Interview: Thomas Andersen (Gazpacho)

Interview: 27th October 2025

A few days before the release of their new album, Hotel Hobbies spent an extremely enjoyable time chatting with keyboard player Thomas Andersen discussing life, fate, philosophy, the new album (review here) and his love of Marillion.

Hotel Hobbies: With the release of Magic 8-Ball just a few days away, and it having been five years since Fireworker, do you still have the same anticipation about a new release as you always had?

Thomas Andersen: Every time. It's always nerve-wracking because we put so much of ourselves into the stuff that we make. It's always a difficult question, isn't it? Should you read reviews? Should you see the feedback and the comments on YouTube and Facebook? Or should you sort of peek a little at them, or should you just let it all go? I’m sure everyone that you’ve spoken to and it probably applies to your writing too, says that you can get one thousand compliments but if you get one negative comment, it destroys your day completely. Weirdly, the brain seems to latch on to that as the truth. I think we all have imposter syndrome in one form or another. I have to admit, I always read all the reviews and I always look at the comments whenever I come across them and every time, it's just as scary.

Hotel Hobbies: Scary, but also exciting, I suppose, to have your new music out there.

Thomas Andersen: Yeah, it's very exciting. I sometimes wonder why we're making music. Why even do something like this? There is so much emotion that goes into it and it's such a risk because if it was universally hated, I suppose that would be extremely hurtful and it would be sort of a blow to the system because I think so much of our identity is into being ‘Gazpachians.’  We try to perk each other up if we get some negative comments and we try to be positive and so far, it looks like it's going to be okay.

Hotel Hobbies: Talking of identity, which is very much a theme of the new album: fate, randomness and the Ship of Theseus paradox. How did that central theme come to be and what does it mean to you?

Thomas Andersen: The album is about living in a godless world and if we are to accept that now we've become a completely secularised society, then we also need to accept that all the things that happen to us are just results of random events. That only applies if we accept the idea that anything can be random but it has to be in a universe where there is no will or there's no force or there's no God. So that leaves us with chance. At some point in your future, something is going to happen to you. It could be a great thing or a very bad thing. Same with me. Maybe you’ll win the lottery tomorrow. Maybe a comet will strike me as I speak to you now. We don’t know. You could slip in the shower. All of these fates that are waiting out there and that are going to happen to all of us are just the result of randomness.

If you go to the doctor now and they say, “I’m sorry to tell you, but you have this syndrome or you have cancer,” the doctor will say, “That’s just bad luck.” That used to have some meaning back in the day when we accepted the idea that maybe there’s a reason for everything, or God has a purpose. That’s all gone now. We’re completely alone in the universe, at risk and at the mercy of random forces. I have no idea what’s going on in your life but I’m pretty sure you’re not the same person you were when you were sixteen. You’ve taken so many hits and so much damage that the person I’m speaking to now is what’s left of the person who was sixteen.

That’s the idea of the Ship of Theseus: that fate is chipping away at us, forming or turning us into whatever it is we ultimately become. The original idea that was going to be you was not left to grow and become what it was supposed to be, given that fate is random. Does that even make any kind of sense?

Hotel Hobbies: It does. Receiving the notes and lyrics for the album sent me off looking at that paradox more deeply myself. When I was writing the review, I was thinking about myself because obviously that’s the person you can apply it best to. There are definitely things that have changed me and, like you say, chipped away at me. It’s a long time since I was sixteen (laughing) and the album. I write a reasonable number of reviews, and this was one of the albums that really made me think about myself a lot while I was writing and listening to the lyrics. It definitely had an emotional effect on me.

Thomas Andersen: That’s very cool because that’s how it’s written. We purposely – and this is true for all the Gazpacho albums - try to make the lyrics ambiguous. I don’t think anyone is really interested in what we think about anything. I think people are mostly interested in themselves. I remember growing up and listening to people like Kate Bush or Marillion. A lot of times those lyrics felt like they were about me. Once, I found an interview – back before the internet – where the artist explained what the song was about and I thought, “Well, that’s not how I interpreted it at all.”  I had my version of the song and I stuck to it and how it applied to my situation in my life. I think music is great for that if it's written that way. We always hope people will delve into themselves.

Hotel Hobbies: There are definitely songs that have made me do that. Subdivisions by Rush for example. I was that kid.

Thomas Andersen: Subdivisions! What a masterpiece and definitely one of those songs... well, it’s about you isn’t it and it’s about me. It’s another one of those songs where you can just take it in and open yourself to it and let it do its magic.

Hotel Hobbies: To start thinking about the songs on Magic 8-Ball. Starling – the opening track is the longest on the album. It is haunting and expansive. Could you tell me a little about that track?

Thomas Andersen: Starling was actually the last song we wrote. We had eight songs and one of them turned out to be a struggle in production. We had a lot of trouble finding the tempo. When we turned it up, it became too poppy, too Beatles-y. It was called You Can’t Stop the Ride and it was about how once your life has started you can’t stop the ride until it crashes into the wall. It was a great song, but when we turned the tempo down, it became too sloggy and heavy. When we turned it up, it became a Beatles song. We couldn’t get it right. Eventually, we said, what the hell, let’s just make a new one and Starling came really quickly. Once we had Starling, we felt that You Can’t Stop the Ride or You Can’t Turn The Tide – we were playing with two titles – was maybe too rocky. We decided Starling was the most Gazpacho-like of the new songs. We thought we might as well start with that to calm everyone down and say we are still Gazpacho and we are still doing our thing. That’s why it ended up as the opener.

Starling is about someone who has a girlfriend - but it could be any gender - and he believes the love is conditional. He thinks that if he shows who he really is, he’ll lose her. That’s what the lyric is about. He needs to be very still and never reveal his true self. That image of the horses in the song - standing in the rain, not seeking cover - represents how he’s scared that stirring the pot will scare her off. He believes he’s such a terrible person that no one would ever like him for who he is. So he lives a lie. A bit like the Ship of Theseus, in the sense that none of him is left in there but he can’t change it because she’ll run away. At the end of the song, he sort of gives up. There’s that line, I told her to wait by the moon, which is him concluding that the moon - a female symbol to me - is where he’ll try to meet her. He decides to take that chance and see what fate decides.

Hotel Hobbies: It is a beautiful song and it is definitely more reminiscent of your previous work than some tracks on the album.

Thomas Andersen: We were scared the rest of the songs were a little bit too rocky. On this album, we’ve tried to move a little bit away from what we usually do. We usually make very long, hypnotic, static pieces with an overarching mood. This goes all the way back to Night. The idea is to give you this mental space where you’ve got a hypnotic piece of music that allows you to sink into yourself and go to another place. We thought we’d done that for so long, and we were worried we were being a bit self-indulgent. We wanted some songs that get up and go and do something.

When Starling came so quickly we thought maybe it was a reaction to all those songs being so immediate - bang, boom, bam. We thought it would be a bit of a statement to open an album like Magic 8-Ball with such a long intro - I think it’s five minutes. It was a ballsy thing to do. We always try to do - I was going to say the ballsy thing but some people would say stupid thing. If in doubt, do the dumbest thing you can possibly do and just go with it. Whatever you do should always be extreme. If it isn’t extreme, it’s boring. It’s better to scare people off than bore them. In Norway, people throw dice for albums. You can get a six or a one. It’s always better to get a six or a one. I think three is the worst thing you can possibly get. That’s when people say, it was good but didn’t do much for me either way. So we always try to dare to be as crazy as possible under the circumstances.

Hotel Hobbies: That variety you are talking about is immediately apparent on the second track We Are Strangers. 

Thomas Andersen: Yes! Imagine you’re listening to the new Gazpacho album and you hear Starling. You think that the boys are back and everything is normal. Hopefully, you’ve been waiting for it and think it might be something interesting to continue listening to. But then we follow Starling with We Are Strangers, which is such a mad thing to do. We wanted to give a warning that some variety is coming up. And since you’re a Rush fan - do you agree with my sentiment that it has a little bit of something Rush-y going on?

Hotel Hobbies: Yes I would. Rush were a band who went through several different phases and styles. I like it when bands evolve in the true sense of progressive rock. Some bands like AC/DC – a band I really enjoy – have stuck to the same thing successfully and you would not want them to change.

Thomas Andersen: I think so too. I can think of one example of a band that shouldn’t have experimented - that Copacabana album with Emerson, Lake & Palmer. I can’t remember what it’s called, but they were doing calypso. That was too much. But apart from that, I get the point. If you’re buying an AC/DC album, you want AC/DC music. It’s a great idea - they’ve got their brand, and they’re doing that. But they’re not a progressive rock band. Progressive rock, to me, is all about using music in a way where you’re allowed to break the rules. You don’t need a verse and a chorus. You can do whatever the hell you like, and if it works, it works. That’s the strength of progressive rock bands. I like to think the people who listen to progressive rock are open enough to accept that maybe there’s a song like We Are Strangers and they’ll take it for what it is.

Hotel Hobbies: I hope they do. You mentioned Marillion. I loved the album Radiation since day one. It was completely different for them. Some fans do not like it at all, but they did it, and I am glad they did.

Thomas Andersen: I remember when Radiation came out. The first single was…

Hotel Hobbies: These Chains.

Thomas Andersen: These Chains, yes. I remember thinking it was one hell of a great song. When we heard tracks like Cathedral Wall on the album, we were completely surprised but we loved it. You can very quickly become stale if you keep repeating the same formula. At some point, it would feel stale. For Marillion to do that, I think they shook off a lot of dust. Hogarth came in, they had a string of great albums but then they needed to shake it up a bit. It was a great new period for Marillion. I think the same applies to us. If we continued to make long, hypnotic albums like Night, at some point we could become a caricature of ourselves. I think that’s very dangerous.

Hotel Hobbies: I think Magic 8-Ball balances things very well. It is all distinctly Gazpacho. Another shorter track Ceres, is something different again.

Thomas Andersen: Yes, it is. We talked about the intro because it had this Halloween-y, scary, haunted fairground kind of vibe. But the song needed it, because it’s about the goddess Ceres coming back and pulling everyone back down. The invention of agriculture was probably not a great idea for humanity. I think we were better off before we started cultivating the earth, before we invented borders, before wars, societies, cities, organised religions, and armies. It’s like everything else in life: when you win something, you lose something else. Sometimes the tastiest fruit might be the one that’s poisonous. The idea of Ceres - of the earth pulling everyone back down - is a scary thought. Agriculture brought a lot of problems. Life expectancy actually went down at first because we started getting diseases from animals and spreading germs to each other. Over time, we got the hang of things a bit, but I think we lost something fundamental about what it means to be human. Hunting and gathering – or in the modern way, working together - is probably truer to what we should be. Ceres was one of those songs that couldn’t be lengthened. It made its point. It needed to be short and sharp - like the scythe of Ceres.

Hotel Hobbies: Signalling the change in humanity over time rather than just the changes in individuals.

Thomas Andersen: Exactly. You change, but humanity is changing incredibly fast too. It’s weird to think — if you’re generous — that human-like creatures, Homo sapiens in our exact make and model, have been around for 150,000 to 300,000 years. And for 299,900 of those years, things were basically the same. Now I’m talking to you through a screen, on a laptop in my studio, transmitting Wi-Fi and we’re acting like this is completely normal. Think about that. If you showed this to a farmer from the 1500s - even just the screen, with colour - they’d burn you for witchcraft. It would be like God himself came down from the cloud into your room. Things are changing so fast. You and I are only 100 years away from a terrible life. If something happened to your teeth, it would be painful. If you got an infection in your leg, they’d saw it off without anaesthesia. You’d be awake, hearing the saw on your bone. I’m wearing a t-shirt - it’s almost November. We’ve moved up from a world of poverty, insects, pain, and disease and somehow, we still managed to mess it all up but in new and maybe dangerous ways.

Hotel Hobbies: A big part of the band’s appeal is the lyrics. Thinking about Gingerbread Men from the new album, it is all about time and regret. When you are writing together, what tends to come first? The concept and lyrics or the music?

Thomas Andersen: That’s an interesting question. We usually have a vague idea of the concept we want to write about, but we never actually follow it. As crazy as this sounds, we sit down and jam, or compose alone, just looking for something that sounds good. Nothing is ever conscious. But I believe the subconscious is always working with the album in the background.

I once read an interview with John Cleese. He was writing a sketch at university with one of the other Monty Python guys. They wrote a great sketch, then his friend left, and Cleese lost it. When the friend came back the next day, he was furious. So Cleese rewrote it from memory. And when he found the original later, he realised the rewritten version was much better because his subconscious had been working on it. My point is, when you write something, your subconscious keeps working on it. If you’re writing a review, once you’ve listened to the album, you go off and do something else but your subconscious is still processing it. I think that’s what happens when we write albums. We don’t think about it consciously; we’re just scared we won’t come up with good music. So any good music will do.

Once we have a great instrumental, Jan Henrik comes in and sings over it using anything: old gospel lyrics, lyrics from other bands. We used Jethro Tull for a long time. Once he gets a good melody, we write lyrics to fit it. They have to match the exact rhythm, timing, and structure of what he sang. So we might have a line that needs to be exactly like a Jethro Tull line rhythmically. Even then, we still don’t know what the song is about. We listen to it with placeholder lyrics - maybe Tom Waits or whoever - and try to hear what the song sounds like it’s about. Then we come up with the idea. And weirdly, the subconscious makes it fit the concept of the album.

We usually keep the concept pretty loose. For Magic 8-Ball, it’s just different people dealing with different fates. If a song sounds like it could be about someone flying, it would be come something like Sky King, which is about Richard Russell, the baggage handler who stole a plane in Alaska; that’s a great story for Magic 8-Ball. It had a soaring, big chorus, and that sounded like it could be about someone flying. So that story came to mind. We pick things, we find things and it mostly relies on luck and the hidden workings of the subconscious.

Hotel Hobbies: It sounds like fascinating process. Using other lyrics like that is an interesting way of holding those spaces.

Thomas Andersen: Yeah, because if we don’t have a good vocal line, it doesn’t matter how amazing the instrumental is. That’s been a source of so much misery for us. Sometimes, we’ve had an eighteen-minute instrumental that’s just fantastic. It sounds amazing, hits all the right spots but then Jan Henrik comes in, and he refuses to listen to it beforehand. He relies on instinct. He’ll try a few takes and if it doesn’t work, he’ll say, “No, this isn’t doing anything for me.” And then we have to drop it — and we want to murder him (laughing).

But he has this magical ability to act like a filter. If he can sing on it, he usually gets the vocal lines in the first two or three attempts. If that happens, we know we’ve hit the sweet spot. If it doesn’t, we’ve learned that trying again won’t help. He’s the final filter, almost an editorial role — saying, “Guys, I know you love your song, but I can’t sing over this.” Then we hang his picture on the wall and throw darts at it. But that’s how it works (laughing). He refuses to try again. He’ll give it three or four attempts, and if it doesn’t click, he won’t even listen to the song again. He wants it to be the meeting of his first ideas. He tries to anticipate what the next chord will be. We get these happy accidents; that’s how we try to get melodies that aren’t obvious over the chords we use.

Hotel Hobbies: Have you ever managed to sneak a rejected instrumental back in somewhere else or reuse bits that were too good to let go?

Thomas Andersen: No (smiling)! We’ve even tried making another instrumental using the same chords and tempo, just so we can sing over it. If that works, we’d take those vocals and stick them back into the original song. But we can’t fool him. He has a sixth sense. Certain chord structures hit him and make him feel something and then it just pours out of him. You can try sneaking in those chord structures, camouflaging them, changing them but if it doesn’t work, it doesn’t work. It’s like a key. If it doesn’t fit the lock, it doesn’t fit. You can try all night; it won’t open the door. It’s a very painful process, let me tell you!

Hotel Hobbies: That must be frustrating sometimes.

Thomas Andersen: It is. So many hours wasted but I’m sure you’ve learned this too. Eventually, the only way to get anything done is to throw a hell of a lot of work at it. That’s it. You can only get those happy accidents if you’ve done enough work. You can only get lucky if you buy enough tickets.

Hotel Hobbies: On the title track, you have this vaudevillian-type piano. That’s a very different sound but it adds unpredictability.

Thomas Andersen: It’s the magic wheel at the fairground, the circus music. It fits because the song is about someone who’s gambled away or lost something. Maybe he had an affair that was a bad idea or invested a lot of money somewhere stupid. Without a god, devil, or demon to blame, the last person left standing is yourself. In a godless universe, if you make a fool of yourself, then you’re the idiot. In that song, he says he’s the king of the clowns. So we needed some circus-type, clowning music.

I remember reading about a guy on Reddit who gave Bitcoin to a stripper back when Bitcoin was dirt cheap. She never spent it, but he’s watching the wallet. Somewhere out there, there’s a stripper who’s a millionaire. He could have been a millionaire, but he gave it all away. That story - someone doing something radically stupid and having no one to blame but themselves - just hits me.

Hotel Hobbies: Another thing I liked about the album is that the last track – The Unrisen – is full of unresolved tension and someone fading away. You did not offer any tidy conclusions because life is not like that.

Thomas Andersen: Isn’t that dark though? On your deathbed, you’ll have no idea why you were alive. No idea if you did what you were supposed to do or if there even was anything you were supposed to do. They just snuff you out, and you have no idea what just happened. The finality of death is so big; it’s difficult to fathom. We’re still stuck in religious ideas of heaven and hell. My parents died in 2014. They’re gone. They’d be closer if they were on Alpha Centauri. They’re even further away than if they were at the end of the universe. So many lives have been lived and now they’re just gone. Our identity is such a short-lived entity. Time here is short for us.

Hotel Hobbies: Thinking about that and your time on the new album as the keyboard player, what was your own personal journey during the making of it? How does your contribution help shape the direction of the music?

Thomas Andersen: I think I helped shape it by deciding not to let the keyboards take up too much space. I don’t do many solos. For a long time, I hated those 1980s synthy pads. I always tried to go for Mellotrons and sounds that felt more 1970s because I think a Mellotron has more soul. But on this album, I allowed for more pad-like, electronic sounds. I’ve always been scared of Gazpacho becoming too electronic. I try to use the piano as much as possible. They’re not real pianos; they’re sampled pianos, just because it’s more convenient. The tempos and chords change all the time, so it wouldn’t make sense to lock things down by recording a Steinway in a big studio.

The piano sounds strange, but I’m usually the one getting all the other guys playing on the songs. It’s usually me and Mikael, the violin player, who collect and record the bass guitars and put them on the album. The keyboards are always the first things I play when I’m doing a demo but they’re the last thing I change. They’re sort of the kid that never gets dinner. To me, all the instruments are there to complement the vocal or create atmosphere. I’ve started experimenting more with tape plugins that add wow and flutter, make the keyboards wobbly and sound old. I’m daring to use more found sounds: recordings from train stations, for example, just to add noise to the production. So the keyboards are becoming part of something that’s supposed to sound like found sound, more than a guy playing a keyboard.

Hotel Hobbies: Looking back further, to when you were becoming a keyboard player, who were the keyboardists that influenced you or that you admired?

Thomas Andersen: It started for me with Mark Kelly’s solo on Just for the Record from Clutching at Straws. I thought that was the most amazing thing I’d ever heard. That got me into Marillion. Then, I read that Mark Kelly mentioned being a fan of Rick Wakeman. So I bought The Six Wives of Henry VIII. Rick Wakeman’s work in Yes is very cool. His solo albums are incredibly cheesy, almost frightening that someone could record something like that but I loved them. I bought them all. I have sixty or seventy Rick Wakeman albums. I used to play all his stuff. So Rick Wakeman and Mark Kelly were the two guys who made me want to play keyboards and sound like them.

Then I discovered Tony Banks. Even though it started with Kelly and Wakeman, I now consider Tony Banks maybe the greatest keyboard player. He does what I try to do. He hears a melody and improves it by choosing the right chord structure, making even a simple melody evolve through the chords. That’s how I see my role in Gazpacho: finding the right chords and structures to make the songs pop. Tony Banks also used to solo a lot but he didn’t take up much space in Genesis. When you listen to the songs, he seems almost gone. But if you muted the keyboards, it would all fall apart.

Hotel Hobbies: He wrote some of my favourite Genesis songs: One For The Vine, for example.

Thomas Andersen: He’s amazing at finding the right chords, isn’t he? Isn’t it weird how everyone else in Genesis had great solo careers, but Tony Banks didn’t? Even Mike Rutherford had hits with Mike and The Mechanics. It is a keyboard-centric thing to say, but I’ll say it anyway: I think Tony Banks’s solo album was Genesis’s chord structure. Wakeman was a great part of Yes and did amazing solos on Close to the Edge and Fragile but to me, there’s a jazz element to it. He and Steve Howe were all playing solos. Even Chris Squire was playing bass solos under the music. Tony Banks served the song first. That’s the most important thing. They’re all amazingly talented. Imagine a band with Peter Gabriel as the singer and Phil Collins as the drummer. Then Phil Collins becomes the singer. It’s a perfect storm, once in a lifetime.

Hotel Hobbies: Thinking about the career of Gazpacho. Are there particular moments or albums you look back on as key for the band or ones you are particularly proud of?

Thomas Andersen: Night was the album that changed everything for us. Before that, we made songs and had a band going. I like some of those early albums. I’m proud of every Gazpacho album. There’s nothing I’m ashamed of, except for one song: Black Widow on Firebird. I think that’s a terrible song. That’s the only one I don’t like. But when we made Night, it was the first time we said to each other, “We’re never going to be rock stars, so screw it.” We had this really long, cool song, and we just let it do what it wanted. That changed everything. It taught us to give the song what it wants, and sometimes you get lucky. Night is considered our classic album.

Also Tick Tock - same thing applies. Those two are considered our golden age but I don’t listen to Night much. I think it’s a great album, and I love playing it live but I don’t listen to it.

To me, Molok is probably one of my favourite Gazpacho albums. The concept and execution turned out really well. It’s what a Gazpacho album should be: great concept, great execution and interesting philosophical themes. I think it could be considered the second time we had a concept that was really deep, weird, and interesting to explore.

So Molok and Night are probably the two albums - the first and second incarnations of how Gazpacho works - that I think are important. Magic 8-Ball falls somewhere in between. It has a great overarching concept, but shorter songs. So it’s somewhere between those two.

Hotel Hobbies: Looking forward now, what are your plans for touring this album? I know you have announced a few festival dates. Is there a full tour coming?

Thomas Andersen: Yes, we’re touring in April. No dates confirmed yet but we’ll be touring then and doing all the festivals we can over the summer. We’ll be all over Europe, and very probably the UK as well. Hope to see you there if you have the time. We’re doing the full tour - it’s getting the full treatment: tours, festivals, the works. We’ve also started working on a new album. Once Magic 8-Ball was finished, we were so inspired that we just continued. Now we’re working on a really long song with Arab undertones. We’re calling it Tick Tock 2 at the moment but we don’t know what it’s going to be about yet. We’ve got some great things going on. We’re continuing to do what we’ve always done, trying to make the perfect album. We still haven’t made it, so we can’t stop until we do.

Hotel Hobbies:  To mention some albums you think are perfect, I know you are a big fan of Hounds of Love and you already mentioned Clutching At Straws by Marillion.

Thomas Andersen: Clutching At Straws is still fantastic. As a Marillion fan, I am enjoying the podcast Prog and Progeny. Hearing it from the horse’s mouth is amazing. Mark is very open. He’s been talking about the split and why it happened. Also about the rumour that they made a whole new Misplaced Childhood-sounding album the record company refused to release. It’s fantastic. I recommend it to anyone into Marillion. Mark seems like a genuinely nice guy, which he is. The whole band are down-to-earth guys. I toured with them back in 2004 and have met them many times since. Every time, it’s almost weird, you’re talking to the guys who used to be posters on your wall, and now you’re having beers with them. I asked Mark and Steve Rothery if they had any tattoos. Neither of them did. I said to Mark that we should get tattoos. He was up for it. He thought about getting one of those Irish harps. I asked Steve Rothery what he’d get a tattoo of. Can you guess what he said? It was a character from one of those anime series. Isn’t that beautiful, weird, and wonderful?

We should be grateful we live in a time with so many amazing albums to listen to. Clutching at Straws,  Hounds of Love - not too shabby, are they? I think Hounds of Love is the best concept album in history. It’s the perfect album. I still think it’s so creepy. I wouldn’t listen to it alone. If I’m in my cabin in the mountains, I wouldn’t put it on. It’s scary. The Ninth Wave is amazing and Cloudbusting is, to me, the best song ever written.

Hotel Hobbies: It is one of those rare flawless albums.

Thomas Andersen: You make Hounds of Love in your mid-twenties. Where does that leave the rest of us? She won. But again, a perfect storm.

Hotel Hobbies: Thank you so much for spending the time talking with me. Good luck with the new album and I hope to see you on tour in April.

Thomas Andersen: Thank you very much. I really enjoyed our chat and your questions. If you come to the gig, let me know. I’ll put you on the guest list.

Hotel Hobbies: That is very kind, thank you!

Magic 8-Ball is released on 31st October 2025

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