Glenn Murawski Interview
SBS: Ohhhhhhhh Glenn – where DO we start my brother? There are so many things I’ve been stoked to ask you since we set this interview up…well…long before that even I suppose, when it comes right down to it. That being said…I’m kinda implying that I know a bit more about your story than a few of the folks reading might – so let’s see what we can do to catch them all up a bit before we crack into the HARD STUFF. I’m kidding…kind of…maybe…the water’s warm, let’s say that…no reason to be cautious when diving in here at sleepingbagstudios Glenn, you know that, we’re always as objective as possible, and simply on a quest of our own for what creates the truth in music – yours included, of course. Take us behind the scenes to the point of the first solo record posted online though…the pre-Luminous days – who was Glenn Murawski before that debut album, and what was the path that led you to your music?
Glenn: Hey Jer! Ok so my humble beginnings in music started as a teenager, I picked up my first guitar at age 18, a little late but as soon as I did I was hooked. I played the guitar religiously for hours every day. It took a while to build up the callouses, I would just use one finger at a time and go up note by note on the frets for each string. Then eventually I got to strumming chords and all that. I got into a little “band” with my friends, playing mainly living room gigs and doing cover songs of our favorite rock music. If you know me well you’ll notice that the music I was drawn to most of my life is quite different than the music I have presented all along. My tastes varied from hip-hop to metal, mostly set in the 90’s and early 2000’s. My music, on the other hand is often calm and tranquil, but the edge comes in the form of the sometimes dark mood-scapes I create. I started making music electronically in 2004, the year before I got married. I thought it was the coolest thing, how I can create a song from scratch with orchestra instruments, pianos, guitars, drums and synths. My humble beginnings were quite on the lo-fi side, not only because I was limited to low-end samples but also because my composition chops were a little lacking as a beginner. That said, as you’ve seen I’ve had some earlier works that were quite inspired and ambitious. I started my music on a site called vgmix, where people would post covers of video game music. My claim to “fame” there was that I could take a cheery song and darken the hell out of it with dissonant harmonies. The greatest example of this is a song I did called “Earth Child.” I actually did that song for a fan, and it was a light theme that I turned into a dark and melancholic guitar track. My music evolved into 3 main motifs, and in 2020 I created 3 compilations based on those motifs. One is peaceful and heavenly. The other is dark, sinister and depressing. Lastly, I have songs that don’t really fit either of those moods but are kind of middle of the road in the emotions they evoke. If you listen to my early works you will recognize all 3 motifs. My music has always been heavily inspired by my states of mind, which usually fluctuate between tranquility, depression, and a kind of moderate well-being. In any event, I aim to create music that is beautiful mostly, and evokes some kind of emotion to get the listener somewhere near my own headspace.
SBS: With such a range of sound & style in your songs spanning from digital to analog instruments, I’d have to imagine you grew up listening to an equally varied array of music as a kid too, yes? To me, it strikes me that an artist with such versatility as yours would be influenced by the same…maybe not necessarily within one artist or band…in fact, I’d imagine it’s likely the result of listening to just about anything & everything if I had to hazard a guess. But why guess when I’ve got ya right here to clear all that up Glenn? Who were the key names you listened to as a kid or growing up, that ended up having a noticeably profound impact on your desire to play & produce music of your own one day – and why?
Glenn: My bread and butter has always been classic 90’s hip-hop and more-so rock and metal. But I’ve had a multitude of influences, spanning from electronic music to movie soundtracks to video game blips and bloops. My favorite artists historically (and currently) have been Chris Cornell, Pearl Jam, Alice in Chains, Metallica, Naughty by Nature, 50 Cent, Tool, A Perfect Circle, Bjork, Radiohead (my absolute fav), Nine inch Nails, Yasunori Mitsuda, James Horner, Hans Zimmer, Howard Shore, Motoi Sakuraba, The Algorithm, Boucle Infinie, Lamb of God, Jimi Hendrix, Steven Cravis, and a few I’m sure I can’t recall at the moment. Really it was my love for RPG’s (Role playing games) that inspired me to do the music that I do. My favorite gaming system was the SNES, and there were so many great games with wonderful music, like Chrono Trigger, Secret of Mana, Actraiser and Final Fantasy. I was today’s equivalent of a hardcore gamer back in the 90’s. Used to lock myself in my bedroom and sometimes played the entire day.
SBS: We arrive at Luminous in mid-2018, at long last, after starting this whole endeavor officially back in 2004, if I recall correctly. That in itself must have felt like an extraordinary achievement dude – as far as I know, you already had banks of material sitting on the shelf just waiting to roll out – so I can only imagine the like…I dunno…almost like, weight off your shoulders, in being able to finally get to an aspect of your life you felt like you had clearly been waiting to prioritize for too long. And of course, there’s no doubt that Luminous technically opens the door for the rest to follow in your career as a solo artist. Think back to that record’s release for a moment Glenn. I know you’re not the type to seek out accolades & all that…your inspiration is fueled from within at the end of the day – but at the same time, putting your art, your music – yourself – out there, for all to experience for the very first time – that’s always interesting to me. There’s something about that moment that of course, leads to the desire to continue…whether it’s confirmation from listeners online or in-person, or whether it renews your own commitment to making music just by being engrossed in the craft once again, or how it somehow inspires you in one way or another to embrace your creative-self…it could be many things I suppose. What was it for you though Glenn? What was the feedback like…what made the moments surrounding the release of Luminous confirm to you that this whole music-making thing was worthwhile – or did it?
Glenn: Luminous was actually a kind of compilation of 2 Eps that I released in 2018 when I started thinking I want to try and really do this music thing. Before that I was releasing maybe 5-6 tracks a year, very low production. Back when I started, my releases were much more frequent, but my life got busier and busier as I got older. So Luminous was kind of a turning point for me, I discovered bandcamp and was like, “Let’s try it!” As for feedback, nah I didn’t really get any from that album. Even today it’s on Spotify but nobody listens to it, they go more for my newer material.
SBS: I suspect that, shortly after or surrounding the release of Luminous, that’s when life behind the scenes was beginning to really change for you. Anyone that’s really studying the timeline of your output as a solo artist, can see that the longest break you’ve ever taken between releases actually occurs right at the very beginning…there’s Luminous…and then a break for about a half a year or so…and then you go on a non-stop music-releasing rampage that is honestly pretty much unlike any other I’ve experienced working with ever before. Believe me my man, I’ve run across some highly inspired & very creative people in this lifetime I’m leadin’ – and even the vast majority of those folks and their own output would likely pale in comparison to yours from the moment January 2019 comes along. From that point…I can’t possibly imagine anyone out there has put as much music out there into the world as you have…I’m sure SOMEONE out there might have, but none that I personally know of, that’s for sure. Anyhow. We’ll get to the music-stuff and all those incredible accomplishments down the road here – right now I want you to take us back to the between phase…what happened post-Luminous and pre-Existential Chambers? What was life like in behind the scenes that the people out there wouldn’t know?
Glenn: In between Luminous and Existential Chambers I was in a depression. I was having some mental health issues and it was affecting my marriage. When I started my 2019 works I was really starting to use music more as an outlet to how I was feeling at the time. It became kind of an addiction in a way, but a good one. During that time I was not satisfied with my life or my career as a teacher. I had chosen this career path for reasons that were practical, but it wasn’t really where I wanted to be in my life, still isn’t. I felt like the days were bleeding together, every day felt the same, no progress, no light at the end of the tunnel. I decided to turn my attention towards music, because it is something I’m passionate about.
SBS: For anyone interested in the math (mind you, this COULD change instantly knowing Glenn…) – at the time this interview was written, there have been forty-four subsequent releases, singles, EPs, albums & all-that, in between January 2019 and right now at the end of December 2020. That’s staggering – you know it, I know it, anyone reading this knows it – and Glenn, deep down my brother, you know it too. Regardless of how many of these songs were conceptualized earlier, or just needed a polish up in production, etc. etc. – what you’ve achieved is sonically superhuman dude…and that effort should be recognized for what it is, amazing. I think those familiar with your story and the details you’ve likely shared already by this point in the interview, would also recognize that making music when under such extraordinary personal pressure in life outside of it, isn’t always the easiest task by any measure. For some, it’s impossible – for you, it was clearly a lifeline…a genuine passion already for sure, but music seemed to quickly become necessary for your own survival and catharsis – would that be fair to say? Depression as far as I’ve experienced personally, just shows the fuck up whenever it damn well wants to, pardon my directness…we can fight it all we want, and sometimes we’re even successful at doing so – but the other side of that coin is that, sometimes acceptance of the sadness is an easier way to win, and it can also fuel the art in either scenario. How were you able to navigate through the toughest times you went through mentally while you were going through your impending divorce…and what role do you feel like your music played in helping you battle everything you dealt with over the course of 2019?
Glenn: Music was definitely a much-needed distraction for me during this time. I believe I battled through it by making music. My Existential Chambers Volume 2 was basically my “divorce album,” I made it right after the separation. The opening track, “Deadened” basically described how I felt that my feelings were dying inside. “Good night” expressed how I missed the fact that I couldn’t tuck my kids in every night or give them a kiss good night anymore. Every release that followed was directly linked to some kind of cathartic experience. If I didn’t have music I don’t know how I would have gotten through it all.
SBS: As an instrumental artist…it can often be tough to communicate to the average everyday listener out there…we might get a hint or two from a title, but other than that, it’s left to our minds to fill in the blanks for the most-part as to what any given song might be about. I’m interested to know if you felt like…perhaps the tale of all that you’d been through personally, was right there on display for us to hear all along if we’ve been paying close attention. Do you think it would be possible to identify five tracks in particular that tell that story of yours in some kind of audible summary Glenn? I’m not saying like, a top five of all-time…more something along the lines of, if you wanted to give the people out there a glimpse into what it has been like to be Glenn Murawski during these times of turmoil in five songs – what would you choose? If you’d like, you’re more than welcome to explain why – but if you just want to keep that part for listeners to fill in on their own, that’s more than cool as well…I’ll leave that part up to you Glenn.
Glenn: I had already described my Existential Chambers Volume 2, so I’ll skip that. Visceral was kind of a depressive album, and “A Mind’s Descent” was a journey down the path of depression in itself. It’s kind of a cinematic track, and shows layers of darkness revealed one by one. With this track, my mind was truly in a descent. On Revisions and Remasters Volume 2, I dropped a new track called “Someday my friend, Someday,” this track was like a call of hope to someone unknown to me at the time, to somebody who I was going to see and we were going to be together and everything would be alright, someday. On Vicissitudes, one of my best albums in my opinion, the opener is “In the end we reap what we sow,” this track was my ode to my life and how all the choices I made culminated into my unfortunate situation. Everything adds up in life, good choices pan out to good outcomes, choices that were made for the wrong reasons or were otherwise ill-advised, pan out to negative consequences. We are all bound by this. “The Good Hours” was my description of the time in the evening when my meds would start to wear off, and I finally felt good, more-so I finally felt something. This lasted a couple of hours until the cycle started all over again. I’m on a better med now, so I usually don’t have these cycles anymore. “Clear away” was a track which was originally supposed to have vocals, but I cancelled them in favor of the instrumental, as I was overly ambitious with them. I had the lyrics written out and everything, but I think the song as it stands conveys the emotion I was aiming for on its own. This song was basically about clearing away all of the negative garbage we carry with us for so many years, and it robs our life of good things. There’s really so many more, but I’ll stop at these five for now.
SBS: To me, the rebirth of Glenn Murawski really takes place from Existential Chambers going forward – though, something you might have now said in response to these questions beforehand might challenge that theory. But from this point, the green light is firmly lit, and records literally start popping up around the clock over the course of the next two years solid. What was the secret to keeping the music going? What motivated & inspired you at that time, as opposed to what motivates you now – would you say it’s all one & the same, does that all change over the course of forty-four releases in just two years? There are so many people, artists, and bands that still believe in the idea of releasing an album and touring it for the two years to follow…to me, that’s not only antiquated thinking, but also indicative of the level of motivation & desire they have to do what they do. Seems to me my friend, that if you truly love what you’re doing, then you should be doing your damned best to do it around the clock – what do you think? Is it a matter of striking while the inspiration is hot – or does it come down to self-discipline & routine?
Glenn: Good question. I think what mostly drives my production is inspiration, I never force a song and when I do I’m not happy with the results. That said, I’ve been going through a kind of metamorphosis in my personal life since 2019, so I have had no shortage of inspiration. I believe my production will slow down a bit in 2021, I’m hoping not, but I released over 100 tracks in 2020 and my inspiration has all but run dry. Maybe I just need a break, or maybe because my life isn’t in major crisis anymore my creativity isn’t at a high level, I’m not too sure. I’m hoping this will just be a phase and once I get my groove back I’ll go back to producing at least an album a month. Only time will tell.
SBS: As an instrumental artist in this current day & age of music – do you feel you’re at a disadvantage when it comes to reaching the mainstream – or has the internet leveled-out that existing stigma through increased access for all? Where there might have been a handful of sales in comparison to a Top-20 hit back in the day when it came to physical records…online activity, should in theory, almost open the door wider for anything outside of the mainstream to reach a wider audience than it used to be able to. All that being said…the ears upon people’s faces still function basically the same as they always have…and it can be tough for those out there that love to sing along with a catchy chorus to take a break from all that & join the instrumental side of sound, even for a moment sometimes. I like to think that instrumental tunes have more of a chance in the present than perhaps they’ve had in the past, but I don’t know if that’s necessarily the case…what do you think Glenn? Are instrumental songs up against an invisible wall, or at some kind of inherent disadvantage when it comes to reaching the masses as opposed to how easy music with vocals gets out there – or have we passed those unenlightened times?
Glenn: I absolutely love instrumental music but I know it’s not as popular as the mainstream genres. I do feel somewhat at a disadvantage not only because I make music in a genre that is not in high demand, but because of the oversaturation in the market of music that is instrumental. It’s so easy to get music on Spotify, getting listeners, well that’s another story. But I’m happy with my results, I’m doing better than ever, and even though I have a modest following the numbers have been consistent for much of 2020.
SBS: Wide open question for ya Glenn…I like asking this of just about everyone out there – what are three things you know to be absolutely true about music, from your perspective & experience?
Glenn: One thing I know about music is that it is important for it to evoke some kind of emotion, doesn’t matter what it is. If you can’t move somebody with your music, then you are doing it wrong. Another thing I know is that it is a lifelong learning experience, and everyone goes about the journey in a different way. But this is what makes us unique as musicians, unless you’re copying someone else, your music is you. It is an extension of the self. I also know that music is best when it comes from the heart, that’s what separates a mediocre track from a truly evocative track.
SBS: Now…it doesn’t take a mathematical genius to understand that putting out forty-four records in under two years is a massive achievement; that I can promise ya. That being said Mr. Murawski…at some point in time, you must have considered the potential of over-saturation…in fact, if I recall, we even might have briefly discussed that once ourselves. But somewhere along the way…you must have decided that it was more beneficial to put the music out there, at whatever rate it may come, rather than hold stuff back like most artists & bands typically tend to do. So what I really wanna know is Glenn – why AREN’T you scared of over-saturation like everyone else seems to be? What makes it more beneficial to you as an artist to be releasing your tunes as rapidly as you have been? Are there really any disadvantages to releasing so much music in a short time span – or is that all a perpetual myth?
Glenn: I don’t hold my releases, often times I’ll release a partial album labeled work in progress. I do this because I’m not in it really for farming fans or monetary compensation. I’m in it for self-expression and I choose to be free with it without ulterior motives. After all, I could create a masterpiece and die tomorrow, then the music will never be released for the world to hear. I don’t want that to happen. So I don’t have a release schedule or anything like that. Maybe one day that will change, but for me right now it’s like carpe diem.
SBS: How about from your own, honest, objective opinion as a music-lover yourself when it comes to listening to the tunes you’ve made…how much of it do you feel is completely memorable? Obviously you’ve got a personal connection and somewhat of an advantage on the rest of us when it comes to the attachment to these tunes of yours…but…I mean…well let me just put it this way Glenn, I can barely remember what I did the day before as the years keep goin’ by here – so how much do you remember? Can you revisit any of these songs from your catalog and completely recall all of the details surrounding their creation, or does all that stuff quickly fade into the ether with the recording of new songs over time? What makes a Glenn Murawski song memorable and a stand-out highlight in your entire catalog?
Glenn: I think my most memorable tracks were created during some kind of personal conflict or struggle. One that sticks out to me is “Glimpse of a Dream.” Though the second version is far superior to the original, the idea of the song I believe stuck in a lot of listeners’ heads. The song is probably my most heartfelt song ever, and really emotes the sense of pain I was going through at the time. I remember vividly composing this song from my living room couch late at night. I was so excited to release it on my latest EP, which was called Dream Tides. I later collapsed this EP into my Ebb and Flow album. As proof that this song was memorable, it was put on the front page at Newgrounds audio portal, and had over 3,000 views. It is also labeled my best song of 2020, which is when the updated version came out. I pretty much can tie every one of my songs to an event, thought, feeling, or experience. It’s kind of like my life story out there in the music.
SBS: I ain’t gonna lie Glenn…I’m asking this next question a bit cautiously…because I have the feeling you might actually be able to fill a full page with the answer here…but I’m gonna do it anyway. With such an impressive range of instrumentation in your music spanning from digital to analog – what instruments do you actually play personally…or you know, like, sum-total of the inventory – what can you play with the skillset you have right now? I feel like you’re the kind of guy that can likely pick up any instrument and find a way to make it create some kinda audio magic…but what’s the full scope? What do you prefer to play most? Is there a particular instrument you feel more attached to, or more proficient at than the rest? What is your #1 go-to instrument when it comes to making music Glenn?
Glenn: I make most of my music on the keyboard. I am more proficient with guitar, because I have more experience with it, however I find recording guitars to be quite convoluted. The keyboard is pure, and I usually edit my notes after the track is complete, because I’m not really that incredible on the keys. I look at music as a process, and the keyboard streamlines this process. I can play any instrument I want on the keyboard, it’s very versatile.
SBS: You’ve always got something interesting on the go brother-man – how do you plan to challenge yourself as an artist over these next years to come? How will you ensure there’s another phase of evolution to the music you make Glenn – or is that something that’s even important? There definitely wouldn’t be anything wrong with continuing on with the skillset you’ve already got of course, but I get the sense that you’re the kinda guy that likes to keep building on your capabilities & what you can do. Would that be a fair assessment? What kind of stuff, be it learning new instruments, trying new styles, or perhaps new methods of recording or writing…it could be anything – what’s on the horizon in that sense? Do you have any particular goals personally as a musician that you’d still like to conquer?
SBS: With so much music & material to draw from Glenn…do you feel that, when it comes time to make a new record, do you go into it with the mindset that you’re going to create your best work to-date? Is that something that even matters, or something we can even know without the gift of hindsight and looking back on a catalog or body of work anyway? What’s the most important thing you consider when it comes to putting a lineup of songs together for a new release & how do you make sure it’s achieved?
Glenn: Honestly I never know how a record is going to turn out before I release it. It’s more of a time-capsule of a certain period of time in my life. I really want to plan an album from start to finish, but so far I have not done that yet. I think this is a goal of mine, I want to make a concept album that basically walks the listener through my life story.
SBS: Can you remember any crucial advice you got way-back-when from someone that helped you on the way? Looking back to where it all started for ya, and forward to the time you’ve got left to spend making music from here on – if you could go right back to the beginning somehow, would there be a pivotal change you’d make when it comes to pursuing this as a career or prioritizing it more in your life earlier on? I know, I know…what’s the point in hypothetical scenarios right? Ok Glenn, that’s fair…even though right now it’s me thinking out loud on your behalf here for a moment… Let’s say this…I mean, of course you’re welcome to make it specific to your own story for sure if you’d like to, we’ll take details on how you feel about that question above if you wanna share’em for sure – but when it comes to the next generation of artists/bands just getting started or thinking about it – what would you advise them to think about and consider most, before even recording that very first note & starting their own careers?
Glenn: My advice to any budding musician is “Create, Create, Create.” Some will argue this is not the way to go, but I have found that like other things skill comes through experience and practice. Even if all my music right now is setting the stage for what’s to come, for me that is still a great achievement. My music when I first started pales in comparison to what I do now, but I wouldn’t be where I am if I didn’t start somewhere and keep at it. Never give up, that’s my other piece of advice. You may have lulls, hell there were years that I didn’t make a single track, 2012 was one of those years. But I slowly got back on the horse and 8 years later here I am with 100+ tracks.
SBS: It wasn’t even December yet when you put together your Best Of 2020 compilation record! Isn’t that like, you know, an Olympic runner bursting out of the gate before the starter pistol has gone off? I mean hey man, we’re usually one of the first out there with our own top-ten of the year being out there by the 15th of December, I can tell ya from experience that still usually qualifies as early! Anyhow. I was glad you saw fit to stockpile this record with twenty-five cuts on it & give people a great selection of all that you’ve accomplished this year. Well…most of it, excluding December, obviously. 😉 I am one of those people out there that absolutely OBSESSES over decisions like this though Glenn…so there’s a lot for me to unpack here. What were the criteria you used to decide what made the best of the best in your music this year, or what determined the selections you made for the Best Of 2020 collection you put out? What were you listening for in the songs of this lineup that they had to have in order to be chosen among the best? With so much to choose from & so many quality songs, this couldn’t have been an easy task I’d imagine. Did you sit down & really listen to it all again from start to finish – or was there another method, like going back to the question earlier about memorable material, or perhaps drawing on the feedback of other opinions out there in the world? How did you decide on twenty-five tracks?
Glenn: I decided the tracks based on 2 criteria, how much emotion/effort I put into the song and how well it has been received. In a way it was sort of a mix of objective and subjective measures, basically I wanted a sampler album that I would show to anyone and be like “here check this out.”
SBS: Alright…here it is Glenn…the million dollar question and what I’d be willing to bet is the real key to gaining insight on the man behind the music like none other I could ask. Feel free to correct me if I’m wrong…but to-date…even with FORTY-FIVE potential money-makers out there…I still don’t believe I’ve yet to see you charge a single dollar for any of the music you’ve made. In fact, I’ve known you to draw attention to the fact it’s all free & available to whoever is brave enough to click it and dive deep into that catalog of yours – so what gives? In a world where everyone is tryin’ to make a buck of whatever it is they do somehow…why not you Glenn? Certainly your music, your time, and your effort would be worth something, would it not? Okay, okay…I think I’m just beating around the bush here – I think you know it’s all worth something – of course you would. That being said, finding the right monetary value can be tough…attaching any monetary value to art, music, or writing has always been next to impossible for yours truly over here in any capacity I can think of. But I have the feeling you have some sort of reasoning for releasing your music for free altogether…and as best you can describe it in words my friend, I’d love some insight into why you choose to give it away as opposed to seek some dough for it. Is this something you think might change one day – should people be downloading now while they can?
Glenn: I believe that people have to know about your music before you can make money on it. I also view this as a personal project, and yes I could charge for my work but in my experience I know I wouldn’t get many takers. Most people use streaming services these days, they don’t even buy mp3s or lossless files anymore. The age of the iPod classic doesn’t really exist anymore. Everyone is using their phones, youtube and spotify to get their music fix. It’s the way of the world now. I’d rather give my music for free and get 100 new listeners then sell it and maybe get 10 to buy it. People have paid me modestly but only a small few.
SBS: Not even the sheer magnitude of a worldwide pandemic and all the disruption it caused seemed to slow you down this year dude. So tell us the truth Glenn…emotionally, physically, musically…you gonna be able to keep this pace up? Or like, hey…have you tried this new thing I’ve heard about, called sleep?
Glenn: LOL, as I mentioned earlier, expect my production to slow down a bit in 2021. I’m going to spend more time learning and taking a step back before I hit the ivories again. But who knows, I could be blowing smoke haha.
SBS: My brother from another musical mother, I gotta say a MASSIVE thank-you to ya from the bottom of my burly heart, for all the incredible tunes you’ve been supplying since we first connected. It’s been awesome to be a part of your adventures in sound, and I definitely look forward to many more to come my friend. Having said that Glenn, I’d like to offer ya the open floor here at the end…believe it or not, I suspect it’s impossible to cover EVERYTHING an artist as productive as you’ve been has been up to – so feel free to mention anything you’d like the people to know that we didn’t get a chance to cover, or say anything else ya like! The floor is yours Glenn – all the best to you & yours for the New Year to come!
Glenn: I just want to say thank you Jer, it’s been a great pleasure working with you these past two years, and I would recommend your services to anyone. I find that there are a lot of mediocre reviewers out there, so I’m glad I stumbled upon your page. You go all-in, no holds barred with your reviews, and I appreciate the expertise and how you connect with the music. You tell me when I release a dud, you’re honest and thorough. You also tell me when I release a gem but didn’t realize it – many of my tracks you pinned as your favs I would have never guessed on my own. I guess all else I want to say is that I truly appreciate every listener I get, so Bless you all! You make everything worthwhile, even though I don’t know most of you. Happy Holidays and Happy New Year!
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Official Website: https://gmmtunes.com
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