Jas Frank & The Intoits

 Jas Frank & The Intoits

Jas Frank & The Intoits Interview

SBS:  First of all, I gotta say a MASSIVE thank-you to you all for taking the time to do an interview with us Jas, Slaven, and Marko – I’m such a huge fan of what you created this year with your album The Girl From Cherry Valley and SO EXCITED to talk music with you all!  But you know that already.  From our podcast to our pages, I’ve been willing to shout the name Jas Frank & The Intoits to anyone out there willing to listen since first hearing your record back in February this year.  Let’s get a little history from ya to start out here…we know you’re based in Croatia – but what originally brought the three of you together?  What made you assume that you’d go on to be a good fit with each other in a band?

Slaven:  We are very excited to do this interview with you!  These songs are what brought us together.  Before making this album, Jas and I knew each other quite well because we have been working for the same IT company in Zagreb, which is the capital of Croatia, and Marko is my old friend, neighbor and music soulmate.  Marko and I have at the time just finished setting up a small music studio for our own projects.  When I told Jas about the studio, she said that she was thinking of recording some of her songs and that she was considering working with a certain producer from her hometown of Rijeka.  I kind of wanted to hear the demos and when I did, I thought that the music was too good not to be involved.  I’ve showed them to Marko and he thought the same, so we’ve offered Jas to have the songs recorded at our studio instead of recording them in Rijeka.  She accepted, I introduced her to Marko and we have plunged deep into it.  After some studio sessions, it was kind of obvious that there was a common vision and that the end-result would beat our initial expectations.

Jas:  Slaven is actually the person who is to credit for the fact that this first release was an album.  Because, initially, I wanted to start smaller and record just four songs.  And then maybe, if I liked how they’d turned out, I’d put them out there as an EP.  So those demos Slaven and Marko heard were of these four songs.  I remembered I had just landed in London when Slaven called me and said to me in a very serious tone with his distinct Dalmatian accent that he has to talk to me about those songs of mine.  And I was like: “We’re going to spend a ton of money talking on our mobile phones because I’m in the UK, but I have to know what’s wrong with them?”  and he said: “Nothing’s wrong, they’re excellent, you have to send us more and you have to make an album, it has to be an album”.  I was not sure about it, because it seemed too big of a bite, but he insisted and out came The Girl from Cherry Valley.

SBS:  What was your favorite memory from creating The Girl From Cherry Valley together?  Any highlights from the recording sessions that you can share with us?

Marko:  I have actually enjoyed the whole process and I couldn’t single out any particular moment.  What was great for me is that in those songs I constantly kept hearing the music I used to listen to when I was a kid.

Slaven:  The absolute highlight for me was when we first played back “Human Animal” and “So Far Away,” after we defined the contours of arrangement for those songs.  We were so fascinated with the results and after that we stopped recording for a while for various reasons.  In the couple of months during which we weren’t recording, we were constantly listening to these two songs.  When we started working again and came back to the other songs, we just had to redefine the arrangements that were already in place and implement this new philosophy that we have discovered.  One more highlight for me was hearing the final mix and mastering.  We had finished recording, Marko made the first mix and mastering and we proclaimed the album finished.  I had so many things going on in my life, so after that I took a long holiday.  However, in the meantime, Jas and Marko made the second mix and mastering and even changed some details in the arrangements of the songs.  When I heard the results, I was blown away and since then I am riding on the cloud of euphoria 😊

Jas:  Funny enough, I was the happiest when Marko managed to find the recording sessions for “Virtual friends” in a backup file.  “Virtual Friends” was the first song we started recording and the last song that was finished, and there were several versions of it.  Somewhere in between the start of the project and finishing the album, we have moved studios, and in this process, the guys managed to misplace the recording files for the version that had some instrumental details I was in love with and would have a very hard time in letting go.  There was a period of about two weeks in which I thought they were irretrievable.  Marko and I even started reconstructing it from some files that we had, but then, miraculously, he found the backup file.  That was a huge relief.

SBS:  Was there anything that surprised you while recording the album?  What did you learn throughout the recording of The Girl From Cherry Valley that will help you in the process of making the next record?

Marko:  I was really surprised with the fact that three people can merge three completely different visions together into one original sound.

Slaven:  Both Marko and I have recorded many albums in other genres of music before, but I have never before had the experience in which all of the participants could fully express themselves in terms of creativity without violating the creative expression of other participants.  That was big news to me.

Jas:  I learned a lot about the technical side of recording.  Even though this was by no means my first time in a studio, I have never before taken an interest in that part of the story.  Since all three of us have crazy schedules, I realized that it would be much easier for everyone if I was alone in the studio while recording the vocals, so Slaven had to show me how to set everything up and what to do.  After that I would come into the studio whenever I wanted and recorded the vocals myself.  That will surely come in handy in the future.

SBS:  How many songs were considered for the official lineup of The Girl From Cherry Valley?  Were there songs that didn’t make the record?  If there were – what stopped you from adding them, or caused you to choose to cut them for now?  What does a Jas Frank & The Intoits song have to have in order to make the grade, end up on the official album, and not wind up on the cutting room floor?

Slaven:  Most of the demos for the songs that ended up on the album were just Jas playing guitar and singing, without much other musical context, and it was very easy to be creative in arrangements when you had the framework of these amazing, yet simple melodies, and great lyrics to work with.  However, a couple of songs had more elaborate demos.  There was this one song that Jas had recorded with her ex band…The demo was so good and it had a specific dark sound, a hypnotic atmosphere and there was something really special in the recording I cannot really describe.  It was hard for me to move away from that and be creative on my own and I didn’t just want to try to repeat the demo.  So, I procrastinated with it for so long that Jas finally cut the song from the album and replaced it with a fresh one – “All The Highs, All The Lows.”

Jas:  The only song that wasn’t supposed to be on the album was “All The Highs, All The Lows” and it replaced this other song Slaven mentioned.  In the end I decided to go with that song instead because it was a simpler song to arrange and it could be recorded quickly.  I also had this moment when the album was just about finished that almost resulted in “The Girl From Cherry Valley” being cut from the album, because I was struggling with its overall sound, including my vocals.  However, I decided not to lament on that further and to just go with it, because that song is sort of the glue that keeps the album together conceptually, along with “High in Space.”  Those two songs give context to the other songs on the album because they tell the story of a person that grew from being very naïve and idealistic when young into someone who became disillusioned later in life and the other songs describe only isolated moments or battles in life on the way to that disillusionment.

For me, to end up on an album, a song would have to be something I personally would like and enjoy listening to.  It is as simple as that.

SBS:  Jas Frank & The Intoits…I mean, if I’m being honest, the very name of the band suggests there’s a captain on this boat of yours – it’s not Slaven & The Intoits, it’s not Marko & The Intoits either.  So I suppose the question becomes, how democratic is the band inside of the decision making process?  Like when it came time to choose the lead-single “All The Highs All The Lows” – was that chosen unanimously – or are all these decisions left up to Jas at the end of the day?  How much input do Marko & Slaven get when it comes to the music and direction of Jas Frank & The Intoits?

Marko:  Jasmina is the leader and what she decides in the end goes.

Slaven:  You know, I kept telling them that “Slaven & The Intoits” was a better name for the band, but nobody listened to me.  My suggestion was democratically rejected, with the explanation that all songs are stories, flashbacks, reflections or something else from Jas’ life.  So I had to give up, who would fight such arguments?

Joking aside, I have to say that Jas has much respect for Marko’s and my opinions, but it was initially her project and we didn’t forget it, therefore the name.  Actually, when anyone in the band shows up with an idea he or she firmly believes in and passionately presents it to the others, that person’s idea always gets accepted.  All my suggestions were accepted so far, except for the name of the band, but I probably didn’t present it passionately enough 😊…

As for “All the Highs, All The Lows” as the single, I was told that some of our friends voted it as the lead single.

Jas:  I would describe the political system of the band as benevolent dictatorship 😊.  This is, of course hard to judge from my perspective, but I believe that Marko and Slaven had a lot of freedom when we recorded the album, except when I had an exact vision of what something should sound like.  For example, in the case of “Unlight The Light”, what I wouldn’t give up from the demo were the rhythm dynamics and the underlying instrumental lead, so the instrumental arrangement had to be built around that.  Come to think of it, I pestered them quite a lot about the rhythm and percussion on that song.  Also, almost all songs had predefined vocal arrangements, because that is what I usually immediately hear in my head when I write the songs or when I play them back to myself, so they were sort of forced to direct their efforts more on the instrumental parts of the arrangements.

But generally speaking, I believe that anyone who knows Marko and Slaven personally, could immediately hear their imprint.  The three of us just let each other do what we are best at, respectively, so it is really hard for any conflict to arise and we all, kind of, get what we want in the end.

I was told by some people in the music industry that “All The Highs, All The Lows” was the song most people could identify with and that we should put that one out there as a single first. Most of our friends also liked it the best, so that helped making the decision as well.

SBS:  I’m a firm believer that when music is amazing in the rarest sense of the word, it’s something that people everywhere will agree on.  You all had some of the most incredible buzz surrounding your music from the moment it was put online this year – critics from all over, including us, absolutely LOVE The Girl From Cherry Valley.  So tell us the truth – did you know that you had such a special record on your hands once it was done and you had a chance to hear it for the first time yourselves?  What was the experience like listening back to The Girl From Cherry Valley – do you remember what you thought/felt?

Marko:  It is hard to be objective when you are a part of the same process for a long time, but to me the songs were excellent the first time I heard them listening to the demos, before we had produced this album.  Even today, with some distance, I still think that the album is really good.

Slaven:  When I’ve heard the entire album for the first time after that first “final” mix, I knew that it was something that could be interesting for a wider range of people besides the three of us and our families.  Now it seems this is true, except that it is not so interesting for my family.

Jas:  To be honest, I am so terrible at predicting what other people would like.  So, I had no idea, I just knew I felt very good after I’ve heard it as a whole for the first time.

SBS:  I tell ya…the world can sure move fast these days, especially when it comes to music & art.  I grew up as the son of a musician, and I was always taught that, if you’re going to make a record in the first place, you should be ready to spend somewhere in the neighborhood of at least two years afterwards to properly promote it and get it out there.  Mind you, this was all long before the internet was even a thing…but still, I understand the logic.  You’ve put your hearts & souls into this record – and you don’t want it to go unnoticed or get missed by anyone out there if you can help avoid that – but the pressure to make something new almost inevitably creeps up all-too-quickly in today’s world.  So what’s the answer my friends?  How long should you spend promoting a new album these days and how do you know when you’ve done enough to support it before you move on to putting out something new?

Marko:  This question is hard to answer from one perspective.  Regarding playing live, there should be a continuity so the songs reach the people and that means at least two years of playing concerts.  Concerning radio and TV, the single should be played until saturation and when that happens you release the next one and you keep doing that until you release all the songs for which you think they best represent the album.  On the other hand, there is the internet and you can boost the songs on this platform indefinitely.  In my opinion, the road, that is, playing live is the only right way, because today anyone can get views, but when you stand on the stage in front of the people and you play and exchange energy with them, for me that is what music is all about.

Slaven:  I was working on this album with just one goal: For it to be good enough just for me, so I can enjoy it and listen to it in the car while driving.  With no pressure and no deadlines in creating the first album, it is strange to switch between the “creating” and the “promoting” mode, so I don’t have an answer.

Jas:  The answer probably depends on whether music is viewed predominantly as a business or predominantly as art or, in other words, whether you’re making music to live or living to make music.  If it is viewed as a business, then I guess that in this day and age it would make sense to put as many singles – not necessarily albums – out there as often as possible.  It is all about throwing out content because fans want to be engaged constantly.  Everybody is binging and whatever content gets released is usually consumed within a week and then people move on to the next thing.  So the only way to counter that would be to release new music often, one song at a time accompanied by a video, to stay present.  Then, at one point, release some of those singles on an album along with a couple of new songs and immediately go on tour for a year or year and a half to promote it.  And then rinse and repeat.

On the other hand, if you view music primarily as art, then you’re going to go with your artistic vision and you’re not going to strategize about the pace of the releases or when you’re going to play live.  You are going to release music and play it live when you feel that you have something to say.  For me, it is always quality over quantity, so I prefer this latter approach.

SBS:  Clearly it’s at least still time to be promoting the record for now – you’ve just released the new video for “In Early Mornings” – which is another fantastic choice as a single from this album of yours.  What’s the most important thing to you in making a video?  Are there certain things you consider to be essential when visually representing what the song, or the band for that matter, are all about?

Marko:  The video should be where you tell the story and maybe open up a new perspective to the song.  I myself prefer art music videos.

Jas:  Personally, I don’t like flashy or over-the-top videos that much, even though I see why they could be more fun to watch for people.  I prefer animated or cinematic videos that tell some sort of a story, but it is, of course, very difficult to do this well if you don’t have a big budget.  I’d say that the videos for our songs have to be aesthetically pleasing and subtly convey a message of the song they are depicting.

Slaven:  For example, the video for “In Early Mornings” keeps track of Jas’ multilayered lyrics in this song, giving a hint of the true story in the background as much as the lyrics do.  In my opinion, this is the song in which the lyrics, the music and the picture fit together beautifully and perhaps the best in the project.  This song is so important to me.  When I was first working on the arrangement for the song, I didn’t know what was the story behind it, but I got the atmosphere right nevertheless.  It means that Jas did a good job composing music for it.

SBS:  I know you’re biased of course, being in the band & all…but now that you’ve had some time with your own record since it’s been out – do you feel like it has any weak points, or is there something you hear now that you already feel like you could have done better somehow?  Time & perspective can sure change things sometimes – it’s tough to not evolve as an artist if you’re embracing creativity like you all do – so is it better to maybe not examine what you might want changed and simply accept it for what it is and instead concentrate your efforts on putting what you’ve learned into new material later on?

Marko:  Of course, you could always change something, but that is not the point.  The point is to know when to say the record is finished.  I am sure that there are thousands of great albums in the world, which will never be released, because of some meaningless polishing.  Humans are imperfect, so the music shouldn’t be perfect.

Slaven:  This is the first project I have been involved with where my feeling about it didn’t change in time… I am finally cured from that disease!  Of course, there are some things we could have done better, but I was aware of those “weak points” from the moment I’ve heard the final mix, and I don’t really care about them; they are insignificant.  Everything must have weaknesses, and I’m at peace with ours.

Jas:  As Slaven said before, we had two “final” mixes of the album and a couple of months have passed between them.  The second final mix happened primarily because there were some things which could have been better and that bothered me.  So, there you go.  There are certainly still many imperfections, but as far as I’m concerned there is really no point in looking back now.

SBS:  What would you like to accomplish on the next record from Jas Frank & The Intoits?

Marko:  For starters, it would be nice that all of us are again happy with how it turns out.

Jas:  Exactly.

Slaven:  I would be satisfied if it fit with the sound of the car I will be driving at the time, so I can listen to it while driving 😊.

SBS:  What would you say is the most unique or special aspect of Jas Frank & The Intoits that sets you apart from the rest of what’s happening in music right now?

Marko:  It probably doesn’t make us unique, but for me the best part of this project is the creative freedom I have and the fact that we did this out of pure enjoyment, without any pressure to succeed.

Slaven:  I’m not sure, because I’m not so up to date with what’s happening on the scene, but considering all of the reviews of the album, it seems that what makes it special is the difficulty of determining the genre of music.  It is all over the place and yet still coherent.

SBS:  Tell us about Croatia.  We’re all the way over here on the other side of the world in Canada, and honestly, I don’t know nearly as much as I probably should about your country.  Is the kind of music you’re making still unique over there as well – or are there a bunch of bands in the scene right now that are creating similar styles of music?  What’s the music-scene of Croatia like right now?

Marko:  There are a ton of brilliant alternative bands in Croatia, it is such a shame that Croatia is a very small market.

Slaven:  To me it seems that our sound is more unique compared to the music scene in Croatia then to the one in Canada or other western countries.  But really, the music scene here is pretty much the same as anywhere else.  There are a bunch of people trying to become stars and mostly producing trash and a bunch of people creating music beyond the attention of the mainstream audience.

SBS:  Being all the way over in Croatia – do you feel like it’s even tougher somehow to break into the music-scene in other areas of the world, or has the internet resolved all that by everyone having access to so much music online?  Is it important to Jas Frank & The Intoits to be recognized on a global scale & be super famous one day, or do you all share a different vision for what success for the band looks like?

Marko:  If you ask me, it would be very cool to be recognized all over the world 😊

Slaven:  Marko and I have separately had some success here in Croatia with some different genres of music before and even in this small country the two of us have experienced success in a completely different way.  I cannot imagine what success for a band looks like outside of Croatia.  For me, in this moment, success means doing this interview – I am very excited about it.

Jas:  I think the internet has in some ways made succeeding in other parts of the world much easier than before, but it has at the same time also made it much harder precisely because of what you said – everyone has access to all the music online.  Therefore, it is so much harder to stand out, regardless of where you come from.  To be perfectly honest, even though I certainly love when people listen to and like our music, I am absolutely petrified of the thought of being even remotely famous, let alone super famous.  I am a notorious introvert and I think I would have a very tough time not being able to observe the world as an anonymous.

SBS:  One more on Croatia before I move on here.  I’m always interested in music I haven’t heard before – and so far, quite honestly, a lot of what I’ve heard come out of Croatia in these past couple years has been excellent!  So who else can you recommend to us all?  What Croatian artists & bands should we know about and be listening to?

Marko:  You should check out Egoless and CHUI.

Slaven:  My recommendation for you is Valentino Boskovic: https://www.youtube.com/watch?v=wDedazyUYQ4.  It is a duo who writes their lyrics in a very peculiar dialect from the Croatian island of Brac.  Hardly anyone can understand it even in Croatia, so Canadian listeners would not be limited more than us.  And the music is unbelievable, it is obviously cleansed of all expectations of glory or success.  The duo announced their first concert for the year 2046.

Jas:  If you are interested in upcoming artists then you should check out J R August: https://www.youtube.com/watch?v=ISgPkH6wI2g.  This is a young man of extraordinary talent and he seems to be a really special person who is very connected with nature.  His first album just came out in October and I had the privilege of watching him perform live a couple of days ago for a closed audience, in a somewhat unusual setting – 9 o’clock in the morning – and he just blew my mind.  On the other hand, if you prefer something vintage and sung in Croatian – check out the legendary Haustor: https://www.youtube.com/watch?v=ipYGL3jFXfQ

SBS:  You have released one single since the release of The Girl From Cherry Valley – “Woso Song (Head Up High)” – which if my memory serves me correctly, was pretty close to right after the album came out.  You wrote this song for a specific purpose though.  Tell us a bit about why it was important for you to release “Woso Song (Head Up High)” so soon after The Girl From Cherry Valley, and what it was in response to.  Was it leftover from the recording sessions – or did you create this from the ground up?

Jas:  Well, football or soccer as you call it in North America is my favorite sport and I especially follow women’s football.  I have always liked the music component of the FIFA championships for men, so I tried to find out whether there was an official song for the women’s world cup, which was held this June in France.  I actually had a Twitter exchange with a couple of people about that and we came to the conclusion that there was, apparently, no such song.  I thought this was quite unfair to the women who play the game and one of our followers on Twitter jokingly said that I should write one since I’m a songwriter.  I thought that writing something light-hearted, instead of the usual moody songs I write, would be a nice change, so I took it as a challenge and just did it.  Since we ended up actually recording it, it made a lot of sense to put it out there on the first day of the championship, which was June the 7th.

The song was not a leftover from the recording sessions for The Girl from Cherry Valley, but I did cheat a bit in the process, since it wasn’t written completely from scratch either.  Over the years, I have collected a library of unfinished sketches for songs, so I just pieced together some music I have already written.  After that, I just had to write the lyrics and Marko ended up producing two versions of the song – one for us and the other with the sound that would be more fitting for such a song.

SBS:  Given that there was such a tremendously positive response to The Girl From Cherry Valley, do you feel there’s any additional pressure on you when it comes to making the follow-up album?  You’ve set a real high standard for quality with the songs you created on this record when it comes to the music, vocals, lyrics, overall sound, you name it… The Girl From Cherry Valley had it all! Like I said before, it’s hard for artists not to evolve – but are you confident you can live up to the quality of your debut?  What makes you sure that you can – or what makes you potentially question whether or not you could?

Marko:  I don’t really feel any pressure in that respect.  On the contrary, it is a challenge for me and I am going to enjoy the process of making the second album for sure.

Slaven:  My first band has experienced a collective burnout attempting to repeat the success of our first album.  I think the formula to avoid that is simple: I am simply going to try to create more recordings for myself, to play in the car while driving.

Jas:  I am sure of two things in that respect.  First, the second release is going to be similar to the first album in a sense that we are going to give it our best as we did with the first album.  And second, plenty of people who have praised The Girl from Cherry Valley are going to think that the second record did not live up to it, simply because everyone now has their own expectations and ideas about what the second album is supposed to sound like.

SBS:  Wide open question for you.  When is it okay to compromise for your music & art – or is it ever?

Jas:  There shouldn’t be any compromise for the music.

Marko:  It depends on what you mean by compromise.  But I would never ever make music just because it sells.

Slaven:  Probably only when you have to feed your family.

SBS:  Do you spend a lot of time hanging out with each other when you’re not making music?  How do the members of Jas Frank & Intoits relax & unwind in between jam sessions?

Marko:  When we’re not making music, we see each other regularly for drinks or something like that.  But my life is very much about music all the time, there is always some project I am working on.

Slaven:  Jas and I are working for the same company, which incidentally produces specialized software for the music industry.  So, we see each other all the time and most conversations we have are not at all about the creative side of music, but about stuff that is more down-to-earth, so to speak.  Marko and I are neighbors in Primošten (Google it, it is pure Mediterranean beauty), where we are from, and where we spend the holidays.  The two of us also mostly talk about stuff other than music.

Jas:  I actually don’t remember that all three of us ever hung out together in any place outside the studio.  Marko and I have coffee quite often together (or in my case tea, since I am not a coffee drinker 😊), but the conversations, regardless of how they start, usually always steer back to music.  As far as doing something relaxing not related to music, for me it is mostly cycling or reading everything there is about something I am obsessed about at any given moment.

SBS:  What do you feel like the most important move you can make for your music will be over these next five years to come?  What’s the plan, what are the obstacles in your way, and how will you overcome them to reach your goals?

Marko:  Personally, I don’t have any long-term plans.  The only plan I have right now is to travel to Jamaica in this coming February to record a new album with my reggae band.

Slaven:  I feel like we don’t have plans, only obstacles.  But I also feel something good will happen next year.

Jas:  The only plan we have right now is to record a five-song EP sometime at the end of 2020, or at the beginning of 2021, depending on our schedules.  But, otherwise just enjoy making music.  I know it sounds non-ambitious, but for me music is something I really want to just enjoy, and making plans that might not come to life might ruin that pure relationship I have with music.  I don’t want to taint it in anyway with ambition and frustration that inevitably comes with it, so wherever the water takes us is fine with me.

SBS:  What makes a song timeless?  Can you give us an example or two of songs you think could never possibly get old or any less amazing than the first time you heard them?  Do you think that Jas Frank & The Intoits have already written a song that could be considered timeless – or is that still to come?

Marko:  That is a very difficult question, but I would say that a song is timeless if the listeners can find themselves in the song over and over again at any period after the song was recorded.  I have no idea if any of our songs could be considered timeless, it is difficult to say.

Jas:  Yes, I would also say that the lyrics of the song must be such that the people could identify with them at any time period.  But the melody is also very important.  The melody has to be such that it can work in any setting.  It has to be memorable even if accompanied only by one instrument, such as an acoustic guitar, for example.  The quintessential example of a timeless song, if you ask me, is “Sounds of Silence” by Simon & Garfunkel.  Also “Dust in the Wind” by Kansas.  After all these decades, these songs are still masterpieces.  Even though I would very much like it to be otherwise, I don’t think any of our songs come even close to that.  Hopefully, some future songs will.

Slaven:  Sincerity in the moment makes a song timeless.  The Beatles’ “Something,” for example.  There is a bunch of songs from Jas Frank & The Intoits which are timeless for me, but I can’t be objective about that.

SBS:  I’ve seen you interact a ton with your fan-base online over this past year – where are you most active on the internet, and what do you feel is the most rewarding part of staying connected to the people listening to Jas Frank & The Intoits?  Have they given you any feedback or advice that you’ll consider when creating the songs for the next record – or is that all left up to the three of you only?

Jas:  Even though we have accounts on many social platforms, there are so many of them these days so it would be really hard and too time-consuming to personally respond to everyone, everywhere.  So, we are really active only on Twitter.  I don’t know, it just feels really good to communicate with all these different people from all over the world knowing that you have at least one thing in common with them and that is the love for music.  We haven’t really had any negative feedback about our music so far, people have been really very supportive.  As far as advices go, I sometimes do want to know what people think about some things concerning the promotion of the songs.  For example, is it better to make a lyric video or a regular video, so I will tweet such a question to our followers.  But as far as creating the songs goes, it’s only the three of us.

SBS:  Slaven, Marko, Jas – thank you all so much for taking the time to talk to us!  You’re truly heroes in our universe and I fully believe you’ve got a fantastic career still ahead of you in the future to come.  We could have talked about anything under the sun today…and no interview will ever cover it all – so take a moment here at the end for yourselves…if there’s anything else you would like to say to the people out there, you’ve got the space to do that here – the floor is yours.  Cheers & thanks my friends!

Marko:  Thanks for the interview and God bless to all…

Slaven:  Thank you for all the compliments!  Well, I think everyone has the need to leave a mark, and this album could mean that for me.  In music, it could obviously happen even if you are ready to be the only one who will enjoy your own creations – or maybe exactly because of that 😊

Jas:  I would like to thank the lovely people who have taken an interest in our album and who have been so supportive so far! And, above all, thank YOU from the bottom of my heart for being so relentless in promoting indie music 😊

Find out more about Jas Frank & The Intoits at Twitter here:  https://twitter.com/theintoits

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