Mera Bhai
Mera Bhai calls many places on this planet home, having lived in India, Italy, London, Albania, Dubai and more. These influences dictate and seep into each framed chord of his music, which itself falls somewhere between dance, meditation, remix and a run. We spoke about our dislike of genre boundaries, working in teams of “brothers” (such as with his other project, Flamingods) and submission to loss of ego.
Good to hear you ! Thanks so much for making the time. I have just been getting so stuck into your Futureproofing EP. It’s so good, really, the energy is warming me up on this freezing day. Anyway, I know you’re in London right now but that you have spent a lot of time travelling and moving and collecting experience and memory that you then infuse your music with. A lot of people speak about this kind of ‘starting moment’; remembering the first song that they connected to or the first instrument that felt like a part of them. I am interested to learn if/when you feel that you had a moment like this?
Yeh so I was actually playing piano from quite a young age, and then I kind of stopped for many years but that kind of pinnacle moment for me was when I was living in Italy. My parents were living in Rome and we drove a couple of hours to go to a concert in Perugia to see these two Indian percussionists, a tabla player Zakir Hussain and a percussionist called Sivamani do a collaboration. I remember that night I was like shit, I must have been like nine years old or even younger actually maybe seven, I can’t remember exactly and I had never really experienced music that way, that fusion. I guess part of it was also the fact that I was in Italy experiencing a fusion of Indian cultures in this huge concert hall it was all so..you know..unexpected, it was all very out of context looking back at it now, so I was thinking that it was just so wild. I remember that moment thinking “I need to do music.” I was actually playing violin before then and I started playing drums soon after that. But I don't know how that influenced my exploration of sounds, from that point I moved to drums and percussion for quite a while, ten years or so. So yeah that was that kind of moment for me I guess.
Are your parents musical?
My dad played a little bit of guitar when he was growing up but he wasn’t really encouraged. I was always in a household that encouraged music. My sister played piano a bit when she was young as well but nothing that was carried on. I think everyone was super supportive of me and happy for me to carry on with that. In my family people speak quite a few languages but I don't, I kind of play more instruments, that was kind of my thing. My cultural exploration was done more through music.
That’s sick, so languages for you are through instruments rather than through picking up new tongues somehow?
Yeah it seems so, whenever I write music now I always...things always just make sense to me sort of musically. Yeah, exactly like you said.
Listening to your most recent EP, Futureproofing, the percussion element is so rooting but it’s also really guiding the sound, you know it’s really kind of.. it’s got these touch points, not always drums but the rhythm section is so strong which I know a huge part of certain parts of Indian music is grounded in this kind of guidance through rhythm.
Yeah, exactly, massively and I do also currently study Indian Carnatic music and the South Indian drum called the mridangam which is like the South Indian version of the tabla. So for me rhythm has always been very much guided by rhythm and when I take left field decisions, it’s kind of letting that guide me rather than trying to be prescribed and be like this is what I want to do, this is the direction I want to go in. I just follow the way that things are guiding me.
It’s so interesting…so how is your writing process? Do you sit, do you go to the studio and sit and write or is it kind of happening as part of your day I guess? Is there a border or not really?
I do try to get up early and do all my stuff in morning…meditate, yoga, whatever and then I come in and draw a line because for years the lines were really blurred and I mean with my band Flamingods I’m touring for most of the year so it was like the lines became very blurred and I tend to not be good at stopping working. I’ll work until like eleven or twelve or whatever from seven in the morning so I need to give myself a bit of structure in terms of that. But with the writing process II was thinking about this recently actually, I don’t have a specific process and even now I’m kind of knee deep in so many different tracks at the moment, every time I’m trying to approach it in a new way.
I don’t know whether that means I haven’t found my specific process that I really like. It feels a bit more playful to me, each time I take it in a totally new way. I just sent some track for a singer to work on a few days ago and I basically took everything out of the track and just sent her the drums and the bass and actually I realised that I didn’t want to approach it in the same way I normally would…you know laying the vocals on top and chopping it up. So I’m kind of always doing different stuff, using samples; like say when I’m back home in India a lot of the time I’m just recording stuff on my phone, like field recordings when I’m in a rickshaw with the radio, or when I was in Italy last I heard someone practicing piano and I couldn’t find them but I could hear it so I recorded that and ended up using that so I kind of just try and keep things like an archive and document things that I can come back to later that I find so exciting in a way.
I love field recordings and this is something that I’m really interested in, especially recently. You can make three dimensional sound somehow because you’re not just thinking “my rhythm section here, my vocals over that” you know, it’s sound collage essentially.
It somehow gives this feel of going from something that’s really musically in the forefront to feeling like you're a spectator…a bit like when the soundtrack of a film comes out and then the dialogue comes in, like you said, it takes you to a different place. It takes you to a different position where you’re really experiencing the music. You’re not in the same place, you kind of move when you hear field recordings…so I’m interested in recordings and samples; always trying to take things out of their context so it’s not just like..yeh cool i’ve got this drum beat and I’m going to put some percussion samples, it’s like how can I fuck with this and make people really think. Do you know what I mean?
Yeah I feel you. I just noticed you say “when I’m back home in India” and when we move around a lot the concept of home can become confused or it’s multifaceted. For me there are many places that are home and it’s not necessarily something that is a fixed thing but I wanted to know how you feel…how does it work for you having a home in London and also India?
It’s funny because I’ve moved around so much that the one place I’ve always gone back to is India. I’ve thought about this so much and I guess the reason India feels so much like home to me, even though I live in London now, is because it is my cultural identity which is largely formed for me by my experience of being Indian. That doesn’t define me by any means but I very much feel at home there, it feels like a secondary home there. London is also obviously home but India just resonates with me. I think you can have many homes/places that you feel at home and I don’t think it needs to be this very one-dimensional thing.
When I marry what you’ve just said with your music I’m getting this understanding of home and, for want of a less shitty phrase, this ‘East meets West’. Why is there not a good way of saying that ? It’s such a stupid term. It means nothing really, it’s this overused thing.
It’s quite a cliché term but it’s so true there is no better way of saying that currently. We need to find a better way of saying that but yeah I know exactly what you mean.
I feel it also because of this thing about dance music, and of the sensation of dance music being whitewashed but about it being faceless, you know ? One of the natures of dance music or anything that’s kind of live produced and DJed can be faceless because we’re in the dark often when we are listening to it and we’re unified in movement rather than in identity etc. I’d be interested to hear how you feel that you fit into this place that is often without the nature of home and identity.
That’s a really interesting question because that is so much of what the concept was. There are kind of levels to it, the name Mera Bhai means ‘my brother’…which from the beginning the idea of it was to be someone you could have a fraternal relationship with…it’s not someone you look up to, not someone you aspire to, not someone you would be like oh man that DJ last night was so cool or whatever, it’s democratic, it’s universal and my issue with dance music, and also with defining my music as dance music, the connotations with saying dance music come with being kind of embarrassing, very whitewashed, heteronormative, in a way it’s become a bit of a dirty word. It’s a bit cheap but it shouldn’t be, there’s so much in it…dance music is so important, it’s movement and it unites people, it's so fundamental in a way. For me marrying all these different kinds of references and influences I’ve heard along the way that have all collaged themselves in my head it feels very important for me to express them that way in dance music.
Of course, but then we also have your Flamingods project where there are similarities but there is also this seventies psych rock influence. So you're able to express all these different parts of your collection and your archive and yourself and obviously it’s a bigger project in a different way because you’re working with three..there’s four of you in it right?
Exactly, it’s different and there’s a completely other set of variables. With this one [Mera Bhai] there are less boundaries for me in a way.
But also with the band you are bringing in three other people’s experiences and everyone else is from a different area and everyone will have their own musical language and so you have to kind of negotiate and compromise whereas in a solo project you don’t have to.
Yes exactly, that’s what was so kind of exciting for me to start with because the way we do everything is very democratic so we always have to agree on everything which in itself is a really beautiful thing because we are always totally on board with and happy with what’s going on but it means so much of what happens in the studio is discussion so we’re kind of making sense of things and justifying them and always exploring everyone’s ideas. This has been really great for me to bring into my solo project because it’s pushed me to be a lot more explorative but then when I first started to write my solo stuff I realised I didn’t have to ask anyone anything; I could just do it and know it sounded good. I like to work quite quickly and I like things to be organic and in the moment…I don’t mull them over too much but I do tend to explore ideas and I’d be like “woah I’ve just done this thing and it’s okay and I don’t need to ask anyone..holy shit!”
But then also do you have maybe a slight feeling of loss because you don’t have a sounding board somehow?
It does feel like freedom sometimes but then there’s moments where it definitely helps to have more ears on certain things. Recently, I’ve been working on a couple of remixes and on paper they are done but to me they just don’t feel done…they feel too safe and too familiar. They’re not exciting enough and I jike to keep trying to take myself out of that and dissect it and make it weirder, more exciting. With having other people you can ask and hope that they’ll bring in something. If the question is how can I make this sound more different, whatever influences they’re going to bring you or they’re going to offer you is going to be the furthest thing from the corner of their mind rather than the furthest thing from the corner of yours.
Exactly, exactly, it’s going to be a completely different….
It’s useful and with the band it’s great as we have that. The question is always how can we make it familiar but different or how can we make things sound totally fresh or exciting, not you know let’s make this sound cool or whatever. That’s why it’s useful to have each other there.
Yeh of course, are you running both projects concurrently?
Yes, over the last year we just wrote two plus Flamingods records. We’ve been using a lot of time in the studio since we’re not touring and I’ve just been wiring more stuff for this project as well.
How does it feel not being able to express your live element at the moment?
To start with, over the last year because we tour so much it was quite a welcome break to let myself really get stuck in on writing, and I was able to allow myself to develop much more in that direction. It does feel weird now because you connect with people in such a different way doing live stuff like being on stage and playing shows for people and even DJing as well, now I’m doing a lot more DJ mixes and just before we spoke actually I was working on one. I’ve had to overcome my sense of lack of confidence or fear of speaking on DJ mixes but I feel like you want to connect with people a bit more rather than doing like a two hour show, it’s nice to give people something where you are speaking or you are kind of offering something given the current situation...do you know what I mean ?
Yeah for sure, optimum connection is kind of my creative goal at the moment because if you are a certain kind of creative, life starts to become really esoteric…you know these feelings of madness, essentially when you’re being kind of prolific in creation, are very hard to slow down sometimes.
Yes, definitely.
Particularly without this output, even the output of going somewhere and hearing another musician and being free and dancing which is a very important experience as any kind of creative but also if you yourself are a musician and are not able to go and have these influences and connective experiences in a neutral space you know, not in your own home or studio.
Yeah, yeah definitely. It is just that connective experience in whatever format it is wherever within the connection you are..audience or on stage or whatever..it is a different thing.
Exactly and submitting yourself without ego to something that in that moment is greater than you.
I’ve been thinking about this a lot more recently. I’m not great with social media and stuff like that but, having lost that sense of connection of just seeing people or just being out, whether even at a show or not there becomes a tendency, of way more importance being is placed on connection through online platforms and stuff. You end up being a lot more self-aware and, as you just said, you’re kind of submitting yourself for that ego in those spaces and those connective experiences but when you’re doing stuff on the internet or you know you’re speaking In that way using that voice you’re far more conscious so there does tend to be a bit more of an ego behind it even if there’s no intention there…it just happens.
Of course, I suppose it shines a light on the fact that you have a platform because you are an artist with some kind of public voice or whatever. Do you feel pressurised to utilise your platform and your following and social media in this way?
Yeah so pressurised…so pressurised! Ah I have such a funny relationship with social media because I know it can be really useful and a lot of my opportunities and things come through that, even with the band but it’s just such a double edged sword because there’s so much pressure to say the right thing and to promote and present yourself in the right way. It’s just really quantified, looking at things like numbers and people and there’s no way of doing it without comparing yourself. The issue for me is that there’s always an external reference point, it feels harder to authentically be yourself as you would when you meet any normal person.
You just say your stuff right. Not everyone is able to but there are always these external things that you inevitably end up anchoring yourself to, which can become quite difficult because you end up questioning yourself..second guessing, I don’t know it’s just a weird energy on there but it’s a necessary evil.
Unfortunately. Yeah I mean definitely during this corona time it’s really become so pronounced and I’m certain that after this period we will continue on this huge social media crusade to the death..I don’t think it’s going to go back down really.
No.
But it does also mean that referencing and research somehow is a little easier…I mean there’s more crap, and there’s definitely more points of comparison but everything now is available online and you can go back decades and sometimes even centuries with certain archives. Do you take time to research ? I’m not just talking about contemporaries because I’m not sure if that’s totally helpful but going back a little further. I know you take Detroit house and techno as a big influence, but do you take time to go back in to have these research ‘reading days’ with music?
Yeah I do actually and sometimes I feel like I’m really lacking in that because it kind of recharges my batteries a bit and it keeps me inspired. You’re right that there is so much that is so available to us so easily with the advent of internet and social media. You can diversify your pool of inspiration so quickly and so much more easily….rather than I remember when I was growing up and I was absolutely desperate always just tp find new stuff, always to find new things and I’d always be limited by what was in front of me. I remember once when I went to visit my sister at university in the States and I was hanging out at her house; one of her housemates ex boyfriends left a shoe box full of CDs and it was the first time I had listened to stuff like Mudhoney and Prong and loads off stuff like Helmet and loads of grunge and all of a sudden it just presented itself to me. You don’t get to discover the shoe box in some random person's house, you can just do that on the internet.
I know it makes me a little bit sad because digging for records is a beautiful thing, it’s a fantastic art form and so if you are going to dig you have to work harder and find obscure unlabelled records on Youtube and….you know, because we are not able to go into the record stores at the moment. The shoe box is almost everywhere and nowhere with Spotify for example but you really have to go that extra mile.
Yes, yeah exactly.
It’s a blessing and a curse the fact that we have so much access to music but I definitely like to spend time doing the really hard looking too I think.
Yeah definitely and that’s the thing about record stores, you end up finding stuff that isn’t available online or that you can’t find or just something random even in the twenty-five cent bargain boxes that you can’t find anywhere else. I’ve got loads of records like that when I’ve just been travelling and that’s another way when you’re kind of on the move or going to new places finding records that can take you to new places or take your musical interest in a totally new direction that you wouldn’t have expected.
Yeah that’s a great feeling right when you find something that kind of hooks you into a movement or a freaky label that you never knew and then you look at the rest of their bands that they had and they are also part of this thing that nobody else seemed to give a shit about...
Yeah so good. We played a show in Estonia four or five years ago and one of the record stores had loads of USSR pressings and it was so interesting to hear loads of music that I just wouldn’t have even accessed before which was great.
It’s sick. I read that you have spoken a lot about making or bringing discomfort to your listener, because they’re looking at where they can fit themselves and it’s not possible because you have this layered element and bringing all your worlds together. I wondered if you feel it yourself when listening to others’ music ? A feeling of discomfort and a desire to navigate with an eventual submission ?
Yeah definitely I think that’s the most exciting point for me and I feel that a lot of people don’t look for that and I think that was a big part of my intention with this because you know I definitely look to make people feel uncomfortable but the music is not avant-guard at all. The way I’ve packaged it is to have this real sense of familiarity so what you hear feels comfortable and identifiable but there’s so much new stuff that people haven’t heard so for me it’s like moving to a new country which I had to do. Somehow repositioning myself and finding a sense of familiarity in things and figuring it out. I was talking to someone recently about the different ways music is expressed in various cultures through ceremony and ritual or popular culture or whatever and these similarities and differences. But I guess for me it’s about presenting it in a way that is understandable yet unfamiliar. That point of slight discomfort is where things get exciting.
I feel what you mean about this familiarity. When I was listening to Futureproofing and hooking into parts of that Chemical Brothers album ‘Push The Button’ that came out in 2001…
Yes, yes big big fan of that record.
It’s a fucking great record and there are parts of the voice manipulation that is a little bit like, “woah is that a sample or…?” There’s even almost a Joy Division kick on one track… It’s weird because I completely understand what you are saying where there are parts of recognition before it flips out into a totally different sensation or sound. There’s something lovely with familiarity within music, being able to connect into a rhythm like your body has felt it before but then it distorts and feels new
Yes definitely and like you said with The Chemical Brothers, they’re a big inspiration for me because what they do is combining those things so seamlessly, things aren’t what you think they are. For me it’s a really great way of presenting things because in life we have it on a much grander scale…nothing is what it seems and it’s so much bigger than us.
Yes yes, it’s kind of fucking with the doors of perception a little bit which is really interesting. Just thinking of The Chemical Brothers and their live shows..I don’t know if you have ever seen them live but I mean they are absurd, you know, with twenty foot high robots fighting behind them….
So nuts yeah. I saw them at Glastonbury when we played there about two years ago and it was just ridiculous...the audiovisual show and the 3D whatever…it was just fucking crazy.
Yeah it’s amazing. This is almost their way of building their own face when this kind of music can seem faceless and I wonder how when you’re playing this stuff live is it important for you to have this extra element ?
My intention was always to give it a while before I start doing proper live shows and obviously given the climate that makes sense but the other element of doing that for me is DJing which to a lot of people can seem really straightforward but for me I have to really spend a lot of time working on trying to bring in as many as possible different things into like a DJ mix but make it feel really seamless. So it’s like not hearing like house and garage next to each other that are the same BPM it would be more like something off Caravanserai by Santana with something from contemporary Indian rap straight into a nineties house track. For me it is very normal to have them all sit next to each other and not feel like it needs to be questioned at all by anyone. I think it’s important to present that stuff in that way. I don’t know if I’ve gone on a bit of a tangent here from what you were asking but for me the live show is to bring all these things together in that space, bring all the sounds and cultures.
I totally agree with this. I have a radio show which is called Curved Ball Radio every Thursday because my friends when I was younger used to joke that if you hand me the AUX cord you’re going to travel through about seven centuries and cultures…
Haha, that’s so good,I’ll check it out.
I never made the time to put all of this archive together really until this year I guess but it is doing this thing of mixing old kind of French musical into Patrick Cowley into some Ethiopian jazz records that are super distorted and everything can move fluidly, nothing feels awkward and no one is sitting up suddenly because the vibe has changed you know.
Yes, yeah yeah that sounds great I’m excited to check that out because that’s exactly it. In your ears and mind all these things work together and they all make sense so it’s just about presenting it in a way that makes sense to everyone else.
Yeah it’s presenting a confidence in that somehow. Who are you finding interesting at the moment to listen to?
Interesting…so many different people. Let me have a look. I’ve kind of been delving into a lot South Asian artists and producers in dance music because I have joined a UK collective called Daytimers. So I’ve been going on a bit of a journey looking at how far that’s come. There was kind of an explosion of Asian underground in the nineties but sometimes these things become quite tokenised so I am looking at trying to delve a little deeper and see the stuff that’s largely missed by popular culture. I’ve also just done a Tamil mix that I’m going to be putting out like a romantic nineties mix for Valentines Day.
Also a lot of acid house and Aphex Twin, noise techno stuff and disco, I find when I get too caught up in one thing like disco or funk or Patrick Cowley or Italo or Giorgio Morodo, I feel a bit stuck. This is what I was saying after Christmas…I felt like I needed to clean my ears out. My girlfriend’s dad gave me a Sun Ra record and I hadn’t thought about Sun Ra for so long and it was exactly what I need to hear because it was the last thing I had expected to listen to.
Nice. Oh my god I also haven’t listened to Sun Ra in a really long time…I’m going to spend some time doing that later.
Ah it was so good, the record was Sleeping Beauty and I listened to it bout three times in one day and then got into the bath and put it on again…it was just so perfect.
I love this idea of cleaning your ears out and going in a completely different direction because it’s true you can get kind of…I know that I get really fucking bogged down in disco somehow and…
Yeah same..
…and also yeah Patrick Cowley and like Pino D’Angio and people like that. Yeah you can kind of get stuck almost in a BPM loop kind of thing.
Yeah I one hundred percent know the feeling.
It feels really great but when you go to look outside for other references or to move yourself slightly it feels almost impossible. You’ve like made yourself inert through this overconsumption of one thing or one genre. But I mean the concept of genres makes me feel quite uncomfortable somehow. Do you think you fit into a genre with this project…I mean genre spanning is another one of those horrendous phrases?
Yeah it’s such a self inflated term and I’m sure it’s been used for me somewhere and I’m not into that. But yeah I know what you mean, for me for this project it was about sitting outside that with BPM for example. Yeah so many people refer to tracks being like yeah that 140 track or that 130 track…it’s so defining isn’t it?
Yeah, yeah for sure. That’s kind of distilling the music right down just to the numeric concept.
Yeah, for me when I was thinking about the project I was thinking more about, rather than genre, about where you would hear it live. I would happily hear these tracks DJ’d in the late night tropical disco tent but then also see them on a dance stage somewhere at a festival or see them live on a stage at some point and it not feel out of context. If I’m trying to bring in all these contextual sounds I think it should be able to be heard in any space as well by any person because I think it’s about who’s hearing it, it’s more about who you’re able to engage with rather than what I’m defining myself by.
Do you think you will ever bring live and DJ elements together in these spaces?
I think so. That specific thing is a bit of a way off as I really want to delve into it and explore it but it’s something I think in the latter part of this year I’m going to start thinking about more. But definitely it is something that often you see done very badly. It sounds very judgemental for me to say badly but you see them done from my opinion quite tastelessly or what could be perceived as quite cheesy let’s say.
Yeah it can. I mean there has to be quite an intense amount of meticulous rehearsal in order that it sounds seamless. I have a friend, Edie [Ashley], who is an amazing DJ and she plays pretty much strictly old dub records and our friend Harry Cockbill who’s a brilliant saxophonist plays over them with her live and it just sounds so good as one sound you know.
Ah that’s so good.
I’ll also send you her radio show.
Yeah please.
Yeah there’s a way of doing this beautifully but it’s very rare that you come into a space and that’s really happening.
Yeah it’s so true.
Is there somewhere that you would love to play that you have never?
I’d really love to tour in Asia more and I know that’s such a broad way of saying that and again that’s so gross saying that I want to go to Asia in such a general way.
But I’d love to spend time travelling and connecting with people over music…you get to have this thing to bond over rather than the fact that you’re just a tourist there.
We [Flamingods] end up making friends anywhere we tour so that whenever I’ve gone back to visit I actually feel like I have a bit of a base there. Going back to your question about having a home it’s really somewhere where I feel connected to which a lot of the time is about knowing people and having friends there. You can build these relationships quite quickly when you tour.
What’s next? Obviously you’re writing a lot and DJing but what is next in terms of this project..do you have something that you are focusing on particularly at the moment?
Yeah I’m working on another EP and I’m about to start work on a collaborative record with someone. This year there’s still a lot of collaboration and working on stuff. This also ties back in with our talk about social media..there’s just so much fucking content and you constantly feel this pressure to say something or to do something or put something out. What I’m trying to do is often remind myself to pare back that sense of urgency, there is no rush, there’s no need to push myself to write stuff super quickly because sometimes it feels like I am racing against myself.
Do you feel relevant?
Yeah I guess, I don’t know. That’s such a weird thing for me to say. But the first thing that came into my head was “no” because I don’t fit into any category. Relevance like a kind of cultural relevance often fits with a moment or a movement or a genre. So actually maybe I don’t feel relevant because I don’t have the pressure to do anything or keep up or please any one person you know.
I am also thinking about like Flylow or Radiohead, and they didn’t become relevant until what they were doing became relevant to a lot of people.
They weren’t relevant by proxy or by any definition and I think that's a lot of my personal issue with a lot of current music is that it defines itself by fitting into categorisation, so its relevance is dictated by the fact that it’s part of a genre that’s happening. It’s on the bandwagon whereas for me the new stuff is what’s more exciting. And new stuff doesn’t necessarily mean it is new, it's just new to my ears.
Exactly, it can be new but from fifty years ago because the interpretation of the sound is something that hasn’t been personally accessed before.
Yeah exactly. There’s a record by Jim Sullivan that my bandmate showed me, and he wrote this whole country record about UFO’s and then disappeared.
He was really convinced that he was going to get abducted and then he finished this record and then left his home, his kids and his wife and went on a drive and his car got found in the desert and he was never to be seen again.
I love this concept of the marriage of UFO’s and country music. It's quite amazing visually to think about.
Yeah you should check that record out, the track UFO on that is so good, it just doesn’t sound like that’s that he is singing about. It’s really interesting.
Sick I will check that out. I will put that in my notes for later. Is there anything else you want to bring to the forefront?
We have covered so much ! I guess one of the interesting things is thinking about where it fits because the aim was always to take dance music out of what was always such a white heteronormative space and dance music is very culturally linear. It’s like if you hear any dance music from any country it sounds very linear..it’s very much from that place. Yeh for me it’s kind of exploring that and using the format which is quite familiar. It’s kind of like umami you know, it just feels right and it’s so unifying. So exploring things in that way is very easy to present I guess, just pushing myself to find new ways of presenting things that feel familiar but challenging as well to people.
Yeah I get that. I’m looking forward to listening to more of your music actually, this new work, new old work, old new work…
New old, hahah yeah exactly. Thank you.
Thank you so much for making the time ! I have really enjoyed time travel with you and can’t wait to hear more. Sending love.
interview SISI SAVIDGE
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