It’s definitely a very braggadocious song. There’s a lot of bravado and confidence in it, but it’s kind of like a double edged sword. Like, it talks about drowning in that sort of confidence as well. I basically just wanted to make a really really energetic hype song that would catch the fans off guard and that would be really really fun to listen to while you’re on tour and it’s like a great opening banger track, so, really stoked to share it with people live.

– keshi via HypeMY

So I was making trips to LA constantly to work with Elie Rizk, who is the executive producer of the whole record, and he and I made every track from scratch. I made it a point to scrap any old work I was working on; I wanted things to feel fresh, you know? And we had been working on a couple songs at that point, I think we had started a few demos, but nothing- like “TOUCH” was written. I had started “TOUCH” by myself and that was the only song that was pretty much done. And then we hit a dry point during our session and I was like, “Hey, let me dig up this beat that I had started when-” it was actually a beat I had made before I met Elie, and I just wanted to make a really heinous disgusting beat. And I think some of y'all might recognize it ‘cause I kinda teased it a little bit on Instagram and Twitter and stuff. There was a picture and the track was called “this shit is fucking crazy,” that’s the beat for “GET IT.” And it wasn’t nearly as sweet sounding as it is now, it was more abrasive and it was just the Japanese sample you hear in the background along with the drums and stuff. And I remember recording the “get it” voice lines, every single vocal you hear in that song is me by the way, so those were recorded. So I gave it to Elie and he was just like, “Wait, yo, we can totally work with this. Lets turn this into something.” So we kinda gutted the whole song and we replaced all the instruments so that it turned into this bossa nova fusion track, and all I knew is that at the end of the track, I did want to have a sweet acoustic portion. There’s actually an alternate version that I wrote for the ending and I might play it on tour.

– keshi via Stationhead