Live music is on its way back and is taking place in the beloved venues around you, but it has been amazing to see how bands have adapted and formed new ways of reaching their fanbases. Some people believe the live sessions like the one Deep Stunn have developed are here to stay, so today we want to explore live sessions online by hearing from the band and giving our own thoughts on the subject.
There is something intimate about watching your favourite bands live from their own front rooms, while also sitting in your own front room. However being at home as a viewer can also provide far more distractions than when you’re actually going to a gig with the intent of absorbing live music. The remedy to this is a fantastic show, something that Deep Stunn absolutely smashed with their multi-layered tracks which has a stable and confident tempo.
What was an enjoyable catch about the sessions is the fact that night and day was interchangeable from song to song from the back window light, but this is what it’s all about a non-perfect situation in a world which has been so challenging over the last 18 months and finding the musical middle where we can all soak up the live music we really need to experience to get us through.
All in all if you have a spare 20 minutes you should sit down and strap in for a proper energy filled and lyrical meaning collection of music from Deep Stunn, the highlights for myself were the radio worthy records of ‘Downtown’ and ‘Hook on u’.
You will find yourself wanting more and I’m sure after these sessions Deep Stunn will continue to deliver on this type of platform but I imagine a live gig of their music will be even better.
Where are you based?
We’re based in a small town in South-west Ireland called, Killarney in County Kerry. It’s a tourist town with lots of bars and it’s very busy come Summer in normal times. Fortunately, nearly all of us have been at one stage, or another, full-time musicians. That’s how we all met.
Tell us about your latest album release?
I had been writing for about a decade and had an accumulation of songs. Up until about 4 years ago I’d never intended to do much with them. I’d played some of the songs in my gigs and they seemed to go down well, and some friends I played them for reacted positively also. I think that’s where the idea to do some recording came from. As mentioned already, I’d known the guys from our local music scene and asked them if they’d be up for it and it all started from there. We’d be a little further down the line now if not for Covid, but things are improving, thankfully.
Tell us about your music and the meanings of your tracks?
The music is pretty straight forward rock ‘n’ roll. This album has focused mainly on relationships and how they affect our lives. Not love songs necessarily, but a kind of examination of the impact that any relationship can have on our lives. I used to shy away from writing these type songs until I realised that relationships, of all kinds, form the most integral parts of our lives. Ultimately we depend on each other, but sometimes we don’t make the best choices when it comes to the people we interact with. Sometimes we do! The album explores both sides of this divide.
What does the writing and producing process look like for you?
Apart from demos, I’m not very hands on when it comes to recording. I like to have someone to defer to during the making of any record so I ended up hiring a producer and I was very happy with the way things worked out. We went to Brendan O’Connor of Little Dylan Studios, here in Killarney. There was a lot of back and forth in a healthy way, with nothing off the table, it was very enjoyable. In terms of song writing, I’m not very disciplined unfortunately. I’ve tried to force it before and the results just weren’t good enough. I’ll generally pick up a guitar nearly every day, and I’m always willing so if an idea comes I like to think I’ll be ready. Then usually, I might have a writing spurt of a month or two. It’s mostly music and words together, though it has happened lots of different ways.
What inspired you to become an artist?
A Bruce Springsteen concert in 2003 at the RDS, in Dublin. I got the ticket for free, and knew a bit about Springsteen at the time, but not much. I emerged a fully-fledged acolyte. It was an almost spiritual experience; I was so mesmerised. You could just tell that he had to go to some very dark places to produce songs of that nature and I was really moved by what I saw. I had only ever sung after a few drinks at that point, aged 23, but I was singing professionally a year later in Killarney. I began playing guitar a year after that. It wasn’t a conscious decision, it all just kind of happened!
If you had to pick the lyric your most proud to of written, which lyrics would it be?
“Daylight and the fever, slowly subsides, No win, No Lose, No wrong, No right, I feel myself tremble, quiver and shake, here I go making the same old mistake.” Final verse and chorus from the song ‘Same old Mistake’, track 4 on our album.
Where can our readers get their hands on your new album?
It’s self-titled, so that’s Colm O’Mahony & The Hot Touches and it’s available to stream on Spotify and lots of other places via Distrokid. And it’s free to download on Bandcamp and Soundcloud as well as our website. In-fact the best place to start is our website, thehottouches.com. Everywhere we are on-line is easily accessible from the website.
Where can our readers find out more about you?
Before that I’d just like to thank you guys for featuring us on Off The Hook. You’re doing a great job and bands like us need platforms like yours now more than ever. So, cheers! We have a blog on our website where I give a rundown of each Month and some articles about how challenging Covid has been as a full-time musician. Thankfully the last few blogs have been a lot more upbeat!
Where are you based?
We're based out of Toronto, Canada.
What can our readers expect from your music?
Your readers can expect the unexpected haha. We're a band with a lot of musical influences, ranging from French Chanson artists like Jacques Brel and Serge Gainsbourg, contemporary modern Alt-Rock bands like Reignwolf and Death From Above 1979, all the way to UK rap artists like Aitch and Bugsy Malone. We cover a lot of ground. Our music always sounds big and full, and we try to fill out our listeners headphones as much as possible. We aim so that every time you go back and listen to our tracks, you might hear some new aspect or musical element that you can resonate with.
Tell us about your music and the meaning of your tracks?
We like to call our music garage-rock because that's where we started as a band. I started from scratch learning music, and even though I took classes and was part of certain music programs throughout school years, I still think jamming with others and writing songs have contributed the most to making me into the musician I am today. Getting into the garage and writing those first songs has had a profound impact on the songs we write, whether it be sonically or lyrically and pushed us into becoming a really live-oriented band.
Tell us about your latest release?
Warm Summer Air is definitely one of the happier songs I’ve ever written, and feels the most upbeat and cheerful. I wrote the song in the middle of a cold Canadian winter, longing for the warmth of summer and all the joys that it brings. The song is about the ups and downs that you feel when with a lover and knowing that through all the bad times more good times will come. The song is an outcry and a reassurance that you will always be loved by the ones that you love.
What does the writing process look like for your songs?
The writing process for our songs usually starts with me coming into rehearsal with the basic framework of an idea and then together we hammer out the details and embellishments together. The vast majority of our songs are either written from jamming together on certain riffs, or come together in about 15 minutes. I like to think of it like I come in with the skeleton and muscle of the songs, and then Rob adds the blood.
You have a debut EP coming out later this year, how have you found creating a EP during COVID lockdown?
Making this EP for us seemed to be quite natural. We have been playing in other bands for so long that we are very familiar with the recording process and the work that goes into getting music out to the public. However, it was also extremely exciting for us because aside from the odd demo or live session, neither of us have gotten the opportunity to release a larger collection of songs. The biggest challenge that the pandemic posed was the fact that we couldn't support any of our releases with live-shows, something particularly difficult for a band that likes to consider themselves "live-oriented". New challenges pose new opportunities though, and we have taken the time to work on our brand and on becoming a more complete band.
Where can our readers get hold of your music?
You can find us on all music streaming platforms, including Spotify, Apple Music and SoundCloud. Be sure to give us a follow as well so that you can stay up to date with all of our releases and be the first to hear about upcoming projects!
Where can our readers find out more about you?
Check out our website! www.thelookoutservice.com is the hub for everything relating to our band! Links to all of our merch and music can be found there, as well as some cool shots from the pre-COVID era.
1) tlk for our readers that haven't come across your work before, feel free to introduce yourself and what type of art you're known for?
Hey, Off The Hook. I'm t l k, an independent producer, vocalist and collaborator based in Bristol, UK. My sound sits in the 'melantronic' subgenre, blending vocal intricacies with field recordings, sub-infusions and heavy drum hits. My production process is rooted in improvisation, strongly influenced by the Bristol music scene and its emphasis on genre-fluidity, experimentation and transience. This energy comes with me to Ableton, where the making of tracks becomes much more introverted. For me, production is a process of confrontation with the self and its trauma, a space for unpacking heaviness and moving through clusters of thought to better understand the worlds in which we swim. The process is meditative in nature, which translates into the immersive sound that emerges: it feels as though that's where the resonance lies for the listener. Beyond production, I can often be found on the streets, jamming with other Bristol musicians or taking photos at protests across the city.
2) Why do you love music and visual art in the way of music videos?
In many ways, music videos are a beautiful extension of a world-building process, one that forms from the track's initial concept. Exploring a feeling through sound, then translating this to a visual landscape, allows for new layers of the world to emerge, blending different sensory stimuli to make that world feel even more tangible and habitable. While the era of short-form 'content' depletes our attention spans, music videos are a celebration of long-form narratives that allow us to be truly immersed. To sit inside these audiovisual realities is to take notice of what the artist is communicating, with great potential to push us towards enquiry of the self, of systems and of structures.
3) What can we expect from your new music video, which readers can check out today?
While Next To The Mirror is the first video we've made for t l k, I had a strong vision of what it could be from the early stages of producing the track. It was my first directorial role, so sharing in new limbs of the creative process with a small but mighty team brought together nuanced reinterpretations and a fulfilling expansion of the initial feeling the track was born of. To empathise with another human’s pain is to be confronted with our own trauma, housed in the inner child: the self that is raw and unprocessed... yearning to be held and healed.
Captured in a cyclical one-shot, we meet the adult, the inner child, and a ‘middle self’ who yearns to reconcile the two and reach a place of peace. This was achieved through choreography (Lottie Ball), synaesthetic lighting (Josh Williams) and camera work (Jai Bellchambers), and particularly through the immersive energy of dancers Georgia Rose Stewart, Leikaysha-Rae Reid and Kristina Raidma, who translated the layered dialogue of voices into physical forms.
The needs of our inner children surface in cycles, which is something I wanted to capture in the track’s ‘round’ structure, and again by following the protagonist from the false comforts of the adult world to the chaos of childhood, retreating to soft blankets and ambient lighting when things become too heavy. While we see the adult struggle to process their trauma, the inevitability of the cycle repeating brings a familiarity and acceptance to the process of confrontation: the more we meet with our former selves, the more able we are to honour the strength in tenderness.
4) Where can we find your music video and your past work?
You can find the video for Next To The Mirror, along with some live work, on YouTube: https://www.youtube.com/tlkvox. Existing releases are on all the streaming platforms, including Bandcamp, links below. Stay tuned via the t l k socials for the next single, dropping next month.
Apple Music: http://tinyurl.com/applemusic-tlkvox
1) Pale Wizard Records - firstly nice name how did that come about?
When I initially started up the label I was a one man band so I wanted it to be a little personal and tongue in cheek. I’m a proud red head with pale skin as you’d expect, so it was just me poking fun at myself really.
2) To enlighten our readers a little more can you give us a sense of Pale Wizard Records history and your aims in music?
The label was set up to release the first single from Phoxjaw as I’ve supported the band since their inception and I wanted to help them out. Since then I’ve been using the label to release music from my own band Sergeant Thunderhoof. I brought my colleague Tim Hilleard in to the label last year in an effort to expand. We’ve since released music from Mos Generator, Sergeant Thunderhoof, Tony Reed and have a number of other releases planned. We have a particular interest in special one-off vinyl releases. We released a split single from Sergeant Thunderhoof and
Tony Reed last year where we both paid tribute to the music of Kate Bush and that was a great success. Our main aim is to release interesting and unexpected music which we have a passion for.
3) Can you name the stand out band that you've had on your record label in the past?
Getting to work with MOS Generator was a real honour for us as they are a band with such a rich history and reputation.
4) Also who is on your current roster who we should be looking out for in the future?
We’re keeping things very low key at the moment whilst we finalise the details on our next few releases. Everything is done out of my studio in Bath so we don’t want to take on more than we can handle. So the current roster is still very much the bands I’ve already mentioned, however we
will be adding to it very shortly!
5) You're launching an exciting new series of albums entitled 50 years later, what can we expect from this project?
This is our most ambitious project yet by far. We’ve decided to pay tribute to classic albums turning 50 years old by re-recording them in full with a full roster of exciting acts. Everything is being done with love and respect for the original, right down to the artwork which will pay homage to the classic sleeves.
6) How did the project get off the ground?
Last year I realised that my favourite Alice Cooper record ‘Killer’ would be turning 50 years old in 2021. I emailed some bands that I know and a few I didn’t to see if anyone would be up for helping me to recreate it. Six months down the line and the album is pretty much complete, I have eight international bands on the record along with a bunch more providing bonus tracks. It’s coming out 50 years to the day of the original on Nov 27th on vinyl, cd and digital. The whole thing is just a dream come true and will be a really great collectors item for anyone in to Alice Cooper or record collecting in general.
7) I believe you set up a Kickstarter in March for the project, go ahead and tell our reader who might not have come across this before what Kickstarter is?
It’s a way for small organisations like ourselves to raise money and awareness for a certain project. The people who back it early get rewarded with special incentives which aren’t available at any other time. We smashed our target in less than a week, so I’d highly recommend checking the page out if you want to get involved.
8) Lastly thanks for taking the time out to answer our questions and where can we go to find out more about the album and your record label?
Thanks for your time! Head on over to our Kickstarter page for a full breakdown of what we’re trying to achieve this year: https://www.kickstarter.com/projects/palewizard/alice-cooper-killer-50-years-later
We’re from a town called Taunton in Somerset. We used to have a few venues here many years ago. Me and our guitarist used to work at The Perfect 5th when we were 18 which was a great little 200 cap basement venue. Sadly it closed down about 10 years ago and since there's been no music venue or scene as such in Taunton.
This meant as a band we have toured and travelled a hell of a lot out of necessity. Our first manager in an early incarnation of our band was a promoter at a venue called The Leopard in Doncaster and we basically used that as our musical hub. Our second manager with whom we launched October Drift was a promoter in Sheffield and around that time we considered Sheffield our musical home and built from there.
We’ve always been really well received in the north - Manchester has really got behind us too and there's some amazing venues there - Deaf Institute being a favourite. We’re situated between Exeter (Exeter Cavern’s a great venue) and Bristol and we’ve played amazing gigs in both cities which basically feel like hometown shows. Having said that we’ve spent much more time in and know loads more people in Bristol.
We’ve had amazing gigs at Thekla which is another favourite venue of ours but its The Louisiana that we basically consider our local venue and is the one closest to our hearts. It’s a tiny family run venue with great sound and an amazing history of artists that have played there. Since no gigs have been able to happen they’ve been doing live streams and takeaway pizzas (recommend). They’ve hit their #SaveOurVenues target so I’d suggest donating to Red Alert Campaign to save the 30 most at risk grassroots venues if you can. We’ve played amazing memorable gigs at some of these venues - The Railway in Winchester, The Venue in Derby, The Lexington in London and Hootenanny Music Bar in Inverness.
These venues are hugely important for the development of artists and also as cultural hubs for the people of these towns and cities https://www.crowdfunder.co.uk/mvtredalert
My favourite music venue is Cambridge Junction. Have been there twice with my nan & her wife. It’s a small little venue which makes it extremely creative with it's space, between the musician & audience.
Each time I have been always left smiling & feeling happy, humble. Watching ‘Beth Ditto’ from the band “The Gossip” back in 2018! Super loud & such an experience. Sound in the venue stands out from everything. Along with the set up when musicians perform & give it there all. Beth Ditto’s whole set was just another level for her genre of music.
Also saw “The Savages” way before ‘Jenny Beth’ become solo during her music career. Savages whole set was rocking perfect sound everybody’s having such fun watching them in their element. Junction is a fantastic venue as a whole I find that there’s a whole of freedom in that place. Near the stage to hanging with your family or friends at gigs. Each time I have been there every experience has always captured me in many positive ways.
It is such a crazy, and frankly scary time in the music industry for independent venues, and as I hire venues for my main job I can see first hand the struggle a lot of these venues are having. One venue that I hire for my choirs and love as an amazing community base, that also gets incredible live acts is The Cheese and Grain in Frome, Somerset.
You may recognise the venue, as the Foo Fighters performed a surprise gig there in 2017, I unfortunately wasn’t there for that event!! The Cheese and Grain considers itself a not-for-profit social enterprise, and does so much for the community as well as having loads of variety with the live music acts they have on. Everything has been on pause for them, and financially it’s been a worry but they are hoping to be able to have rescheduled and new acts performing again at the venue soon! And hopefully I can get back there and organise some events myself soon too!
1) Firstly give us a bit of history to your band Das Kapitans?
Steve used the name Das Kapitans for releasing solo material and old songs over the last year or so. At the start of 2021 with lockdown starting to cause severe misery I (Simon) wriggled my way into the Das Kapitans name and we started pulling together some ideas that hadn’t made it onto our band ‘Fuzz and The Felts’ future release list. It’s just the two of us putting the songs together remotely so far this year. If we ever come out of lockdown we might recruit some other middle aged blokes and jump on a stage.
The first "Official" Das Kapitans release was a 4 track demo, in March 2020. Steve was writing songs that would never have suited what we were doing in 'Fuzz and The Felts', and liked the the idea of releasing them, initially without letting anyone know (other than the FATF band members) who Das Kapitans actually was. He was sending songs to local radio stations and BBC, and when the songs got played, they were always preceded with "The mysterious.... Das Kapitans", or "I Know very little about this band... Das Kapitans". He quite liked it, but soon realised, that can only go so far.
2) So you have a really interesting project this year a band, tell us a bit about the project?
12 full albums in a year. One a month at the start of every month. The more we say it out the loud the more ridiculous it becomes. It sounded simple in January! We are both quick songwriters we don’t spend hours, days, weeks on songs. We both have a need for songs to be created quick and in the moment. Whether that’s a deep psychological reason and a need for instant gratification or we are just lazy I’m not too sure!!! Either way it works for us. We create our best songs when we just go for it without any thought process and no agenda. Some of our favourite songs on the albums have been written and the basic structure recorded in well under an hour.
The first three albums we just went for it and didn’t really think about styles or genres. Now we are looking at album 4 we are writing with a particular sound in mind, but that doesn’t mean the process gets longer. It just heads us in a slightly different direction. This will probably be how things go for the rest of the year and December 2021 will be some hideous jazz fusion with a funk twist. I feel sick saying that.
3) The January, February and March albums have already been released how are they different from each other?
Album 1, Joulukuu (December in Finnish) was very much us throwing together a compilation of separate ideas and demos which then quickly moved onto to throwing new ideas back and forwards with the modern magic of iCloud sharing! Album #2 really was our first collaborative effort. Its a real mixed bag of genres but all pulled together with some ridiculously catchy hooks and choruses. We are both suckers for a catchy chorus. Album 3, Blah Blah Blah, continues with the collaborative writing and as a result, it has more of that consistency to it.
4) What can we expect from the April album to come and when will it be released?
Album 4 we are possibly bowing down to Steve's roots and going all out in your face punk. We had lulled people into a false sense of security on the first 3 albums….now we can just piss them off and have to start apologising on album 5! Within 24 hours we might head in a totally different direction though! The plan is always a 1st of the month release on Bandcamp and all the streaming services.
5) What does the writing process look like for so much material to be produced over such a sort period of time?
Blink and you miss it! We both sit in our own homes….guitar in hand….open up logic on the Mac….lay down a drum track….about an hour later its getting sent across to be added to, messed about with, synth added. JOB DONE!
I (Simon) do occasionally have night terrors about us committing to 12 albums in one year. Sadly we can’t live off the zero income from these releases and we both work more than full time jobs, so its a few late nights each week and thank goodness for lockdown! We have definitely learnt more about recording and mixing etc through this process.
6) Go on out of the 12 albums which month would you say has the best album?
Well considering we’ve only actually written four of them so far...I’d say album 9 is going to be a highlight!!
Errrrr I think album two so far. Might not have the best songs but I think it will always be the one where we will remember the moment of “shit we can actually do this and people are going to listen and like it”, we don’t write songs in a way that ensures people will like them but if anyone ever does you can’t ignore that warm fuzzy satisfied feeling.
7) Which song has the lyrics your most proud of writing?
I think lyrics are something we’ve probably struggled with over the years as it’s something you believe needs overthinking. The older you get the more you realise that’s bollocks. The best lyrics are the ones that come out of your mouth when you are laying down melody ideas or testing recording levels. They can be the most honest, creative and sometimes quite funny (see Big Fat Poo on the first album!).
I think track one on album two is the favourite - Rabbit. The song is under a minute, probably about 20 words in total and the lyrics are just ridiculous....which obviously makes them good in our minds!
8) Where can our readers get there hands on the albums?
All albums have been released on BandCamp, search for Das Kapitans, or Fuzz and the Felts Presents. All albums are also heading onto the streaming sites each month as well.
9) Thank you for taking the time out to talk to us, but before you go where can are readers find out more about Das Kapitans?
We have a handy little link tree account here which will take you into out magical online world……..https://linktr.ee/Daskapitans
1) Sam, you're here to tell us about this fantastic charity album Whorl Clock, but first tell us why you felt the time was right to set up a charity album?
I've seen a lot of charity work happening during this pandemic, I think one of the few positives to come out of it is that it's really highlighted how much people in a community care for each other, especially here where I live in Cornwall.
The music community is no different and I'm impressed with how many people jumped at the chance to help.
Another positive from lockdown has been the time it's given people to work on electronic music. I've seen a lot of new artists posting debut albums and asking advice in various online groups, I think a compilation album like this one gives them a platform to make new contacts and give their music an audience they might struggle to reach when first starting out.
I myself only started Humm Bugg in 2020 and it feels really good to be part of a project like this and join forces with other musicians, coming together through a love of music. It's hard for everyone at the moment and I've really enjoyed focusing on something that does some good.
2) What can we expect from the charity album Whorl Clock?
Whorl Clock is a time travel themed album. Every artist on it has made an original song based on this theme and subjects include primordial ooze, childhood dreams, time traveling adventurers, the perils of time travel, utopian ideas, time travel jet lag and lots of other imaginative interpretations.
Genres range from synthwave, chiptune and breakcore to daz-core, apathy jazz and metal so there's a great range of different music. As different as it is however, it still holds together as an album beautifully.
3) You've invited so many different bands from so many different countries to be part of this project, has this given the album a lot of different styles and culture?
Massively. The album features artists from Siberia (SpaceMan 1981), Sweden (Riddlis), Hungary (Bitrotator) and Arizona (Creepy Pizza); many from all over the UK; and even one from a parallel dimension in the year 2080 (S A Z E R).
Every song is very different from the last, I think this is due to the different music they grew up with geographically but also because there is so much variation in electronic music now. The electronic music community is a global one and it's so great to be able to discover different genres, styles and ways of making music so easily and it's great to be a part of this ever changing and exciting culture.
4) Out of the 12 tracks on the album, which one is your standout record?
Oof! That is a tricky question but the two I've listened to the most are probably Strawberry Galaxy by Riddlis and The 61st Second by S A Z E R. 'Strawberry Galaxy' is a dreamy, spaced out lullaby with a touch of melancholy and I just love it. 'The 61st Second' on the other hand is like being stuck in a nightmarish trip to the future and has that 80's horror movie vibe. The album is full of gems though.
5) Please feel free and go ahead and tell us about the charity involved with the album and how the money from this album will help them?
The chosen charity for this album is Doctors Without Borders. They bring medical care to those who need it most to over 70 countries around the world.
They've been helping those affected by conflict, natural disaster and epidemic since 1968 and with a global pandemic stretching medical services everywhere, they're needed now more than ever.
I also wanted to pick a charity that helps globally to reflect the fact the album is also multinational. You can find out more about Doctors Without Borders here: https://msf.org.uk/
6) Producing an album during lockdown must have been challenging, how did you get around this challenge?
It was actually pretty painless. I started making electronic music myself at the start of lockdown last March and have just dived right into the whole thing.
Under Humm Bugg I had already released a solo album and a few singles in 2020 but I found promoting these and getting more people listening to be quite tricky, especially when you don't have your heart set on one particular style or type of music. I posted my woes on some online groups and found many others had the same problem.
It was then that the idea for themed compilation albums came to me- it gives the artist an opportunity to try something different, provides a unique and interesting listening experience and is really fun too! Working as a group who are all promoting and sharing the album also helps more people listen to your music and the most exciting thing for me has been the introduction to lots of musicians I wouldn't normally have discovered.
The whole exprience has been just brillaint. There are already plans in place for another themed charity album later in the year- this time 'Robots'!
7) The name of Three Eyed Cat Records is a great name for a record label, tell us what their involvement with the album has been?
I came up with the name after trying to think of something that didn't just lend itself to one genre and would also draw people in. I'm a big Sci Fi and horror fan so I also wanted a name that had an air of the curious and mysterious about it. I also love cats! The logo that was made for Three Eyed Cat Records by Animalsoup Art also helps encapsulate what the label is about- it's neon and simple and is reminiscent of neon and club lights, she's managed to get it looking retro and futuristic at the same time and it reminds me of graffiti painted with light. I love how this project turned out and everyone has been so helpful and encouraging.
8) Lastly where can our readers get their hands on this album and help out the charity?
The album is available to download on Bandcamp and is 'pay what you want' to download so you can give as little or as much as you like. All money made on the Bandcamp site will be donated to Doctors Without Borders. Thank you!