heartbreak and abandonment.
Is that where the interest in maqams stems from?
Yeah. I always say that I want my music and performances to offer an opportunity for people not to be ashamed of feeling sad, or vulnerable, or angry, and to sit with those emotions instead. To offer an optimism within music and find strength in that. I feel like in today’s world we need more of the things that ground us.
So I was drawn to the maqams because I wanted to explore how certain sounds could evoke certain emotions. I’ve been researching Arabic, Turkish and Persian maqam systems, and I’ve noticed the western twelve temperaments scale is so limited in comparison.
At the traditional music events, classes, and sessions you’ve attended in Cairo, the spaces also tend to be quite socially traditional and conservative, right?
Definitely.
What’s that been like?
What was challenging about meeting people in those spaces was that I always didn’t feel 100% comfortable or safe, but those were the spaces I needed to be in to get the musical insights I was looking for. I had to do a lot of compromising.
What’s been the biggest challenge?
I’d say financing everything has been a big limitation, as someone from a working class background. Finding funding bodies that offer support, getting into the studio…Y’all out there if you’re reading this, Venmo me!
Period! Send the dollar this way. But yeah, that can be the biggest barrier to getting things off the ground. Other than that, do you feel that Cairo lends itself well to music-making?
Yes for a lot of the experiences I mentioned above, but there are still gaps that create a struggle for artists. Spaces to perform and jam in the city are limited. It’s been hard to find other musicians to collaborate with and just make music! I love watching other musicians in action and witnessing the process of making music.
Finding the right producer to work with was also a struggle.
How come?
Most of them wanted to create this fusion of Arabic music embedded into western composition, but I wanted to highlight the maqam systems in my music and sing in Arabic. Producers I sent demos to were like, “This is great, we love your voice, we could take it in an electronic, upbeat direction….” And I’d be like, “No, I want people to cry! I want people to focus on the oud, qanun, the ney.” I didn’t want a quick, 2 minute song. That’s not what I wanted to do.
What made Ahmed Diaa [the producer of your debut single] the right fit?
With a lot of the other producers, I’d been struggling to find someone I felt comfortable and safe with, you know, where I wouldn’t need to minimize myself and could have creative control. With Ahmed, the first time we met up, we sat for a bit and chilled, and I met his fiancé, which was a nice ice breaker. It just felt really comfortable. He was very validating and positive.
Ahmed also has a sophisticated language around Arabic music and repertoire and understood the style I was going for. A lot of the producers I’d come across didn’t have the skill-set of highlighting maqams and transitions within Arabic pop music. I brought him a few tracks I’d prepared, then we narrowed it down to this track Aqd El Hob. Recording-wise, it was really smooth: he started putting chords on it, and I felt okay to tell him what I liked and didn’t like. He’s definitely someone I’d want to work with again.
Tell me more about Aqd El Hob.
I wrote Aqd El Hob (“Contract of love”) a few years ago in London. It’s about someone I was with, and things didn’t end in the best way… The song is about not being afraid of telling someone that you love them even if that feeling is or isn’t reciprocated. Being honest and vulnerable despite the outcome.
Instrumentally, I try to follow the takht. In Arabic music, the four main instruments that you perform with are the ney (flute), the qanun, the kamanja (violin), and the riq (like a tambourine) and the darabukkah (percussion). I wanted more strings than percussion on this track.
I feel like it’s a good introduction: it sets the scene for the themes I’ll be talking about in my EP, and it’s raw and concise. I wanted to write in a literal and simple way, directly from my experience without it being super cringe.
Excited for it to be released. You’ve got such a beautiful voice.
Thank you! Yeah, I’m excited to release it and see how it’ll be received, see it build an audience receptive to this sound. Also hoping it resonates with other musicians and producers for future collaborations.
