On London, Beijing, VPNs, Tower Records, family, reading, piano, techno, love, music as salvation and exploring the concept of home on new EP, ‘Grotto’.
It’s Thursday evening and object blue is sat at her computer. She’s leaning back, sunken into her chair and dusty orange flickers of light are splintering through the window behind her. Tomorrow, she’ll be releasing her first solo EP since 2019’s ‘FIGURE BESIDE ME’ but for now, she’s living in the moment. “I’m feeling really relaxed because the last month has been really intense”, she says with a warm smile, “you know with wrapping up ‘Grotto’, filming the video that’ll be going out tomorrow … it’s been very DIY. I mean, I sewed the dress I’m wearing in the video, which took absolutely ages because I can’t sew. I’ve just got a sewing machine and try whatever! I guess the nice thing about the aesthetic of the music I’m interested in most of the time is that there’s so much room for error.”
“I guess the nice thing about the aesthetic of the music I’m interested in most of the time is that there’s so much room for error.”
The music she’s interested in has taken on so many different shapes since she started releasing her own productions in 2018. Inspired by the London dance floors she credits most with moulding her tastes, object blue’s music has breathed new life into the outlying, experimental techno stratas that have always looked beyond 4/4. But that’s not to say she feels it’s always totally understood, however. “I’ll make something that I think sounds really happy and euphoric and everyone will call it dark, depressing, intense, scary or weird”, she says bluntly. “It’s always been like that with my music.”
Despite music being so central to her sense of self, it was books that would form object blue’s first love. An obsessive reader as a child — she’d spend days failing to get changed out of her pyjamas and sometimes even forgetting to eat — it was in the pages of her favourite stories that’d she’d first find refuge and solace from the combustible world around her. “I knew at that point, even as a child, that I was becoming a very solitary mind”, she notes. “I knew that the things I saw in my imagination really fascinated me and I was less interested in sharing what I imagined more than just diving really deep into my head. And then one day, my parents boxed up all my books and told me they’d burn them if I didn’t stop reading so much. It forced me to make friends.”
It was this often fractious relationship with her parents that punctuates the memories of her childhood. Born in Tokyo but raised in Beijing, where her family relocated to as a result of the Japanese recession of the 1990s — a period often referred to as Japan’s ‘Lost Decade’ — much of the conflict arose from the face-off between her parents’ expectations and her own creative ambitions. Music though, was always a constant — it has never not been part of her life. “Music has always been there”, she says, “from as far back as I can remember. I never had a moment of realisation, it’s just been a part of me since day one. I remember being four or five in Tokyo and my sister was getting piano tuition from a woman who lived in the same building as us. I remember being so envious that she got to do that. My parents bought her a piano for her to practice on and I can remember climbing onto the stool and just playing by myself for hours. I never used sheet music either, I just played by ear and probably did for the next 10 years or so as I got older. Whatever you learned at school was always to do with sheet music and it was the same for piano tuition … and I hated that. I can read sheet music but I’m very slow and I don’t enjoy it. Even now, when I write down musical ideas I don’t use traditional notation.”
“Piano was never the end goal though”, she continues, “It was just the medium for me to improvise my ideas through. I wasn’t really a good pianist … in order to be a good pianist, you needed to practice finger exercises and read your sheet music … and I really didn’t develop that. I think that’s probably had a direct correlation with why I’m a producer today.”
Growing up during one of the fastest developing periods in modern Chinese history, object blue’s life in Beijing — the city she still fondly refers to as her hometown — was both affirming and testing in equal measure. On arriving, she spent three years at a Japanese school, before later moving to one of Beijing’s top international schools just shy of her 11th birthday. “English has been my main language since then”, she says, “to the point that my Japanese is still suffering today. I’ll forget words and phrases. I think it’s a typical expat, migrant thing really.” Did she enjoy school, I ask? “I … hated … it”, she replies exasperated, shoulders slouching to one side. “I don’t know if I could even survive it again. Kudos to teenage me but if someone said I had to go back and live from 13-19 again and if I survive, I get a billion dollars, I think I’d probably say no. Being a teenager is hard. You have a developing ego but no power of your own, you don’t get to choose anything … it’s really, really hard. My school was very much ‘academia is everything’ too.”
“Kudos to teenage me but if someone said I had to go back and live from 13-19 again and if I survive, I get a billion dollars, I think I’d probably say no. Being a teenager is hard.”
“There were two big international schools in Beijing when I was growing up and I went to the lame one”, she continues. “All everyone talked about was grades. International schools in China are often set up by embassies for diplomats and envoys, so it was a mix of white American kids from California, Chinese-Americans and random Asian kids like me. Everyone would ask, ‘how was your report card this semester?’ and I’d always be like, ‘it was shit’. No one would believe me until I showed them my report card full of Ds and all my detention slips and voicemails of my mother yelling. I hated it so, so bad. I actually used to listen to The Mountain Goats a lot at school. John Darnielle (lead singer) was such a good lyricist and he had this album all about escaping an abusive household, based on his own life. He has a song called ‘This Year’ and in it, he sings ‘I’m gonna get through this year if it kills me’ and I’d just blast that through my headphones at school whenever I could.”
“Remember how slow torrenting music was?”, object blue asks as we touch on how music and media was shared at school. “Well imagine that in China with a firewall. I remember trying so hard to download a D’Angelo album on Limewire, you unzip it and of course it’s a cracked copy of Tony Hawk’s Pro Skater 2. Every. Single. Time. The biggest access to culture I had was going back to Japan every summer to see my Grandma. I’d go to Tower Records in Tokyo and buy 20 CDs at once and then stuff them into my suitcase to take home. My mum would always be like, ‘Have you gone to Tower Records again? How many CDs did you buy?’ and I’d reply cutely like, ‘Just three’. Torrenting just wasn’t an option, I still had a dial-up connection and it was difficult at home. Also people at school just weren’t cool, like, at all. Maybe we’d watch Friends or something? Actually, my sister and all her friends watched The OC but that was literally it. I remember there were people in my school who’d never heard of Radiohead and I’d always be like, ‘but aren’t you from Canada?’. I guess it wasn’t their fault because China was still hard to reach at the point. We didn’t have things like Soundcloud there, Facebook was blocked, MySpace was blocked. I do remember the day that Wikipedia was unblocked across China because everybody was talking about it. Funnily enough, the images were still unavailable, but at least people could finally access the articles. I just remember getting in a cab one fine summer’s day and the first question the driver asked me was, ‘did you see Wikipedia got unblocked?’. I mean we always had VPNs, but it was still a big thing.”
“I remember trying so hard to download a D’Angelo album on Limewire, you unzip it and of course it’s a cracked copy of Tony Hawk’s Pro Skater 2. Every. Single. Time.”
Living in a Beijing suburb near the city’s main airport — “it was a fucking hell hole” — had its drawbacks too. There was little to do and with escapism at such a premium, the allure of the city proved too great. “I started clubbing when I was 14”, object blue recalls. “I’d sneak out of my house, meet my friends, get in a taxi and go to a bar street and yeah, go to clubs. All you’d hear would be 50 Cent and Rihanna, which I was fine with … Pitbull and stuff like that, too. It was quite lawless really. It was only for the 2008 Olympics that they introduced a minimum drinking age, but we didn’t know that existed. We were just 14 year olds dancing in a bar. I guess I’ve always liked listening to loud music in a dark room. There’s something very cleansing about that.”
Such were her experiences at school, staying in China was never an option in object blue’s mind. But rather than apply to go to university in the US as many in her position would, she saw the UK as an obvious outpost. Her sister had studied in London some years earlier — “she thought it was London but the campus was technically in Surrey” — and recalls always really liking it. “Maybe that’s just because I was so miserable at school in Beijing”, she says, “but who knows?”. She applied to Oxford at the behest of her parents — “I didn’t get in, obviously” — but eventually landed a place at King’s College in London, where she’d spend the next three year studying English Language & Literature. “I met great people there”, she says smiling. “I had such great professors and it also opened my eyes to politics because growing up in an international school in China is such an insular, privileged experience. Everyone was a privileged twat there. Everyone would get an internship at Swiss Bank because of their uncle or whatever, you know. All of these people were gonna go onto rule the world, you could just feel it. So many of my classmates are working on Wall Street now or in venture capital or thinking they’re saving the world by working for Uber. It’s just such an alien world to me. I’m so glad I got the hell out of there.”
With her taste for clubbing already forged in Beijing’s commercial bars, London would prove object blue’s entry point into the world of underground dance music — but to her disappointment, not straight away. “I didn’t know anything at all when I first arrived”, she acknowledges. “I remember my friend asked if I wanted to go clubbing on a Friday night and I was like, ‘yeah!’. I really thought it’d be my opportunity to find some new music to dance to but where did she take me? Tiger Tiger in Soho. I was so traumatised, I didn’t go out for a year. At the time, I was listening to The Cure a lot and bands like that though … The Smiths, Smashing Pumpkins … so I’d be so happy when I’d walk into a charity shop and they’d start playing The Smiths. For a while, I thought that would be the extent of my musical experience, but at Kings, I started to meet people who were into the sort of music I’m making now. One of them used to run a blog called Stray Landings and I’m still friends with them now … Georgie McVicar, who released on Conditional a few years back … and I also met Hmrd and Blue, who ran an events series called Cherche Encore that I played my first ever live gig at shortly after I graduated. After meeting, we stayed in touch and I started going to Corsica Studios every weekend, sometimes even twice a week. Actually once, I went three times because I went to Hyperdub’s Ø night on Wednesday and then again on Friday and Saturday. That’s when I really was like, ‘oh shit, I’m gonna make dance music’.
“I remember my friend asked if I wanted to go clubbing on a Friday night and I was like, ‘yeah!’. I really thought it’d be my opportunity to find some new music to dance to but where did she take me? Tiger Tiger in Soho. I was so traumatised, I didn’t go out for a year.”
While those nights at Corsica may have congealed to form her dance music Eureka moment, she also recalls an unsuspecting sales assistant at HMV missing a trick a few years earlier. Inspired by discovering Aphex Twin, Bjork, Mark Bell and Nine Inch Nails in her mid-teens back in Beijing, object blue found herself flicking through the racks of the store’s Electronic section one summer while visiting her sister. “I grabbed a guy working there and said, ‘excuse me, do you know a lot about electronic music?’ and he was like, ‘yeah … yeah I do’. ‘I was like, okay, I don’t know anything but I want to try and find more of the stuff I like, so can you help me?’. I mentioned liking Nine Inch Nails, Aphex Twin and Bjork and he recommended I check out a compilation, because my interests were broad and I might like to check out different tracks by different artists. It sounded great. What did he give me? ‘Best Of Ibiza 2011’. I listened to it and was like, ‘is this it?’. I just didn’t really like it. I had the same problem in China before I discovered D’Angelo and stuff like that. I remember really wanting to find out more about what hip-hop and RnB was so I typed it into Limewire and I got pointed towards Black Eyed Peas and I was like, ‘I really don’t like it … is this it?’. When I heard D’Angelo for the first time, I felt like I’d been scammed like, where was this? Why did Limewire give me Black Eyed Peas? I remember going to Sounds of the Universe once I moved to London and saying to the guy behind the counter like, ‘I was robbed of proper hip-hop, please give me something good’. He gave me a Slum Village album and then I knew I’d been missing out for real. It was a really gradual change for me when it came to discovering music. Techno took me a while to get into too, thinking about it. I think the first or the closest thing I got into was probably Trentemøller. I used to join so many music forums, one being a Nine Inch Nails forum, and there was a lot of crossover with them and electronic music. Lots of people kept recommending I listen to Trentemøller so I did … and I liked it. I remember my friends were like, ‘this has no singing in it, how can you like it?’. Once I started clubbing, boom … it just exploded.”
Even then, music still didn’t feel like a concrete option for object blue. She’d known she was going to study English Literature since she was 12 years old and had always assumed she’d go into academia once she finished her degree — it wasn’t quite a road map, but she’d never really considered anything else. “I was an idiot but I think I became less of an idiot as I studied through my degree because I met so many amazing people”, she explains. “For example, I still remember one of the professors I really respected, she was Irish. In the first ever lecture I went to, she asked us ‘why are you all here to study English Literature?’. Before anyone could answer, she told us it was because of British military history. ‘Don’t get it wrong’, she said. ‘There is no language that is inherently superior, no culture or literature that is inherently superior to others. We are not here to study English literature because it’s the best, we’re studying it because the British used a lot of armed power in their past’ and I was like, ‘Oh my God’. That always stuck with me.”
“In the first ever lecture I went to, she (my professor) asked us ‘why are you all here to study English Literature?’. Before anyone could answer, she told us it was because of British military history. ‘Don’t get it wrong’, she said. ‘There is no language that is inherently superior, no culture or literature that is inherently superior to others. We are not here to study English literature because it’s the best, we’re studying it because the British used a lot of armed power in their past’.”
“I do remember going into university fully intending to become a specialist in Shakespeare or something though”, she continues. “Three years later, I was like ‘I never want to write a fucking essay ever fucking again’. The cleaning staff at the library were terrified of me because they knew me as the girl that would sleep on the floor. I’d never start essays early enough because I’m a huge procrastinator. It’s scary to actually do things, you know. There’s nothing else that makes me work except for pressure. Anyway, I came out of university and I still felt that I wanted to do something with literature, so I managed to get an internship at a publisher. All I did for three weeks was type the ISBN number of a book and its listed price from different retailers into a spreadsheet. I was like, ‘I don’t want to die like this’. Around that time, I was also still thinking I might go to Grad School, maybe not to do a PhD but hopefully to get a Masters. I even took the GRE test because I thought about going to New York as I was dating someone from there at the time. I remember I was writing in the Senate House library one day and just burst into tears like, ‘I don’t wanna do this’. My friend hugged me and asked what I wanted to do instead and sobbing, I said, ‘I just want to make techno. I love kick drums. But I don’t even know that much about techno. But I know I just want to make it.”
It was a leap that would change her life forever. “I’m a completely different person now”, she says, smiling. “I’ve become the person I always wanted to be and can honestly say that I’m really happy.” Behind her contentment though, object blue still finds herself at the mercy of a lingering, troubling bleakness. “You know that meme, ‘Guess I’ll just die’? That was my attitude for most of my life”, she explains. “This is gonna get deep and dark quite fast but I’ve been suicidal since I was 13 and it’s probably never gonna stop. I mean I’m fine now but I have something called suicidal ideation which basically means it’ll always be vaguely at the back of my mind, even if I’m happy. Sometimes I’ll be happy, just taking a walk and suddenly start thinking, ‘I wouldn’t mind dying’. I never really had much drive to live I guess, my mindset was always more like ‘life is painful’. At that time too, I’d split up with my long-term boyfriend. I was supposed to go to New York to be with him, but I changed my plans. I was going to go into academia but that idea was dashed. My parents were and still are disappointed in me. But then it’s not like I was that fixed on any of it anyway. I took it as a sign that I might as well try and do something that I really wanted to do.”
In techno, object blue found her salvation — a place where she could block out all external noise and focus on the only thing that really mattered; the music. It’s not a cliché to say that it’s a process that has completely changed her life. It’s given her the freedom to create how, why and when she wants. “I really think it’s a part of me in the most fundamental way”, she reflects. “I can’t think of myself without music. Even when I wasn’t making music I defined myself by it. I used to really hate myself because I wasn’t making music, mainly because I didn’t think I’d be good enough to make the sort of music I wanted to make. I always hated that. I used to work at this classical record shop and everyone who worked there were music students. They’d always ask me, ‘why don’t you go to music school?’. I’d always be like ‘I’m not good enough’. I guess my life was defined, in that sense, by the absence of or the presence of music and I realised that I had to pursue its presence. It really was a life or death decision.”
“I called my parents and told them I wasn’t going to Grad School”, she continues, “I asked them to give me a year to come home and make music and if, after that year I was still unhappy, then I’d do whatever they wanted me to do. I’d get a job, whatever. Because my parents never listen to anything I say they were like, ‘of course, that’s totally fine’. I went home, worked on my music and applied to music school while I was home and ended up getting in. I told them I was moving back to London to go to music school and my mum was like, ‘since when do you like music?’. I literally ran back.”
Entirely self-taught and tirelessly motivated, object blue spent much of her year back in Beijing honing her skills on Ableton — where she still makes the vast majority of her music — trying to turn her ideas into the sounds she wanted to make. It was a process that gave her the confidence to believe she could hold her own after a testing first spell on Logic — “I was so terrible, I couldn’t do anything on it” — and also enabled her to build up a portfolio of tracks that she was able to present in her application to the Guildhall School Of Music in London. “I told them I’d been self-teaching myself on Ableton and that I already had my degree from Kings”, she explains, “and luckily, they saw it fit to let me only do three years rather than four. It meant that I’d finish the course when I was 26 rather than 27 too, which made my mum feel a bit better about it.”
“Our entrance exam was making a two minute piece only using sounds recorded using a two pence coin, so that was fun”, she continues. “I didn’t even have a proper microphone because I was at my parents house, so I remember doing all sorts of things with this coin. I’d throw it in an empty bathtub, tap it on walls. I remember there was like this ribbed, gold-metal lamp that I’d scrape the coin up and down on and then pitch that sound up and pitch it down, add effects. I just did my best and I got in.”
object blue returned to London in 2014 to study at Guildhall, this time basing herself in Bow in the east of the city. It’s a place she still holds special affection for after living there for six years, before more recently moving to Hoxton. “I really like that Bow is such a South Asian area”, she recalls fondly. “I remember I made a lot of Indian friends at Kings and whenever they came to cook at my house, they’d always be like, ‘you don’t have the spices!’. Through them, I learned about parathas and how to make chai … it was such a nice way to open my world up. Arguably the best thing about London, obviously I’d say it’s music, but more than that it’s the multiculturalism. Japan is such a non-multicultural country, China has 56 ethnic minorities so it’s very varied in that way but like I said, I lived in a very sheltered, boring ass suburb. I came here and I met people from so many countries and that’s been one of the best things about my life, probably. I’m so lucky.”
With a second chance at a life in London now in her grasp, object blue was determined to flourish — and flourish she did. But, as she explains, it was a producer living in Tokyo who would be the defining influence in her early production career. “Somebody who’s not relevant to the London scene but is the most influential person is SIMARA or Y A S H A, which is the moniker he uses now”, she explains. “He’s a guy I met on Tumblr and he had a Soundcloud link on his profile. I went to listen to it, not expecting much because I thought Soundcloud was just a space for people to re-post, and saw that he had some original productions. I listened and they just blew my fucking mind. He’d just put out an EP called ‘hologram summer’ at the time and it was like Oneohtrix but with more heart. I still play his stuff all the time and he’s one of my best, best friends. I last saw him in October when I got the chance to go back to Tokyo for a bit because he’s living there now, but he’s actually from New York. He taught me production by making videos for me. He’d record his screen but he only had a free trial version of a screen recorder, so all his videos could only be five minutes long. He’d upload like 14, five minute video clips to Google Drive on how to EQ drums, how to EQ synths … he basically walked me through Ableton like that.”
Under Y A S H A’s tutelage, object blue started to upload some of her early productions to Soundcloud before sharing them on Facebook. Through some of the connections she’d first made at Kings — she’d stayed loose friends with the majority while she was back in Beijing — she started to receive feedback, too. Before long, she found herself being invited along to a slew of different club nights across the city and her music eventually found its way to Gribs — former co-head at Tobago Tracks, now known simply as TT. “She started inboxing me to tell me she liked my tracks and that they had a monthly show”, she recalls. “She’d always ask if I wanted to send any unreleased music over for them to play but back then, I never had anything because it took me so long to put together a track. Eventually, a few labels showed interest in signing me including Let’s Go Swimming and Tobago Tracks, so I just started playing label parties and shows, to the point where I was getting a two or three bookings a month. That’s how it all began, really.”
For an artist with such a vivid imagination — and one she often finds herself retreating into for comfort and reassurance — was she daunted by the performance element of DJing, I wondered? “I’m a solitary person and I’m really bad texting back and tend to just hole up with my wife and my dog most of the time but I do like attention”, object blue explains. “If there’s a good physical boundary separating the booth from the audience, it’s the best. I just get left alone, I don’t have to talk to anyone and I can just play tunes that I love. And then afterwards, everyone says I’m great. It honestly used to give me such an addictive feeling that when lockdown started to take hold, I realised that without getting that adrenaline rush from playing two nights a week, I just couldn’t do anything. It felt like I was going through a withdrawal.”
“I’m a solitary person and I’m really bad texting back and tend to just hole up with my wife and my dog most of the time but I do like attention”
“DJing is amazing because all my life I had longed to find people around me who liked the same music as me”, she continues. “Not the people who’d take me to Tiger Tiger, you know. And now here I am forcing everyone to listen to my music library … and they enjoy it. And I get paid for it! It’s too good to be true, to be honest.”
object blue’s debut three-track EP, ‘Do you plan to end a siege?’, released on Tobago Tracks in March 2018 to critical acclaim and saw her profile rise exponentially. It struck the right chord between chaos and order — the sound design was meticulous but the rhythms unpredictable — and disrupted techno’s more conventional workflow in a way that felt entirely unique to her. She followed it up with ‘REX’ on Let’s Go Swimming later that year — a record she described as an ‘assemblage of messes’ upon its release — before putting out solo single, ‘What Did I Have Then’ and later, ‘FIGURE BESIDE ME’ in 2019. She also joined forces with Nervous Horizon’s TSVI on joint EP, ‘Hyperaesthesia’, last autumn. While her new record, ‘Grotto’, may be only her sixth transmission proper, she already feels like a producer for whom many look to in order to signpost where to go next.
“Grotto is about the home”, she explains, as we start to discuss the themes underpinning the new record — her first that doesn’t feel inherently rooted in dance music. “Especially now because our relationship with home has changed so much in the past year. I started thinking about power dynamics and strained relationships, coercion, loss of self, stuff like that. I knew that I’d always make non-dance music as well one day, it’s just that dance music always took precedence in my life because one, it was what I was really interested in and two, it became my job. I think this pandemic gave me a good chance to make a non-dance music EP because we’re not in clubs anyway. I don’t have to worry about whether people are playing it out or even if people like it. Every time I put a release out I’m always like, ‘God my tracks are so fucking hard to mix, why did I make it like this?’, but I don’t have to think about mix-ability at the moment either. If I was playing out every week, I probably wouldn’t have made this now, I’d probably still be thinking about beats and a dance floor, but I guess my style and what I’ve been listening to has changed. In that sense, it feels like a good time to release something like this.”
Written in a little over five weeks after a long period of writer’s block, Grotto’s opening and closing tracks stem from a melody object blue originally wrote at high school — “I’ve even got it the original notations somewhere” — and launched with an incredible audio-visual performance via TT’s Twitch channel. Featuring a bespoke, interchanging digital backdrop created by her wife and creative partner, artist and photographer Natalia Podgórska, it forms a window into the brave new world that object blue has created for herself on ‘Grotto’. “My ethos is what matters is that I like it because I am the artist and the artist is God in a context like this”, she says of the project. “I think it’s mentally exhausting to be an artist if you don’t let yourself be a master of it. You have to be like ‘this is fucking great’ otherwise being an artist is crippling. If everyone hated ‘Grotto’, I’d be like, ‘It’s ok, I’m God in this equation and you’re wrong’. I am a little nervous about it though because it isn’t dance-y and I know people who only know me for my club output may stumble upon it and think, ‘what the hell is this?’.”
As we start to wind down, it becomes clearer and clearer just how important music is to object blue. It really is salvation; a binding agent, a grounding force, a dependable safety net that’ll always be there, regardless of how difficult life gets. “You know how everyone always says, ‘love is everything’?”, she asks after a short pause. “Like don’t get me wrong, I love, love, I’m always in love but I loved my ex and it didn’t save me. It didn’t make me feel alive or hopeful. I realised you can’t rely on love’s ability to make you happy because love happens between two human beings who are both imperfect. Luckily, I’m in a relationship where I do feel loved and hopeful and happy but that’s just because my wife is great. It’s not a testament to love’s bulletproof steadfastness. Music on the other hand, music is great. It’s just there and it’s perfect. It’s not a human being that needs to work on itself. You don’t say to music like, ‘What are we? What do you want from me? What does our future look like?’. Music is just godly and I can get my everything from it. That was a huge realisation for me.”
“I realised you can’t rely on love’s ability to make you happy because love happens between two human beings who are both imperfect. Luckily, I’m in a relationship where I do feel loved and hopeful and happy but that’s just because my wife is great. It’s not a testament to love’s bulletproof steadfastness. Music on the other hand, music is great. It’s just there and it’s perfect. It’s not a human being that needs to work on itself.”
“Beethoven said that music occupies a higher plane of consciousness in human beings, more than any other art form”, she continues. “So I think for me, it’s music’s ability to transport you in real time and become something far greater than yourself that makes it so special. Even when I’m being an idiot, I always know that I can access that plane through music and that in itself is incredible. I guess some people get there through hard drugs or something but for me, it’s just music. Always.”
object blue’s ‘Grotto’ is out now on TT:
https://tobagotracks.bandcamp.com/album/grotto
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