D’Andre ‘Safe2woSay’ Harper is a producer and songwriter from Orange, New Jersey who describes himself as a new age artist.
KO: How did you start making music?
S2S: I started writing poems at around 13. They were all love poems though, I couldn’t really write about anything else until I started listening to Nas, and the track that inspired me was It Aint Hard To Tell. I memorized his lyrics and rapped over them and over till it became obvious that I could actually flow, that’s when I started writing my own stuff and everything just took off.
KO: What’s the meaning behind Safe2woSay?
S2S: The meaning behind Safe2woSay has to do all with me just coming out and saying I rap and that I have a voice. I was hesitant to speak about all of things. I never voiced my opinion because of the reactions that I would get from people and knowing that I would be misunderstood. S2S is basically stating that’s its safe for me to talk. I don’t have to be afraid anymore. I developed a mind state of not giving a fuck, about the way think about my ideas.
KO: What equipment do you use to make music?
S2S: I use whatever I can get my hands on. Keyboards, Macs, PCs, Cell Phones if I can. I do everything on my own, so I have a lot of time to myself and I spend that learning new programs.
KO: What are your influences and what inspires you to be creative?
S2S: My little sister inspires me. Nothing else in the world is a greater influence than her. Shes only 10 but she can do so much and that’s all from watching me. Shes so young but she is ready to take on whatever. Not even caring about the obstacles that are in front of her. My creativity comes a lot from the conversations we have. Sometimes about just Sponge Bob or her day and it sparks up way more things than I thought it would.
KO: Describe your sound?
S2S: My sound is like a clock. My music never stops and it keeps progressing. I’m only one way two times out of the day ,but for the rest its different. I just let my hand do the talking.
KO: What should we be on the look out for?
S2S: My new mixtape dropping in june called S.A.F.E. that just has a lot of features and a lot of videos.
Amede Soundsmith is a singer, beat maker and mix/recording engineer from East London who’s submitted many an EP and track to the inbox but unlike previous emails, the Flashing Lights EP caught me at the right place and right time. I began to listen and finally understood, not only did I finally understand but I was in an environment where I could listen to the EP with no distractions. It was at this point that I realised that my ears were finally ready to consume such beautiful and trance inducing music.
KO: Where are you from?
AS: I’m from the sunny side of East London with Nigerian & Zambian Heritage.
KO: What’s the meaning behind the name Amede Soundsmith?
AS: It is what it is really, Amede is my real name which means ‘water has no enemy’ and Soundsmith is something I created myself from blacksmith, which is one who work with metals and a locksmith, one who creates keys and locks. I produce art using sound not just as singer or beat maker, but also as a mix/recording engineer and radio selector hence the name Soundsmith. All in house I guess!
KO: How would you describe your music?
AS: Phrraa! Well. This question gets me every time. I like to call it, Electric Soul, Electroganic, Alternative Progressive blah blah…. not too sure to be honest. Some call my music Experimental Hip Hop, and others call it Future Soul, at the end of the day we always compare what we hear to the closest other thing to it that we know of. I’m not against being placed under and genre, many artists out there complain about that ish… ”ah! I don’t wanna be put in a box”, …but if it makes it easier for your listeners to find you then BAM! That what you want right? [#PassionateRant LOL]
KO: Musical Influences?
AS: In my early teens, Joe! The first song I ever performed was Stutter! When I was 17, The Soulquarians… Anything by Dilla or by Stones Throw Records got the green light with me. Of late it has really been a mix of M.I.A., Frank Ocean, Friendly Fires, Dam-Funk, Kanye, Theophilus London, Dorian Concept, Jesse Boykins, Hudson Mo, Gold Panda, not forgetting… Marvin Gaye, Dionne Warwick & Marc Moulin! Kwes, Sampha & Azekel are three of my favourite UK artists right now…Google them!!! “…if you don’t know, now you know n****” #NotoriousB.I.G.
KO: Upcoming projects, collaborations and tour dates we should look out for?
AS: Hmmm that would be telling! I’m actually gearing up to start recording the next EP with even hotter production, we I think so lol. And I’m thinking about the next two projects after that one #ForwardThinking . I’ll doing more stuff behind the scenes with Azekel and a few others which are to be confirmed. Nuff said!
What I love about Amede and artists in a similar vein is that they are unafraid to explore the boundaries, they are unafraid of letting go of all restrictions whether structural, sonically or conceptually. For Amede, music doesn’t seem to stop at mere self expression or creativity, I detect an underlying passion to bridge the gap between corporeal and ethereal, Primrose Hill and Labyrinth being perfect examples.
Amede Soundsmith to me will sit in the same iPod playlist as Quadron, Kwala, Boom Clap Bachelors and Made In Heights, all of whom I’ve discovered on a whim and gone on to listen to their music near enough every single day.
What can I actually say because if you weren’t there and you’re a fan of either Kanye and Jay-Z or both, you missed out on the worlds greatest show.
I said from waking up yesterday morning that I wouldn’t take pictures, tweet, record video, phone folks to show off that I’m at the concert or instagram anything because I didn’t pay my hard earned £££ for a ticket to share my moment with those who had no intention of making the pilgrimage.
No doubt they put on an EPIC show, no doubt it was great to see the rap god J-Hova and Yeezus Christ rocking the stage together as prophet and disciple, as master and apprentice, as sensei and student. It was also apparent to see that whilst Jay-Z had seen it all before, a younger and less experienced Kanye was entering his prime, Jay had done world tours and sold out shows his whole career and wasn’t as fired up as I were used to but Yeezy was full of flame. It was beautiful to see them have a moment where they sat on stage and reflected, performing New Day and Hard Knock Life, I wanted Jay-Z to perform Glory -I somehow knew that that was something I’d have to wait a few years to witness although when he performed Where I’m From I went line for line with him.
Kanye was on fire, words cannot describe how great it was to witness two of my biggest inspirations and role models on the same stage, rocking the same show. Who else can get a diverse crowd of all colours, creeds, races and faiths singing along to Jesus Walks? That was a special moment, it was inspiring in the sense that whilst I were there admiring them, I constantly had a desire to be on the stage beside them -who knows it may happen one day…
Mouse Sucks is an 18 year old ‘Psychadelic Punk’ artist from Ontario Canada who’s on the cusp of releasing his debut EP, The Ginyu, on June 9th 2012. The two singles featured on the EP will be Isis, which is dedicated to Isis Taylor -who?, and Singing With A Ginyu Girl. After listening to both songs I decided to ask Mouse a few questions via email to better understand the music before sharing it.
Why have you labelled yourself a ‘psychedelic punk’ artist as opposed to rap?
Psychedelic Punk is the name I gave my art because of all the genres that I extract from that help me build my sound.
Who is Isis Taylor and what’s a Ginyu Girl?
Isis Taylor is the Queen of the Universe.. Every now and then she gets bored of ruling the Universe and decides to become an actress. A Ginyu Girl is an ever changing/morphing force that makes us guys walk around with our heads down singing “Prototype”.
Who are your musical influences and what’s the meaning, significance and irony behind the name?
My musical influences span from Lupe Fiasco, to Never Shout Never to Charles Hamilton, Sara Barilles.. There’s a lot of influences. As far as the name goes, my nickname as a kid was “Mouse” and that was my stage name for a little.. “Mouse Sucks” was a campaign idea but another artist by the name of Capital Ode convinced me to run with “Mouse Sucks” as my stage name.
Out of every female rapper to appear since Lil’ Kim, Kreayshawn is by far my favourite. She’s pretty, witty, adorable, creative, talented… Sweet Baby Kreay has major swoooon factor in my books. I’m sure I’m not the only dude/dudette who dreams of having breakfast with Kreayshawn and I’m pretty pretty pretty sure we’ll wake up and get stickier than the night before Haaa!
Sir Spyro is on a mission to push forward a new sound, a sound reminiscent of not only his influences but a sound that is the backbone of Grime and Bass music. It’s the skippy, slightly shuffled type of rhythm that’s built up on a foundation of rugged, hard hitting uncompromising drums, sprinkled with stylistic idiosyncratic melodies. It’s Bass music that commands your attention, a call to arms, and Sir Spyro’s first release on his new imprint Dragon Punch Records.
Round 1 will mark the start of a new era for Sir Spyro, the DJ and Producer who’s been DJing since age of eleven and Producing since age of thirteen. Sir Spyro has been a Rinse FM resident since 2005 and toured extensively with Tinchy Stryder as his official DJ.
There’s no questioning his credentials and certainly no questioning his decision to setup his own record label to release his music independently, following his initial collaborative effort with D.O.K on Pitch Controllers entitled The Dragon Punch EP. After supporting Tinchy Stryder, DJing around the globe whilst producing and remixing in between, Sir Spyro decided that it was time to supply the ever-growing demand for his productions on his own terms by creating a platform of his own, Dragon Punch Records.
The Round 1 EP features 5 tracks, two of which are features. The first collaboration, Suspect, sees Spyro join forces with Grime’s new producer on the block, Faze Miyake to create a bridge between their two distinct Grime styles. The second collaboration is between Sir Spyro and Grime’s rising star Merky Ace, who alongside fellow Family Tree member Ego, add vocals to the standout instrumental Joseph, resulting in the 2012 Grime statement Get Along Gang. The other tracks, Transfer Window and Shape Up, are slightly laid back but remain hard hitting, smooth, and bassy, resulting in balanced continuous playback from start to finish.
The Round 1 EP is a melting pot of innovation with twists of stylistic nostalgia so whether its unexpected bass drops, subtle transitional changes, idiosyncratic melodies or something you can dance and sing along to, look no further than Sir Spyro’s Round 1 EP.
When you receive links to music via twitter, there’s always a lot of scepticism. A lot of the time I don’t look, a majority of the time I forget but I’m equally apprehensive to click on the link because I expect the worst. Nine times out of ten, it is the worst, so bad in fact that I changed my privacy setttings on facebook because I was fed up of being tagged in atrocious and annoying videos. Sometimes I ‘long it out’ for about an hour or so before removing the tag but then I thought fuck being polite, its always been nuisance because my taste in music is revered for it’s ‘bollocks filter’, so not only were they annoying me but they were ‘fucking with my rep’.
Lengman however is not all that different, it’s twitter spam after all, but it’s quite entertaining. Firstly I was somewhat confused as to why Mr. Dixon would be wearing his outer coat and hood indoors, a pair of sunglasses in low light and one glove -is the other hand missing, did he just return from a game of golf, does the other hand get cold?
The more questions I asked while ‘skipping’ through the video was the more I realised that entertainment is not exactly about whatever violent nonsense Mr. Dixon happens to be screaming about but it’s trying to work out whether he’s more like Tempa-T -energy, Lil B (from an angle he looks like him as opposed to a comparison of skills) or MC Roachie -vocal tone. Sure there’s a lot of fools that turn up in one glove, sunglasses and outer jackets done to the top, hooded up but you can picture Dixon getting busy at a stage show unlike some of his contemporaries who are doing the same thing with no energy, zero engagement, no ‘charisma’.
Without hearing any other track from Ten ‘Leng’ Dixon, I rate this a hit because charisma gets you far…
Mayday 2012 marks three years since I conceived the idea behind Up In The Ear whilst studying a BA Hons Commercial Music degree at Westminster University. Mayday 2012 also marks the 30k milestone visit, which isn’t much compared to a lot of other blogs but in the two years since we’ve been around, we’ve never jumped on a particular ‘wave’ or followed the ‘copy and paste’ press release trend.
For this mix, I decided to craft a few bootlegs which feature music from much of the artists I have both discovered -new to my ears and at times my microcosm- and written an article about on the blog. Some of the features are from people I’ve done write ups for, interviewed, and friends of friends who I somehow convinced to send through acapellas so I could experiment -Chloë V.
Stream via Mixcloud, download, and highlights to read the features.
I’d like to thank everyone who has ever read, commented, subscribed, shared or been featured on the blog. Also thank everyone who has contacted me for work, worked with me and sent me mail. Special thanks to my homie Reayshawn (Rachael Grainger) who accompanied me to film and interview K.Flay at such short notice, folks such as MIK for spreading the word about my writing, Mykaell Riley, Joel Harrison and Luke Hannam who were my tutors at Westminster University/BANM and lead modules that gave me the opportunity to organise and implement all of the ideas lingering inside my head by making me organise and present them to the world in the form of Uni coursework. Special shouts to Sousy-D because she saw the vision without me drawing the picture…
Let’s be real here, when a Grime dude slows it down he’s crucified like a muthafucker. He’s surrounded in broad daylight by all manner of keyboard trolls, shooting rounds of venomous tweet critique from smart phones, desktop tweet apps and social networking sites, but when a rapper grabs hold of a Grime instrumental it’s instant appraisal because for some reason or other, Grime, the ugly duckling or ‘Genraah In Da Kornaaar‘ that exudes an IDGAF [I don't give a fuck] type of attitude, is quite happy to be respected or acknowledged rather.
In the case of this video of a song I may scrutinise [in the case of Maxwell-D who tried to jump on Take Off and failed miserably, cringe inducing miserably, couldn't look nor listen without wondering why no one told him it was so shiiiit! -click his name to read that review] a rapper has jumped on the Grime instrumental Bawse -a track off Faze Miyake’s Take Off Ep- alongside a vocalist. There’s no compromising the UK Rap flow, there’s no speeding it up, what the rapper does, and what I respect the most, is sIt on the beat and stay true to himself. At first I didn’t know what to make of it before thinking to myself “…But Faze Miyake’s sound isn’t quite Grime but more nearer the neutral part of the sub culture spectrum”. Of course it’s a 140BPM (Stylistically Grime) instrumental but the sound transcends sub genres under the Rap/Hip Hop‘s umbrella.
The rapper isn’t that bad in all honesty, he carries the flow well. Fair enough it’s no different from a lot of UK ‘Road Rap‘ MCs that utilise the same rhyme pattern and theme but what makes Shortz1 stand out is his ability to flow confidently and comforably. There’s no shakiness, no fear that he may be stepping on Grime territory because there’s nothing distinctly Grime about the instrumental. It dawned on me that maybe Faze Miyake doesn’t even make Grime, he’s managed to craft the new sound of UK ‘Trap Rap‘ because a 1/3 of his output thus far can be blessed by everyone from Giggs to the likes of 2Chainz, Rozay and as far a field as Iggy Azalea and [insert credible underground trap rap/underground/hipstep-bass music artist here] *Cassie? (Does she still sing or is she just a hipstep pin up and a billionaire’s sly [no disrespect] sidechick?) the ‘Me and You‘ singer.
The vocalist, Jade Howes does well because she doesn’t try to out-sing the instrumental, she opts to sit on the instrumental, following it’s natural momentum with a clever choice of syllables and vocal tone. There were a few points where I raised my eye brows, I did that with the rapper at first but after listening back with an open mind I sorta got over it. At the transitional points where the instrumental gets more elaborate, she creates a mirror effect by switching the flow to more of a legato style, so instead of riding the rhythm she allows the instrumental to breathe by making her vocal delivery more spacious [spacious you kna like I'm talking about a bludclaaart yard! haha]. *I’m getting too techy innit?
All in all this is a great attempt from a vocalist to tame such a rugged and ‘grimey’ instrumental with the aid of a rapper. It’s not perfect but I guess it will set the tone for more UK Rappers and Vocalists to shop around the Grime producers for their next musical backdrop as a lot of today’s Grime producers are blurring the lines of sub genre and just creating music that connects with everyone, they seem to be getting much more elaborate i.e.. Swindle and Preditah who incorporate musical styles from further afield.
Waking up out of an apocalyptic dream with a Pinterest theme singing Justin Timberlake‘s song Rock Your Body could only mean it’s going to be a great day right?
Maybe it’s the combination of yesterday evening’s trip down ‘Nostalgia Avenue’ and the sun shining bright outside or it could just mean that my most vivid dreams come in a period of inspiration and creativity but then again it could just be my head getting me ready for this ‘group’ type of meeting I’m about to step into. Who knows?
I think the hardest thing to do other than dragging myself out of my bed to make two slices of whole meal toast and a cup of herbal tea was to slip back under my duvet and watch the music video. It’s a total cringe! Justin’s dancing face is slappable on all levels and the ‘all white’ ensemble with chain hanging from his pocket to wherever make him look like a ‘freshie‘ -one of those dudes from an ex soviet state who, for some weird reason or other, enter hip hop dance competitions because they can’t face working in a factory gutting salmon from an illicit ranch residing close to the apocalyptic remains of Chernobyl for the rest of their years. *Totally relevant if Stalin were still in power an communism was a still a threat to everything capitalist, spiritual and decadent.
Besides the horrible dance routine and the ‘gay‘ looking disco lights, I actually love this song and I probably woke up singing it because today will be a beautifully ‘long’, arduous and ‘zig-zaggish’ day. *I love quotation marks because I love to make my own words which almost always make sense.
I was surfing the web, as you do whilst checking mail in the early part of the day, and I came across this GEM of a remix. As some of you may already know I love Amy Wino, she is the ULTIMATE BAAABE, her debut FRANK being one of my favourite albums of all time, so favoured that I refuse to listen to anything that came after because I wouldn’t want to taint my divine perception of HRHAmy Winehouse. It’s probably seven months since Amy’s departure but I’m still reluctant to acknowledge her passing because it’s waaaay too painful to come to terms with.
Stronger Than Me was the first tune that got me hooked on Amy. This bootleg is my dedication to her -Alby Daniels
Sure everyone’s saying to themselves at this point in time “Oooh what about Whitney, what about MJ?” but I weren’t heavily into them on a personal level. Sure I had their music enforced on me from a young age but I actually picked up Amy’s first album a few years after discovering her Stronger Than Me video and I listened to it religiously for months, years even. No other albums apart from Reasonable Doubt, The Blueprint, Ready To Die, Illmatic and Midnight Marauders have me running back for a listen as much as Frank, it’s timeless. I think I’m amazed at how skilled she was, bamboozled at how she had become the master of her voice, how she had tamed it to the point of wielding it around with such ease.
Amy had found zen, Amy had spiralled so far within to strike light and become master of a troubled, pain riddled, melancholic vulgarity with clear but slightly hazy vocal tones that would become her signiature untamed, and bastardised style.
*All I wanted to do was show you the remix but as always I share the personal connection because that’s what music is about, shared sentiments…
My penchant for females in hip-hop has spiralled out of control over the past year. 2011 didn’t just see Nicki collaborating on loads of artist’s tracks or like, wrenching out Lil’ Kim’s dusty weave. We saw Kreayshawn’s Gucci Gucci video go viral (not to everyone’s taste and I’m not sure what I can say that is positive about V-Nasty), we saw Iggy Azalea sport most of American Apparel’s spandex range and her and A$AP hooking up. Harlem badass Azealia Banks signed with Universal (but sadly did not score it with Interpol front man Paul Banks after her cutesy cover of Slow Hands…). I think at some point some British girls did some cool stuff for rap (anyone…?) but all the while Brooklyn-dwelling K.Flay (real name Kristine Flaherty) was hanging out being awesome and rapping over a bunch of cool beats she’d produced in relative obscurity. But it’s very likely that 2012 Is going to be her year.
Over from the states to record her first full-length, we meet with K.Flay in Sarm Studios after navigating our way from Ladbroke Grove underground in the pissing, pouring rain. Arriving early we dry off in the reception area, awaiting our invitation to studio 4. Promptly we’re led up the spiral staircase and ushered in to meet K.Flay.
K’s petite and full of energy, welcoming us in with a smile. Dressed in leggings, a slouchy tee, high tops with the laces loose, her hair is shoulder-length, side-parted and a little disheveled; she spends the interview mussing it about intermittently in an animated fashion. She’s full of this sort of effervescence that’s bubbling under the whole time, and immediately totally engaged when we start chatting. While we set up, she bounces about the studio before flopping onto a sofa, momentarily glued to her iPhone, thumbs going light speed crazy. She explains her addiction; Scramble With Friends. I express my reluctance at downloading the game because of the pressure – I’m perfectly content ducking in and out of Words With Friends at a leisurely pace – but K is a bit more hardcore with her gaming habits, telling us about a particular girl she has a fierce rivalry with on Scramble. “Or I think she’s a girl, her name on it’s like, ‘lady-something’!” she laughs at the veritable battle of words she’s having with a total stranger.
Hailing from Wilmette, Illinois (just north of downtown Chicago), K relocated to Stanford University to pursue a double major in sociology and psychology in sunny California where there was a “really interesting hip hop scene in the San Francisco bay area, there was all this hyphy music, like E-40, Mistah F.A.B, Turf Talk and all those guys, so like really weird and playful and eccentric rap.” With no musical upbringing (“I could play guitar as a kid but that was about it”) her initial foray into recording came about in a rather unorthodox manner; “I was talking with a friend of mine about mainstream hip hop and rap at the time and how a lot of it felt really formulaic and we were just kind of going back and forth talking about it, and he was like, “well you should make a rap song” so I did, pretty much as a joke-“ she laughs, “and it was horrible!”
Of her prank, K muses “There was something really fun about the process, about making a beat, recording something, and then it, like, existing. One thing led to another and “I started getting into production and I got a keyboard, started making beats and started playing house and frat parties on campus but I was still super serious about school. It was actually a really cool release for me.” She goes on “It was something that had nothing to do with anything I was studying, and something I had no expectation at being good at, and nobody else had an expectation of me so it was like, this really liberating thing to do. Then I just sort of got more and more serious, a couple of people in the Bay area in San Francisco who are further along, like other artists took me under their wing a bit, and like, mentored me and after graduating I started playing a lot of shows in the area. ”
The music K grew up listening to does not instantly lend itself to hip hop, but as she reels off names it’s evident where she has taken inspiration from in her own recordings, “I listened to a lot of like, depressed female vocalists… A lot of Liz Phair, Fiona Apple, PJ Harvey, Garbage… So kind of that rock girl, pissed off, “I’m angry too!” kinda thing. One of my top albums ever is Metric’s second album ’Live It Out, I love Emily Hanes and I love Metric and I just like that they’re a band I feel has very interesting lyrical content with like, kinda cool but still very appealing music.” She grins “I was listening to it the other day walking to the studio!”
And for hip hop? “I’ve always been a huge Tribe [A Tribe Called Quest] fan and there is some stuff from that era that I kinda love. I think a lot of the Outkast stuff was pretty influential for me just because it’s weird and freaky… It has a very distinctive flavour even though that flavour is like, always changing, their albums are very different one to the next. ”
What female artists have influenced K? “I think Robyn’s a really interesting case study” wasn’t the answer I’d expected, but she goes on, “She’s sort of developed her own lane in a lot of respects, and she’s been doing music and been around for quite some time with just like, her.” Listening to some of the mixtapes K’s produced it’s actually not difficult to draw parallels between the two artists; K is absolutely doing her own thing and the way in which she combines cute synthy bits with lyrics about loneliness and confusing boys is very Robyn. “There’s something really compelling about her and her vibe, she’s just kind of a badass which I like and she’s just in her lane doing whatever, for the sake of the music and being creative and doing what she wants to do. I think that’s really cool, I’d love to be able to have that sort of energy.” The next evening K plays a show in Kensington’s Archangel; she really doesn’t have to fret about energy levels.
Describing her song writing process, she grins “I usually start a song with some kind of loop, usually like a sixteen bar drum loop, basic synth line, or little riff or whatever, that’s how I start, instead of with a lyric, and I kinda put it on repeat for like, a really long time.” At this point she laughs “It’s annoying for anyone around me… I just get a vibe. I think what’s nice about that, is because I’m creating the music to begin with it feels like it kind of co-evolves you know, as the lyrics change, I can be like, oh the beat shouldn’t be like that it should be this. I just kind of practice over and over again and try to find a rhythmic flow that sounds cool over it, and try to do something different I haven’t done before.”
Of her live set-up K explains “My live show, I run Ableton Live, we’re kind of looking at my live set-up now”, she gestures at the equipment in front of her “I use this Akai MPK 25 pretty much as my midi-controller for everything. I compose most of my stuff on [Apple] Logic and [M-Audio] ProTools, I like Logic for midi. I’m trying to get a little more into Ableton Live for production rather than just for the live show, but I feel a little crazy with it, and I just love it for on-the-fly kind of stuff, but I think it’s cool to add those little modulation things into a recording so that’s kind of what I am using it for.”
Before we have to leave for a further flurry of interviews K.Flay has penciled in for the day (and of course, recording), we speak briefly about her thoughts on being a female in the music industry. Does K feel a pressure to look, dress, act a certain way? “I think in pop music generally speaking there is this kind of hyper-sexualisation. I think for women, a lot, you either exist on one extreme end of the spectrum, like very hyper-sexualised or just totally not. I do think there’s a void somewhere in the middle, I feel like I want to fill that void. I know that for a lot of young girls, like I’m talking about growing up, talking about rock girls, there was that kind of aesthetic, you know, someone who was sort of a badass but wasn’t necessarily super sexualised. Even talking about Garbage or Shirley Manson, there’s a place for it in hip hop. She grins, “I do think there’s room for that, and for me it’s not a fabricated identity, it’s about who I am and what I’m about naturally. I don’t feel a tonne of pressure, I just would like for that to exist.”
K.Flay’s Eyes Shut EP is available for free download on her website KFLAY.COM and for other recommended listening, check out YouTube for her tracks Less Than Zero, Doctor Don’t Know and also her Gucci Gucci remix (she eats a lot of hamburgers in the video for the latter!).
