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…
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!).
When Jay-Z ‘signs’ someone to Roc Nation no one says anything but when Baby ‘signs’ someone to Cash Money, everyone’s got an opinion. Why is that?
It’s a lot to do with perception and presentation. For the most part Cash Money is a record label known for artists such as Lil Wayne, Drake, Nicky Minaj, and Hot Boys (Juvenile, Mannie Fresh, Baby, Turk, BG). Cash Money isn’t an independent entity from what I understand, it’s a joint venture subsidiary of sorts as Roc A Fella, Death Row, Ruff Ryders etc were in the 90s. Cash Money are renowned for their vulgarity: jewellery, flaunting their riches, hypersexual imagery.
Roc Nation on the other hand is an administration company. It boasts a whole lot of affiliates and members but there are only a few signees. Wale is signed up to a Roc Nation management deal but he’s signed to MMG, Rick Ross’ joint venture with a major record label. Roc Nation’s artist roster covers a wider artistic spectrum having acts as diverse as J. Cole, to Chase & Status and The Ting Tings. There’s also a songwriting and talent development division and booking agency.
Roc Nation is a new business model within the ever evolving music industry, it’s a partnership between Shawn Carter and Live Nation. It’s also a no brainer to cut out all of the bureaucracy surrounding the artistry, the major record label, resulting in a great slice out of the meatier side of an artist -creative content. If an artist parts ways with their record label, they’ll still be able to fall back and earn with Roc Nation. The artist will still be able to record new material, collaborate and go on tour to maintain a buzz whilst negotiating the right distribution deal elsewhere.
If we compare this to YMCMB, we begin to notice that Brian ‘Baby’ Williams’ record label is in the midst of transition, it’s trying to diversify in order to survive. A lot of people question YMCMB’s recent signees Christina Milian, Busta Rhymes and most recently Limp Bizkit, but they fail to focus on the bigger picture. All three have had major success; Christina Milian has written tracks for J-Lo whose track Play went to Number 1 in numerous countries worldwide, Limp Bizkit already has a core fanbase of followers who will buy any new releases and concert tickets when it’s tour time, and Busta Rhymes is the feature man of the moment who seems to disappear every few years and come back with a hit, a new flow and sound which goes straight to the top of the charts -Busta also has been in the industry for nearly 20 years and is well ‘respected’.
In the context of the bigger picture, YMCMB are simply signing artists who’ve already got a proven track record, artists who could have sold out tours, number 1 records and feature hype revenue in comparison to Roc Nation who focus is on developing new emerging artists and finding them distribution deals with major record labels but also look after the creme de la creme of touring entertainers such as their recent signee Shakira. The reason why people have an issue with YMCMB moreso than Roc Nation is that they feel YMCMB is trying to sign everyone to spin a profit, as I once thought they were doing. I have ignorantly compared it to the final hours of Roc A Fella Records when Damon Dash did the same thing. What I once deemed ‘trying to find Jay-Z’s replacement and potential cash cow’ was simply what Birdman is doing.
As much as I can find a reason to justify YMCMB’s actions, even if it’s just a theory which puts my ignorance to rest, I can’t help but feel that this plan of rebranding its services through diversification may fail in some respect. I also wonder how long Drake will stay around before he defects to Roc Nation after a long spell out in the administory wilderness when he finally airs his grievances about the amount of artists he has to share the roster with and financing the revival dead rappers’ careers and Nicki Minaj’s outlandish tryhardery to outdo and become the black Lady GaGa -but little does she know she’ll always be three steps behind…
If you’re going to rebrand and diversify, start afresh or as they say in Rap ‘Go hard or go home‘ because you need people to take you seriously. That’s exactly the difference between Jay-Z and Baby. One is perceived as a business man and the other as a someone you can’t really take seriously although his business survival and diversification acumen speak for themselves.
Izzy Toshi a.k.a Magik Skillz is a producer/beatsmith from North London. I caught up with him in the midst of a major studio overhaul, a busy production and studio session schedule to talk all manner of things from rebranding himself Izzy Toshi to improvisation and musical infusion.
Izzy Toshi is a befitting name to this artist because his real name is Israel Omotosho, he’s a self taught pianist who was born and raised in Nigeria before moving to North London at the tender age of six. Izzy recalls that his first experiences of London were shock because London was densely populated, ‘They live too close together’, as opposed to back home where there was a fair amount of space between neighbours. A man of very few words, Izzy Toshi is a humble observer who chooses to express himself through music. I thought he’d object to becoming Izzy Toshi but once I explained to him that for a production and skill set so eclectic, he needed a name that would not only stand out but represent himself, his family and cultural history.
I met Izzy while studying a Fda Popular Musician degree at British Academy of New Music in London, where alumni include chart toppers Rita Ora and Ed Sheeran, so I’ve seen the progression in sound and skillset. He’s produced and remixed for UK artists Kasha Rae, Kristina Shashina, Tyme‘s Money and a whole host of artists from the African diaspora. He’s dabbled in a variety of genres across the musical spectrum from Afrobeat to Rap, House, R&B and Pop. Izzy Toshi is someone who stays open to experimentation so if your looking for a producer, remixer and beatsmith/collaborator, look no further.
Rihanna seems to have gone a bit doolally lately, which comes as no surprise once I realised that she was just happy to be filling Beyonce’s place on the pop throne. When we say fill, or I rather, it simply means keeping it warm. I’m not one to throw darts at artists or performers but vocally Rihanna isn’t a patch on Bey but she sure will be great at playing dress up. Although when it comes to the karaoke part I really hope she’s miming along to Beyonce’s vocals rather than singing the parts herself.
Could you imagine the torture?
I hear US troops extract information out of Al Qaeda, Taliban and every other ‘insurgent’ considered a national threat, by playing Rihanna acapellas. A sad state of affairs…
What do you think?
Is Rihanna cheekily trying to fill Beyonce’s spot [prematurely] because the whole ‘bad sexy wild slut chick’ isn’t in fashion or has she and her team of svengali’s finally run out of ideas to hide the fact that she’s not that great of a singer. After all, the ‘urban-amalgamation-techno-pop’ trend is coming to the end of its cycle right?
Lana’s a hottie. Lana’s got a nostalgic and cinematic voice. Lana hooked up with the right producer for the album. Lana’s album contained no tracks that I wanted to skip. Lana’s album was epic. Lana’s voice was accentuated by the soundscape. Lana did her own thing. Lana carved her own lane. Lana stuck two middle fingers up at the techno-urban-amalgamation-pop trend. Lana Del Rey has dropped an album that will result in every other vocalist following suit. Lana Del Rey I love your album and everyone who loves ‘genuine’ music loves your album. Lana I apologise for getting the album as a leak but we enjoyed it and I will buy the hardcopy because the album is epic. Lana I will buy a ticket to your show when you visit London. Lana I respect your artistry. Lana I love that you have made a work of art that plays out like a movie. Lana you embody nostalgia and cinematic music. Lana I admire the way that you allow the music to speak for itself and don’t distract the listener with shallow spectacles.
Lana I’m going to buy this on CD, I don’t buy CDs but one day I’m going to get you to sign it when we meet. Lana I understand that a lot of critics have written off your album but I think that in this day and age of hyperreality, people forget that it’s the music that matters and how it makes you feel. Lana people get it twisted probably because you’ve got no electronic arpeggios and dance club singles with the “oh ah oh” ad libs featuring punk mcs like Flo Rida and Pitbull. Lana they need to realise that you don’t need WillIAm with his fucked up hairdo to sell records, you’ve just got to be sincere, capture the right sentiments and people will always relate to it. Lana thank you for delivering such a great album, I apologise for not going into the specific highlights of the album but people reading this will only realise the reason once they listen to it… No words can articulate a sentiment, you’ve just got to put this album on and enjoy the movie.
It seems like eternity since she burst onto the scene with the ‘Get out/Leave’ song where she was out in the rain prancing about in a tracksuit but my oh my have the years flown by. After a long hiatus JoJo is back! No longer thirteen years old confined to a jail bait box she is ripe for the picking, she’s slender, she’s foxxxy, she’s also 21!!!… It’s peak times if I ever run into her cah she’s gonna get scooped up like vanilla Haagen-Daaz!
Beauty and smash factor fantasies aside, I love how she came back with the signature acoustic sound that showcases her vocal ability rather than jump on the techno-pop wave. For that I rate you highly because you’re back on your own terms catering to your core audience and the fans who’ve stuck by you from day one. I like that you’re providing a mature voice to those that like you have grown into adults too.
Foxxx Factor Rating: fx-TRILL (peak levels of smash-ability)
She also gets points for being the only artist to cover Amy Winehouse that hasn’t made me cringe. I love you JoJo, when you come to London I’ll have a Nando’s whole free bird card with your name on it. <3
I’ve found a new ‘favourite’ artist that I’ll be on the lookout for in 2012!
I was doing the sporadic twitter/soundcloud rounds when I come across this song Maybe I’ll Miss You. At first I didn’t think much of it, I slyly dismissed it but I got to the chorus and I was like “WHAT THE FUCK!? THIS IS A BANGER!”. It was there that I began to share it on my Tumblr blog whilst listening to it and sorta started writing a commentary in real-time. Since posting it I think I’ve listed to it a few dozen times. At first I didn’t know why I loved it so much but then I put my finger on it, she has an angelic vocal timbre similar to Ellie Goulding. It’s also the way Corinne layers her vocals, the harmonies, the ad libs -simply majestic, add that to her overall sound and song choice; an amalgamation of quirky, ‘booty shaking’, feet shuffling electronica (UK Garage), and a piano ballad with sprinkles of manipulated oscillators on a variety of modular, granular, and additive synths -reminiscent of my gaming excursions on Nintendogaming consoles in the late ’80s/early ’90s, it’s no wonder why I’m captivated by this particular song.
Corinne Shields’ Maybe I’ll Miss You has won a place ‘Up In My Ear‘ because she -with the help of a creative collaborator perhaps, has managed to capture the sentiment of nostalgia almost absolutely. Also befitting of the song title and subject matter -WELL-FUCKING-DONE!
Randomly seething through twitter/soundcloud before finding this. Flicked through it and fell in love with it. Not perfect but I’d love it because the chorus is sick and it reminds me of one of those video games, you know the travelling through space in a spaceship on a mission to rescue Zelda…
Pretty much wrote this as I’m listening and I’ve just heard the breakdown… The backing vocals, harmonies are on point. She’s looking for work as a writer so artists and producers get in touch.
The track continues to grow on me with every listen, by the time I got to this sentence I had actually began to listen through all the other tracks.
I’ve been admiring this lady from a distance and I can’t make up my mind, I’ve downloaded a few mixtapes from her but failed to listen because I haven’t been in the right frame of mind. I keep hearing a few bits and pieces but I haven’t heard the right track until this…
It’s on the same instrumental that Curren$y used for ‘Boarding pass’ and I think she does a pretty great job at sitting on it -minus the flange and modulation effects. I’m still waiting to hear the right set of songs from her but I love her voice and pronounciation -not so weird when you think about it- and the visuals are magnifique, another thing you gotta love about DD172.
