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Band/Artist Profile

Queer Artist Profile: Vision Video

Vision Video makes “dance music for the end-times.”

Drawing inspiration from The Cure, Joy Division, Bauhaus and The Chameleons, Vision Video introduces a familiar but distinct concept to the post-punk genre that blurs the line between contemporary and classic sounds.

Overview

Featuring guitarist and lead singer Dusty Gannon, keyboardist Emily Freedock, bassist Dan Geller and drummer Jason Fusco, Vision Video cultivates an intimate atmosphere through each of their songs.

Cover for “Inked in Red” by Vision Video

Based in Athens, Georgia, the band debuted in May 2020 with their single “In My Side.”

The track features a dreamlike arrangement of guitar, keyboard, bass and vocals that evoke the sensibilities of Robert Smith and Ian Curtis.

The rest of the band’s discography, now spanning across two albums and 12 singles, is similarly nostalgic. Without the ethereality of synths, the band’s raw sound smacks of decades long past.

Artistry Through Vulnerability

One of the main things that sets Vision Video apart from other groups is their unflinching irreverence, something reflected primarily through their lyrics.

Subject matter for the band’s songs draws from the lived experiences of frontman Dusty Gannon, a former soldier, paramedic and firefighter.

One of the first Vision Video songs I ever heard (and also played on-air during my DJ set) was “Death in a Hallway,” released October 2022.

As Gannon explains in a short video, his time as a paramedic during the pandemic and his frustration with surrounding political discourses led him to compose the song as a “big f– you” to influential individuals who profited off of the pandemic while simultaneously downplaying its severity.

The song’s music video, filmed in an abandoned hospital, served to punctuate the massive loss of life incurred by the pandemic.

Liеs likе bоdiеs соunting up
Whilе thеy оvеrflоw thеir сups
In dеniаl, gаsping fоr brеаth
In this hаllwаy оf yоur dеаth

“Death in a Hallway,” Vision Video

Another track, “Kandahar,” draws inspiration from Gannon’s time as a rifle platoon leader in Kandahar, Afghanistan.

Part of the 2021 album “Inked in Red,” the song captures the pointlessness of modern warfare and the emotional weight of the destruction left in its wake.

Pain made manifest
A scream out like broken glass
A cry out into the void
To pronounce its pointlessness

Did you hear we killed the monster?
Did you you think we did so well?
Did you see the broken bodies lying there?
We’re getting good at building hell

“Kandahar,” Vision Video

Goth Dad

Argubably the face of Vision Video, Gannon is also known as “Goth Dad,” a quirky online persona with a midwestern accent and heavily made-up face.

Primarily active on TikTok, “Goth Dad” videos consist of song recommendations, fashion advice and general topics such as how to tie a tie and how to shave.

Cover for “In My Side” by Vision Video

Given the goth scene’s unsavory history (a topic I may touch on in a future post), it is unignorable that a figure such as Dusty Gannon is a beacon of light for young goths across the subculture.

Not only does his proud existence as a queer man (Gannon identifies as bisexual) help to destigmatize “unconventional” self-expression, but his “Goth Dad” persona stands as a constructive, purposeful role model for young members of the scene.

A Safer Scene

As many subcultures can attest, alternative scenes often become breeding grounds for predation. Impressionable young people eager to prove themselves amid cultures of exclusivity can easily fall victim to malevolence.

The risk increases significantly when alleged malefactors are prominent subcultural figures. Influence becomes a tool used to exploit and abuse young and vulnerable individuals.

The situation with Marilyn Mansion a perfect example of this.

With these dynamics coloring aspects of the goth scene, it’s important to recognize individuals like Dusty Gannon whose efforts contribute to making goth safer and more accessible.

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Band/Artist Profile Music Education Playlists

Hot and Heavy: A Queercore Field Guide

Last week, we learned about the proliferation of queercore within the hardcore punk scene.

To briefly recap, queercore emerged as a subculture in the mid-1980s. It started from punk’s DIY scene, with purveyors of handmade magazines and other forms of media serving as the movement’s basis.

Queercore, also known as homocore, reflected the experiences of LGBT individuals in a society that was often hostile towards open displays of queerness.

“homocore block in 1994 chicago pride parade.” Image published to Wikimedia Commons by QZAP.org, licensed CC BY-SA 2.0

While I primarily focused on Limp Wrist’s influence on the scene, there are numerous other bands that defined the genre.

As we move farther into pride month, I encourage both members of the LGBT community and allies to reflect on the convictions outlined by the queercore scene.

To help with this, I’ve composed a short “field guide” of various tracks and artists — some punk, some not — classified under the “queercore” umbrella.

Pansy Division

This band has a classic summertime driving-down-the-road-with-the-windows-down style.

Closer to the sound of blink-182 than Limp Wrist, Pansy Division is edgy but light enough for casual listening. With upbeat guitar riffs and a sardonic lead vocalist, the band produces tracks to be enjoyed both ironically and in earnest.

Album cover for “More Lovin’ From Our Oven” by Pansy Divison

Based out of San Francisco, the band formed in 1991 and solidified itself as one of the only openly gay rock bands in the contemporary scene.

Touring with Green Day in 1994, Pansy Divison was one of the most commercially successful queercore bands to exist. The band’s pop-punk style and often-comical songs about queerness garnered significant acclaim.

Recommended Tracks

“Smells Like Queer Spirit” (Nirvana cover)

A flagrantly ironic cover of a Nirvana classic, this track cleverly queers one of the most well-known songs by one of the most gatekept bands. Play this track for your favorite straight white man and watch his blood pressure surge.

Against all odds, we appear
Grew up brainwashed,
But turned out queer
Bunsplitters, rugmunchers too
We screw just how we want to screw
Hello, hello, hello, homo

Pansy Division, “Smells Like Queer Spirit” (Nirvana cover)

“Fem in a Black Leather Jacket”

He looks as good in a skirt as he does in jeans
He is a most notorious queen
His personality, I’m not impressed
But I can’t wait to get him undressed

Pansy Division, “Fem in a Black Leather Jacket”

G.L.O.S.S. (Girls Living Outside Society’s S–)

Based in Olympia, Washington, G.L.O.S.S was an openly trans-feminist hardcore punk band.

Formed in 2014 and dissolved in 2016, the band’s existence was tragically brief. While G.L.O.S.S. had the opportunity to “make it big” with a $50,000 deal by Epitaph Records, the band ultimately decided to remain unaligned with a large corporation.

Shortly after turning down Epitaph’s deal, G.L.O.S.S. announced its breakup in an issue of the punk zine Maximum Rocknroll.

Cover for G.L.O.S.S. album “Trans Day of Revenge”

The band members explained that the growing “cult of personality” surrounding the group, as well as the obligations of touring and performing, were taking a toll on their mental and emotional health.

The band’s sound blended classic hardcore with trans-affirming themes to create raucous, angsty riffs striking back against heterosexual hegemony and anti-transness. Their songs are undeniably iconic.

Recommended Tracks

“G.L.O.S.S. (We’re From the Future)”

They told us we were girls
How we talk, dress, look, and cry
They told us we were girls
So we claimed our female lives
Now they tell us we aren’t girls
Our femininity doesn’t fit
We’re f– future girls living outside
Society’s s–!

G.L.O.S.S., “G.L.O.S.S. (We’re From the Future)”

“Lined Lips and Spiked Bats”

They told us to die, we chose to live
They told us to die, we chose to live
Straight America, you won’t ruin me
Sick American dream

G.L.O.S.S., “Lined Lips and Spiked Bats”

Los Crudos

As I mentioned in last week’s post, Limp Wrist’s predecessor was a Chicago-based band called Los Crudos.

Active from 1991 to 1998 and comprised of all Latin American members, Los Crudos helped to make a place for Latine punks in a predominately white subculture.

Album cover for “Doble LP Discografia” by Los Crudos

The band tackled themes related to imperialism, xenophobia and immigration. All songs were sung completely in Spanish.

In addition, they openly called out homophobia — the band’s lead vocalist, Martin Sorrondeguy, was openly gay — and thus Los Crudos solidified themselves as adjacent to the queercore movement.

Recommended Tracks

“Me Lo Paso Por El Culo”

“Hardcoregoismo”

“Asesinos”

The Butchies

With a career spanning between 1998 and 2005, The Butchies started in Durham, North Carolina as an all-female punk band.

Though their style was far from hardcore, they were a distinct force within the queercore movement.

Their songs were imbued with staunch political messages, focusing on themes relating to lesbianism, gay romance and misogyny.

Album cover for “Are We Not Femme?” by The Butchies

In a 1999 issue of The Advocate, singer-guitarist Kaia Wilson said of the band’s reputation for its leftist politics:

“I say, maybe it’s because we’re so openly hated every day, maybe because one in three teens who commits suicide is gay. I say that the people who come to our shows are glad that we are [political].

Recommended Tracks

“Trouble”

Well it’s not supposed to bring you madness
And it’s not too far too cold forgiveness
When we hold to truths so false like bibles
Won’t you come and meet me here

The Butchies, “Trouble”

“The Galaxy is Gay”

Who are you anyway and how did you get inside
II heard you’re from the gay galaxy and now you’ve got to hide
Sure wish you would have gone here
Wish just the same you’d stay next year

The Butchies, “The Galaxy is Gay”
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Band/Artist Profile

Queer Artist Spotlight: Limp Wrist

As we usher in this year’s Pride Month, I think about how frightening it has become to exist as a queer person in the United States.

Amid a sudden resurgence of anti-LGBT rhetoric, expressed both through discourse and legislation, I feel far removed from the corporatized and polished version of Pride that has been offered to us in recent years.

Thus, I have decided to spend this month highlighting aspects of queer history the mainstream often finds unpalatable. I aim to cast a spotlight upon subversive queer artists and the often-obscured dynamics of queer music history.

Photo by Rodrigo Curi on Unsplash

The best place to start is with a band whose audacious queerness empowered its fans to live their lives unapologetically and with radical self-love in the face of an often-stifling heteronormative society.

In staunch opposition to the concept of “queer marketability,” this group expressed the crux of the queer experience as something deeply emotional, often sexual and ultimately transcendental.

Limp Wrist, Raised Fist

Limp Wrist emerged in 1998 from a Philadelphia basement.

Their first performance a year later at Stalag 13, a now-defunct venue in West Philly known for its status as a punk powerhouse, carried them into the subcultural consciousness.

Cover for “Thee Official Limp Wrist Discography”

Following the dissolution of Chicago-based band Los Crudos, singer Martin Sorrondeguy and guitarist Mark Telfian decided to form Limp Wrist as a means of addressing dynamics affecting the queer community.

The band’s first release was “Don’t Knock It Till You Try It,” a self-released demo featuring savage drums and guitar and barely-comprehensible lyrics about men-loving-men.

Following this release, the band put out the single “What’s Up With The Kids” before releasing their first LP, “Limp Wrist.”

Queercore

Limp Wrist’s songs are hard, fast and irreverent.

Beyond that, they’re unabashedly queer.

Their most well-known song, “I Love Hardcore Boys, I Love Boys Hardcore,” validated the presence of queerness within the hardcore punk scene, with the song’s lyrics illustrating shameless themes of sexual attraction.

I love hardcore boys, it’s too good to be true
One on one or the whole damn crew
It’s all exciting for us so lets give it a whirl
I love hardcore boys cuz they make my toes curl

Limp Wrist, “I Love Hardcore Boys, I Love Boys Hardcore”

An all-gay band, Limp Wrist stands as a pioneer of the punk queercore movement.

Also known as “homocore,” queercore emerged as an offshoot of the punk subculture in the 1980s in response to societal hostility towards the LGBT community.

Cover of the American magazine Homocore, edited by Tom Jennings and Dick Nigilson. Image depicts Jennings and Nigilson in an embrace. Demonstrates the DIY nature of the Queercore movement through production of magazines.
Cover of the American magazine Homocore, edited by Tom Jennings and Dick Nigilson. Image published by Деніел Ніколлета (Deniel Nicolleta) on Wikimedia Commons, licensed CC BY-SA 4.0

Bands associated with the subculture produced songs exploring sexuality, gender identity and the intersection of queer identities with systemic oppression.

The queercore movement primarily expressed itself through the DIY convictions of the punk movement, with members producing zines, films and other forms of art.

Limp Wrist’s contribution to the queercore subculture lay in its musical content.

With lyrics decrying homophobia and the straight hegemony as well as tounge-in-cheek quips about corporatized homosexuality, Limp Wrist created a space for unrestrained male queerness.

Don’t be the world’s punching bag
A defenseless queer open for attack
Thick Skin –They can’t get through
Layer upon layer they can’t get through

Limp Wrist, “Thick Skin”

Submissive tired f—ing scene
Boring predictable queens
Absorb and swallow what’s being pushed
Individuality is crushed

Limp Wrist, “Fake Fags”

During live shows, band members implored queer men to “stop hating their bodies” and “stop imitating Daddy.”

At one performance, frontman Martin Sorrondeguy told the audience “there’s not nearly enough guys in here with their shirts off right now,” a statement reflecting the band’s staunch philosophy of sexual expression and self-love.

Limp Wrist Today

A self-proclaimed project band, Limp Wrist’s inactivity is largely due to the fact that none of its members have ever lived in the same city as one another.

In a way, this makes it all the more special when they finally come together.

Cover for Limp Wrist’s album “Facades”

The band’s most recent activity includes a 2018 show at The Regent in Los Angeles and a 45-minute radio show with NTS Remote Utopias in May of 2020.

While the band still remains inactive on all platforms, hope prevails that current political tensions may compell them to rekindle Limp Wrist’s unique spark.

Recommended Songs

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Band/Artist Profile Blog

Harsh Symmetry: Artist Profile

Harsh Symmetry comes from the mind of Julian Sharwarko of Sacramento, California.

Debuting Jan. 20, 2022 with the single “Mirror Twin,” Sharwarko’s “synth-driven solo project” is consistently dark, danceable and melodic.

Harsh Symmetry’s discography draws from the classic sounds of 80s post-punk and new wave with the influences of contemporary gothic genres like darkwave and minimal wave.

The resulting sounds are both nostalgic and ethereal.

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Band/Artist Profile Blog

12 RODS: Artist Profile

12 RODS, also stylized as 12RODS or Twelve Rods, is widely an univestigated mystery of the 1990s. Until recently, their records were unavailable on streaming services. If you visit their website today, the domain is parked. If you don’t look carefully, it’s almost as though they didn’t exist.

Looking carefully, though, awards you with an interesting glimpse into queer and independent musicians who grew strong in the wake of a time where many artists struggled with making their music palatable to an industry while retaining their individuality.

12 RODS was a band formed by Ryan Olcott in the early 90s, and although they began releasing music as early as 1992, the group went through a couple of member transformations before releasing what is considered by many to be their masterpiece, the “Gay?” EP from 1996.

“Gay?” recieved lots of publicity via their Pitchfork review— one of the very few 10.0 ratings given in the history of Pitchfork as a publication. In the review, Jason Josephes writes, “This is 12 RODS’ first release, and if this is any sign of things to come, I have faith in the future of music.”

In 1998, 12 RODS released their commerical debut LP “Split Personalities,” this being the album that first brought my attention to the group. “Split Personalities” borrows two songs from its preceding EP, but offers a unique collage of indie pop, power pop, even prog pop and shoegaze. The album is packed full of fresh synth sounds and powerful, sometimes cryptic lyrics, and holds an impressive 9.7 review from Pitchfork.

Throughout “Split Personalities,” Olcott describes his loneliness, awkwardness, and struggles as a queer person in a time where discussions of queerness were sparing, and usually kept far from the mainstream.

My favorite track on the album is easily “I Wish You Were A Girl” for its heartbreaking and vulnerable description of experiencing shame around oneself in their most authentic form. My favorite part about the song, and the discography of the group in general, though, is not the lyrics by themselves, but the lyrics paired with the somehow enticingly monotone vocals of Olcott and the inventive genre-bending music from the group.

If there is one thing I admire “Split Personalities” for, it is Olcott’s willingness to bear pain clearly, loudly, passionately, and his ability to make it beautiful.

In 2000, the band released “Separation Anxieties,” produced by Todd Rundgren, which recieved scathing reviews, accumulating a disappointing 2.0 review on Pitchfork. Since then, 12 RODS has been mostly quiet, aside from an album re-release in 2015.

Ryan Olcott announced a new 12 RODS record in September 2021, writing on their Facebook page that the record was being made with “zero help, zero support, and zero financing.”

12 RODS is a short little blip in the 90s indie scene, but their music is an important statement regardless– a statement on queerness and visibility, on the music industry and what it means to create art for profit rather than for the sake of the art itself.

– bel$

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Band/Artist Profile

Aesop Rock: Artist in review

Who Is Aesop Rock?

Ian Bavitz (also known as Aesop Rock) was born on Long Island, New York in 1976. When he later started creating rap projects with his long-time friend and producer Blockhead, his style was heavily influenced by the 90s New York rappers he grew up listening to.

How is Aesop Rock?

His quick, verbose rapping over slow, bass-heavy beats helps emphasize the role of his vocals over all else. Of course, that same emphasis on having such a large vocabulary can often make his verses near unintelligible unless listeners put their full focus into his songs. While there certainly is a place for music that requires your full attention in order to understand what’s going on, there are often times where his rhymes are just a bit too incomprehensible to tell what’s going on anyway.

What has Aesop Rock done?

Over the course of his 20+ year career, Aesop has released nine studio albums, six EPs, and many more collaborative songs with other artists. Of course, over that kind of a career, an artist is bound to evolve. While his rapping style hasn’t changed much since his debut “Music for Earthworms”, the production surrounding him has shifted so much that the effect of his onslaught of words has taken on a completely different tone by the time of his 2020 album “Spirit World Field Guide”.

As his beats became more synthetic over time, Aesop ironically seems to just get more authentic and personal. That’s not to say his early work featured impersonal content, just that most of his lyrics focused on his day-to-day complaints with work that are often prevalent in conversations with friends. There isn’t much he raps about early on that isn’t already covered by other rappers, in other words. A lot of the complaints critics often place against Aesop’s seemingly pretentious nature comes from these albums, I believe.

Anyway, here’s Aesop’s most popular song that acts as a great introduction to his work: “None Shall Pass”

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Band/Artist Profile

Nordista Freeze: Artist Profile

Nordista Freeze is a psychedelic pop rock project and persona by singer, songwriter and tambourinist– Freeze.

His discography is defined by whimsical love songs and smooth ballads reminiscent of 60s pop tunes. However behind these gentle songs is a dramatic, high energy performer made for the stage.

Discography

Taking a look at his recorded discography, his most recent album “Big Sky Pipe Dream” is refreshingly sweet.

“Wysteria” is one of my favorite tracks off the album. Nordista Freeze creates a feeling of weightlessness in his songs. “Wysteria” in particular is a great example of the vocal and musical style Freeze has accomplished– airy, light and mystical.

The characteristics of 60s pop unite “Big Sky Pipe Dream”. However, this influence is relatively new in his work.

In his 2017 album “Cosmis Haus”, there is a greater presence of 90s pop-rock influences.

Track “Florida” off “Cosmis Haus” is bolder and a little more rustic– and captures the energy of his early work.

Something that is missing from “Big Sky Pipe Dream” is a slower, more sentimental track. “Good Time” demonstrates Freeze’s ability to slow it down and reflect beautifully.

I really admire Freeze’s ability to tie together high and low energy into his work– while still maintaining a bit of goofiness and otherworldly pop energy.

With each release his persona and sound continues to get more confident and bold.

The Narrative

One aspect that really pulled me into his music is the narrative he have built around his music.

In his artist bio on Spotify, this story is outlined best:

“A flaming blue orb came flying out of the sky and smashed into the earth, and there, lying sprawled in the crater, was a man wearing only his underwear with a tambourine in his hand. He rose to his knees and took off running over the rim of the crater and into the distance yelling ‘Na Na’. Where did he come from?”

Freeze has created a narrative of supernatural, time warping events that creates his music. It’s silly, goofy and set the foundation to his on-stage and off-stage presence.

Music has the power to redefine and reinvent the creators. In may ways Nordista Freeze and his music are one entity– and the two come alive in live performance.

Live Shows

I had the pleasure of seeing Nordista Freeze open for flipturn during their 2022 Shadowglow tour.

I was so excited to see flipturn and did not expect much from an opener– but I walked away that night amazed most by Nordista Freeze.

In my experience, openers typically give a solid performance but nothing over the top. The audience may dance a little and get warmed up, but I have never seen an audience mosh to an opener until Nordista Freeze.

What makes this even more remarkable is that his recorded work does not allude to his remarkable, chaotic stage energy at all.

Nordista Freeze opened as if he was the main event– and succeeded brilliantly.

It is clear he cares deeply about connecting with the audience, and Freeze goes above and beyond to ensure everyone walks away associating his music with a good time.

In an interview with SCAD Radio, Freeze elaborates on his goals as a performer,

 “There are two goals, the internal one to make the art I want to make, which can be dissonant or cooperative with my secondary goal of interacting with a crowd and creating an engagement where people leave with good memories”

Freeze provides an infectiously excited energy to his shows. His recorded work simply does not convey the same level of radiating adrenaline and unbridled passion in comparison to live performance.

One of the elements I loved about his performance is the live vocal mixing and editing. As seen in this recorded performance, Freeze amplifies and adds to his songs throughout his live performances.

This love for live performance is prevalent in his booking history. As outlined in his artist bio:

“The Nashville psych-pop artist is such a prolific performer that, as of the beginning of May 2021, he boasted 516 live shows since 2016 — a rate of one every three nights for almost five years”

Concluding Thoughts

Nordista Freeze is a talented performer how brings a refreshing silliness and sweetness to the music industry.

I am excited to see how his work grows and matures through his career– and I’m looking forward to where his live performances take him next.

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Band/Artist Profile Concert Preview

Phoneboy Concert Preview

Phoneboy is a three piece indie pop band from New Jersey. 

Their discography is toe tapping and inescapably danceable. High energy and radiantly positive, this band provide a youthful optimism to the music world. 

With much enthusiasm, Phoneboy is currently on tour and is coming to North Carolina on Tuesday Mar. 28 at Cat’s Cradle Back Room. Tickets are currently being sold for $18. For more show information and tickets, you can visit the Cat’s Cradle website.

Brief History and Successes

Emerging in 2018, this band was an instant internet success. In an interview with The Stute Magazine, band member Ricky Dana recalls the release day of their first single “Acid Girl”,

“I remember looking at my Instagram stories and seeing the whole thing was the color of pink and red because everyone was posting it. It was crazy. Friends from home, people from our fraternity. If we didn’t have that support, it wouldn’t have gone anywhere or gotten that exposure at all,”

gloss red mannequin in white sweatshirt with red background
“Acid Girl” single cover art by Phoneboy

From their immediate success, they have continued to gain traction. Their 2021 self-titled album “Phoneboy” greatly contributed to their momentum.

Tracks “1987”, “Hey, Kid!” and “Nevermind (feat. Justin Magnaye)” are just three of the many popular songs off the release. It is easy to hear why Phoneboy is such an immediate success– from one listen there is an instant feeling of positivity.

Phoneboy makes music that sounds like candy. It is sweet, stark and begs for another listen. This is especially apparent in track “1987”, it’s incredibly wholesome and bright. From backing guitar, drums and lyrics, this song effortlessly evokes a feeling of a happy summer day.

The positive energy heard throughout their discography will undoubtedly seep onto the stage.

Latest Releases

In their latest singles, “Ferrari” and “Runaway”, they hold onto a childlike, careless energy.

In an interview with Sweety High Magazine Phoneboy elaborates on the inspiration for the newest releases:

“‘Ferrari’ represents the lack of responsibility we had when we were teenagers, and how much we took that freedom for granted. We hope any kids that are transitioning into adulthood and feel like they’re drowning can listen to this track and feel a little bit less alone.”

In many ways this theme of childhood and freedom connects their entire discography. To be in the moment without impeding responsibilities.

“Ferrari” Music Video by Phoneboy

Although much of their discography has genuine themes and deeper meanings– It’s clear they don’t take themselves too seriously and they have a good time making their music.

They make music to evoke a good time away from the stress and screens of daily life, and they succeed in this goal without any bells or whistles.

“Runaway” Music Video by Phoneboy

This carefree energy is very clear in their newest music videos and cover art. I’m excited to see how the personalities seen in the videos and heard in the music translate to a live stage.

Concluding Thoughts

It goes without saying the Phoneboy concert will have fun, positive energy.

The core purpose of their music is to encourage the listener to be in the moment and live a little more carefree– I am excited to see and hear how they promote this purpose on stage.

Regardless, it will be a great event to get away from attention hording phones and dance the night away. See you at the show.

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Band/Artist Profile

Wombo: Artist Profile

Wombo is a psychedelic and indie rock band from Louisville Kentucky.

The trio, Sydney Chadwick, Cameron Lowe and Joel Taylor, take inspiration from rural and agricultural landscapes of their hometown. Their music is liminal, mystic and fluid.

Vocals by Sydney Chadwick are understated and mellow, bringing a relaxed continuity to all of their releases.

Fairy Rust & Selected Demos

Their newest release, “Fairy Rust & Selected Demos” focuses on a theme of escapism– from rural landscapes to distant fairy tales. There is a fantastic balance of mundane and unreal in this release both in theme and execution.

The explorative nature of their discography is really enjoyable to experience. They have some really solid rock tracks but actively dip into unknown genres with success.

“Jazz Wombo” is one of my favorites off the release. It’s classy, mellow and zesty. It holds to the escapism theme through a clear shift in technique compared to the rest of the album.

A great staple of the album is track “Backflip.” The backbone is a rhythmic guitar line– smoothly building to a whimsical vocals and bass line.

There are lots of tracks that play with the element of layering and time. “Backflip” is very successful bringing different techniques and themes seen throughout the album together.

There are so many gems in this release. When listening to past work it amplifies the strength of “Fairy Rust”.

“Staring at Trees” cover art by Wombo

Staring at Trees

In their debut album “Staring at Trees”, it has a much bolder application of Sydney Chadwick’s vocals. With this boldness there is corresponding heavier guitar and drum lines.

“Hex” is a joy to listen to after hearing the vocal work in “Fairy Rust & Selected Demos”. The adaptation in sound from 2017 to 2023 is quite astonishing. I find both approaches to be pleasant, but create quite the juxtaposition.

“Staring at Trees” has a fond place in my heart. It’s rustic, unapologetic and contradicts the lightness in their most recent releases.

However, one aspect I really love about their current sound is it’s understated, simple and humble tone.

In an interview with Melted Magazine, Sydney Chadwick elaborated on her simplistic approach in the latest album,

“I really enjoy songs from childhood and fairy tales, the melodies, there’s something so simple about them but so impactful. I really like when something can be so simple and seem like somebody didn’t really try… there’s something touching and simple about it. I really like to approach melodies in that way”.

“Staring at Trees” in contrast does not have this simple quality. The album sounds a little bit like they are throwing paint at the wall and seeing what works. There is nothing wrong with exploration and boldness– but it held insecurity in their sound.

Seeing the evolution of Wombo through their releases is fulfilling, fun and highly enjoyable.

“Dreamsickle” Single cover art by Wombo

Dreamsickle

Their most popular track, “Dreamsickle” is a great taste of the lyrical style of Wombo.

“And if you could see inside my mind there’s nothing there
But the images from the night give me no words
Looking back on when I thought I was a bird
I was looking at the ground to find a worm”

The writing through their releases is strong and surreal.

The dreamlike qualities of their music in both lyrics and sound make their entire discography extremely digestible.

Wombo simply makes great music to decompress to while holding interest. Both dreamlike and bold– this band has a lot of creative power and potential.

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Band/Artist Profile Miscellaneous

Compelling Composers: Storytelling in Soundtracks

The storytelling ability of movie and video game soundtracks is astonishing.

This goes without saying, but there are so many outstanding stories to be told, and music provides us with a conduit for expressing overwise indescribable emotions.

For folks that have experiences tabletop role playing games, soundtracks extend beyond the story they were originally tailored for. Music becomes a backdrop for new stories to be built and new characters to be born.

I have fallen deeply in love with storytelling through music. Entire worlds, atmospheres and moments are fabricated through thoughtful sound design and music.

This care, consideration, and devotion within musical storytelling is demonstrated beautifully through fantasy composers. To highlight some of my favorite stories and soundtracks, I have compiled favorite tracks from three different composers.

Ori and the Will of the Wisps (Original Soundtrack Recording)” cover art by Gareth Coker

Gareth Coker

Gareth Coker has truly mastered the art of soundscapes. Using mystical strings, woodwinds, piano and vocals he invigorates and redefines video game and fantasy soundtracks.

His music is simply smoothing, pensive and mystical.

Some of his projects include Halo Infinity, ARK Genesis and the Ori series. However, the context of these projects is not necessary to appreciate the peaceful ambiance and atmosphere Gareth Coker creates.

I particularly love his work in the Ori albums. These albums are simply musical bliss.

Moody orchestral lines are the backbone of the project. Combined with angelic vocals by Aeralie Brighton, the soundtrack is dynamic and pensive.

“Ori, Lost In the Storm” is a lovely example of the atmospheres he is able to construct.

“Darkwood (Original Video Game Soundtrack)” cover art by Arthur Kordas

Arthur Kordas

Arthur Kordas is the co-developer and composer of Darkwood, a survival horror video game released in 2020.

Although his discography is limited, his work builds an isolated and eerie world like no other.

His work defined by his command of subtly. The soundtrack creates an ambiance rooted in emotions of loneness and fear, making a perfect backdrop for Darkwood.

A lot of soundtracks attempt to make music that is monumental in sound, however Arthur Kordas recognizes the beauty in ambiance.

“Intro” uses sounds found in nature to bring the listener into the world of Darkwood. The subtle rustling of trees fades into deep rhythmic motions shrouded in an unknown tone. Long, building line are prominent throughout his work.

“Piotrek” and “New Dawn” are an excellent example of the power within stillness. Long orchestral beats bring a sense of caution and fear to the listener. As if scared to make the next move, each line is intentional in the path it takes slowly building to tenser moments.

The stillness, patience and atmosphere heard in Darkwood is unlike the work of any other composer.

“MADE IN ABYSS ORGINAL SOUNDTRACK” cover art by Kevin Penkin

Kevin Penkin

Kevin Pankin is the composer of Made in Abyss series. This is a composer that creates monumental sound with a compelling, abstract approach.

He combines heavy, roaring sounds with delicate lightness. The juxtaposition within his discography is distinct.

He provides the listener with a true experience without the context of Made in Abyss. The personalities and childlike curiosity of the characters are evident within the tracks.

The use of orchestral elements is also very unique in his work. Through thoughtful dynamics, placement and composition, Kevin Penkin turns an orchestral piece into an experiential collage.

“Made in Abyss” and “The First Layer” are excellent introductions to his discography. Light and childlike, these gentle tracks subtlety allude to approaching challenges.

Kevin Penkin loves the use of sudden dynamic leaps. “Encounter the Umbra Hands” makes dynamic movements beautifully. Elegant strings are contrasted by big roaring sounds.

In even bolder tracks Kevin Penkin begins to meld vocals into the composition. “The Rumble of Scienitic Triumph” is characterized by its chant like choral melody with a dynamic, thoughtful backing.

The variety of orchestral movements Kevin Penkin makes is astounding. His work exceeds his genre and becomes a musical collage triumph.