Tag: denver

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Trev Rich: Heights 3 Interview

“When I say Trev’s back I mean it now more than ever.”

Every other one of my posts on this site – and my own blog for that matter – seems to focus on or mention Trev Rich. It can hardly be considered a bad thing, bearing in mind that milehimusic.com was created to give spotlight on Colorado’s hottest talents because as far as I’m concerned Trev epitomises that very goal. Not only do I believe he is the hottest musician coming out of Colorado right now, he’s a permanent name in any of my top five lists – dead or alive. So it is an absolute honour that since taking up blogging almost a year ago, that I now have the chance to consistently conversate with someone I consider an inspiration; In the latest of our formal interviews, I interrogated Trev about his upcoming mixtape, “Heights 3“, his newly found relationship with Atlantic Records and what ever happened to “New Forever” which was followed by a couple of fan questions which were submitted through Twitter.

Hello Trev, thanks for agreeing to another interview with me. How are you and what have you been up to over the summer?

Trev Rich: All work no play type of summer. It’s been pretty wild musically a lot has happened in my life in which I don’t want to spoil for the tape. I’ve been great though. Couple ups and downs but that’s life.

 

 The big news is that this month, you’re releasing the third edition of Heights 3. Is the recording finished?

Trev: Yes my portion of the recording is done! Finally it didn’t take that long to get back in a zone after a little while so the process was a lot easier this time.

 

You claim Heights 3 to be project of the year, what makes it so much better than others?

Trev: I’ve heard some pretty dope projects this year. A lot of dope production as well as substance but when I say Trev’s back I mean it now more than ever. I risked it all with this project.

November has produced some brilliant tapes already (including my own – Class President) and it’s only 5 days in. What have you been vibing to recently?

Trev: H3 getting everything ready I’ve skimmed through a couple other projects that dropped as well. I’m confident in 3. Very.

 

You’ve also stated that Heights 3 has a different style to the other two, what makes H3 different to your other projects?

Trev: I feel like a lot of my fans love the emo style I offer. The poetic Trev. They haven’t really got to see another side of me that much. This project shows my versatility more than any other. I talk about it all.

 

I’ve spoken to you before about my love for Dear Ma, what track do you expect to be a fan favourite from the new tape?

Trev: Going back to the last question I know what my loyal fans want and I expect “Pain” and “Migraines” to make a lot of noise this time around. Also “Old Thing” which has a familiar twist to it.

 

What is your favourite track and why? Do you tend you like tracks you enjoy recording more than those you don’t?

Trev: I love them all! I can’t pick a favorite they all mean something different to me but equally special. I didn’t want any fillers so I went the extra mile to make sure none of the tracks could be considered such.

 

@igot_theblunt got in contact on twitter and asked if we’ll ever hear a collaboration project between you and Jimmie Murphy?

Trev: Me and Bro are always hard at work I’ve been working on 3 and he’s been working on Descendre 2, so somewhere  in the middle we’ll meet and make magic. Like always.

 

Does he feature on Heights 3?

Trev: Yes, on a track called “Cocaine.” Which is geared towards the women but the fellas will understand just as much. I tend to do this a lot but always different and better than the last in my opinion.

 

What other features can we look forward to? Who’s got the best featured verse in your opinion?

Trev: I’m not telling yet. When the official track list drops you’ll see. There are a couple features still in the works so depending on those I’ll put it out there very soon.

 

I’ve not seen the full tracklist yet, any chance of you sharing the full thing with us now?

Trev: Not a chance. We got two weeks left and when we start to push all the dominoes will fall around the same time. You’ll see very soon.

 

Outside of recording the mixtape, you’ve been writing for Atlantic Records, how did that come about?

Trev: It’s still in the beginning stages so I can’t really discuss too much but much love to the entire Atlantic and APG staff. I look at them like family now.

 

As I imagine you can’t disclose who you’ve written for. Who would you like to work with from that label?

Trev: If I said that you’d know who I’ve written for [Laughs]. Having absolutely nothing to do with my writing opportunity I’d love to work with Kanye West. And a close second Adele.

 

Before H3 was even mentioned, you were promoting New Forever..what happened there?

Trev: I’m still a new artist. A lot goes into an album that I just wasn’t ready for yet. I’m getting to that point though. The album is still in the works as well.

 

@beatinodds got in touch via Twitter to ask if Heights 3 follows a story line?

Trev: You guys are ruining all of the surprises. You can say that but, I won’t tell you the story I’ll see if you guys can catch on to it first.

 

@2_eazzi asked a question which asks how you have such bars. What advice would you give to aspiring rappers when it comes to lyricism?

Trev: Be very observant. Then think of a second way to look at everything. Then a third. From people to words to situations. Then the bars will surface.

 

Thank you for the interview, any last words?

Trev: Trev Back!

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Hatch The Bird: Q&A

 

by Jennifer Kerber

Hatch the bird is a Colorado based band that is comprised of Ian Hatch on vocals, Jamie Beekman on harmonies and keys, Chris Cook as the Bass Man, and Eric Neal on drums.  Hatch the Bird’s influences are akin to Alex Clare, Bradley Nowell, DISPATCH, Cas Haley, Ottis Redding, and many more.  I recently had the pleasure of sitting down with the lead singer, Ian Hatch, and got to ask him some questions about the band.

Enjoy!

 

Your band name, Hatch the Bird, is one of the few greats I have come across. How did you first come up with the name, and how did you meet your other members?

Ian Hatch:  The name for the band is a metaphor for the moment when you are listening to music at a live show, and you get so caught up in it that nothing else in the world matters. It seems like there so much stress in the world, and so much to think about all the time, and our goal with Hatch the Bird is to let people take away from that, and relieve anxiety, and have a moment of clarity, when you can just feel it ease. All you have is the music, and you are in that moment. I really try to embody that while I am on stage.

All the members of the band are students at the University of Colorado at Denver, either in the recording arts program with me, or Music Business program. Jamie Beekman is an amazing piano player and singer, Eric Neal is the drummer, and Chris Cook on bass, He also plays with another band called Green River Vibration. We came together through school.

In your Biography, you tell us that you grew up in the mountains of Colorado, I too grew up in a small mountain town, and I know that the way I see the world is very different from some who have lived in a city their entire lives.  Do you think that where you grew up had a big effect on the music you play?

Ian: I grew up in Vail, Co. I guess I didn’t realize how lucky I was until I left, and you get to see the world a bit more. Then it really hits you, “WOW, I am very fortunate and it was just an amazing place to grow up.”  I think that growing up in the mountains definitely has an effect on the music I play.  I definitely have a bit of a country feel to it though, and I wouldn’t consider myself a country artist at all. The spirit of the mountains, and I think a lot of what I write comes from the experiences I had in nature, and those connection you get with the Earth when you are out there all by yourself. That definitely is an influence of mine.

Living in the city can be really tough to get back to the mountains. The hustle and bustle of the city if crazy compared to life in the mountains, everyone in there is on a different plane and move at a different speed. The stress level is extremely lower in the mountains, it’s almost hard to keep a job in Denver.  In Vail everyone is laid back, and I carry that attitude with me, and some see that as being lazy potentially, we do things differently in the mountains.

What do you enjoy doing the most when you are not performing or working on your music? 

Ian:  Well these days it seems like all I really do is work on music, which is awesome. I am really, really busy every day getting everyone on the same page for band rehearsal, setting up recording sessions, or writing with different artists. When I am not working on music, I am usually sleeping!  {Laughs}  But other than that I like to get outdoors when I can – I rock climb, try to go to the mountains, and enjoy the air, and weather.

My life ultimately does revolve around music, if I am not doing that, I feel like I am not doing much. It’s a good thing though, and I love that I am staying busy doing what I love to do. It’s one thing to be busty with a job you hate, when you actually like what you are doing it makes a world of difference in life.

 When I saw you play the CAM JAM, It was the first time I had heard you play live.  When you step on that stage I noticed a change come over you.  Once you had your guitar in your hand, and a microphone in front of you, your whole body relaxed and it felt as if the music just flowed. Do you practice a lot, or does it come naturally to have so much fluid motion between the vocals and guitar parts?

Ian:  One of my favorite things about being a musician is performing. To me it’s just the ultimate expression. And sometimes I even feel like I can’t practice the way I perform, I know people say practice the way you play, but for me I don’t feel like I can because I put so much energy into my performances, and If I did that every day at practice, I wouldn’t have anything left for the performance. My favorite thing in the world, is playing for people who haven’t heard me before, I really get off on that knowing that there’s a potential for really wowing people. Even if one person comes up after a show, and says, “Wow that was awesome, you have a great voice, or that one song really got to me.” That makes all the difference in the world to me.

My favorite part of this is performing. When you get up on stage, I feel like that’s where I belong.

I do practice a lot, my goal is to be prepared enough when I get on stage, and I don’t have to think about what I am doing. I find that when you get caught up in your head on stage the performance ultimately suffers. I want to be in the moment, just like I said before; you want there to be nothing but the music.

Your song “The Wait” is one of my favorites, to me, it speaks of that longing of waiting for someone to notice you.  What inspired this song for you?

Ian:  This song is about a song!  One of my biggest influences is Bradley Nowell from Sublime. That song is definitely personal to me; because of the experience of waiting and longing for someone we’ve all had I’m sure. The song that I based the weight off of is called, “Waiting for my Ruca”, in the song he meets a woman named Ramona at a party, and he mentioned that he was waiting for her. That’s where I took the inspiration from for this song; definitely put my own experience into it, you know, when you are intrigued with somebody and hoping that they will show some kind of interest back.

It’s definitely a personal song to me, and I am glad I able to share my influences from Bradley Nowell with the world. I think that he was an amazing musician that died too young unfortunately, and left an amazing legacy behind.

What is your outlook on the record industry today?

Ian:  Because the record industry has changed, and artists have lost a lot of profits on records sales because of illegal downloads. MY goal these days is to get my name out, and heard the music. I think that if people heard what I am doing, ultimately people will like it. I hope, you know I can’t guarantee anything, and I know everyone has to have their haters, and I can only hope I have a couple of those out there. But for me I just want people to hear my music and appreciate it. I don’t ever plan on selling my music, I think that it should be free for people to hear. I want people to hear it for free. I think it’s great how we can share music online.

The internet has opened up a whole new way to promote your music, but it also has it’s downsides I noticed that you allow fans to download your tracks for free off of your Reverb Nation page. What do you think about online music Sharing? 

Ian:  Accessibility is key in today’s music industry. If you make yourself inaccessible by demanding money, then ultimately you will miss out on fans.  I am totally open and working on setting up a donation based system. We are coming up with Hatch the Bird’s premiere album here very soon, my goal is to have it available for free download with the option of donating to our cause.

Everything costs money, studio time, gas to gigs, rehearsal, time and commitment. I hope that people will appreciate how much work goes into and appreciate the music enough that they are willing to donate to our cause. I do believe that if you have a quality product and you are able to record in good way, and are professional , I don’t see why people would be opposed to donating and helping out if they enjoy it.

What are some of your pet peeves?

Ian:  My biggest pet peeve in the world is when you go to a bar, and there’s a live band, and the music is entirely too loud. I’ve been so many little shows, in tiny bars, where there’s ten people in the crowd, and the music is just blaring loud, so loud I can’t stand to be in the bar. For me it’s just unnecessary, I appreciate when I can go out, and listen to a band and still have a conversation with the people I am with. In today’s world, louder is always better for some reason, and people think that if you bar pumps super loud music, that people will want to spend more money. For me to have moderate levels, is huge. To me, Loud has its place, the Fillmore I would expect it to be loud, it’s all about the time a place.

 

If you could give some advice to other musicians out there who are just starting out, what would it be?

Ian:  I sure it’s a little cliché, but just to do what you do, and stay true to who you are. For a while I tried to be other people, I wrote songs and sang and tried to mimic other people, and what I found is that people respond in the best way when I stay true to what I do, and I don’t try to sound like someone else. I think people really respond to being genuine, and people can always tell. It’s a huge thing for life in general is to be real, and honest with people. I think sometimes I am too honest with people, it’s a characteristic that’s rare these days, and everyone is so afraid of hurting people’s feelings, and you know, losing friends, just because they have an opinion. My opinion, I don’t feel like I need to be afraid to be honest, ‘cause if the other people can’t take my opinion, or they are offended by it, then why would I want to associate with those people. Life is about surrounding yourself with people who you aspire to be like, they say that you become the people you surround yourself with. You can’t help but pick up the traits of other people around you. We mimic everything we see in life, so it’s important to surround yourself with positive people and good energy, and people who help you move forward.

What is your favorite venue to play, and your favorite venue to go see a show?

Ian:  I think my new favorite venue is at the Summit Music Hall Moon Room, We played a show there June 6th. We just booked another show for our  EP Release. It’s a really, really, nice stage, and it’s bigger than a lot of stages I have played at in Denver.

I love going to the Fillmore to see shows, Ogden, the best venue in the world is ultimately Red Rocks Amphitheater. I love it so much, always such a great experience to go there. It’s not like most shows, where you show up and wait in line, go inside and grab a beer, etc. Red rocks is a whole experience, it’s an adventure every time. I hope one day I can play at red rocks. That’s my ultimate goal to get on that stage, look up and see that wave of people, and know that they are all there for me.

bird

 

They just released their new EP  July 11th.  Head over to their website to get more links and a free download.

Links:

Website:

www.hatchthebird.com

Tickets:

http://www.ticketmaster.com/Hatch-the-Bird-tickets/artist/1873388

 

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AGE: Toe Tapping With Angels (Single Review)

“Do You Even Care About The Kids That Die From Hunger? The Numbers Growing Every Day Do You Even Wonder?”

Last month I was scouring my MileHiMusic email account for music submissions in the hope of finding a new artist I could take an interest in that wasn’t affiliated with Squizzy Gang. As much as I like Colorado’s hottest music group, I needed something else to write about. It disappointed me that some of the submissions I received were embarrassingly bad, others were okay but I wouldn’t have too much to write about and there were even a couple that had submitted and weren’t from the state of Colorado. Then I came across two songs which grabbed my attention and stood out above the rest, and I noticed they were both submissions from the same artist: AGE.

Listening to “Toe Tapping With Angels” and “Misunderstood I Might Be”, neither were flawless by any means, but not many tracks are. The factor which grabbed my attention was that AGE managed to sound alike to a plethora of artists I was already a fan of. The opening bar of “Toe Tapping With Angels” in which AGE announces “I’m not dancing with devils, I’m toe tapping with angels” sounds like KeL iLL infused with fellow www.rap-royalty.com member Nell assisted by the melancholic beat both of those artists excel under. From a lyrical standpoint, AGE is reminiscent of An0maly, a rapper I have been a fan of for many years, as the Colorado emcee opts for a multi-syllabic rhyme scheme without venturing into overly-complex lyricism in order to showcase a level of skill whilst remaining clear on what he is talking about, rather than opting for a polysemic, ambiguity laden approach which may have put listeners off. Thematically, AGE manages to maintain a style synonymous with Mood Muzik Entertainment as the track is darker than the “all black” dress code AGE describes in the opening verse.

A plethora of paranoid, conspiracy, thought provoking bars are awkwardly interrupted by the mention of “bitches”. There is absolutely no need to mention “bad bitch” in this song, and the fact that AGE deemed it necessary to do so, destroyed my love for the song. I was able to overlook the overly melancholic tone sometimes becoming monotonous up until the young rapper spat out “gold-digging bitches”. Those five syllables alone stopped “Toe Tapping With Angels” being an incredible song. There are other flaws in the track but none half as bad as the poor placement of misogynistic lyrics which are better suited to generic club-hop than a track which in preceding bars was questioning the listeners thoughts on social issues and exploiting societies apathy.

Overall, I would still recommend that Hip Hop fans gave “Toe Tapping With Angels” and other AGE tracks a listen. Chances are you will either love or hate the Colorado emcee just like the other artists I likened him too. Personally, I love him; there are some parts I hate about him too, but as he develops and matures, he can only get better. You can follow AGE on Twitter (Click Here) and watch his YouTube videos/Listen to singles (Click Here). Make sure you comment below and let me know what you think of this review or the “Toe Tapping With Angels” track itself. You can follow myself on Twitter (Click Here) and the MileHiMusic account (Click Here). Thank you for reading.

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Lyric House: The Fundamentals of Music Publishing

For those of us who are not very familiar with the many facets of the music business; Music publishing is often one of the most confusing aspects of the industry. In the print world, one might regard the act of “publishing” as taking a writers literary works, turning them into a full fledged book and making it available for distribution to retail outlets. Music publishing is somewhat similar- A songwriter transfers ownership of his or her song to a music publishing company which then goes about trying to monetize it through various channels.

However, it’s not that simple. Luckily we were fortunate to have a few questions answered about the business by the Founder and President of  Lyric House Publishing, Jessica Cole. Jessica, a Graduate of CU Denver is more knowledgeable on the subject than some of us might ever be. So if your’re a singer/songwriter who’s looking for another opportunity to get your music heard, as well as get a return on your investment then take a minute to find out how music publishing integrates in to the industry.

Also, if you have any questions on the matter, please leave them in the comment section below, and Ms. Cole will answer them at her her earliest convenience.

What made you decide to start a publishing company?

Jessica: It initially started with my personal songwriting and music business background. I
attended the University of Colorado at Denver for music business and was fortunate
enough to experience a great internship in Nashville. I loved the songwriting/music
community there in Nashville, it really sparked an interest in me to create something
similar in Denver. After moving back to Denver, this interest grew into putting together a
collective, or association for area songwriters. As the songwriter association began to
grow, I was amazed at the various talent that would join our association or visit the
association as guests. I started to build upon the idea of adding licensable songs to a
catalog from the songwriters/artists I was working with. Soon after, it culminated into the
idea to start a publishing company so there could be an even bigger and more proactive
creative outlet to pitch the songs and various talent we signed. One of the first
goals was to make our music available and pitch it to licensees/artists all over the world.
It’s amazing how much has happened in just a years time. We now have over 50 artists
and have sub-publishing partners pitching our catalog in all major territories all over the
world.

What obstacles did you have to overcome when you were first starting out?

Jessica: The initial obstacle was getting other music friends and colleagues on board for
the idea. Music publishing can be one of the more confusing aspects of the music
business, so it took some time and work to get everyone on the same page – artists,
writers, interns and employees. It’s just like starting any other small business as an
entrepreneur. The difference is that the barriers to entry have their own set of obstacles,
many of which are rooted in music business/publishing knowledge and industry
networks.

What’s the difference between: Composition, Song Sheet, and Master?

Jessica: The composition is the song itself. The song sheet is the written sheet music of
the composition. The Master is the sound recording of the composition.

For those of us less educated in the subject; can you explain how music
publishing works, and how each party involved benefits?

Jessica: Music publishing is all about the song and the songwriter. The songwriter writes
the song and the music publisher works and manages the song. The publisher does this
by pitching the song for licensed uses such as: “cuts” by major label artists, getting the
song placed in TV, film, advertisements, video games, etc. or setting up co-writes with
other well known artists, songwriters or producers. Each party benefits by splitting the
payments when a license is issued for use of the song.

How much does it cost to register a copyright?

Jessica: $35

How did/do you go about finding artists to represent?

Jessica: Word of mouth, industry referrals and artist/songwriter referrals. These are the
top three ways other than our own personal discoveries.

At this point in time, do you feel like there is one particular genre that seems
to be more appealing to people producing TV shows or commercials?

Jessica: It’s all very subjective, but generally TV shows/commercials like the indie pop/
rock genre or bigger recognizable songs for bigger commercials or TV show
promotions.

Is pitching a song to a record label or producer a fairly easy task?

Jessica: No, it’s not an easy task. I suppose you could say pitching (in and of itself) is easy if
you have the connections and the network. However, getting the song heard by the
right people/person and getting that song recorded by an artist, is extremely hard.
Sometimes a label person or producer is the right person, but often times, your
chances are always better pitching directly to the artist.

What must an artist or band have in line before they should even consider
approaching a publishing house?

Jessica: This depends on where they envision their music being promoted and placed. If
they are at the stage in their songwriting career where they are looking to write for artist
placement then I think that should have a strong catalog already built with good quality
demos recorded for the publisher to choose from.

What essential clauses do publishing contracts entail?

Jessica: There are many, but two primary clauses to point out would be – copyright
transfer and warranties/representations.

The copyright transfer means the songwriter transfers the copyright of the song or
song(s), to the publisher. This clause gives the publisher the exclusive rights mentioned
earlier.

The warranties and representations clause means everything the parties are agreeing
to in the contract, is true and factual. For example, if you said you were the sole writer
on the song, then that information should be true and accurate.

Music Publishers, Record Labels, and Performing Rights Organizations – Can you connect the dots for us?

Jessica: The music publisher pitches and manages the song. Record labels sell, promote and
distribute their artist’s sound recordings (CD’s, digital downloads, etc.) and the PRO’s
collect and distribute performing rights royalties and pay them to the music publisher
and songwriters (for example when a song is played over the radio, that is considered a
“performance royalty”). They all connect when, for example, an artist releases a new
single on the radio to promote their upcoming record. This promotes and increases
business for all three!

As far as hip-hop goes, artists generally never own the beat on which they
lay their vocals. Would you say the process of publishing hip-hop tracks is more
complicated than that of any other genre?

Jessica: Yes it can be, especially when it comes to sampling and getting clearance. We
generally do not represent songs that have samples in them for this reason.

What is the price range that licenses typically sell for?

Jessica: Licenses don’t actually “sell”. A “sale” is an actual transfer of ownership. The
licenses a music publisher issues are negotiated and have various terms, stipulations
and often, durations. The price ranges are very subjective depending on the license and
the use. Major advertisement music licenses generally pay the highest fees, while a
small background use in a cable TV show could be licensed for no upfront fee (referred
to as gratis) with the understanding there will be television performance royalties from
the PRO’s. While other TV shows may pay an upfront fee as high as 5 figures.

 

Have you ever heard a song you liked playing in the background of  one of  your favorite TV shows(True Blood, Walking Dead), or what about in that new movie you went to go see last week? Chances are whoever wrote the song received a pretty nice paycheck, as well as some premium exposure, thanks in-part to their publishing house.

 

Don’t forget to like Lyric House on Facebook –>>

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Adam Duncan: Same Wave (Single Review)

 

“Do It Big Like I’m Sean, Do It Big Like I’m L, Do It Big Like I’m Pun”

After the release of “Don’t Wanna Go Home” Volume 1,  Adam Duncan has released “Same Wave” which features as the closing track on the EP. The track features frequent collaborator and fellow Colorado native Trev Rich, who has recently released his own mixtape “Heights 2”. Prior to “Same Wave”‘s release I had only heard of Adam Duncan through his collaborations with Trev and consequently had no idea he could rap in addition to sing.

Duncan’s skills with rapping allow him to keep up with one of the hottest rappers out at the minute, although his accent may put some fans off, his lyricism and “hottest flow around” makes up for it. “I do it big like I’m Sean, do it big like I’m L, do it big like I’m Pun” Duncan spits after explaining how he’s blew his advance on “strippers and Louis Vuitton” in a style similar to those repeatedly played on major radio stations like 2Chains or Lil Wayne but the references to Hip Hop legends and a Yelawolf-esque rhyme scheme indicates a level of knowing intelligence above throw away club-hop artists.

“Same Wave” has an aggressive  rock vibe to it’s chorus as Adam’s vocals sound fit for an anthem found in early The Killers discography over a phenomenally produced instrumental which could have been created for One Republic’s “Dreaming Out Loud” album. I’m not saying Shawn Kang, as talented as he is, is on the same level as Timbaland, but he does show potential to be a great cross-over producer in the not-so-distant future. Off the back of his “Heights 2” release, Trev Rich continues to impress as arguably the most consistent emcee of all time. Not since “Stoners” from the original “Heights” mixtape have I not enjoyed a song Trev Rich has been on whether it is in collaborations with AP, Tsu Surf and Jimmie Murphy or in freestyles, remixes or solo marterial.

Overall “Same Wave” is a great track which represents Colorado better than most, but at the same time it is not the greatest Adam Duncan / Trev Rich collaboration. That isn’t to say this is a poor song by any means, but songs like “Young Forever” and “Red Cup Blues” are on another level. Both of these artists are inevitably going to go on to bigger and better things and I can’t see past them to be the first major, internationally recognised artists to come out of Colorado since One Republic or 3OH!3. Following this track and “Please Explain” featuring Rhias of Air Dubai, Adam Duncan has lead me to believe he has a must-listen EP in the form “Don’t Wanna Go Home” Vol. 1 and I eagerly await to see if an album is to follow.

Listen to “Same Wave” via SoundCloud  (Here) and follow Adam Duncan (@OfficialDuncan) on Twitter for more terrific tracks or download the “Don’t Wanna Go Home” EP (Here). Follow myself (@MrHawthorn) for more of my opinions on Hip Hop, links to my blog articles and other relevant tweets relating to the Hip Hop industry. Please leave comments on what you think of this review, have you downloaded “Don’t Wanna Go Home″? Does “Same Wave” sound like a great song for you? If you are reading this after listening to the track do you agree/disagree with me? Let me know!