Hey, this is Cindy Crawford, and I'm here with Burt Reynolds. I want to give a little talk about my new album. I forgot the title of it. It's tough to say because I think it's Japanese, and I keep forgetting how to say it: son of a gun. 
I'm just going to go into the description and then re-record the intro of it later. Yeah, so welcome to my new album. I want to describe it just a bit. It has six songs that sort of represent different stages of my love life; you know, within these stages, there were maybe a couple of other, well, lots of various relationships, really. I didn't have too many, but I've had some, you know, 5-10 year relationship stuff like what I'm speaking on here. Hence, these are some of the good times and some of the folly and some of the dastardly times and everything just coming out of me sort of artistically, you know, poetically, there's a heavy emphasis on lyricism on his album.

I worked with another artist, the unmentionable, on some of the musical arrangements and tracks. I did a lot of the arrangement myself, all the production, and sound engineering, and I played on many tracks also, so it was a real collaboration musically.

OK I remember the name of it now.

Samorozpadu Zamysleni translates roughly to "Reflections on Self-Disintegration" or "Contemplations of Self-Decay." This Country Trip album more broadly explores themes of introspection, impermanence, and the slow unraveling of identity and structure. And culture.

It captures the feeling of wandering through desolate landscapes—both internal and external—while contemplating the beauty and melancholy of fragility. A blend of raw emotion and stark realism, the album is loosely based on my relationships of the past. The lost loves, the missed chances, the betrayals, and the folly and wonder of all of it.

The cover references Billy Joel's Glass Houses album. A similarly emotionally charged 1980 beaut. The house's state of shattery mid-disintegrationism also invites one to live in this remote Ozarkian location and rest in an alternative peace and calm as if also in deviance of the voids leftover from the years of Jacob's Ladder-esque committed intimacy. The εἴδωλον peaking from the inside upper floors. Waiting for someone to come home. Knowing no one will. The transcendent glow of salvation breaks through the exterior walls, howling an inner celestial brilliance and grace against the dying of the daynight.

The actual home that never was but which shall be in time.

When I can get back together with everyone and Frankenstien my way back to heaven.

As the producer of my new band, Milarepo Man, I'm involved in every aspect: arranging, performing, cover art, and bringing the music to life. Sometimes, on vocals, keys, guitars, or solos—constantly shaping the sound. After years of working on my own, this partnership has been a revelation, blending musical strengths into something grounded in classic influences but with my spin, of course.

It is cool to work with someone else providing studio backup/lead instrumentation, like Milarepo Man's Samorozpadu Zamysleni.

I capture all this with a solid Ween's 12 Golden Country Hits backup band, thanks to the unmentionable. And with some trippy futuristic extra that defines some of my more recent solo works. A familiar blanket of harmonic humanly algorithmic predictional patina seamlessly morphed with an otherwise straight-man country vibe. Mix a bit of Indie Irish folk a la Neutral Milk Hotel.

Milarepo Man's name and energy draw direct inspiration from the ethos of Repo Man (1984), Alex Cox's punk-infused cult classic that rejects conformity, consumerism, and societal norms. Like the film, the band critiques the hollow commodification of individuality, reflecting the alienation and disconnection of a world where generic branding and societal expectations dominate. True punk deep down. Hard rebellion.

However, if I had to choose one descriptor to out my deeper musical principles, it would be black metal. As punk usually ends up reminding me of Berkely beta cunts and posers that shop at Forever 21 and spend two hours on their fashion instead of just living in filth and chaos and harshness. Punk is really just a trite romantic daydream compared to the true black metalist. An empty aesthetic in place of character or grit. A San Francisco DJ talking about how they are a musician all the time. A guy who has a lifted truck but does not want to get it dirty. The gutter punk has a point in the drab grey monotones of non-choice. It is the clothing that becomes tattered and used via human movement and work, whether that be the effort to stay alive in the doldrums or constant dirt mashing holes in the knee and the keys and tool rub on the bottom of the t-shirt making 100 small holes and thinking it to perfection so that it drapes to the contours of my ripped male physique born from functional strength tasks 8+ hours each day at my construction job. God forbid the also blatherskite face painted dark lord office day job sophist weekend twit. Answering the boss in heaped aged regret and lost soul mountebank. Says the bilious homeless couch-surfing failure no longer subsisting on government unemployment. Who just made a country album and who does not have a southern accent, is from Northern, WI, and is many things and not a black metal maximalist whatsoever and simply feels that he is deeply within his artistic heart. Possibly was such in a recent past life in East Berlin, secretly sharing blood sacrifice with the girlfriend of similar admonishment of organized oppression and religious hypocrisy. Now, actually turning back to religion and a renewed relationship with God. Can I digress yet? I really am just riffing…? No??

Thee comPLEXity!! of being a creative badass wuss round peg squashed into square hole. I am still Him. My country IS black metal. I challenge you farmmen to a degenerate hick-off. If you are a good guy, I win. You are not welcome here, and I will watch you watch me burn down your proverbial soy hay church as you succeed in life with your fences and tribal sameness and general solid goodness of spirit. You are no different than the 3000 cloned leather daddies that libidinously besiege the San Francisco Mezzanine Clubs. Your wolves can't survive without the communal pack. As if you are what family was meant to be as dictated by King James. Love and hate you. Still, Black Metal is the theatrical stabbing sword of bitterness only the alpha understands. Blunted up into and against the gyrating, quivering social justice and politically imprisoned small case punk rock lemming of 1985-2025 and on. Obsidian vs skateboard /// digression release return reload click click... ffft.

Infused with a raw, DIY ethos, Milarepo Man thrives on the same chaotic, unapologetic subversion that defines Repo Man—a celebration of the bizarre, the marginalized, and the absurd. The band name itself echoes the film's rebellious spirit, playing with layers of meaning while embracing disillusionment and questioning authority at every turn. Think of a burning neon glow inside the band's throbbing chest.

Yeah, the inspiration for this album was probably Ween's 12 Golden Country Hits. I've always liked that they were genre-curious, and that gave me the green light to do that myself. 
I do it my unique way. I don't think I sound like Ween, but one thing I will point out about this particular album like, yeah, I'm doing a little bit of a Southern accent, and I'm not Southern. I'm in northern Wisconsin. 
That is kinda like what Ween does sometimes, but who cares? I'm doing it too. Deal with it.

I do have quite a bit in common with the Southerners. If you generalize and think about the redneck, that he might be riding a four-wheeler and hunting and doing all this stuff like; that's my people right? It's just that we don't have that accent. I got robbed of the accent and that slick extra. We had this Northern Wisconsin accent but did all the same kind of things, you know, I did ride some four-wheeler and motorcycle and I did swing some rope. I grew up on the river and stuff like that. When I think of my past, I think about it in a Southern accent, so also, it's just funny to me to do that accent, and it speaks to a character. 
I think you can get a lot done with voice impressions, sort of like you're saying quite a bit when you just do that without having to say it.

Do you know what I mean by spelling it out in grammar form?

You just talk like this, and you just paint a big picture and you stick a little bit of nuance and paint a tapestry of speech pattern. You gonna get a lot more done, and you write that out? Nah. You described that, with the way of the word interflect, you may spend a long time trying to get across what I'm layin' down here and now with a tweak of my tongue. Stop that. Here, I appeared top of the character you're getting born with. Gotta grow up That character to move that character like clay first. Whatever, you get what I'm saying.

These are love songs and it's about pain and heartbreak. They're all about that, really. There are no success stories here. This is the blues. I think there's some spinoff into folk for sure, maybe even a little bit of indie folk, and I would say a hint of Irish there, like the blend of the different types of country mixing it up here in this album. I like the little brand of blend that I got. Maybe keeps you on the toes. I played different characters in each song. I used some special techniques to try to achieve different nuances in my vocal styling, and what I did was I took from Marlon Brando when he played Don Vito Corleone in The Godfather (1972).

He would put these pieces of napkin or cotton in his mouth to give himself some jowls to create this mythical mobster guy. You can picture what he looked like. Those jowls were visual but also gave him a specific vocal patina, so I drew from that. Probably unhealthy to do that with today's chemical war napkins. But I was doing that during a couple of tracks just to morph my voice. You know, I'm not proud of the voice that I have. 
I struggle with it. I hate it, really. I need a voice change. I don't think my voice ever really changed properly. It never got really low. I never got into the Barry White phase of singing life whatsoever. A tenor. I have this bunk and rusty air voice; shout out to Duncan Trussel. However, his voice and ideas are both music to my ears. So I gotta use tricks, and I come at all this with a different angle, you know, this art-making music-making vocalist/impressionism I'm doing, I think are fun things on this album.

This is not highly original work on my part, in my opinion, from Brice Frillici. This is just like a side project that I enjoyed doing and about always liking country music, and this is a bit of a head nod to that, just my appreciation of it, and it's my version of it. There is one of the songs that has an indie swagger, like a Replacements vibe.

I like slow songs. This gave me a chance to showcase my vocal ability, and again, not that it's this amazing ability. 
I'm just showcasing the ability that I do have. I'm trying to be honest. I would be embarrassed if somebody thought I was really trying to make legitimate country music, but at the same time, if you pull back and you go like, OK, I think it's fair to say all these are decent songs. Give me a C+, give me a B-, and we'll call it quits. Roll with it. I'm not a genius musician. I just love making music and this mixes in perfectly with my colossal body of work. What the heck is he doing, black metal noise doom? And then the next album's a country album? What the heck? I say again, it keeps one guessing the mystery vibe, so that's I'm cool with that.

What else can I say about it? It's all created with Logic instrumentation and MIDI keyboards, mostly on headphones. 
At this time, I don't have the kind of studio where I can be loud, so I have to sneak in vocals when people aren't around. That's why it's got such low vibe vocals, almost like a whisper quality. I can't belt out lyrics, but if I did have that ability, I'd be playing some loud af, distorted Golumn heavy black metal music, which is also an album that's coming up, btw, but even that is headphone black metal. Don't count as much. I don't know what you call it, but... it's different when you can actually record very loud, ear-bleeding energy. I think you'll hear it in the final recordings when you're actually able to go balls out, but I'm working within my means, and that's cool for now. I have plans to get Buck sometime soon in the near future. I'll build a better studio and have the ability to crank monumental drum parts and distortion evisceration and screamo. I'm excited for that.

Yeah, I got some mellow air vocals for now. They're like whispered secrets. Think about this as a lullaby. They're lullabies. They're chill. There are a few solos that break out fun times, some horn parts, and backup Rhodes keyboards.

I like using tuba as my horns because it's got that soft, muffled unobtrusive poof to it, and then especially if you go up into the higher registers. I like French horns for that exact reason. You have a hand stuck up in that thang, you know, muffling and muting the sound. The French horn players. 
It's a weird way to play an instrument. You're hand muffling. Trumpets use a tool. The mute. We are more technologically advanced. The French horners are like cavemen beating rocks with sticks and thinking they are Keith Moon. Grow up, ya fisters! But yes, you do sound cool, and I utilize your patented vibrations.
I like to add a few little sprinkles of harpsichord type of clinky clank sounds, little pinks, pink pink pink, and it brightens things up just to touch and some slide guitar going on there. Had lots of classic country harmonization backup vocals, 96.1% is me, and yeah, a lot of acoustic. It's an acoustic album. I'm gonna give credit to most of the acoustics and the classic guitar playing to the unmentionable, so... shout out unmentionable. I'm on harmonica and shakers, too. Thank you very much for your outstanding performances. I say that because, at this time, we're not revealing the identity of my genius autistic savant collaborator and bandmate in my new band, Milarepo Man.

This is going to be an ongoing side project band. 
I'll put this out as Milarepo Man. With my name attached to it, but not as my solo work. I can't take credit for all this. Yes, I'm doing a lot of the work, but it is a collab. Cool beans, man; give it a listen. Give the peace a chance; I have been through a lot. Hopefully, my emotions are nicely captured and organized into some melodic enjoyment for the listener and the person interested in watching me flourish into my life's work, which is kind of a multimedia extravaganza; really, every bit of my releases are just parts of a whole, in my opinion. I see this as a large project, and I'm not done until I'm dead. And after that, my legacy will continue to morph and change and eventually disappear again into nothingness, which every single person, even the most famous, most notable most the most of everything, eventually does, and that gives me some sort of peace because, you know my everything is going to go real quick and I'm OK with that too because you know what, it really is just a blip in the eye and eternity and I do think ultimately we're just spinning around in the cycle of energy and like we come back, we go away, we come back. 
We never really go away. We just morph and morph and change, and our energy remains.

We are the souls of loving energy itself. 
We just continue, and I like to think about us sort of practicing and growing and continuing to be better and grow our love, and that love feeds everything. It feeds eternity. It makes this thing go around and continue to sort of like self create you know, and if we lose that love, maybe that's the moment where everything goes back to just nothingness from whence it all started before there ever was any magic and before then if that is, in fact, a reality, which the more I think about, the more I do not believe that is ever a reality because I do think that the magic of eternity is just that. 
It is an everlasting, eternal force of loving energy, and I just say love because that does seem like the most powerful thing in the universe, you know more powerful than evil because with any darkness, all you have to do is turn on the lights and it just has to disappear You can turn on the darkness all you want if there's constant light and guess what as soon as the darkness gets tired, the lights like yeah I've been here the whole time. You can't turn me off. I vote for the light. The older I get, the more I realize there is true evil in the world, and it is righteous to fight that evil. Music is one of those ways to fight it, and it's to express the demons and the evil.

101 Buddist Ladysmith shit.

With aggressive music, you're expressing this from your soul, and you're sort of exercising it, and with sad songs, you exercising this emotion and processing it through poetic vibration, and you know, sometimes it's soothing to listen to a sad song, I always quote Nico. I forgot the quote. It was great you quote, but she's like, 'I like these sad songs. 
I don't know why, but I like sad songs.' It's a better quote than that, but that's the idea. She was just sort of giving proper credence to what sad music is. 
Some people are like, 'I hate sad music! It's so depressing. Why would you listen to it? Whatever Elliot Smith.'

Meanwhile, you couldn't be more beautifully eloquent and passionate and just, you know, sonically just on point, like harmonic, just the gorgeousity of Elliot Smith. And those are sad songs. 
But a lot of people can get sad at times, so you want every emotion to have something out there that you can relate to, like you want to be able to put your arm around something and go, hey man, you understand, right? And that thing goes, oh yeah, I fucking get it. And that's, if you're going through some stuff and you listen to some Elliot Smith music, it makes you cry, and the reason why it makes you cry is that you're just so relieved that there's someone out there who you know understands you at that moment, and that's what we all want is any bit of connection so whether that be super hard black metal or Metallica, like do you understand what I'm going through here like Metallica just this energy and acts of being young and oppressed or feeling rebellious or just whining just this hard, this testosterone masculinity to burst out of you? You know it's gonna, and you got somebody in your corner agreeing that you're not crazy for feeling those things, and hey man, I'm here right for you, and I'm here to help that come out. 
Here's a gift, and we were given that gift by Metallica when we were 18 back in 1987 - 1994 era, like that era of Metallica for us is the perfect age for a band like Metallica. There was nothing like it, man. I'm just so appreciative of that time and musical history, and I was able to experience that with all my friends and so many unforgettable, perfect moments of connection and just absolute, almost nearly telepathic togetherness, uh, good times.

Cut to all the other genres of music that I have enjoyed with others and in rooms in small rooms where people were just ecstatic, not speaking, just dancing and emitting youthful sweaty aura and experiencing the greatness and the grandeur of life and music and creative dancy movey expression. 
So, hopefully, this album is also the wink at some of that. It's no immaculate conception. It is straight-up classic country, a little bit of honky Tonk, a little bit of gospel, a little bit of slide guitar, a little bit of hillbilly, and hopefully, some poetic lyrical swagger a la Leonard Cohen, JJ Cale, and Randy Newman Merle Haggard Yolkem Twitty. Check it out.

Guess what? I'm releasing it on Valentine's Day. An appropriate shout-out to 'all the girls I've loved before...' I am glad they came along, and so I dedicated these songs etc, etc. Every one of them has had a unique impact on my life, and sometimes I wish I could Frankenstein all of them together and make one that doesn't end up hating me. I don't know if that sounds bad or realistic. I think probably a lot of people desire that deep down, as acceptance is a truley complicated beast, but yeah, I get it. You see, you accept people for their flaws. You forgive people for the things they've done, and ultimately, in the long, long, long run, which I was talking about before we meet again, we'll all get back together. 
Like the instinct keeps nagging, I love you all. Thank you very much for being with me when you were with me and enduring my brand of crazy insanity and chaos, which I realized was also not very easy, and also fuck you for all your bullshit. I'll fuck myself right back, OK? Fuck me, but fuck you, you made some mistakes. So did I, but fuck you and your fucking mistakes. Um, yeah, let's get back together.

Like I've always known we would.

Against all odds, see you on the flip side.