I moved to Los Angeles in January of 2020. I had just finished up classes at Boston University and proceeded to take the biggest leap of faith in my life and move across the country to pursue a career in music. Up until March of that year things were going pretty well: I got some of my first mix clients, started doing my first sessions, and met some new friends along the way. Then the world fell apart and I had to move back to my parents’ basement in Louisville, Kentucky. For the first time I started to question my decisions. How can I make a living off music? I love doing it but how can I have a sustainable career?

After a few months of sitting in the basement in Kentucky I decided to book a one way ticket back to LA in early May. Still in the height of the pandemic, I figured that if I could be scrappy I could formulate some sort of a viable career off of my music. And if I could do it during a pandemic, I could definitely have an easier time when the world returned to some semblance of normalcy. Between mixing clients, production lessons, and taking some production fees here and there, I managed to do this for almost a year.

Then in April of 2021 I played a show in a friend’s backyard and invited a bunch of A&R’s and music industry people to swing by. Over the course of the next few months I got on the phone with major labels and one of the reoccurring themes I heard was that it wasn’t just about the music in today’s industry - I had to have the full package. I was told that I had to have a way bigger social media presence, that I needed to blow up on Tik Tok, that what I was doing wasn’t enough, even if the music was there.

Hearing a bunch of voices pulling me in different directions made it seem like I had to focus on everything but the music, and that became incredibly toxic - especially to me as someone who has built meaning in life around making songs. 

Overstimulated is a project that comments on my personal journey and its overwhelming nature. When life gets hectic, my primary coping mechanism is to lock myself in a room and work it out with music. Sometimes I don’t really know how to communicate, so I suppose this project is my way of sharing that experience with the world.

So I’m a DJ.

My job is to make sure you're having a good time. I select different sounds and mash them up and people actually pay me stupid money to do it.

I live for sampling. Everything is a remix.

The first time I heard “D.J. Girl” by Katalina was at a rave. For the next 10 years, I whole-heartedly believed that was the original song. (DJ Caffeine)

It wasn’t until this year that I discovered the original and as a house-head you can imagine my excitement!

I immediately started playing it in all of my sets. I found the acapella and made an edit that felt more aligned with what I play today.

I played it out and people really liked it.

I made a TikTok and it went moderately viral (for me)

Me to myself: Hey I think I might have something big here!

Me to record labels: Hey guys do you like this song?

Record labels: [Silence]

So I made another TikTok with an updated version. And it happened again.

Cool cool cool, so I guess I’m doing it on my own.

This is my version of I’m With the DJ.

Available on all major DSPs and 100 editions on Sound for $8 each.

MOONSHOT is a music NFT collection based on 5 songs written by Violetta Zironi and 2500 unique, hand-drawn artworks by Giuseppe Zironi (Violetta's dad), a renowned Disney illustrator for over 30 years.

The songs were co-written by Violetta with multi platinum songwriter Michael Ochs, and produced with 2x Grammy winning producer Matt Rollings.

Find out more about the music here:
[Violetta Zironi](https://www.violettazironi.com/)

Each song was inspired by a real life situation that occurred in Violetta’s life. Each artwork was inspired by the songs.

The music will take you somewhere you’ve never been, but yet feels familiar.

---

A Nifty Music drop.

Find out more about us:
[Nifty Music](https://niftymusic.app)

We made iPhone as the first track for my crowdfund project “Your High Horse”. I went to Atlanta like the first week we launched it and we immediately pumped out this song in about an hour or two. This was one of those rare occasions where I knew exactly how I was going to approach the song off rip. The idea was thematically inspired by “Device Control” by Frank Ocean + “Everybody Nose” by NERD and it’s one of those records where I wanted to paint a picture in a tongue in cheek way about the way we all use our phones. The idea is that there’s two people in the bathroom at the club (supposed to be having a good time) complaining on social media about having to go out and then on the flip end, how we complain about how we’d rather be on our phones than in the moment and how we all have this obsession with portraying something that’s not accurate to the rest of the world.… how we have this little device with the majority of the accumulated knowledge that we as humans have gathered over time and how it causes us all to feel detached from life in real time because we have entirely too much access.

there's lots of reasons why  
not to try  
the turbulence lets us know  
where to go

it was halloween and she was dressed like dorothy gale from kansas. she had came with a mutual friend to tag along for the night, sipping something out of a solo cup in my living room when i first saw her. i think thriller was playing. we only chatted for a bit before all cramming into a party bus, but by then i'd already gathered she was weird in ways you want someone to be. like generally speaking i think girls with cats in their 20's have to either be awesome or crazy, and she was fucking awesome. actors have that same toss up, which she was as well. actually actors are usually both. i guess so are cat people. but actors WITH cats? dangerous mix.

the night went like a lot of LA nights do; bouncing around to multiple parties, splitting up with your original group, ending up at unexpected ones with a whole new assembly, and all reconvening late at night to catch up. when i finally saw her again it was probably 5am and i was face deep in a plate of vodka pasta but i asked for her number anyway cause i'm just endlessly shameless and i definitely wanted to see her again. the next morning i was eating at beachwood cafe when i got a facetime call from her, which turned out to be a butt dial to my dismay. so i went home ( which happened to be like 150 feet away) and picked up my guitar.

when you write a lot, sending someone a song about them can feel like nothing to you but A LOT to them, and that can be pretty awkward. luckily that wasn't the case with her, and it more or less got the response i'd hoped for cause we've gotten to know each other pretty well in the 14 months since. 

==

//

i saw that you called, i fixed my hair, and picked up

        but nobody was there, i guess you dialed with your butt

i think that you're fun
i'd soak you up like a sponge
i'm having over some friends
click your heels and come

i don't know what you think i'm trying                                    to do
                                                    what you think i'm trying 

but if i could have anything from you, i'd wanna be pen pals
sending handwritten letters to each other's home addresses
so i got to know you better 
hang out in empty movie theaters 
and be way too harsh of critics like we were roger ebert 

the wizard of what
no fan of cinnamon gum
you whisper shit to your friend, i overthink it a bunch

shrooms hit on the bus
i probably told you too much
                                        i'm always falling in love
                                                                                the feeling goes and it comes 

like moonlight glistening on water, i can't ever stand too still


but i would chill out for a second or so to be pen pals
sending handwritten letters to each other's home addresses
so i got to know you better 
hang out in empty movie theaters 
and be way too harsh of critics like we were roger ebert 

i'm your typical american boy

i wanna make love and i wanna make noise

//

Over the last 30 years, as I made my way through my career, I came to a realization. I always made my music for my fans. But they never got a chance to be a part of it. They only watched the Dogg from afar.

With music NFTs, this completely changes the game. I am able to release tracks and have my fans buy them but now can make money off of them too.  I wouldn’t be here without these people and they deserve to take more control in this industry. Now is the time.

I hustle 4 myself and my family. When I put something out, just know I gave it my all because that’s all I know how to do.

I made this Death Row Mix for my fans to enjoy. Some bits and pieces from my friends and family for you to enjoy. Even a couple minutes for you throw your own verse in there. See you in Tha metaverse. Peace n love.

I've been sitting here nervous af cause this is something new for me & growth should feel new and uncomfortable. 

"Paris // Milan" is an exploration into new territory and it's a taste of what i've been inspired by recently. We made this in 2021 and slightly tweaked it here and there just to make sure we got the rhythm/ audiodrip right.  

Written by Me 
Produced by 4km + Outro by Merci Ariya

Happy 420 mothafuccas. I made a mix for my favorite holiday and I’m only sharing it with y’all.

This time around, we wanted to show off some of the dope artists in the web3 world and make sure their voice gets heard on my platform. These cats pave the way 4 people like myself in this new wave. Big shout to MoRuf, Iman Europe, Black Dave, n Heno. 

I won’t spoil the surprise too much but I think you’ll like this 1. Ya’ll ever heard of Dr. Bombay? Thats my bored ape. We do it right over here chuuuuch.

Let me know what you think. I’ll be here waiting.

WVRPS is a collection of 9,999 virtual artist NFTs minted on the Ethereum blockchain and derived from WarpSound's OG triad of metaverse creators: Nayomi, DJ Dragoon and Gnar Heart. Each audiovisual WVRP is a unique fusion of generative visual PFP art and original music composed and produced by WarpSound's AI-driven audio engine. WVRPS is the opening note of WarpSound's greater vision for generative music creativity and social music experience. Each WVRP is a singular key to a deeper connection with music.

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