A cousin reads

I was at a family event and talking reading with cousin Licette and got an invitation to her presentation at the State Library the next day.  This was a monthly Tuesday Talk of the Friends of the State Library of South Australia and Licette was talking of influential books in her life.  It was an interesting visit to a reader's life viewed in the light of her readings.  The difficulty of the task of distilling the list was hinted at by the key literary texts she had  rejected.  Those she chose had a range of life references relating to Licette and not to all others: childhood, relationships, travel, and the like.  I could identify similarities and crossovers with some of my meagre personal readings and I came out with a desire to follow up quite a few.  So what and who?  Remember this is a personal collection over a full life to date, so Enid Blyton, Joanna Trollope, Zola, AS Bryant, Armitage, Andre Makine, Winifred Watson, DE Stevenson, Dorothy Whipple, George Eliot, John Gottman, Nina Stibbe, Alan Bennett, Alan Ramsay and a work by Licette and fellow professionals, Emotion coaching with children and young people in schools (2000).  Some intrigued me, some raised ethical or political questions, some just seemed entertaining.  FWIW, my starter intentions are Hero's daughter / Andre Makine, L'Assommoir / Emile Zola and Miss Pettigrew lives for a day / Winnifred Watson, but my list is not limited to three.  I don't read in a book club, but given the pleasure of this session, maybe I should...

Licette Gus spoke on significant books in her life for Friends of the State Library of South Australia.

Where's this now?

I missed a busy Euro day in Canberra with two jazz duets the previous weekend so I was happy to see at least one of the duos were featured with a full 2-set performance at COMA in Adelaide.  Suffice to say this was a stunner.  The duo was Reinier Baas and Ben van Gelder, guitar and alto, out of The Netherlands.  One quoted comment was that they sounded like a whole orchestra.  Not quite but I could see the intent.  Mainly it was a function of a certain guitar style that I'd not seen before, using pick and fingerstyles and strums and thumbs and fingered extensions to play bass lines, chords, fills, melody, snippets and intrusions and inclusions, all confirming grooves and setting an housing the song, seemingly all at once.  The alto was more conventional but thrillingly expressive, fleet, intriguing with intervals and sequences and fittingly with guitar, somewhat loose with time, so I could be unsure of the count, where was a beat or a temporarily changed tempo.  It sound problematic but it was anything but, being loose and expressive and together.  I noticed once a face from Reinier to Ben that suggested a slip but mostly this was ripples then waves and rough weather, all telling a story.  There were many originals, perhaps introduced by one or other performer, with fast melodies from alto while you're unsure of a common tune, then a massively quick line appears from guitar, perhaps unison, that confirms the composition.  These originals could seem indistinct in melody if lovely to hear, and perhaps strange or vague in structure but perhaps not, I'd have to listen more.  These were constructs of much complexity.  Then most unexpectedly a series of standards: All the things you are, Body and soul, Monk, more, that had the same sense of ambiguity and an exhilarating build of improv.  This delightful sense of melodic improv with a beguiling sense of time and multi-roles of accompaniment was a stunner.  I remain a bit perplexed but very, very impressed.

Reinier Baas (guitar) and Ben van Gelder (alto) performed for COMA at The Wheatie in Adelaide.

Gremlins not

A pub with a flying saucer hovering over: another boho venue, this time in Adelaide's city centre and with a weekly jazz jam.  I took my e-bass and the crowd and the space was fairly small.  The full range of Coopers on tap.  I drank dark.  Then the host band started and they were a blast, fabulous playing all round, playing a first set celebrating his life just days after the death of Sonny Rollins (d. 25 May 2026).  So, Pent-up house, Decision, Waltz hot, Ellington Way out west and Eternal triangle with Sonny Stitt.  Lithe and mobile alto, truly fascinating lines and apt from guitar, quick expressive bass with great tone, driving drums oddly toned down in effective solos to my ears.  The players were Tom Noonan, Django Roh, James Ho and Craig Laurenson appearing as The Gremilys (at Grace Emily Hotel).  It set a high bar for a jam session.  A player I'd seen at COMA came up for the first jam, as I remember on Airegin (I hadn't realised but this is Nigeria spelt backwards), then more jammers of a decent standard if not quite the openers.  Only a few tunes and not all just 32- or 12-bars.  I sat in for The more I see you with a singer leading from first year at the Elder Con.  The bass was heavier and higher actioned than mine and occasionally sliding out, but nicely strung and well amplified so I was pretty happy.  Then a final tune from the band to close the night and out.  I chatted with a woman more my age and it turns out it was her son who had sung.  And more chats with first time attendees chatting about jazz jams and improv and not having played with or heard any of the fellow jammers and The Wheaty and COMA.  I had been amused by jazz newbies dancing back from the loos or jogging to the high intensity jazz.  So such a fun night, just finished off with the Coopers Dark, so pleasant.

The Gremilys were the host band at the jazz jam at Grace Emily pub in Adelaide.  Th Gremilys comprise Tom Noonan (alto), Django Roh (guitar), James Ho (bas) and Craig Laurenson (drums).

Descend to COMA

COMA seems to always have two sets with two ensembles, mostly jazzy but sometimes exploratory classical.  Presumably with frequent connection to the Elder Con.  But it can feature others, including various Euro musicians coming to Smiths Alt in coming weeks.  Nice. And these nights are recorded, audio and video, and published to YouTube.  An impressive feat and warmly welcoming in a very musical pub with its own range of house-brewed bears.  Set 2 this night was the Bailey Hall quartet, reportedly contemporary jazz compositions exploring fun grooves, tasteful melodies and entertaining improvisation.  This was intense, not so easily visited but wonderfully capably played, precise lines, unison and otherwise, twisted, of various counts, often suddenly changing then returning.  Either they read superbly well or they had done some considerable work.  Some swing, some grooves, 6s and 4s, did I count 9? I wasn't too sure, expansive and rapid tenor solos, dense with screeds of notes and mobile harmonies, against a fascinating chordal guitar accompaniment and solos, dirty, edgy distortion on something like a Gibson 335 into a Twin Reverb or similar Fender with a distinct bluesy edge but far more inventive.  The yellow bass amp was Mark Bass and that belonged to the venue; perhaps the Fender did too.  A twisted 4/4 hint at blues and 6/8 with precise bass lines and unexpected fills, and another with floating dirty dissonances, desperate moving guitar and floating tensions.  Great PA tones, too.  Some truly capable playing from four graduates out of the Elder Con in the last 5/6 years.

Bailey Hill (drums) led a quartet with Lachlan McGargill (tenor, soprano saxes), Jack willsmore (guitar) and Tasha Stevens (bass) for COMA (Creative Original Music Adelaide) at The Wheatsheaf Hotel (The Wheatie).

Wake from COMA

In Adelaide again for family matters and all very urgent but I managed one COMA outing.  It's a satisfying night, musically exploratory, jazz or classical, in a very boho hotel with its own brewery.  What's not to like? Two bands as usual; one set each.  First up was Mudholia led by Mark Lurker, apparently a jazz odyssey about colonial Port Adelaide. A sextet led by bassist Thomas Byrne on PBass with drums, keys, tenor/sop, trumpet/flugel and fascinatingly a full time analog synth (Korg Minilogue) making a prog reference further confirmed with effected flugel, perhaps flange or delay or whatever.  Keys were piano and I heard organ, mostly more accompaniment, but everyone soloed at some stage, but that Korg was everpresent with varied inviting analog tones and countermelodies and the like.  The horns could lay down a lovely melody for the head and some impressive sax solos and that intriguing effected flugel suggested '70s Miles to my ears.  And underneath it all, densely grooving funk from the PB and insistent, unrelenting drums, sometimes stern and stated, otherwise intriguing polymetric twists.  Nice and warming welcomingly; proggy and funky and entertaining.  But still wondering who Mark Lurker, the name associated with Mudholia, is.  Perhaps the composer?  He wasn't playing on the night.

Thomas Byrne (e-bass, synth bass) led a sextet with Triniti Canini (trumpet, flugelhorn), Zac Trelor (tenor, alto saxes), Ben Anderson (synth), Shea Gallagher (keys) and Regi Ashman (drums) playing Mark Lurker Mudholia for COMA (Creative Original Music Adelaide) at The Wheatsheaf Hotel (The Wheatie). 

A century of jazz women

I'd booked this one on our side o town for an easy park for Mum and me.  We arrived to find a delightful casual but attractive bar with a generous outdoor space out back and what seemed like 1800s storehouses.  The wine bar was Ern Malley's with a copy of the classic painting and a claimed establishment date of 1943.  Sounds about right; another hoax?  But a lovely spot, dark and decorated.  This fringe show was Offbeat with the Molly Silvy quintet celebrating decades of female jazz singers from 1920-2020.  We arrived to chat with Molly's grandmother at the door then guitar and drums at the bar.  The band comprised students, ~second year of jazz degrees at the Con, Molly on vocals with guitar, tenor, bass and drums. Molly introduced various singers and interestingly, styles and techniques, and not just the obvious and not exactly each decade.  Ella and Esperanza (Spalding) were mentioned in the description.  Neither ended up on the program, but we did get some classics, some interpretations, a few female composers and daring choices, in all a fascinating outing.  No more blues / Carmen McCrae; These foolish things / Billie Holliday; Green Dolphin Street / Sarah Vaughan; all with intros and chatter of vocal ranges, twang, belt and cry, jazz vocal techniques.  And some more obscure finds: Bernie's tune / Tierney Sutton; Lawns / Carla Bley as influenced by Kristen Berardi; Colours of my dreams / Judy Bailey arranged with borrowings from Olivia Chindamo.  Then an encore which they didn't have ready, but an excellent choice: Centerpiece / Lambert, Hendricks and Ross.  It's still going round in my head.  Some nice, capable, informed, young playing.  Molly did an inviting job as the central expositor and I particularly noted Daniel on very fluent bass and Johnny on a responsive, subtle, aptly dissonant tenor.  The audio balance wasn't perfect but the respect and ongoing studiousness was clear and propitious.  A very promising next generation.  But it was not just the music and the fabulous bar setting and mild evening.  We met and chatted as one does at a jazz gig and happened to sit with a committee member of the Southern Jazz Club.  So small world; small venue.  And to end, I was not alone in praising bassist Daniel's recent haircut that looked all the world like early Paul McCartney: nothing better for a bassist!  Lovely night and well done by the  band.

Molly Silby (vocals) led her quintet with Johnny Turner (tenor), Hugo Evans (guitar), Daniel Cavallaro (bass) and Micah Capin (drums) at the Ern Malley Bar for the Adelaide Festival Fringe.

Works on walls

I had some time to kill but it was in the morning.  Pre-noon is not a time for concerts or theatre but it is for art on walls.  I chose two exhibitions that sounded interesting and were likely parkable.  First up was The Mill, a place of 70+ artist studios plus gallery, theatre space, a recording studio.  Welcomed by a friendly staffer and intrigued by a few displays and looks into at least one impressive studio.  Juliane Brandt's was the studio with deliciously detailed small sculpted heads with occasional bodies.  Hasta la raiz (to the roots) was a photographic exhibition by Carmen Alcado, Spanish migrant of ~4 years, with various complex images referring to her roots, the implications of the migrant experience for family and personal history.  Nadia Rasulova merges impressions of handwoven Uzbek ikat with the colours and movement of Australian and Central Asian landscapes.  Christian Best display was 36 of a planned 1,000 photos of friends, acquaintances, housemates and  more, to create a story of community and friendship around the world.  Then off to another galley, the Pepper Street Arts Centre, this supported by Burnside Council, near the old Penfolds winery, up Magill Road, in an intriguing area of old cottages, presumably serving the earlier, then much more extensive winery.  The exhibition as Waste to Wonder, "an exhibition of artwork with a recycled and upcycled theme" by ~40 local artist working in textile, sculpture, mixed media, more.  Some delightful, some jovial, many quirky, inviting, even exciting.

Carmen Alcado, Nadia Rasulova and Christian Best exhibited at The Mill.  Amongst many, Juliane Brandt held a studio at The Mill.  Various artist displayed at the Pepper Street Arts Centre.

Chelsea NYC

I'm in Adelaide and it's for family not for festival but I collected a string of related promotional publications and I was stunned.  I shouldn't have been.  I'd seen last year's and it was of a similar size, but it still overwhelms.  1,500+ shows from 8,000+ performers at 500+ venues.  And there's the Festival itself too, even if no Writers' fest this year after a stunning and newsworthy misjudgment.  A friend had seen an 8-hour drama performance a the festival called Gatz (with breaks!!) from NYC about an office where the Great Gatsby story happens around a reader. She spoke well of that.  I just looked for a few odd Fringe shows to give me some exposure and that I could fit with family matters.  The first was See me at the Chelsea Hotel, ~90mins of songs by once residents at the famed artist hotel in NYC and telling some stories around the tunes.  All performed by an a capella vocal trio, two females, one male, and a folkish duo of male and female with guitars and ukelele.  The duo was Tin Can Alley; the trio was Heaven Knows Acapella.  TCA were more raw, louder, even reaching to Hendrix on dirty strat and then Bob Marley-fied.  Fun.  HKA was sweeter, more precise rather than jovially raucous, wonderfully accurate in harmonies and voices.  I did like that.  Sometimes the five played together; sometimes each group played individually or one sat in with the other: the mix could be informal.  But the story was intriguing and spoke of a prime artistic location and famed names.  Names going back to Mark Twain, Dylan Thomas and through a string of others, some mentioned here, some not.  Dylan, Mapplethorpe, Hendrix, Joni Mitchell, Nico, Arthur C Clarke and Stanley Kubrick, Mapplethorpe and Warhol.  We heard songs and/or stories from many of these as well as The Band, The Ramones, Janis Joplin, Patti Smith, Tom Waits, all associated with this hotel. There's much more (Corea, Spungen / Sid Vicious, Carole King) that didn't appear on the day.  Suffice to say this was worthy of a listen and inviting to a further read (Inside thee dream palace / Sherill Tippins was suggested).

Tin Can Alley and Heaven Knows Acapella performed Meet us at the Chelsea Hotel for the Adelaide Fringe Festival.  TCA comprised Jacquy Stoddart (vocals, ukelele) and Cliff Stoddart (vocals, guitar).  HKA comprised Jayne Hewitson, Meredith Mardun and Christopher Koop (vocals, variously guitar and melodion).  

Animals

Monarto Open Plains Zoo was last week but I got some good pics so this post.  I'm not so big on visits to nature, but it's a worthy establishment, associated with the Adelaide Zoo, private but with government sponsorship and essential crew of volunteers, doing good work in supporting species to survive. Once inside there are walking trails and bus trips and some special opportunities like feeding lions with the humans in a cage, no less.  And our final visit was to the chimpanzee habitat and some very close views through glass where you can sympathise with recently departed Jane Goodall and feel some hint at connection.  All very fascinating.

Adel local

I remember a school reunion finishing with a walk with fellows to Norwood Parade in Adelaide and a chance meeting with two performers from the Norwood Symphony Orchestra, apparently having a coffee before they performed.  They weren't too chatty  but I returned to see NSO in rehearsal at the Town Hall years later.  They were preparing for a masterwork that I'd love to catch, but won't, Handel Messiah.  At least I heard some preparation and it was community-level but impressive.  Two basses, one 5-string, and some decent sight-reading or near to.  These were early days so some work required but wish I were here, actually.  I'd love to have another go at it.  The MD conductor was Michael Milton, principal second violin with Adelaide SO, but also with connections to Canberra through brother Nick.  They worked through several parts of Messiah and I could just swoon at the inevitability of it all, through recognition or genius, whatever.  So an entertaining and informative half-rehearsal to listen in on and again, wish I could make the Messiah they will perform mid-Dec.

Michael Milton (MD, conductor) led the Norwood Symphony Orchestra in rehearsal in  Norwood, SA.

COMA not at all

I've mentioned COMA (Creative Original Music Adelaide) on CJ before.  This time I managed to attend a gig.  Basically it's pretty much a fortnightly event on Mondays at the Wheatsheaf Hotel in Thebarton (the Wheaty).  Two sets for two groups playing original music in various forms.  This night it was the Elder Music Lab out of the local con, the Elder Conservatorium, at Univ of Adelaide and a 4-peice band called the Harmful health.  The Elder Music Lab played four original pieces, 2 each from composers Rafael Raschella and Belle Smibert in various combinations of string quartet with additions of clarinet/bass clarinet and flute. Conductors were listed as Luke Dollman and Lloyd Van t’Hoff although I only noticed one conductor.  Works of Rafael were floaty, sometimes bleak, his string quartet no.1 and another called Grief (or Grieve?) with addition of that clarinet and flute pairing.  Works of Belle were interleaved as 2,4 on the program with titles When the weather turns cold, influenced by a book and played by a trio of violin, guitar, cello and Saoirse=Freedom in Irish Gaelic.  The first was mostly triplet feels, 6/8 or 12/8, and these works seemed more structured and melodic.  I didn't gets names of performers.  Then the band Harmful health.  The description mentioned influences of Latin and World music.  My feel was more prog rock with its solid rock grooves, truncated bar counts, polymeters, plenty of solos and nicely stated guitar melodies, some incessant sturdy and essential bass and some luscious malleable drums that so enhanced the grooves.  And loud.  They played ~4 tunes going perhaps over time.  The structures of feature lines or interim parts between melody and solos were all features.  Bassist Luke spoke for the band and maybe formed it.  His bass certainly defined grooves, often steady and unchanging, but sometimes letting loose with some delicious fills.  Again, I loved the elaborations of drums and nice guitar and key solos, although my rock ears yearned form more drive and distortion on the guitar at times.  Sam was similarly capable but perhaps more modern than that!  So, loud but well practised and nicely played.  Perhaps I was being indulgent in my interest in Luke's bass.  It looked an old PB.  We chatted later, and yes, it was a 1970 PB.  I'd had similar in my time in Adelaide (PB '72, sunburst, rosewood). I was interested in fret sizes and more, but frets had been changed out and the body had some changes over time, but the neck was gloriously aged and the body looked so too.  But I enjoyed the band.  As for COMA, what a wonderful event in a very cool boho pub with its own brews and a pizza cart outside and with an audience of all ages, families and younger tats, plenty of aged blokes to chat to and a range of styles to hear and a general inviting feel.  I can only recommend it highly.  COMA live recordings are on Bandcamp and YouTube.  And cheers to Grant and Tom who I shared a table and plenty of interests with.

The Elder Music Lab performed new works by Raffael Raschella and Belle Smibert (composers) with Luke Dollman and Lloyd Van t’Hoff (conductors).  The  Harmful Heath performed in a rockier style with Logan Watt (keys), Sam Cagney (guitar), Luke Lendrum (bass) and Gilli Atkinson (drums).  Both sets were at COMA (Creative Original Music Adelaide) at the Wheatsheaf Hotel (the Wheaty).

COMA alert

I’m in Adelaide again to visit family. I always check out the jazz around and this particularly interested me: COMA Creative Original Music Adelaide. But then I had visited the venue, the Wheatsheaf Hotel in Thebarton (the Wheaty) so maybe I’d happened on this group. I couldn’t attend this night but all gigs are streamed then released on Bandcamp as audio and YouTube as video so I could catch snippets on the night then follow up with a huge catalogue later. COMA convenes 1st and 3rd monday each month, requires 80% original content and presents 2x40min sets each night. The bands this night were Yung Horns and Similacrum 5. YH was somewhat jazz-influenced indie-pop, a duo of trom/vocals and keys/tpt, nicely melodic and infectious and a decent voice out front. S5 was a quintet and, even with a visiting trumpet, was wonderfully adventurous. The configuration (tpt, tnr, pno, bs, dr) was stock-standard but very unexpectedly they introduced a single 30-min number with a string of themes and melodies and solos all round. Some wonderfully inventive piano, a lovely bass solo, some great interplay in the horns, complex heads and varied feels. I’ve just skipped through the full work but was mightily impressed. This non-profit venue-cum-club has been running these gigs since 2005 and covers fields of jazz, improv, new classical and electronica. COMA even presents a radio show on 5MBS. Fascinating and from what I’ve seen well skilled and quite intriguing.

COMA (Creative Original Music Adelaide) presents gigs at the Wheatsheaf Hotel, Thebarton, on 1st and 3rd Monday of each month. COMA streams and released all performances on YouTube and Bandcamp. The most recent gig was Yung Horns and Similacrum 5. Find more info and links from the COMA website.

http://coma.net.au

Vikings and more

Thus the Scots shouted at the arrival of the Vikings, I guess, although a museum in York suggests the marauders actually settled in quite well.   But this was a hoard and that suggests rapine and that's the image of the Vikings.  The Galloway hoard was a major travelling exhibition at the SA Museum.  Also in Adelaide at the time was Chihuly glass at the Botanic Gardens but we missed that one.  The Hoard must have been easy to travel, requiring perhaps just a well insured show box of two.  A hoard is a collection of ingots, jewellery and the like, so compact.  But some lovely pieces, prime amongst all an inscribed cross with chain of twisted silver wire (very lovely) and a knot of arm rings.  What I mostly took from this was the date, ~900CE.  I think it only seems recent in context of the Church, prominent given the recent death of the Pope Francis, but the Church is the oldest extant institution in Europe so perhaps an unfair comparison.  Otherwise there was lots of video, perfectly interesting with interviews with archaeologist investigators, and a smattering of Lego windows for the kids.  We managed a visit to a few other areas of the Museum: the famed and much loved, old-styled, Egyptian room, small with its mummy and more, and the stunning opalised fossils in the next room and a few meteorites.  Most unexpected was the Egyptian boomerang!  All interesting but then I always found that local museum of interest over many years.

The Galloway Hoard was displayed at the SA Museum.  Also on display are Egyptian artifacts, opalised fossils and more.

Comfy not flashy

It was Anzac Day and we were off to experience a two-up session but no luck.  The Net advised that two-up is only in RSL clubs in Adelaide on this day.  The first RSL club was closed.  The second had some guys out front.  One bloke said two-up was no longer legal even in RSL clubs in SA but he was inviting and we went in for a drink and a listen to the covers band at the Walkerville RSL and Community Centre.  Well, it a as nice, easy going, informal an outing as we could imagine.  The music was loud and of a period, mostly around ‘60s-’70s.  The performers and audience were of much the same period.  The lady behind the bar was lovely and the bassist was happy to give me a feel of his 5-string JB.  The audience was even dancing, mostly together although the ladies later ended in formation.  We took a quieter area and some drinks, relaxed into a lovely easy scene with military memorabilia over our heads, not least a Vietnam-era rifle that I was within months of a barrel-ball selection of bearing.  Soon a break and a Rolling Stones karaoke experience, then the band again.  A few beers and we were off but it was an unexpectedly inviting outing for this Anzac Day afternoon.  So much for the two-up; give me casual sociability any day.

The band Flash and the Rolling Stones Experience performed at the Walkerville RSL Club and Community Centre for Anzac Day.  Flash were to change membership the following day to become The Extras.

Visiting community

I’m in Adelaide for a family visit and not the first time and I am intrigued by the local scene.  It’s a long time since I knew an Adelaide scene.  This time, I checked the practice nights for the local Burnside Symphony Orchestra, and sure enough it was that night.  Too late for email permission so I took a chance and the first person I noticed in the car park had a violin case.  We chatted and I met the conductor, ASO horn player Philip Paine.  I listened to a first run through of Beethoven Symph 7 and I thought they did it well.  The numbers were down given this very holiday-able week bridging Easter and Anzac Day.  The concert is not until late July with two iterations and featuring a standard program structure: Liszt Les Preludes, Saint-Saens Piano conc 5 and Beethoven 7. Nice.  I pulled up the cello/bass part on IMSLP and enjoyed the revisit on movements 1 and the luscious 2 then chatted to the sole bassist (a female player whose other performance field is heavy metal; not so surprising really).  I left in the break to return to family, but this was a friendly encounter and an informative listen.  Much enjoyed and I hope to get to this or another performance someday.

The Burnside Symphony Orchestra practices in the Burnside Town Hall on Tuesdays under Philip Paine (conductor).

Nug

I was just sitting outside a pub with a beer and I noticed someone with a tiny synth. Fascinating. Identified later as a Roland SC-1. Tiny, with headphones. And a Guinness. Within a few seconds we were chatting, of recordings, of styles, of instruments, of DAWs Ableton and Reaper, of sampling and histories and orchestras and whatever. Fascinating and my one musical encounter these few days in Adelaide, being here to see my Mum. He was Nug Chompah, on Spotify and more, by that name, performing and recording variously. He mentioned hip-hop, electronica, rap, drum'n'bass, topics including politics but also more. Nice. I immensely enjoyed the conversation and already admired the commitment even before a listen. Then I had a listen on Spotify. First tune is electronica, samples, running into a DnB groove. Then through a series of singles to rap and more extensive lyrics, concentrated early on, ~2018. I noticed a claimed collaboration but apparently with himself as Blipper. That's an interesting twist. Maybe a hint at bio in the title, The Greek Way. All fascinating and a great chat and still some lyric themes yet to explore. Nug, great to meet you.

Find Nug Chompah (production, composition, rap) is on Spotify and elsewhere.