Tap into your inner self tonight with the help of rising VA artist, Shaolinn as she premieres the latest in her soul-gripping musical collection with the “Blackstone” EP, out now on all streaming platforms. The show, specially curated by Shaolinn herself, will be held at the Bunker Brewpub in Virginia Beach, with doors opening at 8 PM and the show starting at 9 PM. Other featured artists joining the night’s celebratory events include Gee Litt, Boris the Lucid, Brooklynn, Tson, Khi Infinite, and DJ J-Rok. Read Sumone’s short and sweet conversation with the Heir Wave artist below.
Your release show for your upcoming EP, “Blackstone,” is [tomorrow]. What are you most excited about for the show since it will be the first show you’ve personally curated?
Just seeing all the talent and working with a band for the first time.
What were your thoughts working through the curation process when developing the lineup for the show?
Seeing my favorite local artists peeps and performing with a band for the first time.
Did you find growing up in the 757 to be influential in your creative process or musical style?
Yes, in the process, but not in a musical way. A lot of the artists I listen to aren’t from the 757, but more from the world. I do work with a lot of talented people from the 757, though.
How did you find time to record music prior to being signed to Heir Wave? Was it difficult recording during those times, or do you look back at those moments more fondly?
It wasn’t really different; because to get there, I already had a process in place. It can get expensive, but I had supportive people around me to lend a hand.
When do you feel you create your best work?
On nights when my mind is clear, and I can really dive into the music.
In “Heavy Heart,” you repeatedly mention “being free,” “letting go,” and “finding peace.” What are some words of encouragement that you or someone else provided that ultimately led you to let go and find your peace amidst your self-love journey?
I’m actually still finding my peace. It’s something we all need to work towards. Surrounding yourself with positive people helps a lot.
In a previous conversation, you stated that you did not think people would like “Heavy Heart” “but surprisingly listeners did.” Has your mindset changed when it comes to writing or releasing music after seeing a lot of people gravitate towards your music?
Yes. I didn’t think people wanted such a “talky” song. It’s not a catchy melodic song. I didn’t think people would care about me talking about my life. When I perform it, so many people come up to me and tell me how they relate to it. After that, it made me feel more encouraged to be open about my personal life.
On your IG live minutes prior to the visual premiere of “Vivian,” you expressed surreal excitement. What message did you hope fans would receive when watching the video?
The perspective of a drug addict and how hard it is for someone going through the struggles of it all. The harm isn’t malicious. It’s hard on everyone.
What are you most proud of thus far in your career?
I’m just proud to be here and have this opportunity and the inspiration from all of the people around me. I just want to keep going and, along with myself, make everyone around proud of me.
What do you hope listeners get from your music?
Anything. Anything that they feel. I speak my story, and I hope it makes people tap into their own story and bring something special out of them.
London based artist Treasure is just that – he’s golden. His family relocated to the countryside in the early 2000s to trade the busy city life for the suburban serenity, a feeling present throughout his catalogue.
With laidback production and lush harmonies, he perfectly blends today’s bedroom pop with 90s R&B, both genres which influence him heavily. Earlier this year he released “Suffocation & Air,“ his first comprehensive work and full-length album. His single “Isolation” encapsulated all of our feelings during quarantine.
However, he’s not stopping there – his latest work “Nostalgia: The Prelude” is available on all streaming platforms today. We shot him a Q&A to get to know him and his musical process a little better.
How did you first get into music?
It’s something I’d consume tirelessly. When I got my first keyboard around 8 years old, I tried to learn my favourite songs by ear.
How did your move from the city to the countryside change your process – or life in general?
Life became a lot less busy, and in turn, I could clearly think about what I wanted from life.
How does your latest EP differ from your first?
The first is an amalgamation of music, and the second is a sequenced body of work from start to finish.
“Feelings” seems to be a single that blew up with over 1 million plays on Spotify – how’d you get there?
Honestly, I’m baffled myself!
There’s a variety of sounds going on in your music – what instruments are your band playing to create that acoustic/funk/electronic fusion?
I’m a one-man band at the moment! I use drum kits and machines, acoustic and electric guitars, synthesizers and keyboards–so anything I can get my hands on!
“Isolation” (and the accompanying spoken word) is a relatable song for all of the creatives out there stuck in quarantine – what did you hope to accomplish that you didn’t?
I thought I’d be sitting on 7 EPs right now! Which is unrealistic, to be fair.
Do you have anything exciting coming up – virtual performances, upcoming collaborations, or anything else you’d like to plug?
I have a project dropping on October 21st, titled “Nostalgia: The Prelude.”
Sending our thanks all the way to London for this one – go stream Treasure’s “Nostalgia: The Prelude,” OUT NOW!
Harriet Brown’s hypnotic R&B music sounds like something straight from the early 2000s done completely differently. His addition of loop machines and love of electronic music bring it deep into the new millennium, while slick guitar licks and outlandish on-point wails bring it to a Prince place. He’s seeping soul from every era, past present and future.
We talked to him before he took the stage with fellow Popscure features Opal and Dazeases this coming Thursday. Jasmine Rodriguez of No Preserves was kind enough to dive deep into his discography – namely, his latest endeavor Mall of Fortune – and ask him a few questions
Your album cover for Mall of Fortune screams “early 2000s.” Was this done on purpose, or did it naturally turn out this way?
It actually was done on purpose! But not necessarily with just “early 2000s” in mind, but more with specific artists and albums that I was particularly influenced by during the making of the album, like 702, Janet Jackson, Missy Elliott, etc.
Since we are on the topic of visuals, I felt like the music video for “Driver’s Seat” was an artifact obtained from an early ’00s vault. Everything from the clothing to the lighting to the panning shots gave off that vibe. I know you are heavily influenced by the music and vibes of that era, so was that planned as well?
Yes, it definitely was planned. Some of the main videos I was inspired by were the videos for SWV’s Someone and Total’s “Trippin'”.
Were you listening to anything in particular during the writing process, or leading up to the writing process, of Mall of Fortune that influenced you?
Yes! I supposed I hinted at this a bit already, but both 702’s self-titled album and their album “Star” were on heavy rotation for me during the time. I had also gotten super into that gospel, double-time slow jam feel found on a lot of R&B records circa ’97 or ’98, like Kenny Lattimore’s “Days Like This,” or Chico Debarge. Janet Jackson’s “All For You” album is also a big one for this record – such a varied but seamless mashup of styles.
I love a lot of electronic music, too, and I was particularly interested in how R&B albums like this actually had really tight, technical production that, to me at least, are on the same level as the IDM and earlier Warp Records stuff that electronic heads revere so highly. I had gotten really into the connections between the two.
Were there any challenges, musically, that occurred during the writing/production period?
Sure, as always. This was my first time writing and producing an entire album from start to finish within a finite period of time – in this case about 5 or 6 months – and I definitely learned a lot in the process. It was also the first time I was making the whole thing at my own studio at home. I really had to learn to trust myself and my ears. But with that said, because I was using such heavy bass on a lot of the tracks, my ears definitely got pretty strained at times.
Also, I’m naturally a night owl, but I really let myself go during this time, often working until 8 or 9 or even 10am at times, and waking up sometimes as the sun was setting. While that definitely added to the extremely personal, intimate and surreal aspects of the album, it definitely was not the healthiest thing to do, haha. I would try to be more balanced and healthy about the work flow next time around.
The album seems to encompass themes of love/existentialism (“Method,” “Outerworld,” “Cinnamon Sky”) as well as a sense of yearning for authentic human interaction (“Window Shopping,” “Retail Therapy,” “Bag Away.”) Was there a central feeling or specific moment in time that influenced you to write about these topics? Have your feelings on these topics changed since you wrote the album?
Wow, you really listened! Thank you! And yes. After having been in LA for four years and dealing with the music industry in general for the first time, as well as cycling through different music scenes in search of my “tribe,” I was feeling a bit drained, low and isolated, misunderstood, taken advantage of, and jaded. And consequently, my guard went super way up, and I had become a bit paranoid and wasn’t going out very much, even questioning the genuineness of my own personal friendships.
Most of my contact with other people, aside from my partner, were just through the internet, email or social media. So that’s where I was at when I began working on Mall of Fortune. I was definitely yearning for some real human interaction, but was also having major trust issues and instead was going inside myself for escape. I was very aware of all these things, and knew that something had to change, but was just having a very hard time doing so, which is why the album contains both moments of self-love, self-encouragement, right alongside heavy moments of self-doubt and paranoia and anxiety – myself trying to push me along.
After the album was done, I started going out again, trying to see people, and realized that a lot of people had actually been going through the same thing as I was, and were now really starved for real human interaction. I also came to acknowledge the need to prune the relationships in my life, to stop giving energy to relationships that made me feel anxious and doubtful, and instead concentrate that energy on relationships that made me feel loved and secure. Also started going to therapy!
So yes, sorry for the long response, but now, after MOF, and after having lived in LA for five years, I am finally feeling like it’s home, and have finally found the people that I feel are like family to me. And I’d say that the process of creating Mall of Fortune was the beginning of this inner examination and resulting change that has now taken place.
What do you feel like is the biggest lesson you learned throughout the process of writing/finishing Mall of Fortune?
Listen to my gut! Listen to my heart! Trust myself! I know what I want more than anyone else does (in music and in life).
Should people know anything about your current Mall of Fortune Summer Tour that they don’t already know?
It might be hot outside, but it’s even hotter on stage.
When I met with RBLE’s Max Fullard at Thank You Gallery in Norfolk, VA for this interview, he took a few minutes to go live on Instagram and talk to his followers. As he perused the gallery’s collection of books, zines and clothing, Fullard joked and laughed while he held his phone and coveted a Star Trak shirt in the collection. This was somewhat of a homecoming for Max since he relocated to LA in 2017 and he seemed happy to be home. He was quick to get down to business, though. And once we got the interview rolling, he was focused and genuine – a combination of qualities that is somewhat rare for someone who interviews musicians on a regular basis.
I’m assuming you’re already familiar with RBLE, but I’ll give you a quick refresher; Virginia-based hip hop collective came together around 2010 (don’t fact-check me, I’m going off of memory) and quickly became eminent in the 757 due to the hustle and grind they devoted to the scene. For a while, it seemed like at least one member of RBLE was performing on any given weekend and their name was on everyone’s lips. Even if you’re unfamiliar with the clique, you’re probably still well-aware of RBLE affiliates DRAM and Sunny & Gabe; the two acts have had a pretty big buzz for a minute now with momentum still building. Regardless of what impetus each member distinctly possesses, the RBLE fam stays close and diligent and Max Fullard is always in the mix; usually front and center.
Fullard has been consistently dropping tracks for the better part of a decade, most notably 2014’s A Rebel Named Max and 2016’s Nights of the Forth, but it was only in September of last year that he decided make the trek to LA. While Max’s reasons for moving to California may have seemed inconsequential at first – “Honestly, man, weather,” he tells me, “Anything drops below 70 and I feel cold” – his motivations were actually more specific and focused.
“One of the reasons I wanted to move to LA, I’m not gonna say I was depressed, but I was a little down,” he confesses, “Like everyday I’d wake up like ‘alright I gotta go to work’ and I’d spend unnecessary money trying to find happiness. That’s why I had to get some of those darker songs on Nights of the Forth out. Because I knew there was light at the end of the tunnel.”
A stellar example of one of those “darker songs” is Hurt One, a somber record about feeling alone and looking for hope. But the beat is a banger and Fullard doesn’t want you to think he’s on that depressive tip. In fact, the guy is brimming with optimism and positivity.
“Not to knock anybody who ever thinks really dark thoughts,” he says, “but I was on the outside looking in at myself. I knew I was sad and I knew how to get rid of the sadness; I just wasn’t there yet. You try to put all of your emotions in one song so I was just like ‘I need to get this shit out’. When I went to LA for the first time I was happy.”
So this really becomes a story about a man searching for himself and, for Max, a change of scenery was what he needed.
“I’m not saying it was Virginia that was making me sad it was just Groundhog Day shit,” he continues, “I was like I need to get out. I need to see some other shit. I was working everyday because I was living outside of my means. I bought a drop-top convertible. I bought jewelry. I was racking up my credit cards just trying to find something that was gonna make me happy and I knew I needed to stop or I was gonna fucking fold. So when the LA thing came around I was like this is it.”
LA also found Fullard on his own for the first time. Up until then, he lived in “the RBLE house” with the other members of the crew, a situation that could be a little overwhelming in terms of creativity.
“Now that I am away I get my own solitude and I can become more of who I wanna be,” he says, “As myself instead of who I am in the crew. We have the big RBLE House so – I’m in my room making music, Gabe’s in his room making music, (Artel) Carter’s in his room making music – you’re gonna hear each other making music. So naturally you’ll bust in like ‘what’s this’ or ‘you should do this’ or ‘will you listen to this’. So now that I’m by myself I’m able to form my own identity. I’m not hearing Gabe make his beats and telling him I want it so he’s able to expand and finish his stuff with Sunny & Gabe. Sometimes I’d be like ‘yo, that shit’s fire. Let me get that’. Now, I started using more dudes that I was finding. I utilize Youtube a lot more. I like to straight up buy your beat for what it’s worth, get the stem, and get the contract. That’s it. I lot of Youtube producers give you that on the reg, you don’t gotta meet them, they don’t have to be involved. “
That creative environment also motivated Max in a different way, helping him shape who he wanted to be and what he wanted to get out of making music. “I would come home from work and I’d have a little bit of jealousy that these dudes get to sit around all day and play Madden and work on music. And Sunny & Gabe was popping off and DRAM was popping off and I’m at work, fucking waiting tables. You know, you make a song like this gonna be it and a week later it’s only at like 100 plays. But then I started appreciating 100 plays. When I wrote the song Ten Fans, I was like I have ten fans and that’s it. And those are the people that I’m gonna show my love for, those are the people that I’m gonna keep pushing for.”
Finding his identity outside of RBLE has proven very productive for Max. He released the Max EP on October 26th which showcases a clearly more ambitious and adventurous Max than we’ve ever heard before and he plans to follow that up very soon with two – yes, two – new full lengths in the near future. Max’s influences have always felt West Coast – “the 2000 Myspace West Coast vibes,” as he puts it – so LA seemed like a logical second home for him. LA also puts him geographically close to “cousin of RBLE” DRAM, a detail that isn’t lost on one as motivated as Fullard.
“He lives ten minutes away from me. I see his crib and I’m like I can get this,” he says, “When DRAM blew up I saw that it was possible. So now I go a little harder. Not even in a jealous way, but like DRAM got it I can get it. Because he has the same exact resources that I have, obviously he’s on a label now, but he had Gabe, I have Gabe. He mixed and recorded all that shit in [his sister] Sophia’s kitchen. So he showed us that it was possible with the exact same resources that we have, you know? Same foundation, same fanbase, everything he had with Cha Cha… I just need a Cha Cha, or even if I get three-1/3 of Cha Cha. I just gotta be consistent and he’s showing me that as long as you’re consistent and putting out good product and just keep pushing, it’s gonna happen.”
When Max isn’t learning from his peers, he’s learning from his mistakes. The Max EP showcases the ambitions of a vet that is ready to step into the majors.
“I was very inconsistent before I met DRAM,” he admits, “I was going thru the wrong avenues, I was paying for PR, I was trying to get on blogs. I’ve been in Billboard, I’ve been in Fader and all that shit, but if you’re not consistent it doesn’t matter. Once they see the tweet at the end of the day, you’re at the bottom. So if you’re not getting people to post about and talk about you, you’re just gonna fade out. You gotta stay consistent. Once one song takes off, they’re gonna go back and listen to everything and then I’ll be fine. So that just keeps me going.”
These are words to live by, kids. My dude Max could do a TED Talk on perseverance and following your passions. Or you could just listen to his music and support his dreams. I know he’d do the same for you because he told me as much: “If anybody’s ever feeling lonely, lost, sad or even just happy you can reach out to me – dm, Twitter, IG, email – you can talk to me.” I’d do it soon, though, before he blows up.
Fresh off his first Stones Throw release, Samuel Jones Lunsford (his middle the root of all his personas) is flying high. He’s on tour promoting the record full of funky slow jams, and told Popscure all about his road to his new sound. He’ll be playing at Charlie’s on Saturday alongside Hampton Road’s best R&B and rock & roll, the perfect median for Lunsford’s sound.
How’d you first become interested in playing music?
I was raised in a musical family with an older brother, parents, uncles, and grandparents who all played and sang. There were instruments all around my house growing up and music was constantly being played or listened to on the family stereo. It has always been a huge part of my life since I was born.
Since you started out as a DJ, what were some of your favorite songs that made it into most of your sets?
I first started DJ’ing at friend’s birthday parties around 1996 when I was in 6th grade using a primitive setup consisting of a boombox and/or CD Walkman plugged into a guitar amp. I had the DJ Kool “Let Me Clear My Throat” CD Maxi-Single and definitely played that every single time.
How did funky beats break out of the bluegrass-heavy music scene of your hometown of Roanoke? Is there a solid soul scene or something that needs to be brought to the forefront, you think?
I was always in my own world quite separate from my surroundings – when I was growing up I paid much more attention to what was on TV or radio than what was happening around me locally – I also devoted a lot of time to discovering and devouring tons of different albums. So I was way more influenced by things outside of my hometown. There are certainly a lot of talented musicians and singers of all sorts of genres in the Roanoke area though.
Stimulator Jones is much softer than the raps of Joneski, what different sides of yourself are you trying to work out through each persona?
I had spent so much of my life focusing on creating within the framework of straight-forward traditional hip hop, the Stimulator Jones project was intended to be a vehicle to challenge myself to branch off and expand upon the sounds I was crafting as Joneski and stretch out beyond the basic format of sampled beats, 16 bar rhymes, and scratches and to incorporate more melodic elements, singing, live instrumentation and radio-ready song structure into the material – yet still having it all be filtered through my knowledge of and experience with loop-based programming, DJ’ing, crate-digging, and hip hop culture.
Said you studied a lot of producers and artists in lieu of your debut, “Exotic Worlds and Masterful Treasures.” Which eras and artists were the most influential?
As far as this album goes – I was influenced by a lot of heavy hitters from various eras like Jimmy Jam & Terry Lewis, DeVante Swing, Prince, Jesse Johnson, Ernie Isley, Chris Jasper, Barry White, Kool & The Gang, Dam Funk, Daz Dillinger, DJ Quik, Roger Troutman, Keith Sweat, Mary J. Blige, Yvette Michele, Teddy Riley, Aaron Hall, Jamiroquai, Michael Jackson, D’angelo, Beatminerz, Ohbliv, DJ Harrison, Tuamie, and many others…
What’s the ideal setting or scenario you imagine the record being the soundtrack to?
How’d you get picked up for Stones Throw and first link up with Peanut Butter Wolf?
In late 2015, Sofie Fatouretchi, a wonderful DJ/producer/musician and former employee of both Stones Throw and Boiler Room found my music online and contacted me out of nowhere to ask if I’d be interested in contributing some material to a compilation album she was curating for Stones Throw (‘Sofie’s SOS Tape’). I sent her a folder full of tracks including “Soon Never Comes” which she ended up selecting for inclusion. Apparently Peanut Butter Wolf really liked the song and she put me in touch with him. We had a phone conversation and I ended up coming to LA to meet him and the Stones Throw fam. We hit it off and by the time I flew home we had agreed to work together on releasing some more of my music.
From picking up “My Vinyl Weighs A Ton” back in 8th grade to having PBW help you record, how does it feel and is it how you might’ve expected?
It still feels kind of like a dream, it’s wild to think of the trajectory from listening to that album on my boombox up in my bedroom to now being a part of the Stones Throw roster and a friend of people that I’ve admired and wished I could collaborate with for years. I’m incredibly proud of this accomplishment, but I still have a lot of work to do and I’ve got to keep growing and pushing myself forward.
What’s next for the newly signed Stimulator Jones?
A US tour in October, an EP of some tracks from the ‘Exotic Worlds’ sessions that couldn’t fit on the record, a new album from my rock & roll band The Young Sinclairs, and a self-published book of some utterly insane and hilarious stories and twisted humor I wrote when I was a kid.
AT THE START OF EVERY MONTH, WE’LL BE FEATURING A MIX OF SONGS FROM DJS, WHIPPED UP ESPECIALLY FOR POPSCURE
The secret’s out – Wivve put out the call for this special mix on Instagram last month, and we took the bait. Hip hop heavy with house elements, it’s a guaranteed crowd pleaser to thrown on at any function.
The Virginia-based DJ spins all over the 757 and helps put on poppin’ events through Extra Company. In the past, he’s teamed up with Shake, and working with No Preserves this weekend for a stacked lineup, featuring session scarlet Opal and Stones Throw Record’s Simulator Jones.
Breathe (Bass Mix) – Hollaphonic
Blazin feat. Sophiegrophy – Airwolf
Ultimate (Yung Noize Remix) – Denzel Curry
I Want (Braveaux Mod) – MADEINTYO
Na Hora (Ft Faktiss & Chris McClenney) – Sángo
Russian Cream – Key Glock
Move – Key! & Kenny Beats
Love Hurts (feat. Travis Scott) – Playboi Carti
Live SheckWes Die SheckWes – Sheck Wes
Hater – Key! & Kenny Beats
PHARMACIST – NOLANBEROLLIN
PHARMACIST [UZUMI EDIT] – NOLANBEROLLIN
DOESKIFROMDAPACK – DOE$KI
New Slaves – Kanye West
Nonstop – Drake
Skateboard P – elijah who
Get It (4801 FREESTYLE) – Kyere
EVERY MONTH, WE’LL BE FEATURING A MIX OF SONGS FROM DJS, WHIPPED UP ESPECIALLY FOR POPSCURE
Her name is Dionna Edmondson, but you can call her Ella. Clubgoers in NYC know her as Ella Hu$$le, where she serves looks and spins jams any given weekend intertwining classic hip-hop hits seamlessly. If you can’t make it to the big apple for her set, catch her show “Hu$$le in the House” every 1st and 3rd Sunday of the month on waxx.fm.
For this mix, she toughened up her love for R&B with rap tracks, creating a perfect blend of hard and soft. Throw this collection of remixes on at your next party for guaranteed grooves.
Walk It Like I Like (Talk It Edit) – Radical One
Oops – Mitchell Yard x Pasquinel
New Freezer (Dembow Remix) – Rich da Kid
Paper Planes (Remix) – Uki
Dude (Remix) – Beanie Man
Murder She Wrote – Chaka Demus
Bizzey (Kazkid remix) – Traag
Taste Riddim – Jamesy
Only You (Edit) – Ashanti
Ton – NA Horeyezon
Ride or Die – Joslyvio (Masquraid x Ravish edit)
Phone Down – Eryka Badu (Kingdom Edit)
Frontin (Edit) – Pasquinel
Shake (Remix) – Rilla Force
Interlude (Remix) – SDP
WYWD (Remix) – Girl Unit ft Kelela
Fin de Demand – Radical One
POPSCURE PRESENTS TAKES LOCAL & TOURING ARTISTS, RECORDS INTIMATE SESSIONS WITH A FEW SONGS AND CHATS ABOUT THEIR PROCESS, INSPIRATIONS, AND NON SEQUITURS IN BETWEEN
When I first came up with the idea of POPSCURE PRESENTS, Opal Dillard immediately popped up as a possibility. She’s a multifaceted artist from my hometown, who makes unique R&B music and pretty much any clothes she wears. Somewhat of an enigma, everyone and myself have been curious to know what she’s been working on.
For a special edition of our live sessions, we took away the song aspect and let the auteur speak for herself. Sprinkled between her words of wisdom are clips of her upcoming fashion line, and unreleased music that shows a tougher side — “the real Opal,” according to her.
Special thanks to Mike Washington of Rosewood Chapter for capturing the video, Andrew Briggs for making it all sound crispy, and Opal for graciously welcoming us into her home. I’m excited for this one.
POPSCURE PRESENTS TAKES LOCAL & TOURING ARTISTS, RECORDS INTIMATE SESSIONS WITH A FEW SONGS AND CHATS ABOUT THEIR PROCESS, INSPIRATIONS, AND NON SEQUITURS IN BETWEEN
Our second installment of POPSCURE PRESENTS features Ellen O from Brooklyn. Her training as a classical pianist and love for trap meld together in synthy songs sure to put you in a daze. We chatted about how she got into music, her Korean heritage’s influence on her songwriting, and collaborators in the city (such as IMGRNT who supported her on tour, and Khallee featured in the session)
Thanks to honorary Popscure team members Karla Espino for video and Andrew Briggs for audio, and all their tireless editing. Special thanks to TBA Productions for linking us up with the space and band to get this done!
EVERY MONTH, WE’LL BE FEATURING A MIX OF SONGS FROM DJS, WHIPPED UP ESPECIALLY FOR POPSCURE
“When you mentioned 2000s R&B love songs, I knew almost immediately the route I wanted to go,” said NYC DJ Khloe Gatmaitan, aka MILKY$HAKE. Originally from VB, she moved to NYC to pursue a career in fashion merchandising. There she started spinning more seriously, and has played feminine, flirty tracks at clubs a-plenty & beauty conferences for Ipsy, NYX, and others.
She went and above and beyond for this romantic mix of nostalgic and soulful songs, just in time for Valentine’s Day. This 35-minute set is oficially titled “Kiss Me Slowly” Peep her wonderful album art for the full tracklist!