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This is a WXAV 773 S.H.W. podcast introducing you to the best local bands in the Chicago land area. Hi, this is Peter Creighton with 773 S.H.W. on the XWXAV88.3 FM Chicago.
You're escaped from ordinary radio. And to say I'm excited is a true understatement for this week's featured artist of the week. This duo has made me a fan of hip hop. The way they bring soul music, incredible lyrical content that makes you reflect on today's society.
And the fact that they have been around the scene for 20 plus years and still representing Chicago is just mind blowing. I am so happy and honored to have EP and old school from Abstract Mind State here on 773 Sounds. How are you guys? Oh, but nice.
Happy to be here Peter. Thank you for having us. Oh, so happy to have you guys. I'm so cold.
But, but still feeling. Now, as cold, but it's pretty nice here. But yeah. Oh, can I ask?
We'll go where you at right now. Oh, yeah, yeah. LA. So that's why I reside now.
So I get to talk junk and, you know, make EP feel bad because she's just cold. Where she is. I mean, it's cold hard. All right.
I mean, cold for you now has to be like the low 50s at the moment. Yeah, pretty much. Really, but I was just the whole last year we went to. Yeah, that boy was walking up, walking up, walking from us coming from home.
It's screaming. Oh, yeah. It just I don't think he could survive before a week over to LA. They get the rocket up like a baby.
LA weather got rocked up, you know, what I think that I first off, I, congratulations are in order. I mean, you guys have recently won a Hollywood Independent Music Award for your song bar, Louie. You guys just released a real phenomenal record last year called The Art Project, which is so great. I mean, it's been a really fabulous six months to a year for the two of you.
You know, you've worked with J.I.V. You've worked with David Banner, John Forte, and it's been produced by young RJ from the Slum Village in Detroit. I mean, first off, how do you process just like all this amazing stuff that's happening? But what has it been like?
What has it been like making this record and getting out there and seeing people's reactions and everything? Rest in peace, John Forte. So so I think that I think that the album that we did previously, what Kanye kind of prepared, like it got us back to where we were as a group. It was like a precursor.
Like so we just so we loved the album that we did with Kanye. We thought that it was really dope. I think that this album is more of the art project. It's more of like, OK, we can still do this.
Like we were testing the Waters with the Kanye album because it had been so long since we worked together as a group, since I was doing music at all. And since Green and I worked together as abstract mind state. And so that was like proving ground for us again. Right?
And so after that, we were so happy with that particular project. You know, and I'll let old school tell you how the inception and the conversation came up about even doing the art project. But we are really satisfied with the art project because it reminds me personally of the chemistry of the old music, right? Of like what you said, you won't band count.
You'll see the way that we sound together on a record, any particular record. And I don't think that that was quite there with the Kanye produced album. I don't think that it was there yet. We hadn't gotten to the point now.
The more songs we did, the closer we were getting back to that particular point where it was like easy, you know? But this art project, the art project is conceptualized. It's a rebirth of what we were before. Whereas the Kanye album was like, you know, let's test it out.
Let's see what it's like to get back in the ring. Yeah, yeah. But now with the young RJ, you know, of course, some village, I mean, being like, every hip hop artist, and I mean, you know, sign like, you know, national hip hop artists. They're like every artist favorite artist, right, or group or whatever.
And so it was definitely a pleasure working with her because like, you know, we were fans of the music before we were brothers with them, brothers and sisters with them, you know? And before we can call it my brothers, I should say, but you know, you know, RJ, it was that, you know, it's funny. The same thing with Kanye, that whole album, the whole The Dreamstill Inspire album was completely his idea, something he came up with, the idea of us doing that together. He brought us back together.
Yeah, he brought us back together. That was all his idea. And he is, it sounds young RJ being inspired by that album because he felt that that that album didn't get handled or treated or exposed the way it should have. And he just saw so much potential in it.
He was like, man, give me a shot to do that. We'll do you all right. We'll treat y'all good. We'll get y'all the platforms y'all need, which they did.
Like they took us on about two, three, two, three tours. You know, the first, you know, the first few singles came out on through their distribute through Virgin and all of that. You know, it was a cool thing. So RJ came just like, yeah, came and say, hey, let's do one together.
Let's do it again. But let me get a shot at that. So that's how we end up doing the art project. EP came with the title before we even recorded the album.
She had already said the next album we do. Let's call it the art project, you know? And I just kind of, if you look at the graphics and listen to the skits and all of that, the, the, um, the interludes that was built around the title to make it all come together. So it was really our project.
The coolest part I like to talk about with the art project is the interludes are actually art classes on Jackson State's university's curriculum. Like their real college curriculum, those, the name of those interludes are actual art classes. Really? Yeah.
That is so cool. And Jackson State is actually where we met. Yeah, exactly. I should have said that.
I'm talking like the North. Yeah, exactly. That's why we met. So that's what that, it was like for, you know what I'm saying?
So that was like for a circle to kind of connecting Jackson State and us, that being our foundation. Yeah. Old school is south side and on west side. Yeah.
We actually didn't know each other here. Yeah, we met in college. Uh, it was, uh, it was old school, I think, south more year and it was my freshman year. Yeah, no freshman year.
Yeah. So then, you know, after I came out of that, that's so incredible. I mean, there's so much I want to unpack there because, I mean, what kind of like a full circle rebirth then with the art project with going back to where you originally met? Yeah.
This is the album where you feel like you're not even intentionally not even like that part of it wasn't even intentional. The concept of the classes for old school, the curriculum part like that, that was intentional, but you just saying to us bringing it full circle, like that's my first time even thinking about it. Right. I didn't write it.
Yeah. True, true for me. To all right. Yeah.
That is, that is so cool. So I got asked, what was it like working with RJ? I mean, this album has such a cool song. Easy.
Yeah. Easy. Easy. I J, uh, what, how could I say cookies, laughs, look, uh, fresh baked cookies, lots of laughs, a bunch of jokes.
Who table and liquor? Right. Don't beat the kids and pads. Yeah.
It was, oh, you know what? You know what? I could say this on the real side. It was old school recording with RJ, could you say that EP?
Like the way we used to do it, like, you know, let them, because we didn't, it was no time. It wasn't, we wasn't on the clock. We weren't pressed for time. Yeah.
So just like young playing beats. Yeah. Yes. No, yes, no, yes, no more.
Yes, they know. Right. We crack at jokes. We eat and we're stopping take breaks and eat and talk about stuff and get back.
You know, it was just, it was a, it was the way, you know, the way it used to be, you know what I mean? The way it went, when, when, when producers would get in there with the artists and really create. And not just send a beach. Yeah.
And I just send it in the studio for the whole project. Well, even the whole thing where like, you always hear so many artists like they're on a timetable where it's like, I have to finish the album in three weeks because I'm going on tour in four weeks and I got it. Right. How can you make art in that way?
But with here, it seems like everything was organic and it was very collaborative then. Oh, yeah. Very collaborative. Very, very, very, very, very, very, very, very, very, very, we, we, we, we, it was even, it was so family.
Like we crashed out at RJ's house. He like just made us stay at his home. So it was just like, you know, it was like, you know, I mean, we talking breakfast, lunch and dinner and recording. So we called a vibe doing the art, the art project recording, it was different from recording drinks, definitely a wave.
Yeah. Yeah. Yeah. So they both had that thing because you know, EP and I was like in different cities and these very cool places recording.
So it was cool with drinks and inspired, but this was like a slumber party or something. I can't, you know what I mean? But it sounds like it was like the perfect environment you needed to make this record. Yeah.
And it was also what it presented was a decompression from Dreamstone and Spire because it was, I think, I think, I think old school wanted me, it was pressure because it was Kanye. You know what I mean? It's Kanye. So although the friendship and that stuff existed, it was just pressure because of who he was, you know, RJ is a huge name as well, but it's, it's not like a mega and it's still roots hip hop.
It's not pop. It's not a arenas. It's, it's, uh, it's a Netherlands. It's the Netherlands performing inside a club.
It's Netherlands. It's hip hop is European. It's hip hop. Yeah.
It's nothing else. Like there's no pretense put on it. You don't have to sell this mini records. You don't have to present yourself in any kind of way, except the way you came.
And I think the comfort level matched the product. Yeah. That's awesome. You can hear, you can hear us sitting back cruising in that Cadillac on the arts project.
You know, you can tell we were, we were back in crew when we were in the cars and do car steel hat cruise control. We were just like, okay, it's like, I got a Jeep. So I was like, yeah, so yeah, we was on cruise. And I got to say, you feel that vibe as a listener.
For me, the track we've been spending a lot on 773 sounds is feature presentation. Oh, come on, come on, come on. Come on, come on now. That's, that's, that's his favorite song on album.
Is it really? You would go say that, but that gives me a smile. Yeah, it's definitely my favorite. Okay.
I mean, I know you're interview, but why, why, why that song? What is it about? So you really paint a picture in my mind's eye where it's like you're in a theater and the curtain's going up and you guys walk across the street. Exactly.
Yeah. And the thing is, so that was actually the first song I heard from, from you too. Okay. And it's not me in my tracks.
Like the beat is a very old school beat. Right. You know, it kind of reminds you of those late 80s, early 90s, like, you know, run DMC, public enemy, where it's like, okay, okay. And then it's like the teachers at the podium and they're about to lecture and as you guys coming out and talking and, and it's incredible.
I love that one. The other one that I really am digging a lot is the get down. I love the get down. The get down is a vibe.
Well, I was telling you, I was like, everybody say the get down. I think the get down just a vibe. Yeah. Yeah.
That's the song. It's summertime. The windows are down and it's turned up. Right.
Yeah. That's dope. The concept of Peter, like, like most when, um, when we're going to sit down to kind of like, gree mainly comes up with most of the concepts of the songs, uh, and what we're going to write around is we knew that we were going on tour. So these songs had to be.
Yeah, these songs had to be songs that invited crowd participation and their reciprocity. Um, so it couldn't be really wordy, but they still needed to be catchy and interesting and relatable. So that's what the art project was. It was, it was an album.
Uh, birds to perform. Yeah, it was. And in all honesty, after touring with slum, because we, we got a chance to tour with them, um, domestically, even before we, um, uh, yeah, before we get to European tour after the art project was done, but to watch them and I remember saying the EP man, we just, we don't have one of those just five, cause like, cause slum has so many vibe records. It's like, they almost like club, mid tempo club vibe records.
And we heard to get down and we were like, EP was saying, we purposely knew, I was like, we need one of these when I heard the track. I was like, we need one of these. And look, and then it was like, why not throw them on the very song? Cause that kind of inspired me in terms of the direction.
Cause I'm watching them have so many club vibe joints. And that was one for us. So I was like, okay, let's, let's, let's, let's see if we can get them on this one. You know what I'm saying?
Yeah. Another thing Peter was the fact that we got such a good, like, like Kanye producing Dream Sellers Fire or not, we were received so well because of our stage performance. Yeah. Because the first, the first leg of the two, which was the 28 day European tour or 30, we performed Dream Sellers Fire because we hadn't, we hadn't done the art project yet.
Right. Ridiculous. Ridiculous. And those weren't even made really to perform.
And I think, and I can say I can give, I can give that up to, to, to my partner, the, because the hooks were, we didn't write the songs to perform, but the hooks were in our performance friendly. Like there, there's still not wordy and intricate and, you know what I mean? Cause the crowd would get boring, like crowd would get bored and, and, you know, start doing some other stuff. Like, but, but our show, which I can definitely tout on, which has made us one of the household names with roots hip hop here in Chicago, our live show, a couple with those hooks was, was part of the reason why we were invited to come back to you.
Yeah. Yeah. Like, and invited to, for RJ decided to, he wanted to do an album with us. Yeah.
That's amazing. And, and, you know, I was on your website earlier and you have like a video testimonial of the, of the crowds in Europe and what they were like seeing it. I mean, it seems like the shows are absolutely like incredible. So first off, like what is it like playing Europe and playing England and, and I'll let you be, I'll let you be answered.
So I don't want to get too, too deep about this. But like I even say it on the album that performing not only is not only do I feel like it was what I was meant to do, but it's my best self. It is, it is actually, it is my best self. And there's no other place that still respects the type of hip hop that we do real hip hop more than the countries in Europe.
Yeah. There is no America, you know, it's, it's sad because this is the birthplace, but you can only go to Europe and be received like that. And I'm talking about anybody. Yeah.
I'm talking about anybody. Yeah. A nonce could probably, you know, he'll sell out, he'll sell out Madison Square Garden, right? He'll sell out MSG, but it's not going to have that vibe because it's too big, too big.
We won't get this. Yeah. You won't, you won't, you can't feel as an artist, you can't feel it. I don't care what they say.
I don't care how many people. Yeah. That's why they don't do it. Because it's not intimate enough.
And I wouldn't trade that experience for anything. Yeah. When we were in Europe, Peter, some of the stops, we would look remember people would see the posters on the wall and be like, Oh man, you know, Shabazz palaces is coming through here. Butterfly from Diggable Planet has his own other thing.
Well, we'll see like, you know, I don't know, like AZ or, you know, they like sold it. We like, you know, you start realizing being in Europe, how these groups that we love, they're like she and I love or that falls in that slum village family sound kind of thing. We see now how they're still alive and well and breathing and relevant because they can go to Europe and just disappear, disappear and do what they love doing for years if they want to. So Europe for us was just, it was so fun.
We talked to it was so fun. It was just so fun. So Peter, when we were recording Dream Still Inspire, we had a little visitor. His name was Nazir Jones.
He came through and we realized during that time that all of those artists from New York and the West Coast, except they had never been to Europe to perform. They had never been to European tours. Yeah. Wow.
Look, I had a conversation with Greg Knight from Nice and Smooth some years ago at my man, JB Smooves birthday party and I was talking and I was, you know, we just got the small talking and I said, man, you know, it's got to be dope man. The way you came up in the area in New York, man, I was just touring the world and doing your music. He was like, two in the world. He said, man, let me be honest with you.
All of us New Yorkers that all the groups y'all love, we thought the Tri State area was the world and I was looking at him like, what? I'm talking to Greg Knight from Nice and Smooth and he like, man, we had never, man, we didn't go out the cup. We didn't know we didn't. We weren't going to Europe and I was like, whoa.
And I was like, he was like, you want to believe this? Like, most of them, like all those acts we thought was just taking over the world, they said they thought, yeah, they were taking over the Tri State area. They said they thought, you know, the V of DMV and all that. They thought they were, they said that was enough for them.
That's all they cared about. So, so it was always the groups like they lie and jump drive the native tongue, you know, the whole native. Yes, slum slum slum. Yes.
You know, and that's why we were able to kind of, they kind of, not kind of, they opened that door for us. We were able to wrap their co-tails and enjoy the, the, the, the wet Europe is for a group like us, a group like abstract Europe. People in Europe were saying cool stuff to us like, hey, some places, some places knew us, but some places was like, hey, we didn't even know y'all was coming, but y'all, y'all our favorite new group, you know, they were saying it just, they were saying it to us just like that. And we, we was like, man, I love this.
Now, now, EP, you mentioned something earlier with like, like real hip hop and it's in the smaller room and you're feeling the vibe of the people and, and things like that. Why do you think more artists aren't kind of going back to the roots? Like, to a degree, do you think hip hop has become too commercialized? So, so rap is commercialized.
Okay. So, very few feel to me, hip hop artists in the main hip hop artists are artists that have already been out. There are a few newer artists that, that, that old school may consider to be like, that fit into that mode of what we would refer to as hip hop, but it's, it's music much like, uh, different, different types of art. It's so divisive.
It's so divisive in its money driven. And you, you couldn't see the amount of money these artists make now. Right. So, couldn't see the level of creativity that these artists, that these artists, because they can't, they're not creators.
They are, they are robots, by just my opinion. It's just, it's so repetitive and it's so money driven that it can't be art. Like, how many real artists do you know do it for money? Yeah.
What can I say? We, we took the sensibilities of the golden era, right? We never left those sensibilities alone and brought them into the now era meaning like, you couldn't sound anything. Like, it was a cardinal sin to sound anything like any other artist, any other artist during the golden era hip hop.
But now, you know, what we've seen over the last 10, 15 years is they get rewarded or heralded sounding exactly like the other artists. And to the point that sometimes we don't even know who it is. We'd be like, oh, is that someone so close? They all sound the same, you know, and not just, it's just the truth.
They don't even ride them. It's just the actual fact. And so we carry those golden era sensibilities into 20, 20, 20, 20, 26, 20, 27. We carry in that, that idea that, hey, we're, we're okay not sounding like anybody else.
And if it means that we'll constantly do small rooms, cool. Because that's the reason that people like Prince, real artists like Prince, who would always do a, like, like you said, an MSG or come out here and do the forum or something like that. But Prince was notorious. So popping up, popping up in a small, you know, 300 to 500 person venue and giving the best show his life.
And that's what drove him. That's what allowed him to do MSG that he was able to do a blue note. You know what I'm saying? Yeah.
And I'll piggyback on a sense, a sense of a sensibility thing that old school was talking about. Like the stuff that we wrote about then as artists, young abstract minds, the same things we write about now. It's just, it's just on a, it's just on a bigger scale. It's with more knowledge.
It sounds different because we're different. It's 26 lens. Yeah, exactly. But the message, the real message about growth, development, saving a soul, spirituality, budgeting, all of that stuff is still exactly the same.
And the message and where it comes from is still the same. I think that's why when you go back, Peter, and you get a chance to kind of delve into band camp and you'll be able to compare songs. You'll be, you're not going to hear, you're not going to hear it spit the same way. You're not going to hear, you know, it may be for you, the younger version of us may even be more creators because we felt like we needed to be tricky, right?
But what we did was we tricked people out of even knowing what the hell we were talking about because we were talking so much above. Yeah. Most people because our audience, our audience was people that didn't go to college, but we were the college. It's great.
We were talking to people who didn't, who didn't, who might have gotten a GD. Right. My cousin is my family member. She used to be like, you so dope.
But don't nobody know what the hell you're talking about. This is real. My family. Like, but don't nobody know what you could just say some of the stuff that went on with you, you know, you was growing up.
I said, I do. It's just sound. One of the things that stands out so much for you guys with how old school is talking about that old school sensibility and bringing it up to 2026. I think that's what makes you guys so fresh.
And I think that's what makes you guys so stand out because there is no one that sounds like you right now. And the fact that, you know, you're playing Europe, radio stations in Africa are spending you guys right now, like, like for the two of you, like what is it like being people that grew up on the south side and the west side of Chicago? And now you're playing Europe and you're finding out that your music is being played in Africa. I mean, you're truly a worldwide.
Oh, no, let me tell this was the way. I'm going to say nothing. Look, it happened to me and her. We were standing outside.
I want to say it was in Milan. It was Italy. And Italy and the guy just walked up to us with this strong action like abstract by status that's right now. And I said, wait, what did you say?
And I said, say that again. And he was like, remember, he named a song because we got it on the we use it on something. We got it on our, um, we got it up coming on tour documentary and we use this clip because it was real. We got the phone on and called him, you know, got him saying this and he said, oh, why still he said why still I think he said why still I offered an offer the art project and a, I mean, I mean, I'm sorry, we offer drinks, they're inspired.
He was like, whoa, like, wow. Okay. Yeah, yeah, that was that was Milan, Peter. So Africa, when I saw that clip, when I got that first clip sent to me by one of the people at the radio station and I put it on our page, it was just so it felt so good to hear to hear us get played in Africa, like Africa, man, we both love Africa, you know, yeah.
And it's just like, that's what we want to, if we want to talk about Africa, that's what we're, that's our next frontier to conquer because Africa plays regular hip, they like regular American hip hop. They're not, you know, they so we're, we're in the process of breaking into that market right now. Oh, that's so cool. I mean, imagine what it'd be like if you could tour there.
And that's all we talk about. That's all we talk about. Matter of fact, we're diligently working on that right now, like trying to solidify some touring in Africa. Yeah.
That's so cool. That is so cool. I hope you're able to do it and please let us know and keep us up to date so that you know, the energy out there. Absolutely.
Absolutely. Now the two of you have been creative partners for well over 20 years now. You've seen good, you've seen bad, you've seen everything you can even imagine. How is that relationship evolved over that time where, I mean, I got to imagine you guys just have to look at each other, you know, instantly.
That's what you want me to do. I got you. It is very, go ahead. No, no, no, I was going to say some silly like that comes out that goes all the way to our personality because I'll be telling you like sometime people think maybe crazy because we got so many years of jokes that a word of be said and all of a sudden me and hers doing this.
Do we do this thing? You know, and everybody like, what are they talking about? Like, you know, but not what you're going to say. It's I think with any type of relationship, especially when you spend so much time apart, because it was almost 17 years when we didn't really have any like, any music, anything, you know, he was, you know, doing stuff with Kanye and I was like, real life in it, you know what I'm saying?
And so it's almost like you get to know the new person. You get to know the new person because you know, you grow and people age and you know, idiosyncrasies change, like in dislikes change and you're, if you're going to do tours and stuff like that, you're forced to get to know the new person, right? And I think that I think the first part of the tour, that's like even even even the album, even doing DreamSill and Spire, that was like a, it was like a rekindling and us getting to know each other again, like from 1990, you know what I mean? It was like a new 1990 because we were fundamentally different.
We were older. We had both things, same things. We had our own different perspectives. Like when we were younger, we were more because we had this, you know, college is like a security blanket.
So we were doing the same things. And if we went together in college, we were doing the same thing. You get what I'm saying? Even if it's a, I mean, we were together every day, but even if it's a two days we wasn't together in college, whatever she was doing, she's probably doing some homework or studying or somewhere on campus.
If you ask what I was doing, probably some homework, studying in somewhere on campus, you know, it was the same walk. You know, we had the security blanket of university, you know, of what our daily was versus like EP said, she said real life in it. Like now it's like she's living like real life and I'm still over, you know, for me, real life is the music business. So I'm still over in like fantasy island, you know, doing that.
Now for those of us who have never seen the two of you live in concert, what can we expect from an abstract mind state show? You can definitely, man, you can expect, you can expect a better show you've ever shared. Energy energy, energy. Like, that's one of the things that didn't take time to rekindle us being on stage together.
That right there is something that I think is unmatched. And I won't even say, I don't even call it easy because it has to be something that's more deeper than easy. And I won't even say organic, I won't even use that, it's overused. But it's something that's so automatic and so.
It's I've never been in that type of relationship at any level, romantic, at any level where something like that old school and I could have just had the biggest fight. Right. Honestly, the biggest, the biggest fight about it could be anything. That was at six thirty to show that eight thirty vapers.
You would never, you would never, ever know. You would never know because the stage is something that is so, so you know how they say that the ring is unforgiving. So is the stage. I believe that.
So is the stage. And because I think we love performing so much and it comes so easy for both of us and I'm not talking about the group, it comes so easy for both of us. And I tell my therapist that I really need to go back on tour because for one month I get whatever human craves and that's immediate gratification. Like there's no human that doesn't want to pat on the back.
Yeah. You imagine getting that pat on the back from at least 900 people for 28 days in a row. Right. I'm telling you, you're telling you something that you may not believe in your head.
Right. And you're making them do whatever you tell them to do every night. Yeah. That doesn't happen.
No, it doesn't happen. And they're moving the groove from something that you thought of and just out of the blue in your head that you creatively put it off yourself. Yeah. You're sharing it with them.
Hoping that maybe what we're sharing that we're dealing with or wanting to talk about. You can relate to. There's no other place that I know of that you can get there. It's a high that's beyond.
It's beyond any drugs and liquor. I believe it. It's serious. You're not to see why people like they rock bands.
I'm not going to go on these long term grateful dads. You know, they just lost the member like they were touring until now. Yeah. Because that and I don't think it because Rachel did get all the money they'll ever need.
Right. But but it's that thing is that crowd and it's that what you get back from that crowd. It's like breathing. Yeah.
And you and it's the length of time. Like look at what Kendrick Lamar just did. Man, that man was on tour. You see how long he was out there.
He spent most of the year on tour. Yeah. And some people say, man, how could y'all be out there that long and we'd be like, man, please, if you if you could if you knew how it felt out there rocking the crowd every way you could appreciate it. It's you'll never never understand different type of dopamine.
It's a different type of thing, you know, I believe it. Now if people want to check you guys out online, where can they find you on your socials and and bandcamp and website and everything? Where can where can people go? Yeah.
I G E P D I L can't abstract my state and I'm at old school underscore. I agree in old school is O L S K O L and you can always if you can't remember any of that, go to abstract my state dot com and it'll lead you to all of our yeah, all of our pages, you know, and and and and and and if you go to bandcamp and put abstract my state into search, it'll get you to get you to our entire discography of music all the way from demo from the demo phases up to yeah, we got catalog. Yeah, I got to pull it up right now and I'm looking at it and there is at least 12 to 14 LPs on here for you to check out for your listening pleasure. Oh, listen, listen, we didn't stop recording.
Yeah, we did. We did stop old school EP. This has been such a fun interview and such a fun conversation. Thank you so much for spending some time with us here on seven three sounds.
Yes. Listen, our project is only six months old. It hasn't even been out of year. So listening, looking and you see me at EP looking at you in this great go get the art project.
Yes, six months old is not even a year old. It's what you need. You know, we've said this next year, the year changed, but it hasn't been 12 months since that album came out. So, and don't you better.
Yeah. Shout out to slide out to your guy, Jay and the slum. Thank you for listening to this WXAV 773 Sounds podcast. For more information on 773 sounds, please visit our website, WXAV.com.