Right on the cusp of releasing yet another album of conceptually provocative, musically absorbing originals – the UK’s own indie hip hop legend Ultra_eko lets us dig deep into his creative process, his background, his lyricism, family life, the impact of a tumultuous 2020, and plenty more.
Consistently proving himself to be a deeply contemplative, comedic and captivating artist and storyteller, Ultra_eko delves into newly revealing realms of thought this time around. An engaging read, well worth escaping into for a while. Here’s the conversation in full.
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Hey – great to catch up again, and massive congrats on another album release. Just to introduce things a little – where have you spent this past year of lock-down, and what prompted the making of Revelation?
I have spent the year of lockdown getting lost in my creative pursuits, writing and recording music at furious pace. I find it a great escape from real life pressures, and a means of burying my head in the sand and pretending all is well whilst my world collapses around. Fearful of the ringing phone, the falling letter upon mat; the heavy knocking on the door; nothing good can come from anyone who is out looking for me. I have considered writing myself out of the plot as I seem to have hit a cul-de-sac; perhaps reinventing myself as some kind of clairvoyant from the continent, who can help reach out to dead relatives, for those who seek reassurance that recently deceased Aunt Mavis is no longer mad about ‘that thing’, in fact she’s having a right laugh with all your other dead family members.
After a lifetime spent in avoidance, becoming skilled and adept at hiding, I would not be happy to find a welcome party at the gates of heaven. Financial pressures, caused by a sudden lack of income, inevitably lead to further difficulties with loved ones and creditors; and if loved ones are creditors it can be even worse.
“One pleasant side effect of the lockdown is that the small moving obstacles who live in the house, and whom seem to require constant feeding, actually have distinct personalities of their own, which I’ve found quite charming.”
I’ve discovered that everything is always someone else’s fault no matter the evidence to the contrary. Also, deny and feign ignorance of everything is advice worth repeating here; admission of guilt will usually leave you worse off. Finally, it is easier to ask forgiveness than permission, deal with the fall out later.
One pleasant side effect of the lockdown is that the small moving obstacles who live in the house, and whom seem to require constant feeding, actually have distinct personalities of their own, which I’ve found quite charming. They have names too, though I’ve never been big on those. As such, I have used these small bundles of joy and stupidity, to while away moments of boredom.
The smaller one seems especially easy to deceive, and I have spent many hours with him hunting and killing trolls in our local woods. They have been a problem for centuries in these parts, ever since the locals used and then betrayed a legendary, and still living troll named, Scruncher. Me and the smaller obstacle avail ourselves with light sabers and sticks, and should we ever find this great Scruncher, I have no doubt he will be absolutely terrifying. I take comfort from the fact that I can easily outrun the smaller one, and so surely, I will escape whilst he is eaten.
I have also enjoyed taking up climbing with the elder obstacle. Specifically, climbing a fence into an expensive golf club, and then watching the elder obstacle rip up great clumps of turf as he swings wildly with his club, constantly missing the ball. The beautiful greens also make a great playing surface for games of football, though we keep having to move from one to another having damaged them so badly. Occasionally our fun is cut short by a crazy groundsman, who speeds towards us on an electric cart, shouting maniacally and waving his arms. I assume he has gone quite insane being alone here all these months and means to murder us; we run for our lives whenever he is spotted.
“It is my attempt at a dark, heavy and brooding hip-hop album, my own personal masterpiece.”
The album Revelation is very much a product of this lockdown period and reflects many of the beginnings and endings we have been through during this strange, surreal time. It is my attempt at a dark, heavy and brooding hip-hop album, my own personal masterpiece. It begins with the track Dust to Dust which takes off where Ashes to Ashes, the previous album‘s final track left off, our narrator finding himself reborn into this new collection of dark narratives.
The landscapes are desolate and apocalyptic, the characters broken and disturbed; death seems to be close at all times. Yet with crisis comes the opportunity for great change and growth, with death comes the chance to be born anew, and so I also feel it is an album full of hope. It is an album about finding the strength within to make a stand, to fight and rally against forces outside of our control. It is about drawing strength from that spiritual realm, which we must turn inward to find, reaching down into the depths of our souls.
I used the heavy gravitas of biblical verse to bookend the album, more as an aesthetic than anything else, and the title Revelation, refers to great truths coming to light, in this case it is about revealing the light within, the revelation of the immortal spirit and soul within us all.
Did you decide upon the concept, and then make the music, or make the music out of habit and passion and then connect the dots later for a conceptual title?
I try not to get too involved in the process and tend to let things unfold organically. It all happens unconsciously. My job is to try and tune in to the subtle frequencies whereby I am able to transcribe messages delivered from that place. This I believe, is what they call, being in ‘the zone’, and each piece of the whole puzzle is revealed over a period of time. There is that interplay between the constructive conscious mind, which shapes and orders, and the unconscious, the genius and inspiration within, from where the ideas spring. There is no more joyous feeling than having ideas and lines of verse and stories delivered up to me from the depths; it’s transcendent and euphoric.
“There is no more joyous feeling than having ideas and lines of verse and stories delivered up to me from the depths; it’s transcendent and euphoric.”
I wanted to create an album made up only of hip-hop, and for it to have this type of religious gravitas. Hip-hop has always had this whole theatrical side, full of individuals trying to live up to a persona they have created; the danger is when people start to believe in their own myth. I liked the idea of this preacher/prophet type character, and so I tried to have that concept and aesthetic guide the whole process.
It’s an album that is born out of this period of lockdown, of the pandemic, and the changes faced by individuals and society as a whole. It has been a time of endings, both in terms of the death of lots of people, but also in terms of people losing businesses, jobs, having to change habits of a lifetimes. It has been a time of great transition for many, me included, and those individuals more adaptable, flexible, and open to change, will be the ones who survive and thrive. Every change brings opportunity for growth and development, a shake-up of the status quo, and it comes down to how you cope, the mindset and attitude you approach problems with. I myself had a terrible time, was on the verge of losing everything; but at the same time it was a greatly creative period, and a wonderful time to spend precious moments with little ones; to explore new avenues, new modes of being in the world.
The album is full of endings and apocalyptic scenes of death and decay, yet it is from these endings that we begin anew, a phoenix risen from the ashes.
(As a side note, the album can also be read and interpreted as a commentary of the story personified. Dust to Dust the opening track, is about the end of the previous story, Alternate Realities, and the beginning of this new one. This idea is most evident in the final track, Book of Revelations, in which certain lines can be read as the story, narrative, referring to itself in this personified embodiment.
‘I am merely a mirror,
A distorted reflection,
I’m the water in the river
I can form any shape
Take any direction,
And just like that water in the river
While I may look solid
Try and pick me up and
I will slip straight through your fingers.’
Are you a religious man yourself, or will the album reveal the answer to this when listened to in full?
I’m not religious in the slightest, nor was I ever indoctrinated into any faith. I did read a few pages from Genesis when my cat died as a child, though I didn’t find much cat related content, which I think represents a huge gap in the market; someone should start making pet bibles to comfort children when they lose a beloved hamster, for example. Moses had a tabby named Tibbles, but he was written out of the plot during the parting of the Red Sea, eaten by a shark no doubt.
“I did read a few pages from Genesis when my cat died as a child, though I didn’t find much cat related content, which I think represents a huge gap in the market.”
I used to despise and be disgusted by organised religions, but over time I’ve softened, and I can see how the structure and discipline offered by some of the faiths can be a great source of strength and sustenance to people; certainly I could have used some of that discipline, and the humbleness of giving oneself over to a higher power, I can vibe with that. I appreciate the values of Christianity, the practice of being non-judgemental, of treating everyone equally regardless of material status, with the same respect and compassion; valuing and being respectful to others and to all life on this earth; trying to live in a way whereby you bring light and joy into the lives of others; being there to support, to lift, to inspire and to see us as a collective whole, rather than having a selfish focus on your individual desires. To try and leave the earth having contributed something positive; civilisations grow great when people plant trees in whose shade they know they will never sit. It’s about seeing beyond your own limited perspective and lifespan, of connecting with the greater whole. Also, don’t steal or covet your neighbour’s ox or ass, and don’t bear false witness against him or her; I’ve been guilty of coveting my neighbour’s ox over the years; but I defy anyone not to covet that ox, such a fine ox it is.
I live by all of these principles, and consider myself a very spiritual person, but the religions just don’t encompass the breadth of my own ideas; I need a place for extra-terrestrials and alternate dimensions in my faith, parallel universes and spirit guides; some of these religions are in need of serious reboots in line with modern day special effects.
I suppose Buddhism or Hinduism would be the belief systems I would consider closest to my own. I could spend thousands upon thousands of words delving into my ideas and beliefs, but I’m going to stop myself before I get too drawn in.
I would like to mention the works of Dr Ian Stevenson, and his research into children who remember past lives; amazing and inspiring. And I would also like to mention that I will be debuting a new religion which is in part my own creation later in the year, and I hope to deliver some videos explaining its values and theology. I’ve always wanted to create my own religion, so that’s another accomplishment checked off the bucket list.
There are so many layers to your bars, to such an extent that a single listen is often far from enough to catch every idea. With Twisted Fate, for example – certain lyrics leap out unexpectedly.
Do you intentionally weave in shock factor to hit like this, or do you just story-tell in a freestyle manner?
It’s nice to know that there are people who notice, thank you. I know that probably a lot of what I pack into the verse is missed, but it’s important to me that I don’t waste a line. I am hoping to put together a paperback, which I’m halfway through compiling, with all the lyrics from the Revelation album, maybe with short annotations of certain parts.
I really am very proud of the Revelation album in terms of the writing, the cohesiveness of the project as a whole; the dark and heavy aesthetic; it is most certainly my favourite and I think best project as of yet. I think it would take a lot for me to attempt something better, which is why the next project will be completely different altogether.
I do write in a freestyle manner, but I also have an idea of how I’m going to structure a story, an end point that I am roughly aiming towards, which acts as a guideline and compass, and hopefully stops me veering off on a tangent too often. I never try and weave in shock factor, I don’t really think like that; I’m driven more by the power of an image or idea that might strike me.
I also have always loved the horror aesthetic; my imagination always tends to take the darkest turn it can find, and this is true in day-to-day life. If I am unable to reach someone for example and I don’t know why, I will inevitably start imagining the worst-case scenarios; they were obviously killed in a terrible accident no doubt.
“It’s usually only when other people read or listen and note how dark and horrific something I’ve made is that I will notice; to me it had seemed perfectly normal.”
From the age of ten I devoured every Stephen King book written, and I always felt at home amongst those dark and supernatural themes. It’s usually only when other people read or listen and note how dark and horrific something I’ve made is that I will notice; to me it had seemed perfectly normal.
I really love the writing in Twisted Fate, itself an adaptation of the Twisted track on my first EP, Kitchen Sink Dramas. I think it is maybe my favourite ever piece of writing. It’s a self-contained little world made up of these three people, a place perhaps that is non-physical, yet very real.
I have dreams in which I return to the same places, buildings full of rooms, and there is a distinct feel and texture to these places, they feel very real to me, and that’s the sense I get from the Twisted track, that the landscape in which it takes place is real and exists somewhere in my own imaginal realm.
Talk us through your storytelling / writing process – where do you begin, and how much editing is there to the way you write and record new bars?
I don’t have the same methodology for writing every track. Often the music will stir powerful emotions which will drive the writing. With emotionally driven tracks, the writing pours out very easily, and it is more feeling based and less abstract and conceptual. For other tracks, I will start with a strong and powerful image, which will act as a motif and anchor for the whole narrative and a reference point throughout the writing process. For example, in the Twisted track the image of the broken prodigal son pushing open the door to his childhood home and seeing his parents, themselves both ravaged and aged by his reckless behaviours, was a striking and powerful image around which I built the rest of the narrative.
I think the really vivid powerful images resonate with a lot of personal emotions, and feel authentic and true, and so it becomes easy to use them as a go-to point from which you keep drawing inspiration and the emotional drive of the story from.
Other times still, I will have a certain voice in which I wish to tell the story, a sort of method acting, and I need only to start thinking in this voice and the lyrics and story will come forth. For example, in the Nike track, I had the voice of a confident, ironic, nihilistic type character, who feels jaded and burnt out by the world, and this voice and character informed the writing of the lyrics.
“The image of the broken prodigal son pushing open the door to his childhood home and seeing his parents, themselves both ravaged and aged by his reckless behaviours, was a striking and powerful image around which I built the rest of the narrative.”
Where do you get your stories from – the news, local hearsay, or is it fiction? (I’m thinking Pretty Girl, Medicine and Messy Thoughts in particular)?
All of my material comes from within; and it is usually a blend of personal experience and fiction. None of my tracks are wholly autobiographical, except perhaps the Daytripper track on Alternate Realities, (apart from the pregnancy at the end) but many are inspired by true events.
I don’t watch or read the news, and haven’t done for years, and I will rarely watch television, maybe two hours a week, or films with my two boys. I did just watch a brilliant documentary called Hypernormalisation which was fantastic, and I would highly recommend it; you can find it on YouTube.
Now I’m watching some Stephen Greer UFO material. I mostly like to watch material that offers new or more all-encompassing perspectives on reality and consciousness. The Hypernormalistation doc was great because it makes the bold attempt to draw together the political and cultural movements and developments of the past 40 years, piecing together a story and narrative which explains how we have reached the point where we find ourselves today. You only need to watch a documentary like this, or listen to Noam Chomsky give a lecture, to start to see how being jacked into the media and consuming vast amounts of tv is not good for maintaining objectivity. Even the shows you might watch on Netflix, if everyone else is watching the same shows, then there will be a shared consensus which has been passively internalised and which people wouldn’t even necessarily be aware of, whereby they are adopting values and ideas about consumerism or moral values, which are being promoted to them through mass media.
“Even the shows you might watch on Netflix, if everyone else is watching the same shows, then there will be a shared consensus which has been passively internalised and which people wouldn’t even necessarily be aware of, whereby they are adopting values and ideas about consumerism or moral values, which are being promoted to them through mass media. ”
Hypernormalisation is interesting because it demonstrates how the media constructs simplified narratives to help us understand and feel we have come to grips with a world too complex and dynamic for us to really comprehend. I like these types of works that try and see the big picture; Jared Diamond’s Guns, Germs and Steel is one of the best books I have ever read, as it gives a historical overview of human development from hunter/gatherer times to the development of agriculture, and onwards; it’s amazing to see the progress of the human race from this type of perspective; just how fast we are progressing. And as I have touched on in the past, in the Viral track for example, we have evolved culturally and technologically far too fast for our biology to keep up. As such we are working with a mental software, a brain, designed and evolved for life in the jungle, where if you saw a tree full of fruit, it paid to consume as much of that sweet tasting goodness as you could, as it would most likely not be there tomorrow. Fast forward several thousand years and we have a huge obesity and diabetic problem because the brain is still telling people to eat as much of that sweet tasting goodness as possible, except now it’s refined sugar and there is no shortage of food, at least in the west, it’s just that we haven’t evolved to be so good at long term planning.
Recently I subscribed to the Gaia channel, though it is mostly full of painfully bad content; I think the documentary Collapse is the best thing I’ve seen on there.
“Fast forward several thousand years and we have a huge obesity and diabetic problem because the brain is still telling people to eat as much of that sweet tasting goodness as possible, except now it’s refined sugar and there is no shortage of food.”
I just scrolled up to see I went completely off point there! A lot of people assume that my tracks are all autobiographical, and I can only assume that this is because of the historical origins of hip-hop as a means of telling and recounting personal history and experience. I read for example in one review that the track, My Old Man, was about my own father, when in fact it wasn’t at all, and was more inspired by how I imagined/hoped my son might see me in years to come.
Another review spoke of how WIFI Wifey was about an extramarital affair I had partaken of; I deliberately dropped references to a woman/girl from Costa coffee throughout that Off the Grid album to emphasise that idea. The truth is she worked in Gregg’s.
Nowadays if someone takes a track I’ve written as a whole truth, then I’m flattered; it means I done a good job of telling a believable story. But even if every word you wrote in a track was factual, it still would never tell a whole story.
Stories and people are multifaceted, they must be understood in context, they take on different shades depending on which perspective you look at them through; people and stories and the world are very complex and dynamic and evolving, so the most you can do within a song is perhaps grab a snapshot of a moment, nothing more.
“People and stories and the world are very complex and dynamic and evolving, so the most you can do within a song is perhaps grab a snapshot of a moment, nothing more. “
The three tracks you mention in the question were each born via different methods. The Pretty Girl track, which I almost cut out, but was convinced otherwise, began with the image of a modern-day Rapunzel character, waiting in a tower block for a prince to arrive. This was then given a twist of horror with the added detail that the prince she waited for was already dead. I then combined this with the idea of a person, a woman in this case, who has been afraid to go out and live her life, and so it remains something of a blank page, she has never been marked or wounded by experience, and the fact that she has done nothing, wounds her all the same. Instead she lives through the imaginal characters she calls into being from the books and fictions she reads.
The track Medicine is one of the more autobiographical tracks on the album, and it was driven by a withdrawal experience of my own, and the waking up and finding oneself still within a dream, waking again and still within a dream; it’s a really intense and vivid experience, and actually quite enjoyable.
Any withdrawal which alters brain chemistry will inevitably result in vivid dreams. The strangling of his partner is wholly fictional I can assure you. I’ve noticed quite a lot of violence perpetrated on women in my work recently; this isn’t a reflection of my own misogyny I don’t think, it’s more an indictment of the brutal nature of the male of the species, his difficulties and frustrations with being emotionally open and able to communicate, often resulting in violence as a means of expression.
“It’s more an indictment of the brutal nature of the male of the species, his difficulties and frustrations with being emotionally open and able to communicate, often resulting in violence as a means of expression.”
Finally, the Thrown up Thoughts track, is another favourite piece of writing of mine, and I think it shares a sort of surreal sensibility with Twisted Fate. This was one of those tracks where I had a really vivid image that I worked off, in this case being the dad ‘throwing up’ thoughts all over the floor, whatever these might look like, and his son reading them like they were tea leaves in a cup.
I love some of the ideas in this track, the permanent gridlock which sends an uncle mad, the thoughts going viral within the house and causing the baby brother nightmares. It’s all very surreal and poetic, and the beat by ‘Darealmrlee’ compliments it perfectly. He was very kind enough to give me that beat, which he had planned to use for himself, but which I heard and made a strong case that it did in fact belong with my lyrics, which all credit to him, he agreed with after I sent him a demo recording.
Bad Egg is a standout track, in my opinion. This feels like one of the first that focuses fully on the self. Is this a personal outpouring, or another character speaking?
You always seem to be able to pick out the most personal tracks whenever you listen to my music. It’s true that this track, one of the last I wrote on the album, was a personal outpouring, and I remember the whole song was written in one sitting with little revision.
As I mentioned earlier, when a track is emotionally driven the writing seems to come out easy. I really don’t remember the specifics of what inspired it; I guess it was a bad day/week. Writing is of course a therapy as well, and no doubt I would have felt much better after crafting this track out of my misery.
This project is a step towards classic hip hop soundscapes and style in comparison to the more dance-themed offerings of late. What can you tell us about this creative decision?
As much as I myself loved the genre hopping nature of Alternate Realities, and it was also really well reviewed, I did notice that people who liked my hip-hop sound were certainly not so keen on the dance and indie material. And as for the indie stuff, I didn’t really direct it towards a receptive audience.
The remix album has certainly been popular and working with Subsequel has been a game changer for me. We do plan a some remixes from the Revelation album, which will be cool. I just felt, in light of that, that I wanted to make a pure hip-hop album; something that felt weighty and significant to me. It’s a big album, 19 tracks, its full of deep, quality writing I hope, and I certainly think the best music I have so far produced; it feels like a step up in quality to me, and this is an album that I myself will continue to listen to.
I see Alternate Realities and Revelation as the first two parts of a trilogy, and the second act is always the darkest. You can expect then something very different for the third and final album of the trilogy; it certainly won’t be a full-on hip-hop album like this one.
Which track from this album are you the proudest of, and why?
I’m not proud of any particular one of them; maybe Rapture is my personal favourite. Also, Brain Ain’t Your Own with Darealmrlee is a significant track, as it was the beginning of something much bigger to come.
Given the immense work ethic that keeps you crafting and releasing such high-quality projects – what impact would you say that being a father has had on your drive as an artist?
Being a father, which I take with the utmost seriousness, and consider it my most important role and job in this world, affects every aspect of your life. It changes a person, deepens them, brings to the world a person for whom there is no limit to their love for, no sacrifice that would be too great in protection of. It is an intense and beautiful part of life, and I am very grateful and blessed to have been gifted two beautiful sons who mean everything to me. It matured me as a person, taught me to put the needs of others before my own; to learn patience and compassion, to become less self-conscious; to bring joy and laughter, and to try and cherish and experience every moment to the fullest; not to waste a second, because as we all know, everything can be taken away in an instant.
Certainly I have less time on my hands, but before I was writing prose rather than music. I think I have become completely focused on the music as a result of parenthood. Becoming a parent makes you acutely aware of time. You learn to manage days and time more effectively, learning to carve out time for your passions and not to waste time. Also, it raises awareness that your own time is running out, that time is of the essence, and it creates an urgency to seize the moment to do what you need to do, before you run out of time!
“Being a father, which I take with the utmost seriousness, and consider it my most important role and job in this world, affects every aspect of your life… it raises awareness that your own time is running out, that time is of the essence, and it creates an urgency to seize the moment to do what you need to do, before you run out of time!”
With the complexity of much of your writing, and the versatility musically, where do you see yourself fitting in from a live performance perspective – any particular festivals or events that you aspire to take part in?
The live experience is a dream I still want to fulfil, but I would want to do it in a special way, to create something to live long in the memory. I don’t think that hip-hop particularly translates well into big live shows; it seems more suited to smaller venues. I think the dance remixes of Subsequel would make a good live set, and I would love to perform. I can imagine those well suited to one of those circus tent type venues.
I am currently working on a collaborative project, however, that is being specifically geared towards being performed live. It’s going to be something very special I hope; a lot of work to try and bring to fruition, but certainly doable, and I have a vision of how it will all come together. I really like to be involved in every detail of a project, from the artwork upwards, and so designing and composing something like this, an audio and visual spectacle, I find totally engrossing, and it has been an all-consuming passion over the last two months or so. It is a collaborative project built upon a good understanding and natural working relationship.
The project has never felt forced, in fact the opposite, at times it has seemed to be writing itself. I’ve really enjoyed working collaboratively like this, because it brings out a different side to me, more sociable and fun, rather than my usual morbid inward looking self. And so it has resulted in a project full of comedy and madcap creative ideas; it is something so original and unique, I hope.
It is quite a big undertaking, and the audio is still a couple of months away from competition. Then it will be a case of trying to put together a proposal and gaining funding to put together the live show; it could be something really special and I will certainly try my best to bring it to fruition. But I would be happy to start performing any of my material live, to be honest, it would be an honour.
What comes to mind if asked to cite your favourite lyric from this new album, and why does this line stand out to you?
It would probably be this short verse from Twisted Fate –
‘Deathly silences and longing stares
Across the dining table
No words spoke except for
Pass the salt please
Knives and forks crash together
Cut into the cold, rare meat
Red blood run across the cutlery
Not a single laugh
Single smile
Not a touch of warmth and
Never no forgiveness
No forgiveness never
Just the sight of
Red blood, runs red
Across the cutlery
Red blood runs red
Licking on these dry cracked lips
Red blood runs red across these
Black teeth as I bite down upon the red raw meat.’
I really love the rhythm of this verse, its flows so effortlessly, but the repetition of ‘red blood’ creates this rhythm as the intensity rises until reaching a crescendo; I like the imagery of these three emotionally blocked people, who obviously feel a love or at least a commitment to each other, sitting silently at the dinner table, knives and forks clinking together, cutting into the rare meat, itself greatly symbolic of some piece of history between them; the act of eating together is one of bonding; and so as they each bite down upon the meat, there is perhaps an unspoken healing process taking place; or perhaps an understanding of the dark appetites found in people.
Last time we spoke, you stated – “People will always want to see you fail, it makes them feel better about their own lack of trying.” Have your feelings about this changed at all, or grown stronger?
It seems a lifetime ago when I wrote that, I’ve come a long way since, and already far exceeded what I thought possible. A lot of that sentiment was born out of insecurity, a lack of confidence in what I was doing. I have since grown into this Ultra_eko identity. At that time it was a big change for me and I wasn’t yet comfortable or secure in what I was doing.
Whilst I think there are some bitter characters who love to see others fail, I think most people are too wrapped up in their own narratives to care either way. And as for myself, I no longer care what people think, I’m following my own path and journey, and I do this to satisfy my own demands upon myself, so the opinions of others rarely bother me anymore.
Is there anything else we should know?
There’s a blister underneath my foot; it’s irritating but makes the act of removing ones shoes a delight. I would like to learn how to communicate with extra-terrestrial entities via the power of my mind. I would like to know why the whistling keyring fell from fashion; surely it’s still a brilliant idea, or have people become more responsible as to where they put their keys over time?
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