#from somewhere deep within my soul I rapped the entire fucking

[vegasporschetruther]

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[musikmusing]

ARRIVING AT ‘THE ALTAR’ WITH BANKS: A TRACK-BY-TRACK REVIEW

(By Regan Wojick for Atwood Magazine)

The artist known as BANKS started out somewhat of an enigma. The Los Angeles songstress, who drops her first name Jillian when she hits the stage, rarely ever made waves on the black holes that are Twitter and Instagram. It only added to her mystery. Really, social media presence isn’t entirely necessary when your music speaks for itself. In 2013, she released two EPs, Fall Over and London, lighting a widespread fuse for BANKS . Without breaking a sweat, she absolutely lived up to all of the well deserved hype.

Late in 2014, BANKS put out her first full length, Goddess. The album was on everyone’s playlists, whether they were into pop, indie, electronic, R&B, etc. At the same time BANKS was able to isolate her listeners yet reach out to eclectic groups of people by referencing influences like Tracy Chapman, Fiona Apple, and the Weeknd. Goddess was an in depth look into the pain and passion revolving around love in relationships. Jumping forward two years, after long months of touring and releasing singles here and there, we have arrived at The Altar (released 9/30/2016 via Harvest Records).

In religious terms, the altar is symbolically a place of sacrifice. It may seem like an old-fashioned tradition now, but a majority of weddings have happened at the top of an altar, where the groom awaits his life partner. It raises the important question: Do love and sacrifice go hand in hand?

When BANKS is involved, the answer seems like an absolute yes. Perhaps, it is the sacrifice of giving up independence. However, it is never that simple with the multi-layered singer. With an album like The Altar, you can’t just look inside the thematic box; you need to look around, under, and above the box. It’s possible that the album works as her altar as she bears all in front of the world, when her own timidness could not let her do so before. The Altar is a place where things are front and center. BANKS can be BANKS, with her emotional curtains drawn.

Any fan cannot help but notice the drastic difference between the two albums visually, lyrically, and sonically. On her debut album cover, Goddess, BANKS is almost unrecognizable as she was hiding behind her dark bangs and the deep red album art. Again, running with her mysterious persona. While The Altar’s cover is different in every way possible. The album art is light gray with her au naturale face front and center, embracing her freckles. (What? BANKS has freckles?) Just by the look of the new record, you can sense an aura of change.

She has grown in confidence, and is welcoming it with open arms. With each song, you can hear the gradual evolution of BANKS: from a shy, less controversial singer to an artist with bold lyrics and vocals that are not be messed with. The Altar takes a similar approach following her debut, musically,  but amps it up even more. Each beat hits harder and each synth is striking. Although her last album was entitled Goddess, BANKS has embraced the Goddess she is supposed to be more than ever.

Gemini Feed

The opening track of the album sets the mood for what listeners can expect for the next 12 songs to follow: honest, passionate electronic pop music with indisputable soul. BANKS sings each emotional line in a lower, growling almost frustrated, voice. We can all relate to a time when, no matter how loud we spoke, we couldn’t get through to someone; pride works as a barrier, deflecting anything and everything having to do with feelings.  

“I tried to say I love you but you didn’t hear me And you’re passive aggressive Convinced me other people they don’t care about me”

BANKS reflects on the way she was treated by her passive aggressive ex. While she was only trying to mend their spiraling relationship, he only brought her, and her crushed ego, down.

So, what exactly does being a Gemini entail you might be wondering? With the growing obsession of astrology signs, it’s slightly shocking that you don’t know, but I’ll refresh your memory. The sign represents a pair of twins, so Gemini’s often have dual personalities and you might not know which personality you’re dealing with. Putting two Gemini’s together might not exactly end in harmony.

“When I said I miss you, you never believed me And we were so depressive You and me together we were Gemini feed”

Likeness and differences can make or break a relationship, and in BANKS’ case, they may have been too similar to work their differences out.  

“And to think you would get me to the altar Like I’d follow you around like a dog that needs water But admit it that you wanted me smaller If you woulda let me grow you coulda kept my love”

In the verses, BANKS may have been using a gruff voice, but by the piercing choruses, she was ready to get her point across. Loud and clear. The last chorus is where listeners are properly introduced to The Altar. When she looks back on the relationship she was in, she can hardly believe her love was almost sacrificed to be with a man who made her feel lesser than he.

Fuck With Myself

BANKS gives us a lesson in self-love with the fervent and sexy “Fuck With Myself.” The second track, and the first single released off the album, reeks of imitable confidence. There’s a definite cockiness to song, but it feels more like well deserved self assurance. The song explores different electronic sounds, and uses familiar hip-hop beats making it fall somewhere in the left field pop, R&B region.

The song reiterates, in it’s own unique way, that you need to “fuck with yourself,” or love yourself, before you should step up to the plate to love somebody else. Pushing romance aside, being able to feel and trust yourself is important in all relationships, whether it’s personal or business.

Lovesick

The introduction to “Lovesick” is reminiscent of moments on Goddess, particularly, the heart wrenching ballad “Change.” This time around though, BANKS isn’t recounting the sad moments of a crumbling relationship, nor is it her offering to change herself just to salvage what was left of their love. “Lovesick” is a sweet ode to her love. It narrates the simplicity of an instant love affair; the kind that has a pure, undeniable connection from the start.

This is one of the happier, lighter tunes that BANKS has to offer on the album, which works as a nice contrast to her darker, more intense tracks of heartbreak. The song starts off as a slower piano ballad, but by the end of 3 minute and 20 second track, you’ll undoubtedly be bobbing your head and tapping your foot.

Mind Games

“Mind Games” explores the pain of toxic relationships. As humans, we need confirmation in love; we crave attention and adoration. “Mind Games,” the longest song on the record, brings us into a dark state of mind. It’s heartbreaking to love someone and to know that you can’t, or shouldn’t, be with them. At times, we’re blinded by fond memories, but “Mind Games” focuses on each twisted thing that happened within the relationship.

“I foresee it’s true That you would love me better If I could unscrew All of your moods that make me wanna runaway But I got stuck with faulty legs”

Her ex let let his bad moods get in the way of their own love. Although she knew the kind of man she was partnered with, she could not muster up the courage to leave him. Perhaps, she was afraid she wouldn’t find anyone again.

“You claiming I’m a handful when you show up All empty-handed The way you say you love me like You’ve just been reprimanded Cause I know you like mind games”

It sounds like a war of tug and pull. She had to squeeze the word “love” out of ex’s mouth, and he only ever said it like he was being condemned or forced, which may have been all part of his “game.”

“Do you See me now”

The last line of the song is powerful. She repeats “do you see me now,” and each time it’s uttered out of her mouth, it’s grown stronger. It’s as if she’s saying “look at me, I don’t need you.”

Trainwreck

The fifth track on the record follows behind “Mind Games” with a similar theme, but in a different voice. On “Trainwreck,” BANKS has let her frustration boil over, and she is not being shy about it. The pop, trip-hop track is an absolute banger. We find the songstress practically rapping her biting lyrics over solid electronic beats. BANKS has a unique style of rapping. She speaks each line in a sweeping breathe. She strings words together that just shouldn’t make sense, but of course, they do.

“Talking to ears that have been deaf for as long as I Can remember. A self-medicated handicap so i speak to Myself and i try so hard to get his stupid deaf ears to hear that I’ve become illiterate. I become dumb”

She’s dealing with the same man she’s been dealing with for a long time, and now, she’s over it. Rather than talk to someone who won’t hear her, she’s decided to talk herself out of the mess she’s in. She tried to save him, but realized it was useless when he wasn’t willing.

“And I saved you from your darker days Born to Take care of you Or I thought so Maybe it was just a phase”

Some of us are born as savers: people who so badly want to help those who can’t get up in the morning. BANKS is one of those savers. Some people can’t be helped; if you don’t want the help, then you won’t get it.

“You showed me all your letters that I Should’ve confiscated Both of my eyes were weighted I had to get away”

It’s dangerous to be in a trapped relationship. The walls close in, and there’s no light at the end of a tunnel. BANKS escaped the “trainwreck” that her fate was headed towards and is ready to move on.

Now when people ask me what BANKS is like, this will be the song I play.

This Is Not About Us

BANKS has a smooth way of saying “it’s not me.. It’s you.” In “This Is Not About Us,” she tries to let down a man in her life, who’s been attracted to the idea of a relationship for a long time. Maybe they were short term lovers that didn’t work out. Unfortunately, he didn’t get the memo.

Sonically, this is the most pop she gets on the record. It has a catchy chorus with a radio friendly instrumental.

Weaker Girl

Through the record thus far, we’ve already seen evolution of BANKS not only an artist, but also as a person. She is strong, confident, and candid. Although she didn’t exactly lack candid moments on Goddess, there was some power missing behind some tracks. “Weaker Girl” is a song would have been unfathomable on BANKS’ debut, but on the new record, it makes perfect sense. It echoes the cockiness that we heard previously on “Fuck With Myself” and the self-awareness of “Gemini Feed.”

The dark R&B track is sultry and tempting  with the repetitive chorus “I’ma need a bad motherfucker like me.” No matter how sure she sounds in the track, there was a time when BANKS could never say that. And in such an explicit, this-is-what-I-want attitude. She recalls when she was a “weaker girl” and how her ex still wishes she was that girl. When she grew taller, she was seen as a threat. This song is an ode to her newfound badass-ness.

Mother Earth

The only song transition, which is seamlessly beautiful I might add, is between “Weaker Girl” and “Mother Earth.” It might seem like an odd pairing, but it’s a reminder that she is multi-layered, and that for each time she is rough, she is also warmly tender. BANKS’ entire album is certainly full of soul, but with kind words and gentle vocals, “Mother Earth” stands out as the most soulful tune.

BANKS bears all and takes the role of an older sister, a kind neighborhood, a best friend, or a mother figure. The artist has had her fair share of heartbreaks and pain, so she’s reaching out to anyone who might listen. She’s gotten in touch with her roots and femininity, and she’s offering to be that shoulder to lean on.

Judas

Judas: the notorious biblical figure most famous for his kiss of betrayal. His name is now synonymous with traitor. In “Judas,” BANKS bites back at the treason her ex committed. Traitors always seem to be the closest people to us until… they’re not.  

Too dumb to deal Too numb to feel the knife in my back

As a younger woman, it’s hard to stand up for yourself. Real life, altering situations can be hard to deal with, and hard to realize.

Beggin me for thread, I think you need to change your brain

This line is kind of a reference to BANKS back in her Goddess days. The tables are turned, now she’s the one with the power and control. She’s grown far beyond the timid and guilty woman she was on her debut.

Haunt

I’ve always felt that BANKS had a witch-y side to her, and “Haunt” slightly confirms my suspicions.  The track is spellbinding with tropical beats and experimental production. It sounds like running through a dark, cold forest with crickets and animals of the night.

BANKS holds a steady tempo in an even tone for the duration of the track, almost like she’s hexing her ex. Although her vocals stay in the same range for the majority of the song, there are moments where she channels the lower BANKS growl that I love so much. The tenth track on the album perfectly describes the way we feel “haunted” by people that have left our lives when we most needed them.

Poltergeist

“Poltergeist” and “Haunt” are back to back, making for a sultry pair of songs. “Poltergeist” follows in the same manner, being disturbed by the thought of someone, even when they’re gone. The eerie track’s production does a good job of making the singer sound like she’s, for lack of a better word, possessed in some bits. This song is at the top of my favorites list at the moment because of the crafty lyrics. Again, I can’t stress the importance of her production; each line brings you into BANKS’ dark, twisted little world.

To The Hilt

“To The Hilt” is the only pure piano ballad on the record. BANKS’ vocals pair so beautifully with the piano, I wouldn’t mind a record full of just ballads. Her voice is light and gentle, like she’s trying to get what she has to say out before her emotions take over. Most her songs deal with romantic relationships, but on “To The Hilt” she sings about the pain of a friend leaving her behind in the music industry.

“We backed each other to the hilt Now I live in the house we built”

They’ve built this music, their brand, and now that she’s right where she wants to be, she can’t share with the person who helped her get there. It’s an interesting internal conflict: to be happy with success but be haunted by the person who aided your way there.

“You saw me as a superstar when i was in a cave You helped them to see”

The person she sings of believed in her when no one else did. He made her feel like she was capable of things, maybe when didn’t feel so capable.

“Hated you for leaving me You were my muse for so long Now I’m drained creatively But I miss you on my team”

Artists and muses have beautiful relationships, but sadly, one cannot work without the other. Not only does she miss having someone to help support her creative outlet, she simply misses the friend who’s been with her since the beginning: before BANKS was BANKS.

27 Hours

BANKS ends on a high note, with her voice loud and powerful as ever. By the end of the record, we realize that she isn’t as fragile as she used to be. She’s bold, brave, and sometimes, a little bit mean. The passionate feelings of love or hate that have been prevalent in each and every song are what make humans, human. It’s what makes soulful music honest.

“27 Hours” is her owning up to hurting a man, after telling him to stay away. She does not shy away from the incident. No, instead she’s  open and unafraid to bear all, even if it means revealing her mistakes. It ends the album on a memorable note; it’s the kind of song that echoes through your head at night.

The Altar is the artistic, and personal, evolution of BANKS as she navigates her way through life, pain, and love. She is only human, and as humans we learn from our mistakes with no shame. This is pure BANKS, on her Altar, unafraid and uncensored. You can embrace it or you can leave it.

[damnthatnoise]

Has-lo | Taken Over Time | An Interview

Has-lo is of a different caliber of artist than most out, and that isn’t to say that the current crop of indie musicians within our culture aren’t gifted as fuck because they are....it’s just that Has-lo is on a wavelength that only a select few ever tap into each generation.

I came across Has a little late in the game but it’s a better late than never type of thing because as soon as I heard Conversation B which was the remixed companion to his In Case I Don’t Make it album that Mello Music Group dropped back in 2011 I was hooked. I searched for his work which took me on a journey of discovering his former crewmates and fellow Philly killers (Zilla Rocca, Castle, Curly Castro + Wrecking Crew fam). What draws me to Has-lo’s work is his approach to production which very much reminds me of Prince Paul in some spaces (Bahloone Mind State era) and Soul Assasins era DJ Muggs at times, but it’s also his writing style and his vocal tone that feels familiar and worn in sonically....like I’ve been listening to him wax poetic about life forever. 

If you aren’t familiar with Has-lo than this might be the perfect time to get a jump on it. He has an extensive Bandcamp discovery that not only highlights his production chops but also his rhyming abilities with a recent Pen & Pixels monthly he’s been doing, he has several older releases on his former label Mello as a solo artist and also one with Castle as well as producing a remix of Castle’s album with Mello AND if that isn’t enough he has produced for Open Mike Eagle on a couple of occasions and can be heard as a featured vocal guest on both of those occasions.

I had the chance to talk with Has-lo a year ago when he had dropped his mixtape A Singluar Point of Light and then shit happened that put a pause on it all on my end, but then his new EP Take It Like It Is came out and it blew me away yet again and reminded me I needed to pick this back up....so here we fucking go! 

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Damn That Noise:  Tell me about your thought process behind he new project "A Singular Point Of Light" and why it's labeled as a mixtape when it feels like an album?!

Has-lo:  With "A Singular Point of Light" I wanted to accomplish a few things. I wanted to make a statement as an artist and lyricist. While I've done a good deal of feature work, production, collaborative work, etc., I haven't had a full-length solo record in a number of years. There are a number of reasons for the lull, but a tape seemed like a good way to make a reintroduce myself. When I put out my first album, it felt like I had barely said anything before being boxed up and categorized. Everything I did was labeled as old school. I became this king of sad rap, which was never what I was trying to be. I understand how it happens with how people digest music now, but I never wanted my struggles with depression to be a gimmick or a selling point. I also wanted an opportunity to express my range. To flesh out my personal tastes a bit so we could put that suicide rap stigma behind us. If I can show people my entire scope, not just the dark parts, I think we'd be able to build an even stronger connection. Or something like that.

It's labeled a mixtape because none of the music is original. It's stuff that's out. I chose a bunch of stuff that I enjoy personally and worked it out. I think it feels cohesive because of the way I write. There are always common subject threads throughout my projects.

DTN:  You fairly recently (I think) moved to LA from Philly. Why the move out west? Was it for the music or personal shit? And how ha LA life impacted your creative process?

Has-lo:  Both music and personal. Looking at it from afar, I'd thought the west coast vibe would be more suited to my personality and what I wanted to do as an artist. There didn't seem to be much opportunity for what I do in Philadelphia, despite its rich musical history. Turns out Cali hasn't been the sanctuary I thought it would be. As for my process, it hasn't really been affected.

DTN:  So what do you see as a difference between coverage of your first release on Mello Music Group in 2011 and now? Aside from the issues with being tagged as "sad rap", do you think the 6-year difference and rise of blogs having such a stronghold has made getting visibility better or worse?

Has-lo:  Yea there's a big difference. My 2011 album had a publicist working it so the reach was exponentially farther. None of my current music has had the luxury of a publicist being attached. The difference in blogs is that there isn't much of a middle ground anymore. There are big blogs/sites, and small ones. Much like labels, there isn't much in the mid-level anymore. It's absolutely made getting visibility much much worse. It's a lot harder. The 6-year gap hasn't helped either, but I'd rather put out a project that complements and competes with my previous work. It took me this long to find that zone. I hate that it's taken this long, but I think the results will speak.

DTN:  What was the process like for the new album? The tone seems heavy at times but also a little funky and dusted in areas, and the production reminds me of something Prince Paul might've done post "Bahloone Mind State". How'd you approach the sound/content for this record?

Has-lo:  The process for the tape was find a piece of music that made me wanna write, then try to disengage the part of me that wants to micromanage the process. To sort of let whatever thoughts bubble up happen and to follow them wherever they lead. For the most part that's what I did. The tone is heavy and dusty like that because that's what I gravitate to the most! I love Paul and Rza, Madlib, Dilla, Preemo, Pete and so many others who weren't afraid to make that grit work for them. For me, it's character and charisma over cleanliness. The magic lies somewhere in between. But yea, when I finished, I had all these odd stories and accounts. It was all very human without being as oppressive as "In Case I Don't Make It" was. As it should be. I'm not in the same place I was when I made that record.

DTN:  So being that you are working DIY without the help of a label, what has the experience been so far with pushing the new project out on your own? Any feedback you've gotten from peers when it comes to media coverage or best approaches to cut through the white noise of all of the internet shit?

Has-lo:  Working DIY isn't new to me. I was putting out music before the label stuff, you know? Once I was afforded more resources and got to see some growth...that made going back to the DIY approach a very difficult pill for me to swallow. I'm an artist who plays the jack of all trade angle because I HAVE to. Not because I'm particularly good at it. I got fronted on when I had a publicist too, but the amount of coverage I received vs. doing it entirely on my own is elephants and ants on see-saws. I know everyone's experience is different though. My man J-Zone had more success doing his own legwork for instance. The short answer is: the experience has been extremely stressful and not particularly fulfilling lol. 

I don't get a ton of feedback from peers. Most of it is to the effect of 'such and such doesn't matter anymore' and 'this or that doesn't mean anything now.' Basically roundabout ways of saying "I can't help you." Somebody knows how to cut through the noise. They just aren't willing to tell ME is all. That's hip hop though. Almost nobody is brave enough to share the jewels.

DTN: I really dig your production style and having produced/produce myself I know there are so many approaches to creating music. Are you a strict sample from vinyl kind of person, or is it a by any means style? When you make beats for someone else like say Mike Eagle...are you producing with their voices in mind or are you just doing you, and sending out what you've got and seeing what sticks?

Has-lo:  Thank you, I appreciate that. I'm strictly what sounds good. The rest is invisible rulesets based on personal preference. I mostly disregard that shit. Sometimes I sample, sometimes it's from wax, sometimes it's from a shitty MP3. Sometimes I don't sample at all, like the Mike Eagle record. So yea, it's whatever results in good music for me. I thought of Mike when I came up with the "95 Radios" joint and we kicked it around for a while. When he was deep into this new album, he felt it would fit and we finished it. When I make beats for people I usually have their voices in mind. I have ideas of what I think they'd sound dope on. Unless you have a relationship with the person, they usually just wanna pick something you already have. I prefer to make custom stuff though, that's tight.

DTN: In hip-hop, we can have a funny mentality where we think indie acts who are self-reflective or politically aware and address social issues always hate mainstream/club kind of shit. Is there anything fans would be surprised to know Has-Lo listens to semi-regularly (in mainstream hip-hop or any other mainstream genre)?

Has-lo:  Probably, yea. I listen to a good amount of "mainstream" stuff. I don't love the separation, us vs. them mentality damages music. You limit what you allow yourself to be into. But I like Rae Sremmurd. "Swang" is my shit. I mess with Rocky and Ferg. I was fucking with XXX a little bit, but all this domestic abuse stuff is uncomfortable for me. Hopefully, that turns out to be untrue. I have a hard time separating the artist from their music. I rock with G Herbo, his shit is hard. Love Frank Ocean, Sza is dope of course on the R&B side. Me liking them probably wouldn't be a shock lol. Love Based God, man. Lil B is that guy, tybg. There's more but those are a few I don't think people would expect.

I've said I love Elliott Smith plenty of times. Love M83, Radiohead, Beck, The Shins, Death Cab, etc. Perfume Genius is dope. Still go back to Headlights, still exploring Broadcast's catalog. I'm not too knowledgeable but I love indie rock, lo-fi, dream pop, all that stuff. If I make an indie record that I think is authentic to the craft, you'll catch me on that side. I wanna make one, it just has to be right.

DTN:  It's been a year since A Singular Form of Light and our conversation, and you now have done the "Pens & Pixels" project where you dropped a freestyle a month from January to August, and now you delivered "Take It Like It Is". What's transpired for you over the course of that year? What's the creative process been like...? what challenges have you faced?

Has-lo:  I wanted to drastically step up my musical output. I've been making a lot of stuff since my first album, but I've had to do a ton of internal restructuring. It's still ongoing but it is coming into focus. A Singular Point of Light was meant as a starting point. Pens & Pixels is me exercising. Committing to something that you have to deliver every month is harder than it seems. It's rewarding though. September is about to drop, then there's only 3 left! 

The biggest challenges have been perfecting the sonics of the music and promoting it. Usually, the only people involved in a Has-Lo project are me, my engineer Michael Moxham, and my art guy Kyle Tierce. Everyone's got responsibilities they have to deal with. I write and produce a lot. I record a lot. But if it doesn't SOUND good, we're not going to put it out. It's a slow process. We're breaking through to new ground though. I'd like to be putting out 2-4 projects a year. My goal is to create a reality where I can give my guys what they need to be comfortable. Then we can really cook.

DTN:  What's the Has-lo trajectory for 2019 then? The new EP is very fucking dope and I'm sure you might want to let that breathe before something new...but this age of consumption moves fast, so where do you go from here?

Has-lo: To release a new full-length project finally. For me, a sophomore slump hasn't been the music not being tight so much as it's been having a hard time getting said music to fans.

I don't really want to let the EP breathe. I'd like to come right back with more music. As far as consumption...I don't have an answer. I'm going to work the equation until I get a solution I'm satisfied with. To me, it's more a connection thing. How do I best connect with people?

DTN: What have you learned over the course of the last year or two since your move, and working on these new projects in the new setting? How has the environmental change impacted you if it had at all?

Has-lo: To be completely honest, I haven't had much time to process the changes. I'm still in it.

DTN:  Early on in our interview you talked about not wanting to be seen for just sad rap but given the recent deaths of several artists due to overdosing while self-medicating to cover up depression and other mental health issues, do you think it's high time we start having a broader conversation in not only Hip-Hop but communities of color/low income about mental health, PTSD, and the effects of witnessing and being the victims is abuse?

Has-lo:  I think we're somewhat having the conversation. The problem (as I see it) is that we're not, societally, on the same page about what these things mean and are. Depression, anxiety, PTSD, Bi-Polar disorder, etc. aren't entirely understood, nor able to be understood by someone who isn't suffering. Add to that a lack of empathy, a lack of openness and you've got a toxic cocktail. This isn't a thing where you just pull yourself up by your bootstraps and soldier on. Because of that, they tend to be trivialized. It's easy to tell someone they aren't tough or manly or that they're too emotional when you wake up feeling fine every day. You aren't the one begging the god and the universe for reasons to not to blow your brains out. It's a daily operation. Hell, some people don't even believe that depression and other mental health issues are real, quantifiable medical issues. These are EXCEPTIONALLY damaging conditions. It's akin to...let's say a pregnant woman telling you labor pains were beyond any pain out there. I'm a guy. So I'll never know. But I trust that she's coming from a place that I should acknowledge. Following that logic, acknowledge the sufferers. We're not choosing to be unhappy. We don't want your pity. We did not choose for our minds to not work as intended. We're not weak. We are fatigued. We've been fighting a monster with a lot of hit points. I hope the conversation finds its footing. We could use a positive outcome. The world is...a cynical place.

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Please support Has-lo’s music which you can find below!

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Take It Like It Is by Has-Lo

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Pens & Pixels: A Freestyle Series by Has-Lo