I don’t know about everyone else, but the recent release of Spotify Wrapped was a much needed source of joy. I love how detailed the presentation is, playing your favorite songs out loud while flashing different shapes and colors. It’s interesting and hilarious to compare with friends and celebrities online, especially if ‘sleep sounds’ or The Glee Cast makes it into your Top 5 again. It almost seems like Spotify employees understand the stress that college students are under right now as the fall semester comes to an end. All in all, the announcement really was a gift, but it left me wanting more. Thankfully, the Internet is full of fun programs to get to know your music taste even better. These stats can be accessed at any time of the year, and you can find new artists as well. In addition to the apps Last.fm and TuneTrack, try out these websites in the little free time you have these next couple of weeks, or fiddle with them over break! It's as easy as ABC. 1. https://www.gnoosic.com/ Self-described as ‘A search engine for music you don’t know about’, Gnoosic contains hundreds of thousands of artists. Input three of your favorite bands or artists and enjoy a lesser-known artist based on that combination! You can input whether you enjoy their music or not and move onto the next one. 2. https://www.instafest.app/ Create your own festival lineup by signing in with your Spotify or Last.fm! Choose the stats you want Instafest to pull from (the last 4 weeks, 6 months, or all-time). Choose a theme and name, and share with friends! 3. https://receiptify.herokuapp.com/ Log-in with spotify, last.fm, or Apple music. Choose the stats you want Receiptify to pull from (the last month, 6 months, or all-time). Feature your top tracks, artists, or genres on a receipt, and share with friends! 4. https://www.hotdropapp.com/ This one’s an app, basically Tinder for music. While hearing a sample of a song, you are given the option to like or dislike. Liked songs are saved to your library. You can also check out what’s trending and upload your own music. 5. https://obscurifymusic.com/login This website begs the question; ‘How obscure is your music taste?’ See your most obscure artists and tracks before comparing them with users in your country. View the different moods and decades that are reflected in your music taste. 6. https://pudding.cool/2021/10/judge-my-music/ Instead of showcasing underground music, this project by The Pudding asks; ‘How bad is your streaming music?’ This one is interactive, and if you don’t get enough criticism from your parents or siblings for your favorite tracks it’s perfect! All jokes aside, it’s fun to make fun of yourself every once in a while. 7. https://pokeplaylist.herokuapp.com/ Pokeplaylist turns your top three artists into Pokémon cards! Sign into your Spotify and select stats from the last month, 6 months, or all-time. That’s it!

It feels insane that 2022 is already over. So much has happened this year that it feels impossible to remember half of it. Looking back at my apple music replay playlist, the songs I listened to throughout the year bring back all the memories. Over the summer I went through a yacht rock phase so Steely Dan was higher up on my top artists list than I cared to admit. Despite what my replay says, my favorite album of the year has got to be Carrie and Lowell by Sufjan Stevens. I discovered Sufjan’s music through the movie “Call Me by Your Name” and have been a huge fan ever since. This album is both sad and relatable. The album was inspired by both the memories he has with and the death of his mother Carrie and his stepfather Lowell. The songs all tell such specific yet relatable stories and have such a homey and comforting vibe to them. My favorite track on the album has got to be Death with Dignity. The song is named after the Oregon act sharing the same name. Steven’s who often uses full orchestras in songs, chose to use soft guitar and piano for this song to put an emphasis on the lyrics. My favorite song of the year has got to be Wot’s… Uh the Deal? by Pink Floyd. The chill instrumental paired with David Glimor’s layered vocals makes the song so unique and so chill. The song gives off Mazzy Star vibes with some rock influences. The song is about looking for purpose as you grow into adulthood and feeling like the odd man out. I feel like songs about this subject matter often go a more direct route and end up sounding repetitive and even ingenuine at times. This song does not have that feeling though, by using metaphors the song feels different and more genuine than others. Lastly, my favorite artist this year has got to be Role Model. Normally I gravitate towards either really soft music or really alternative rock music, but Role Model has more of a pop vibe so I was surprised by how much I enjoyed his music. I like more of his newer music like Blind and Forever and More. The positive lyrics and pop beats definitely give off a more summer vibe, so it is the perfect remedy for the winter/holiday blues and serves as a reminder that summer is around the corner.

Disney animated films are renowned for their music, from classics like Aladdin and Beauty and the Beast to modern 3D-animated motion pictures like Frozen or Moana. However, what’s often overshadowed by these more musical flicks are the soundtracks of the other animated movies. There are great hits from these films, such as Fall Out Boy’s Immortals from Big Hero 6, John Travolta and Miley Cyrus singing together on the soundtrack to Bolt, and who can forget the Cars films and their fantastic soundtracks: Real Gone by Sheryl Crow, Our Town by James Taylor, and there’s even a Weezer cover of a song by The Cars. But we aren’t talking about Life on the Highway today, instead we are going to the future with one of the most underrated soundtracks from one of the most underrated Disney flicks out there: Meet the Robinsons. In Meet the Robinsons, an orphan travels to the future where he meets a zany family and tries to reclaim a time machine from a man in a bowler hat. The film’s soundtrack matches the fun and whimsy of the movie to the tea. The film’s two highlight tracks are Another Believer by Rufus Wainwright and Little Wonders by Rob Thomas. The former is played during a montage towards the beginning of the film and is filled with the chimes that is persistent throughout the film and are an iconic attribute to the film’s design. It’s a great track that highlights the main character Lewis’ desire to meet his birth mother. Little Wonders bookends the movie and once again brings the chimes and the charms that the movie is filled with. It captures the imagination and inventiveness of the characters and story of Meet the Robinsons really well. Both tracks have made my monthly playlists many times in the past year and I am always happy to play them. Also included in the soundtrack are two songs by Jamie Cullum, which are used diegetically within the movie via a singing frog, which about sums up the wackiness of the movie. The songs are jazz-pop as the frog is a part of a jazz ensemble. Both songs are good, chill listens that any could enjoy. Other tracks included on the soundtrack include The Future Has Arrived by the All-American Rejects, which plays during the credits, which is a fun, albeit simple song that definitely isn’t one of the band’s strongest outings. There is also There’s a Great Big Beautiful Tomorrow, originally from Disney’s Carousel of Progress, performed by They Might Be Giants, and Kids of the Future by the Jonas Brothers, which definitely sounds like a 2000’s Jonas Brothers song, and is another fun listen. The rest of the soundtrack comprises of Danny Elfman’s score, which is filled with chimes and fun-filled futuristic wonders. Meet the Robinsons has a great soundtrack and its disappointing how I never hear anyone talk about it. Go give a listen, and if you’ve never seen the movie, experience the music through the film, it’s an underrated gem.

I sometimes say that I like December because it is the only socially acceptable time to listen to accapella music. And I stand by that. For this list I have tried to limit myself in terms of accapella, and think back to what I enjoyed as a child, or on the radio as a teen because overall, I don't really care for Christmas Music. Please enjoy my top 10 holiday songs (in no particular order): "The 12 Days of Christmas" - Straight No Chaser is a classic Christmas song for me. We always listen to this album while we put up our tree, and my family has gone multiple years to see Straight No Chaser around the holidays. Live, this song is even more enjoyable than the recorded version. "A Sailor's Christmas" - Jimmy Buffet is included because my father is a huge Jimmy Buffet fan. "Christmas Island," Jimmy Buffet's Christmas album, is my father's favorite Christmas album, and a staple for any long car ride around Christmas time. "Mary, Did You Know?" - Pentatonix had to make the list. Since the first time I heard this song, I loved in. Although Straight No Chaser has an arrangement, I do prefer this version by Pentatonix. The harmonies really itch my brain just right, and I really enjoy it. "God Rest Ye Merry Gentleman/We Three Kings" - Barenaked Ladies & Sarah McLachlen; both of whom I grew up listening to make some great music together. I knew I wanted to include a Barenaked Ladies song on this list, and when I realized they teamed up with McLachlen on this song, I knew it was the one. I love the barenaked Ladies tight harmonies throughout the song. "Santa Clause is Comin' to Town" - Bruce Springsteen is probably my all time favorite Christmas song. My mom loved Springsteen, which I'm sure affects my opinion on this, but it really is just a fun song to listen to. I love the emotion in his voice, and love singing along anytime I hear it. "The Christmas Can-Can" - Straight No Chaser is another classic for me. (Not sure if you are sensing a theme, but Straight No Chaser is my favorite accapella group) I love this original by them. It's super fun, and I really appreciate them making fun of the craziness of the Holidays in this song. "Little Saint Nick" - The Beach Boys is one that I heard all the time on the radio growing up this time of year. I don't have much to say, other than it's just a vibey song. The bells bring a smile to my face, and I can't help but bop along. "Do They Know it's Christmas Time" - Band Aid is one I had forgotten about, until I started working on this list. I was ready to skip it until about 1:30, which is when I realized what song it was. This song is super 80s, but nonetheless, I enjoy it. I also appreciate that this song has a message. Fun Fact: growing up I did not realize it said "feed the world' and instead thought they were saying 'sneadville'(idk why). "Wonderful Christmastime" - Paul McCartney is another Christmas radio classic that I don't hate. He keeps it moving, and I enjoy the synth. This is another one that I can't help but sing along to when I hear it. "Carol of the Bells" - Straight No Chaser is the final song on my list. As a choir student through middle and high school, I sang this song almost every year. Despite this, I still really love accapella versions of this song, especially this arrangement. I actually tried to find a different arrangement I liked to include on this list, BUT none compared to this one for me. I really enjoy how the different parts weave in and out of each other. Hope you all enjoyed a holiday hater's, top 10 Christmas songs!

Released on January 28 th of just this year, Seeing Double released their first single Leah (along with its B-side Don’t Wait), and it did not take long for the song to gain traction, garnering over 400k streams in just a month. The song was prominent in TikTok and Instagram, and now has over 3 million streams on Spotify. And with the release of their fourth song, Bygones, last month, Seeing Double has become one of my favorite bands to listen to. Seeing Double is a NY-based band formed in March 2021, comprising of Allie Sandt on vocals and bass, Ali McQueeney on vocals, Dylan Travison on drums, and Mike Aaron and Zach Torncello on guitar. The band has influences from the 70s such as Fleetwood Mac and ABBA mixed with more modern indie influences like Hippo Campus, and the mixture of all different kinds of inspiration creates a unique sound for the band. Leah was the first release by the band, the title itself being a reference to 70’s rock songs with female names as the title (such as Derek & the Domino’s Layla or Fleetwood Mac’s Rhiannon and Sara). The song is filled with mystical instrumentals and twin harmonies that make the song the perfect debut for the band, showcasing their sound and lyrical prowess to the highest extent. Released alongside Leah is Don’t Wait, a simpler more rock-sounding song, though just like its A-side, it’s hard to resist getting up and singing along with the chorus. This summer saw the release of Take It or Leave It, an up-beat rock hit that has every word hit hard no matter how fast. It’s a significant departure from the band’s first release, as they further define their sound, but it is just as easy to listen to over and over on repeat. Their latest song, Bygones, which released last month, expands what it means for a Seeing Double song to sound like, and it might just be the best one yet. Starting with a slow piano solo before a strum of a guitar transports the listener to the dark vibe of the drums and vocals which persist throughout the verse. As the drumbeat and vocals continue, other sounds are meticulously thrown into the refrain, building up to the chorus. Everything from the Clue-inspired cover art to the harrowing guitars paint the song to be a noir-thriller of a song. It did not take long for the song to reach the top of my most listened to tracks of the month. With each new song, Seeing Double further makes a name for themselves and I cannot wait to see what the future holds for them.

Weird Al is an icon of the music industry. He might not necessarily be the best but certainly the most famous of a very niche genre, the musical parody. Weird Al has spent decades bringing humor to his audience with his trusty accordion and his knack for making up new words to songs that already exist. His most famous songs include Amish Paradise, Eat It, Like a Surgeon, and White and Nerdy, just to name a few. With such a strong focus of making Biographical movies in Hollywood these days, it’s not much of a suprise that Weird Al would get his story projected on the silver screen. However, if you were looking for a serious and informative movie on the life and times of everyone’s favorite accordion player, you are not in the right place. But if what you are looking for is a hilarious parody of the movie genre known as the BioPic, you are exactly where you need to be. It only makes sense that this is a parody, after all Weird Al made his name off of parodies. If this movie was in any way serious, it wouldn’t have been 1/32 as good as it was. Helmed by first time feature length director Eric Appel, Weird: The Al Yankovic Story started off as a sketch on the website Funny or Die directed and written by Appel himself. Over the next decade, there would be discussions on making the Sketch into a full blown movie. During this time, Appel built up a reputation by directing episodes for hit sitcoms like The Office, New Girl, and Brooklyn Nine-Nine. Finally the project came to fruition with some serious talent attached. Not only does this movie star Hollywood heavyweight Daniel Radcliffe in the title role, it also stars Rachel Evan Wood as Madonna and Rainn Wilson as Dr. DeMento. It also features big name comedians Jack Black, Conan O’Brien, Will Forte, Quinta Brunson, Patton Oswalt, and Weird Al himself in cameo roles. The performances is this movie are spectacular, especially Radcliffe who is able to simultaneously capture the energy of Weird Al and the absurdity of Music BioPics. One minute he’s making sandwiches and playing his accordion and the next he’s doing copious amounts of drugs. Wood is also fantastic in her role as Madonna, who acts as the villain in the film. Madonna being the villain in a Weird Al biographical movie might be the weirdest sentence you have read today, but it is far from the weirdest thing in this movie. Weird is straight up weird, in every sense of the word. The movie isn’t even based in our reality and that might be the best thing about it. The jokes in this movie make fun of our reality and how artists lives are dramatized for the sakes of selling movie tickets. Almost all of the jokes land and at times, you’ll find yourself laughing uncontrollably. The story makes zero sense but in case you haven’t figured it out yet, that is not the point of the movie. Weird is excellent, probably the funniest movie of the year and does all of this while staying true to the essence of Weird Al. I highly recommend this movie to anyone even if you aren’t familiar with Weird Al’s Music. 5 Stars

WMU Student Releases Debut Instrumental Album No6o9y, also known as Michael Dabrowski, is a current sophomore at WMU studying Investments and Marketing. Originally from Farmington Hills, Michael has spent most of his time in Kalamazoo playing guitar, piano, and making music on the software program Ableton, which he started to learn in 2020. Prior to production, Michael enjoyed contributing to the editing community on Instagram. His first album OULUVESSENSE dropped on Black Friday, and we met with the artist to discuss his story. What is the definition of OULUVESSENSE? To me OULUVESSENSE is a place to escape, my place to escape. This is a word I made up, and my definition of it is: ‘The feeling of always being in a dreamy or dream-like state of mind’. I feel like other people would like to be in this ‘dreamy state’ of mind as well. I didn’t come up with the name OULUVESSENSE until late April of this year. I heard this song called Clairvoyant by MISOGI, and I thought ‘ooh, Clairvoyant, what a name, but it’s a real word in the dictionary, and I’m never gonna get something that sounds similar to that’ so I just came up with my own. I love that. Going through the tracklist of the album, what’s your personal favorite? Hmmm, that’s difficult. Nostalgia/009 means the most to me I’d say because it really felt like my dad was with me when I wrote it. He kinda guided me through it. That song just came out, it was easy, I made it an hour when usually I would spend four hours on a song. For You, I’d Give The World really hits, especially because it’s so short, like a short story. It means a lot. For what it is, it’s a lot. And then Emergency!. Emergency! is one of my favorites because I’ve never made a song where I couldn’t and didn’t want to add anything else to the melody. It was the first time I had the finished product. That was all I needed, besides a little drum beat that I added. Moving on from that, which song took you the longest to make? The single version of Spec!al definitely took the longest, and then In My Dreams, but those are on the album as instrumental versions. For the actual instrumental tracks, Fever Dream took me a long time to make. It didn’t at first because I only had the beginning section, but my friend ended up coming over a few weeks before I released the album and really helped me finish up everything. I spent the most time trying to get the ending perfect and wondering how to end a dreamy album. Right, because you want to stay in that state. Aside from working with friends, where do you draw your inspiration from, as a child and now? It’s weird because my mom always liked to listen to Drake and she really liked her RnB and hip-hop music. My dad liked electronic music, so he would listen to Skrillex and artists like that. I had the best of both worlds. Growing up, I really loved and I still love Drake, especially his old music, oh my god. That inspires me so much, along with Skrillex and deadmau5, all those artists from back in the day. When you mix both of those genres together you get cloud rap, which is a synthesizer, hip-hoppy, A$AP Rocky, back-in-the-day kind of vibe, and that’s exactly what I’m doing right now. Now I’d say I have inspiration everywhere. There’s this new artist I found named DVRST, he makes funk music but dreamier. I still listen to Skrillex, I can resonate with a lot of his melodies. I also developed my own ear finding dubstep and electronic music on the YouTube channel Trap Nation. On there they post a lot of different artists, things like the Trendsetter remix by Lucian. You can hear that in my songs, I pull from everyone. They say when you try to make a song based off of anyone or anything else and you fail at it, it becomes your own music. That was my goal. I pulled everything I thought was creative and inspirational and made it mine. That’s great. I would love to hear the process of how you came out with an album. I knew I wanted to come out with an album in late December of 2021, but I didn’t know what I wanted the theme of it to be. In terms of the tracks, the earliest song I made was For You, I’d Give The World. I made that probably two years ago and it was just sitting inside my computer, but I thought it’d be the perfect interlude to bridge the first part with the second part of the album. The last song I made on the album was What Now. I made that a week before the album dropped (laughs). Wow! In the summertime, I was working a landscaping job so I had a ton of time to think by myself. I could focus, listen to music or podcasts, and that was my time to decide what I wanted to do with this music thing. During that time I thought ‘hmm, might as well just make it about my life’. I feel like my life in the last year or so has been pretty interesting, I went through a lot of tough situations. What’s the meaning behind it? I decided to write the album about going through something extremely traumatic in your life that actually alters something in you. I wrote about that happening, going through the aftermath, and then making sure you’ll be better than you were before. The first part of the album has a lot of regret and self hatred for thinking that it was a good idea in the first place. The transition, that bridge, is coming to terms with the event. The second half is moving on and being the person who doesn’t get mad about things anymore. They accept what has happened, ‘it is what is’, ‘this is my life now’. ‘This event doesn’t define me, it just built my character more.’ I basically took a bunch of songs from my files that were begging to be released and tried to figure out the story that linked them. I don’t create music to fit into a certain message. Instead, I make a bunch of songs and then listen to all of them to figure out what the story is, because indirectly and subconsciously, I wrote those songs about something. I make music to let out my feelings. Without specific lyrics though, you get to decide what it says. I feel like I’m giving the listener the story, which makes it more fun that they can interpret it how they want. However, future projects are definitely going to have more lyrics. I just wanted to prove that I could make an instrumental album. I feel like a lot of artists nowadays don’t do that. That’s a good point, to show you can make a story without the lyrics to guide you. Obviously this album is very personal to you. Yeah definitely, not only is my first ever self released album, but yeah, it was my life. I had to get that stuff out and release it somewhere. I believe that therapy works for everybody differently, and my therapy is music. Music gets to tell me how I feel. It was so nice to get that weight off my shoulders. Gosh, preparing an album is so difficult but so fun at the same time, and it was so nice to leave the story up for grabs and see what it means to others. Eventually I would love for some of my favorite artists like A$AP Rocky, Drake, Wiz Khalifa, and Lil Wayne to jump on the tracks and do whatever they want to them, think whatever they want about it, making art out of art. I see it! Speaking of art, tell us about your cover art a little bit. When I made this album I thought, ‘how much information can I put into something without telling them?’. The cover of my first single, In My Dreams, is me as a child reaching up for the stars, my goals. I’m realizing how much I need to accomplish to get to where I want to be, not believing in failure. The goals are in my head, in that dreamy state of mind, but mentally it’s very real to me. My cover art for Spec!al is me on a cloud in a criss-cross position holding one of my most valuable goals. I’m observing how it looks and feels to have your goal. I feel like at some point your dream world will merge with reality, and that’s going to be so cool. Some of my dreams have definitely become reality, but I have so much road to travel. I write about my dreams, in my dreams, and the music sounds dreamy too. It’s a triple entendre. The OULUVESSENSE cover art is the zoomed out version, the rest of my dreams. It’s me looking out and realizing I have so much more to go and it’s overwhelmingly so, because there are so many stars in that sky. I hyperfixate on being successful, it’s all I can think about. I wanted to make my cover art a collage that expresses what I live every day, going after those individual stars. Last question! We want to know, what’s coming next? What’s coming next… Well, you know what’s coming next. You and I have a song releasing on December 7th, my birthday, titled ‘Isn’t Love Something’. I wrote the melody a year ago, it has the same vibe as Emergency! because they were written around the same time. The rest of it I wrote in one go, I pulled an all nighter. It’s about missing a person and how that brings up conflicting emotions. Following that, I want to take some time to rest and let people sit with OULUVESSENSE. I might drop on New Year’s Eve to set the pace of 2023. Hopefully there’ll be some shows in 2023. Who knows, Valentine’s Day might be looking promising. We thanked Michael for his spoken interview and can’t wait to hear more released under no6o9y! In the meantime, stream OULUVESSENSE.

Christine McVie, keyboardist, co-lead singer, and writer of Fleetwood Mac passed away on Wednesday, November 30, 2022 at the age of 79. She was instrumental in the making of many of the band’s greatest hits, and I wanted to take time honoring her. Joining the blues band Chicken Shack in 1967, Christine Perfect helped the band reach its first minor hit – a cover of the Etta James song I’d Rather Go Blind, a song that Perfect would later rerecord for her eponymous debut solo album. It was on tours with Chicken Shack that Perfect would have multiple run-ins with then blues-rock band Fleetwood Mac. Mac’s founder, Peter Green even asked her to be featured on keyboards on the band’s second album, 1968’s Mr. Wonderful. When working alongside Fleetwood Mac, Perfect grew close to the bassist and the namesake of the Mac part of Fleetwood Mac, John McVie. She would soon marry McVie in 1969, taking his name and leaving Chicken Shack in fears of not seeing each other much when both working in separate bands. McVie released her debut album, titled Christine Perfect and later retitled to The Legendary Christine Perfect Album following her success in Fleetwood Mac. The album was blues and soft- rock, featuring a mixture of original songs and covers, including one of When You Say from the Fleetwood Mac album Then Play On. After helping with backing vocals and even painting the cover album of Mac’s fourth studio album, Kiln House, McVie officially joined the band. Future Games was the first Fleetwood Mac album to feature McVie as a full-fledged member, which also had Bob Welch on guitar, which started shifting the band away from blues rock, and more towards folk and pop rock. McVie wrote and sang lead on two of the album’s nine tracks. McVie’s time with Fleetwood Mac continued with Bare Trees, Penguin, Mystery to Me, and Heroes are Hard to Find. With each new album, Christine contributed more and more and became an integral force of the band. Some of the best pre-Buckingham-Nicks Fleetwood Mac songs are by her from this era, and I highly recommend songs like Spare Me a Little of Your Love, Remember Me, Did You Ever Love Me, The Way I Feel, Why, and Come A Little Bit Closer. Each song carries the soul that McVie would be famous for bringing into her later with the band and the Rumours five would even cover many of the songs on tour. The songs, helped by Welch’s guitar, Mick Fleetwood’s drums, and John McVie’s bass feel like they would fit right in with the band’s albums of the late 70’s and 80’s. After Bob Welch left the band at the end of 1974, Fleetwood Mac needed a guitarist. Mick Fleetwood, the band’s drummer, met with producer Keith Olsen who played a recently recorded album, Buckingham Nicks, which impressed the band. They approached Lindsey Buckingham to join as guitarist, who agreed on one condition: that his girlfriend, Stevie Nicks could also join. The band agreed to this on one other condition: that Christine McVie felt comfortable with Nicks. Christine knew that since Nicks didn’t have a dedicated instrument like the rest of the band, along with her unique style and fashion, she would likely become the figure head of the band. McVie never felt threatened, and agreed to the two joining the band, a decision that everyone in the band knew was right when they heard McVie sing with harmonies with the two newcomers, who added more pop to the blues. With Lindsey Buckingham and Stevie Nicks now in the band, the self-titled Fleetwood Mac album was released to moderate success. However, after touring for months on months, the album reached no. 1 on the US Billboard 200. The album was home to many of the band’s biggest hits, such as Landslide, Rhiannon, and Say You Love Me. Alongside Nicks’ Rhiannon, McVie was the writer and lead vocalist of three of the album’s singles Over My Head, Warm Ways, and Say You Love Me. The band had made for themselves and drew up plenty of talk as they worked on their next album, Rumours. After the release of the White Album, Fleetwood Mac was in a rough spot. Not only had Lindsey Buckingham and Stevie Nicks broken up, but Mick Fleetwood discovered his wife and mother of his two children, was having an affair, and Christine McVie and John McVie had begun to file for divorce, ending eight years of marriage. The McVies stopped talking to each other about anything but music and the next album. The making of the next album was fueled by this breakup energy and lots of cocaine and other drugs, resulting in exhausting and tension-filled studio sessions. Christine’s contributions to Rumours (named after wild speculation from the press), while also fueled by the tensions between the bandmates, provided more upbeat and softer music to balance Buckingham’s angst filled songs and Nicks’ more emotional songs. Track 4, Don’t Stop, was one such upbeat track, becoming the album’s third single and one of the band’s biggest hits, even being used by Bill Clinton as theme music for his 1992 presidential campaign. You Make Loving Fun is a song written about an affair McVie was having at the time, which she originally told her ex-husband was about her dog so as to not fuel any more fights, and became the album’s fourth single. Oh Daddy is a slower paced song dedicated towards Mick Fleetwood, who along with being an actual father, had to be the dad of the group during the recording sessions. Songbird is a beautiful piece comprising of just piano, vocals, and supporting guitar by Buckingham, and is one of her most famous songs. She wrote it in one night, and was recorded in an auditorium to get the right feel. The song has likely been played in thousands of wedding since it released. McVie, along with the rest of the band, contributed towards writing The Chain, with a demo of hers being used for many of the instrumental parts of the song, including the famous solo used for coverage of Formula One. Rumours released to instant success, selling over 10 million copies in under a month. It is heralded as the band’s best album, as well as one of the best albums of all time. To this day it is currently the 8 th highest selling album of all time, having sold over 40 million copies, and regularly is in the top 10 vinyl selling charts every month. Following the success of Rumours, Fleetwood Mac wanted to try something different and not just try to replicate the sound of Rumours. Buckingham took charge and in 1979, Tusk released. McVie provided six of the twenty songs in this double album which is known for its avant-garde style. McVie opened the album with Over and Over¸ beautiful and calming song that invokes the style of Rumours and was used by the album as a sort of bait into the wildly different The Ledge and other songs provided by Buckingham. One of the singles of the album is McVie’s Think About Me, which is beloved despite selling poorly. Tusk sold poorly, especially in comparison to Rumours, so the band decided to so back to a more pop-rock sound for the band’s 13 th album, 1980’s Mirage. Here, McVie contributes four songs, Love in Store, Only Over You, Wish You Were Here, and Hold Me, which became one of the biggest songs for the band and one of the band’s first music videos. Following Mirage, McVie released her second solo album, also self-titled, called Christine McVie. The next album Tango in the Night, is perhaps the biggest showcase of Christine McVie in the band. Here she wrote and co-wrote five songs, either alongside Buckingham or with her then husband Eddy Quintela. Along with the beautiful Mystified (and its even more beautiful instrumental demo on the deluxe edition), Isn’t It Midnight, and You and I, Pt. II, McVie wrote and sang two of the biggest hits of the band and of her career: Little Lies and Everywhere. Even just last month, Everywhere topped iTunes charts due to its presence in a car commercial. After Tango, Lindsey Buckingham stepped away from the band and they hired Rick Vito and Billy Burnette to replace him on guitar and vocals for the 1990 album Beneath the Mask. While the album was not as big a success as the ones created by the Rumours Five, it still sold well and Christine’s songs Save Me and Skies the Limit both performed reasonably. Stevie Nicks was the next member of the band to step away, with her leaving after rights disputes. Rick Vito also left, with one-time band members Dave Mason and Billy Burnette coming in for Time. The album did not do well, missing the charm of Nicks and Buckingham, but the highlights of the album remained with McVie. I Do, Hollywood, Nights in Estoril, and Sooner or Later all show off McVie’s talents, but my favorite song of the album, and one of my favorite songs of her is the penultimate track, All Over Again. This song was written as a farewell to Fleetwood Mac as most knew it, with the lines “Well it’s time to move on to the rain, and finally break the chain” as a nod to The Chain. After Tango released and her father died, she took a break from touring and never embarked on the Time tour. However, after Buckingham, Fleetwood, and both McVies collaborated on a solo project of Buckingham’s, they decided to have a reunion. With Nicks joining them, they went on tour and released the live album The Dance, which reached number one in the US album charts. In the album, McVie did live performances of Everywhere, Say You Love Me (ft. some killer banjo by Buckingham and a rare backing vocal performance by John McVie), and Don’t Stop, which featured the University of Southern California Marching Band. Also featured was an original song by McVie, Temporary One. Following the tour, the band was inducted into the Rock and Roll Hall of Fame in 1998, but stepped back from Fleetwood Mac due to a developed phobia of flying, which was later treated. She only had minor contributions to the 2003 album Say You Will, which despite still being a great album, definitely felt different without McVie present. However, she did release another solo album in 2004, In the Meantime. It wasn’t until 2014 that McVie rejoined Fleetwood Mac, spending the time between away from the public eye and with her family. She joined the band for tours since then, and in 2017 she and Buckingham released Lindsey Buckingham / Christine McVie, which featured every member of the Rumours Five except Nicks, and is essentially a Fleetwood Mac album in everything but name. The album is an underrated gem, with hits by both artists, and Christine’s vocals and arrangements are as great as ever. She contributes Feel About You, Too Far Gone, Carnival Begin, Game of Begin, and my personal favorite, Red Sun, which encapsulates the homeliness and comfort that makes Christine’s songs so good. McVie’s most recent release was from this past summer, Songbird (A Solo Collection), which encompasses many remixes of Christine’s solo work as well as two previously unreleased songs and a beautiful and majestic orchestral version of Songbird. This was the last piece of work released before she passed, and though many wanted a farewell tour of Fleetwood Mac, she stated in interviews that she was skeptical of it ever happening. And it looks like it never will. The chain has finally been broken. Christine McVie is the first of the Rumours Five to pass, a group that managed to make an album so universally beloved and a soundtrack of any bad breakup. Not to mention the countless other hits and songs McVie has contributed to, along with the keyboards and backing vocals on many of the other Fleetwood Mac favorites like Dreams or Go Your Own Way. Sympathies from around the music world have been shared through social media to McVie’s family, from classic rock musicians like the Heart sisters and Bob Seger, to modern musicians who grew up on McVie’s work. Some musicians who are on tour have even sung some of her songs at concerts, such as Keith Urban singing Say You Love Me or Harry Styles singing Songbird. And of course, McVie’s bandmates have all written notes and messages about McVie’s death and her legacy. Christine McVie may have passed, but her music lives on and will continue to touch the lives of listeners and fans for years to come.

As a person who loves music and data, I have been anxiously awating the release of Spotify Wrapped. So here is a little about my Spotify wrapped! My top genre of the year was Indie Pop. This did not come as a surprise to me, since I do listen to quite a bit of Indie Pop. I also play a lot of indie pop on my show, which I find my music for on Spotify. My next genre was Emo Rap, likely here mostly due to my Lil Peep listening. This is the second year in a row that emo rap was my number 2 genre. Honestly though I would love to listen to more, if you have recommendations please send them to widr.promotion@gmail.com Next is Pop, which came as quite a surprise to me at first. The more I thought about it though, the more it made sense to me. I listen to quite a bit of 2000s/2010s hits, as well as a lot of Taylor Swift which is what I believe got it ranked #3. Number 4 is Pop Punk, which was my number one genre in 2021. This fall makes sense to me, sense I do listen to significantly less pop punk than I did last year. My number 5 genre was Rock. Between classic rock, new rock, and many rock subgeres, this feels like a solid one to close out my top 5 Now onto what we really care about! I listened to 73,156 minutes this year, a 2,070 minute increase from 2021. I'm honestly quite annoyed that Taylor Swift is my top artist of the year. I listen to most of my Taylor Swift on iTunes or CD, so the fact that she is this high is slightly concerning. My number two artist was Lil Peep, down from #1 last year. I have a lot of Lil Peep in many of my different playlists, so this make sense. Next is Waterparks, whom are my favorite band right now. Their older stuff is mostly pop-punk, while the newer stuff I would say is more generally alt-rock. I play them frequently on my show so I'm actually surprised they aren't higher. Girl in Red is down 2 spots from 2021, which makes sense because I listen to significantly less of her this year. I just haven't been as into the soft-indie sound as of recent. For the second year in a row, Rav is in my number #5 spot. Rav is a rapper and producer whom I had the opportunity to see live in March. That said, I really haven't listened to a lot of his discography, and It's just me listening to the same couple of songs on repeat. My #1 song of the year was "Lovers Rock" by TV Girl. For the second year in a row, the number 2 spot is taken by "FUCK YOU HEATHER" by Boyish."Reverse Cowgirl" by Mickey Darling takes my #3 spot this year. In my number 4 spot is "Freaks" by Surf Curse. Finally, my fifth most streamed song was "what about you?" by Worst Party Ever. All five of these songs are songs that 'itch my brain' and that I listen to very frequently. These are also all songs I was listening to all year, so they had a lot of time to rack up listens.

Overly Polite Tornadoes is a husband and wife dream pop duo from Kalamazoo featuring Mark Andrew Morris and Holly Klutts-Morris. They have been releasing music and playing shows in Kalamazoo and elsewhere for 8 years now under the name, however both are members of ‘Glowfriends’ and ‘Tambourina’ with projects dating back to the late ‘90s. All three bands frequently played Kalamashoegazer, an annual dreampop and shoegaze festival that ran for 13 installments, with the most recent being in 2019. In October, Overly Polite Tornadoes released their fourth project, i will hold you someday. I had the opportunity to talk with Mark about the band and their new album. So, first, about the new OPT album. This being the first album released under the name since 2019, was the process of making the album particularly long, or was there a break between the last album and when production of this recent album began? We were originally working towards releasing a new record in 2020, but when Covid hit we put everything on hold. When it started to become apparent that we weren't going anywhere anytime soon, I decided to allow myself the freedom to just record songs as we wrote them (without giving any thought to whether or not they would become part of an album). Having an outlet during this time was super helpful, so we just kept writing and recording and it was really cathartic. Towards the end of 2021, we decided we were ready to listen back to all of the songs we had been recording. From that point on it was just a matter of figuring out which songs belonged together. I saw that the new album was released through Jam Records, as seems to be the case with the rest of the OPT discography. Can you talk about the relationship between OPT and Jam Records? My Dad has been releasing his own music on Jam Records since the 1980s and he helped me get my start with Glowfriends, which began as a recording project with my Sister, April. This record is a joint release through our label (Memory as Music) and Jam Records, which has been super helpful in getting our music out there during a time when more new music is being released than ever before. According to rateyourmusic.com, Glowfriends formed in 1996. Is this true? Is Glowfriends still active? Are there any other bands or projects adjacent to OPT and Glowfriends? I began writing songs in the basement of my parents house in 1996 with my older Sister, April. We recorded an album called 'Glad To Be Here' which was released in 2000, and we started to get a full band together around 2003. Glowfriends officially disbanded in 2014, but eventually the remaining members of Glowfriends started a new project called Tambourina. Tambourina is a four-piece Dream Pop band, and we released our first full length record in 2021. My sister, April and her husband Adam Zimont also have an acoustic, ethereal project in the works called Vida Eterna. Can you explain what Kalamashoegazer is? Are you involved at all in the event or do you just perform? Kalamashoegazer is an annual Shoegaze and Dream Pop music festival that started back in 2007. I have had different levels of involvement in booking the fest over the years (contacts, designing posters, ect), but April is the visionary making it happen year after year. The festival hasn't happened since 2019, but we are hoping to return it to being an annual event in 2023. With a new album, a music video and a few shows under your belt for the year, it seems that OPT is as prolific as ever. Are there any concrete plans or goals for future shows or music? My brother (Peter Morris) and I made the 'Porch Ligh't video together and we are hoping to collaborate on another music video in the coming months. Peter also has a couple bands (Cardboard Highway & Alarm Set PM) and he is planning to release a new Alarm Set PM album very soon. We are always writing and recording new songs and we are looking forward to releasing more music and playing more shows with Overly Polite Tornadoes, as well as Tambourina in 2023. I will hold you someday is available on streaming and on CD and vinyl through the Overly Polite Tornadoes bandcamp page.

Although this is my first time hearing sow, I first started listening to Scuare before seeing him at the Exoiety, "The Out of the Woods Tour" last spring. That said, this is my first time listening through one of his albums start to finish. Something I find interesting is that average song length on this album is higher than I feel like I'm used to seeing as of late at 3:30 a song. Before diving in I also want to mention that I LOVE this album cover. The album starts with "The Price," which I think is a great starting point for the album. It's pretty vibey, and had a good flow. Around 1:40 he gets pretty staccato, which I enjoyed. The last 20 seconds consists of a conversation with high distortion. Personally I prefer that kind of thing in the intro. Next is "I bet you think this song is about you" which has some static sounds which is very interesting, and something I'm not sure I've heard in a song before. It's an incredibley vibey song, with some really good lines. I added this song to my playlist. "Skin Deep" is the third song on the album, and a complete vibe. The energy isn't super high, but it kept me intrigued. It once again ended with distorted audio clips. "Fall Away" featuring No1mortant is the next song on the album and although it's really good, nothing really stuck out to me. "Runnin Man" is the most streamed song on the album, and for good reason. It's a super fun song, and I sent it to a couple of my friends whom I thought would enjoy it. I was super excited for "Open Wounds" featuring Kill Bill: The Rapper, another member of Exoiety. I really love the rhythm of the chorus and how they work off each other. I look forward to hearing this song in my rotation. "Which side are you on?" is the shortest song on the album. Like the end of the previous song, it has distorted speaking. On this song however he adds lots of interesting effects and sounds. I would love to see a longer version of this song in the future. "The Grift" features Jonny Jukebox, which makes this song stand out from the rest of the album, as he is more of a singer than rapper. I enjoyed Jonny's verse quite a bit. The last minute is mostly Scuare, and probably one of my favorites parts of the album. Next is "The Cost" is fun, and I enjoyed the listen, but nothing really stuck out to me. "Sun on the Horizon" is the least streamed song on the album, as well as the final song on the album. I think this was a great song to end the album with, it has many of the elements heard throughout the album and acts to bring everything together. I was expecting this to be a slightly higher energy album. I enjoyed the album, it's just not what I'm personally really into at the moment. If you are into vibey/chill rap though, I recommend you give this album a listen!

I was made familiar with Jeff Buckley by his version of the song Hallelujah, which I feel is where most people know him from. In September, Hallelujah had come on in my music shuffle and prompted me to listen to some of Buckley’s other work. Though I overall enjoy his discography, Grace is definitely the stand out album. The seventh song on the album, “Lover, You Should’ve Come Over” has got to be my favorite track on the album. The song takes you on a full journey, starting slow and mellow and building to the climax where Buckley belts his heart out. The song, which was inspired by a break up he recently went through, is about regrets he has about his recent relationship and how he wants her back again. Buckley’s heart wrenching lyrics paired with his strong vocals make for an extremely emotionally intense song. "Grace", the second track of the album, has a more upbeat instrumental with a lot of acoustic guitar in the mix, a running theme throughout the album. The song is about not being afraid of what life is going to throw at you, even death, because you are happy and motivated by the love in your life. The already deep meaning of the song resonated even more with fans after Buckley unfortunately passed in 1997 at the age of thirty. Though the original release of the album is only eleven songs, the Legacy Edition of Grace includes many other amazing tracks. My two favorites have to be his cover of "Mama, You Been on My Mind" as well as his cover of "The Other Woman". Though all of the extra tracks are studio outtakes or alternate versions, the understated vibe of these tracks have a certain charm to them. Mama, You Been on My Mind is such a calming song in general. The original version sung by Bob Dylan is great in its own way, it has a much happy, folk-like vibe to it. Jeff Buckley’s version feels like a completely different song due to the different vibe. It is a lot more mellow and makes what was once a happy song feel really sad. Similarly, Buckley’s version of The Other Woman, originally sung by Nina Simone, is my personal favorite version of the song. Though Lana Del Rey and Simone’s versions are both beautiful, hearing the song sung by a man makes it seem like a completely different song. Not to mention, the song shows off Buckley’s vocal range in ways other songs on the album do not. Overall, the album Grace is definitely one of my no skip albums, and I highly recommend you check it out.

Upon hearing the devastating news of Takeoff’s passing on November 1st, I was inspired to listen to some of his best verses not only as an individual artist, but also his contribution to the rap trio Migos. Takeoff was only 28 years old before his life was cut short, though his legacy is one that will not soon be forgotten. Unfortunately, so many more talented and young musicians have been lost to tragedies such as accidental overdose or gun violence. On last week’s ‘Playlist Show’, I was inspired to create a mix honoring the people who have become victims to the cruel undersides of the music industry. Some of these musicians include; Pop Smoke - Pop Smoke was only 20 years old when he was fatally shot during a rental home invasion in Los Angeles. His music, categorized as Brooklyn drill rap, has deeply impacted the hip-hop community. His label continues to release albums such as Shoot For The Stars Aim For The Moon, posthumously. Some of his most popular songs include Foreigner, The Woo with 50 Cent and Roddy Rich, and Show Out with Kid Cudi. Juice WRLD - This Chicago born rapper changed the game in the Midwest with his merging of emo vocals with hip hop verses. He was lost to a seizure induced by drug use at the age of 21, and the news of his passing shocked the country. His label continues to release albums such as Legends Never Die posthumously and he has additionally won American Music Awards and Billboard Music Awards since his passing in 2018. PnB Rock - PnB Rock was a rapper and singer who first gained a following after the release of his song ‘Selfish’. He was killed during an armed robbery while he was eating at a Roscoe’s House of Chicken and Waffles in Los Angeles after his location was revealed through social media. He was a father and advocate for the artists in his industry. He was only 30 years old. Nipsey Hussle - The death of rapper and activist Nipsey Hussle deeply impacted his hometown of Los Angeles, California. Outside of music, he was recognized for his commitment to his community through his philanthropies such as Marathon Clothing store. In addition, he denounced gun violence through his lyricism, work, and influence. He was recently awarded a star on the Hollywood Walk of Fame. Mac Miller Throughout the entirety of his twelve project run, Malcolm Miller left a large legacy on music and rap before his life tragically ended at the age of 26. His legacy continues to affect younger generations deeply. He continues to make change through the Mac Miller Fund, which works to support young artists in Pittsburgh. Additional artists lost to these tragic circumstances include The Notorious B.I.G., Tupac Shakur, Amy Winehouse, Young Dolph, XXXTentacion, and King Von, among others. It’s important to commemorate these people and raise awareness for the problems that they and their families have suffered from. Due to the nature of their careers, most famous musicians deal with mental health issues, while others additionally deal with violence. When we focus our attention on these problems, we can educate others and advocate for a greater change in our society. If you would like to spend some time remembering these artists, feel free to check out the TAKEN TOO SOON playlist on WIDR FM’s Spotify. If you yourself are struggling with substance abuse or would like to educate yourself on the reality of gun violence, consider utilizing the resources below. Counseling Services through Western Michigan University National Violence Prevention Hotline Gun Violence Archive SAMHSA Hotline: A support line for any American experiencing emotional distress 1-800-662-4357

I found out about Alex G. from the song “Sarah” and adored the song. My infatuation with the song led me to listen to the rest of the album. The sixteen track album is the perfect listen on a rainy fall day. The alternative, distorted, folk-like vibe of the music paired with the emotional lyrics makes for a very unique sound that scratches my brain. The sad lyric and upbeat backing is reminiscent of the Smith’s and their style. After a full listen of the album, the song “16 Mirrors” stands out the most to me. The background vocals paired with the acoustic guitar differentiates this track from the others on the album. Though the sound is slightly different, it still sounds cohesive with the rest of the album. The meaning of the album, and all of the songs individually, is left up for the listeners interpretation. My interpretation is that each song represents an individual “mirror” of how Alex see’s different parts of himself, and the final track of the album (“16 Mirrors”) is about how he sees himself as a whole and all of these different facets become one being. As said before, I love the song “Sarah.” The use of wind instruments on this song is really interesting and makes the song cohesive with the rest of the album. The heartwrenching lyrics of the song talk about going through the motions and letting others down, which at this time of the semester is quite relatable. The guitar in this song also stands out, it is very repetitive which adds a deeper meaning to the song. The repetition of the guitar represents the repetition of the days that someone feels when struggling with depression. Overall the album has a very cool and mystical vibe to it with heartfelt and meaningful lyrics. The pairing of the sound and lyrics makes this album one of my personal favorites and a no skip album.

Yooo guess who’s back It’s Nik back for his second installment of whatever this series is called, somehow my first blog didn’t scare off the people from WIDR! There really hasn’t been a solid string of albums I could critique and shittalk, it’s been kind of boring! So I kind of just picked out some big names in the past couple weeks that dropped stuff and kind of just ran with it!!!! First up: Black Eyed Peas’ ELEVATION I am extremely upset with myself for staying up to listen to this. I try to listen to at least one new album per Friday right after midnight, but nothing else caught my attention except for a new project from the Black Eyed Peas. As someone who hasn’t listened to the Black Eyed Peas since 2010, imagine my shock when I found out that the group hasn’t changed their sound since! I was honestly shocked they still made music. They threw in some reggaeton, but that’s all they did to change it up. This is an incredibly boring album littered with features from Daddy Yankee and other people I haven’t heard of, and a collaboration track with Shakira and David Guetta to cap it off, which is actually a deeply terrifyingly bad and severely outdated idea. It’s even worse in concept! There’s some really corny and bad stuff in this. If a collaboration from hell wasn’t enough to sell you on this album, there’s a track with an awful interpolation of “Scatman” by Scatman John. I am incredibly concerned that they’re actually trapped in 2010, and probably thinking about how one of these songs is gonna make a sick level in the next Just Dance game for the Wii. Rating - 2.5 / 10 (Actually Really Bad) Second: Yung Gravy’s Marvelous This is the first full album I’ve heard from Yung Gravy, and I’ve heard his music 2018 or 2017, long before he got his TikTok boost, and it seems like another case of where he hasn’t seemed to grow as an artist. It’s one thing to hear these tracks individually as singles, they’re a lot more tolerable that way, and it doesn’t feel as overbearing. However, when you have to listen to the exact same “I want to have sex with your mom” joke 15 times straight throughout the span of 40 minutes, it’s an absolute pain to sit through. Don’t get me wrong, he’s incredibly charming, but his music and charm really only seem to be digestible for incredibly short amounts of time. It can be slightly amusing, and “C’est La Vie” is a really strong standout single from this, but if he continues doing the same schtick he’s been doing since 2017, I don’t see him staying around for much longer. Rating - 4.5 / 10 (Not Very Good) Third: Drake & 21 Savage’s Her Loss God what a cover The rollout for this album has been very weird. Mentioning it’s being made a week or two before release, making fake Vogue covers and an NPR Tiny Desk performance and almost immediately getting a lawsuit in return, and Drake posting hentai on his Instagram story a few hours before release. I found it really difficult to enjoy this. My main issue was that it’s extremely boring, especially since it clocks in at a full hour and offers nothing interesting. A lot of people seem to believe this is the return of Drake, going back to his Nothing Was The Same and Take Care-era of music, but it’s not. I feel like it’s more of a result of the fact that his two past albums, Certified Lover Boy and Honestly, Nevermind, were so incredibly bad that people treat Drake when he’s just okay as if it’s the second coming of Christ. Outside of a Travis Scott feature, I remember nothing about this album. Check it out if you hate yourself ig Rating - 5.0 / 10 (Boring) Fourth: Joji’s SMITHEREENS "Glimpse of Us” is one of the best singles to come from this year so far, so I was looking forward to this album a lot. It was extremely disappointing. The album feels unfinished, and I really don’t know if it was supposed to be longer or not, but a 24 minute runtime is kind of ridiculous. It’s split into two discs, one side with “Glimpse of Us” and a few other, fairly forgettable ballads, and the other side with a quality to it that I can’t describe other than thinking it’s unfinished, most likely because the songs are labeled as demos and freestyles. How are you going to have an interlude between four songs? I don’t know if he was contractually obligated to make this “album” or if he felt like he needed to throw something out there, but I’d be lying if I said I wasn’t disappointed by the result. Rating - 6.5 / 10 (Okay) Fifth, and Finally: Quadeca’s I Didn’t Mean To Haunt You Finally, the LAST album I wanted to talk about, from a rapper off of YouTube that I didn’t pay attention to until the rollout of this album. But wow, this was right up my alley. It’s got a folktronica sound to it, which I didn’t expect from a YouTube rapper, but on top of that, he got two features that caught me by surprise. Danny Brown, the rapper behind my favorite album of all time Atrocity Exhibition, as well as Swans’ Thor Harris, another incredibly good band with a similar sound to this album. It’s a very moody and emotional ride, and I left speechless by the time it ended. Songs like “born yesterday” or “fantasyworld” take you on a rollercoaster, and the production on those tracks, and the whole album, envelops you in these stories he’s trying to tell. I can’t really recommend it enough, I was surprised by it, the music community was surprised by it, and it may surprise you Rating - 9.0 / 10 (Incredibly Good!!!) Honorable Album Recommendations: Changes - King Gizzard & The Lizard Wizard SEE YOU THERE - Matt Watson De Todas Las Flores - Natalia Lafourcade