ifitbeyourwill Podcast
“ifitbeyourwill" Podcasts is on a mission to talk to amazing indie artists from around the world! Join us for cozy, conversational episodes where you'll hear from talented and charismatic singer-songwriters, bands from all walks of life talk about their musical journey. Let's celebrate being music lovers!
Season Four runs from September 2024 to December 2024
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ifitbeyourwill Podcast
ifitbeyourwill S04E10 • Celina of Future Star
Celina from Future Star shares her fascinating journey from a childhood filled with music to her career as a successful artist. Growing up with a piano teacher for a mother and a musician father, Celina’s life was enriched with musical experiences that fueled her passion. From a humorous anecdote involving Sarah McLachlan's manager to the communal joy of choir singing, she reflects on how these moments shaped her artistic path. The conversation underscores the deep connection and cultural significance of shared musical experiences, sparking thoughts on the rarity and beauty of communal singing in today's world.
Celina reveals her transition from a DIY musician to working with Men Records. We discuss the support and structure this brings, allowing her to focus more on the craft while maintaining her musical essence. Wrapping up with admiration for Celina's artistic achievements, we offer encouragement for her future endeavours and reflect on the imaginative journey through her unique lens. Filled with anticipation, we look forward to the continued evolution of her music and the shared moments that await.
there we go, and I have my prompts. I got your bankant page ready, let's fly that's another episode.
Speaker 1:Yeah, let's go another episode if it be your will. Um. Canadian podcast reaching to a canadian artist. I love these um so much. I'm reaching actually across our whole country to vancouver. Um, I'm joined by Selena from Future Star and I just first off, thanks so much for taking me up on this invite. As I mentioned to you, your latest record it's About Time has just been growing on me the more I listen to it, so thank you for putting that out into the world.
Speaker 3:Yeah, thank you for saying that. That's a really nice thing to say. I'm glad you like it.
Speaker 1:That's great. Now I want to know how it all happened. So maybe what we'll do is I'd love to kind of find out, like, where to start for you, selena, like when is music something that you couldn't escape in life, that it had to be something that you did?
Speaker 3:Oh man, that's a really good question. Yeah, yeah, I feel like I've always like. My mom, um is a piano teacher. My dad was a also like musician. Uh, he played in a band. He played in bands and stuff. Uh, terminal city and Lava Hay, um, they're sort of like like get back in the seventies, eighties and stuff like that I know, lava hey amazing, oh my god yeah, no, there's one of these. Yeah, my dad, um, my dad was the uh flutist slash slide guitar player.
Speaker 1:I don't know, yeah, yeah, what a connection. Wow, yeah, that's so funny.
Speaker 3:Not many people like obviously my age know who Lava Hay is. My sister is in one of the videos as a baby. Yeah, yeah, there's a picture of him holding.
Speaker 1:I'll check those out.
Speaker 3:One of the stories my parents always told me was that when I was a baby, my dad was in with he was Basically I threw up on Sarah Mclaughlin's manager's desk, um, oops, and that was. That's like one of the stories. Because, like, anyways, yeah, interesting, yeah, so music has always been a part of my life. Um, I, my parents made sure that I did piano lessons growing up, did the whole RCM thing, I played, I played flute as well and I, I really fell in love with singing when I was just a kid. I did, I was in like church choir and stuff like that. Not a religious person, but like church is definitely part of you know, that was part of my story as well. My, my, my church choir teacher was my first vocal teacher. Uh, she's like an opera singer and like, just like really instilled within me a love of singing and music and I just I wanted to be just like her when I grew up, kind of thing although, but um, yeah, but yes, I mean many people start the church.
Speaker 1:I mean as kid. I mean I used to sing in the church, not religious. I went, my mom went, so I would go and just sing in the choir because I love to sing. It's a great thing for a 10 to 12 year old kid to. You can't start a band, you can't go into bars.
Speaker 3:Yeah exactly. And it's just like you're singing with everyone, you're're learning harmonies, you're learning how your own voice sounds. It's such a safe place. I I always think about this. I'm like what are other, what isn't a secular, as it were? Because I feel like like what is a secular way? That that we are all singing together. You know what I mean, and I don't feel like that really exists on like a weekly basis, you know. Know what?
Speaker 1:I mean I agree.
Speaker 3:It's like there's no, there's no replacement for that, and that's something that I really I think about a lot.
Speaker 3:Yeah, absolutely, I'm a big karaoke head and I love karaoke, but karaoke is usually it's like there's one star. You know what I mean we're all. We're all like watching someone on stage. The thing with choral singing and, like you know, singing in the hymnal singing and stuff like that, is that it like if you're all singing together, you're learning a blend, you're and it's you're not on stage, so it's not anxiety provoking really, so it's just we're all singing together and there's something really euphoric about that to me and really important, and that's that I really mourn the loss of in like secular society. I guess I don't know. Anyway.
Speaker 1:Yeah, it's a really interesting question you bring up and I'm just kind of like going through a roll of this of what are other situations where we get to like sing together, anxiety free and just go for it. Yeah, I was thinking probably back to like the 60s, when you know they would have, like you know, hippie gatherings and stuff like that, but alongs around a fire kind of thing, yeah, and like nowadays. Yeah, it's true, it's it's hard to find.
Speaker 3:I feel like we're so focused on like the one person, like the one, like we're all going to a concert and we're singing along, but we're all listening to, you know, ariana grande or whatever so, and like we all want to be like ariana grande. No one it's. If there's less happiness in just like the collective, I guess, I don't know, I don't know. Yeah, yeah, just things I think about and like I've always loved choir, like Like I actually went to, so, yeah, love music. Going back to your initial question, I actually went to music school after high school. Um, I went. I have a vocal jazz degree. Um, yeah, so I, uh, uh, I tried to become a music teacher, but it wasn't for me, so I, I, I. That was my plan, though I was like I'm going to become a music teacher, but it wasn't for me, so that was my plan, though I was like I'm going to be a high school vocal jazz ensemble teacher, like that was my thing, but no longer it's too stressful.
Speaker 1:Yeah, kids, nowadays they are yeah yeah. It's a different world really than the one with it.
Speaker 3:It that you know of past, uh, that we might have grown up in and it's funny because I still work with kids, just not in like a teaching setting, because I find like something about like we have to like get something done by the end of this year. You know, we have to like do the festival or we have to do the exam, we have to. That really stressed me out. So I like I like working with kids, but in like a more like like let's go at your own pace, kind of way that's right where the process is important, not the end result exactly yeah, and so you kind of can't avoid that when you're like got all these pressures coming from like family sure you know, yeah, yeah, anyways, um.
Speaker 1:So I went to vocal jazz school, love singing, uh, yeah, and then did you start writing writing songs in high school, or would that start in university?
Speaker 3:so I I started my first band was called kidnap kids. Um, it was me. We're actually I'm actually meeting up with, uh, my friend ali after this, uh, we're gonna be I can't actually say it, it's a surprise for a friend, so we're doing a little something. Um, but yeah, kidnap kids was my first band. We started when I we started on my 16th birthday actually, I think, well, or 17th birthday, I think 17th birthday um and were these original compositions for the band?
Speaker 3:yeah, yeah, yeah, mostly ali was the songwriter in that band, but I did write a couple, so I sort of like wet my toes in the water. I always like because, like I grew up like listening to, like you know, I grew up in an age of like you, you know, like Kimya Dawson and like the Mountain Goats you know what I mean Like all these people who are like writing these like incredibly intense, emotional, like poetry songs, you know, that are really so expressive and I always, like I was like I want to do, like I always had this fire, this fire under my ass. That was like that is what I want to do. I don't really understand how to get there, but that is what I want to do with music. It's like make people feel or whatever.
Speaker 1:Because that was so important to me, that's cool.
Speaker 3:Yeah, when I was like 17 or whatever, it was mostly Ali writing the songs. I would sort of help with the arrangements and there was a couple times that would bring songs to the table, but like I would get so stressed out I'd be like like I was such an anxious kid, like and I'm still kind of an anxious adult no, not why, but um, like I was just always like. I was like I would send her a song and then I'd be like oh my god, she hates, she hates it. Oh my God, it's the worst song I've ever written. I was so in myself, in my ego, about it that it was so hard to really bring something forward. So I really started writing music in my second band, true Crush, I was with my friend.
Speaker 1:And we both played music In that band.
Speaker 3:did you come more to the forefront of the writing process and I feel like that was where I really started like trying to write music and like feeling comfortable. I like I'm like I don't know, I like I read a, like I read like a Linda Berry book where she's like, oh, you know, like just draw a chicken every day, it's okay to make bad art, and that really, really sat with me in this beautiful way where I was like, oh, my god, it doesn't have to be perfect, it's actually good to just do something. You know what I mean.
Speaker 3:Like right like I just started like being like okay, I can do this and it can be bad and that's okay and that really freed me like so much. So when I was writing with True Crush, it was like so much funner you know, not more fun because like writing like in Kid App Kids, it was so much fun. We were young, we were dumb, it was great, but True Crush I really felt like I was having fun like kind of on my own terms in a way, where I was like this is what I want to do and I'm not like squishing all these different parts of myself down because I feel like they're not appropriate right or something I don't know, not that not would have been bad, like it would have been a safe space, but I wouldn't make it.
Speaker 3:I couldn't make it safe for myself, if that makes sense right, right and and how did you?
Speaker 1:how did you accomplish that? Like, what were some of your processes that you had to do to kind of shed a bit of that anxiety and say, you know mistakes, no, you know, whatever it's. I'm gonna do this because, like, what was your driving force behind that need to kind of to be at that front and to write the songs and not to be, you know afraid? What other people thought, yeah, I cause that's. That's a process in itself.
Speaker 3:No, yeah, a lot of it. It was like I was like you know, this was, this was like just like between almost university over, just about to like start living in the free world. Um, I don't. I honestly like I think it was just like it was something that needed to happen. It was like a cork popping, you know what I mean. We're like literally I'm not even joking Like this is something that kind of happens to me sometimes, where it's like I'll read something and it'll and it'll just be happening at the right time and I'll be like that's cool.
Speaker 3:I'm sure there were processes that were occurring underneath the water that I wasn't aware of, sure, yeah I really credit linda berry for like a lot like giving me permission, as it were, to like just like yeah, make bad art, you know amazing.
Speaker 1:And what? When was it that you actually shed the bands and and took up future stars? Your moniker and you were. That's what you were going to do when? When did all that, um, kind of evolve out of?
Speaker 3:that I feel like it was just that I was writing because, like, true crush was a band where we both played bass, so I was writing a lot of like songs on the bass, right, um, and I don't, and like that was. Even that in itself was kind of freeing, because, like I don't really play the bass, but it was. I was like this sounds good, this sounds good. It was like I'm just playing. You know what I mean, I'm just like having fun. And then Future Star, sort of rose when I like I, because for a long time I didn't really have access to a keyboard or a piano, like when I first moved out, I didn't really have like an instrument to play on, um, so that's why I was playing the bass, because I had a bass. I think I got it from my sister's friend for like 60 bucks or something, um. But when I graduated jazz school, my roommate, roommate and bandmate, marita, and our friends gifted me a keyboard that used to belong to.
Speaker 3:It was a very, very sweet gesture Because it was like a keyboard that used to belong to Enzio, who used to be in the Kidnap Kids. It was just like a very it's a very sentimental object to me and I still have that keyboard. I don't use it anymore for performing, but I still play around on it all the time, cool.
Speaker 1:And was that the gateway into getting that keyboard? And that's where it's. That's where you started writing your own songs.
Speaker 3:That's kind of when I started writing more on the keyboard Because, like I would I'll be at this time also I was teaching piano, so I would go to like a studio and, like, the one time I would have like access to a keyboard was when I was like at the studio and I would like in between students, I would like kind of work stuff out, but, yeah, getting something to play on at home. It was like I started, like you know, I like recorded a few songs and that was like the first iteration of future star, which was called where you've been that's where you're coming from which is the first track on my album actually. But, um, that was the name of my band initially and there's still a band camp out there for that um, and I actually I think I've uploaded those songs to future star now possibly I can't remember it might be under old songs or something, but it's basically I I've recorded like six or seven tracks and um, and then I went quiet for a couple years. That was probably like 2012, 2013.
Speaker 3:I put that out, um, and then I I actually like just took a break from music completely, um, and that was just like a thing that had to happen, and then it probably the future star, as it is now started really being a thing in like 2015, 2016. Um, basically, I sort of came out of hiding and everyone's like selena play a show, selena play a show. So I played a show and I was like whatever I can, whatever, I'll just do this, uh. And then for some of the first two records, like I don't know if you've listened, but like priorities and try hard- um drummer.
Speaker 3:so, uh, that's christopher ellis, and he approached me after I played a show and was like, and he, he had originally he had recorded true crush, like years and years and years prior. And he's like selena, I really like Selena, I really want to record you, I really want to record you. And for a long time I was like, nah, I don't think that's the right thing to do, like I was feeling really shy and really I don't know, like I didn't want to do that. But then I, finally, I was just like he keeps asking me why not just do it? Let's do it, it might be fun, you know, just try doing something, um. And then that's how try hard came out, uh, and I was in 2016, I think, like that, um, and then we played together for a couple years, um, so you, typically it would be either me by myself or I would play full band with him on drums, um, but then I, I, I think I just he lived in Marpole and I lived in Burquitlam at the time, which I don't know if you're familiar with, the greater Vancouver area, it's and I didn't drive also.
Speaker 3:So it would be like every you know, every couple of weeks or whatever. I'd be like busing all the way to Marpole from Burquitlam. And I was. It just got to the point and I was also going to school at the time, and I was just going to school at the time, so I was just like I can't I can't like do keep, I can't like manage all this right now.
Speaker 3:So I basically like gently, like kind of was like I don't think we can play together anymore. I'm sorry, I need to just do this by myself, like I need to pare down basically right yeah, so I, I pared down and ever since then it's just been me basically, I think when I played sled island in like 2018, I think I brought um some other drummers along.
Speaker 1:That was fun, but um but that's a great festival, yeah yeah, it is yeah one of the top canadian um it's fantastic they really get yeah.
Speaker 3:Yeah, they get like a pretty, pretty incredible talent coming up to there, you know.
Speaker 1:Absolutely, absolutely. Tell me something a little bit about, like what were your great lessons that you learned from your jazz training that you still, you know, use today or still informs your writing, like what were some of those lessons you got from that that jazz degree?
Speaker 3:I feel like the thing that really sticks with me is, um, the ear training. Honestly, ear training, ear training and sight reading, because it's like it forces. Like it forces you to really like hear where things are going and create meaning out of, out of like a weird click, because it's like right, basically she, like our teacher, would be like okay, so like you're gonna listen to like a bill for zeltrak and you need to transcribe the bass line and so like, just like doing that really deep listening of like what is that note and where is it going and why is it going there? What makes sense for it to go? If I can't really hear it, where, where do I think it's gonna go?
Speaker 3:And that is like to me, because when I sit down and write, I am basically I I treat it as a game of listening. I treat it as like I'm hitting a, a note. Where's that note going? Where does where does the note want to go? Where does the note want to resolve that kind of thing? And like, what am I hearing? I think a lot about, yeah, what am I hearing? What am I listening for? And so that's that's something that really sticks with me. I really think that that's the most valuable thing that happened for my jazz degree that and like yeah.
Speaker 3:And like and like learning. Where, like singing in jazz choir I was, I was part of nightcap, which was like the elite vocal group Shout out to Raja Mawa.
Speaker 1:Yeah.
Speaker 3:It just, I feel like learning, like when you're singing one note in a chord, you really think about what that chord sounds like, because you have to hear like the sharp four of the you know dominant seven 11 chord right, so it's like when you're sitting there, you have to be able to hear it. You can't sing something like that without being able to hear it right and so it's just, it's just like this.
Speaker 3:I I really think it's like if I was going to give any advice, I'd be like man like listen for the note in between, listen to where it's going, listen to like the the through line, yeah, the non-melody notes, like that's where yeah? That's where, like, magic happens, that's where like, that's where you like to hear, you know, like yeah, it makes the record.
Speaker 1:You know, I don't know yeah, no, no, it totally makes sense, that's. That's a really cool kind of tip for people to hear as well. Um, you know, pay attention. And really, and I guess my next question would be is so how does the song start for you? Do you come up with a line or a series of notes that just kind of work together and you work from that, or does it come from a lyric or a repeated verse or like, how do songs come to be for you?
Speaker 3:Typically like I'll like. I'll often, like often things start with lyrics and melody, so I'm gonna like like I'll get, like I'll get like an earworm or whatever and I'll be like that sounds like this lyric or like this, sound that, like these are the words that are repeating in my head, kind of thing, and then I'll write it in my phone. And I have this system where I write numbers in my phone and I have this system where I write numbers because I don't do voice notes, because I, I, just I, I usually it's like I'm somewhere where I can't like just sing into my phone. You know what I mean.
Speaker 3:Like I'll be at work or something on a break or like um, but yeah, I'll do the system where it's like, you know it'll be like like one, one, three, five, four, two, three. So you know it'll be like like one, one, three, five, four, two, three. So you know what I mean. That kind of thing where it's like the tone you know what the numbers mean. It's like a shorthand music notation. I'll start with a melody and usually a lyric or something like that, and then I'll take it to the keyboard when I have time.
Speaker 1:Cool, Cool. And can you tell when you've hit upon something as opposed to? All right, I'll archive this and maybe, if I need it down the road, I'll I have it. Or like, do you know when a song is going to make it to tape?
Speaker 3:I would hard. Hard answer, soft answer. Basically no, I kind of just do. I record. I usually like a lot of my recordings on band camp. But this is weird, like things are changing for me. I will say that because before it would be like you know, uh sorry, I'm trying to like like I would just record everything that I came up with and put it on bandcamp, like that night at like 11 pm I'd be like, boom, I need dopamine. Um, come get me. You know what I mean. Listen to my song. Um, but now I have like a label and stuff, so I have to think about releasing things a little harder it.
Speaker 1:It's no longer DIY, really right, yeah, yeah.
Speaker 3:I know I keep like it's so funny because, like for so long I was like I'm like DIY. I still describe myself as DIY, but I'm like I'm not really DIYing, I'm doing it together. You know what I mean. Like I've got money coming in now people helping me for things, so I can pay my friends to do things for me. You know what I mean. Like it's very strange, it's very strange, but really nice.
Speaker 1:And.
Speaker 3:I don't have to work as much overtime. You know what I mean.
Speaker 1:Yeah, for sure, it's great to have that support, I imagine too it is, and at the same time. You can't just throw things out anymore.
Speaker 3:Exactly, I have to like rein it in a little bit, you know like right but but to go back to your question, do I know when something is like good? Basically I feel like it's good, when I like it? That's how that's my barometer. It's like it's like I have a couple like. I have a couple songs where I'm like where that I haven't released or whatever like, and I'm like I need to work on that verse, or like. You know, I don't like that verse, or I you know that one like. It's just kind of like it's got a really good this bit, but that bit I'm not crazy about. So I kind of have to go back to it and I'm really bad at going back to things. And because it's just like I'm like a little, I'm very like, I'm very'm very like, I'm very. For the most part I'm first thought best, thought, um, but uh. So it's hard for me to go back to things. It's really hard for me to go back to things that weren't just good the first time.
Speaker 1:I don't know, but um how did your relationship with men records start? Like what, how did? How did that relationship begin?
Speaker 3:Um, well, with this album, it was with this album. Uh, they, it was just a past Christmas and I was planning on like sort of doing a different release. Um, and I, I had like planned all, like I had planned like the release party already. Like I I was like this, this is done and dusted like we're good to go. Like I planned my release party like six or seven months in advance and I invited uh, non-law to play in like november, december for July, and Noam Law is on the Mint Records roster.
Speaker 3:So I think Dan mentioned to Elise from Mint that I, that I was releasing a record or whatever, and also like I'm tweeting all the time I was like I was probably like well, all this record is sounding so good. And so Elise literally Facebook messengered me and was like hey, how would you feel about releasing on mint? And I was just like my like jaw dropped, like I remember I was just like this is so. I was like I'm not what, what are you talking about? Like I just didn't really believe it. Like it took a very long time for me to be like no, I think this is actually something they want to do and are planning on doing. So yeah it so. Yeah it was. It was really fast. I would say like it was like she researched me in like december and I think by like january or february we had like locked it in what?
Speaker 1:what's the difference between, like, a record being released through a label versus you just releasing? I mean you just releasing on your own? What? What would you say the most?
Speaker 3:the biggest differences are well, my previous dj of love, so dj of love, I did release on a label it was kingfisher blues, but that was very different from from mint. Like tim just works differently than elise and randy do like um, uh, it's. It's, I would say I like, like when I'm really. It's so funny because basically, it's just like you always have someone in the back of your mind being like I need to check in with them, I need to make sure this is okay to do, and it's like and like that's, I feel like the trade-off, because you can't just do what you want to do.
Speaker 1:You can't just like you know, like I don't know you can't write a song, just fuck, fuck, fuck, fuck, fuck, fuck yeah yeah, exactly yeah you gotta kind of think a little bit more.
Speaker 3:I will say both kingfisher blues and mint were just very much like you do you. We trust the artist, which is like extremely refreshing and like not what you expect out of, like a label, as it were, but um yeah, I feel like.
Speaker 3:I feel like I have. I've had really blessed and lucky experiences with labels in that, um, yeah, they've, they've let me kind of do most, for the most part, do it, it, and once again, it's mostly me being like I should check in with them. I need to. I'm a good worker. You know what I mean.
Speaker 1:Like absolutely well, and it's a great record label, right. I mean, they've had some amazing artists absolutely oh my gosh, it's really.
Speaker 3:It's so funny because it's like for me, like growing up in vancouver, like mint was like, I was always like, oh yeah, well, I think I sent priorities to them, actually, like I sent them a little cdr being like do you want to release this? Like probably like a week before I ended up releasing it like priorities, and try hard, I released just totally on my own, I just got. I like you know, I paid for the tapes, I like sent it out and oh, I'm trying to remember I might have done pretzel records, which is like my friend nikki's label, but that was, it's very diy, it was mostly it was just me and then I put pretzel records on the tape, kind of cool now.
Speaker 1:So you know what about this. Okay, so this record's been out. Your latest it's About Time came out July 5th of in this summer of 2024. You've had a little distance now, like with the release and it's been out there and there's been reviews. I've read a few. I mean they're very glowing, the ones that I've read. How do you see this record now, with that a bit of distance, when you, when you?
Speaker 3:listen to it, it, what, what is it evoking you? I still like it, I still I it's still fun to perform. You know what I mean. Like, like I've been listening to, like I have to remind myself, it's like I've been listening to this record for like the last year or whatever, right, right, everyone else has only had like a month with it. Like I've had a lot of time with it and like. The fact is, I'm like still like it, you know, still think it's good I'm so proud of it, extremely proud of myself, like I don't know it was.
Speaker 3:It's it to me it did exactly what I wanted it to do, which was just like sort of it's really a process album, like I wrote this album or like the entire time I was like making this album, my uh, my dad was going through chemo. So it's really to me like when I think about this record, I like I'm like this is the like I I think about like bringing him songs and being like check this out, see what andromeda's done to this time. You know what I mean. And so for me, it holds all these memories and it holds all these really sacred, important memories of my dad, mm-hmm.
Speaker 2:Mm-hmm.
Speaker 3:Yeah.
Speaker 2:That's really cool.
Speaker 3:Yeah, it's just like to me. I'm never going to not like this record, you know Right.
Speaker 1:Everything in it reminds me of something yeah, you had mentioned too before and it's like still flooding in my head about the reference of when you were growing up. You wanted to be like Kimia or sound like and the mountain goats and and it. That connection is there Like in really glowing terms. I can see it and feel it, and it was I. I didn't make that connection until you said it, but now I'm like, yes, so I gotta go listen to it all over again. Um, because it is, it is a powerful record, but it still has playfulness in it. Um, even though you're saying like it, it it has hard memories for you, I'm sure, but for a listener it it evokes a little bit of that challenge that you're going through, but also kind of the joy of life and that we have to keep our eye on that as well as we go through all of these trying times absolutely it's still pretty joyful exactly no.
Speaker 3:And then that's that to me it's like I don't think of them as hard memories. I think of them as like. I think of them as like. To me it's like any memory I have of my, my dad, like it's a joyful memory, you know, oh, sorry, I'm getting emotional no, no, it's good.
Speaker 1:Yeah, I know I hear you. I lost my dad too, about six, seven years ago to the big C as well. So I feel you and I think that that some of that connection that I was talking to you at the start is starting to connect with that as well. I don't want to get emotional too but I know right, it's hard.
Speaker 3:You know, I like when I cry about dad, I'm like the pain's gone and it's just all these joyful memories I have now yeah, and really you know yeah no, yeah, it's not like like when I cry, it's not, it's just like oh, sexity's not here anymore, you know like yeah, yeah, I feel so lucky, you know yeah, absolutely, absolutely well, selena, this has been a real treat.
Speaker 1:Um, I really thank you for carving a bit of time out to to talk. Um, your words are so amazing, your stories, how you come to this stage in life. Um, I just wish you all the best and all the success in the world. Excellent record people. You guys got to go out and buy this record, go and see your play. Um and support the next one that comes out. Um, I'm sure that it will just be another notch up. Um, so continue what you're doing, uh, because it's working really well. Um, all of your life experiences have led you to this moment and there's a gazillion more to happen, so, um, cherish them for sure thank you so much.
Speaker 1:I really appreciate Well you take care and we'll talk again soon.
Speaker 2:Yeah.
Speaker 1:Awesome Cheers, take care Cool.
Speaker 2:Build a castle made of sand and live inside the towers. Make a flower bed, lie down in a bed of flowers. Soft and small and imaginary. Let's ignore the ordinary. We came through the window Particles and waves of white. Cup your hands and carry it and save it for tonight. Soft and small and imaginary. Let's ignore the ordinary. Looking at the world Through a pocket mirror, all these tiny things I can see how close we are. Ooh, ooh, ooh, ooh, ooh, ooh, ooh.
