Interview: Kate Davis

Portland-based, Kate Davis, opened her heart to music at age five when she touched a violin for the first time. The rest is history. Her debut, indie-rock record, Trophy, is a testament to her pure adoration for music, both the musical process and what it offers you as a human. Trophy will be released November 8th. Below, Kate discusses what music has and will always mean to her, including the incredibly beautiful vulnerability that writing and releasing music offers.



MFL: From what I have read, music has been a mainstay in your life from the moment you could pick up an instrument to play it. Has your relationship with music changed or oscillated at all over time and if so, how?

Kate Davis (KD): My relationship with music has always been solid. It’s the anchor which everything else in life revolves around. The most difficult time in my life musically was when I was still finding my artist voice. I was developing as a writer and was involved in musical projects that didn’t; resonate. It’s really hard to sing and play music that doesn’t feel right or reflect your POV. I’m fortunate now that the music I listen to for fun and the music I make lives within the same world. There is true balance in life… 🙂


MFL: When did the thought of creating your own record cross your mind and when did it start to become a reality?

 KD: I had been trying to make my own record for YEARS. When I was a kid I recorded a lot with my dad who was a hobbyist engineer. Mostly dorky and obscure jazz standards. Post college I was tangled up in some funky career stuff that made it impossible for me to record or release any of my own songs. Because of this I laid low and wrote until I felt like I had the right material. I looked for the right people to make the music with and finally, in 2017, I was able to record an album that I was very proud of. It took a long time, but I am grateful to have had all of the life experiences and obstacles that ultimately shaped this record (and myself) into where we’re at now!


MFL: Where did you grow up and did that have any influence on your musical upbringings?

 KD: I was lucky to have been relocated to a suburb of Portland, OR as a 10 year old. I was a young violin player and played in an amazing youth orchestra called PYP. My high school had a very good music program, and I had mentors in PDX who encouraged and hired me to play around town as a bass player and singer. I had so much playing opportunity and kind teachers always suggesting new music to learn and listen to. I was exposed to all different genres and was able to develop a very individualized ear. Portland is such a nurturing arts town that I was able to thrive musically as a teenager. I have a lot of gratitude for the teachers who helped me along the way.


MFL: What is the story behind the title of your debut album, Trophy?

 KD: The album title comes from the song, “Trophy.” The song felt different from the rest – a strange departure from my existing songs. When I was recording the album, “Trophy” took on a life of its own. The album’s producer, Tim Bright, and I really ran with it. Having had to wait so long to make my debut album, the triumphant feeling of completing something after so many years really aligned with the songs themes. It’s a dark perspective on doing whatever it takes to win or possess something, but I do have a deep sense of pride for being able to reemerge with a record that feels so personal and deliberate.


MFL: I dance and choreograph and there is a certain level of vulnerability that comes with sharing something that has come from within you. Where do you stand with this as a musician, especially now that you are releasing your own record?

 KD: I feel vulnerable when I write a song and it exists as a skeleton. Being able to produce these songs, live with them for some time, and make intentional moves towards completion can shift that feeling into empowerment. I am so used to people wanting me to do something else that I have worked on tuning out the critics. I make stuff and there’s no reason to feel bashful or deterred from doing so. These songs tell stories through my own perspective – some of the experiences are not ones I have lived. But at a certain point you set them free. They take on lives of their own and you move on. I think vulnerability keeps you focused and dedicated which can only lead to meaningful work. It’s a part of the process but I have learned to embrace its shape shifting.


MFL: Who were some of the most influential musicians to you as you were growing up and do you still find yourself inspired by their music?

 KD: When I was a kid I was obsessed with classical music. There are composers like Mahler, Brahms, Barber, and Vaughan Williams, that I still return to for inspiration. In high school I was deeply moved by the flexibility of the great jazz singers, but at the same time was inspired by the songwriting of Emily Haines and Annie Clark. In college I discovered Jeff Buckley and didn’t talk to anyone for two months. All of the music I have loved throughout my life are still great loves. My taste in music has never changed. I go back to all of my early influences often to remind myself why I love music. I discover new favorites all the time and have a feeling that like everything else I’ve picked up over the years, I’ll hold on to these too, forever.


MFL: Your album comes out in a little over a month. What kind of feelings or thoughts are bouncing around in your head as release date gets closer?

 KD: I feel so liberated letting this music out into the world – song by song. I have waited so long for this. It gives me satisfaction and a buzz knowing that I get to keep writing and recording. I live for this experience.


Thanks to Kate for diving into my interview questions and to Solitaire Recordings for facilitating. Follow Kate Davis on Spotify, Facebook, Instagram and her official website

Upcoming Tour Dates


Interview: Neuroscientist and musician, Glutenhead

Toronto-based musician and student of neuroscientist, Ben Shapiro, is stretching, warping and reinventing music in a way that has led to the birth of his first record, Glugen Frau. The record is out now and Glutenhead will be performing October 18th in Toronto at Sneaky Dee’s. We discussed everything from how the phrase “glugen frau” spanned music and the mind to influence the creation of the record, to how his study of neuroscience influences his music.



MFL: Looking back at the moment when the phrase, “Glugen Frau”, came to you originally, and the following years: when did that phrase and music come together as one to create your debut record?

 Ben Shapiro (BS): I had already begun writing the songs before Glugen Frau materialized to wrap it all together conceptually. The songs are dreams, in both senses of the word. On one hand, they are made to mimic the subjective quality of  dreams – off kilter, hazy, disjointed, impressionistic. On the other, they represent latent desires for the future, echoes of cries to the future to bring answers. The album is about the looseness of meaning and comprehension, how words and concepts can drift in and out of understanding, flowing from comprehensible to incomprehensible seamlessly. The memory of that phrase – Glugen Frau – had bounced around in my mind for ages and I just had a strange urge to look up if it had any concrete meaning in the real world this past winter. I found out that it roughly translates to “Glimmering Woman”, a fact that I find fascinating. To me, the idea of a Glimmering Woman captures all that I was writing about. It’s loosely comprehensible, yet also a dream, an ideal. It also contains so many meanings wrapped up in itself that as soon as you try to unpack them, you lose your way. It kind of all just snapped together.


MFL: Who else is part of Glutenhead and how did they get involved?

 BS: Technically, Glutenhead has been a solo project so far. That isn’t to say that there have been a ton of hands on it, and I truly cannot take the credit for what it has become. I live in a house called “Casa Del Crusto”, which is also where my studio is. It’s a big Victorian home in the middle of downtown that’s seen some better (and worse) days, and there’s constantly people coming in and out all the time. The character of the place and the people who surround it really bled into Glugen Frau, literally and figuratively. August Kay’s gorgeous cover artwork captures the aesthetic of the album so perfectly and is one of my favourite parts of the whole piece of work. My friend and roommate, Rachel Asevicius, is the angelic voice on “how it feels” and “Ambient Love”. I was looking for a sweeter vocal sound and just had her come into the studio one day and told her to go for it. What you hear on the album is pretty much the first take from that, she really killed it. And Griffin Pickel’s mastering brought the whole thing to life, he is truly talented. And that is only a fraction, it goes on – from all of the people who lent me their ears throughout the process, inspired me with ideas and friendship, helped me with everything from press to videos to pictures to conversations. I better stop here or else I’ll never stop.


MFL: Everyone has a unique answer to this question but for you, when and how did you know the record was finished and ready for release?

BS: I had been working on the songs for a long time, and at some point I realized that I needed to get organized or else it was never gonna come out. I made a list of all of the songs that I wanted on the record, wrapped them all up in the conceptual framework for the album to tie them together, and put notes on what specifically needed to be accomplished for each track to be considered done. From there, it was as simple as checking off the list of items for each track that I felt needed to be done. Once I got there, I sent it off to a whole bunch of trusted ears for some feedback and then it was out of my hands. I’d probably still be tweaking away now if I never did that. I’m glad that I got it out when I did so that I can start developing Glutenhead off of that base.


MFL: Where has the release of this record taken you both within and outside of your musical life?

 BS: The process of creating a record is such a wonderful experience. It’s like taking an auditory photograph, storing a segment of time in this thing that can then be re-lived whenever you listen to it. That being said, finishing an album feels like wrapping up a chapter, both musically and in life. I feel like I can now move on to explore what other directions I can take Glutenhead as a project and as a sound. I got to meet such great people through collaborating on this thing and I’m so excited to continue watering those relationships so they can keep blooming. This release has taught me the immense value of collaboration and working with others, a lesson that is bound to be fruitful moving forward. A record is a village.


 MFL: Along those lines, as you listen to Glugen Frau now, is there anything about the record you would like to change?

 BS: I’m pretty happy with how Glugen Frau came out, as a document of this moment in time and the state of things that I’ve been seeing. I don’t think I’d change much. Except maybe some more yelling on the track “A Torch”. The other day, I was listening to it and I thought, “I kinda wish I was yelling on this song”. I like the idea that this album will always exist as it does for myself and others to come back to, a time capsule of this space, how it is right now.

MFL: You talk a lot about the merging of neuroscience and your music. What does this merger do you for you as a musician?

 BS: Sometimes it can be really useful, and other times it can kind of get in the way. I sometimes find myself caught in thinking about low level constructs like how to tease and reward, play with familiarity, memory, attention, etc. Thinking about those things too much can get in the way of creative expression, so I have to be careful and try to, as much as I can, just let the music write itself.


MFL: Finally, what is next for Glutenhead?

 BS: I’ve already got some new material in the works, and it’s definitely a development on what is on Glugen Frau. I think I’m making the best stuff that I’ve ever made. Also have got a live band together and we’re rehearsing for our debut live show in Toronto at the legendary Sneaky Dees on October 18. This is going to be an exciting year, I think, for anyone who is intrigued by Glugen Frau. I’m just happy to be making things.


Big thanks to Ben for working with me on this interview! Follow him on his official website, Spotify, Bandcamp, Instagram and Facebook. You can find tickets to their upcoming show on October 18th here!

Interview: Jonathan Something

I do love music. I know that much. Something else I know is that it is not everyday that I hear a song (or in this case multiple songs from the same artist) that one after the next, stop me in my tracks. That, “Who is this and how have I not heard it yet?!” moment. Brooklyn, Connecticut-born Jonathan Something snagged my ears immediately. Yep, both ears. The first track I heard was “Heartbreaker.” Equal parts soulful and cynical, “Heartbreaker” features Jonathan Something’s insane ability to write crazily catchy tunes both lyrically and instrumentally. Somehow, he found time in his songwriting frenzy to answer a few questions I threw at him. Check it out:



MFL: It seems like you unashamedly have the best time creating music wrought in satire. How did this become the kind of music you felt comfortable settling into?

Jonathan Something (JS): I think my writing style spawned out of an inability to take anything or even myself particularly seriously. I like music where the writer’s personality is palpable within the writing or even within the sonic palette and I think my personality is most importantly linked to my sense of humor.

MFL: Your debut album, Outlandish Poetica, was released in 2018. Clearly much has happened musically since then, although 2018 was just yesterday. If you were to recap the time since that release in one sentence, what would it be?

JS: It’s been an eye opening ¾ of a year.

MFL: Where do you pull your lyrical material from and what does that writing process look like for you?

JS: Usually all over the place. Sometimes biblical, other times personal, most times my ass.

MFL: When do you feel the most creative and how do you harness that creativity?

JS: Ironically enough I find inspiration striking most when driving in the car listening to music other than my own. Something about having all my senses on full alert jump-starts my brain.

MFL: You very clearly have a knack for meshing your lyrical AND instrumental capabilities. What is the origin of these skills and how have these skills developed with time?

JS: It’s easy when it’s basically all you do with your free time. Instrumental capabilities came from necessity more than anything else. I’m not much of socialite so I don’t have a deep well of capable musicians I could call on to come play on my records. I had to get good enough to get by on most instruments. As far as lyrics go, unless you’re some well read natural born poet, you’ve just got write a lot of sh*t lyrics, have some self awareness, really know your tastes and eventually it starts sort of making sense some of the time and the rest of the time you’re stressed out with a killer guitar lick but nowhere to go.

MFL: Rewind to age 17. What role did music have at that time during your life?

JS: I was on my way to college to study music production. Didn’t quite pan out how I dreamed it would. Was making more electronic music at the time. Had only finished a handful of songs at that point.

MFL: Is there any one song that you have written thus far that you feel embodies what you do as a musician? If so, why?
JS: It’s difficult to pin down to one song because I don’t plan on keeping the same sound around for too long. I’d say my first album embodies me holistically because I originally released it as scrap material placing little confidence in it but apparently people saw more in it than I did in myself.


Special thanks to Dan Rutman at Solitaire Recordings for coordinating and JS himself for participating! Follow JS on Facebook, Spotify and Instagram.

Latest single from Terence Jack: “Found It”

Terence Jack and his band are back with a new sound for 2019. Their same captivating and insanely catchy energy is now wrapped in a more electronic fashion; reinvented. “Found It” was released earlier this year and is the first single off of the upcoming album titled, Bloom. TJ’s grounded voice is flushed out with lovely harmonies and instrumentals that build as the song progresses. The track reflects on TJ’s awareness that throughout the journey in life in which we are trying to find ourselves, sometimes we already have. And, acknowledging those times in which you become a “stranger” to yourself due to whatever ragged form life has put you in, that you can find the strength and wherewithal within yourself to come out on the other side.



About the track, TJ shared with me:

“‘Found It’ started with a drum loop I made on an OP1, a small portable synthesizer / sampler. I sort of belted “two strangers” as the first thing that came to mind with the loop blasting in my home studio. From there I had the verse ideas and brought them into the studio with the producer and long time friend Daniel Klenner. We built on it from there. This was one of those songs that got us up out of our chairs during the “aha” moments. I’m really pleased to have written my first positive happy song in a while. It’s harder to do for me.”

Listen to the new single and more on all your favorite streaming platforms and follow TJ on his official website. AND, if you want more, check out an interview I got to do with TJ last year before he passed through Montana.

Interview: London’s, ONUR

ONUR’s music is instantly captivating. It’s complex and layered, driven by sexy, dance-heavy beats and shimmers with a young energy that was also palpable in his answers to my interview questions. London-based currently and highly inspired, ONUR is off to an insane start as a musician, already playing sold out shows after the release of his debut EP, A Millennial RhapsodyCheck out our discussion below and be sure to keep up with him as he’s got “an absolutely hefty pile of music” he is finishing up now!



MFL: A Millennial Rhapsody has three bold and unique tracks. How and when did you know that these were the three tracks you wanted to represent your debut EP?

ONUR: They all represented different facets of my life, in the most me way music could.
Each of them also pushed my production and songwriting capabilities, and I think they stand as three incredibly great tracks.

It’s weird, like you just know… I can’t really describe it, other than, it just made so much sense at the time.

MFL: What sort of feedback have you received for A Millennial Rhapsody and has the release of the EP lead to any shows this past spring and current summer?

ONUR: I mean, the feedback has been amazing so far, from critics and regular listeners alike.
After playing a sold out EP launch, I had about 6 more shows lined up. They were all packed, some even sold out. That was an insane feeling, given that I’m not anywhere near stardom yet haha.

I’ve got two Sofar Sounds gigs coming up and a couple more venues to be confirmed by August for the start of the new semester, but that’s about it on the gig front for now! If you follow my Spotify page, my gigs get updated regularly!


MFL: You mention that you grew up in a white middle class school and stuck out because you were of a different ethnic background. Where is your family from and how do you feel your ethnic origins influenced your music?

ONUR: My family is Turkish. So you can imagine I’m the abomination of the family, gone in to do music with my life haha.

I don’t really think my ethnic origins have affected my music in such an obvious way. I was born and raised in England, therefore most of the culture I’m drawn to is British. But I’m naturally drawn to more haunting sounding things and music with minor melodies, I think there could be a link between the melancholy that Turkish music has, which is a mixture of Arabic, flamenco, western traditional and so many other genres. As opposed to the more happy melodies you hear in Brit pop.

MFL: Do you recall any particular moment in your life when you knew music was going to be part of it?

ONUR: Honestly, not really hahaha.

It was ALWAYS there. My mum distilled a love for art in me from such a young age that I couldn’t pin point a particular time in which I knew music would be a part of it. However, after I wrote my first ever good song around the age of 18, I decided that I actually might have a chance at this professionally.

MFL: Who have you collaborated with for mixing and recording and how did these collaborations begin?

ONUR: Well the entirety of my last EP I collaborated with an extremely talented producer/writer called LJ. He initially started following me because of a Sofar Sounds gig I did a while ago, but because he kept popping up in my stories on Insta, I did some digging, only to find a link to his Soundcloud. After hearing the first song on there, I DM’ed him and we pretty much hit it off straight away.

MFL: How did the remix of “Beamin” come about and how do you feel about having one of your tracks remixed?

ONUR: Haha it’s funny, a lot of my mates are also music producers, so usually I’m really hesitant to give them anything cuz I don’t want them to do a better job at producing my song than me haha.

But of course it’s very humbling that someone would actually spend time doing that. So I’m very grateful for it.

MFL: Are there any musicians or albums that you could say are the “soundtrack” to your summer?

ONUR: Hmmmm, not any album in particular no. I don’t listen to new music that much haha.

I pretty much listen to obscure electronic music, or flamenco if I’m not listening to more commercial stuff. But I’ll always go back to my favourite albums :

D’Angelo – Voodoo
Disclosure – Caracal
Prince – Purple Rain
Justin Timberlake – FutureSex/LoveSounds

MFL: Finally, what have you been up to since the release of the EP and what is in the pipeline?

ONUR: I’ve been gigging!
I’ve played a few shows so far with my band, and a lot more to be played, I’ve got two Sofar Sounds gigs coming up and a couple more live gigs to be announced (follow the insta @onursevigen to find out more 😉)

I’ve got an absolute hefty pile of new music that I’m just trying to finish up at the moment. All I know, is that my trajectory has been straight up so far, and I plan to keep it that way. So the next releases have to be as good, if not better than my previous releases.


Big thanks to ONUR for taking the time to dig into my questions! Keep track of him on Facebook, Spotify and Instagram!

Interview: Rachael Cardiello of ZINNIA

The moment “Bullets” hit my ears, I knew I was going need more. More information, more music. An explanation. Zinnia‘s commanding vocals soar flawlessly above a stunning blend of folk and mellow pop/electronic. For some reason, this song struck a chord with me. I dug a little deeper and learned that the song was written a few years ago in my home state of Montana, adding another layer of depth. Lucky for me, I was able to ask Rachael Cardiello, the woman behind Zinnia, how, what, where and why. Check out the single, “Bullets”, off of her upcoming debut album, Sensations in Two Dot and read more about it all below:



MFL: Where are you from originally and how did your life land you in Toronto?

Rachael Cardiello (RC): I grew up in Helena, Montana and moved to Victoria, BC  to study classical music when I was seventeen. What I had thought would be a four year stint in Canada just kept extending – I fell in love and eventually my partner and I  took root in Toronto which has been a very inspiring homebase. I’ve been lucky to collaborate, tour and record with some truly sensational artists here and find the energy of this massive, multicultural centre very exciting.

My heart will always lie in the mountains though. I don’t think I could be a full time city kid without a solid dose of Montana every so often.


MFL: When did music become part of your life and has its role in your life changed over time?

RC: Oh jeeze, music just seems to have been part of everything forever. Feel like I could get rambly here.

Creativity was a constant in my childhood – our house was always strewn with instruments and art supplies. I was equally involved in dance, visual art and music but gradually music took precedence. In high school music began to split between a formal education and a very personal emotional-outlet. One had me me playing in the symphony, competing in concerto competitions, and earning scholarships to University – while the other had me pouring my heart into songwriting – spending hours alone with the piano –  as a way to understand some difficult things happening in my life. The following years came with such destabilizing chaos – I lost my father and wrestled with severe mental illness. I’m not sure how I would have gotten through that time period had I not been processing through music.

In more recent years, music has become the professional vehicle that allowed me to collaborate, record and tour with truly wonderful artists throughout North America and Europe both as a side-player and with my own music.


MFL: As “Bullets” builds, in its stunning crescendo, the lyrics get more desperate, I can hear the pain in your voice. Can you divulge a bit more into what “Bullets” is about and how/why it came to you when you were in Montana?

RC: There are statistics I heard when I was young – particularly involving domestic violence and sexual assault – that seemed extreme. Yet through the years these statistics very much become a reality for people (particularly women) in my life. Bullets was written one summer – staying with my mom in Montana – when I was feeling the collective weight of these experiences become overwhelming. It sometimes seemed impossible that each person would have the strength to carry on through their pain. I’ve been astounded at their resilience.


MFL: You mention that you carried “Bullets” with you for four years before you settled on a final arrangement. How did the arrangement change over time and when did you know it was finished?

RC: Leading up to ZINNIA, I toured with many of the same musicians under my own name – Rachael Cardiello. In those years our sound morphed from chamber folk to a retro sound with Motown-inspired arrangements. The material I was writing for this album – starting with Bullets – had such an intensity to it, that it was difficult to find a sound with depth enough to contain both the intimate and furious moments. It’s a precarious balance and I found the smallest differences in synth tones or bass lines could undermine the directness of the lyrics.I was especially precious about Bullets. I really needed to get this one right –  and a huge amount of thanks goes to my producer David Brandwein and my partner James Burrows for pushing me to find the sound that could hold it.


MFL: Where do you seek inspiration when writing your music and do the lyrics or melody come to you first?

RC: Lyrics and melody seem to come intertwined. Lately I need movement to write – usually biking around Toronto – and I’ll roll around a phrase and melody as I go. I can usually sense the chords and underlying rhythms. When I have time with a guitar or piano, I’ll search around til I find them. Sometimes the trick is pushing beyond what my head first heard as those are usually the safe, expected chords. In my side project TIDAL MOUTH (a collaboration with writer Daccia Bloomfield) I purposely reach beyond any sound or structure that is familiar. Though ZINNIA is more rooted in pop, it’s been hugely affected by the creative, experimental process of TIDAL MOUTH.


MFL: Can you get a handle on what it is about songs you listen to personally that really grab you and get you to listen to them over and over again? Do you strive to put these same elements into your music?

RC: I’m very drawn to the rougher edges of sounds and voices. That split-second crunch where the bow draws across the string, the breaks and warbles where the voice is less comfortable. Influences on that realm are Bill Callahan, Lucinda Williams and certain recordings of Shostakovich.

I’m mesmerized by movement and get especially hooked on music that is rooted in dance and the journey through a soundscape and idea. Everything is better when it moves.

The music that really catches me has something to say. For all the time and money one pours into creation, I think it’s a waste not to think through what you’re trying to say to the world. Either on a larger, political scale – artists like Hurray for the Riff Raff and Bruce Springsteen – or on a deeply personal level like Mount Eerie.

Those are the most essential elements in the music I’m drawn to and I think they definitely inform how I make music – sometimes subconsciously just in letting me embrace those aspects of my writing.


MFL: I’ve got to know, is your upcoming debut, Sensations in Two Dot, named after Two Dot, Montana? I can’t say I know very many people who know Two Dot. It is only a couple hours from where I live, in Bozeman!

RC: Ha yes! I grew up in Helena and always got a kick out of the name Two Dot on that Montana map. Also, sometimes Toronto is referred to as T-Dot and I like the juxtaposition between how incredibly different these two places are – population 67 verses 5.9 million.


MFL: What can we expect on Sensations in Two Dot? Does it tell a story or have a concept? Feel free to lump this answer with the above question.

RC: Sensations in Two Dot focuses on moments of doubt – creative, societal, and personal – exploring what it means to hold compassion through the grey areas of life. Whether in Two Dot or Toronto these nine songs probe the complex, sometimes unsettling similarities found in the human experience: the hauntings of unrelenting dreams, tensions and tender triumphs in relationships, systems of abuse threaded through communities, and the search for compassion and visibility in everyday interactions.


MFL: Finally, beyond releasing your debut album (no big deal…;o)), what sort of goals do you have for 2019?

RC: Oh jeeze we just want to be playing as much as possible. Our live shows have been wildly fun – explosive and giant – and we’ll be taking our crew on the road for a slew of shows across Canada with a few in the USA including Montana! Sensations in Two Dot will be out in the Fall and followed with European and North American tours.


Big thanks to the lovely Rachael for answering my questions and to Auteur Research for connecting us.

And before you go, PLEASE check out her latest single, “Black Bark, Yellow Leaves”, out today!



Summer time vibes from Copenhagen: “24/7” by Scarlet Pleasure

Within seconds, this song totally got snagged on my ear waves. The poolside vibes feel like summer sun blasting its way through those gray spring clouds that are hanging heavy right now. “24/7” is the newest single from Copenhagen trio, Scarlet Pleasure.

Check it out:


The trio is made up of Alexander Malone (bass), Emil Goll (vocals & guitar) and
Joachim Dencker (drums). Goll had this to say about the track:
“We’ve been portraying our very own generation on several songs. Searched for the truth, why we try to escape or at least bend reality with second life social media and endless partying combined with alcohol and drugs. On ‘24/7’ we confront the ultimate drug of them all – love! – and how easily it can effect and distort your life in so many ways.”


Featured Image PC: Märta Thisner

NEW Playlist: Spring Vol I

Now that we’ve had a decent stretch of decent weather and it’s probably going to snow, I will reveal the first installment of the spring playlists! I have to say this one may be the best yet. It is PACKED. Be sure to listen to it to the bitter end. Coming in at almost five hours, it may be the longest. Spring is a bountiful time for music so enjoy.