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Punk/Rock Uncategorized

Interview: Outer Stella Overdrive

Capturing an essence of nostalgia whilst simultaneously looking to the future, Outer Stella Overdrive are a band that you need to be rocking out to, right at this very moment. The London lads Command your attention with contagious tunes, a charged vibe and an attitude that they’re ready to take on anything; stating that they want to ‘open up the industry’ when they checked in with TW.

Dazzling with a soon to be trade-mark grin, Raff Law thrashes lead guitar whilst belting out their passionate lyrics and is joined on vocal duties by Kelvin Bueno who also provides their bouncing basslines. Accompanying Kelvin on the heavy rhythm section is unwavering drummer Rudy Albarn, and Amin El Makkawi brings a magic flare on keys. Collectively, they’re creating a raucous sound that’s managed to tap into something we’ve been missing on the current UK rock scene; bringing a real boost of individual energy and undeniable excitement.

Channelling a proper rock approach, they have a raw and creative production sound that harkens back to the iconic music that they were raised on. In turn, this style helps to fuse their classic punk attitude with the fresh, forward-thinking injection that they bring to the table, thanks to growing up in modern London.  

The sound encapsulated is big and bold; spanning genres with rocking riffs, a funky rhythm and even surreal psychedelic jams. On top of this, they pack in witty but thought-provoking lyrics (as discussed below) in addition to erupting choruses that fill their songs with even more passion and leave you ready to both rave and revolt.

Their latest single Camel Blue is out today, and ahead of the release Raff, Rudy and Kelvin chatted to TW about their evolution, lockdown life and what else they have coming your way…

A: It’s hard for your music to be defined by just one genre as you seem to effortlessly integrate such an array of styles. How would you summarise your sound in a few words?

KELVIN BUENO: I would say two words. I’d say ‘Outer Stellar’.

RAFF LAW: A few words are so hard, especially when I’m writing it but I’d say ‘powerful’ and ‘imaginative’.

RUDY ALBARN: I would say ‘our life’. And ‘true’, true is also a big, big keyword.

A: There’s clearly a real variety of influences thrown into the mix, is this a conscious effort and do you take any inspiration from outside the world of music? 

RAFF: We’ve taken a lot of inspiration from just London, in the ‘Out + About’ video, we shot a few weeks ago, we touched on how London inspires us. In the project that we’re releasing in the form of singles at the moment, it’s like the epitome of what we’ve been living and breathing the last few years. Our experiences and things that don’t sit well with us. 

RUDY: What we’re going through at each point, I think it’s a collective feeling between all of us. We’re just throwing things out. It’s a natural exploration and just comes to us in whatever way it wants to develop.

KELVIN: It’s almost an unconscious effort. None of us try to make any music of a certain style. We just make what we want to make and do what we want to do.

A: Do you guys have a particular way of working and have the recent months had an impact on this?

RAFF: We have a formula but it’s changed because of lockdown. For the past two years, we’d write songs together three or four times a week. Outside of that, I’d be writing a few lyrics on my phone and shit, but I wouldn’t be playing much music outside. Lockdown forced me to have to play the acoustic guitar for like three months without the guys.

KELVIN: We found that balance of our process. We write in a setup, instrument environment, but we also go away and write in isolation, then come back with lyrics and build from there. It’s just the rawest form of songwriting there is; no technology, just vibing together.

RUDY: Oh yes, it fired us up in that time to be like, ‘shit, we got to do this’. A thing that was cool was when we started rehearsing, instead of playing the songs that we just recorded, the last time we were together, we were like, ‘let’s just write new ones’. 

A: How do Outer Stella Overdrive want to change the game?

KELVIN: First of all, put this music back where it needs to be, band music at the top. In the industry, everything sounds like it’s in one place, in one lane. We just want to open up everyone’s ears, open up the industry and opportunity. Inspire the next generation to be like- “I want to pick up a guitar”.

RAFF: I think the process that we have; mates writing music together, it’s so much fun. I personally think it lies in its enjoyment. Our shows are all about energy and positivity and having a good time which is especially true right now when we can’t play shows and the government are telling ballerinas to go cyber.

RUDY: I feel like a lot of music at the moment is solo artists and producers and I think having a group of musicians all play together is a completely different vibe that’s a special thing missing in the industry at the moment. I think it adds another element to our music, just the way we write and, like (Raff) said about everyone getting together, seeing friendly faces.

A: You’ve been putting out some class tunes the past few years now and it’s exciting to see that you’re regularly topping the ‘Punk List’ on Spotify these days. Could you tell us a bit about what the band has in store for us next?

RAFF: Three Piece has recently come out and we have some video content made with Luke Scully (the Creator of ‘Out + About’) to go with that coming soon. 

KELVIN: We’ve also got two more singles to come (the first being ‘Camel Blue’ that’s out today). Then we’re going to drop an EP which consists of these last four singles that we’ve dropped and a few more tracks. It kind of encompasses our journey up to this point.

Then next year, we’re going to have a proper project for you that we’ve just recorded. The first EP that you can look forward to is ‘Counting Self-Doubt’, which will come at the end of this year. And that will change the game.

A: How do you feel you’ve evolved in your musical journey so far?

KELVIN: I think we’ve evolved so much that it isn’t natural. It’s been three years and we’ve really been patient with it. We haven’t just been trying to pump everything out, go big straight away and sign to whoever, wherever we can. We’ve just kept ourselves to ourselves and grown. 

You’ll see the progression in the music from what’s out right now, to what we’re about to release, to those coming out next year. We’ll just let the music speak for itself in terms of that.

RAFF & RUDY: Amen.

A: If you could recruit any music musician dead or alive into the band would you go for why?

RAFF: I’m going for Peter Green.

KELVIN: So strong. Ah, shit. Yeah, it would be.

RUDY: Well yeah, I wouldn’t want another drummer in the band so I’m cool man.

KELVIN: I would recruit fuckin Janis Joplin just to do some squeals in the background.

RUDY: We could do a feature or a little project.

RAFF: Yeah, that would be groovy.

A: I haven’t been fortunate to catch Outer Stella Overdrive live yet but from videos I’ve seen, it looks like you create an insane atmosphere. Would you say that you’re more in your element performing live or recording the studio? 

RAFF: We’re in such different states of mind. In our live performances, we try to play our songs with as much of a high energy as possible and put on a performance. I love getting the crowd involved, whether that’s getting them to do certain dancing or callbacks. I think if you make everyone feel welcome and part of it, it makes it more memorable. You want everyone to remember that gig, that first time they saw you play.

KELVIN: In the studio, we’re actually perfectionists and so precise, so like Raff said we’re in such a different state of mind. Performance-wise we’re willing to sacrifice some of the details that only musicians would notice, to put on a show and just get everyone going crazy with us.

RUDY: I’d say from a live perspective, you’re in a different mindset where you’ve got something to do and that’s the goal at the end of the day. In the studios, you can be more open and absorb more without having to go to that certain place.

A: Many of your lyrics make bold statements that seem to come from a real personal place. Do you have any favourites that you’ve written? 

RAFF: Personally, I feel like the lyrical journey is a whole different experience in itself and I think the best lyrics that we’ve written are what we’ve done in lockdown. As a band, we’ve realised that if we write more fifty-fifty, our songs come from two different personal points of view and life experiences.

KELVIN: It’s much more interesting. Let’s pick a line of something you’ve written and I’ve written.

RAFF: Lost track of time, drowning my sorrows down the line, signing my life away for five minutes of comfort. It’s a fact of mine, that I much prefer the night when the darkness hides the light that shows discomfort’.

KELVIN: In terms of real powerful, moving shit, I think the starting verse in Three Piece-’Another day in London Town, where you can get stuck up and it can get gory. Feds pulling anything that’s brown cos they work for the Tories. So I keep my head right down cos they got it in for me’.

RAFF: To end on this, the lyrics on the singles and the project that we have coming out next year are so bold and the message is so clear. We touch on mental health, we talk about being locked up and not feeling free, our anger towards the government and how they haven’t been thinking about the youth and creatives…  

KELVIN: We talk about our personal philosophies and ways of viewing life, a lot of the tracks are quite reflective.

ALL: Peace out from OSO


Check out Outer Stella Overdrive’s brand new single Camel Blue and their other top tracks on Spotify now

Categories
Indie/Indie Rock Jazz/Blues Pop/Indie Pop Uncategorized Why We Love

Why We Love: Alexandra Savior

Gifted with a velvet voice that will make you swoon, lyricism to rival great literature and a ‘Mystery Girl’ aura that helplessly lures you in, Alexandra Savior is an enigmatic force to be reckoned with.

Not only a talented creative musically, she utilises her artistic capabilities to the full, bringing a personal touch to all elements of her work. Each of her aesthetic music videos that perfectly accompany her chilling tracks is self-directed and she even designs her own album covers and merchandise. Overall, she creates a coherent experience and is certainly proving that she really is a ‘Savior’ to modern female rock.

Born and raised in Portland Oregon as Alexandra Savior McDermott the 25-year-old immediately showed musical promise and received her first wave of attention at the age of just 17 when Courtney Love proclaimed “This girl is gonna be huge!”. Love clearly wasn’t the only one who thought highly of her as the following year a bidding war between labels started; with Columbia Records eventually snapping her up. Upon the deal, Savior moved out to Los Angeles and although she admits that she didn’t feel fully prepared at the time she evidently came into her own as this doesn’t show in her precise work produced out there. 

This flourishing development was partly thanks to Arctic Monkeys frontman Alex Turner because fortunately, rather than someone pushing her in the direction of ‘Katy Perry’ like many labels intended she had the modern-day rock icon around to keep her on the right track. A huge supporter from the get-go, Turner first suggested she drop her last name and go by her middle instead, doubling the impact after initially giving the stage name Alexandra Semitone a shot.

In addition to helping her settle on a pseudonym, he also brought his well-known wit and wordplay to the table as a co-writer, as well as joining forces with his frequent collaborator James Ford to produce Savior’s debut record ‘Belladonna of Sadness’. Make no mistake though; this isn’t Alexandra Turner. Savior is one hundred per cent her own artist and had Alex collaborated with anyone other than the rising star an album couldn’t possibly come close.

Dark and brooding, Savior’s first LP was released in 2018 and chills you to your ‘Bones’ with rich, murderous tones but also has a ‘Girlie’ touch from its sweeter melodic notes. Thanks to elements such as her stand-out smokey voice; even backed with faint screams and wicked laughs on tracks like M.T.M.E to spooky organs, thudding drum beats and shredding guitars she creates an eerie cinematic aesthetic reminiscent of glamorous old Hollywood with a desert twist.

Influences she cites seep their way into tracks, with a prominent example being the late great Amy Winehouse whose characteristics are not only present in the soul Savior sings with but also her strong stance and powerful attitude on songs like Shades, as well as Jack White whose essence is felt in the American ‘Rock n Roll’ grit of the bluesy instrumentals. She also takes inspiration from outside the realm of music with comedy legend and filmmaker Terry Gilliam being a creative influence that not only reveals itself in her artsy music videos but also in the lyrical magic delivered by her haunting vocals.

Proving that she can paint a picture in more ways than one, vivid imagery is evoked in all songs with lyrics like ‘Dress me like the front of a casino, push me down another rabbit hole, touch me like I’m gonna turn to gold’ standing out in opening track Mirage. Alongside Turner, she projected her own feelings onto stories and characters, displayed beautifully in Girlie; the analysis of females trying to make it in the industry featuring lines like ‘Until her eyeballs start to bleed, she don’t wanna go to sleep’ and in Mystery Girl’s tale of infidelity singing ‘Hush now, don’t explain. Wound up with a heavier heart, from waiting in the rain’.

Belladonna of Sadness truly provides listeners with a whole world. Even songs that didn’t make the cut such as ‘Miracle Aligner’ now best known for being recorded by Turner and Miles Kane as The Last Shadow Puppets are packed with a punch but the perfect tracks were chosen; all piecing together to create a dark dream that you’ll never want to awaken from. 

At the beginning of this year, Savior followed up ‘Belladonna’ with the release of sophomore album ‘The Archer’ and although she found such a distinctive style with her first album, it was exciting to hear that she didn’t play it safe and stick to the same recipe (despite it being devoured by many). Instead, she delivers a heart-break fantasy that hypnotises you into floating along on her fresh journey, with the darker side only creeping in rather than being at the forefront.

An even more personal endeavour that her first, Savior was truly left to her own devices for this record after being dropped from Columbia, her manager quitting and receiving no aid from Alex Turner. None of this held her back though and only resulted in an album that’s soaked in assertive independence and is every bit her own.

Opening with a melancholic piano solo and heartfelt words she embraces the title of the track ‘Soft Currents’ throughout, delivering more vulnerable emotion in songs like this and The Archer. As a whole, it feels more of a woozy, gentle daydream in comparison to the dangerous vibes radiated previously but as mentioned, the darkness lurks. Harkening back to the ‘Belladonna of Sadness’ days are the thick riffs and thumping rhythm of Saving Grace and the suave single Howl with its strong synth and delivery. In addition to this, she further boasts her range by delivering a tune made for the likes of Mad Men with Send Her Back featuring a wonderful big brass intro and even takes you to the seaside with the beach swept Can’t Help Myself.

Although the overall direction is a departure, the key elements that make a Savior track remain. She doesn’t disappoint on effortlessly cool sounds, oozing vocals and of course those lyrics such as ‘The wilted edge of a lonesome mattress, I lay my head there until the feeling passes. It’s sinking in just as time relapses’ that I ‘Can’t Help Myself’ from quoting.

Although she might seem like an impossible ‘Mirage’, Alexandra Savior is as real as ever. So, if you’re looking for some dreamy desert rock, the perfect revenge soundtrack or spooky psychedelic pop then she really is the ‘Saving Grace’ that you’re looking for.

Listen to Alexandra Savior on Spotify now.

Categories
Indie/Indie Rock New Wave Pop/Indie Pop Uncategorized Why We Love

Why We Love: The Orielles

Evoking space-age dreams with their bright bops, The Orielles are a funky fresh band that you absolutely need to be listening to. In fact, scrap that. I’d say the word ‘experiencing’ is far more apt than simply ‘listening’ as their tracks are so engrossing, they’re a vessel for escaping reality…

Taking you on an adventure through the decades they stop off in the bright psychedelic 60s, have a boogie in the 70s and even a cheeky trip to explore 90s acid house, as well as blasting forward into another time and dimension with their futuristic synth sounds.

It’s no wonder that Heavenly Recordings; the same label boasting talent we love from Saint Etienne to Working Men’s Club, have these guys added to their fantastic roster. The Orielles boast the sweetest sounding melodies since Sarah Cracknell and a perfect balance of modern and classic just like WMC, whilst keeping everything uniquely their own; ticking all of the boxes for another Heavenly band destined for greatness.

The group consists of sisters Esmé Dee Hand-Halford on lead vocals/ bass and Sidonie B Hand-Halford on drums alongside friends Alex Stephens on Keys and Henry Carlyle Wade on guitar and backing vocals (providing a deeper undertone to Esmé’s gentle singing approach). Hailing from Yorkshire, they’ve been putting out singles since 2015 which really helped them to gauge direction before releasing debut album ‘Silver Dollar Moment’ in 2018.

Vibrant and charming, their first LP stands out in the sea of standard indie. Their key to doing so appears to be teasing you with that familiar formula we’re so accustomed to hearing but giving it a twist; thus subverting your expectations. Take Sunflower Seeds, for example, kicking off with a strong and cheery riff followed by thumping drum beats, it instantly captures your attention (in a way that almost seems too good to be true). However, it doesn’t stay linear and instead fades into a slow psychedelic squish that bands like Post Animal would be proud of, flipping the happy-go-lucky intro on its head. 

They further prove their capability of making their mark on things by not only giving you brit-pop dreams like Mango but also more mellow notes in the laid back Liminal Spaces. As well as this, they also display great lyricism inspired by life, literature and philosophy on their tracks, with an abundance of stand-out lines on Henry’s Pocket. A song about trying to start afresh but being trapped by the past, it features vivid lines like “Trying to eat a moment and regurgitate it back up like you used to. We just hang in a web connecting us to past, present and future”.

Silver Dollar isn’t all that The Orielles have to offer either; displaying a real growth in confidence upon the release of their second album ‘Disco Volador’ put out earlier this year. Although I’d never bore of hearing Esmé’s melodies complimenting their funky sound the bands first record doesn’t quite boast the greatest exploration in tone. However, their follow up puts this point to bed with more variance in the delivery of lyrics and exploding instrumentals. Each track truly comes to life, all effortlessly cool with an airy quality. Further deviating from the mainstream sound produced by many current bands there’s a real retro essence at its core, layered with a forward-thinking distortion to create their own vibrant universe.

The album starts with Come Down On Jupiter, a song starting with a hint of Pulp’s darker records à la ‘This Is Hardcore’ that’s then perfectly juxtaposed by the soft melodies introduced into the mix. Sneakily, they then go on to build the track until you find yourself listening to a pop song that still maintains an edge with strutting guitars and more assertive vocals. Continuing to defy your initial anticipations, Memoirs of Miso’s simple lyrics of ’Falling in love’ float around as you drift away into a technicolour vortex. You’re then caressed by a gentle rhythm and drifting saxophone before it bursts back, bringing you into the room, ready to dance again.

Speaking of dancing, Memoirs certainly isn’t alone as single Bobbi’s Second World is bound to have you on your feet; delivering a groovy strut with its bopping bassline, throwing in some fun backing vocals and a sprinkle of sound effects. It’s a tale of turning a blind eye to reality and getting lost in your own head; something I often find myself doing in general but even more so to The Orielles tracks which are pure fuel for the imagination. Summarising Disco Volador is its own ‘theme’ Space Samba which captures the essence of the whole album; beaming and euphoric with a bit of sass to ensure that you don’t fall too far into the dreams induced.

Not only are the band ahead of their time with their indie evolution, but they also look like they truly have a gift for seeing into the future with the line ‘Isolation, room for creation’ being repeated on Sugar Tastes Like Salt; their single released back in 2017. The song that originally caught my attention, ‘Sugar’ not only predicted our 2020 life but also hits with attitude. Featuring upbeat punches, trippy guitar and sinister beats it’s an 8-minute exploration that showcases their capabilities in producing cosmic soundscapes and is a great introduction to the group.

With every one of The Orielles tunes encapsulating a little bit of celestial magic, I’m more than keen to see what else they have coming our way. Sadly, I don’t appear to have their seeming power to do so but based on merit have great faith that it will be something special, so watch this space.

Listen to The Orielles on Spotify

Categories
New Wave Pop/Indie Pop Uncategorized

Hidden Gems: Stars – The Five Ghosts

Stars are a pop/rock band from Montreal most notable from their truly unique storytelling ability in their songs.

Masters of creating diverse and imaginative narratives through the use of their lyrics, each of their songs offers a door into a fairytale-like world, one full of wonder, heartbreak and other-worldly characters all soaked in deep-felt nostalgia.

The band’s fifth studio album, released in 2010 and appropriately named ‘The Five Ghosts,’ is just one such example of this group’s powerful ability to conjure up melancholic and mysterious images in the mind.

The first track from the album ‘Dead Hearts’ is perhaps the reason I and many others first fell in love with Stars – a powerful story and a definite tear-jerker of a track. The lyrics in this song describe an abstract or even poetic yearning for things once lost or forgotten.

“They were kids that I once knew… Now they’re all dead hearts to you.”

Followed up immediately by the striking track ‘Wasted Daylight’ the album then twists and turns through emotions quite unlike any other LP. Through optimism, grief, longing and relief, each track pulls more heartstrings than the last.

Putting on this record often feels like running away – moving through life out of your comfort zone and off on some mystic adventure – who knows what characters inhabit this new place.

The thing you remember while listening to this album in full is that old things end and new things begin – It’s always been my go-to album for those difficult transitional periods of life. Nothing else quite like this set of songs describes exactly what those situations feel like – a feeling familiar to everyone but one that no manner of words could ever describe – a feeling of mourning for the past while striving for the future – an album I will keep in my heart forever, cropping up at the most difficult times.

Alongside the album’s release, Stars premiered a six-part documentary about the making of The Five Ghosts, in which we get a peek into the production of each track. The most curious thing for me was their unusual use of synths, a tricky instrument to utilize on anything but upbeat pop songs, but something which really makes this album.

As lifelong childhood friends, all members of the band grew up in Toronto. I think something must be said for how this sort of friendship has shaped so many bands. A bond formed over a lifetime, people who have laughed together, cried together and shared the same sense of belonging. It all sounds very poetic, but you can easily see that this connection often produces some of the greatest and most personal music – take Joy Division, The Smiths, Saint Etienne, you see my point.  Bands with shared experiences often write the music which speaks to us most.

Stars understand the brittleness of the human heart – I do believe their music would warm even the most unfeeling soul – but don’t just take my word for it, I encourage you to do something terrifying; lay back with their record on and simply allow yourself to feel. In this album, Stars have surely captured perhaps the most integral part of being human – that you are alive.

Categories
Punk/Rock Soul/R&B Uncategorized Why We Love

Why We Love: Warmduscher

Twisted, funky and humorous. Welcome to the weird and wonderful world of Warmduscher…

Formed as an impromptu band for a New Year’s Eve house party back in 2014 the five-piece fuses the talents of pre-existing bands Fat White Family, Childhood and Paranoid London, consisting of members Clams Baker Jr, Lightnin’ Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and The Witherer aka Little Whiskers. 

Considering they sound like superhero rejects and were formed as a spur of the moment laugh they’ve now evolved into a fully solidified collective. In the 6 years since their formation they’ve worked with inspiration Iggy Pop, toured the UK and Europe and released three albums; with their latest release ‘Tainted Lunch’ being sandwiched between the two Fontaines D.C. albums on 4 x mercury prize nominated producer Dan Carey’s list of records.

There’s really not much that can be predicted from these guys with each track taking you to places you’ve definitely never visited before. However, they are kind enough to introduce you to their love of hellish humour and irony from the get-go as ‘Warmduscher’ is a German slang term for a ‘wimp’ but this insult far from applies to them, as their bold moves in producing dark and adventurous ‘fractured rock’ is quite the opposite of cowardly.

Now Like I mentioned, Warmduscher are hard to predict and for that very reason just as hard to define because they mash together so many different sounds; many of which no one would expect to hear together. One minute they’re dark disco funk on tracks like Disco Peanuts (I feel like you can begin to pick up on their erratic nature here without even needing a listen), then the next they’re storming macho rock on The Warm Smell of Florida and dark and grinding Midnight Dipper whilst also capable of bringing a surprisingly sweeter side in the melancholy boogie of Summertime Tears.

Despite being London based and clearly incorporating plenty of post-punk with their turbulent guitars and bouncing basslines, their frontman Clams Baker Jr was born and raised in Massachusetts and brings an American croon to the mix. When backed by their thick sound you feel like you’re trying to hitchhike in a heated desert which has resulted in comparison to bands such as the surprisingly English Alabama 3. Baker Jr sites the legendary James Brown as an influence, which really reveals itself in his narration-like vocals on the slow-burning intro of 1000 Whispers before reaching delightful screams that lead back into a smooth melody.

As well as capturing the soul of Brown in Clams’ singing there’s also that groove in the music on songs like Dream Lotion and the hip-hop infused Burner featuring Kool Keith- a song about getting your hands on some drugs (which I’m certain they must have done before writing this as well as many others). Standing On the Corner is one that instantly comes to mind as a trip fuelled track with psychedelic undertones lying beneath heavy riffs- accompanied by a mental music video to match.

Besides these varying sounds, there’s also the techno transportation of Uncle Sleepover that throws you right into a video game with its laser blasts and warping synths which is again quite a contrast to the likes of Tiny Letters; a song with a gentle melody at its core layered with those screams again, proving that whatever you listen to you’re taken to a new unknown destination.

The band have always embraced a real ‘go with the flow’ attitude as all members have other projects that mean they can’t solely dedicate their time to Warmduscher. They never had much time for rehearsals or multiple takes so recorded their albums by splitting them into halves and doing whole takes as they would with live performances- injecting real energy into their releases. Things are just as impulsive when it comes to actually being in front of crowds too; making lyrics up on the spot which explains such random lines as ‘I won’t pay for their discos, I’m not gonna buy their sandwiches’ and ‘trippin at the Weatherspoons’.

Recently, as they’ve developed further they have become a little more structured; reworking a few things where they can in order to get the best out of what they’ve got which has resulted in a beast of an album. They still continue to appear just as spontaneous to gig-goers in their manic stage presence though and I doubt they’ll be falling into too many generic conventions- still coming out with ideas ‘from the back rooms of your minds’.

It’s safe to say that Warmduscher really have their own way of doing things and thanks to this are one of the strangest things but also greatest things that I’ve listened to in quite some time. With their melting mixture of ideas, they’re bound to feature something that you love too, so take a listen to the madness yourself.


Warmduscher on Spotify