Why Make Music… Episode 065 “Listening Is What We Do”




 WILLA MAY – OPENING MONOLOGUE (EPISODE 065)



[Intro Music Cue – fade in slow, rich texture]


WILLA MAY (smooth, playful tone):


“Mmmm… yeah. You hear that? That’s the frequency of WDMN Media tuning in. And if you’re hearing my voice right now? Congratulations – you made it to the next level of listening.
Welcome, welcome, beautiful beings, to another episode of Why Make Music…
This is Episode 065… and the title? ‘Listening Is What We Do.’
Because today? We’re not just talking music.
We’re talking memory.
We’re talking rhythm, regulation, and real-life resonance.
We’re talking about why we loop our favorite songs…
why that one old record makes us cry…
why hearing the right beat at the right time can change your whole day.
So buckle in, because we are going deep.
Now before we open up this supersized sonic love letter… let’s handle some quick business, yeah?



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WILLA (shift tone to sincere, grounded):


Now this episode?

We’re going back and forth, segment by segment – me and ThinkTimm walking you through the entire soundscape of Volume 7, the If I Was Your Producer series finale (or is it?).
We’re diving into:

A full album breakdown of 10 new original tracks

WNBA and NBA roster updates – facts only, no outdated info

Artist spotlights on Olivia Dean, RAYE and her sisters, and William Prince

And a deep psychological dive into why we return to the same songs – over and over again.

This is the supersized version. The director’s cut.

We made this episode long on purpose – so you can edit what you want, or binge it in full.
But don’t get it twisted… this isn’t filler.
This is fuel.
So go ahead.
Turn your speakers up.
Put your phone on DND.
Tell your algorithm to relax.
Because WDMN Media is about to give your brain what it’s been craving.
Welcome to Why Make Music… Episode Sixty-Five…
‘Listening Is What We Do.’
Let’s begin.



[Music fade into first segment – “Another Lover To Give” breakdown or content of choice]





Think Timm’s If I Was Your Producer series has become a monthly showcase of musical creativity and production prowess. Under the WDMN Media banner, he’s been dropping one volume per month, each packed with ten original tracks spanning genres and moods. These aren’t just beat tapes – they’re conceptual experiments. The series poses a playful challenge: “What if Think Timm produced your song?” Each volume explores that fantasy, with Think Timm in the “sonic driver’s seat” reimagining how different styles and ideas could sound under his direction. Volume 7, slated for release on January 23, 2026, continues this bold journey with 10 brand-new tracks crafted with full originality and cleared for use (sync-ready) in film, TV, and more. In keeping with WDMN Media’s ethos, this project isn’t about chasing chart hits or viral fame – it’s about building a rich catalog and legacy through authentic creativity and experimentation.


The If I Was Your Producer concept is all about flipping expectations and blending genres. As the WDMN team describes, “every song is a bold reimagination” and the music blurs the lines between funk, hip-hop, R&B, electronic, and beyond. Think Timm’s approach rejects any cookie-cutter formula. “This isn’t Artificial Intelligence-generated filler or copycat music. This is heart. This is imagination turned all the way up,” the Volume One manifesto proclaims. Volume 7 promises to uphold that standard, delivering tracks that could change the game – or at least spark some inspiration – for artists and listeners alike. Before diving into the album’s broader significance, let’s spotlight the track list with some commentary on what each title hints at.

Album Drop Spotlight: Volume 7 Track list Overview

Early in the release, we get a dedicated segment that unveils Volume 7’s tracks alongside brief teasers of their vibes and themes. This overview sets the stage for the listening experience, much like an album drop spotlight that primes the audience. Here’s a rundown of the ten tracks on If I Was Your Producer – Volume. 7, with insights into each:


1. Another Lover To Give – A soulful opener that likely delves into the endless cycle of love and heartbreak. The title suggests themes of giving love again despite past hurts. Expect a passionate melody, perhaps channeling classic R&B vibes about having “another lover” to offer your heart to. This could be Volume 7’s emotional hook, drawing listeners in with relatable feelings of love lost and found.
2. Dedication – A motivational mid-tempo track that wears its heart on its sleeve. Dedication promises to be an anthem about commitment and passion, possibly paying tribute to the grind of independent creation. In the context of Think Timm’s journey, it might reflect the devotion to craft – a song about sticking to one’s mission and art. Given WDMN Media’s focus on consistency and purpose over clout, this track might resonate as a personal statement on staying dedicated.
3. Hey Like A Drug – A track with an addictive groove and theme. The phrase hints at comparing someone’s love or a vibe to a drug – intoxicating and irresistible. Musically, it could lean into a seductive R&B or pop sound with a catchy hook that “gets you high” on the music. Think Timm might use this song to explore how certain feelings or beats are as addictive as a substance, wrapping that concept in lush production.
4. Just Ur Type – This title suggests a flirty, confident track about knowing one’s appeal. Perhaps an upbeat jam blending pop and neo-soul elements, Just Ur Type could celebrate individuality and connection (“I’m just your type”). It’s likely a feel-good song, possibly with playful lyrics or samples, matching the series’ knack for genre-blending fun. Expect smooth melodies or funky bass – the kind of tune that easily fits a montage of romantic or joyful moments.
5. Pass the Mic – Here we anticipate an old-school hip-hop energy. “Pass the Mic” evokes cypher-style rap sessions and collaborative spirit. This track likely turns up the boom-bap influence, inviting listeners to imagine a circle of MCs trading verses. It might even feature vocal drops or scratches paying homage to rap legends. Given Think Timm’s background as a solo creator who can do it all, Pass the Mic could be a nod to hip-hop culture and the art of sharing the stage, even as an independent one-man show.
6. Question – This song’s teaser came with a poignant note: “this is the part that hurts the most – oh the words are real. Love is a trip.” Clearly, “Question” is set to be one of the most emotional pieces on the album. It delves into the painful questions that arise in love and life, highlighting how words can cut deep. We can imagine heartfelt vocals or a stirring instrumental conveying that raw hurt when one confronts uncomfortable truths. The phrase “love is a trip” suggests the track explores love’s unpredictable ups and downs, perhaps akin to the rollercoaster of a relationship. It’s likely a ballad (or a ballad-like slow jam) where Think Timm flexes his storytelling, possibly even sampling poignant dialogue or using a minor-key melody to tug at the heartstrings.
7. Say It (Think Timm) – A standout title because it explicitly tags the artist’s name. “Say It” appears to be a track where Think Timm himself steps up to the mic – “Yeah we can rap, we get down,” was the clue attached to this song. Listeners can expect Think Timm to vocally showcase his skills here, likely delivering rap verses over his production. This could be a fun, brag-worthy hip-hop track that proves the producer isn’t confined to the mixing board. By literally saying it, Think Timm might be asserting his voice and identity, adding a personal touch to the album. The beat might be hard-hitting or playful, but the key is hearing the producer’s own words, which doesn’t always happen in instrumental-driven projects. It’s a reminder of his versatility – producer by trade, but artist at heart.
8. Undefined – As the note says, “self explanatory.” This intriguing title hints that the track defies easy categorization. In line with Think Timm’s genre-blending ethos, Undefined likely floats between styles – maybe an experimental instrumental that morphs unexpectedly. It could be a commentary on refusing to be labeled. Musically, anticipate unusual combinations: perhaps lofi hip-hop meets ambient, or funk grooves with electronic glitches. The beauty of a track called “Undefined” is that it sets you up for surprise. By placing this in Volume 7, Think Timm reinforces the message that his music cannot be put in a box. As with previous volumes’ boundary-pushing tracks, this one probably invites the listener to drop expectations and enjoy the ride.
9. Western World – This track comes with a provocative parenthetical: “The Wild Wild West in the song. Western culture – we the best! That’s why they hate us.” Western World is poised to be a commentary on cultural dominance and backlash. The title evokes images of the “Wild West” and modern Western society. Lyrically or through samples, it might tackle the pride and arrogance often associated with Western (particularly American) culture – that boastful “we’re the best” attitude – and the resentment it breeds. This theme resonates with real-world discussions; Western culture has indeed been a source of antagonism in parts of the world. Think Timm could be channeling that tension into a song that’s edgy and bold. Sonically, we might hear western movie motifs (like a lone whistle or guitar twang) fused with contemporary beats, or perhaps a hard-driving track that feels like a showdown. Western World stands out as Volume 7’s social commentary piece, proving the collection isn’t afraid to address big-picture topics amid the beats.
10. What I Think – The closing track intriguingly hints at insanity. Titled “What I Think,” it might be an unfiltered outpouring of Think Timm’s mind – possibly the wildest, most experimental cut on the album. Ending with “What I Think” suggests the artist is leaving us with his raw thoughts, maybe chaotic or intense. The word insanity implies this track could have a frantic energy or unpredictable structure, reflecting the madness that sometimes fuels creativity. It might weave together various motifs from earlier tracks or flip a familiar melody on its head, as if to say: “After all these songs, here’s the pure, uncut version of me.” Given how the creative process can border on madness, this finale likely embraces that concept. In doing so, it closes out Volume 7 with a statement: Think Timm has shared beats for others throughout the album, but in the end, he leaves you with a piece of his own mind – uncensored and sonically bold.






This overview gives a glimpse of Volume 7’s range – from love and heartbreak to swaggering rap to social commentary. Early listeners get a heads-up on each track’s essence, thanks to this mini-breakdown near the album’s start. Throughout the album (and in discussions about it), expect to hear callbacks to these themes. For instance, references to the “Wild West” vibe or the burning “questions” of love may pop up as motifs, tying the collection together. Volume 7 clearly aims to take us on an eclectic journey, and these titles with their commentaries are our map.




Genre-Bending Creativity and Key Themes



One of the defining features of the If I Was Your Producer series is its fearless genre-bending and thematic variety. Volume 7 continues this tradition. We see recurring themes of love and relationships (“Another Lover To ,” “Question,” “Hey Like A Drug”) juxtaposed with commentary on society and self (“Western World,” “What I Think”). This balance between the personal and the cultural is a hallmark of Think Timm’s storytelling through sound. By sequencing a tender track like Question next to a bold statement like Say It or a concept piece like Western World, the album creates a dynamic listening experience with emotional ups and downs.

Musically, Vol. 7 doesn’t sit still in one corner. Just as earlier volumes mixed funk with synth-pop and hip-hop with R&B, this edition jumps from style to style while maintaining a cohesive vibe. For example, the sultry R&B undertones hinted in Another Lover  and Just Ur Type might be followed by the spacey hip-hop of Pass the Mic or the undefinable experimental soundscape of Undefined. This genre fluidity is very much by design – Think Timm has positioned the series as a “producer’s playground” where rules don’t apply and experimentation has no expiration date. Listeners can hear echoes of different eras and genres: a bit of ’90s slow jam influence here, a touch of futuristic synth wave there, some classic funk or soul thread woven throughout.

Crucially, despite hopping between genres, the album maintains Think Timm’s signature WDMNation sound – a certain polish and imaginative flair that stamps each track. The consistency comes from the heart and craftsmanship he pours in. As described on the WDMN site, Think Timm builds each track “with love, precision, and just enough bass to make your auntie’s wig shift.” That humorous yet vivid image underlines the point: whether it’s a love song or a commentary on Western culture, the production is going to hit hard and feel meticulously crafted. Volume 7 is no exception; every piece is full of character.



Thematically, a few threads run through the record, creating callbacks that reward attentive listening. One such thread is resilience and authenticity. We hear it in Dedication – likely reinforcing the idea of staying true to one’s path – and in Say It, where the artist literally speaks his truth. Another thread is a sort of cultural introspection: Western World explicitly does this, but even What I Think can be seen as looking inward at one’s place in a chaotic world. Then there’s the theme of love’s complexity, evident in multiple tracks. Question and Another Lover  might offer two sides of the coin – one highlighting love’s pain and uncertainty, the other offering hope in giving love another try. The clever placement of Hey Like A Drug (with its metaphor of addictive love) alongside Just Ur Type (confidence in mutual attraction) also creates a mini narrative arc about relationships. These subtle thematic callbacks ensure that while Volume 7 hops between ideas, it still feels united as a body of work.


Playing the Long Game: Catalog Culture and Sync-Ready Music


Volume 7 isn’t just a standalone album; it’s part of Think Timm and WDMN Media’s bigger strategy of building a formidable music catalog. By releasing a volume of 10 tracks each month, they are playing the long game, focusing on creating a steady stream of quality content rather than chasing one-off hits. This approach has been explicitly embraced by the team – they refer to it as a “catalog culture in real time”. The idea is to accumulate a rich library of songs that can live on and find various uses, especially in synchronization licensing (placement in media like TV, films, ads, games).
All tracks on If I Was Your Producer – Volume 7 come “fully cleared and registered,” meaning they are ready to be licensed without legal hurdles. This is a deliberate move. In recent episodes of the Why Make Music… podcast, Think Timm and co-host Willa May (DJ Warm Cookies) discussed how WDMN Media partnered with Code 3 Records to make their volumes “sync-ready” – curated for TV, film, and digital placements. Volume 7 follows suit, engineered not only for streaming audiences but also with potential visual media in mind. For the listener, this means the songs have a certain cinematic quality – you might hear Dedication and imagine it underscoring a triumphant movie montage, or play Hey Like A Drug and picture it in a steamy drama scene.



WDMN’s focus on sync licensing reflects an independent musician’s savvy adaptation to the industry. Rather than aiming for radio play or viral TikTok status alone, Think Timm is aiming for longevity and diverse utility. Every volume release, including Vol. 7, is a step in building what is now a 400+ song catalog (spanning Vol.1 to Vol.7 and other projects) – a catalog that can generate revenue and exposure over time as opportunities arise. This patient strategy is about sustaining a creative career. Volume 7’s collection of tracks, each with its own flavor, increases the chances that somewhere a music supervisor or content creator finds the perfect match for their project. It’s music creation as both art and investment in future opportunities.


Importantly, none of this “catalog” approach compromises the artistry. Think Timm’s team has emphasized that every track is made with purpose and no shortcuts. The independence of the project (no major label dictating trends) allows Volume 7 to be adventurous. The album can afford to have a niche experimental cut like Undefined alongside more accessible tunes because the goal isn’t to top charts, but to enrich the WDMN Media universe of sound. In essence, Volume 7 serves the dual role of being a creative outlet and a building block in a larger collection. It’s a model of how modern independent artists are forging their own paths: consistent output, ownership of masters, and readiness to monetize through avenues like sync, all while engaging true fans with authentic music.


Conclusion: Legacy in the Making


With If I Was Your Producer – Volume 7, Think Timm is not just dropping another album – he’s adding a chapter to an ongoing legacy. This volume encapsulates what the entire series stands for: creative freedom, relentless productivity, and heartfelt production. From the stirring questions of love and life in “Question” to the audacious cultural critique in “Western World,” from the smooth vibes of “Just Ur Type” to the unfiltered expression of “What I Think,” Volume 7 is a journey through sound that is uniquely Think Timm. It reflects an artist who has stayed true to his voice while constantly evolving and staying prolific. As co-host Willa May put it in a recent podcast, they’re creating something that lasts – “legacy is built in the doing – not the downloads”. In other words, success isn’t measured by a flash in the pan, but by the cumulative impact of consistent creativity.
Volume 7’s release on January 23, 2026 is both an endpoint and a beginning. It caps off seven volumes (and more to come) of monthly dedication, showcasing how Think Timm has grown and experimented across each installment. Yet, it also kicks off a new year of possibilities – new placements, new listeners discovering the catalog, and perhaps new collaborations sparked by these beats. The album’s very existence is a testament to an independent ethos: create boldly, release regularly, and let the work speak for itself. As listeners queue up Volume 7, they’re not just getting a one-time thrill; they’re invited into an ever-expanding world of music that rewards curiosity and supports a vision.


In the end, If I Was Your Producer – Volume 7 delivers on its promise – letting us find out exactly what happens when Think Timm is at the helm. It’s an album that can make you dance, make you think, and maybe even inspire fellow creators. And as part of the wider WDMN Media mission, it solidifies the foundation of a legacy-in-progress. True to the mantra “Think Timm… if nothing else!”, Volume 7 leaves a distinct mark – one that says this is music made with passion and purpose, and it’s here to stay.




NBA’s Unrivaled League – The Breeze BC Superteam


Women’s basketball has a new twist outside the WNBA season: the Unrivaled league, where top talent teams up in a high-intensity showcase. One of the standout squads is Breeze BC, a newly formed team blending youthful energy with star power. The Breeze are captained by phenom Paige Bueckers, the former UConn sensation now starring as a Dallas Wings guard in the WNBA. Bueckers’ game is often described as artistry in motion – smooth, consistent, and effortless on the court. In Unrivaled play she’s quickly making her mark, proving why the Dallas Wings (who made her a top draft pick) value her so highly.


Joining Bueckers on the Breeze is another rising star, Cameron Brink. Fresh off her rookie WNBA season with the Los Angeles Sparks, Brink brings size, skill, and championship pedigree from her Stanford days. She’s expressed excitement about teaming up with Bueckers and is laser-focused on getting into peak shape for this competition. Breeze BC’s roster is younger than some rivals, which Brink acknowledges means they lack veteran experience, but she’s confident their energy and attitude can be decisive advantages. This collective approach to leadership – with talented twenty-somethings holding each other accountable – is a fresh change from veteran-led locker rooms.
Early returns are promising: at last check, the Breeze started the Unrivaled season 2–1, sitting just one game behind the first-place team (the Rose Basketball Club) with over a month to go. Bueckers has been lighting it up as a floor general, showing heart and determination every game. In fact, commentators note how she’s bridging the gap between elite and average – redefining expectations for a young player by going toe-to-toe with established WNBA standouts. Playing alongside stars like Brink (and others such as Dominique Malonga) isn’t just about learning to gel with new teammates; it’s Bueckers proving she belongs in the same sentence as these big names even in the early stage of her pro career. Together, Bueckers and Brink make the Breeze BC a must-watch unit in Unrivaled. If they continue this trajectory, they could very well take the league by storm – a thrilling prospect for women’s basketball fans hungry for more offseason action.



NBA Check-In: Sixers, Lakers, and Warriors – Roster Reloaded


Turning to the NBA, it’s been a whirlwind couple of seasons, with powerhouse franchises making bold moves. Let’s break down three fan-favorite teams – the Philadelphia 76ers, Los Angeles Lakers, and Golden State Warriors – and where they stand now in the 2025-26 season.


* Philadelphia 76ers: Philly has retooled to maximize the prime of Joel Embiid, the 2023 NBA MVP and still a dominant force at center. Over the past year, the Sixers strategically created cap space (partly by trading away James Harden in 2024) and it paid off in a blockbuster signing: nine-time All-Star Paul George joined the 76ers in free agency. George inked a four-year, $212 million deal to team up with Embiid and rising young guard Tyrese Maxey, giving Philly a new “Big Three”. The plan had been in the works – management even delayed extending Maxey to ensure they could offer George a max contract. Now the Sixers boast one of the league’s most talented trios: Embiid dominating inside, George providing elite two-way play on the wing, and Maxey blossoming as a dynamic scorer and playmaker. This combination of a peak-form MVP, a veteran star forward, and a 24-year-old Most Improved Player gives Philadelphia a real shot at contention. Thus far in the 2025-26 campaign, the Sixers have been competitive in the Eastern Conference hunt. Under new head coach Nick Nurse, they’re emphasizing tough defense and balanced offense. Importantly, no outdated pieces remain – (for example, James Harden is long gone, and P.J. Tucker’s contract was shed – freeing the way for this new core). Sixers fans can be excited about this era, as the team is built around Embiid’s prime with the kind of supporting stars he’s never had before.


* Los Angeles Lakers: Leave it to the Lakers to make a dramatic splash. In a stunning move, L.A. traded franchise big man Anthony Davis in exchange for superstar Luka Dončić, reshaping the team’s future. Yes, you read that right – Luka is a Laker now, part of a blockbuster deal that sent shockwaves through the league. The 26-year-old Dončić is one of the NBA’s premier talents, and pairing him with the ageless LeBron James created a Hollywood headliner duo. With LeBron turning 41 this season and eyeing a possible final chapter, the Lakers’ goal was clearly to find the next face of the franchise – and they’ve got him in Dončić. Early results are encouraging: Dončić has been filling up the stat sheet in purple-and-gold, dropping triple-doubles with ease and leading the team in points, rebounds, and assists on many nights. In fact, as of December, Luka was averaging well over 30 points per game and the Lakers jumped out to a strong record (first in their division) with his heroics. To bolster the roster around the Luka-LeBron tandem, L.A. made other savvy additions as well. They signed former #1 pick Deandre Ayton to anchor the center spot, and picked up defensive pitbull Marcus Smart to fortify the backcourt. Fan-favorite Austin Reaves remains a key piece, providing sharpshooting and playmaking, and Bronny James – LeBron’s own son – is now on the squad as a 2025 draft pick, adding a heartfelt storyline as father and son share the court. It’s a new-look Lakers, even on the sidelines – former player J.J. Redick took over as head coach, bringing fresh energy and a cerebral approach. With a mix of veteran savvy (LeBron, who is still capable of brilliance on any given night) and youthful star power (Luka at the peak of his powers), the Lakers have transformed themselves into contenders for now and the future. The team currently sits near the top of the Pacific Division, and the chemistry between James and Dončić has NBA fans buzzing. It’s an unprecedented scenario: a passing of the torch in real time, as the all-time great mentors the next-generation superstar in the City of Angels.


* Golden State Warriors: In the Bay Area, the post-Klay Thompson era is in full swing. (Indeed, Klay Thompson departed Golden State in 2024 after contentious contract talks, signing with Dallas – effectively ending the original Splash Brothers chapter.) To stay competitive around franchise icon Stephen Curry, the Warriors have had to retool on the fly. Curry, now 37, continues to dazzle – he remains one of the league’s elite shooters and offensive engines, averaging nearly 30 points and keeping Golden State in the playoff mix. Around him, the roster looks quite different than the championship runs of the past decade. In a bold offseason move, the Warriors signed six-time All-Star Jimmy Butler to add veteran scoring punch and defensive grit on the wing. Butler, at 36, is chasing a ring and brings leadership (and some clutch shot-making) to the Dubs. Golden State also bolstered its bench shooting by bringing in Buddy Hield, a proven marksman, and even reunited the Curry brothers – Seth Curry now suits up alongside Steph, offering floor spacing and familial chemistry. Longtime heartbeat Draymond Green is still in the fold, providing defense and playmaking (and plenty of fire) at age 35. But other familiar faces have moved on: beyond Klay’s exit, former #2 pick James Wiseman was traded away earlier, and young forward Jonathan Kuminga – once seen as a key piece for the future – has reportedly requested a trade amid frustrations about his role. The Warriors’ mix now includes some surprise veterans like Al Horford (the 39-year-old big man who brings a steady interior presence), and younger prospects stepping up, such as athletic forward Trayce Jackson-Davis and guard Moses Moody, both of whom are earning minutes. Coach Steve Kerr has had to adjust the play style to this new personnel, relying even more on Curry’s brilliance and creative ball movement since the days of the KD-era firepower are gone. At 22-19, Golden State is hovering above .500 – competitive but no longer a dominant juggernaut. Still, they are in the playoff hunt (currently mid-seed in the West), and with Steph Curry healthy and motivated, no team can take them lightly. It’s a testament to Curry’s greatness that even as the cast changes around him, he finds ways to elevate the Warriors. And who knows – if the opportunity arises, Golden State might not be done dealing; the front office could make a trade deadline move to give Curry one more championship push. For now, though, the Warriors’ proud culture carries on, adapting to a new chapter while honoring the legacy of the last.

(And yes – for clarity – Klay Thompson is indeed no longer on the Warriors. After feeling “deprioritized” in 2024, he signed a three-year deal with the Mavericks. Rumors are swirling that a nostalgic reunion in Golden State could happen down the line, but as of this season, Klay is a Dallas Maverick.)


Music Spotlight: New Artists and Notable Tunes


Shifting gears to music, let’s explore some of the artists and songs that have been on our radar lately. From emerging stars making waves in the industry to older songs sparking new reflections, here’s a deep dive into what’s been striking a chord:


* Olivia Dean: A soulful singer-songwriter from London, Olivia Dean has quickly become a favorite with her rich voice and heartfelt songwriting. At just 26, she’s already released two acclaimed albums – Messy (2023) and The Art of Loving (2025) – that showcase her blend of R&B, pop, and neo-soul influences. Dean was Amazon Music’s Breakthrough Artist of the Year in 2021 and won BBC Music Introducing’s Artist of the Year in 2023, clear signs that critics and fans alike recognized her talent early. If you haven’t listened to her yet, check out her single “Man I Need” – it became a surprise worldwide hit in 2025, even reaching number one on the UK Singles Chart. Olivia Dean’s appeal lies in the warm, old-school vibe of her music (she often cites Motown and gospel influences) combined with relatable, diary-entry lyrics about love and self-discovery. Whether it’s an upbeat jam like “Dive” or a tender ballad like “Ok Love You Bye,” her songs tend to leave a lasting impression. Keep an eye on Dean; with multiple Brit Award nominations and even a Mercury Prize nod, she’s poised to be one of Britain’s next big musical exports.


* RAYE (and the Keen Sisters): RAYE (real name Rachel Keen) is another British artist lighting up the scene – but she’s not doing it alone. Raye’s rise has been dramatic: after years of penning hits for others and battling label frustrations, she struck gold on her own terms with the 2023 smash “Escapism.”, a dark, genre-blending pop track that topped UK charts and earned her critical acclaim. Her debut album My 21st Century Blues announced her as a bold voice in pop and R&B, unafraid to tackle personal and societal themes. What’s especially cool is that Raye comes from a family of talented vocalists. In fact, a new musical dynasty has risen out of South London – the Keen sisters. Raye is the eldest of four sisters, and two of her younger siblings are also pursuing music professionally. There’s Lauren Keen, who performs under the stage name “Amma” and leans into soulful singer-songwriter territory (her EP Middle Child dropped in 2025). And then there’s Abby-Lynn Keen, better known by her stage name “Absolutely”, who is carving out an eclectic dream-pop niche. Absolutely released her debut album Cerebrum in 2023 and has already written songs for big names like Tinashe and Normani – not too shabby for a 21-year-old. She’s got a sophomore album Paracosm on the way, which she says is inspired by surreal world-building and artists like Imogen Heap and Kate Bush. The sisters occasionally team up in performances – for instance, RAYE brought Absolutely on stage for a duet at The O2 Arena recently, showcasing their stunning vocal chemistry (imagine sibling harmonies on an emotional ballad – chills!). Critics have taken notice of the family’s collective talent; one publication dubbed Raye, Amma, and Absolutely as London’s new musical dynasty, each with her own distinct style yet a shared gift for songwriting and vocals. It’s truly phenomenal to see a trio of sisters all thriving creatively. If you enjoy Raye’s music, it’s worth checking out Absolutely’s avant-pop and Amma’s soulful tunes – the family resemblance in artistry will blow you away.



* William Prince: Shifting to a very different corner of the music world – let’s talk about William Prince, a singer-songwriter whose music recently stopped me in my tracks. Prince hails from the Peguis First Nation in Manitoba, Canada, and his heritage and life experiences deeply infuse his songwriting. He has a rich baritone voice and a folk/country style that’s often described as mesmerizingly honest. What makes William Prince stand out, beyond his musical talent, is the authenticity and storytelling in his songs. A prime example is a song he wrote about his father’s old age and declining health – a track that truly hit me in the feelings when I heard it. Prince’s father was not only his dad but also a preacher and musician in their community, and William often toured with him growing up. In a recent interview Prince discussed writing a song called “The Charmer,” which is essentially an ode to his father’s final days. He described watching his dad – once a lively, hardworking man known for his charm and laugh – become weaker and older due to illness, losing the independence he once had. The song captures that bittersweet reality, honoring the warmth of his father’s personality even as his body failed him. “It’s very reflective of his final days... I saw him becoming a weaker, older man... [but] that song is very much an ode to my old man,” Prince said. It’s the kind of heartfelt songwriting that can bring a tear to your eye if you’ve ever grappled with seeing a parent age. William Prince has been steadily gaining recognition in the folk and country scene – over the last decade he went from pawning his guitar to share stages with legends like Willie Nelson and performances at the Grand Ole Opry. His 2020 album Reliever and 2023 album Stand in the Joy earned critical praise, and he’s followed up with a new album (Further from the Country, 2025) that blends rock influences into his sound. As an Indigenous artist (of Cree and Ojibwe descent), Prince also speaks to the experience of finding one’s place and voice. 


The Power of Music and Memory: A Nostalgic Journey


One fascinating theme that’s come up is how music can serve as a time machine for our memories. A personal example: I recently heard the song “Richard Cory” by Simon & Garfunkel (1965) – amazingly, it was my very first time hearing this 60-year-old classic, and it stopped me in my tracks. The context was unexpected (it popped up during a TV show scene), but suddenly I was absorbed in this story-song about a wealthy man who seemingly has it all yet tragically takes his own life. The combination of discovering a new-to-me song and the vivid narrative lyrics made the experience haunting and thought-provoking. It got me thinking about how a piece of music can unlock feelings or memories you didn’t even realize were tucked away. In this case, “Richard Cory” – despite being from the mid-’60s – felt profoundly relevant and emotional, almost as if my mind had known it for years. This little moment, sparked by a TV show soundtrack choice, was the catalyst for diving deeper into the psychology of music and memory.



It turns out there’s real science behind why hearing a certain song can transport us back in time or stir up powerful emotions. Researchers call it the phenomenon of music-evoked autobiographical memories – basically, the way a song becomes an index to specific moments in our lives. When you hear a nostalgic song (say, a tune you danced to at prom or that played during a childhood summer), it activates key regions in your brain tied to both memory and emotion. A 2025 brain imaging study found that familiar music “lights up” the brain’s default mode network (which is involved in recalling personal memories and self-reflection) and the reward circuitry associated with pleasure. In other words, a beloved old song triggers a one-two punch of memory and feel-good emotion neurologically. That might explain why it’s such a rush to hear a throwback hit come on the radio – your brain is literally flooding you with recollections and happy hormones at the same time. One neuroscientist put it nicely: “Music is deeply intertwined with our sense of identity and personal history… nostalgic songs don’t just bring back memories — they activate the brain in ways that could support emotional well-being and cognitive function.”. This has real therapeutic potential too: there are cases where patients with Alzheimer’s or dementia, who struggle to recall everyday facts, can still remember lyrics and memories when a favorite song from their youth is played. The music acts like a key unlocking parts of the mind that are otherwise closed off.



Psychologically, what’s happening is a beautiful intertwining of our auditory processing and emotional memory centers. The brain’s limbic system, which includes the amygdala (emotion processor) and hippocampus (memory storage), goes into action when music plays. If the song is familiar, the hippocampus links the sound to stored memories, while the amygdala generates the emotional response – together recreating the feelings of a past moment. That’s why you might hear the opening notes of a song and suddenly feel 16 again, at your high school dance, nervously excited, as if no time has passed. As one article described it, music can be an “audible time capsule,” preserving not just the facts of a memory but the emotions and connections around it. For example, an elderly couple might hear the song that played at their wedding, and instantly they’re back in that moment – remembering the venue, the people around them, and even reigniting the love they felt, all within the span of a 3-minute song. Music has this uncanny ability to bind itself to the people and places in our lives, effectively becoming the soundtrack of our personal story.
In my case, hearing that Simon & Garfunkel song out of the blue made me realize I had my own emotional associations – not directly with that song (since I hadn’t heard it before) but with the era and sound it represented, and the surprising relatability of its lyrics to feelings I’ve had. It was like discovering a lost chapter of history and my own psyche at once. And it’s not just “oldies” that do this – even songs from a few years ago can trigger nostalgia if they’re tied to meaningful times. We’ve all experienced that jolt when a song from a past summer or a former relationship comes on. Sometimes it’s joyous; other times it’s wistful or bittersweet. But it’s nearly always intense. As one psychology write-up noted, implicit memories (the unconscious ones) often ride on music – just a few notes can bring back vivid imagery and feelings before you even consciously remember why that song mattered.



It’s no wonder TV shows and movies love to use nostalgic tracks in crucial scenes – they know it viscerally connects with the audience. In fact, that’s what kicked off this whole reflection for me: a television show used an old song in such a powerful way that it sent me down a rabbit hole of my own memories. The show’s creators likely chose that tune knowing it would resonate with viewers of a certain age or taste, instantly layering the scene with extra emotional weight. This is a common trick: think of how Stranger Things made Kate Bush’s 1985 song “Running Up That Hill” a global hit again in 2022 by tying it to a poignant storyline – millions of people suddenly felt nostalgia for a song they may not have even been alive to hear the first time. Music’s cross-generational power is incredible. A catchy melody or touching lyric from decades ago can find new life and meaning when re-discovered by a younger generation, all because of that memory-emotion link that music fosters.


From a wellness perspective, understanding this connection has benefits too. Therapists sometimes use music to help people process emotions or retrieve memories in life-review exercises. If a certain song makes you remember a loved one or a happier time, playing it can be a comforting ritual. Conversely, knowing a song’s impact can help you steer away from tunes that bring you down. But more often than not, even the sad songs we cherish have a cathartic effect – they let us revisit a painful memory in a safe way, perhaps even find closure or appreciation in it.



In summary, this deep dive into music and memory shows that our favorite songs are far more than entertainment; they’re woven into the fabric of our identity. Whether it’s a brand new artist like Olivia Dean moving us with a lyric, a family of singers like Raye and her sisters inspiring us with their harmonies, or a veteran songwriter like William Prince making us reflect on life’s passages – music connects to our emotions at a fundamental level. And when an old forgotten song finds its way to our ears (be it via a random playlist, a friend’s recommendation, or a TV show’s soundtrack), it can be the portal to reminisce on who we were, how far we’ve come, and the experiences that shaped us. As neuroscientists observed, “songs tied to personal life events evoke stronger brain responses than unfamiliar music” – which is a fancy way of saying our brains love the songs our hearts love. So next time you feel that wave of nostalgia from a melody, know that it’s completely normal – it’s your brain’s way of time-traveling. Embrace it, maybe reach out to an old friend the song reminds you of (like the author of one article did after a nostalgia trip, leading to a two-hour FaceTime catch-up), or just sit with those memories and feel the richness of that moment. The long and the short of it: music makes us remember, and in remembering, we often rediscover parts of ourselves. And honestly, that’s a beautiful thing.



If I Was Your Producer – Volume 7 (January 23, 2026)
Willa (DJ Warm Cookies): “Welcome back, family, to another special episode of Why Make Music…! I’m Willa May, also know as. DJ Warm Cookies, and today we have something really exciting to dive into.”



ThinkTimm: “Absolutely! This is Episode 065, and we’re shining a big, warm spotlight on a project that’s near and dear to us – If I Was Your Producer – Volume 7. It officially dropped on January 23, 2026, marking the latest chapter in our one-volume-per-month journey. Ten brand-new tracks, all full of originality, all cleared and registered for use – truly one-stop and sync-ready from day one. We’ve been playing the long game with this series, building a catalog in real time, and Volume 7 is a milestone in that journey.”




Willa: “Oh, you can feel it. Volume 7 is here, and it’s kind of surreal. If you’ve been with us since Volume One, you know this started as a seven-part audio experience – a bold experiment in flipping genres on their head. And guess what? We’ve reached that magical number seven. It’s like closing a circle, but also kicking open a new door. I remember back when Volume 1 came out, we said: ‘You’re not just listening to music – you’re hearing what could’ve been… and maybe what should be next.’ Now here we are at Volume 7, and it really feels like that “next” is happening right now.”


ThinkTimm: “Right. Volume 7 is definitely a turning point for the If I Was Your Producer series. We thought Volume 4 was a big evolution – we even called it a turning point in the series back then, where everything felt effortless on the surface but intentional underneath. My production trademarks were really solidified by that point – you know, pocket-first drums, melodic bass lines, hooks that come in crystal clear – all leaving plenty of space for feeling. And through it all, the mission stayed the same: music that’s sync-ready and story-true. With Volume 7, that storytelling sharpens even further. It’s like we leveled up again. We didn’t have to reinvent the mission; we just dug deeper into it.”




Willa: “Volume 7 also feels like a culmination of everything we’ve learned across the previous six volumes. Think about it – since last summer, we’ve dropped a volume every single month, consistently. No shortcuts, no cheap copy-paste formulas. Just raw creativity each time. We’ve kept that no samples ethos – every note you hear is something we created ourselves, from scratch. That means every track is truly original – which, by the way, is a sync licensing dream because it’s all one-stop. And we haven’t just been cranking out quantity; we’ve been nurturing quality and variety. Funk, R&B, hip-hop, pop, ambient – you name it, we’ve explored it in this series.”





ThinkTimm: “Exactly. This series is all about imagining worlds of sound. If I Was Your Producer… is kind of me saying: ‘If I had the chance to produce for any story, any artist, any mood – here’s how I’d do it.’ Each volume has been a playground of genres and emotions. And Volume 7 might be our most immersive playground yet. It’s not chasing any trendy TikTok viraility – it’s about building a body of work that lasts. Ten songs a month, month after month… that means more stories to tell, more textures for music supervisors to place, more proof that this independent approach scales as long as we stay true to our taste.”




Willa: “And let’s not forget, we’re not doing this alone in a vacuum. We’ve got our small but mighty team on deck. Think Timm at the boards cooking up the magic, me – DJ Warm Cookies – in the brand seat making sure the vibe and vision connect with y’all, and our partners at Code 3 Records working behind the scenes, locking down the metadata and registrations so every track can travel far. It’s truly the sound of a small team working like a big one. Volume 7 benefits from all of that infrastructure we’ve put in place. Every track on here was created with not just inspiration, but also intention – the intention that it can live out in the world in a film, a show, a game, you name it.”





ThinkTimm: “We’ve been saying it for a while now: WDMN Media is about catalog culture, about playing the long game. Volume 7 is a shining example of that philosophy. These songs aren’t just tracks on an album; they’re assets in a growing catalog, each with its own mood and story to offer. We’ve got all the rights squared away, the tracks are cleared and ready to roll for any opportunity. Sync-ready is not just a buzzword for us – it’s a guiding principle. We imagine these tracks underscoring scenes, commercials, narratives even as we produce them. It’s music that tells a story without needing a single lyric.”





Willa: “Absolutely. And you know what? I think our listeners can tell how passionate we are about this. Because we’ve seen the journey from Volume 1 to now, and it’s not just about releasing music – it’s about building a legacy piece by piece. As we always say, legacy is built in the doing, not in the downloads. Volume 7 is us doing it – putting in the work, crafting something meaningful. Each volume, each track is another brick in this big creative house we’re building.”




ThinkTimm: “Well said. I might add, success fades but meaning lasts. And this project has always been about meaning – making music that means something to us, and hopefully to whoever hears it or uses it in their story. With that in mind, how about we get into the tracks themselves? Because Volume 7 isn’t just an abstract concept – it’s ten very distinct tracks. Each one is like a little world of its own.”




Willa: “Yes! This is the fun part. We’re going to break it down track-by-track. Think of this as the part of the podcast where we fully geek out – we’re stepping into each song’s world, talking about the vibes, the production, the feelings, the possible inspirations, and even imagining the kind of scene it could sync with. So if you’re listening along, feel free to pause and play the track, or just ride with our descriptions. Either way, let’s dive in deeper this time”




1. Another Lover To Give



Willa (DJ Warm Cookies): “Alright, track one: ‘Another Lover  Can we just pause and appreciate that title for a second? The phrase alone had me feeling some kind of way before I even hit play. And then the music started, and oh boy… I got goosebumps.”




ThinkTimm: (smiling) “I saw you close your eyes on that first listen.”



Willa: “I did! This song moves me. It’s such a powerful opener. Right from the first few seconds, you get these lush chords swelling up – warm electric piano, a gentle synth pad – it’s like the sun rising on a quiet morning after a long night. There’s a tenderness in it. And then that beat comes in: slow, steady, like a heartbeat finding its strength again. It feels intimate, soulful – I’d call it a mid tempo slow jam with a bounce… if it didn’t also feel so cinematic. It’s got that classic R&B heart but with this widescreen atmosphere, like it could score a montage in a film.”




ThinkTimm: “Funny you mention cinematic – I was definitely picturing scenes when I produced this. ‘Another Lover To Give’ is rooted in a deep, emotional space. The theme I had in mind was about having more love left inside you, even after heartbreak. Like when you think you’re done, you’re spent, you’re hurt… but then life surprises you and you realize you still have love to offer – another lover to give that love to, you know? Sonically, I wanted it to feel like hope slowly glowing back to life. So those chords are very warm, kind of in that 90s R&B territory – I’m not shy to admit I had some En Vogue and Babyface era vibes in my head, maybe even a touch of Prince’s DNA in the harmonies. You know how Prince could make a ballad feel both deeply personal and epic at the same time? That’s the energy.”




Willa: “I can totally hear that. It’s like part  R&B, part 80s part future funk, living together. There’s even synths that comes in during the bridge that gave me Prince vibes – it’s not a screaming guitar solo, more like a weeping synth like guitar line, very Parade Era  in its emotion. It’s restrained but it speaks volumes. And those little synth flutters in the background… it’s like little stars twinkling behind the main melody. Gorgeous.”




ThinkTimm: “Thank you. I really paid attention to the layering on this one. There’s a subtle string section that comes in during the second chorus – it’s tucked in the back, almost more felt than heard. That was intentionally placed to give that cinematic lift, like your heart rising up. The drums are kept simple – a laid-back slow groove with a kick, snare, hi-hat pattern that doesn’t rush anything. Pocket-first drums, as always – keeping a solid groove but leaving space. And the bass… oh, the bass line here is one of my favorites. It’s melodic, almost singing its own little countermelody. I played it in a way that it kind of “answers” the main keys. All of these pieces are having a conversation.”



Willa: “It’s a conversation without words, which is the beauty of it. This track tells a story without any lyrics at all. I felt the narrative so clearly: someone who’s been hurt, taking a deep breath, and deciding to open up again. There’s a moment near the end – the music swells and then pulls back, like the sound almost hugs you and then lets you go gently. I swear, I could see a scene in my mind: imagine a character driving at night, city lights out of focus through a rain-drenched windshield, maybe they’re on their way to tell someone they’re ready to love again. This song would be perfect right there. It carries all that emotion wordlessly.”




ThinkTimm: “That’s exactly the kind of scenario I hoped it could live in. It’s sync-ready for a heartfelt moment – you don’t need anyone singing on top saying ‘I’m ready to love’ because the music says it for you. And from a sync licensing perspective, that’s gold. The track has dynamic range – it builds up, it breaks down – so an editor could use just the intro for a tender moment, or the bigger climax for a dramatic reunion scene. And because it’s all original and pre-cleared, they could just drop it in without worries.”



Willa: “I also want to point out how bold it is to start the volume with this mood. In previous volumes, you often kicked off with something high-energy or swaggering. Like, Volume 5 opened with “Bow Down,” which was all confidence and attitude, and Volume 6 opened with “Break Free,” which though soulful, was a pretty uplifting love declaration. But “Another Lover ” is vulnerable. It sets a reflective, emotional tone right from the start. That tells me as a listener that Volume 7 is going to go deep. It’s like you’re saying, ‘We’re not afraid to feel things on this one.’ And that, to me, signals a kind of turning point too – an evolution in how you sequence your stories.”



ThinkTimm: “Definitely. I wanted to signal that Volume 7 has a lot of heart. It’s the start of a new year, the culmination of the series so far – it felt right to lead with something honest and heartfelt. And maybe there’s a bit of a callback there: Volume 4’s opening track “HOW” asked, ‘can you show me how to love?’ – kind of a question mark left hanging. In a way, “Another Lover” is an answer to that question. It says: I can love again, I have more love to give. It’s like the story has come full circle over these volumes. We’ve gone from asking how to love, to being ready to love anew. For those following the narrative threads across volumes, that’s a rewarding little connection.”



Willa: “That’s beautiful. And it shows how much thought goes into this. Alright, I could bask in Track 1 all day, but we have nine more tracks to explore. So let’s keep it rolling.”



2. Dedication



Willa: “Track two, ‘Dedication,’ hits and I immediately felt my mood shift gears. If ‘Another Lover To Give’ was like a heartfelt sunrise, ‘Dedication’ is like stepping out into bright daylight with determination in your stride. This one is anthemic! The energy picked up – there’s a real drive to it.”



ThinkTimm: “Oh yeah. After that intimate opener, I wanted to throw some fuel on the fire. ‘Dedication’ is all about commitment, perseverance, and honoring the grind. You hear it in the music – it’s upbeat, it’s punchy, it’s got that go get ’em attitude. Production-wise, I blended a few vibes: you’ve got a hip-hop backbone with a solid boom-bap style drum groove, but layered with some rock elements like electric guitar stabs and even a subtle orchestral string line in the hook to give it that triumphant flair. It’s almost like if you took a 2000s Kanye-style motivational beat and crossed it with some 80s arena rock boldness. I wanted it to feel modern and classic at the same time.”



Willa: “The drums on this one – man! They really command attention. It’s that head-nodding beat that just makes you feel like you can take on the world. And the way the bass line pumps along, it’s like the heartbeat of the track. But I also love those little production Easter eggs:  And is that a horn I hear in the chorus?”




ThinkTimm: “Good ear! Yes, I have a brass section accenting the chorus – just a few notes, but it adds that victorious vibe. Kind of like how in big sports anthems you’ll get horns to make it feel celebratory. Everything in ‘Dedication’ is meant to uplift. The sound choices were very deliberate: a steady piano riff runs through the verses, giving a sense of stability, and during the pre-chorus I introduced a rising synth arpeggio – that build-up creates anticipation, like something big is about to happen. Then boom, the chorus hits with those horns and the drums slamming, and it feels like crossing a finish line.”



Willa: “I swear, when I first listened, I immediately pictured a montage of an athlete training – sweat dripping, early morning jogs, late night practice sessions. It’s got that montage feel written all over it. You know the famous Rocky training montage? This could be a modern cousin to that. No lyrics needed – it inherently screams dedication and hard work. It’s the kind of track you’d find in a sports documentary or a motivational film scene, underscoring a character refusing to give up. Heck, I wanted to drop and do push-ups when I heard it!” (laughs)



ThinkTimm: “Yes! That’s exactly the vibe. In fact, while making it I imagined it being used in something like an ESPN highlight reel or a Nike commercial. Something where the visuals are people giving it their all, and this music is the adrenaline behind it. It’s very sync-friendly for that reason – it drives forward consistently and has those emotional peaks at the right spots. Also, I kept it mostly instrumental for that purpose. There’s a very faint vocal sample of a crowd chanting ‘hey’ on the off-beats – almost subliminal – to give it that communal energy, but it’s mixed in texture rather than a prominent voice. That way, if this track is placed under a scene or a voiceover, it won’t clash with dialogue or narration.”




Willa: “Smart. And thematically, I love what this track represents in the context of Volume 7 and your journey. Dedication is literally what got us here – one volume a month, late nights in the studio, keeping the momentum. It’s like an anthem for the whole WDMN Media ethos: we’re not in this for overnight clout, we’re in it for the long haul, dedicating ourselves to the craft. I mean, ThinkTimm, you basically set your life to a rhythm of constant creation and you stuck to it. That’s dedication if I’ve ever seen it.”




ThinkTimm: “It is a bit meta, isn’t it? This track is as much about the process behind the music as it is about anything else. There’s definitely a piece of my soul in there going, ‘Keep pushing, keep going.’ I’d even say it’s dedicated to dedication – to everyone out there who’s grinding at something, whether it’s art, or a sport, or building a business, or just improving themselves. It’s a soundtrack for that unwavering commitment. We live in a world of short attention spans and quick dopamine hits, but this song is like a counter-argument to that. It’s saying: Look, greatness comes from dedication, from showing up over and over. You know, it echoes a bit of what we talked about in Episode 063 about consistency over flashy new year’s resolutions. The work stays even when the hype fades.”

*Willa: “Preach! And from a musical standpoint, one more thing – I love that it’s upbeat and motivational without feeling cheesy. That’s a hard balance to get right. Sometimes ‘inspirational’ tracks can feel corny if they’re too on-the-nose. But ‘Dedication’ has an authenticity to it. I think because it draws from such genuine influences – it’s got the soul of old-school hip-hop in its rhythm, a touch of rock bravery, and even hints of gospel if I’m not mistaken? Like the chord progression in the bridge felt almost gospel-tinged.”



ThinkTimm: “I did sneak a gospel-like turnaround in there on the bridge, yeah. Just a little soulful uplift moment, with an organ pad supporting it. I wanted it to feel like a brief moment of reflection mid-song – like the runner taking a breath and remembering why they started, before the final sprint. And nothing brings that spiritual resolve like a hint of gospel chords. It’s subtle, but it adds depth.”

*Willa: “It works perfectly. All in all, ‘Dedication’ does what its title promises – it’s dedicated, purposeful, and strong. As track two, it really launches the volume forward. After the vulnerability of track one, this one says, ‘Alright, let’s get up and go.’ It’s like heart and then hustle. And together they set a tone that Volume 7 is going to be full of feeling and fight.” 

 Now, shall we move on to track three? I think things are about to get very interesting.”



3. Hey Like A Drug



Willa: “Oh, I have been waiting to talk about this one. Track three: ‘Hey Like A Drug.’ Let me just start by saying this track is sultry. Like, lights-down-low, neon-glow, dangerously sultry. I put this on and suddenly I’m in a smoky underground club in my imagination. It’s got this seductive darkness to it.”



ThinkTimm: “You picked up on that, huh?” (grins)


Willa: “Immediately! The vibe here is so distinct from the first two tracks. You drop into this deep, throbbing bass line – it’s almost woozy, like the room is spinning a little. The beat is slower, but it’s heavy. And there’s this vocal sample that goes ‘hey… hey…’ on loop in the background – which I’m guessing might be where the title comes from? It’s hypnotic. By the second ‘hey’ I was already hooked like, well… like a drug.” (laughs)



ThinkTimm: “Guilty as charged on the vocal sample. I took a single vocal hit of someone saying ‘hey’ – actually my own voice pitched down and drenched in reverb – and I chopped it rhythmically so it pulses throughout. It’s almost like a mantra or a hallucination, depending on how you listen to it. The phrase ‘like a drug’ in the title is very much the concept here: I wanted the track itself to feel addictive and a little dangerous. You know how a certain groove can loop and you never want it to stop? That’s what I was chasing. Sonically, I dove into a trip-hop meets trap kind of territory. Think of those late-90s trip-hop acts – Massive Attack, Portishead – that dark, atmospheric sound, combined with modern trap-influenced drums and 808 bass.”



Willa: “Yes, I feel that fusion. It’s got that Bristol downtempo DNA from the 90s, but the sub-bass and hi-hat ticks are very contemporary. And there’s a faint melody – like a little music box or bell that comes in? It’s subtle, but it’s eerie and beautiful.”



ThinkTimm: “I used a celesta sound with a lot of echo on it, so it’s like a ghostly music box playing in the distance. That’s our ‘temptation’ motif, if you will – something sweet and pretty but a little unsettling under the surface. And under that, the bass is doing this deep slide – I programmed the 808 to drop in pitch at the end of every four bars, which gives that feeling of sinking or falling. The drums are sparse: a snare with a heavy snap on the backbeat, some tight trap hi-hats rattling here and there, but not constantly – I left space, because in a slow, heavy track like this, silence is as powerful as sound. It creates tension.”



Willa: “The tension is palpable. I found myself leaning in, like the song was drawing me closer with every bar. And talk about emotional vibe – where ‘Dedication’ was empowering, ‘Hey Like A Drug’ is like the sound of obsession. It’s got an almost sensual pull, but there’s an undercurrent of danger or uncertainty. It’s that feeling of this might be bad for me, but I can’t resist. And you accomplished that without lyrics spelling any of it out. That’s impressive storytelling through sound design.”



ThinkTimm: “Thank you. That was exactly the story in my head: the seductive allure of something (or someone) you know might not be good for you, yet you keep getting drawn in. I mean, we’ve all been there in some way – whether it’s a person who’s no good, or even a habit or scene that’s hard to quit. It can feel like a drug. The track’s repetitive nature – that looping ‘hey’ and the unchanging base line groove – is intentional to mimic that loop of addiction. It just keeps circling, and you lose sense of time.”



Willa: “Oh, I was definitely lost in it. I also have to say, this track shows off your range as a producer. We went from soulful ballad to motivational anthem to now this dark, sultry banger. Volume 7 is really taking us places. And culturally, I hear a blend of influences. There’s a bit of The Weeknd in there – you know how he has that sexy-but-dark 80s-influenced R&B thing? But also, I sense some old-school trip-hop as you mentioned, maybe even a sprinkle of that Timbaland late-90s Aaliyah vibe in the atmospheric touches. It’s like a little tour of sensual music evolutions.”



ThinkTimm: “That’s cool you mention Timbaland and Aaliyah, because I was thinking about tracks like ‘Are You That Somebody’ – not in terms of copying that style, but in the sense of using negative space and an unconventional sound (remember the baby coo in that song?) to create a mood. Here the odd element is that echoing ‘hey’ – it’s the hook, without a singer. And yeah, definitely some Weeknd influence too, especially in creating a sort of neon-noir atmosphere. The song title itself almost sounds like something The Weeknd would have, doesn’t it? Like ‘Love is a Drug’ type vibes. But musically I think this track stands on its own as a unique blend.”


Willa: “For sure. It doesn’t feel derivative; it feels like an homage that became its own thing. Now, in terms of sync potential – this one immediately screamed TV drama scene to me. I could imagine it in a show where two characters are circling each other in a club or a bar, the tension thick between them. Or even a thriller scene where someone is enticed into a risky deal. It’s got that moody swagger that fits late-night, urban scenes. I mean, if Euphoria was still running new episodes, this track would slide right into one of those montages of the teens going off the rails at a party.”



ThinkTimm: “Ha, that’s a great call. It does have that youthful reckless vibe too. And yeah, any scene that needs to convey temptation or a character’s internal struggle with an allure could use this. The nice thing about instrumental tracks like this is you can play them under dialogue and it just enhances the mood without fighting for attention. The frequency range here – lots of low end and airy high end, but not much midrange clutter – means actors could be speaking and you’d still feel the track supporting the scene without muddying the words. That’s by design, honestly. Sync-readiness, always in mind.”



Willa: “Spoken like a true producer who knows the end game. I love it. ‘Hey Like A Drug’ is quickly becoming one of my favorites on Volume 7 because it’s so immersive. When it plays, it transports you. And that’s what a great track – especially an instrumental – should do: build a whole world in your head. So far, each of these first three tracks has felt like a totally different world. And we’re just getting started on this trip.”



ThinkTimm: “We are. Buckle up, because track four is about to flip the mood again. Ready to talk about something a bit more fun?”



4. Just Ur Type


Willa: “Coming up next is ‘Just Ur Type.’ And let me tell you, this one put the biggest smile on my face. After the intensity of ‘Hey Like A Drug,’ track four is like a refreshing breeze. It’s flirty, it’s upbeat, it’s fun. I think I even started dancing in my chair as soon as it kicked in.”


ThinkTimm: “Oh, you definitely did – I have footage.” (laughs)


Willa: “No shame! ‘Just Ur Type’ has that effect. So where do I start? The track opens with this catchy synth riff – very bouncy and bright. Then the beat drops and it’s got this sort of funky pop groove. The drums are crisp, almost a bit of a New Jack Swing feel in the rhythm, but updated. The bass is doing a funky walking pattern that really drives things. And there are these handclap samples layered on the snare that give it a playful vibe. It just oozes charm.”



ThinkTimm: “You nailed a few of the key ingredients there. Like the musical equivalent of that bubbly feeling when you realize someone is into you and you’re into them too. So it’s light-hearted, upbeat, and a little cheeky. I definitely drew on some ’90s and early 2000s R&B-pop influences – think of those jams that made you want to two-step at a house party. There’s a dash of New Jack Swing in the drum programming, as you caught. I have the snares and claps hitting in that swingy pattern, and a little percussive fill – a kind of “da-da-da-da” syncopation – that I sneaked in as a nod to that era.”



Willa: “Yes! It reminds me of the vibe from early Janet Jackson or Bobby Brown tracks – those songs that just had pure fun energy. But what’s cool is that ‘Just Ur Type’ doesn’t sound dated at all. It’s like you bottled that fun and filtered it through modern production. The synths you used feel current. One of them sounds almost like a chiptune lead, like a cute video game tone, which makes it feel playful and modern.”



ThinkTimm: “Good ear. I did use a synth that has a bit of that retro videogame timbre, kind of an old-school 8-bit feel, for one of the lead lines that accents the chorus melody. Blending that with more traditional R&B elements was part of the plan to keep it fresh. Also, I’ve got some rhythmic guitar scratches faintly in the background – think of the kind of guitar comping you’d hear in a Bruno Mars or Daft Punk funk throwback. It’s subtle but it adds a live-feel texture. The keyboards are doing little answer-and-call bits – an electric piano hits some chords and a synth responds. I wanted it to feel really interactive and lively.”



Willa: “Mission accomplished. Now, thematically, I get the sense of flirty confidence here. Like, the title ‘Just Ur Type’ suggests someone boldly saying, ‘Hey, I’m exactly what you’re looking for.’ It’s playful, a little bit cheeky. Even without lyrics, you feel that attitude. The melody lines almost sing that phrase at points – I found myself humming what could be a vocal line: ‘I’m just your type, baby’ in my head, following the synth. I don’t know if you intended a top-line, but it’s catchy enough that one could exist.”



ThinkTimm: “Oh I definitely imagined a vocal line or two, even though I didn’t include any. That’s part of the ‘producer’ mindset – making a track that an artist could sing on. And if someone out there hears this and thinks of a vocal, hey, I’m all ears! But it also had to work instrumental, so the instruments take on the role of the singer in a way. The chorus synth you mentioned is voiced in a way that it’s almost saying the title phrase. And the groove itself carries a conversational energy, like musical flirting.”


Willa: “Conversational energy – I like that. This track is definitely winking at the listener. Another thing I love: it’s an easy listen. By that I mean, emotionally, it’s light. We’ve had some heavy feelings in other tracks, but here it’s just pure joy. Sometimes in an album or volume like this, you need that palate cleanser track that just lifts you up, no strings attached. ‘Just Ur Type’ is that for Volume 7. It’s positioned right in the middle of the track list and it kind of gives you a little party before we maybe go deep again. It’s great pacing.”



ThinkTimm: “Exactly – pacing is key in these volumes. After the moody slow-burn of ‘Hey Like A Drug’, I knew the listener would need an upper. Something to raise the heart rate and bring a smile. And I also think from a storytelling perspective, not every scene in a film is high drama; you need the meet-cute scenes, the light montages of characters falling in love or having fun. ‘Just Ur Type’ is like the soundtrack to a montage of two people on a quirky fun date, or a fashion show scene, or friends dancing in a living room. It’s versatile that way for sync. It could underscore any moment that’s meant to feel youthful, positive, and a bit romantic in a fun way.”



Willa: “Oh, absolutely. I could see it in a rom-com when the leads finally get together for a day out – trying on silly hats, getting ice cream, laughing – that whole montage of them bonding. It’s got that sunshine in it. Also, from a sync standpoint, because it’s so catchy and upbeat, I can imagine it in commercials too. Like a smartphone ad where everyone’s smiling and life is good, or a travel ad showing happy tourists exploring a city. It’s very license-friendly because it’s non-offensive, it’s toe-tapping, and it exudes positive vibes without a single word. You just feel good hearing it.”


ThinkTimm: “That’s true. It’s a feel-good track which usually is welcome in advertising and feel-good programming. And there’s enough of a beat that you can edit it easily – you could loop sections if needed, or cut on the beat to sync with cuts in a video. I made sure there were clear sections: verse, pre-chorus, chorus, etc., each with a little build or break, which is useful for editors. Again, always thinking about that sync utility while still making it a fun listen on its own.”


Willa: “The craftsman at work, people. This is why these tracks hit that sweet spot of being artistic and usable. One more thing I have to say: personally, ‘Just Ur Type’ lifts my mood. We might get analytical here on the podcast, but when I just step back and listen, it makes me happy. And I think that’s something special. With all the depth and legacy talk – which I love – it’s also okay for music to just make you feel good in the moment. This track does that for me. It’s going to be on repeat next time I need a pick-me-up.”


ThinkTimm: “That means a lot. Honestly, making people feel good, even for three and a half minutes, is a huge win in my book. Not everything needs to be heavy to be meaningful. Sometimes a smile is meaning enough. I’m glad ‘Just Ur Type’ brought that out. Now, shall we move to track five? The title alone suggests we might be switching gears again.”


5. Pass the Mic


Willa: “Track five, ‘Pass the Mic,’ and yes – we are definitely switching gears! The second half of the volume kicks off with funk and fire. This track is an absolute jam. From the moment it started, I felt like I was transported to a live hip-hop cypher or a funky block party. It’s got an old-school meets new-school feel that made the DJ in me very happy.”


ThinkTimm: “Oh, I knew you’d dig this one, DJ Warm Cookies. ‘Pass the Mic’ is basically a love letter to hip-hop’s golden era, filtered through my own funky lens. I grew up on that boom-bap, pass-the-mic culture – you know, one MC after another spitting bars, the DJ cutting between them. I wanted to capture that energy,

Willa: “Well, you nailed it. The beat on this track is infectious. It’s faster than some of the earlier tracks – really upbeat. The drums have that classic breakbeat vibe – I wouldn’t be surprised if you programmed it to sound like an actual sampled break, with those crunchy kicks and snares. And there’s some scratching, isn’t there? I swear I heard a vinyl scratch or at least a scratch-like effect in a breakdown.”



ThinkTimm: “Your ears serve you well, Willa. I did incorporate some turntablist flavor – I did a bit of scratching myself to add that authentic touch. It’s subtle, kind of panned to the side during a breakdown section, like a DJ is cutting up a record while the band breaks it down. The drums are indeed inspired by classic breakbeats – I actually chopped up a live drum loop I recorded a while back to give it that sampled feel, then layered an 808 kick underneath to add some modern low-end punch. Best of both worlds. There’s also a conga percussion loop faintly in the mix to give it that block party groove – a little Latin flavor nod like the old school Bronx jams.”


Willa: “The percussion really adds to the ‘party’ vibe. And the base line – oh man, the bass is funky! It’s got that rubbery, rolling funk feel, almost like something from a 70s James Brown track, but then it locks in with the hip-hop drums and it’s magic. On top of that, you have horns stabs, don’t you? I heard some horn hits accentuating the rhythm in the chorus parts, like those hype horns that just elevate everything.”


ThinkTimm: “Yup, I brought in a horn section sample – actually a combination of sax and trumpet stabs that I played on a keyboard – to hit on the off-beats for that extra hype. Horn stabs are a classic hip-hop production trick for adding excitement. Think of tracks like Beastie Boys’ ‘Pass the Mic’ or old Public Enemy productions – they often had those funky horn hits. And since, fun fact, Beastie Boys have a famous track called ‘Pass the Mic,’ I felt it was a fitting homage to sprinkle a little of that DNA in here. The title obviously gives a nod to that communal hip-hop spirit.”


Willa: “I love that. And I felt the communal spirit even though it’s instrumental. Like, listening to it, I could almost hear imaginary MCs trading verses. It has that call-and-response energy. You leave space in the beat at times, like little open pockets, which in a live setting would be perfect for an MC to throw in a line or for the crowd to shout back. For instance, there’s a break where everything drops out except the drums and a vocal sample that goes, ‘come on!’ – that had me yelling ‘Come on!’ back at the speaker.” (laughs)



ThinkTimm: “Yes! That’s one of my favorite parts. I put that ‘Come on!’ shout (which is actually me doing my best cool voice impression, heavily processed) right before the beat drops back in, to emulate that hype man vibe. This track is full of those hip-hop Easter eggs. There’s also a part with a crowd noise swell, as if an audience is cheering when a sick verse ended. It’s subtle but it’s there behind the music. All to make it feel alive and kicking.”



Willa: “It definitely feels alive. Genre-wise, I also hear a bit of funk-rock fusion. Like there’s a distorted guitar riff looping quietly in the background during the verses – almost like Rage Against The Machine or Red Hot Chili Peppers kind of groove hiding back there. Was that on purpose?”


ThinkTimm: “Great catch. I did sneak in a distorted guitar riff, very low in the mix but giving a grit under the funk. I’ve always loved how some 90s hip-hop would sample rock or have rock elements – think Run DMC with Aerosmith, or Beastie Boys mixing punk into their hip-hop. So that guitar added a little edge. It’s not prominent, but you feel it in the energy. This track really is a melting pot: hip-hop, funk, a bit of rock attitude, and even that Latin percussion touch. It’s a genre gumbo meant to celebrate how hip-hop itself was born from combining genres.”



Willa: “Amen to that. Now, let’s talk emotional tone: ‘Pass the Mic’ is just pure exuberance and confidence. It’s the sound of a party where everyone’s invited to grab the mic and say their piece. I felt energized and kind of empowered listening to it. Like if I was an artist about to go on stage and this was playing as my intro, I’d be pumped up beyond belief. It’s one of those tracks that can lift the energy in any room.”


ThinkTimm: “That’s a good way to put it – an energy lifter. And strategically for the album flow, placing this at track five means we’re injecting a second wind right at the midpoint. You’ve had some emotions, some fun, and right before we possibly go into deeper territory in the latter half, here’s a burst of pure adrenaline and joy. In a live scenario, this is where we’d get everyone up and moving. It’s like the halftime show of the volume.”


Willa: “Yes! And thinking of sync, this could be killer in a variety of settings. Obvious one is anything hip-hop culture related – like a documentary on rap history or a scene in a movie where B-boys are breakdancing. I can see breakdancers tearing it up to this beat for sure. But also, imagine a comedic scene where characters unexpectedly rap or have a dance-off – this would set the perfect tone. Or even in a sports context, highlight reels could use this because it’s just driving and exciting.”



ThinkTimm: “I agree. Also, I made sure it’s structured in a way that you can loop sections easily or cut to different parts without it feeling abrupt. There’s a clear intro (with that classic “yo, yo, check this out”-style vibe), a build-up, drops, etc. An editor could take the intro and place it under a scene of someone prepping for something, then jump to the climax for the action. It’s flexible. And the lack of vocals means it won’t interfere with voiceovers – though it might steal the spotlight from dialogue if used too loud because it is kind of attention-grabbing.” (laughs)



Willa: “It sure is – in the best way. Honestly, this one must be so fun for you to perform or showcase. I imagine if you ever do a live beat set or a listening party, when ‘Pass the Mic’ comes on, you’ll see heads bobbing and maybe even some spontaneous rhyme attempts from the crowd. It’s infectious. I personally had to resist the urge to start freestyling some goofy lines when it played. It just gives you that confidence like, ‘Yeah, I got something to say!’”


ThinkTimm: “And that’s exactly the vibe: everyone has a voice, step up and use it. Even if no one literally raps on it, the music itself gives that feeling of expression. In the journey of If I Was Your Producer – Vol. 7, this track stands out as the communal, extroverted moment. We’ve had introspection and romance and moodiness – ‘Pass the Mic’ is like ‘let’s all get together and vibe.’ And that spirit is a big part of why I make music: to connect people. Even instrumentals can bring folks together and make them feel part of something.”


Willa: “Beautifully said. Alright, from this vibrant jam, I suspect we might be heading into more introspective territory next – just a hunch looking at the next title. Shall we flip the record to side B, so to speak, and see what questions arise?”


6. Question



Willa: “Here we are at track six: ‘Question.’ And wow, talk about a shift in atmosphere. As soon as this one started, I felt the mood dial back down into something thoughtful, maybe even a little haunted. It’s a gorgeous piece – definitely one of the more introspective tracks on Volume 7.”



ThinkTimm: “‘Question’ is indeed the contemplative heart of this volume. After the extroversion of ‘Pass the Mic’, I wanted to pull back and give space for reflection. This track is all about uncertainty and curiosity, living in that space where you don’t have the answers and you’re just... searching.”


Willa: “It comes through so clearly. The instrumentation here is more minimal compared to others. There’s this lilting piano motif that runs throughout – it’s delicate, almost like it’s asking a question in musical form, the way it rises then falls without resolution. And the beat is subdued – a downtempo beat with a gentle kick, a rimshot instead of a heavy snare, and some subtle ambient textures in the back, like faint echoes or wind chimes. It’s really atmospheric.”


ThinkTimm: “I took a less-is-more approach on ‘Question.’ It’s built around that piano motif you mentioned – a simple series of chords that never fully resolve to the tonic, which musically creates a sense of an unanswered question. There’s also a muted guitar pluck that comes in, kind of a jazzy guitar tone playing sparse single notes, like thoughts floating by. And I used a lot of reverb and delay on the instruments to create a sense of space – you can almost hear the room around the piano, a kind of intimate, empty-room sound. For percussion, I avoided anything too jarring. It’s mostly a brushed snare sound and light taps, with occasional soft cymbal swells. The rhythm is there to give a heartbeat, but it’s definitely not the focus.”



Willa: “This one feels very visual to me, ironically. It’s like the soundtrack of late-night thoughts. I pictured, say, a character sitting alone in a dimly lit diner at 2 AM, staring into their coffee, wrestling with a decision or a regret. The neon sign outside flickers ‘open’ through the window, and this music is what you hear as the camera gently pans around them. It’s introspective and a little melancholic, but there’s also a hint of hope in it. Like the very act of questioning means you’re searching for something better.”



ThinkTimm: “That’s a beautiful scene you painted, and it’s right in line with the vibe. I’m glad you sensed that slight glimmer of hope. While the track is in a minor key and definitely leans melancholic, I peppered in a few major chords in the progression unexpectedly. It’s like little rays of light in the darkness. Those moments maybe signify the possibility of an answer or clarity peeking through. But then it drifts back to the unresolved pattern, because in life we often don’t get neat answers. We learn to live with the questions.”


Willa: “Deep. This track’s placement also got me thinking about the narrative arc of the album. We started with love and hope, hit dedication and temptation, had fun, got hyped, and now we’re introspective. It’s like a life cycle of emotions. ‘Question’ feels like that moment of doubt or self-reflection that comes after you’ve been through a lot of experiences – love, excitement, success, etc. Eventually, you find yourself asking, ‘What does it all mean? What’s next?’ It’s kinda poetic that Volume 7, possibly being a turning point or even a culmination of the series, has a track called ‘Question’ here. Like, what is next after this? It invites the listener to ponder, just as you, the creator, might be pondering the next chapter.”


ThinkTimm: “You’re tapping into something there. By the time I got to making ‘Question,’ I think subconsciously I was processing my own thoughts about where this journey leads. Seven volumes in, hundreds of tracks made… yeah, I have questions. What’s the ultimate goal, how will these songs find their place, how do I keep evolving? So that probably seeped into the music. In a way, this track is me taking a breath and going, ‘Hmm...’”



Willa: “And it’s a brave thing to put a track like this on an album, because it’s not flashy, it’s not screaming for attention. It’s gentle and it demands you to actually listen and feel. But those can end up being the most powerful moments, especially in visual media. Like, I can absolutely see ‘Question’ being used in a pivotal scene of a movie or series – the quiet moment, the aftermath of something big, or the montage of introspection where a character is at a crossroads. It’s wonderfully sync-friendly because it won’t overpower the scene; instead, it will deepen it. It’s the type of cue a director will loop under a whole 3-minute dialogue scene because it just sets the mood without distraction.”



ThinkTimm: “That’s the hope. I intentionally didn’t throw in any sharp melodic solos or anything that would draw too much focus. The piano carries the theme steadily, almost like background thought, and the rest is texture. It’s very much a ‘supporting’ track. And yet, I hope when someone listens in isolation, they still find it moving. It’s minimal, but the emotion is concentrated. Sometimes a single piano note with the right reverb can hit harder than a wall of sound. It’s like those moments of silence in a conversation that speak louder than words.”



Willa: “So true. And personally, listening to ‘Question’ gave me a moment of pause during the album. It made me reflective about my own questions in life. That’s a special thing – when an instrumental piece can stir personal introspection in the listener. I think a lot of people will connect with this one on a quiet, maybe even subconscious level. And call me sentimental, but I feel like it links back to the whole ethos of Why Make Music… – the question in the title of our podcast. Why do we do this? Why make art? Those fundamental questions. It’s like a gentle reminder in musical form to always stay curious and thoughtful about our purpose.”



ThinkTimm: “I love that interpretation. It wasn’t deliberate, but it resonates – especially since in Episode 064 we talked about legacy and Willa, you brought it full circle to ‘Why make music? Because legacy is built in the doing – not the downloads’. Those rhetorical questions drive a lot of what we do. So yeah, maybe ‘Question’ is kind of an abstract tribute to that spirit of inquiry that keeps creators going. The question is often more important than the answer, in art and in life.”


*Willa: “Amen. It’s a gorgeous piece and it sets us up perfectly to venture into the final act of Volume 7. And I see the next track has your name in it… I’ve been dying to get to that one. Shall we?”




7. Say It (ThinkTimm)



Willa: “Alright, track seven is a provocative one simply by title: ‘Say It (ThinkTimm).’ When I saw the track list, I was immediately intrigued. Like, what’s going on here? Your name in the title? And then I heard it, and I was like whoa. Let me just start by saying this track is funky and bold. It’s like the album suddenly put on a pair of sunglasses and struck a pose.”


ThinkTimm: “Ha! I’m glad it made that impression. ‘Say It (ThinkTimm)’ is definitely a statement track. By that point in the volume, I wanted to reintroduce myself in a way – kind of planting a flag. It’s almost meta, right? It’s a track that’s partially about having a signature.”



Willa: “Exactly. Listening to it, I got this sense of you channeling the classic producer move of dropping your tag, but doing it creatively. So, first off, musically: it’s a slinky mid-tempo funk groove. The base line absolutely struts – it’s not rushing, it’s just confidently walking all over the beat. There’s a wah-wah guitar in there that immediately made me think of 70s funk legends like Curtis Mayfield or Isaac Hayes vibes, but the beat itself has a modern snap, almost a bit of hip-hop soul influence like D’Angelo or early 2000s Neptunes. And then, of course, there’s the voice.”


ThinkTimm: “Hehe, you caught that huh? There is indeed a voice element. Throughout the track, I wove in a vocoder/robotic voice that literally says ‘ThinkTimm’ at a couple of key points. It’s subtle – not like a blaring DJ drop – more like part of the music. Kind of how Daft Punk might weave a vocal hook in. The voice is tuned to the melody, so it kind of sings my name as a texture. It’s almost tucked in like another instrument, but if you pay attention, you hear ‘ThinkTimm…’ echoing here and there, almost subliminally.”


Willa: “I knew it! The first time, I thought my ears were playing tricks, but the second time I was sure I heard it. And I love that – it’s a bit of playful self-reference. Like, you’re literally saying it, putting your stamp on the track in a clever way. It fits the funk attitude too. Reminds me of how producers like Timbaland or Mike Will Made-It have vocal tags, but yours is musical. The whole track has a kind of swaggering confidence, like you at the mixing console nodding like ‘Yeah, this is me. Say my name.’”


ThinkTimm: “That’s the attitude! This track was definitely me having fun and flexing a bit. It’s not arrogant, but it’s self-assured. Kind of like saying, after all these diverse tracks, here’s one that ties it back to the persona behind them. Musically, I indulged in some of my favorite funk tropes: that wah-wah guitar you mentioned (I can never resist a good wah riff), a tight drum pocket – kick, snare, hi-hat – that’s simple but super in-the-pocket, and some spicy synth chords stabs that give a bit of that G-funk flavor. There’s also a synth lead line that comes in after the chorus that’s kind of talkbox-like (think Zapp & Roger) which complements the vocoder voice nicely.”



Willa: “The talk box vibe, yes! It’s like a conversation between the instruments and the robot voice. So cool. Another aspect – this track has attitude for days. I found myself involuntarily doing stank face (you know, that face you make when something is just too funky) and maybe even a little shoulder shimmy. It’s like the groove just grabs you. There’s a breakdown part where everything drops except the drums and bass, and maybe a shaker, and it’s just – ugh, nasty in the best way. It reminded me of those classic funk breakdowns where the bandleader goes, ‘On the one!’ and they hit it hard.”


ThinkTimm: “Yeah, I totally put one of those breakdowns in intentionally. A moment where the groove simplifies and you can really appreciate the core rhythm section. It’s the James Brown school of thought – sometimes the funk is deepest when you strip it to just drums and bass. And of course I bring elements back in gradually with a little drum fill, and when the wah wah pedal on guitar and synth come back, it’s like the groove pops even more. I had a blast making this one, honestly. It’s the kind of track that while producing it, I couldn’t help but move in my seat.”


Willa: “I bet! Now thematically, beyond the obvious name-drop, I sense a broader theme of expression here. The title ‘Say It’ to me suggests speaking up or declaring something. Coupled with your name, it’s like an assertion of identity. Perhaps saying ‘This is what I sound like, this is who I am.’ After a track like ‘Question,’ which was introspective, ‘Say It (ThinkTimm)’ feels like finding an answer or at least a resolve: you step out and state your name, musically speaking.”



ThinkTimm: “That’s a great way to interpret it. It’s like the answer to the previous track’s uncertainty. ‘Question’ dwells in doubt, ‘Say It’ responds with confidence: I am ThinkTimm, and this is my vibe. It’s almost a mission statement in groove form. Also, fun fact: this is the first time in any of the volumes that I’ve put my own artist name in a track title. It felt risky in a way – like, is that too self-referential? But I felt Volume 7 was the right time to do something a little bold. And ultimately, part of being a producer (especially in the sync world) is about branding yourself too, not in a shallow way but in establishing a recognizable sound. This track kind of encapsulates the WDMN Media ethos: independent, funky, not afraid to be a little quirky, and proud of it.”


Willa: “Proud and loud, yes! And oh, the sync possibilities here are interesting. This could be used in any scene that needs swagger. I’m thinking maybe a character montage where someone’s getting ready to conquer the day feeling themselves, or a scene where an underdog walks onto the scene surprising everyone with confidence. Even an opening credits of a show – like a cool, retro-tinged action-comedy series might use this to introduce the main character with style. It’s got that head-bobbing, toe-tapping quality that just instantly gives cool-factor to visuals.”


ThinkTimm: “I also envisioned maybe some tech or fashion ads. Picture a flashy ad for a new sneaker line or a montage of people in stylish outfits – this groove would make it all feel extra slick. And because it has that vocal saying my name (in a stylized way), it’s almost like a hidden easter egg if it ever played on TV or something. Someone might be like, ‘What is that voice saying?’ and look it up. A little guerrilla marketing.” (laughs)


Willa: “Ever the strategist! But yeah, musically it’s not intrusive even with the voice – it blends in, so for sync, it wouldn’t distract. Listeners who catch it catch it, others would just think it’s part of the instrumental texture. It’s clever. Also, I have to say from a personal standpoint – as your friend and collaborator – hearing a track basically declare your name with that much funk and confidence made me smile big. It’s like, heck yes, own it! After seven volumes, nearly 70 tracks, you’ve earned a bit of chest-thumping. In a humble way.”



ThinkTimm: “Thank you. It definitely feels like a celebration of how far we’ve come. A little victory lap in musical form. And having it be funky and fun keeps it from feeling egotistical – it’s more like we’re all in on the fun. Like, say it! – shout your name, shout what you believe in, you know? I hope when people hear it, they not only recognize it as my “theme” but also feel encouraged to be confident in their own skin. It’s got that empowering undertone.”



Willa: “It certainly empowered me to dance around my living room with zero shame. (And possibly yell ‘Willa!’ along with the track, haha.) This one is a highlight, for sure. But now we move into track eight, which by title alone – ‘Undefined’ – promises something different. And indeed, it delivered something quite unique. Let’s get into that journey.”


8. Undefined


Willa: “Track eight is ‘Undefined,’ and wow, what an adventure this one is. If I had to pick the most experimental track on Volume 7, this is it. And fittingly so, given the name. Listening to ‘Undefined’ felt like stepping into the unknown – I genuinely didn’t know where it was going to go next, in the best possible way.”


ThinkTimm: “That was the goal. After establishing a lot of strong identities in the earlier tracks, I wanted to throw the playbook out the window and just explore on ‘Undefined.’ The concept was to create a piece of music that doesn’t fit neatly into a single genre or mood – something free-form, that evolves and maybe even contradicts itself at times. Essentially, undefining what a track should be.”


Willa: “Well, color me intrigued from start to finish. This track feels like several mini-scenes in one. It starts off with this ambient soundscape – like, I heard these airy pads and maybe field recordings? It sounded like distant waves or wind for a moment, very atmospheric and calm. Then out of nowhere, a beat comes in – and not just any beat, it’s like a left-field glitchy electronic beat. The rhythm was off-kilter, like a broken beat that eventually found its groove. I remember blinking and thinking, ‘Are we in a Flying Lotus album all of a sudden?’ It had that experimental electronic vibe at first.”



ThinkTimm: “I definitely channeled my inner experimental producer here. I used some found sounds in the intro – you’re right, there’s a bit of field recording of wind chimes and distant ocean waves I had from a previous project. I layered that under a droning synth pad, to set this wide-open stage, almost like the track is a blank canvas initially. Then I introduced what’s basically a glitch-hop beat – off-kilter kick patterns, snares that stutter. I played with time signatures a bit; the intro beat is actually in 7/8 time for a few measures, which naturally makes the listener go ‘huh?’ and pay attention, since it’s not common. Then as more elements join, it shifts into a standard 4/4 but with syncopated accents, so it still feels unusual but your head can nod to it.”



Willa: “It definitely grabbed my attention. And just as I thought I had a handle on it, the track morphed again. About mid-way, everything kind of melts – the glitchy beat dissolves and a new section emerges. It was almost like an entirely different song grew out of the first one. This second part had a kind of lofi hip-hop vibe, like super chill, with a simple boom-bap rhythm and a gentle guitar loop. It was soulful and mellow, nothing like the edgy experimental start. If the first part was Flying Lotus, the second part was more like Nujabes or some chill hop artist, very warm and laid-back.”


ThinkTimm: “I love that you caught the distinct phases. Structurally, I treated ‘Undefined’ like a mini-suite or a journey through several zones. The midpoint shift is absolutely intentional – it’s like you walk through a portal from one sound world to another. That section you mentioned, I purposefully dialed the fidelity down – I applied a vinyl crackle effect, low-passed the drums a bit, and had that jazzy guitar loop (actually me noodling on a guitar, then I filtered it to sound like an old sample). It feels like you suddenly landed in a cozy cafe after being in a sci-fi lab. The contrast is jolting but also kind of comforting after the wild ride of the first half.”



Willa: “It was like being on a rollercoaster that suddenly glides into a calm river float. And just when I settled into that lofi groove, you did it again! Near the end, there was another transition – I heard a rising synth, almost like an alarm or warning, and then boom: the track transforms once more into this big cinematic climax. Like ambient post-rock or something, with swelling synth strings, a deeper drum kick that felt almost tribal, and these echoey piano hits. It was grand, but only for a short while, like a finale that comes and goes, and then the track just evaporates into silence. I was left in awe by the end.”



ThinkTimm: “Yeah, I kind of went for a three-act structure in one track. The ending act was me going for that cinematic lift – I brought in some orchestral elements, like string pads and big reverb on a tom drum pattern to give a sense of scope. That part lasts maybe 30 seconds, like a final epiphany, and then everything drops out. One moment you have this grandeur, and the next – nothing, silence. The idea was sort of reflecting how life can be undefined and ever-changing: you go through chaos, then calm, then an epiphany, and then… who knows. It ends openly, unresolved. Undefined.”



Willa: “It’s really a piece of art, honestly. It’s not a conventional ‘song’ and that’s what makes it stand out. You managed to pack an album’s worth of exploration into, what, maybe four or five minutes? That’s brave. And what’s cool is, despite how experimental it is, I never felt lost in it. The transitions, though surprising, felt purposeful. Like you were guiding us through a story – even if we didn’t know where we were going next, you knew, and that trust was there. That’s hard to pull off.”



ThinkTimm: “I appreciate that. I worried it might be too jarring for some, but I also trust listeners – especially those who’ve come along volumes 1 through 7 – to be adventurous. I mean, we tout that we flip genre on its head and experiment, so here I’m really walking the talk. And from a sync perspective, it’s interesting: while ‘Undefined’ as a whole might not drop neatly into a scene due to its shifting nature, parts of it certainly could. An editor might take just the lofi section or just the cinematic section and use that. In a way, I provided three cues in one track. It’s like a little library of moods contained in a single file. One moment from this track could underscore a peaceful scene, another moment could underscore a tense montage, etc.”



Willa: “Oh, that’s an insightful way to look at it. Like you said, a mini library. And since everything in here is original and cleared, someone could indeed slice and dice it. But even if it never gets used in a film or show, it’s a testament to your creativity and range. It’s the kind of track that probably challenged you to produce, and it challenges us to listen actively. I respect that a lot. Plus, as a listener, it’s kind of thrilling not knowing what’s next – it breaks the predictability that sometimes creeps into albums.”


ThinkTimm: “For sure. By track 8 on an album, sometimes you can guess the formula. I wanted to ensure nobody could guess this one. And thematically, after ‘Say It (ThinkTimm)’ which is very self-defined, it’s interesting to go into ‘Undefined’ – which almost says, even after you declare who you are, life can throw you into undefined territory again. It’s like a humbling reminder of the ever-evolving nature of art and identity. We define ourselves, then break those definitions, and keep growing.”



Willa: “That’s deep and true. And isn’t that the independent artist journey in a nutshell? We hate boxes, so we keep stepping out of them. ‘Undefined’ felt like a celebration of that creative freedom. I imagine on a major label album, a track like this might get nixed for not being commercial enough, but here in WDMN Media world, we say ‘bring it on.’”



ThinkTimm: “Exactly. That’s the freedom of being independent – you can have a track that’s just pure exploration without worrying about an A&R guy going ‘where’s the single?’ We can make art for art’s sake, knowing it still has value, even commercially sometimes in unexpected ways. Honestly, I could even see some avant-garde filmmaker falling in love with this track and building a short film around it – it’s that narrative. Who knows?”



Willa: “I wouldn’t be surprised.” Now, as we move out of the undefined territory, we enter our penultimate track, which judging by its name – ‘Western World’ – promises a whole different flavor. I’m excited to get into this one because it painted some vivid images in my mind. Ready to ride out west?”



9. Western World



Willa: “Okay, I have to admit, ‘Western World’ might be one of my personal favorites on this volume just because of how cool and cinematic it is. The title had me guessing – are we talking old wild west, or the broader Western society commentary, or both? And the track itself kind of touches on everything I imagined and more. It’s a wild ride (pun intended).”


ThinkTimm: “This one was incredibly fun to make. ‘Western World’ is a bit of a genre mash and a concept piece. I was indeed playing with the dual idea of ‘Western’ as in cowboy western and ‘Western world’ as in modern society. It’s like a sonic spaghetti western dropped into the 21st century.”



Willa: “From the get-go, I was transported. You open it with what sounds like an homage to classic western film scores – there’s a lone whistling melody, isn’t there? Or something akin to that iconic Ennio Morricone whistle from The Good, the Bad and the Ugly. It’s faint and atmospheric, but it instantly sets that frontier mood. And I swear I heard the sound of trotting horses or maybe a whip? Perhaps I’m imagining, but it felt like the Old West.”



ThinkTimm: “Imagine it. If I did put in some clever sound design: a subtle sample of galloping hooves and a distant whistle effect to evoke that classic Western vibe right at the start. And then even a coyote howl in the far background. If  I wanted the intro to paint a desert scene in the listener’s mind – tumbleweeds, dusk sky, you know the deal. But  it doesn’t fit in that mode. A beat kicks in that is totally contemporary – heavy drums, almost trap-like hi-hats, and a deep sub bass. Suddenly it’s like the Western Civilization  meets the open mind. And we can only be divided, because we were free to have options and opinions. ”

Willa: “Yes! When that beat dropped, I literally said ‘oh!’ out loud. You’ve got this cowboy guitar – a twangy electric guitar riff that could be straight out of a Clint Eastwood standoff – looping over modern drums. It’s such a bold contrast but it works insanely well. The guitar does a sort of ascending riff that’s quite menacing, and then the beat underneath gives it a hip-hop swagger. It’s like if Quentin Tarantino and Timbaland collaborated on a track. Gritty and groovy.”


ThinkTimm: “You are crazy… What are you listening to? That description just made my day. Tarantino and Timbaland – I’ll take it. (laughs) I indeed played a Telecaster guitar with a bit of reverb and tremolo to get that surf-western tone, and made a hook with it. Then I built the beat around it. The beat has a trap-funk feel: booming 808 kicks, snappy claps layered with a classic snare, and rapid-fire hi-hat rolls, but I also threw in some live shaker and clapper percussion to still have some organic elements, Along with the horn line. The base line is actually doing a slight blues scale walk, which ties back to Western/Americana music, but it’s on an 808 synth bass, so it hits like hip-hop. I was basically fusing Americana and trap.”


Willa: “It’s a fusion I didn’t know I needed until now. And it’s not just the instruments – the composition itself feels like a narrative. At one point, the music breaks down and I heard what sounded like a church bell or some big bell toll, which gave me this ominous vibe – like high noon, time’s up. And then it goes into a bridge that has almost orchestral elements – I think I caught a hint of strings or a dramatic pad – which made me picture sprawling desert landscapes. It’s super cinematic.”


ThinkTimm: “I couldn’t resist adding a bell toll – the classic ‘town square showdown’ bell. Good catch. I’ll play along with your Wild Wild West  fantasy.  I did include some orchestral brass hits and string swells in the bridge to really lean into the film score aspect. I basically let myself score an imaginary Western International film trailer with this track. And because of that, it might be the most visual track on the album. You listen and you can almost storyboard a scene:  cuts to modern city chaos implying that the duel is metaphorical or in the corporate world – hence Western World. I was toying with that imagery of the wild west as a metaphor for our modern chaotic world.

Willa: “So there is a bit of commentary baked in. That’s clever. I mean, Westerns often are about lawlessness and frontier justice, and sometimes you hear people refer to certain modern arenas (like tech, finance, etc.) as the ‘Wild West’ of today – unregulated, full of outlaws and mavericks. This track musically captures that parallel – the old frontier and the new one. I could easily see it being used in, say, a montage about corporate cowboys, or a tech CEO war described as a duel at high noon, something creative like that.”


ThinkTimm: “Absolutely. From a sync perspective, I actually thought of trailer music for maybe a darkly comedic action film or a series that has a Western theme in a modern setting. Think something like Westworld (the show) – they literally merged Western and futuristic sci-fi, and they used a lot of modern music with Western motifs. This track could slide into that vibe easily. Or even a video game that has an alternate history Western setting. It’s both niche and broadly appealing because Western imagery is universal and the beat is current.”


Willa: “Yeah, Westerns are part of global pop culture at this point. And combining it with a beat that kids today vibe with – that’s a smart way to bridge generations. Also, I have to mention the ending: there’s a moment near the end where the beat fades and we’re left again with those atmospheric Western elements – a last lonely guitar strum and that whistle, like the cowboy rides off into the sunset. It gave me chills. It’s like the track itself told a mini movie and ended on a perfect note.”



ThinkTimm: “I’m all about sticking the landing. I did bring it full circle at the end 
intentionally. It starts and ends in that atmospheric old West space, with the modern chaos sandwiched in the middle. Maybe a subtle statement: the world might change with time and tech, but some things – like the lone soul facing the horizon – remain timeless. We start and end in the quiet, but in between is a storm. That’s kind of the arc I went for.”


Willa: “Beautifully put. ‘Western World’ is an adventure and also one of those tracks that immediately makes you think ‘this needs to be in a movie.’ I truly hope it finds its way into one, because it deserves that spotlight. It’s so vivid. Now, speaking of final horizons, we’ve arrived at the last track of Volume 7. Appropriately titled ‘What I Think.’ I have a feeling this one’s going to tie a bow on the journey, and I have thoughts on it, no pun intended. Shall we bring it home?”



10. What I Think



Willa: “Here we are: track ten, ‘What I Think.’ From the title alone, I suspected this would be a sort of epilogue or closing statement. And indeed, listening to it felt like reading the last chapter of a book or watching the end credits of a film – with that mix of closure and lingering emotion. It’s a really heartfelt way to end the volume.”



ThinkTimm: “‘What I Think’ is definitely meant as a concluding chapter. It’s like my take on jow ThinkTimm and WDMN is viewed…reflection in musical form, wrapping up not just Volume 7, but in many ways the entire series thus far. If Volume 7 is a turning point or climax, this track is the resolution – or at least the beginning of one.”


Willa: “Musically, it’s interesting – it’s not bombastic or overly grand; instead it’s quite intimate and introspective. It starts with a simple melody on, I think, a Rhodes electric piano? It has that warm, slightly warble tone. It’s playing a gentle chord progression, something that feels hopeful with a tinge of nostalgia. Then gradually, other elements come in: a soft drum groove, very laid-back (kick, rimshot, maybe a brushed snare?), and a smooth bass that just kind of hums along. There’s also a nice layered texture of maybe synth pads or ambient sounds filling the background like a soft glow. The whole thing feels like dawn – like after a long night, the sun is just peeking up.”



ThinkTimm: “Dawn – I like that metaphor. But what I did… Was flip it this is from the point of view of the person who deep down, understands what we're doing at the same point they always have to throw shade. You know the type of person they criticize so much that they seem as though they had to observe you quite a bit to get down all the criticisms that they have about you… you know.? you'll be in one situation where you'll be like considering that you don't like them… You know a awful lot about them… Talk about opposition research.



Willa: “It definitely breathes. It’s soothing. And quite emotive – at one point, a lead instrument comes in carrying a melody. I’m not sure if it was a guitar with an effect or a synth – it had an almost vocal quality to it, like it was singing without words. Kind of a plaintive, hopeful melody that repeats and evolves slightly each time. That part really tugged at my heart.”


ThinkTimm: “everything used on the track just stemmed back to me thinking… go ahead say you don't like this music say you don't think that what we're doing is worthy of it but you're not gonna find any flaws. It may not be a cup of tea, but it's still good. One day we're gonna find our audience and I do believe like I always say the music is good. The music works. It's just the humans need to be led. Sometimes you have to put what they like and what they love in front of their face sometimes one has to be told…. hey you're missing out this ThinkTImm thing over here is wonderful. You should take a listen.


Willa: “I felt that. It’s like the music is speaking for you, giving a sense of what’s on your mind at the end of this journey. If I had to put an emotion to it, I’d say it’s contemplative but content. There’s maybe a hint of sadness or wistfulness (as any ending has), but more than that, a sense of calm and resolve. Like, this chapter is ending, and I’m at peace with it; onward to whatever comes next. That’s what it said to me.”



ThinkTimm: “That’s a great interpretation. Wistful yet content is exactly the balance I aimed for. You know, finishing Volume 7 was a big moment for me. If this was indeed the original scope of the series (given we conceived it as seven parts), then reaching the end is emotional. I poured some of that into this track. It’s almost like an audio journal entry of my state of mind at this point. Grateful, a little tired perhaps, proud, curious about the future – all those feelings swirling. But rather than try to make a grand overture out of it, I opted for something honest and gentle. Because legacy is built in these small, honest moments, not just the big statements.”



Willa: “You know, it connects to what we always circle back to on this show: why we do this. There’s a line from our recent episode about legacy – ‘success fades, but meaning lasts’ – and ‘What I Think’ embodies that sentiment. It’s not about showing off; it’s about expressing something meaningful to you, the artist. And as a listener, I feel that authenticity. It’s like we’re right there with you, sitting on the porch at sunrise, reflecting on everything that’s happened and everything that might lie ahead.”



ThinkTimm: “That’s a beautiful scene. I like the porch at sunrise image – it actually resonates with how I felt mixing the final track as the sun was coming up one morning. Life imitates art, or vice versa. And speaking of what lies ahead, I did sneak in a tiny Easter egg: in the final fade-out, there’s a faint sound of a tape recorder click or a vinyl crackle starting up – a symbolic hint that maybe a new recording or a new ‘side A’ might begin after this. It’s very subtle, but it’s my way of saying, the story’s not over, it’s just turning the page. Volume 7 might close this volume series or this era, but you know us – the journey continues.”


Willa: “I did catch something in the fading seconds! I thought my ears were playing tricks but that’s clever. A little hint of more to come, even in an ending. Classic. And from a sync perspective, ‘What I Think’ is the kind of reflective end-credits tune or final scene accompaniment that can really underscore resolution. Think of the final montage in a series finale where they show where each character ended up, or a documentary ending where the narrator leaves us with a profound thought – this track would sit under that perfectly, letting the audience feel a gentle catharsis.”



ThinkTimm: “That would be an honor if it found a life like that somewhere. It’s definitely sync-ready for any kind of gentle, thoughtful moment. Nothing jarring, just supportive emotion. And one more thing to note: all the songs being instrumental doesn’t mean they don’t speak. I feel like ‘What I Think’ sort of emphasizes that idea we’ve talked about: storytelling without words. Here I am ostensibly telling you what I think, but I never say a word – the music says it. That’s kind of a summary of the whole If I Was Your Producer concept. We’ve been telling stories without a singer, letting the production, arrangement, and vibe carry the narrative. It’s come full circle here.”



Willa: “That’s wonderfully put. It truly brings home the theme that’s been running through every volume: music as a storytelling medium in itself. And by making all these tracks sync-ready and instrumental, you’ve basically created a library of stories that can fit into other stories – which is such a cool approach to legacy. It’s like planting seeds that might grow in various films, shows, or memories of listeners.”



ThinkTimm: “I love that thought. It’s catalog culture, as we say – building a legacy one track at a time, letting them find their places over time. We’re playing the long game, and now this chapter of the game is complete.”



Willa: “So here we are at the end of Volume 7. What a journey. Before we close out, any final commentary on catalog building, legacy, independence – all the stuff that this project embodies? I mean, Episode 065 is a big one because we really unpacked the flagship project of WDMN Media.”



ThinkTimm: “Yeah, I do have some closing thoughts. Looking back at Volumes 1 through 7, it’s clear that consistency and authenticity have been our north stars. We didn’t chase trends or virality; we built a catalog brick by brick. That’s a legacy in motion – something that can grow and echo far beyond any initial release hype. In an industry that often prioritizes quick hits and clout, we’ve focused on foundation. There’s something very liberating and empowering about that as an independent artist. We own our work, we’ve cleared our rights, we’ve registered everything properly – which many might find tedious, but that’s how you prepare for opportunity. Maybe tomorrow one of these tracks gets picked up in a Netflix show, maybe not. But we’re ready either way. And either way, these tracks exist and will always exist for people to discover. That’s legacy.”


Willa: “I couldn’t agree more. It’s the long-tail, long-game approach. And I hope listeners, especially fellow independent creators, take inspiration from this. It’s like a masterclass in believing in your craft and steadily building something that lasts. We often say on this show: Independent art, major vision – and you’ve exemplified that with this series. This is major vision realized independently, no shortcuts.”



ThinkTimm: “And we’re not stopping here. Like I hinted, even with Volume 7 done, the journey continues. Maybe it’s Volume 8, maybe it’s a whole new project or collaboration – the point is, keep creating and keep releasing. One day, you look back and you’ve built a catalog that can pay bills, inspire others, or simply stand as your life’s work. That’s something no algorithm or gatekeeper can take away from you. It’s yours. And because it’s yours, you can share it freely and widely – sync licensing, streaming, physical, whatever – on your own terms. That’s the power of independence.”



Willa: “Preach! I’m feeling so proud and inspired right now, just having walked through all these tracks with you. And I’m sure our listeners are too. Volume 7 truly feels like a climax and a new beginning rolled into one. It might be the end of this volume series, but it’s also the launching pad for whatever comes next – which, knowing us, will be something even more ambitious.”



ThinkTimm: “Haha, you know it. We don’t sit still for long. But maybe we’ll take a moment to savor this milestone. Seven volumes in seven months – that’s a feat. And we couldn’t have done it without our community of listeners, supporters, and partners like Code 3 who believed in this vision of sync-ready indie music. It’s catalog culture in action, baby.”



Willa: “Yes! And huge thanks to everyone tuning in and riding shotgun with us through this track-by-track breakdown. This has been one of my favorite deep dives we’ve ever done. We hope when you listen to If I Was Your Producer – Volume 7, you hear the love, the experimentation, the storytelling, and the soul that went into it. We certainly poured ourselves into this discussion because we genuinely adore this project.”



ThinkTimm: “Absolutely. By now, these tracks feel like our friends – we know their personalities, their quirks, and we’re happy we could introduce them to you in depth. We always say our music is built to tell stories without words, and now you’ve got some words from us to accompany them. Kind of like director’s commentary on a film, you know?”



Willa: “Exactly! And with that, I think it’s time to wrap up Episode 065. As always, stay connected with us on social media @ThinkTimm and @wdmnation for updates. And if you haven’t already, go stream Volume 7 (and volumes 1–6) on your favorite platform. Experience this catalog we’ve been talking about – let it be the soundtrack to your own stories. We’d love to hear what scenes or feelings these tracks conjure for you.”


ThinkTimm: “Yes, please do share with us. The beauty of instrumental music is it can mean so many different things to different people. Maybe you heard something in a track we didn’t even mention – we’re all ears to those interpretations! And final word from me: if you’re an independent artist listening, I hope this inspires you to keep creating fearlessly. Why make music? Because this – all of this – is why. You build meaning, you build connections, and you build legacy track by track. And you don’t need anyone’s permission to start doing that.”


Willa: “Amen. Alright, thank you all for joining this ultra-deep dive. This was the core feature of our episode and I think it lived up to being massive, thoughtful, and rich in detail – just like the music it celebrated. Until next time, keep creating, keep asking questions, and keep playing the long game.”
 “Peace… and be wild.”