Posts filed under Spotlight: Artists

Womxn of Music: Sulene van der Walt

Photography: Ivan Clow

Photography: Ivan Clow

In closing our Womxn of Music series, it’s like that popular saying — it’s not goodbye, it’s see you later. For our final chapter, we speak with Sulene van der Walt, the South African 26 year old musician and film composer living in New York.

As a freelancing artist, Sulene is the Swiss Army Knife of the music industry. From touring, shredding as the lead guitarist for Nate Ruess (of fun.), composing film & TV scores to writing her own music, she’s continually putting in the work to bring her ideas to life. This year she’s busy finishing up her next album — and of course, she’s producing all of the art, video content and photography to go with it.

We chatted with her to learn more about her journey in music, where her inspiration comes from and the different challenges she’s faces working in music.


music-licensing-artist-catalog-roster-library-license-music-for-youtube-video-vimeo-filmmaker-resource-onlinemusic-free-copyright.jpg

Marmoset: What was music’s role in your life as you were growing up?

Sulene: Since the early days of singing into my hairbrush, I diligently started studying music. I have a musical family and grew up going to music lessons and I went to Berklee College of Music to study composition and film scoring.

During that time I really went inward and developed my skills. My music became more complex and I experimented a lot — I mostly composed for film and television and wrote instrumental pieces. As I finished college I realized I missed songwriting so I dove into that again and back into the pop world.

M: How do you view your music evolving and where are you headed?

Sulene: In the last three years my music has become simpler in some ways. Much clearer, refined… it’s totally pop music! Instead of showcasing my musicality at every opportunity, the challenge now is how to convey a clear message in a pop song, which is actually surprisingly difficult to do! A lot of people think pop music is easy to make because it sounds effortless, but it takes a ton of effort and clear communication lyrically.

My music has evolved from an emo place into a more dance-oriented sound. I learned how to produce which meant a whole world opened up to me  as far as vibe and movement and tempo and how something makes me body move on stage. I also started DJing, so I naturally become inspired by dance music. I even shed the guitar on stage sometimes now and just sing and dance, and it feels right.

M: When growing up, who were some artists you looked to for inspiration?

Sulene: Well, I grew up listening to The Spice Girls and Britney Spears. I used to dance around my room singing into my hairbrush and copying their dance moves. I even had a DVD by Britney Spears' choreographer that broke down her dance sequences in her music videos. I guess that’s not entirely different from what I do on stage now.

These days I’m massively inspired by Madonna and Lady Gaga — two women who continuously reinvent themselves, who are insanely musically talented and who are total badasses. They've pushed the boundaries of art and stigmas and forced people to face thought-provoking material.

My latest inspiration was Lady Gaga’s acceptance speech at The Oscars; she talked about hard work and it really resonated and put a fire under me.

M: What’s something you’re proud to have accomplished as an artist?

Sulene: I’m proud that I wrote some songs that people connect with, I kinda did it without even realizing — when I wrote the Strange EP it was more of a cathartic admission of certain facts in my life; like I miss my band in college, being sad that I had lost my best friends, that I was growing up (“What We Had”), or that I broke up with a lover but still deeply missed them and would fantasize they still wanted me (“Haunting”).

In a way, I’m proud that I have the guts to say these things on stage. I even say little intros now, sort of like a monologue, about the songs. I hear the audience sing the lyrics with me or sing back the gang vocal parts on “Haunting” and I understand in that moment that the song has now taken on a life of it’s own. It’s not just mine now — it belongs to a bunch of people. It’s a very fulfilling and deeply moving feeling.

Marmoset-music-licensing-artist-catalog-roster-library-license-music-for-youtube-video-vimeo-filmmaker-resource-onlinemusic-free-copyright.jpg

M: What do you think it takes for women working in the music industry to “make it?”

Sulene: Being a woman in the music industry is such a complex thing. It comes with both its merits and its disadvantages.

It’s tough to know when to use your feminine characteristics — the things that make you who you are, think the way you think, look the way you look — and when to hide them. It’s an ongoing battle for me. My advice is to chose your battles. There will be sexism, you will probably be pursued at some point, you will probably feel like you need to prove yourself as a musician. You might even find yourself doing things to be “just one of the guys” in the music biz, that’s what happens when you’re somewhat of a rarity within a scene.

Be aware of it all — be aware of how much time you spend with the guys, if you’re in close quarters alone too often, how much you drink, what you wear, how people talk to you, how they might be overly touchy with you or hug you a lot or comment on the way you look. All these things… I used to sweep them under a rug and think “that’s just the way it is.” Now I realize that the power inside, as a woman, or really just as a person, is to say wait a minute, that’s actually not how it has to be. 

I’m not afraid to call someone out if they make me uncomfortable and I don’t answer after-hours phone calls from people I work with. Know yourself, know who you are, what you’re okay with and what you’re not. It’s a lot more fun working as a performer once you have those honest conversations with yourself. That’ll also be an ongoing journey as you navigate this nuanced career as a musician and performer.

It’s a real grey-area type of job because so much of your work involves hanging out and being at venues and bars, being social, networking, being in the right place at the right time. And a lot of the time, there are no clear rules and boundaries in this gig. So you have to set those for yourself so that you can focus on your art and goals.

Most importantly, I would tell a woman starting out in the music industry to have convictions in her ideas. Always have an open mind and heart and listen to others, but deep down stay true to who you are and what you have to offer. Don’t be afraid to show your unique perspective in your art even if people don’t flock to it right away or tell you how amazing it is. Sometimes something ground-breaking or new is just a little bit outside of the norm.


Womxn of Music: Olivia Thai

Marmoset-Thai-music-licensing-copyright-music-original-music-catalog-artists.jpg

In honor of International Women’s Day, we’re continuing our Womxn of Music series by highlighting the amazingly talented Olivia Thai. We’re honored to present the release of her new single, out today and available for music licensing — read on to learn more about the talented American Idol contestant, then head over to our catalog to listen to Circles!”


Marmoset: Which women artists were you inspired by growing up or are you continued to be inspired by today?

Thai: Female artists are my faves. I only spoke and sang in Chinese until I was six years old, so I listened to a lot of Teresa Teng, Faye Wong, Sammi Cheng and Cass Phang in the early ‘90s.

After I started speaking English, I mostly listened to power vocalists — Mariah Carey, Whitney Houston, Christina Aguilera and Celine Dion. I wanted to learn how to sing just like them growing up… still can't, but hey, I found my own sound, and that's pretty cool!

I am continually inspired by Amy Winehouse, Sia, Jessie J, Joss Stone, India.Arie, Kelly Clarkson — love and respect them so much.

M: What did your journey into music first look like?

Thai: I never knew that music could even be a career when I first started playing music. I started college when I was 13 years old believing that school was the only way to become successful in life.

My community probably still believes that music is only supposed to be a hobby, which is just sad. I would tell my younger self that there are so many career options in the future. Everyone's potential is limitless.

M: How would you describe the music you like to make? Where would you like to take it in as you grow as an artist?

music-licensing-original-music-marmoset-license-music-roster-artists-download-sync-film-trailer-score-soundtrack.jpeg

Thai: My music has always been on the darker side lyrically and I would like to explore lighter and more inspirational writing in the next few years.

Those dark days are over and I want my music to genuinely reflect how I am feeling at the moment.

I am proud to have been able to connect with my fans on another level through my music. Many of the supporters from the last decade know me through comedy and covers on YouTube, so it's amazing to develop a new connection through my original songs.

M: The music industry is known to be particularly challenging, but even more so for women artists. What do you think it takes for women to “make it?”

Thai: I think everything comes down to being genuine and being unapologetically you. I have struggled with this throughout my life and still do sometimes as an adult.

As an artist in 2019, it's not just about the music anymore. It's about connecting with people.

M: How do you reset after a challenging day in the studio (or just in general)?

Thai: I think hard days are all about perspective. Hard days are just life lessons for me — it happens, I learn something important and life goes on. Knowing my purpose is enough to keep me going. My driving motivators are my family, my friends and my fans.

M: What are you excited about in 2019?

Thai: I’ve been working on my album and I am most excited about the two new singles that will be released this year.

The next release is titled, "Circles" produced by Graham Barton at Marmoset, which is super exciting! The one after that is titled, "Temporary High" produced by Christian Mochizuki. I can't wait for everyone to hear the new jams!

Womxn of Music: Michele Wylen

music-licensing-marmoset-artist-catalog-music-library-license-copyright-music.JPG

Our Womxn of Music series continues as we spotlight risk-taker Michele Wylen. With her past work featured in empowering content like 2018’s Be That Girl Sportsgirl campaign, Wylen’s music is the upbeat anthem that makes us feel like anything is possible.

With a list of creative projects lined up, Wylen is also hard at work in the community extending her support, time and attention to address climate crisis. Naturally, we wanted to sit down to catch up with Wylen to learn more.


music-licensing-copyright-music-sound-design-filmmaker-score-youtube-vimeo-music.JPG

Marmoset: You have such a passion for being active in the community, what have you been up to most recently?

Wylen: I’ve been very engaged in my city’s effort to lower its greenhouse gas emissions. I work with Citizens Climate Lobby and People for Climate Action, as well as other community groups, and I engage with my city councilmembers.

I see a departure from fossil fuel dependence as non-negotiable if the world is to move forward to a prosperous future. Currently I’m working on facilitating a community project that implements clean technology, though at the moment I’m still in the brainstorming process so there’s not much to report. Check back with me later in the year, hopefully I’ll have some exciting new updates   

Though I live and breathe music, one thing my art could not fulfill for me, was my passion to get my hands dirty and do some practical work to help the world. I was born to sing but I was also born to solve problems. Our climate crisis is a definite problem, and it is deeply fulfilling for me to be a part of the solution.

M: Who were some of your earliest sources for inspiration in music?

Wylen: The first female artist I grew up listening to was my mom. She was a singer and songwriter, and she’d always be in the studio recording while she took care of me. When I was in the Philippines in elementary school, my mom sang the theme song for a popular soap opera and it became a hit on the radio. She also wrote songs for other Filipina artists. Several times she brought me with her to the studio in Manila to watch them record. Being exposed to this at a young age inspired me to pursue this kind of work for myself. 

My first CD was Spice Girls Spiceworld. Missy Elliott also got a lot of play in my CD player. It was the sassy, empowered female artists who attracted me- I rarely listened to forlorn songs about broken hearts. I definitely went through a Britney Spears obsession, and I sang a lot of Destiny’s Child.

In high school I became mesmerized by Alison Goldfrapp and I’ll never forget seeing her perform at the Crystal Ballroom. Witnessing her magical presence on stage filled me with an insatiable desire to perform on stage myself. Then in my early twenties I got super into Peaches. I loved how abrasive she was, how she went against the grain — her songs resonated with the rebel inside me. Watching her perform at the Wonder Ballroom really inspired me to think outside the box in terms of my own performance art. Her background dancers were over the top, wearing costumes of giant pom poms with legs in high heels sticking out. It was ridiculous and amazing. 

M: As a professional artist now, who inspires you today?

Wylen: If I had to choose one female artist who I’m continually inspired by, it’s Rihanna. A queen of style and music, now with empires in makeup and lingerie, she doesn’t let her entertainment business get in the way of the great work she does with the Clara Lionel Foundation. I lust for her slay but her community work is what makes me love her. 

Female artists currently on my playlist: Asian Doll, Cardi B, Nicki Minaj, Sia, Killumantii, Missy Ellliott, Rihanna. 

music-licensing-copyright-download-music-video-filmmaker-license-youtube-vime-music-for.PNG

M: Self empowerment and confidence is so important for young women, especially in the music industry. What are some lessons you’ve learned along the way?

Wylen: I’d say the most important thing is to know who you are and know what you want. If you’re not sure then you’d better take the time to figure it out. When you’re a budding talent, other people will want to impose their vision on you; so if you’re not sure of yourself, you may find yourself one day living out someone else’s dream and wondering what happened to yours. 

Another key piece of advice was given to me by Che Pope: “When you’re starting out, make sure you have income outside of music to cover your bills.”

What happens when you rely entirely on music for your income is you give up the control you have over what projects you work on. You’re basically forced to accept any paying project that comes your way, even if you don’t feel it in your heart.

I used to have this obsession of being able to say I made all of my income from music. But it was so stupid because as a result I wasted years of my life not exploring my art and instead was chasing money. I don’t regret it — the experience did refine my skills and I learned a lot about collaborating in a professional environment. But I’ll never let money control how I use my artistic talent ever again.

M: Knowing what you know now, what would you pass along to your younger aspiring artist-self?

Wylen: If I could speak to my younger self I would say… relax, be patient and keep your life in balance. Yes, we have to grind and hustle and spend a lot of time in the studio to develop our skills. However, we must still balance that with our personal health.

When we are sound in our mental and physical health then we can come to our music from a place of clarity and control.

I should have spent more time with my friends and family and working out personal issues. Thankfully, I’ve learned my lesson and my life is in much better balance now. 

M: Can you give us a sneak peek about what music you have in store for us in 2019?

Wylen: Well, I don’t want to reveal too much I have a new single with Niko Javan coming soon that I’m excited for. Also excited about a collaboration with Graham Barton. Other than that, I’m just in exploration mode right now. What I’m most excited about in 2019 is empowering myself to say “no” to incoming commercial work so that I can have the freedom to explore my creativity. Also, I’ll be filming a music video this year and I haven’t made a video since 2012 so needless to say I’m really excited for that. It’s long overdue.

Womxn of Music: Fritzwa

WOMENSDAY copy.jpg

To the womxn of music, thank you.

Not just for paving the way for others to follow in your footsteps but for speaking your truth when the noise tried to drown you out, the times you kept showing up even when it was exhausting or felt thankless. Thank you for always relenting, speaking up, inventing and overcoming — for sharing your stories and not backing down. It matters and whether it felt like it in the moment, it was noticed.

March 8th is International Women’s Day and for the Marmoset community, it’s not just a day of recognizing and honoring the achievements and history made by women — we strive to do that the other 364 days out of the year.

Instead, it’s about reflecting on each other’s journeys, lifting one another up while looking ahead; because staying sharp and strategic is the only way to stay ahead of the game. And while an internationally celebrated day of recognization is nice… we decided to share the microphone with five amazing artists we work alongside and whose music we feature on our roster. Because we’re not just fans of their music, we’re admirers of their mentalities, their spirited hustle and won’t back down attitudes.


Still from “Sitting Pretty” music video featuring Fritzwa — directed by Fritzwa & Ikaika Cofer

Still from “Sitting Pretty” music video featuring Fritzwa — directed by Fritzwa & Ikaika Cofer

New York City native, Fritzwa gave us the lowdown on her new music and the momentum that gets her up in the morning.

After changing up her creative environment by leaving New York for Portland, Oregon, Fritzwa now hustles back and forth between lush Pacific Northwest and bustling Los Angeles, California. This year she’s taking the west coast by storm, taking on musical collaborations between cities. And there’s no question of the determined spirit that fuels the artist, she’s continually setting out to conquer, pushing back in the face of opposition.

“I just have this relentless attitude about everything,” says Fritzwa. “Just in terms of being marginalized, you have to have that kind off mentality that you’re not going to take no for an answer. I don’t allow anybody to tell me no, if there’s something I want to make or if someone’s preventing me from getting to someone else, it’s just fuel for me to accomplish those things even more.”

And with being in the position of trading a high-level marketing job with Nike to produce music full-time, Fritzwa uses this chapter in her life as a motivator for growth. Creating music is a livelihood for her — she’s a businesswoman just as much as she is a musician.

Physical backdrops aside, Fritzwa is an artist who embodies constant evolution and change, her work ethic an example that even those outside the music industry can draw motivation from: here’s a woman on the move, eager to learn, grow and challenge herself even if it pushes her to the limits.

And in the common scenario of women (especially those of color) being singled out or underrepresented in positions of authority, it can be easy to succumb to a certain of complacency — to simple accept rather exert more energy in pushing back. But for Fritzwa, it’s about putting in the work and time now and going the distance.

“Just because things aren’t happening for you on your timeline doesn’t mean they’re not supposed to happen,” says Fritzwa. “It just means that maybe you’re not ready for what you want. I’ve been frustrated about a lot of things when it comes to music and looking back, if what I wanted had happened to me, then it would have been very short lived.”

Currently producing new work in Los Angeles, Fritzwa is exploring Afrobeats with her newly released music — her past two songs a fusion of West African stylings and pulsing electronic elements. “Shake Waist” is a sample of the latest direction she’s been heading musically.

Marmoset-music-licensing-music-copyright-license-film-compose-score-soundtrack-youtube-vimeo-filmmaker.jpg

And while just a sample of her recent projects, Fritzwa is gearing up to dish out a variety of singles this year; the work will encapsulate her initiative toward exploration, a meld of collaboration with different producers and crossover of genres. It’s a year of beginnings and active diligence — most importantly, it’s crucial to note they’re products of her skilled talent and determined spirit. She’s making it happen.

“You have to set your sights beyond anything you could ever achieve,” says Fritzwa. “Because if you do that, then you know you’re always going to grow toward that, you’re always going to learn and going to be humble. And I think that the music gods will look favorably upon you because you’re looking at it as a craft as opposed to a means to an end.”


* We recognize women of all origins, backgrounds and identities.

The Music Behind Givenchy's Spring Summer Campaign

Marmoset-music-licensing-music-copyright-license-film-compose-score-soundtrack-youtube-vimeo-filmmaker.jpg

Givenchy’s Spring + Summer 2019 Campaign is a blend of avant-garde and retro culture — a crisp black and white landscape, where the characters look as though they were plucked out of Andy Warhol’s studio, the Factory.

Alongside the androgynous collective, Givenchy features Marmoset artist, Damon Boucher’sK I N” as its musical backdrop. Electronic synth beats, the music ensures the seasonal campaign reaches full circle. To learn more about Boucher’s musical journey, the fashion undercurrent of his LP — N K I and where he’s headed, we connected with the artist earlier this month.


Marmoset-music-licensing-music-copyright-license-film-compose-score-soundtrack-youtube-vimeo-filmmaker-copyright-music.jpg

Marmoset: Could you tell us a little bit how you first got into making music?

Boucher: I grew up taking classical lessons, and performing contemporary music in a Pentecostal Christian church. In church, I learned to improvise pop music, although church also kept me closeted. But, I’ve been writing music since that time. I played and wrote music all throughout college; then began to produce music after I graduated in 2008.

M: Listening through NKI, your music has such a dreamy kind of presence along with an energetic pulse to it. How would you describe your music to listeners? What kind of visuals come to mind?

B: I try to make it watery, but clean. Clean can sometimes mean dry and airy which plays off the watery thing. Visually, I always think of clean, stark contrasts; light and dark meeting in balance. I think of an ocean horizon, fashion runways or queer nightlife culture.

M: Do you collaborate with your work or do you tend to flourish more as a solo creator? Yes! Most of my work is collaborative. My main project for the past few years has been producing music for Chanti Darling. I’ve also worked with The Last Artful, Dodgr, Maarquii, Natasha Kmeto, Nafisaria, The Portland Cello Project, Ripley Snell, Neill Von Tally, DJ Sappho, Pocket Rock-it and many more. (Click here to listen).

I’ve also had a chance to teach and collaborate with several of my students over the years. I’ve taught piano and composition at School of Rock since 2010 and have directed over 40 shows there; and since they let me keep my studio inside their building, all of my projects are made out of there. I call that studio Zip Zap Studios.

I’m super proud of the work I’ve done with others. However, even though I’m often in collaborative environments, I find that I work best alone. When producing music with others, I oftentimes meet to record, then polish the songs when I’m by myself. There’s less pressure when I’m alone so I find those times to be more experimental and fruitful.

M: Who are some artists you've been listening to this year?

Current new stuff from: The Internet, Roisin Murphy, Against All Logic, Travis Scott.

Older stuff from: Missy Elliott, Gary Numan, Four Tet

M: What went through your head when you heard your music being featured on the Givenchy Spring/Summer campaign?

I sincerely wanted that music to be used for fashion so I was excited to see it used in that capacity! A lot of the track names on N K I have fashion related titles, all for the reason that I imagined this record being used just as you now see it.

M: What inspires you about the Portland music scene?

Someone once described Portland to me as a great “incubator” for creative ideas, which I think is both bizarre and accurate. It rains forever so I want to stay inside and work on music until the weather’s good. I am completely privileged to be able to work on music with the setup I have in Portland and I am forever grateful for that. I would not be able to do that in a variety of other places or lives.

Givenchy-campaign-music-marmoset-licensing-music-license.png

The Spring Summer 2019 Campaign

The Artists Behind Music Licensing

Marmoset-Music-licensing-copyright-music-license-score-composition-sound-design-filmmaker.jpg

Wesley Jensen hails from Denton, Texas. Like other musicians, he creates music to share across the internet and for live performances — it’s a way of life for many working musicians, to record, share, tour and repeat. Oftentimes it can feel like a labor of love, to invest so much of one’s musical craft, to be so committed to something with not a ton of fiscal reward (at least not right off the bat).

This kind of scenario isn’t uncommon for many musicians and it’s one of the reasons Marmoset sets out to improve the music game — focusing on supporting real, touring musical artists through music licensing. Whether it’s collaborating for original composition or placing our artists’ music on viral campaigns, we’re focused on strengthening our community through sustainability.

Every dollar you spend to license a song or invest in original music for your project goes toward a musician’s lifestyle, toward a working artist’s income — so they can focus more time on creating amazing music.

Looking at the journey of the Marmoset dollar, we sat down to chat with Wesley Jensen and learn more about how music licensing has impacted his musical career over the years.

Marmoset-music-licensing-copyright-original-music-musician-score-copyright-license.jpg

Marmoset: Can you tell us a little bit about your journey in music in general and how you came to Marmoset? 

Jensen: My interest in music started back in Jr High and it hasn’t ever stopped; I feel like I’ve been in some sort of band ever since. My first release under my own name came way back in 2007 and Marmoset reached out to me in 2011 about being part of the artist catalog. To be honest, I thought it was spam and ignored it for a bit. Ha! It took a strong pursuit by Ryan Wines to wear me down and he finally won me over after I played a Marmoset Music Fest NW Party. Meeting everyone and seeing how great they were, I knew I had to hop onboard. 

M: We’d also love to learn about some creative projects you're most proud of, how do you think they helped define your purpose and desire to pursue music?

Jenson: The music business can be really brutal, so it’s all about the small victories. Ha! Anytime I’ve noticed myself grow as a musician has been important for me. From my first show, to my first album release, to my first national tour, etc, it’s all encouraging and has helped me want to continue on.

As far as specific moments, I’d say around the time I met Marmoset was an exciting turning point for me. That year I had put out my first full length record in which I produced, engineered, and mixed all on my own (which was a lot bigger deal back then as compared to now). It turned out good and was nice to be validated by folks like Marmoset who took it and put it to commercials, etc. 

M: What did your introduction to music licensing look like? What do you think are some common misconceptions about the licensing game? 

Jenson: Licensing has been amazing for me, it’s opened a lot of possibilities musically. I always try to encourage people to to get involved with it if they have the opportunity. In fact, I think I’ve been a bit of an unofficial spokesperson for Marmoset over the years. Ha!

I think there are quite a few common misconceptions, the first being that it’s scary in any way. As musicians, we’re so protective of our craft that it’s hard to sign contracts and think that your music might be used for something weird. The reality is that there’s nothing to lose, especially if your involved with an agency like Marmoset, it’s only beneficial and full of rewarding possibilities. I’d say that the other misconception is that it’s easy — you make music and it gets licensed, just like that. Ha! It’s not true. There’s a lot of work involved in finding the perfect song for each project so it takes patience to see results. You never know when something’s going to land, but it feels like Christmas when it does. 

M: What was your reaction when you first saw your music licensed for a project? How did it compare to something like performing in front of a live audience?

Jenson: I think my first few big licensing hits were commercials. It was weird honestly, but it was cool. It felt good. It’s definitely fun to have family and friends reaching out saying they just heard your music on TV. It’s hard to compare live music to licensing, both are very rewarding I’d say, but different. Live music is very emotionally driven, lots of energy, very in the moment, etc. Licensing is more behind the scenes as opposed to being front of stage, but it’s cool to know you that something you created was picked out of a myriad of options. It’s always fun to win things. 

M: What something you would say to an artist new to the world of licensing or just starting out, is there anything helpful you wish you had known? 

Jenson: If they’re on the fence I’d tell them to go for it. I’d tell them it’s fun and rewarding and they’ve got nothing to lose. If they were on board I’d tell them not to worry about anything at all, the hard part (making the music) is over, now they get to sit back and relax and enjoy the fruits of their labor. Trust in the people they’re working with and let them find the right opportunities. And if they’re lucky enough to work with Marmoset I’d tell them to say “yes” to anything and everything they’re asked to be involved in. 

M: What new projects are you working on right now?

Jenson: I am ALWAYS working on new projects. I just finished up 2018 releasing a 4 part (16 Song) EP collection Something Old, Something New, Something Else, Something Blue, three of the four are produced by Marmoset’s Brian Hall. Currently, I’m back in the studio working on a brand new project that will wrap up later this spring. All good things!