Bryn Morgan and the Power of Discipline

Photo by Dan Proctor at WORKINONIT

Inspiration is unreliable.

It’s an old adage but still pertinent. Especially in our short form, easily swiped content based world. Inspiration still has a place in an artist’s heart though. The key is to form and shape it into a discipline. The discipline of great creativity is no easy task but one artist who has found the key is Bryn Morgan. A long time supporter and stalwart in the scene, Bryn has crafted a sound of his own through his consistent, high quality videos and beat challenges. We sat with the British producer to find out more about his creative process.

So Bryn, you've just come off a 31 day stretch of beat-making called 'Jamuary'. How was this one for you?

It was actually really difficult, when I did a year long challenge (where I made a beat for every day of the year) it was easier to plan out. In terms of comparing the two; even though this January was over a much shorter period, the actual quality of the stuff that I've been trying to put out recently has a much higher ceiling. I tended to view this one as putting in 100% on each one everyday, whereas with the 365 one, I could kind of take some days at 50% or 75%. So yeah, it's been very interesting, quite challenging; but overall a really good experience.

Talking about the 365 one, I think that's an absolutely crazy achievement. You touched on how it differs, but are there any other major differences?

I think with the 365 challenge you kind of had to say 'Whatever I do on the day, that's what it was going to be.' Whereas with the January thing, I could refine it a little bit more. Purely because of the quantity of the 365 one. That's pretty much the main difference. With ‘Jamuary’, I can look at all 31 days and sort of plan how it's going to go? Whereas within a year, it's anyone's guess what will happen. So, that is the main difference.

Yeah you can kind of curate it a little bit more because you're not having to think 30, 60, 90 days ahead?

Hmm I think if I was to think about any further than the day ahead during the 365 one, I would've probably stopped because I could not manage that haha. It has to be just whatever I made that day. Just make a beat, put some found footage on it. That had to be the process. It taught me a lot about how getting something done is always better than perfect.

That's a really good point. How do you go about maintaining a level of inspiration or indeed, motivation, to keep going over these stretches?

I think just speaking personally, I tend to find that motivation comes and goes so quickly that you can't really rely on it as a concept. The way I see it you just gotta consistently pop yourself into your setup and just see what happens. You've got to put yourself in the frame of mind to achieve, and that applies to literally everything. Motivation is pretty much an irrelevance. Like I said, done is better than perfect. So yeah, that's what it's about for me. Putting yourself in frame to do something good. It might be good, it might be bad but that's okay. That's how you have to do these kinds of everyday creativity tasks. Also just to say, doing it over a week, doing it over a month, over a year; it really doesn't matter. It's no better to do it over a year than it is to do it over a week. Obviously it's a larger commitment but I think all credit to people that can do it over a week as well because it's the same kind of challenge.

I guess it's that the whole idea of discipline beats out motivation because, as you say, if you're putting yourself in a frame to express yourself and you stick to it; things are gonna come out.

Exactly. It's like when the lockdowns first started happening. Normally I'm sort of up and down on exercise and that sort of thing but when we started locking up I decided I'm just going to start exercising way more regularly. For me though, that is again about turning up. It doesn't have to be the best workout. It doesn't have to be the best thing you know? I think as musicians, we tend to strive for perfection in everything. Like the idea of 'The next thing I do is going to be the best thing that I do.' It doesn't necessarily have to always be that way. You're going to just naturally get better if you stick with it. It's a process, but it trends upwards usually. 

Why does this mode of concurrent creation appeal to you personally?

I think firstly it's about getting better. Not necessarily objectively, like you compare yourself to yourself. That's the best way to go. It's just better personally and if you're getting closer to the sound that you want, that is objectively better, right? It's not saying that the music's necessarily better or worse, but you are getting closer to your own personal goals. I feel like doing it this way (the everyday creativity kind of angle) helps with those personal goals because it takes away the ego. It removes those worries about whether this is a worthwhile post or anything like that. Before I did the 365 thing, I never really posted on social media consistently. I never really invested in my artist career consistently. I produced for people and all the usual musician things or whatever, but the massive thing that 365 process did for me was change what I think about putting yourself out there. It's done so much for me over the course of however many years that I do think it's a worthwhile pursuit. I'm not saying that social media is perfect or anything, but I do think it can be really good for linking you with loads of different people.

Do you have any further tips for producers that might want to do a similar kind of challenge?

I think for sure, before you step into it, you kind of have to take away all that ego about it being your best work and all that sort of stuff. Chances are it's not going to be due to the nature of you working on it in that sort of way. There is an outside chance, however, that it might be one of the best things that you've ever made or something that you're really happy with. Also, I'd say maybe set a time of day where you're going to be creating. For example before work or something like that. Fortunately I'm working at home at the moment, but say before work you were to set up and you made a quick beat or something like that. That would be the best way to do it. So say you do it at 8 o'clock every day, for example, that might help you as well. I mean, I personally didn't really follow that strictly, but I tended to find with the year long challenge that I was trending towards the evening time to make these things and put them out. So yeah, definitely keep yourself there with regularity. Maybe even cut down any outside distractions? As in any resistance to your creativity is going to have an impact on how you feel no matter how small it is. Even if it's just your laptop's a few feet away from you. Just tiny, little things like making sure your instruments are close or plugged in. If you sample making sure your MPD or your 404 is close by, it's got the samples already in etc. Just make it a nice workflow. It doesn't have to be tidy (I know mine sure isn't!) But it's just about creating the path of least resistance. That's going to help you because creativity is a very fragile operation so it's like you've got to get there as soon as you can really. I think that's the main thing.

So you were part of the lineup for Lo-Fi Fest in 2020. What was that like for you and what do you think it did for the community on the whole?

Firstly, it's a really unique kind of concept and I always give it up to the organisers for putting it on in the way that they did. It was really well executed. If I was to approach doing something like that, I would not know where to start, you know? The way that they managed artist liaising and all that sort of stuff was great. Obviously being in the middle of lockdowns, there was no way that I was doing any gigs for a long, long time. So in those terms, it was a really great experience and it did tie a lot of people together. I was very thankful for it when it came up and when I got the opportunity to do it.  I didn't know that was going to be quite as well attended as it was going to be. It was a really good turnout. Obviously there's some bigger names on the lineup and it's talked about a lot, but I did have a sense of this sort of imposter syndrome kind of thing. When I looked at it I had to ask do I really belong on this line up with all these other names you know? That's something you got to contend with as well. Maybe not a positive aspect of it, but it definitely exists. The way to maybe counter that is to say, well, just speaking for myself, I make good content and people seem to like it so why not? You know? Why not be on these kinds of things? Often I do feel like that when I get big opportunities or like love from bigger pages, that maybe it's come too soon, but I think you've got to try and put all those thoughts aside. I don't know how I've gotten to this weird tangent but yeah, it's definitely an aspect of this life ha.

I get you because I think sometimes support seems to come out of nowhere and you have to find a way to deal with it. I mean Lo-Fi Fest really speaks to your journey because despite having over 400 beats done with these challenges, you have relatively little recorded music out there. Your path seems to be paved with these live performances and videos. Is that a conscious choice when it comes to releasing music or has it just not been the right time?

I think it's a double sided kind of thing. On one hand, I've always been super conscious about what I've put out. This is gonna be a scoop haha, but when I was like 13/14  I used to put out folk music and that sort of thing. I was writing songs on the acoustic guitar and doing all that finger picking stuff. I don't know if there is a history of any of that online anymore but I had a decent following on SoundCloud then I kind of completely switched around. I think with the releases, part of it is I'm not the best promoter. I don't really like talking about my own work particularly either. So I think on that level there is kind of a limited output because sometimes I'm just a little blocked about sharing it. I mean, I see the recorded stuff as part of your legacy almost. That's what people are going to look back on, so I've got to make sure that the sort of quality is really high. That's what I feel anyway. I have set myself little goals with it though. Like last year I was gonna do a single every couple weeks or every month or something like that; but I just tended to find that people respond better to a really great single and a lot of auxiliary content around that. I think that seems to be the best way from my personal experience. As I've sort of started to touch on before, there's definitely a quality versus quantity conversation when it comes to this sort of stuff. Whereas on the social media side of things, it's actually about both in a way.

Yeah because once you've kind of hit a quality level, then you have to build on the quantity. It's not like releasing albums where you always feel like you have to top yourself every single time you know?

Yeah. I think as well it hit me as kind of part of the transitory phase. I was going between a few different kinds of ideas about what the music should be sounding like. So  if we're going to go through a little bit of a timeline, I went from the folk stuff then into being super influenced by people like James Blake, on the Electronic side of things. The early kind of EPs, you know?  I was always a lover of Hip-Hop I just didn't really make it that much. Hip-Hop is definitely the first genre that I got into under my own steam. It was just basically my choice to get into it and I got into it so, so hard. I guess it kind of speaks to an eclectic thing that I had going on. Then, the most recent change in all that, was starting to do vocals. That's the thing that the 365 gave back to me. I used to sing but I gave it up because I was focussed on production. I think that's another point to bring up as well. I've definitely also always been interested in helping other people to achieve what they want to achieve with their music, so producing for people is a really massive passion for me. I think it's probably as big as being an artist myself. I'd rather be someone that does both rather than just the one and I feel like if you do just the one, you have to really invest in that artist side. I tend to do what I do now which is floating between a few different areas of artistry.

I see what you're saying. It's a kind of amalgamation of your creative interest. In terms of influences or inspiration, who or what are some of your biggest ones?

I'd say absolutely, 100% my biggest influence out of anybody to ever make music is Stevie Wonder. I think he is like my guy in terms of everything that I look for in music. He has that kind of pop sensibility in that it's catchy and he creates ear worms, but he also has these crazy intense harmonies. He is both the influencer and the influenced at the same time. Stevie draws from Jazz, he draws from all these incredible black American music traditions as well as worldwide traditions. So I see him as the pinnacle of both production and songwriting. He could do it all fuck sakes haha. He can play the drums as well. He is that guy for real. I am also a massive David Bowie fan as well. I think he's one of them where I view him these days as an inspiration. As, really, a creative genius. If you looked at him at different periods in his career you could take him as a pop star, you could take him as a rock star, you can take him as all these things; but when you look back on the legacy of his career, it's very clear what he was. A creative genius showman. So, I think in terms of legacy and that sort of thing that's something that I draw from people like him. Also, of course, the whole SoulQuarians Collective is so massive in terms of a direct influence of what my music actually sounds like. I think directly that's where that comes from. So many records in their catalogue. It's just amazing. I don't really understand how those people could come together in such a way and everything just be so 100% in quality. I don't think there's a single album that came out of that era that falls down. I mean, there's nothing. It's a 100% stellar record of achievements. I think if there's anyone else specifically it's probably J Dilla. Obviously, how can you not give up? There's just no one that does it like him. I think it's easy to kind of say, oh 'J Dilla changed my life' and all this sort of stuff and absolutely, I feel that way, but I'm also like, sometimes I can't hear his influence in people’s music whatsoever. So I don't know why you use his name? Maybe as some sort of cultural currency? I think sometimes that happens with him.

I think with Dilla specifically, people pick an aspect of him to focus on?  If you listen to the whole catalogue of his work, he's got so much variety in sound and themes. He did music for all feelings and scenarios. You can't just pick and choose what he was. You need to take it as a whole.

Absolutely. My favourite, standout records like, Welcome to Detroit, Fan-tastic vol.2, are some of the best produced Hip-Hop albums ever. Things like Welcome to Detroit he's moving in a direction where the subject matter was still very much about his environment and everything. I think that can be difficult to understand for some people coming from a purely Lo-Fi background. I mean, let's be honest about the Lo-Fi community and it's demographics, they tend to trend in a certain direction. It's not necessarily people that had the same experience as Dilla growing up. I think you need to have a completely unbiased view of what he's doing and I think if you are someone that would discredit his subject matter but also elevate his production you're not understanding the man as a whole. I feel it's important to understand your influences as much as possible. If you count them as an influence, I think you have to be almost forensic about how you study the person and their art. There’s a whole load of music I love, but it takes a special coming together of factors and a knowledge of the artist outside of purely their music to be truly influenced by them. It’s sacred.

So coming back to your musical process again, what is your general process when it comes to making a beat? I know you vocal quite a lot your beats, does that process differ? Is it a different kind of creative process? How does it work for you?

Hmm I think there's a few ways to approach making a beat whereas if I'm writing songs, I tend to stick to quite a traditional kind of writing process? I'll have an instrument, my voice and a notepad or whatever, write that way and then try and translate that idea into a workstation or whatever I'm using. So I do view myself kind of as a traditional songwriter in that respect. Also to write with somebody else you kind of have to do it that way because if you just come with full beats ready to go, it can be quite overwhelming. Like all the elements are there and you have to then step up as well. Whereas when you're working at building something together, there's a bit more of a chemistry. No disrespect to people who do this that other way. It's fine but if I have like a three minute thing sitting in front of me and I'll have no idea about where to even start writing for it. I feel like you need to almost build the lyrics with the instrumental. I'll tend to already start thinking about what I'm going to be writing before I put all the elements down. I mean, obviously, that's a lot easier if you're talking about a lot more short form content as opposed to like a three minute song. With more instrumentals or beat style stuff. Like I said, there's a few ways to run it. Oftentimes if I'm doing some sampling or something like that; I'll chop up the sample and start playing around with that first. Then I'll come up with some drums. Then I'll probably get rid of the chops, then I'll put some new chops over it that work a bit better with the groove. I think that's an underrated part of creating. That is, the importance of drums. I just think without a good drum track, your track's basically not gonna be where you want it to be ever. I think that has a lot to do with all sorts of nitty gritty stuff that you wouldn't even really think about. Even playing chops. You've got to kind of mix your chops in with the rhythm. It's got to be intertwined in the same way as vocals and guitar. Those are the two core tenants of sample based Hip-Hop, so you've got to come right and play with the groove, be in there with the groove. I don't really see it as something that you can just add on.

I feel you. You're also really passionate about video production. What's so attractive to you about video production?

Well, my girlfriend Olivia is someone that does a lot of creative direction and that sort of thing, so she's been a super big influence. With visuals it's almost like unlocking my visual creativity if that makes sense? Everything I do now is all me but I used to be so sort of tunnel visioned on how I wanted music to sound and that sort of thing. I was like, 'Well, if the music's good people are going to come.' But unfortunately I have to be a little bit more cynical sometimes. Not saying I don't enjoy making videos in the way that I do, but I think you have to recognise that there is a lot of potential there in the visual medium. You can tell a story through it as well as the music. If you miss out on that you aren't maximising your potential basically. I'm not even talking about doing necessarily what I do. Where I'm trying to constantly spin things on its head, like trippy edits or something like that. I'm even talking about live performances in general. So if you just got the SP I think that's tried and true. That works. For me I always felt like oh, I don't have an SP and I don't really go for that kind of mainline way of doing things? If you look at beat making hashtags, for example, 99% of the stuff that's on there is probably going to be with an SP. I think it's such a staple. I think there's a lot more good than bad and I think they're great bits of kit as well; but obviously it can start to look from the outside view, a little bit samey? So yeah,  I sort of saw that and thought there was potential to do what I do on the MPD. I tend to use that for all the sampled videos and there's quite a big amount of real estate on that machine, in terms of pads and people seeing the chops. I think the SP is great for those kinds of videos where you play around with effects because it has those great inbuilt effects and it's so cool to watch people go to town on it. But I like to see someone re-contextualize a sample into chops. I think that is a massive part of why I do any of the sample based stuff because I'm such a firm believer in how cool it is that you can take someone else's recording and completely flip it on its head. You can make it into something completely new. I think that's so important with sampling that you're not trying to emulate what they've already done. You want to do something completely different with it. I think we all know some sampling habits where people just kind of just stick a loop on. There's nothing wrong with that necessarily but if you're relying on that all the time, I think that can get a little bit samey too.

So, to tie this all in, I think visuals for me are so important to push out from a lot of the other content that's around at the moment. On a very almost cynical level.  But also, I really  do enjoy testing what I can do with these visuals and seeing how I can make something unique. Like it's got me places as well, it's got me things I don't think I would have got otherwise if I didn't consider where the visual is gonna go. I've been supported heavily by LOFI VIBE, I’ve been doing some work for Slate Digital on some drum sample packs. I'm not talking about that just to blow my own horn but I'm trying to basically preach to people that the right visuals can be so crucial for what you do. Just in terms of the packaging. We live in quite a short attention span age. I mean, this has been talked about to death, but the kind of swipe culture we live in; as good as you music probably is, if it's not visually interesting sometimes people just won't give it a second look. I think that is definitely a massive part of the whole conversation we could be having about music in general and where it's going but I think my way of expressing that kind of zeitgeist is by doing stuff that is visually interesting. Then I can have a bit more of a slow burn on the music side.

Yeah, it's almost like you could have the opinions about the industry and about how things are going culturally; but if you're an artist you should invest some time on thinking about your 'packaging' because if you want it to break outside of other producers or your small circle of friends, you do need to think about that thing.

I think that's an absolutely crucial point as well. I think sometimes we do need to think outside of the box of the community because it's great that we all support each other but sometimes there's a limited number of listeners there as opposed to the wider world. I think there's a lot of stuff you can do that is interesting to people without straying too far from authenticity . I mean, there's so many quick little content things that people come up with these days online. After a while they can go from novel, to obvious marketing in a very, very inauthentic way to me.  I think generally that's when conversations about authenticity can start to happen. People following trends isn't new; but at the end of the day you're building a mountain of dirt because no one actually knows what your music sounds like. They know your viral sounds and things like that,  but they don't know you. You haven't built up anything in terms of a relationship between them. A lecturer at my uni said  'Overnight success leaves as quick as it comes.' So that's always something that's really stuck with me. But yeah you kinda have to be there everyday and work out how to find your unique visual voice without straying into trend chasing.

So you are also the co-founder of Tape-a-Day, which is a record label. Could you explain a little bit about the label and where it came from? What's Tape-a-Day's purpose in the landscape?

Yeah I think that's a really important conversation to be happening actually. In terms of purpose because I think there's a lot of good points you could say about the purpose of record labels in general but I think their use is definitely starting to wane. From Tape-a-Day's perspective, it started out on a sort of extreme independent level. It started essentially as a uni project. The idea then evolved from the perspective that the UK scene had always been relatively light in terms of having an almost centralised community and we wanted to help support and represent that. Compared to 2016(when we started), things have moved in different directions, but we still think that's super important that we are giving people a chance to express themselves in the way that they want to and supporting where they might need help. Maybe they're weaker on the visuals so we’d prop that up with something that helps, you know? The idea is to build and support what an artist is already doing rather than changing them to fit a mould. It's almost about putting that little bit of sheen on it. Like we said before, visuals have always been super important to me, personally and I had a sort of visual awakening, if you like. I saw how important they were and if that's what's stopping you releasing that classic album; we are here to help put that sheen on so it has the best chance out in the world. So I just think it’s about giving projects a little bit of light and love in some ways. I think that's just the purpose of labels generally. Some labels can stray into being all about the money or power but what it should be about is lifting the art a little bit. Just adding that 5% or 10% in marginal gains can make a release into something that looks a little bit more legitimate to the outside viewer.

You mentioned how long Tape-a-Day has been around, so what are some of the major changes or differences in the scene you have noticed?

I think the main change since it was founded has been Spotify. I think that is absolutely the major difference from 2016. Back then people that made Hip-Hop instrumentals and beats, didn't go to Spotify. There's no reason for it. It was all based on SoundCloud.  Maybe if you had something that did really well on SoundCloud, you'd consider maybe doing the Spotify thing? I think the barrier to entry of releasing music was broken down by that culture, but now it's kind of built up again in a weird way? I mean you can still fairly freely and easily put your music on Spotify, but there's this thing I've been worried about for a while with the whole playlist thing. I think there's a real discussion to be had there. I think it's really transformed into a measuring contest. The irony of that though is that in the long term, in the grand scheme of things those playlists numbers are largely irrelevant. Especially if no one's listening to what you actually did. You may have millions of listeners but how many can you count as fans? It feels like it's fortified as a background music type of thing.

Yeah it's the idea that you've got 2 million listeners, but how many fans? You can see the reason why people may chase or extol the numbers and it is nice to feel validated. It's nice to have that many people listening but are they true fans? Probably not.  It's probably a percentage of them. Not 100% but a percentage.

I don't want to come off like I'm being particularly salty about streaming because a million plays is still an achievement for the individual, but I've remained very clear and consistent about my views on Spotify/streaming. For example I don't post my Wrapped because I feel it's exploitative, free marketing. It's a conscious decision not to publicise because I don't agree with basically giving Spotify free marketing. You know you have the biggest music company in the world and I don't want to give them free positive PR for no reason. Basically I think they don't deserve it. We're all sort of victims of it whilst also being beneficiaries in a way. But I think this race of how many plays you can get, especially considering that they pay so little, begs the question; what does it actually even mean? I mean if you've got millions of plays, and you were being paid fairly, there's a definite legitimate argument there for saying it's worth pursuing; but there's been a lot of exploitation of the culture. It's been getting to the point where all we care about is numbers and what playlists you're on and all that. Again, I don't want to say that it's not an achievement because getting a million plays on Spotify is not easy. I'm not saying it's not something you should be proud of but don't lose sight of why you make music in the first place. The pursuit of being an artist is sometimes quite self indulgent, really. It's a great form of self expression but the whole game came be quite self indulgent too, so you need to have a really strong feeling about why the fuck you're doing it in the first place. Otherwise what's the point?

It's so interesting that you mentioned that because the priority for The Crackle has always been to bring the stories of the producers in the community to the foreground. During our editorial lifetime Spotify has emerged and sort of forced the artists back behind the curtain so to speak. That works to their favour though and to other outlets that want to exploit the scene or the sound for quick financial gain. The listeners are far less likely to withdraw support if the artists are kept at arm's length.

I think that's absolutely absolutely correct. I've seen an insane example on someone's story or something, of an album where it was just one song that was split into seconds long tracks! This was solely to gain the most plays possible. That is absolutely the most commercial, cynical bullshit I've ever heard in my entire life! Shackle a bunch of loops together and call it a day. Again, I want to make it clear that I'm not saying that loops aren't a legitimate way to create or it's not an achievement to get these plays for the individual, but when you see stuff like that you have to question the legitimacy of supporting platforms that allow that.

Who are some artists within the community that you think people should be checking out?

Hmm so thinking about this I find myself instantly thinking who comes up on my feed the most? I mean, it's such a weird way to think about music if you actually break it down. Honestly, I've been kind of out of contact with the community for a while because I've been working with specific musicians rather than necessarily beat makers? I'm not saying that as any disrespect to anyone in the community, but that's my job at the moment. So in terms of specific names June Jissle has been killing it. I just think he's got a really interesting visual style. There's also Joshua Bryant (josh2800). He's great. I just think the videos that he does are just amazing. I mean, the music is amazing, but the edits are great. Of course, Leem Lizzy also. I honestly can't speak enough about how much he's supported me. He's my senior in terms of age and he knows so much about everything musical. I came to him as a fan and then one time I worked with him, and it's grown from there. So it's been crazy in terms of having that transition from fan to collaborator. Leem is just someone that is really just into what he does. I've recommended his music to so many people and it's weird to then go on to work with somebody like that. That you respect so much. I think he deserves to be up there with the founders of this scene. Up with people like Stln Drms for example. That whole community in the Georgia area is just crazy. There’s too many to name on the whole but people like, Dave Powell, Relyae, Ben Swissa. Also some people I’ve worked with recently like Amanda Barise, Imad Coulibaly and Henrique Herrera from off the top of my head.

I think that relationship with Leem encapsulates exactly what I think people miss about this community. If you're an outsider looking in, you'd think you and Leem wouldn't necessarily work together but your combined passions and love for it, actually make you a perfect fit. You're both very individual. You both have your own sound and style. You're both great scholars of music in different areas. What we love about this community is two very disparate peoples, can become friends and can eventually become collaborators because they share that same spirit. You know what I mean?

Yeah, exactly. As much as people talk about the evils of social media and that sort of thing, but at the end of the day, half or maybe even closer to 75% of the stuff that I've ever done wouldn't really be possible without social media as a facilitator. Especially during times of lockdown. The internet and social media as a whole kind of has allowed us to open up and expand in loads of crazy, different ways. You could probably say you've worked with someone from every continent at this point. You wouldn't be able to say that even 10 years ago. You wouldn't necessarily be able to ever say that, unless you are someone that really sought that out as a creative person.

What is next for Bryn Morgan? What can we expect from you next?

Well, I'm going to continue doing all these videos. That's going to keep rolling as we go on, but definitely gonna be trying to think of a way to focus a little more on the singles and releases. Just a bit more of a concentrated output or maybe a bit more focus on where it's going. I want to try and put out a proper project at some point soon too. Like do everything that I've always wanted to do in terms of a visual and auditory narrative. I've always been big about that. There've been countless times in the past where I think about something a little bit more grand and I sort of falter but now I'm in a much more confident place with socials and everything, so hopefully that means I can utilise that space. I'm not saying I'm going to go Hollywood or anything like that haha! I'm just saying seeing the output be so well received makes you realise that people believe in you and gives you the confidence to go for it. Also I'll hopefully be doing a whole lot more production for others and remixes. I've had a lot of fun doing that with people from all sorts of disparate genres from Jazz to Pop, so I'm excited to continue that also.

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