Hip-hop music is magnificently powerful when the production and the vocals perfectly fit together in a true balance. Albums like “Illmatic” by Nas, “Ready To Die” by The Notorious B.I.G., “Hard To Earn” by Gangstarr, “The Low End Theory” by A Tribe Called Quest”, and “Enter The Wu-Tang: 36 Chambers” by Wu-Tang Clan are perfect examples where the delicate equilibrium between production and vocals is maintained. Since these LPs (as well as others) were made during the 1900’s, hip-hop historians reminisce about the 90’s as the culture’s renaissance. The past decade also displayed a steadiness between various subject matters and styles. On the underground side, there were groups like Organized Konfusion, Artifacts, Pharcyde, Book Camp Clik, Hieroglyphics, and others. The opposite end of the hip-hop spectrum included more radio friendly artists like Jay-Z, DMX, and Busta Rhymes. The artists on both sides earned respect and remained true to their love of hip-hop culture. Within their music, their vocal performances perfectly intertwined with song’s production. These days, some people purchase albums because of the producer and not because the emcee. The quality of an album’s production can now make or break an emcee. For the North Carolina emcee known as Kazé, production is letting him sail off into a horizon of infinite opportunities.

Kazé found the perfect producer who has resurrected his music. Straight from North Carolina, Kazé has been hustling in the industry for years. On his own label (Soul Dojo), Kazé released a self-produced debut album, “Spirit Of 94” in 2003. While working a full-time job, the emcee/producer remained worked hard to contribute to the hip-hop culture. Kazé has performed with Nas, Jurassic 5, KRS-One, The Arsonists, Dead Prez, Little Brother, Camp Lo, and others. He earned the title of Mic Battle Champion of Vicious Tongues in Raleigh, North Carolina and in Bloodsport Chapel Hill, North Carolina. He also was the co-Creator / producer of a national television series called “Hip-Hop Nation”. After this mountain of work, he was basically unknown outside of his home state.

Little Brother (and The Justus League) recently put North Carolina on the hip-hop map. The emcees, Phonte & Rapper Big Pooh were led by 9th Wonder’s soulful production. Fellow Justus League members Foreign Exchange, Edgar Allen Floe, Cesar Comanche, The Away Team, and L.E.G.A.C.Y were all blessed with 9th Wonder’s superlative production. 9th Wonder’s popularity and critical acclaim is consistently growing. He has produced songs for artists like Jay-Z, Buckshot, Sean Price, Jean Grae, Destiny’s Child, Memphis Bleek, Murs, and Masta Ace. As 1/3 of Little Brother, 9th Wonder’s production helped make “The Listening” LP and “The Mistral Show” LP into timeless hip-hop classics. Years from now, 9th Wonder will be placed next to legendary producers like DJ Premier, Pete Rock, J Dilla, Rza, Dr. Dre, Da Beatminerz, Diamond D, Buckwild, and others.

The effective connection between producer and emcee is essential for the creation of classic hip-hop. Technology, creativity, and the bond of hip-hop fused 9th wonder’s production talents with Kazé’s emcee skills. Similar to his approach on the Nas remix album (“God’s Stepson”), 9th Wonder worked with a cappella versions of Kazé’s songs. The final product was a brand new version of “Spirit Of 94”. Released on Brick Records & Soul Dojo, “Spirit of 94: Version 9.0” has given Kazé worldwide recognition and further showcased 9th Wonder’s exceptional skills. Even though some people may only purchase the album because they wish to hear 9th Wonder’s production, listeners will soon appreciate Kazé as an emcee. Kazé’s album has various themes, intelligent lyrics, an honest approach, and a love for hip-hop. 9th Wonder’s involvement in “Spirit of 94: Version 9.0” gave Kazé some much deserved exposure and credibility. Like the albums made in the 90’s, “Spirit of 94: Version 9.0” displays the perfect balance between the emcee’s performance and the producer’s music. The spirit of 1994 still burns within Kazé. “Spirit of 94: Version 9.0” by Kazé gives hope to those who miss the spirit of 1994.

T.JONES: "What goes on?"

KAZÉ: “Everything is good, man. I’m in the position right now where I have a project out there that a lot of people are feeling. I’m having one of the ultimate successful times in the world that one could have with 9th Wonder. I got that ‘Spirit of 94: Version 9.0’ out there. I’m working on my next record right now. I’m just trying to stay on my feet and continuing. I set a goal for myself. I’m picking what I want to do with my new album. I have like 23 songs done now.”

T.JONES: “Are you surviving off of hip-hop?”

KAZÉ: “I’m one of those employed rappers, who work a 9 to 5. I work in the airport. I use my job as travel to get where I can get.”

T.JONES: “Tell us about your album, ‘Spirit Of 94: Version 9.0’, produced by 9th Wonder.”

KAZÉ: “When I started dealing with everything, I had the premise. I was thinking about what I wanted my first album to be like. Thinking the concept up, I was wondering what the illest year was in hip-hop that touched me or that I identified with the most. At first, I touched on 1988.”

T.JONES: “Blueprint already did an album called ‘1988’.”

KAZÉ: “Yeah, Blueprint. I’m glad I didn’t go that way. I was like, ‘Damn!’ I didn’t want to do the same thing as him. I thought about when I really started getting into hip-hop. I was 1994 or 1995. I was in high school. That was the year that left a big impact on me.”

T.JONES: “Is it true that 9th Wonder’s involvement with the album is the reason it is labeled as ‘Version 9.0’?”

KAZÉ: “I started my own label with my friend. The label is called Soul Dojo. The first album put out was called, ‘Spirit Of 94’. That album was put out in early 2003. I produced the 1st version of that album myself. I did all the songs like that. It was something that we put out independently. We were really out in North Carolina. We had it with the school kids and in the record shops all over North Carolina. At that time, I was doing shows with Little Brother and the whole Justus League. I would open up for them when I was up by them. When they came to Chapel Hill, they would open up for me. That’s how my relationship with 9th Wonder started. Me and all of those cats were chilling. 9th thought my album was really hot. This was around the time of 9th Wonder’s album, ‘God’s Stepson’, which is a remix album of the album by Nas. I told him that I was feeling that treatment and asked him what was up with my joint. He was like, ‘Hell yeah!’ He freaked it.”

T.JONES: “Which Little Brother album do you enjoy more? ‘The Listening’ or ‘The Minstrel Show’?”

KAZÉ: “‘The Listening’. That LP is the dream come true. Some cats from N.C. made an album with no deal and it blew. They were all broke and maintaining at the time. That album got them out there.”

T.JONES: “You and 9th Wonder were never actually together, in the studio, for ‘Spirit Of 94: Version 9.0’?”

KAZÉ: “Nah. I handled it. I gave him some a cappella stuff. He was at my crib and I was at his crib. I gave him the a cappella joints. He called me back 4 days later and told me that it was halfway done.”

T.JONES: “How would you say your production is different from 9th Wonder’s production?”

KAZÉ: “There’s a huge difference between my version and his version. 9th likes the soul of sampling. He has that classic hip-hop soul. My version has more keyboards. It was made from the MPC. My version was me, producing the whole album. I hooked up the keys and the beats. My production style is influenced by people who don’t sample.”

T.JONES: “On the song, ‘Money, Power & Influence’ from Guru’s ‘The Street Scriptures’ album, Talib Kweli mentions that Pro-Tools made producers lazy. Do you agree?”

KAZÉ: “Yeah. I would say this. I’m one of the few cats around here who really knows the MPC. It’s been around. For me, it’s like Pete Rock, it goes back that far. All these new school cats, hardly none of them use it. I have nothing against them, but it is a different tool. Are you are a craftsman who is making the Eiffel Tower out of scalpel and a sledge hammer? I don’t knock the cats who program, but I came up on the MPC, SP-1200, and ASR. Those were the tools you used for production. I want to make my own style. I make all my shit from scratch. My keys, everything! If I’m putting an album out, I won’t be able to afford the samples.”

T.JONES: “In one phrase, how would you describe your production style?”

KAZÉ: “Innovative.”

T.JONES: “Even though 9th Wonder produced a majority of the tracks on ‘Spirit Of 94: V9.0’, Khrysis and others produced a few. Why did you choose them, as opposed to just 9th Wonder?”

KAZÉ: “That was 9th Wonder. When I gave it to 9th, that was what he came back with. He told Khrysis to do a couple of joints too. I was cool with it. Khrysis is as cool as 9th. It was something that I didn’t have to ask for. Khrysis wanted to get that and came back. Even when I talked to Khrysis, I told him that I liked what he did with the remixes. He said, ‘Yo, I didn’t know what it was for or what was going down. 9th called me and told me to give him 3 beats.’ Then, he hit him up.”

T.JONES: “What are your favorite songs on ‘Spirit Of 94: Version 9.0’?”

KAZÉ: “My favorite song is ‘Should’e Been Here’ because it is a piece of me. That includes real facts and real stories. It’s right out of my life. I felt that song helped me deal with myself. I knew that I wasn’t the only one. It may be your mom, your grandma, or your brother.”

T.JONES: “What song took the longest to complete?”

KAZÉ: “That song. ‘Should’ve Been Here’ took me like 2 weeks to write. I wanted that to be as perfect as possible because it is a memorial to my moms. I wanted that song to be as tight as possible. If you are going to dedicate a song to somebody, you want to make sure it is tight and accurate. I wanted to make sure my feelings were accurate and that I wasn’t talking in a childish way, off the subject or insincere. I just took my time and wrote the way I felt. You get to a point with yourself where you don’t want to divulge certain info. I would stop myself. It was a point where it was like man verses himself. I didn’t want to put it out on record. At first, I didn’t want the audience to know that much about me or know I have feelings like that. At that point, I was like, ‘Fuck it!’ If you want a song to be as hot as you want it to be, you have to let your guard down.”

T.JONES: “There are 2 remixes of song, 'Soul Dojo' on the album. Which one do you like more? Why?"

KAZÉ: " There are 2 just because 9th did the first one. I wanted to make a grimier remix version."

T.JONES: “What inspired the song, ‘Locked In Chains’?”

KAZÉ: “My job, at the time. Pretty much every job that I ever had, the bosses and managers dealt with me in a subservient manner. They never saw my job as being on the road to somewhere else. It’s like ‘You are my bitch. This job is your life.’ I’ve been fired for missing work to go to a mic battle, when I worked on Hip-hop Nation. I always had ideas that were close to the culture and street because I lived it, yet the executives don’t know shit about the music, art, or culture. They want to dictate what they feel should be expressed. I always had a governor put on me when I had great idea.”

T.JONES: "When creating a song, do you have a set theme or pre-written lyrics? Or, do you write to the beat?"

KAZÉ: “It depends. Ever since I worked with 9th,  I get a lot of submissions. I get a lot of beats from cats with style. Sometimes, I’ll write to the beat. Early on, I would write songs without the beat and then, piece the song together. You know, sit down and write to get it all in. I would write out a concept. It’s really 50/50. It depends. A lot of times, I will pick the topic or what I want to write about. I know the type of song I want to do. Then, it’s a matter of just looking for the right beat to put it on. It has to be a beat that matches the feeling or it has to be a beat that makes me feel like it is the right song for those words.”

T.JONES: “Brick Records released the ‘Spirit Of 94: Version 9.0’ LP. How did you get involved with Records?”

KAZÉ: “That was a connection made by my manager, Shaw. It’s an interesting dynamic. Not only is he my manager, but till this day, he books the major venues in South Carolina. The Cat’s Cradle is one spot where all the major artists come through. Spitkickers comes thru there, Krs-One comes thru there, and anybody who is on tour comes thru there. You name it. M.O.P. and Pharoahe Monch. If you come down here to South Carolina and you are on that independent or underground level, you are going to do Cat’s Cradle. Once we were going on tour and we had to burn a bunch of copies of the album. We first burned up like 200 and sold them through hiphopsite.com and justice league site and Free World. It did so well in such a short period of time. Brick were the ones who wanted to do it.”

T.JONES: “What about ABB Records?”

KAZÉ: “I don’t know. They know me. It’s like they are there, but they haven’t stepped to me.”

T.JONES: “The liner notes inside the album have some extremely universal and important advice. What were you trying to accomplish with this statement?”

KAZÉ: “I never really had a mentor with this whole thing. Maybe, that is why it took so long for me to evolve. It was like a speech I wrote to myself. It is what that is. That was to myself. For this to be my first album, I had to put that shit in there. They didn’t understand. Brick asked me why I was putting that in there. I was like, ‘Yo! Just put that shit in there! Don’t ask me why!’ A lot of cats comment on that little thing, like it adds to experience of the album.”

T.JONES: “I think the entire final product is essential in order to truly experience the album. I think the listener should have the artwork, credits, notes, shout outs, photographs, and more. You cannot listen to the promo CDs that have people shouting over the songs every 60 seconds.”

KAZÉ: “Yeah, that’s true.”

T.JONES: “How did you hook up with Nature on the song, ‘Move Over’? What was that experience like?”

KAZÉ: “My life in North Carolina is a little different because I’ve been in the hip-hop scene, not only as an artist. There was this thing called Microphone Mondays. Every Monday in Chapel Hill, we had people come thru. Big Daddy Kane, Jean Grae, 9th Wonder, and anyone in town. Nature came down for a showcase. He listened to my music and we hooked it up. I told him, ‘Yo, I just wanna get a song with you.’ He stayed in town for an extra day. We went to the studio and did that song together.”

T.JONES: “Who are some artists you have been listening to in the past couple of days?”

KAZÉ: “I’ve been listening to Kanye, Little Brother, and I have to say I went back and copped 50 Cent’s album. I needed to see how the hell he did 22 videos for every song.”

T.JONES: “What do you think of 50 Cent’s ‘The Massacre’ compared to ‘Get Rich Or Die Tryin’?”

KAZÉ: “His first album is a classic. His new one is kind of, whatever. The first shit was a classic. The fact that the dude did 22 videos, I really had to see that. I would say about 7 feature him. There are the main ones, the singles. Still, I would say about 15 of the videos could air on TV. The video for ‘Piggy Bank’ is crazy! It’s animated and funny as hell. He’s clowning Fat Joe and Jadakiss too. Jadakiss is like a Ninja Turtle. It’s worth looking at.”

T.JONES: “Who are some producers who you would like to work with in the future?”

KAZÉ: “I would like to work with J Dilla and Just Blaze. I’ve been following Jay Dee since The Ummah.”

T.JONES: “Who are some artists who you would like to work with in the future?”

KAZÉ: “I would like to work with Ghostface. I just did a song with Royce Da 5’9”. That will be on my next album. That joint is crazy.”

T.JONES: “Tell us about your follow-up album to ‘Spirit Of 94: Version 9.0’.”

KAZÉ: “This new album is going to be called, ‘From Then Block To The Beat’. The artist that I am is like this. I don’t classify myself in a genre. I don’t want classified or have any lines drawn. I don’t want to be labeled as underground or mainstream. That’s really a part of the title, ‘From Then Block To The Beat’. The whole sound is that it is for the hood, the intellectual kids, the suburbs, and more.”

T.JONES: “Who are the producers you have on ‘From Then Block To The Beat’?”

KAZÉ: “Ah, man. I have 9th Wonder. What’s great about the album is that I mostly have North Carolina cats on the album who you haven’t heard. I have 9th, Khrysis, K. Hill, this cat named Slack, and my man from New Jersey, Analogic.”

T.JONES: “Is ‘From Then Block To The Beat’ LP coming out on Brick Records?”

KAZÉ: “I’m a free agent right now, man. That was a one album deal with Brick. I have some labels calling me right now, but I don’t really know how this next how is coming out.”

T.JONES: “Do you think that success and credibility are mutually exclusive?”

KAZÉ: “Yes. I think that is definitely true. Whether it is real or not, the actuality of it is, you start out and build your fan base from the underground. You battle, do your thing, and people love you because you are this new and unheard artist who is all their own. They found a new cat that nobody else knows about. You get more popular and then, you are hot. Sure, you’re dope in the first place, but once you get to a level, like Kanye or Eminem, old fans may not like you now. You may fall off. At the same time, fans are entitled to this. Artists get disassociated from the environment that made them. It’s different when you are starving to death in 8 Mile and writing raps than living in an $8 million penthouse and writing a rap.”

T.JONES: “True. 50 Cent didn’t die, but he did get rich.”

KAZÉ: “(Laughs) That’s real! He didn’t die, so he got rich. That’s real, Todd. I know a lot of the cats who are holding the torch for me now. Those are the lyrical cats who like the boom-bap on that level. Now, I’m into boom-bap, but I’m not trying to please anybody. I want to do what I want to do. I don’t know how cats take it when I put it out. I hope cats rock with me regardless. I’m underground right now. I’m broke and underground right now! I’m going to always have that mentality. I want my records to be raw.”

T.JONES: “Although racism is a major problem in America, racism is much different in the Southern states. How different is the racism in North Carolina?”

KAZÉ: “What lends to it more, is the history here. There are actual things that are going on and that were going on here. In the town I live in, there were people who were lynched. My mother and father went to segregated schools. I think there is a lot to the history down here. I’m not going to say that it’s the ‘Heat Of The Night’ out here. It’s an unsaid thing, but it is in your face. It happens when you try to go to certain clubs or other places outside of where you work or go to school. That’s only because of life integrated. Churches are not integrated. Neighborhoods aren’t integrated either.”

T.JONES: “Word association. When I say a name, you say the first word that pops into your head. So, if I said ‘Public Enemy’, you may say, ‘Revolution’ or ‘Fight The Power’.”

KAZÉ: “Alright.”

T.JONES: “Flava Flav.”

KAZÉ: “Legendary. That’s the first thing you heard from PE. You wouldn’t even sit there and listen to Chuck D if there wasn’t this crazy bastard running around going, ‘Yeah!’. Flava caught my eye at first. Then, Chuck D’s words got in the way.”

T.JONES: “Buckshot.”

KAZÉ: “Pioneer.”

T.JONES: “Phonte of Little Brother.’

KAZÉ: “The future.’

T.JONES: “9th Wonder.”

KAZÉ: “Legendary.”

T.JONES: “Atmosphere.”

KAZÉ: “Eclectic.”

T.JONES: “C Rayz Walz.”

KAZÉ: “Other-worldly.”

T.JONES: “Del The Funky Homosapien.”

KAZÉ: “Unique.”

T.JONES: “Pharoahe Monch.”

KAZÉ: “Innovative.”

T.JONES: “Jay-Z.”

KAZÉ: “Entrepreneur.”

T.JONES: “Eminem.”

KAZÉ: “Emcee.”

T.JONES: “Wu-Tang Clan.”

KAZÉ: “Hip-hop.”

T.JONES: “Edgar Allen Floe.”

KAZÉ: “My homie.”

T.JONES: “George Bush.”

KAZÉ: “Asshole.”

T.JONES: “What is hip-hop lacking these days?”

KAZÉ: “Honesty. A balance is needed right now. I’m not an art snob or musically arrogant. A lot of cats don’t want both sides. There are underground cats who don’t want to fuck with what they think is mainstream or commercial bullshit. Mainstream cats don’t want to fuck with what they think is backpack bullshit. What they need is the yin & the yang, the pendulum. I need an authentic story to the right of me and I need an authentic story to the left of me. Right now, we need balance. Back then, you could have N.W.A. out at the same time De La Soul was out. We don’t have that balance now. I see it a little bit. It’s trying to make it’s way back.”

T.JONES: “Nowadays, hip-hop is labeled either underground or mainstream.”

KAZÉ: “Yeah. Hip-hop doesn’t need to be divided. People should have their favorites. They shouldn’t black out on something just because it’s not hot. You’re going to miss out on a lot of hot shit.”

T.JONES: “The song, ‘Waiting To Exhale’ is a cool weed track. You still smoke as much? How does herb change your approach to music?”

KAZÉ: “Yeah, I burn. I’m actually trying to cut down. I want to be able to bring that energy to my shows. I want that Busta Rhymes energy on stage. I got to cut back on trees a little bit.”

TJONES: “What is the meaning behind your name, Kazé?”

KAZÉ: “Everyone asks me about the Japanese influence with ‘Soul Dojo’ and kamikaze obsession. I have my own style. My name is Kevin and I said, ‘My name is K-E-V, but you can call me Kevikaze.’ My name came out of a free style and it stuck. Kevikaze used to be my name for a long time. On 9th Wonder’s ‘Dream Merchant Volume 1’, I am listed as Kevikaze. From there, my people thought it was hot. During the war, kamikaze pilots were ill. They used to sacrifice themselves. That’s what I’m doing. If I have to sacrifice myself for the shit that I’m doing, I’ll deliver some real shit, my message, and make a hot song. I came out of the battle circuit and it helped. I don’t think I brought that battle stuff out enough on my first album. I didn’t bark at anybody. Motherfuckers take their name and break it down to as few syllables as they can. Method Man is Meth, Jay-Z is J. My name got whittled down to Kazé. I thought I would go ahead and make it easy for everybody.”

T.JONES: “If you had to choose between being a producer or emcee, which one would you choose?”

KAZÉ: “For all time? I would say production.”

T.JONES: “Now, hip-hop seems more of a producer’s market.”

KAZÉ: “Yeah, if your legacy is art, people take time with production. Hip-hop is a world where we get tired of rappers. Once we get tired of the rapper, we tune them out no matter what type of material they have. Krs-One aged, but he still makes stuff. People begin to tune rappers out. Dr. Dre was able to maintain and so did Premier. They did it with production and producing new cats. Their music is still part of the foundation of hip-hop. Still, being on the mic and being heard is first.”

T.JONES: “Tell us about Soul Dojo.”

KAZÉ: “That’s the label I created to put out my own stuff. When I first started doing it, I had nobody interested. Nobody gave a fuck that I rapped. I studied the game. I saw how people set up labels and how people started putting out their own albums. I thought that if I sat there and waited for a label to sign me, I would never get an album. I had Soul Dojo in my own hands. I did it myself. It started a while ago. The meaning behind the name is that the soul is the essence of life, your being. Dojo is not really like a karate school, but a school with disciplined styles where people practice. So, what discipline are you practicing for?”

T.JONES: “What was the biggest mistake you have made in your career?”

KAZÉ: “I’ve made so many! I would say trying to produce my whole first album by myself. This is only because a lot of cats tuned out my production style. I tried to hit them in the head right off the bat. The same album that we are talking about right now, ‘The Spirit Of 94’, I put out in 2003. I didn’t get nearly the same response.”

T.JONES: “Besides 9th Wonder’s beats, how is ‘Spirit Of 94: Version 9.0’ different from the original LP released in 2003?”

KAZÉ: “It’s the same songs. As a matter of fact, there are 7 songs on the first album that they didn’t even remix. It’s good. My style of production is different. I didn’t have the eclectic mix of 9th Wonder’s production style. That’s a pill I had to swallow as a producer. ‘Spirit Of 94: Version 9.0’ has the same words, yo! The album has the exact same words and people are acting like it’s a brand new album. To the rest of the world, it is. Out here, we worked the original real hard and rocked shows. To the rest of the world, it’s brand new. Before 9th Wonder, nobody outside the N.C. heard my album before.”

T.JONES: “Has hip-hop affected your romantic relationships?”

KAZÉ: “In a sense. As dedicated to hip-hop as I am, it becomes like your girl. It’s hard to have a person who really understands that. I’m fortunate that I have somebody who does. I got married last September. My wife was one of the first people who supported me and didn’t just think it was a hobby. I’ve been lucky. That could make you or break you.”

T.JONES: “What’s next?”

KAZÉ: “Getting this new album put out. I would like to be in the same situation that Little Brother was in, where I’ll have access to the machine. You know what I mean? I got a new single coming out in a month. It’s a political song about Bush called ‘Blood’s Thicker Than Oil’.”

T.JONES: “Any collaborations coming out?”

KAZÉ: “Yeah, I’m on the b-side of Douja Raze’s single (‘Plastic World’) on Trilogy Records. The song is called ‘No Place’. It’s really hot.”

T.JONES: “Final words?”

KAZÉ: “The best is yet to come. For those who bought the album just to hear 9th Wonder’s beats, thought a guy rapping on top of them would get in the way, but heard someone decent, I promise you that you ain’t heard nothing yet. The best is yet to come.”

THANK YOU KAZÉ !!!

Interview by Todd E. Jones aka New Jeru Poet

toddejones@yahoo.com

NOTICE: This interview is property of Todd E. Jones and cannot be duplicated or posted without written permission.

OFFICIAL WEBSITES:

SOUL DOJO: http://www.souldojo.com/

BRICK RECORDS:  http://www.brickrecords.com/

MP3:

"Move Over" – KAZÉ f/ Nature  (produced by 9th Wonder)

http://www.souldojo.com/downloads/MoveOver.mp3

"Should Have Been Here" – KAZÉ  (produced by 9th Wonder)

http://www.souldojo.com/downloads/Should've%20Been%20Here%20(9th%20Remix).mp3

SAMPLES:

"50/50 Amp" – KAZÉ  (produced by 9th Wonder)

http://cdbaby.com/mp3lofi/kaze3-03.m3u