Frankie Sinn

Walt and Krysta talk to Frankie Sinn about the music scene in Atlanta, throwing shows, underground raves, his two upcoming EPs, and more.

Episode Transcript

(00:23):
It was connecting to audio and it'smuted. M all good, Hey man,
how's it going? Man, cannotcomplain? Ready to do this?
Ready to talk to music business?I'm definitely ready to talk to some music
business man. Awesome, all right, are you ready? Welcome to the

(00:46):
podcast This is Cool story Bro.What's going on? I'm Walt, I'm
here with my co host Chris Coolstory Bro. The cool thing about this
show is we dive deeper into themusic business to kind of take a look
at what's going on behind the scenesall the many different things that together to
create what we hear on the radioor on your speakers and your phone,
whatever it is. There's a lotof stuff, whether it's shows or people

(01:07):
putting together videos or whatever it is, there's a lot going on in the
world of the music business. Andthat's what we kind of look at here
on the show on the podcast Coolstory Bro. And we're here joined today
by Frankie Sin from Atlanta. Dude, welcome, good man, I'm going
well man, it's gone real goodgood. How's Atlanta? Atlanta's beautiful right

(01:30):
now. The last month we hada ton of rain, so it's just
it's been like Seattle, out herefor like a month, and now the
sun's finally coming out. The partiesare popping against my favorite time. Absolutely,
So tell us how do we gofrom we're promoting, we're political activist
and now we're a musician. Takeus through that journey with you, man.

(01:53):
So both of those things have beenin my blood since I was a
kid. My dad was very umpro black activists, marched a lot stuff
like that. But he was alsoin the music industry too, So my
dad used to run a music studio. My dad has videos at him on
tour with like Pockin Biggie as aroadie and yeah, and he's got you

(02:16):
know, the studio that he thathe owned in Stone Mountain, Georgia back
in the late nineties and early twothousands was where ACoM recorded locked up,
like just all kinds of you know, He's so I've been in the music
industry since I was a kid.And he used to bring me to the
studio and I would test the micso he'd be like, just wrap your
favorite verse by like eminem or something, and so he could test the microphone.

(02:39):
So like, I've been doing thisand I became in I threw my
first party when I was, youknow, fifty fifteen years old, touched
my first thousand dollars at a partyand I was like, yeah, I'm
gonna do this forever. And thenafter I graduated high school, I got
really into activism. So I wouldgo to parties and I would talk activist

(03:00):
stuff at parties because to me,especially the rave scene, which I didn't
get into until a little later,But to me, the rave scene was
an act of political activism, youknow, free parties in the UK back
in the eighties as dance protests,you know what I mean. So to
me, those two things have alwaysbeen you know, left and right hand.

(03:22):
That's awesome. So you did getinto the rave scene in Atlanta,
though, what pulled you into that? So I, you know, like
I said, I started throwing hyou know, hip hop parties in high
school up until I was maybe liketwenty one twenty two, and I had
a friend that I won't name.She uh helped me move at some point.
I was I was moving and Ineeded help moving and because I didn't

(03:43):
have a car at the time,so my friend was like, hey,
my homegirl has a car. She'llhelp you move your stuff. And so,
you know, I was offering thepayer and she was like, no,
don't pay me, Like, butI need help flying this party and
you know you're a promoter. AndI was like, oh, okay,
cool. So I just thought,you know, it was just like a
regular club night and happened to bea rave. Um and I was like,
yeah, I'm doing this for therest of my life. Like I

(04:04):
didn't, I'd have not turned backto the hip hop scene since. And
that was twenty ten. So thiswas so when we talk about raves,
I mean because all right, soI went to a few of those in
the nineties. I actually actually wentone. Um My A and R guy
took us to a rave inside theBrooklyn Bridge in New York. I mean,
I mean it was it was incredible. I'm like, he had no

(04:27):
idea that there's the catacombs inside thisbridge and it was amazing. Um But
there are usually events you don't seethem like in the newspaper or anything like
that. You have to kind ofknow who's putting it on. Get the
flyer. Maybe you go to thisaddress, then another address to pick up
the back point. Yeah, right, So is that the kind of thing
that's going on that you were pulledinto No, well, I did end

(04:50):
up there, but that's not whereit started. I got. I got
into the race scene, had avery very weird time in Atlanta culture where
like Atlanta club culture and ray culturewere like becoming one. So in twenty
ten, you had like a lotof guys coming from other scenes that were
like getting into electronic music, andthose people were plugged in at nightclubs,
you know. So you had youknow, legendary Quad nightclub here in Atlanta

(05:15):
that you know, my mentor andbusiness partner, m Jay Lee. You
know, he helped throw some ofthe biggest shows there. Like he was
the first guy to bring scrilics toAtlanta, you know, so he taught
me a lot about, you know, how to how to really navigate the
scene, find who's next and thingslike that. And so, you know,
I came in at a time wherelike all those guys who were throwing
underground parties were starting to get pluggedin at nightclubs, and was like,

(05:36):
we want to bring this music tonightclubs, you know what I mean.
So the atmosphere early on before youknow, became like very I'm not gonna
say mainstream now because it's still notmainstream people talk about the EDM bubble bursting
and it's not even blown up yet. But it was definitely still that super
underground vibe but in nightclubs, youknow, so it it definitely it definitely

(06:01):
still had that energy. You know. It's a slight evolution from when you
were doing underground warehouse parties that noabout. Now you're into these clubs that
people still might not frequent the clubsnormally, but now they're putting on a
night and people can cry, yeahexactly, you know. And then so
when I got into it, andyou know, I started learning from the

(06:23):
elder Ravers about these warehouse parties,I was like, well, shit,
I want to throw those. Sothen so then in my mentor that I
mentioned to you, MJ, wewe got together with another partner of mine
who I won't mention because he's notin the industry anymore. He uh,
And we threw this party called KingdomRave and it was a Kingdom Heart Steamed
Rave, and we threw it ina warehouse. Police came and shut it

(06:46):
down at like two am. There'stwo thousand people there. It was the
biggest party I had thrown at thatpoint in my life. And the police
came and shut it down at twoWe kept partying inside until eight am with
no music, and I was like, this is what a party supposed to
be, and we just started.We started throwing those bi monthly for about
two years. At one point,Kingdom Rave was the biggest independent electronic music

(07:09):
party on the East coast of theUnited States. So we were doing six
seven thousand people every eight to twelveweeks for like two years. Was it
all in Atlanta or was it allaround the Eastern coast? It was all
around Atlanta, so you know,we had different different venues in Atlanta.
Um, so when shut it downat two am and you guys kept going
until eight without music, Yeah,what did you? What did you do

(07:32):
to entertain yourseling cheers? Wholesome cleanfun? Right, wholesome clean fun?
Yeah, nothing, nothing but tobe honest, Um, there there there
was a point where there was abouta six hour drum circle going. Um
yeah. And I didn't have aproblem with that, no, because it
was noise complaints. That's why theyshut it down, right, noise complaints

(07:56):
from a rival venue which will notbe named. The game's dirty damn very
Moving along, how did you gofrom being throwing these parties like this and
and and Kingdom Hearts. Now you'rea musician. Now you're an artist yourself.

(08:16):
How did that transition happen? Sowe took a break. There was
a there was like a cascading likelike a sequence of events, um with
the Kingdom of every Thing. First, we got a cease and desist from
Disney. We actually won, whichnot many people can say because it's a
parody event. It's not that's notamazing party, right virtual. We also

(08:43):
did a Rick and Morty party andthey got a cease and desist and we
beat them too, and they actuallyadult swim showed up with a truck,
so that was cool. Um,but you can't answer better promotion than that,
not right right? They were like, we actually liked this hold on
but so yeah, so you know, but one thing about parties is one
thing that one of my other mentorhas always taught me is that, uh,

(09:05):
you know, being a promoter aslike Vegas, you know you you
you lose seven, you win three, Um, so you know it's um
unless you get bought out by amajor festival. Um, you don't really
you know, it's not it doesn'tgo forever. You know, so um
that and then so we you know, we we part ways. UM.
But then excuse me. But thenafter you know, I started doing a

(09:28):
lot of local shows. I don'tI don't know if you guys are familiar
with Djpierre, but he um prettymuch invented acid house, and I started
working with him. He had anightclub he owned here called UM called Wild
Pitch, and so I was helpinghim at his studio. We were throwing
events there. We throw a partycalled chop Shop that was really like UM
into the underground rhythm scene before alot of these bigger rhythm acts like Zuba

(09:50):
Drink Your Water Permit Trip started youknow, blowing up in things like that.
So I tried to keep close tothe scene. But like you know,
I needed to live if two,so I took a break for a
while. UM. And in thatbreak, like I said, I had
always been in music since I wasa kid, but I never really took
it seriously. I just rapped forfun. Um. So when that when

(10:11):
that break happened around twenty eighteen,twenty nineteen, then uh, that's when
the pandemic hits. How did thataffect you? Yeah, so at the
time that the pandemic hit. Youknow, I took a break from throwing
parties and became a production guy.So I was, you know, working
at festivals and things like that.Um, just building stages and stuff just

(10:31):
to get out of Atlanta for awhile and travel. And I had the
connections to be able to do it. So the pandemic happened, all that
shit got shut down. I'm sorry, hold on, no worries, man.
I know the pandemic really, likeI mean, I mean, yeah,
music industry too. It hit everyone. Everybody took a hit at that

(10:52):
time. I mean like I rememberplaying my last show in Vegas in February
of twenty nine, twenty twenty,and then next you know, like the
world shut down the following two weekslater, and it's like, oh my
god, now what do I do? So totally get it. No,
And I remember feeling like I feelsilly about it now, but at the
time when I was watching the newsseeing that Europe and Asia we're all shutting

(11:15):
down. I remember my partner Brianlooked at me, It's like, do
you think that could happen here?And I said, in America, no
way, that one like that that'shappened happening in France, like literally this
global I think that speaks very muchto the American mindset though, that we're
so, yeah, we're on touchedby the other other that never happened us

(11:35):
here. It doesn't allow for yeah, obviously obviously not the case. So
like we all which is kind ofinteresting because then we all had a global
moment where we were all kind oftouched by the same thing and all affected
the same way because you know,this pandemic, the disease, the virus,
didn't know anything about nationality, color, race, or anything exactly.

(11:56):
Everybody get it. So all right, so then continue, oh yeah,
yeah, so so when that happened. Um My, my manager, Taylor
Castro, m we go back along time. She's a very very very
tenured music music industry member. Imean she's worked for, um, you

(12:20):
know, Imagine Festival, She's workedfor Shaky Bead, She's done work for
iHeart, She's done work for oryou know, just it goes the list
goes on, and she was justlike, this is actually the perfect opportunity
for you to like make music,like do it for real, because you
know, since I was working somuch prior, I had actually built up
quite a bit of that pandemic unemployment. So for a year I had nothing

(12:43):
to do but sit home and makemusic. So, you know, and
at the time, you know,I'm I'm thirty. Most people, especially
when it comes to rappers, notso much, and when it comes to
DJ's and producers, But when itcomes to rappers, once you start getting
gray here, the ag of themreally kicks in. They're like, you
too old to be rappers. Soso I start, you know, I
just started making a ton of music, shooting music videos in my backyard,

(13:07):
and and then you know, snowballeffect just starts happening where people are actually
paying attention, and then, um, I uh, you know, so
I just started. I just startedmaking all this music, and I've already
built all these connections in DM.So I slowly started transitioning from just being
a rapper to particularly rapping on ADMmusic. And I had a very very
enlightening conversation with a friend of minename Ian. He works for the Grammy

(13:31):
Society in Atlanta, and he he'sa he's a very very good person.
But he said, you know,man, um, there's one hundred thousand
rappers in Atlanta, but there's notone hundred thousand rappers rapping on DM in
Atlanta. He was like, right, I was like, I noticed listen
to some of your stuff and thatthat's a lot of that came up where
you're rapping on EDIM stuff. I'mlike, this is really different. This

(13:52):
is cool. So, I mean, you have found a niche and I
have, yeah, looked at youryour influences and they're very I mean you've
got rock influences and then the EDMwith the scrilics and all that. It's
like, uh, it's cool.You can pull from all of these different
places to create something that is uniquelyyou exactly exactly, and that's and that's
really the goal is because even inthe rap scene, like there was only

(14:13):
so much that I could do becausemy style is so like kind of experimental.
And but I was like, butI've already built a name for myself
in the electronic music scene for thepast year, Like why would I neglect
that? Like that's where that's wheremy people are, that's where my community
is, like and so like Ijust went full force, and you know,
I'm just I took the little Wayneapproach, like I'm giving everybody versus

(14:35):
like I wasn't charging people for them. I'm just like I just here,
here's a verse. Put it onyour song, Like put it out there
the song. Yeah, you knowwhat I mean. Like the money you're
gonna come later, like right now, the art, Like, let's just
do it. You know how importantis a vehicle like social media for you
and promoting yourself? Um, honestly, man, social media, it's a

(14:58):
gift and a curse. A lotof people get discouraged because you got you
know, the guys out there withfifty thousand, hundred thousand followers and stuff.
But the beautiful thing about it isif you got two you got two
thousand followers on social media, andthose two thousand followers show up for you
and like they're there for you,then you know you can you can start
to make a wave. And thenyou know, I've also, I've spent

(15:20):
so much time, like you know, and I left this out because it's
not music industry relating. But Itaught myself Facebook, YouTube and Instagram,
adsum, because I was doing thatas a side hustle for like local businesses.
And but you know what, youknow what, I'll correct you because
I do think it is music industryrelated. It's just because like I know
you've used it, and I knowin my band and and countless people who

(15:43):
are promoting themselves on any of thesocial platforms, you have to have a
little bit of savvyness in order tocut through. And so if you are
a new band, I would Iwould say that that's one of the first
things that you should learn besides obviouslyyour instrument and your your craft, is
to learn how to promote yourself onthese these platforms. Actually, because I

(16:04):
remember when back in the day whensocial not that social media wasn't ever big,
but for musicians specifically, you startedhaving people that would buy followers,
right, that was like a trend, and then and then you would see
their posts would get like five likes. So like specifically a group that had
like fifty thousand followers on Instagram,right, But when you would go to

(16:25):
their shows, they could only pullout you can, and you can you
can usually tell you can usually seethrough that and go like, all right,
this isn't real. And I thinkwhat you're saying, the way you're
doing it is you can start withthat two thousand, but that's a real
two thousand, and that's going tocatch fire. With the right people who
matter because they'll tell their friends andthese are real people who then come to

(16:45):
the party right exactly. And that'sthat's the goal that you want, is
community. UM. I know Iname drop a lot, but it's because
I got so many like local influencesthat really helped me. But a friend
of mine, Jamie Cornelia, she'sa very uh, she's a very very
popular independent rapper in Atlanta, UM, and she always preached to me about

(17:07):
community. She was like, youknow, you got people chasing numbers all
day, but they have no community. So you know, you got they
got thousands of streams on social media, but then when they throw a show,
there's nobody there, you know,So you have to you have to
actually build a connection with the peoplethat listen to you, and that is
what's going to actually carry you.And then you have to build, you

(17:27):
know a connection with other artists aswell, because you know, like I
said, that's what helped me outa lot. You know. I what
I do here in Atlanta as faras music industry work right now, besides
rap, is that I work fromIrish Presents. They also put on Imagine
Festival UM. And so what Ido is I'm a talent buyer there for
their local and regional apps. Sothey you know, they give me a

(17:49):
calendar of headliners and I find,you know, the best local and regional
talent to a company those headliners whenthey come through, and so you know,
I get to I get to youknow, I get to speak to
so many DJs of so many varioussizes from all over the world all the
time, and you know, um, and now they know me as not

(18:10):
only a booker, but as amusician as well. So you know,
I just had I had a releasewith Heckler on bass Rush back in February
called in My Bag on his debutLP, and you know, like when
that happened, you know, bassRushing, Insomniac are such big names that,
um, you know now when headlinersare coming through to Atlanta and they

(18:32):
meet me as the guy that's bookingtheir shows and they're like, you're the
guy that did the song, andnow they want to do songs with me,
you know. So it's a snowballef that's how it grows. And
then you you you get your name. I think what you said earlier about
how you were weren't charging people forversus you're just tossing them out, and
here, let me contribute. Youwant me to contribute, I'd be happy
to. I did the same thingwhen I when I started doing remixes for

(18:53):
people. It was just like,oh, yeah, I'm just gonna do
it for you for free. Andthen you do enough of those and suddenly
your calendar starts to fill up andyou're like, all right, so maybe
I should start, you know,charging just a little bit and then you
build it from there. But Imean like it's a great way to start,
a great way to get people topay notice to who you are and
to build the following right exactly exactly, and so like you know, and

(19:15):
then you know, another another thingabout you know, being being a member
of the team over at Irish Presentsis that you know they right now,
as far as I'm concerned, inAtlanta, they're kind of like the hub
for electronic music. I mean,I could be a little biased, but
you know, like as far asevery every Friday and ever Saturday, you

(19:36):
know, they're bringing the absolute biggestacts in electronic music that can fit inside
that venue on a weekly basis.And with that, um, you know,
I was also far before I workedfor them in the professional capacity.
I was one of their talents.I was an MC, so I would
host the night and so people knowme for that here in Atlanta. So
you know, DJs will come intown and be like, Hey, do
you want to introduce me? Orhey, do you you know, want

(19:59):
to MC for my set? Andthat you know that. Also it's a
give and take because I can comeup there and I can keep the crowd
interested, you know, for them, and keep the crowd hype for them.
But also my name is constantly outthere and my face is constantly out
there. Um. It keeps mefresh, you know. So. I
know you do a lot in thein the rap world with your you know,
vocal talents, But do you everdo any of the music as well?

(20:21):
Or is that you leave that toother producers? Um? So I
can produce, I just hate doingit. UM. I do not have
the patience to make a beat frombeginning to end, much less mixing and
mastering. I want to send myface into a wall. Um. But
there are some um on my upcomingEP that UM that I'm doing. I

(20:42):
have an EP coming out next monthcalled Summer sin Um. It's primarily produced
by h DJ here named stay True. UM great talent. He's an incredible
producer. But um, you know, Um, there's a couple of tracks
where like, you know, I'llI'll make like an intro and be like
and you build off of this,and you know, so I use my

(21:03):
I use my my knowledge of productionto like put things together that more talented
producers can expound upon. There's there'snothing wrong with it. That's a great
way to work. You know whatyour strength is. But you also have
an idea. You hear something inyour head and you try to work with
that guy who can make it areality and make it the best product that
it can. I think that that'sexactly. You've got a new song that's

(21:23):
dropping in a week actually right restIn Piece, Yeah, yeah, that
song is produced by another great producer. His name is rest In Pieces.
Um. This is going to beone of our our first public experiments with
the particular style of hip hop andEDM that we're doing. Um, that

(21:48):
you know I'm doing, particularly becauseit's not like rapping dum haven't been married
before. I mean people wrap youknow on build ups of DM songs all
the time has been like that fordecades. However, what we're trying to
do here. What I'm trying todo with these producers here is create kind
of a hip hop and EDM marriageto where you can't really tell the difference.

(22:14):
Like when you hear the song,Like if you listen to the first
minute of the song, it soundslike a standard hip hop song, you
know, but then as you getlike halfway through the song, it begins
to progress into an EDM song,and then there's a drop and it's an
DM song. And so what Iwant is for people to listen. Rivals
come on the other day, andso we were asking them something similar.

(22:37):
And I feel like a lot ofartists right now are just defying boundaries of
genres. They're not interested in havinga genre. They're combining all of these
elements. And so you're talking about, yeah, it's it's rap, it's
hip hop, it's EDM, butit sounds like you don't really want to
be defined by a genre at all. Yeah, I do the whole new
thing exactly exactly. That's what Iwant. I want this. I want

(22:57):
to make music that like you couldplay to a bunch of hip hop kids
and and and they would just besurprised by the EDM and surprised by how
much they like it. Like thefeeling that I got when I first heard
I Can't Stop by Flux Pavilion backin twenty ten, Like I like this.
I'd never I'd only listened to hiphop and some rock up until that

(23:21):
point. I went to my firstrave and heard that song, and it
literally changed my perspective on music,and I wanted to like do that for
other people I love. I lovegoing to Lala and there's a stage there,
Perry Stage, which is all DJsand it's all EDM, and it
is like it starts at noon andit goes until eleven o'clock at night,
and it is eleven hours of asea of drops, just drop, build

(23:44):
and drop, and it never stopped. Different artists, same to it's and
it's amazing. The place goes nutsfor eleven hours. I totally understand the
connection there and what a great vibe, great energy there is in that scene
exactly, you know, Like I'vebeen sending it to my I've been sending
some of my unreleased stuff to likemy friends that are tastemakers on the hip

(24:06):
hop side, and they'll call meback and be like, what is this
and I'm like, I don't evenhave a name for it yet, but
it's rapped and it's d M.But it's not too rappy, but it's
not too edmy. It's like theit's it's the perfect the boat. I
think that that's that's the challenge isfinding that sweet spot right in the middle,
right where you can appease to bothYou're not too too heavy on one

(24:29):
side, so you get the wholethe whole crowd right right. You.
Also, you also have another anotherEP coming in the fall, the Nightmare
Rave Eph another producer right yeah,his name is Lenz Prague. He's one
of the greatest producers I've ever metin my life. He um, this
guy is so good that back intwenty ten to twenty twelve or twenty thirteen,

(24:52):
he was really huge in the electronictrap scene, like when that when
that sound was first starting the bubble, and then right at the peak,
he quit to become a rapper,did a bunch of songs that went viral,
play shows all over the United States, Canada, blah blah blah.
And now he's coming back to EDMbecause he's like, I did everything I
want to do and rap I wantto be a great ADIM producer again,

(25:14):
and I'm like, I fucking loveyou, dude. And so he's just
making. But since he is somebodywho's had success on the DM side and
has success on the right rap side, when I explained to him what I'm
trying to do as a producer,he gets it already, you know.
So, so he already has theidea of like when I explained to him
the perfect mix of DM and hiphop, he it's already in his brain

(25:37):
because he's already done both at ahigh level for years, right, so
that it becomes a thing where he'slike, oh, this is exactly what
I want to do because I've donethis, I've done that. Let's put
it together, right, you knowwhat I mean? And so so I
have I have. The releases areconceptual. So you know, the first
EP that I'm dropping in July,which is which is Summer of Sin.

(25:59):
That's more of a a lighthearted,really more mixtape style. Um. It's
it's a lot of heavy trap,um, dark trap and just like really
fun lyrics about partying and stuff.Um. But then the Nightmare Rave is
going to be the downside of that, you know, the hangovers, the
uh, the the low serotonin,the depression, the having to use nightlife

(26:22):
to escape, because honestly, that'swhat a lot of people found it for.
You know, people want to escapefrom their Monday to Friday just to
go out and have freedom for afew nights a week. And you know,
at first it's fun, but overtime it can wear on you,
you know, and you know,I've lost so many friends to drug addiction,
and you know, I've lost somany friends to suicide, and that

(26:45):
just comes with, you know,constantly being in a state of intoxication.
Like it's not always uniform. Imean like in the rock world. You
know, I work at a rockstation, and so you know, Losing
Chester, Bennington and Lincoln Park,Chris know of Sound Garden, you know,
and the list goes on and onand on. So I know I've
been touched by you know, theuh, the horror of nightlife addiction and

(27:11):
the drugs and everything that can gothrough with that. So it's like I
need a super solid message to putout the yeah yeah, because you know
it is fun, but you know, if if you're not careful, then
it won't be you know, Imean simply said, but it's very accurate,
very true. So um so,so what is the reason behind picking
the different producers other than they justthe schedules. Is that who's right for

(27:36):
whichever vision you have? Like yousaid, the darker vision, is that
better for your Yeah, it's it'smore it's more of the second one.
It's more about them. It's moreabout the feel of the projects. Um,
you know, like I said,I grew up with my uh with
with my dad, you know,teaching me hip hop. And one thing
that I always liked about eighties rappersis that they would pick a producer for

(27:57):
a project and that would be thatproducer for almost the entire project, save
maybe one or two songs. Becausewhen that that marriage between a rapper and
a producer that have one vision throughouta project, as long as it doesn't
become repetitive, can be really fuckingthough. So I kind of like that,
and you know, I switch produce. I want to switch producers just

(28:18):
because you know, you know,like it's a vibe, you know,
so stay true for the summer ofsin Ep. He's a very um he
does between one twenty to one thirtydpm trap, so it's like very slow
heavy like party Headbank music, andthen Len's Prague for The Nightmare Ray VP,
he's more of a He's more ofa Kanye. He likes the cinematography

(28:44):
of the songs and you know whatI mean. So that's more that's more
suited for the message and the sadnessthat goes into that EP. Dude,
I'm excited to hear this stuff.Man, it's great. I'm the Nightmare
RAVP sounds like it's gonna be rightup my alley. I'm gonna really yeah
listening to that thing when it comesout, and just you know, the
stuff that I've gone through in thepast year especially, um, it will

(29:07):
definitely be felt there. It's alot of aggression and things of that nature.
Give me three records that define you, just three, no pressure,
um Nirvana, never mind cliche.I know, um loel Wayne, the

(29:30):
Carter two and huh. I can'tpick a third because it's it's Kanye.
But it's either eight O Weights andHeartbreak or My Beautiful dart Twisted Fantasy.
Um yeah, absolutely Ato Wights man, It's yeah. They switch based on

(29:51):
how I'm feeling like right now,the stuff that I'm going through in my
personal life. It's my beautiful darttwisted fantasy for sure. Um but a
month ago it was ato waits andheartbreak. I went through a really big
that goes you go so freaky.How are you feeling today? An sure,
bro, I get it, dude, what's you What do you got

(30:14):
rest playing for the rest of theyear, doing any shows? Um,
I'm not. I'm not. I'mnot lined up for too many shows right
now because I want to get these. Um. I want to I want
to make as much music as possible. Um. You know, I want
to get these. I want itto be that by time this by this
time next year, I'm in demandfor shows, you know. So I

(30:34):
am doing some small shows um thatI can't speak on yet because they're not
confirmed. I should be at ImagineFestival again this year. Um but man,
I'm probably going to do um somekind of album release party in Atlanta
for the for the Nightmare Rave towardsthe end of the year. Um.

(30:55):
But my main goal this year ismusic and then I want to start lining
up shows in twenty twenty four.Perfect love it, dude. I am
so thrilled to have you on theshow. It's great. It's just great
to talk because I feel no matterwhat genre or whatever you're doing in the
business, I think it's you gotstories. You have something that I think
we can all latch onto. AndI just love talking to new people,

(31:18):
new friends like you. So thanksfor so much for taking the time to
be on the podcast today. Hey, no problem at all, man,
thanks for reaching out to me.Christa, thank you so much. You
are amazing and you're a lightning industryfor sure. I agree. Thanks Frankie.
Yeah, no problems that I canscreenshot it for the ground Okay,

(31:41):
okay, perfect, awesome. Thanks, Thanks Frankie. Hey, thank you
guys as well. Fea