10 Things I’ve Learned About Music in the Past 10 Years

One’s point of view changes over time. Now that I look back on what my views on music and being a musician used to be, here are some differences I see.

A very useful proverb I once heard is “work smarter, not harder”. Here’s some ways that I’ve seen in which that could be applied to music.

10. Playing Fast Is Overrated

Well, here’s a real kicker to start. I remember thinking the exact opposite way – fast was AWESOME and slow bored me to death. Same went for a lot of people I knew or had seen – they’d been playing long enough to acquire some good technique, but they got so caught up in that that the music was forgotten.

Simply put, if you play fast all the time, you’re kind of boring. It’s one-dimensional, and the pure speed aspect is simply not impressive after the first 20 seconds, even if it was to start with.

Speed is a means, not an end. And, like all other musical tools, it’s not one you want to overuse. Good music, overall, is more impressive than blazingly fast licks. Make them part of the music, and not to show off, and then people will be impressed.

9. You Can’t Be Everything

I used to want every project I did to be everything. I wanted every solo disc I did to be every type of awesome possible. Now, when I go back and listen to some tracks, it’s painfully obvious to me that I was trying to do that. Instead of focusing on what I was doing well, I wanted to do it all and tried to push other boundaries as well. Some of it worked, I suppose – some, in retrospect, not so much.

No one thing can be everything. If you stand around working on something trying to make it be everything, it’s never going to get done. Don’t spend a zillion years in the studio producing your project trying to make it the quintessential album – you don’t have to. Let it be what it is and focus on its strengths. Do one thing with one project, and do something else with another.

Hey, an example is this post. Now that I’m into writing it, I’m thinking of more than ten things. But I’m sticking to that – I can always do a second part.

8. Playing Is Not Enough

As others have put way more eloquently than I have, being a musician is not simply about performing anymore, if it ever was. You are a small business owner. You have to network, promote, advertise, and do all kinds of other stuff in addition to creating if you want to get decent gigs or sell records. If you actually want to play music for a living, you arguably have to do all of those things as well as or better than you play.

I am horrible at self-promotion and some of the other business aspects of music. I’m not a good bullshitter and I have to be in a particular mood to be good at networking. For a few years, I beat myself up trying to do all of these things, only to make myself miserable. If I had to do it over, I’d seek out the right people to help with my weak points, and pay them to do it. Build a team.

For a long time, I bought into the bullshit myth that “if your music is good enough, it’ll sell”. NO, NO, NO, NO, NO. (Apparently, so have a lot of “experts” I am acquainted with… but I’m not going to go there) You have to do all of the above to make sure people even know about your music, and only then do you have a chance to keep them interested.

Which leads us to…

7. Your Friends Are Not The Same As Your Fans

Wait, what? They come to all my shows! They buy my CDs and merch! They’re super supportive! What the hell are you talking about?

That’s right, your friends are awesome. That’s not in dispute. After all, who wants to be friends with people who aren’t awesome? But that’s exactly it. They may dig your music, but your friends are primarily there to hang out with YOU, and to support YOU. They don’t like your music in the same way that a fan, who doesn’t otherwise know you from a hole in the wall, does.

People who are fans of your music, and not friends with you for other reasons, are the real relationships you need to cultivate at shows. Because your friends either won’t be at every single show, or they will no matter what. Fans just might, if you spend just a little extra time with them.

Never rely on your friends to be your primary audience unless you’re playing at their house. Everyone knows someone who is in a band, and actually gets mad at their friends for not going to their gigs. This is a person who doesn’t deserve to have any friends, and probably won’t very soon.

6. You Can Always Be Better Than You Are

I’m not as good as I want to be, and I hope I never am.

That’s not me being negative. It’s that people change over time, and their goals should change with them as well. If you learn a new skill, don’t stop – move on to the next one and keep the momentum going. If you’re truly committed to your craft, you’re always willing to try and make yourself better.

I’ve heard people say they’ve learned all they wanted to learn. That’s fair – they know their own limits and what they want to get out of music. Eventually, they reach that level.

On the other hand, I’ve heard some people say they’ve learned all there is to learn. Pure and utter bullshit. There is ALWAYS something you can work on that you couldn’t do before! Learn a new tune or a new technique. Take a line you know and play it slower or faster until you can’t keep the groove anymore. Thankfully, people who are that ignorant are rare, but they are out there, and don’t believe them for a second when they say such a level exists and is attainable.

I’ve learned that that is the difference between a good and great player. The truly great players are utterly relentless in their quest for new knowledge and skills, and very diligent in working to acquire them. And your childhood hero probably practices something new every day – and, hey, even for them, it’s gonna sound like crap until he or she gets it down pat.

That’s the beauty of music in a way. There is no end of challenges to face.

5. Don’t Put All Your Eggs in One Basket

This isn’t quite the same as #9. Now I’m talking about doing only one project, throwing everything into it and hoping it pans out.

Let’s look at that for a second. Say you’re playing in a band and getting a few decent gigs. Ok, great. What else could you be doing? Let’s see… other bands? Session or studio work? Songwriting and song licensing? Production or engineering? Private lessons?

You might think this was common sense, but I see all kinds of people who go all in on one project and hope to get their break from it. Which is one thing if you only have time for that and if that’s all you want to do. But if your goal is to make a living from music, take advantage of all the possible income sources you can. And if you’re not willing to diversify, don’t whine when others get ahead and you don’t.

I find it especially funny when I see adverts looking for players “willing to commit to this project and no others”. At least they’re telling you in advance that they’re control freaks, so you don’t waste your time.

Besides, would you even go all in on one project if you knew that…

4. It’s Not About the Big Break

Ok, be honest folks – how many of you, when you started out, wanted to get a record deal, get rich, blah blah blah? And how many of you did? Hmmm, not too many hands left.

I’ve never been on a major label deal, so I can’t really say what all the factors involved in having a deal with one are. I think it’s fair to say, though, that a) musical talent is only one part of the equation, and b) that luck is also definitely involved to some degree – if nothing else, being in the right place at the right time. And, out of all the jillion bands out there, how many actually ARE rich, blah blah blah? Just like the show of hands, no doubt.

Yup. Ask a lot of bands out there what their goals are, and somewhere in there is probably “get a record deal, etc”. So… why is everyone going for the Big Goal that is only slightly more easily attainable than winning the lottery? And with a whole lot more effort required?

Making a decent living in music IS possible. (I don’t do that – I made a choice to not go that way, and I have a day job that I like. Had I known what I do now ten years ago, though, who knows – I might have chosen differently.) The point is, going for the Big Break is exactly how not to do it. Those I know who ARE making a living from music do the exact opposite – they don’t just play anywhere and everywhere with one project, hoping someone will notice.

3. It’s Called An Industry For a Reason

$$$. That’s always the bottom line when you’re dealing with a business – whether it’s a bar, a record label or whatever other company involved in the music business.

Does the industry care about art? In some form, sure – but don’t kid yourself, it’s not the way you, the artist, does. As a company, they have other stuff to worry about too. Like $$$. It’s the reality of the world we live in.

So, yeah, bars want to know how many people you can bring out. Labels want to know if your music will sell. And all that. $$$ is their bottom line.

Some say they’re about the music. Maybe that’s true for some of them. But you can’t ever forget that there’s something else they’re about, too.

2. Life Is Too Short for Assholes

Anyone who’s played more than a handful of shows or done other music-related work can tell you that the business is full of assholes, be they fellow artists, middlemen or employers.

Types of assholery can vary. But, in the end, unless you’re being paid enough to forget that you’re dealing with assholes… it’s not worth it.

Walk away and find something better. You are not owed anything because you “paid dues” by working with or for shitheads. You are worth better. Being in a band is like being in a relationship – and who wants to be in a relationship with an asshole?

Chances are, if you’re like me, you’ve met many more amazing people from music than assholes, and those are the people you’d probably rather spend your time on. Cut the assholes out and do it – you’ll be happier for it and wondering why you ever wasted your time.

And why is that…? Because…

1. In the End, You’re Doing This For You

Most of you who are reading this probably don’t make your primary living from playing music. Or, if you do, you could have made more by studying accounting like your accountant dad always told you.

So why do we do this? The answer is because we love it. We love to play. That’s why we are willing to put in so much effort for what is (for most of us) a relatively small return. And, when you start factoring in other things like the industry, running a small business, money, dealing with assholes and all that other crap, it’s unbelievably easy to lose sight of why we started doing this in the first place.

Remember why you play. To hell with everyone else. You do it because YOU want to.

And here’s one about what happens when you don’t.

Ok, so now what?

This post is all YOUR fault, Mark.

I originally wrote this as a note to my friends on Facebook, seeking inspiration from them… it generated quite the discussion, so I figured I would repost here!

As my annoying status updates continue to remind everyone, I have just a few weeks left in my Professional Certificate program with Berklee. Essentially, I’ve been studying music formally for a year, while doing the day job thing at the same time. Yes, it’s online, but believe me it’s still been a shit ton of work. Am I happy that it’s nearly done? Yes – as I said, it’s been a lot of work, and a lot of sacrificed weeknights and (mostly) weekends that I will be happy to have back. At the same time, this is something I’ve always wanted, so the sense that I actually went out and did it is worth it. And I certainly am better off for it in the musical sense. If nothing else, my extremely sucky practice habits have gotten better by necessity.

But, really, what now, now that that’s done? When I started these courses, I was getting pretty burnt on playing music in general. It seemed like I was throwing a lot of effort into it for comparatively little return, and that was starting to really irritate me and wear me down, which is a bad position to be in. Very few of you actually know this, but I basically had a nervous breakdown not too long before my second solo CD release in March 2009. It cut right to the core and I wondered what the hell I was doing and why I was even playing music at all. Frustration continued to set in for the rest of that year, and I would go through bouts of depression in which I felt I wasn’t working hard enough on musical endeavours. It got to be too much, and when I decided to start the formal studies thing in early 2010, I figured I would just take a break from taking music seriously, and then I could re-emerge ready and willing again once I finished the school thing. I kept to it – didn’t play a single gig from April 2010 until last month.

And it seemed like that idea was working well. I’d see news of my friends playing here and there, and want to be doing the same, as I had been before. But I’d just say “all in good time!” and such. It would come once I was done the school thing, and I’d want to jump right back in headfirst.

Typical SPASEPEEPUL fan. But, hold on. We want that!!!

Don’t get me wrong, since before then and during that time, and now, I have been doing SPASEPEEPUL with Jacques and Tommy. It’s been an epic blast, and I’ve learned a lot from that – we put zero pressure on ourselves because it was all for fun with zero expectations. From the silly band name to the ridiculous song titles to the ridiculouser FB page content, we don’t care – we just have FUN with it. Hell, we even WANTED people to hate our music, metaphorically speaking at least. From the fact that we have no expectations, though, makes for a whole new experience in terms of playing.

With these guys, rehearsals rarely feel like work, ever. Every achievement we get is a silver lining, because we expected none. Nothing is a burden. It feels great when you do something that works, and you shrug off stuff that doesn’t, because it’s not a big deal.

Wait a minute. This is kind of familiar. This is why I started playing music in the first place. This is why anyone starts doing anything in the first place, isn’t it?

See him? That's me. Only less green and with more hair.

When did I stop looking at music as a whole this way? I don’t know, but somewhere along the line it happened. And when that line was crossed, it stopped being a source of joy and slowly started turning into a source of stress. Which is probably what led me to lose my marbles on that one fine evening, and make me ultimately want to take a year-long break.

I have acheived neither fame nor fortune from music. At least, not in the monetary sense. (Not that that was the goal, mind you.) I have had some unique opportunities, I suppose, and some minor successes, depending on your definitions of such. Through music, however, I have made amazing friendships with some really truly incredible people, whom I would never have had the chance to meet otherwise. Had I not pursued music with the vigilance I had, these friendships likely would never have come to pass. That, to me, is the true fortune I have gained from all of this.

Now that this “break” is just about over, what is it that I want? Originally, as I said, the idea was to hit the ground running once my my formal studies were complete. I wanted to make the musical activities into a side business, and my ultimate goal was to do music part-time and my day job part-time. And I had all kinds of ideas on how to do that, which would avoid the pitfalls I’d run across before.

But now, I ask, what the hell for? What’s the point, really? It sure as shit isn’t monetary gain. And if being serious about music makes me LESS happy about doing it, then really… what’s the deal here? Having seen that it is still possible for me to experience pleasure from music IF I don’t take it too seriously… should I not do that instead? Or is there a way to do both that I just haven’t discovered yet?

This is the point, isn't it? Except for derpface on the right.

The truth is, I don’t know that anymore. This is something I’ve always wanted to pursue. I know several folks who HAVE pursued it, and they are – to quote one of my dear friends who I have met through music – “living the dream.”.

I wanted to live that dream too. Maybe, in the end, I still do. But now, for the first time ever, I find myself doubting that – even though, to me, “living the dream” never had anything to do with fortune or fame, just a semi-decent part-time living. And I’m really not sure what to do with that yet. I love what playing music and taking it seriously has given me over the years, and I would sure hate to miss out on anything else of a similar nature.

Wouldn't complain about this. But if this is why you play music, good luck with that.

I don’t mind hard work, especially when it comes to music. But there is a whole other side to being a musician besides working hard at music, and those are the parts that frustrated and burned me out. That aside, I can’t help but think that I have lost my way, lost the reason why I started this in the first place, and need to just find that again so I can enjoy it fully again. Maybe all this is just a function of being older and life just being different now. I’m really not too sure – all I can say is that the seeds of doubt are now there, and writing this has only served to plant them.

Seeds of doubt have been known to grow into these.

I will not quit playing. That much I know. It’s as much a part of me as an arm or a leg. But maybe, just maybe, I am meant to be doing this for just plain ol’ fun, and not as a vocation, profession or obsession – take your pick of the three.

Things I Learned From Berklee

So, after about a year of good, solid study, I’m just about finished my Professional Certificate in Bass, through the Berklee College of Music’s online program.

Yup, that’s why I haven’t been playing out or doing that much musically over the past year. (Although the Spase Peepul CD is out, which you should check out!!!)

Studying music online? Yeah, it may sound a bit funny at first – but it’s definitely been a lot of work, and I’ve definitely noticed the results in the way I approach the bass.

This guy clawed his way back up to an A+.

The key word there is “approach”. The way I look at, hear and perceive the instrument, and music in general, has irrevocably changed thanks to my studies, and I think for the better. How, exactly? Well, to illustrate, here’s a list of what I think are the top ten concepts I’ve learned over the past year:

1. Fundamentals, Fundamentals, Fundamentals

We all want to move on to the more complex aspects of playing – probably much sooner than we should be. As soon as we get something right, the natural instinct is to want to move on. It’s far better to wait until you never get it wrong.

I’ve been playing bass for about 18 years now, and I still found the material on swung quarter-notes and straight eighths beneficial, for example, because for the first time I was really focusing on those concepts, as opposed to wanting to jump on to something else right away.

Remember math when you were a kid? If you weren’t so hot at multiplication and division, you were screwed once it came to doing fractions. Same story here – the better you are at the fundamentals, the easier the harder stuff will get as well.

Which is good, because…

2. Nothing Is Too Easy

That damn button should stick to quantum physics.

Wait, what? But what about [insert name of first song you ever learned to play here]?

Well, think of it this way. That song may only require relatively basic technique, but there’s a certain phrasing and feel to it. And if you’re not focusing while you play it because you think it’s too easy, you’ll lose the feel or at least not nail it as well as you could.

One needs to maintain focus while playing, and the best way to do that is to see every song as a challenge. How? Try, consciously, to play it exactly the same way every time – with good time, consistent tone and dynamics, the whole bit. You’ll find you won’t lose focus anymore.

3. Practicing Doesn’t Have To Suck

Ah, practice habits. Mine sucked for a very, very long time.

But I learned something so simple it was very easy to miss – if you’re practicing and you’d rather be at the dentist the whole time, you’re not going to get nearly as much out of it.

Sure, starting is hard – but once you’re rolling, it should be inspiring you to keep going, not the reverse. And it doesn’t have to be for an eon – even if you only play for ten minutes, that’s ten more focused minutes than you would have had if you didn’t bother because you thought you needed to go for two hours.

4. Always Be Working On Something

Let’s face it, nobody knows everything about music. Ok, so there’s only so many music theory concepts. So, once you’ve learned them, how do you apply them to an everyday playing situation?

Aha. Yeah, that’s the hard part.

The point being, if you look for it hard enough, there will ALWAYS be something new to try and learn when it comes to music, no matter what, and the more you allow yourself to be open to that, the better you’ll get.

How many times have you met a great player, heard that they were taking lessons with someone, and wondered “what do THEY need to take lessons for? They are already awesome!”?

Well, that’s very probably how they got where they are in the first place.

5. It’s Often The Little Things

If you’re stuck on something, it’s amazing sometimes how little it actually takes to get you unstuck.

For example, one of the courses I took through Berklee was in slap bass. They teach traditional slap technique, which differs from the Flea/Claypool-esque style I learned in my earlier years.

I was having a terrible time trying to adapt to the traditional technique. The notes weren’t coming out smoothly or consistently at all and I was getting frustrated by week 2.

The answer? My right elbow was in the wrong place. Once I moved it about three inches, that fixed the whole thing. My freakin’ elbow.

Sometimes the solution to a problem really IS as simple as that.

Spoiler: It's not this

6. The True Meaning Of Preparation

The biggest difference, I think, in how I perceive my playing now as opposed to before my studies, is in how I hear the feel. It’s an intangible quality that I can’t really describe in words, you just come to hear it in a way you didn’t before.

In that vein, you get to hearing the difference between a part you’re learning and a part you KNOW hands down. Even if they are both essentially technically correct, there are subtle differences in the phrasing and feel between the two. If you KNOW the part, no questions asked, it shows.

If you know your part inside and out, you will no longer be concerned about what notes you’re playing or what the changes are – you’ve internalized them. At that point, you are focused on the feel and the groove of the part. You know what you are saying to the point where you can focus on how you are saying it.

If you have both of those down pat and can nail both, then you are really and truly prepared.

7. Learn Why, Not What

Music theory isn’t that hard to pick up. There are some good sites out there, good books, and whatnot. So why get a teacher when you have all those tools available?

Why? Because knowledge isn’t wisdom. You can learn all of those concepts, but what do you do with them? The easiest way to do that is to learn from someone who has already figured out how.

The question to ask with musical concepts is not “what is this?” but rather “what’s this good for?”

And the answer? It’s out there – probably in the same music you listen to every day. Every song is full of musical concepts at work. Can you recognize them? And can you translate them to your own instrument?

If you learn the concepts, train your ear to recognize them and train your hands to reproduce them in the right situation… that is wisdom.

8. Study With Other Instruments

I'll take a shot at this one.

One of the courses I took was taught by a sax player. There were other instruments in the course too – piano, guitar, voice, and others.

Talk about an ear-opener. Never have I ever felt like I was thinking outside the box as much as in that course. Although the language was the same, it was as though it was a completely different dialect. The difference in the way I learned from that class was stunning – many of the concepts were not really new, but it was like approaching them from a completely new direction.

If you play bass, you don’t HAVE to study with a bass teacher. Learning the concepts that define the role of the bass is important, don’t get me wrong. But thinking you cannot learn as well from other instruments is a mistake. It’s still music.

9. Feedback Is Everything

Bar none, the most valuable aspect of my studies was the feedback by my instructors. Because of it, I now hear my bass parts in a way that I never did before. Why? Because I got to hear where my weak points were, which gave me areas to focus on.

Feedback really is gold. That’s not to say that every piece of feedback you ever get will be useful – there are loads of douchebags in the world who rip on others to make themselves feel good. At the same time, if you dismiss all negative feedback to try and block out people like that, you risk closing out one of the greatest possible avenues for improvement.

By the same token, beware folks who will tell you you are amazing even if they really think otherwise. They are not being helpful to you, and in fact are probably doing more harm than good.

Surround yourself with people whose opinions you value and trust, and work with their feedback. By the same token, give honest constructive criticism to others.

Which brings us to…

Should drive you nuts, but in a GOOD way.

10. What To Look For In A Teacher

Welp, first of all, see #9. You should be able to trust your teacher’s feedback to be honest and yet constructive. A good teacher will be able to delicately balance the two so as to inspire you to work harder, yet not frustrate and anger you.

You certainly can learn on your own without a teacher, but they have gone down the path you are on already. They know the obstacles that await you and how to get around them, and thus will save you loads of time and struggling (see #5… frickin’ elbow…). Why reinvent the wheel if you don’t have to?

My method has always been this – if you go to a lesson with a teacher, you should come out of there each time with a laundry list in your head of things to work on. If you have to ask yourself if it was worth the time or the money… it wasn’t.

And I have never had to ask myself that about my studies at Berklee.

Randomtastic Music News Oct 15

Music industry news can be kind of interesting. From time to time, I’ll toss in a few finds and limited takes.

Album price “should drop to £1″ – BBC News

The price of music albums should be slashed to around £1, a former major record label boss has suggested.

YA RLY

Not surprisingly, this article doesn’t consider how this will affect the artists themselves. There are plenty of others who will have much more insightful insights into this sort of thing (Steve Lawson being a great example), but here goes. In principle, this isn’t a bad idea and at least shows some evidence of forward thinking, especially since CDs have been marked up like crazy for decades. However…

The first thing that pops into mind for me is this though: Indie artists would have to slash their CD prices as well, and their tours become less profitable more unprofitable as a result.

Indies nowadays have far more options than they ever have before with Bandcamp and the like, and “pay what you think it’s worth” is becoming a popular alternative, but a band still benefits from having a tangible physical product to sell at events. If you put on a killer show, people will likely never be more interested in your product than they are at that  moment, and having a CD right there enables you to capitalize on that.

Damn that guy who bought a fourth beer instead!

Not only that, CD and merch sales are, more often than not, a key revenue stream if you’re on tour. (How many times have you been at a show where the band says “Buy our merch – we need to make it to the next gig!” It isn’t a joke.)

That said, I don’t see CD sales for independent musicians increasing by a factor of six or seven, even with the reduced price. Having had merch that’s $2 and merch that’s $15, in my experience the cheaper stuff doesn’t necessarily sell better.

Long story short, cutting prices won't get me one of these. D'oh!

It seems like people who go to a show will either want to buy something, or nothing at all. (If your experience differs, please do tell!)

OK, so I’m not sold on the idea so much. In addition to the above, I don’t see how this would curb downloading all that much. Is there actually any data out there to show that cheaper albums are downloaded less? If there is, I haven’t seen or heard of it.

Teh box, I iz thinking INSIDE it. For now.

Nonetheless, it’s interesting to see this kind of article and to see that there are at least some major label-affiliated folks out there who are trying to think outside the box when it comes to trying to sell products. Well, ok, even if those people are former execs. Once can always hope that this is the start of something and not just a small blip on the radar. However, given some of the rebuttals from other industry folks in that article, let’s not get our hopes up just yet.

Besides, at the other end of extreme, you have this. If I were a taxpayer there, I’d be somewhat less than amused.

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An Introductional Update

Yup, that’s right. I’m starting out with something that’s not even a real word. In the title too!

Long story short, have been meaning to start a blog for a while. I could talk about bass and music all day, so this is the perfect vehicle for it, even if I don’t get to do any actual talking. For those who know me a bit better, I promise to keep the bad puns to a minimum. For those that don’t, this is a good thing.

Anyway, what a better way to kick this off than with an update on Zen Beer, my solo bass project? Well, as you may have seen on the site, I’m taking a bit of a break from Zen Beer for a while.

Not on a break here, although in January I'll wish I was.

There are a few reasons why, all of which seemed to come together at about the same time, in accordance with Murphy’s Law.

First of all, I’m taking some courses with the Berklee College of Music, through their Berkleemusic online extension school. For those of you not familiar with Berklee, it’s pretty well known among musicians, and some pretty big names have gone through there, including their online program. More to the point, in the six months I’ve been studying there, I’ve learned a heck of a lot. Any player, anywhere, could get something positive from this. But that’s a post for another day – suffice it to say, it wouldn’t be realistic to try to to juggle Zen Beer, Space People, studies AND other projects – something had to give.

Secondly, I wasn’t really sure where I wanted to take it musically anymore. Over the past seven or so years, Zen Beer has progressed from pure ambient soundscape-type material to… well, several different things, really. Where to go from there wasn’t quite clear anymore, and I had no plan for going about it in any case, so it seemed like a good idea to take a step back and think about where I really, truly wanted to go with it.  And it has been – those goals are now becoming clearer. As you will soon see!

Third, I was just starting to get burnt on music in general.

Not this kind of burnt, but you get the idea.

When you work hard at something for a long time in a row, sometimes you need to take a break from it. I figure that, this way, when I come back to it I’ll definitely be ready to get it going full speed again!

All that to say, I’m still up to other things. The Space People album is at the mixing stage and I gotta say, it’s sounding pretty cool. Playing hard for studying purposes. The entire ZB catalog is now available on Bandcamp, which is also epic.

And… doing some remixes of old Zen Beer songs.

Ok, now just put the keg in here...

Yup, you read that right.

To Be Continued… dun dun DUNNHHHHH

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