Art in Conversation with Pettik Leó Zakariás

If you're in London and looking for a good time, look no further than Big Squeeze Soul, a vinyl prodigy duo filling pubs and clubs with roaring soul classics and insatiable energy. This group had me dancing my ass off in a sweaty, illegal basement bar, early-morning South London—after my friends and I swore we were only going out for a few drinks.

That’s how I met Leo. I had just left the dancefloor to satisfy my thirst for another cider when he gifted me a rose. "For your dancing," he said. I replied, "It's not me, it's the music!" It made my night. I lost the rose later but made sure to pluck a few petals to press in my notebook.

At the top of the next hour, Leo and I had our final encounter of the night. I stumbled upon him in the black light room, sketching. In my drunken enthusiasm, and still charmed by the earlier gift, I interrupted him to ask if he was an artist. I clumsily explained that I run a small art collective and asked if I could interview him. I don’t remember what happened next, but the following day, I found one of his prints folded small at the bottom of my purse. It was incredible — during a late breakfast, my flatmates and I fawned over its texture and elemental depth. It had his Instagram handle neatly tucked into the bottom left corner. I think he had agreed. 

Miraculously, we both kept our word. A few weeks later, when he returned to London to see a friend, this conversation occurred at a coffee shop immediately upon his arrival:

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Pettik Leó Zakariás @qllliiilllp on Instagram, studying at the University for Creative Arts Budapest/Bristol

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Kisi: You mentioned you're studying digital art. I’m interested in your technique because from what I’ve seen, your work is really diverse. It almost looks like there are elements of traditional art mixed with digital. I’d love to hear about your approach to the work you’ve done so far and how long you’ve been in university, that sort of thing.

Leo: I’ll talk about my work first. The basis of my work is painting—mostly traditional painting, particularly acrylic. I used to do a lot of photo collage, and then I started collaging from my paintings. Eventually, I moved on to doing collages in Photoshop because it's easier; I don’t have to print things out repeatedly. I really got into the intricacies of Photoshop. It’s a fun software, almost like a game—very interactive with lots of functions that can be used for things other than their intended purpose. That's what I enjoy the most right now. At university, I’ve done a range of things, but I often return to collaging in Photoshop.

Kisi: I do collage work too, but I like to scan elements in real life and bring them into Photoshop, then go crazy with them. I’m an amateur at Photoshop, so it’s fun to mess around and figure out new things. But your work is incredible. The piece you gave me was black and white, and I love that, but on Instagram, I noticed you use a lot of color. How do you interpret your work, and where does it come from? What inspires it? Is it a pastime, a necessity in your life, or something else?

Leo: That’s an interesting question. First of all, exploring Photoshop is the most fun part, so I think you’re in a great spot. I’ve had formal art education since I was young, but I never had formal Photoshop education. I practiced by myself. Not having formal instruction isn’t much of a barrier if you’re enjoying it. I spent hours using it as a teenager, and the internet is full of tutorials. Between that and my practice, I’ve developed a solid grasp on certain things—though there are still parts of Photoshop I don’t understand because it’s so vast.  

As for my education, I’m not sure if Photoshop will be something I can use in a future job. It’s more of a passion for me. I’ve sold some prints and had a few commissions for posters, but I don’t know how realistic it is to make a career out of it.

Kisi: So you’re working on other things as well, but are you also trying to bring your fine art to a larger audience? You recently had an exhibition. Was that work mainly painting, or was it a mix with Photoshop?

Leo: Let me show you what I made. I’m lucky because my family is very supportive of my art interests, which is definitely a blessing. I wanted to do more interactive digital art, like 3D modeling and coding in Unity, which is game design software. I’ve done a few things in that direction and wanted to take it into virtual reality. My family got me a VR headset, and I created a piece for it, which was exhibited. However, now that I’ve worked with VR, I’m not as fond of it. It feels monopolized by big tech companies, and the whole process is frustrating. For example, to transfer what I made in Unity to the VR headset, I needed a specific verified Facebook account, which required me to submit government ID. I found that unsettling.  Regarding my education, I’m heading into more tech-heavy areas, but I’m increasingly concerned about the materials used in computers and how unethical some of those practices are.

Kisi: There’s a lot of moral ambiguity in the art world right now. Art, as a practice, seems antithetical to the systems that the world abides by—money, status, recognition. Artists aren’t typically in it for those reasons. But now, you need to market yourself on social media, fit your work into certain formats, and get exhibitions, which often depend on things like the status of your university or connections. It feels like you have to compromise your integrity. When you mentioned VR, it made me think about how surveillance and digital footprints are such big issues. It’s both liberating and unsettling, as technology can be used for good or evil. I’d love to hear more about your exhibition and the process of creating in virtual reality. What were the moral questions you encountered during that process?

Leo: Well, technology itself isn’t inherently evil, but it’s often developed by people who prioritize profit over human life. That’s true for the materials used in computers too. The sourcing of those materials exploits people, sometimes to the point of death. Morally speaking, that’s a major issue with digital art. Every time you upgrade your computer to render things faster, you’re supporting these unethical business practices. I try to keep my equipment for as long as possible because upgrading constantly is not only expensive but also wasteful. Marketing pushes us to always have the latest and greatest, which I find toxic. That’s the moral conundrum of it all.

Kisi: It’s hard to reconcile that tension. I love that you’re mindful of it. And speaking of your exhibition, how was it? Where did the opportunity come from, and how did it feel once it was over?

Leo: The opportunity came through my university. I’m in my third year, though I’m going to repeat it because I haven’t done my dissertation yet. This was our graduate show, my peers are graduating. The leader of our course is connected to an organization called ISEA (International Symposium of Electronic Art), which is a big digital art festival. They sponsored our exhibition, allowing us to get a great venue in Peckham, London. The venue, Safe House, is an old, crumbling house, which is very different from the sterile white spaces usually used for exhibitions. It’s full of holes and has a very raw, corroded aesthetic, which worked beautifully with the art.  

Setting up was fun—I got to hang out with friends. But the opening night was overwhelming. So many people showed up, including my friend who traveled two hours within London just to be there. It was more of a social event than a networking one, and I felt a bit out of place as the exhibiting artist.

Kisi: I can imagine how intense that must have been. Networking is its own kind of art. It sounds like the exhibition had a great community feel, though, which is so important in art.

Leo:  Yes, community is crucial. Art is better when we share ideas and help each other out. There was a lot of collaboration between the artists for this exhibition. I helped several friends with their projects, like filming and gathering props. We even went dumpster diving to find materials for one friend’s dystopia-themed film. We found a board game about endangered species or something, and it had a bunch of pictures of animals printed on it. Now that I’m describing it, it sounds mundane, but at the time, it was like a mystery box. You pull it out of the dumpster, and it’s this board with animals printed on it and a big, funky label saying “Endangered Species: The Board Game.” It was just like, "What the fuck is this?" Anyway, sorry, that was a tangent. It was a lot of fun and incredibly inspiring to work together like that. 

Kisi: No, it’s fine. I needed that for context. 

Leo: Yeah, and it goes back to the community. Doing things in a community really elevates the experience. Wow, that sounds pretentious.  

Kisi: But it’s true. Sometimes the truest things can sound pretentious. We don’t exist in a vacuum. People like to say, “I did it all on my own,” but the reality is no one does anything alone. When people get famous, they might say, “Nobody helped me,” but they had a team of people—30 or more—doing their promotion, setting up their stage, checking the audio, making sure the lighting works. No one is truly alone, and I think that's something people tend to forget. 

Humans, as individuals, aren’t better than other animals in most ways. We aren’t the fastest, we aren’t the strongest, and our bodies are actually quite fragile. But what sets us apart is our ability to organize and communicate. We’ve evolved to collaborate on complex tasks. Sure, other animals have organizational structures too, but our level of communication and planning is what makes us exceptional. That’s something I want to bring back to younger generations—this idea that community is more important than individualism. It’s hard for young people to grasp that sometimes, but it’s crucial.

I agree that everything is better in community, and it's important for young people to understand that. I live in an artist house in New York with seven other people. We all make art—not necessarily in direct relation to the collective—but we all contribute in some way. For example, some of the musicians in the house play at our events, one person does fashion design and I interviewed him for a project, and another does graffiti art and has designed posters and graphics for us. We all collaborate artistically, but we also learn to work together in everyday ways—cleaning, cooking, and maintaining the space. There’s inherent creativity in those actions too.

I think a lot of young people are content with their work just living online because that's where it gets the most attention. But I’m curious how you feel about having both an online presence and physical exhibitions. Do you value one over the other? What satisfies you more? When you create, do you think about how your work will look online, or are you more focused on how it will be received in person? Where do you hope your art will go? Throw in a crazy dream—what's the big vision?

Leo: First of all, the internet is a fascinating space, and it ties back to what we were saying about collaboration. What’s exceptional about humans is our ability to communicate and preserve history. The internet is an extension of that—it’s this non-physical but expansive space. I often mythologize it for myself because it feels so absurd in its own way. 

When I post my art, mostly on Instagram right now, I think about the formatting, but I’m not trying to become an art influencer. For me, it’s more about sharing with friends and other artists I admire. In the future, I’d love to have my own website. Living in an artist house, like you mentioned, must be amazing. I’ve lived with artists for two years, but we’ve never collaborated as deeply as being part of a collective. I think artist collectives are incredibly powerful for creation.

Professionally, I’d like to go into organizing art spaces—collectives, exhibitions, that kind of thing. Everyone has different skills, and nobody makes it alone. Unfortunately, when some artists get famous, they start exploiting those around them. I definitely don’t want that. I’d much rather be in a collective, collaborating and sharing with others, rather than building fame for myself.

It all ties back to living together. You mentioned cooking—it’s one of the most important cultural institutions, stretching back to the beginning of human history. Cooking together or for others makes it more meaningful. When I’m cooking for myself, I’ll throw something together, but when it’s for others, it becomes an event. It’s the same with art—it’s better when it’s shared.

Kisi: That’s a really powerful thought. I think that sense of community is hard for a lot of young people to grasp because they’ve been conditioned to think that individualism is the key to success. But in reality, you’re always giving more than you get, whether you’re working within a community or within capitalism. It’s just that capitalism gives the illusion of getting more back because of money, but you're still being exploited. In a community, the giving feels more tangible, more human. 

That idea—that we’re always giving more than we get—is something I’ve been grappling with in New York. I started a collective in high school, and now we operate in four cities across the U.S. But I often feel like people see it as a place to get opportunities, not to contribute. I’ve had a bit of a crisis over it, and that’s part of why I came to London—to meet artists who truly understand the purpose of community.

But back to your work—I’m really intrigued by what you said earlier about the absurdity of existence. Your work feels like a blend of dystopian and raw, with this futuristic, tech-driven energy. I’d love to know how you define your own work. What do you want people to take away from it, and how do you see your own creative process?

Leo: Labeling my work has always been tricky. For a long time, I didn’t know what to call it. Right now, I have a folder on my computer where I save most of my work, and I’ve labeled it “Mystic Sci-Fi”—mystical science fiction. That title has stuck with me because it fits the imaginative, narrative-driven nature of my work. 

When I create, I often invent narratives in my head. These aren’t fixed stories—they evolve as I work. The narrative changes from the beginning to the end of the piece, and sometimes it’s forgotten altogether. But that’s part of the process. It’s the flow state I get into when I’m really invested. That’s why I love collage and digital work—because I can keep editing and rearranging. With painting, it’s harder to make those adjustments. 

Surrealism has also been a big influence on my work, especially when I was younger. There’s a lot of narrative energy in what I create, and I think that comes across in the pieces I’ve brought today. 

Kisi: I’m excited to see them. Let’s dive into these pieces.

Leo: Yeah, the more you look at it, the more stuff you see, especially with this one. This one, more so than the others, usually works best with traditional art. It’s mostly watercolor and inks that I scanned, refined, and digitized to be in that black-and-white printed format. Both pieces have narratives, but one has a more developed narrative. I can recount something for you if you’d like.

Kisi: That’s what I was thinking. These three stand out to me. I assume all of them have narratives, but these seem to suggest a deeper backstory or context. But of course, if you don’t feel like diving into them, I can just get scans of the pieces and let people interpret them for themselves.

Leo: It’s valuable feedback to hear that these three stand out—cool to know! Other people have pointed out these three as well, which is interesting. The one with the most narrative behind it is this one, the one with the blue background. The narrative isn’t a traditional story, but more of a world-building exercise. The idea is a kind of demonic realm—not hell, not in a religious sense, but a separate dimension.  

In this universe, there are wizards, which is a standard feature in my work. These wizards summon what I call demons, though they aren’t demonic in the traditional sense. The term "demon" is just evocative for me. The wizards summon these demons by using a metaphysical star—a star that emits a sort of metaphysical radiation. It’s not like gamma rays, but something similar, some kind of energy. If you have the right kind of lens, which in this case is a mystical glass lens, you can focus the light onto a mystical artifact and imbue it with a soul. That’s how the demons are summoned.

So, this figure is wearing a suit of armor because it was once just a suit of armor, but the star’s energy brought it to life. The demons are summoned, given a task, and once they complete it, they’re discarded. The wizards think they're simply summoning and using these demons, but in reality, they’re doing much more harm than they realize.

The lens they use is provided by a figure inspired by Satan, though not in the traditional sense of an all-powerful evil being. This entity oversees the dimension where the demons reside. The wizards think they’re just casting a spell, but in reality, they’re signing a contract with this entity. Once the demon finishes its task, the entity takes the demon back to its realm, building an army for its own purposes. Eventually, the entity plans to return to the human realm with this army, though I haven’t fully fleshed out its motivations yet.

In this world, it’s structured like an inside-out planet. Imagine if the universe were a solid material, and there was a hollow sphere of air in the center. The palace where this entity resides is located at the core of this inside-out planet. Once the demons complete their tasks, they’re transported to the palace, which is non-Euclidean and ever-changing—a labyrinth you can’t navigate out of. The surface of this world is made up of deserts and rainforests, though the rainforests aren’t exactly plants.  

The demons can fight each other, and if they cut off another’s limb, they can attach it to themselves. Over time, demons can heal, but their wounds turn into gray, bony material. Eventually, demons who have lost too much of themselves become immobile, rooted into the ground, and they form the trees in the landscape. It’s a cycle of destruction and transformation.

Kisi: I love how it ties into your themes of erosion and things coming and going, as well as the idea of exploitation.

Leo: Exactly. The wizards are exploiting these beings, but they’re unaware of the full extent of the harm they’re causing. Meanwhile, the demonic entity is amassing power. It’s a layered world, with so much to explore. The background of the piece, by the way, is actually based on an image of a kelp forest—those beautiful underwater habitats for sea otters and seals. They’re endangered now, which is tragic. I love the natural world, and marine biology has always been a huge influence on me.

Kisi: Kelp forests are so amazing! I’ve snorkeled in one before—it’s an otherworldly experience. Now that you mention it, I can see that influence in the background. It gives the piece such depth.

Leo: I’m jealous! It must have been incredible. I wanted to bring that sense of a mystical, yet very real, natural world into this piece. The face of the demon is based on an insect, tying the natural and mystical elements together. It’s a suit of armor, but it’s also alive, with this insect-like, otherworldly face. That’s what I was thinking about while I painted it, but once the piece is finished, I’m more interested in how other people interpret it. I have my own lore, sure, but I love hearing what others see in it.

Kisi: That’s so fascinating. I love the complexity and depth of the narrative. And now I see this one in a whole new light. It’s such a rich, imaginative space. Let’s move on to another piece—this one, with the intricate textures, caught my eye. It feels more abstract and less action-oriented than the first piece. Is there a solid narrative here, or is it more open to interpretation?

Leo: I’m curious to know what you see in this one before I tell you what I had in mind.

Kisi: Okay, well, I see it as a kind of take on a biblical angel, with the wing and the eye in the middle. The texture reminds me of graffiti, like something sprayed over a brick wall. There’s a sense of dystopian energy, but also a kind of gritty, grounded feel. It makes me think of an abandoned cathedral or some sort of spiritual experience in a post-apocalyptic desert. Maybe during an eclipse, something like an angel—though you’re not sure if it’s good or bad—descends. It feels like a tumbleweed blowing through a psychedelic dream.

Leo: Wow, that’s really spot-on! It’s not exactly the same narrative I had, but your interpretation fits perfectly. This one has less of a structured narrative, though. The desert landscape is actually formed from an image of a bear skull—the jawline here, and the eye sockets there—but that’s not what it has to be. I love that you saw it as something else.

The main element here is the sea angel, which is based on a real marine creature related to sea slugs. They’re small, bioluminescent creatures that float in the deep ocean. I’m fascinated by marine biology and deep-sea life, so I wanted to bring that alien, otherworldly quality into this piece. The composition plays with scale, reversing the usual order of things. The sea angel, which is tiny in real life, is this massive figure, while the bear skull forms the landscape, and the tower is a small detail in the background.

The texture comes from screen printing. I love the process because it introduces this natural, eroded pattern where the ink doesn’t always fill in evenly. After I scanned it in, I inverted the colors to create the final piece. It’s more about texture and composition than narrative, but I think the idea of a desert being a hallucinogenic, mystical place fits perfectly.

Kisi: The way you play with scale and texture is incredible. I love the juxtaposition of the intricate details. It really pulls you in. This one is my favorite by far—it’s so captivating.

Leo: Thank you! This piece is meant to be stared at for a long time, to reveal more details the longer you look at it. It’s about getting lost in the patterns, like a labyrinth. The narrative is looser, but I see it as a kind of cybernetic necromancy. These beings are not evil, but they repurpose human skeletons, adding machinery to create new life. They need only 37% of a skeleton to create one of themselves, attaching hydraulics and processors to the bones. They exist in a space between life and death, intelligence and machine.

Visually, I wanted this piece to be a labyrinth, something you can get lost in. The figures were originally created using an acetone transfer technique with images of dead fish, which I photographed myself. The process was experimental and fun—I even used tea instead of watercolor for some parts, to create that brownish hue. Then I scanned it, added digital details, and inverted it to create this final version. I love how it turned out.

Kisi: That’s so fascinating—your process is so rich and layered, from conceptualizing to the material production. You’re synthesizing so many different aesthetic aspects and that's tangible in the final result. It's been amazing to hear about your pieces. I’d love to stay in touch and hear more about your future projects. This work is so unique, and I’m excited to share it with others.

Live from the Scottish Scene: PEATBOG FAERIES

Over on the Isle of Bute, on a late July evening, backed by the booming tunes of Valtos on the main stage and an 11pm sunset stretching over the island sky, I sat down with the Peatbog Faeries at ButeFest. They come from the Isle of Skye and oh my, do they create sounds to match the magic of the land. True to their titular claim of mystical fae-decay built up over thousands of years, Peatbog comes in with an energy that commands their audience to dance. Dance and surrender fully to their trance.

Upon hearing them play on a stage before me, I found my feet fluid and arms circling the limb of another as the rhythm of a cèilidh erupted amidst the crowd. Urged on in speed by the electronic beats, yet held in tradition through the core of trad, Peatbog Faerie’s provide some special sort of sound.

So tuck in and transport to the origin story of one of the most iconic, foundational band on the stages of the Scottish Scene…

Photo By: Graham Whitmore c.2024

* bank of underlined words at the end for ease of reader comprehension

Maya:

Heya, I am sitting here with some folks from Peatbog Faeries in the green room at ButeFest. I am wondering if you could introduce yourself and share a wee bit about your connection with Peatbog? 

Peter:

Well, I'm Peter the Piper in Peatbog from the very beginning I've been here. From there on the Isle of Skye, I am, and this is,

Ross:

I'm Ross, and I'm the fiddle player, and I'm from the very middle of the time that Peatbog has been going on. I've been in the band for something like 12 years now, from Shetland, living in Glasgow, but I get to be a kind of a Sgitheanach now and again in this band.

Maya:

So if 12 years is about mid, you've been going for about 25 years? 

Ross:

I say a little longer than that.

Peter:

33 years. I started when I was the wee age of two.

Maya:

You started when you were two!

Ross:

This interview isn't videoed, by the way, otherwise you'd be calling bullshit on that. Get some shots.

Photo By: Hessel-holt c.2016

Peter:

The bullshit alarm would go ring, ring, ring, ring.

Ross

Even I wouldn't get away with that.

Maya:

So you started about 30 years ago?

Peter:

Yeah, yeah. 1991.

Maya:

1991. What brought you to form Peatbog Faeries?

Peter:

Well, at that time we were playing what is known as cèilidhs and stuff at pubs on Skye as a couple of wee trios. And we got together for a girl's 21st at one point for a party, and we played trad pub songs and stuff, just a pub band. But then we started playing a few tunes I'd written that were more kind of funky dancey things, and that was really popular. So then we started playing more and more of what made people dance, and it became what we are today. It was a transition of about two years from pub band into this sort of thing.

Maya:

If this sort of thing is your electronic/dance take on trad, how did that aspect come in?

Peter:

Well, that would be about three years in when we first got keys, once keyboards started becoming a bit more electronic. We did our first, wee tester album three years in, 1994, and that had some keys and stuff like that. But when we did our main first commercial album, Mellowocity, there were lots of trancey kind of things and bits of dub and dance music. So from then on we just went down that wee track.

Maya:

You have such an interesting, and pioneering way of bringing in such ancient and traditional music with very new age, modern sounds. How does that feel through an identity lens, bringing in such old and new, ancient and modern together?

Ross:

Well, I would say that those things happen, but they happen reasonably organically. Sometimes when you hear a tune, it suggests a genre or a sound, a groove, whatever. But it kind of happens organically like that. We don't go, right, we're going to make one of these types of tracks when we all sit down. I think when you hear the Peatbogs’  finished product, you wouldn't believe how it starts, which is actually Peter playing the whistle, me playing the fiddle, or someone else playing the tune quietly, acoustically, in a room with an acoustic guitar, maybe. It just sounds like people playing in the pub kind of thing, like a pub session almost. And then it's like, okay, now we've got the chord structure. Then the bass is started on, then a groove is added on or something like that. Whatever comes after that. But really it starts very low key, and then it gets built up into this kind of sound that we end up with. So it's an organic process that ends up with these elements that you were describing. But yeah, it's a nice way of working. I couldn't believe it because I came into the band 12 years ago and so it was well underway by then. But I was like, Jesus, so this is how it starts, it was interesting.

Photo By: Sean Purser c.2016

Maya:

So your music starts with trad at its core, and then you build layers of modernity onto that foundation?

Ross:

That's right. And there's nothing to say that we couldn't hear a beat and go, oh, I have a tune that I wrote in the past that fit really nicely over that beat. That's also happened, but it's kind of a piece by piece kind of thing.

Maya:

I am fairly new to the Scottish scene, but from the people I've been talking to around, they said that you guys are pretty much the first ones to have done this mix together.

Peter:

Well, when we started, there wasn't so much of this kind of thing about, but there were two or three bands, friends of ours, Shooglenifty, were one of the pioneers at the same time from the Highlands and Edinburgh. As well as a great, now passed away, guy called Martyn Bennett from Isle of Mull. He made amazing dance music at that time. And there's one or two older things that we are touching on, but until Shooglenifty and Martyn Bennett came along, it was a genre that a few of us kind of invented. We didn't go out and invent something, but we were the first bands that were identified as this new thing that could go out with traditional based music and headline big festivals. It was effectively dance music. So yeah, nowadays there's lots. But back then it was a very formative thing.

Maya:

Yeah, it's amazing what you do. I was talking with Yoko Pwono earlier, and they were sharing a lot about how incorporating elements of modernity into trad helps strengthen their land-based and cultural identity, because it's just showing how you can move with the times, but still stay true to your roots. And I'm wondering if that resonates for you?

Peter:

For me, I don't really think that way. Both me and Ross still play very trad stuff at home. I play in Skye in sessions and stuff like that, and it is real, old style trad. Ross does the same in Shetland and Glasgow. But, we come to do this, like Ross said earlier on, it's kind of organic. We're not making a plan of getting the trad and putting some beats behind it and making it into a big dance thing. It's never really been like that. The band developed from these early stages into what it is, and we don't go out and try and create something. It's just what we've turned out to be. Do you know what I mean?

Maya:

Absolutely, your fluidity really shows up in how the crowd moves, very natural and animated. I think this interview is mostly going to reach people not familiar with Scottish music. 

Peter:

Hello there, California. 

Maya:

Is there anything that you want to share about your music, culture, identity, or anything else?

Peter:

Come to Scotland because it is awesome.

Ross:

And more to the point, take us to California, because we've never been there as a band.

Peter:

But aye, come and see it for yourself. Go to YouTube, look for Scottish mad trad bands, mad bagpipes, anything like that and you'll find a world of wonder. Truly. 

Maya:

Yeah. Well, thank you so much. Thanks.

Peter :

Thanks Maya, cheers. 

Ross

Cheers.

Photo By: Graham Whitmore c.2024

Scottish Word Bank 

Buckfast: High caffeine and alcohol content tonic wine. Essential to any Scottish festival or party.

Wee: A little 

Sgitheanach : A person from Isle of Skye. This derives from An t-Eilean Sgitheanach, which is the name for Isle of Skye in Gaelic

Cèilidh : Traditional Scottish dance gathering. Loads of swinging and swirling around, stomping and stepping, whisky and music. 

Trad: traditional Scottish music. 

Session: A gathering of musicians playing trad in a pub.

By : Maya Kaufmann @dreamscenebeing

Sydney Hardcore’s MOST WANTED–SPEED Interview on Keeping Traditional Hardcore Alive, Cross-Continental Scenes and Advice for the Next Gen…

The Sydney, Australia based hardcore band, Speed, recently debuted their first full-length record: ONLY ONE MODE, on July 12, 2024. Speed continues to dominate the modern-day hardcore scene with music and live performances that are played hard, played fast, and embody their ethos of "for us, by us." The band continues to impact the trajectory of hardcore, focused solely on doing what they do for the love of their family, friends and the culture of Australian hardcore. Read on for BTS of the production of the album, steps to getting there, and where they’re going next. 

Would you start off by introducing yourself, your role in the band, and a fun fact about you?

My name is Jem, I am the vocalist in Speed, and my most prized possession is my cat called chicken. 

Given that your first full length album, ONLY ONE MODE just dropped last Friday on July 12th, I think it’s pressing to say congratulations first of all, but secondly to cover the basics. What bands, artists, experiences etc helped inspire this LP? 

We’re a band that started going to shows throughout the mid-2000s here in Australia, and a lot of the sonic influences we’re pulling from come from bands that were very influential to us in our early years, right when we were getting into everything. I think that’s part of what we’re trying to channel with this band—those things that made us most excited about the genre in general. On a more current and modern level, I don’t think we can understate the impact of a vocalist like Scott Vogel or a band like Terror. Some people have described me as being almost evangelistic about hardcore, and I think a lot of that passion—my passion for what we do—has definitely been inspired by someone like Scott Vogel.

Stylistically, Trapped Under Ice was one of our favorite bands growing up. The swagger, the overall expression of style and heaviness—was a very big influence for us. With Only One Mode, we felt that there was a lot of hype about the band, especially online. Personally, I felt that the hype very much superseded the substance. Up until a few weeks ago, we only had a demo and an EP. It’s crazy to think about. So, with this LP, we saw it as a chance to demonstrate what we’re capable of and to create the best body of work we could at this point in time. We hope to do justice to this platform and fan base that we’ve been miraculously blessed with.

Thank you for sharing that. I’ve interviewed a few different bands since COVID, and it’s interesting how social media has played a huge role in the growth of bands and how they’ve received so much positive feedback from the scene. It’s great to see that you’re down-to-earth and recognize the platform you have and how it affects your music.

Yeah, I don’t believe that this is something that’s necessarily just happening to us, to Speed. People sometimes focus on our experience, but Speed is just part of a larger movement. What we’re talking about right now, the position we find ourselves in, is a moment in hardcore. The post-COVID era of hardcore is like a giant wave that the whole world is going through, and we’re just very lucky to be wrapped up in it.

So, the next question I have is about Only One Mode. Even in its title, it reflects Speed’s individuality. Your music is distinctly yours. How would you say the creative process for this album reflects the band’s journey, both musically and personally?

It’s been a short journey, really. We started in 2019, so it’s only been a few years. We’re a band from Australia, from Sydney, and with that, we’ve always been conscious of the ceiling—or what we thought was the ceiling—around us. The songs we wrote were always meant to be played in the context of 100 to 200 people. That was the potential we saw for ourselves; that was the space we existed in, week in, week out.

But going into this album, after playing festivals to 6,000 to 10,000 hardcore kids—I'm not talking about crossover festivals, but just hardcore—playing to that many people really inspired us in terms of what’s possible. It also put us on stages in front of people and in contexts we never thought possible. So, with this album, we wanted to create something that was still authentic to the small rooms we’ve always played in, but also something that was anthemic and catchy. We wanted to make music that people could dance to and sing along to while staying true to our influences. From the demo, the influences have mostly been the same. We don’t have any aspirations to be anything more than a hardcore band—musically, spiritually, and ethically. That’s why we started, and despite everything going crazy now, that remains the same.

It's interesting functioning as a hardcore band in this environment, but we just stick to what we’ve known for the 15 years before this band started. It’s like nothing has changed, but everything has changed, in a strange way.

So, this is more of a personal curiosity. I would love to know the story behind coining the phrase “Only One Mode.” Is there a cool anecdote, or did it just become your thing over time?

“Only One Mode” is a philosophy of how we live our lives. It’s about finding your people, finding your purpose, and pursuing your convictions in life with everything you’ve got. It’s about not being afraid to pursue what you believe in, whether that’s your personal ambitions, relationships, or whatever falls in between. Especially coming from Australia, from such a small scene that’s often been overlooked, growing up with our circle of friends, we became confident in who we were, what we stood for, and what we believed in. It’s just a mindset, a natural instinct of just this one thing.

I think that’s important because this album came out when I was 31. If I reflect on when I was younger, in my late teens to early 20s, a lot of the time, my friends and I were chasing the model of what we saw other bands do. We were trying to change some of our personality or alter ourselves to fit a certain mold that we thought would get us validation. “Only One Mode” represents championing yourself, championing your own identity, and being proud of that. People would say to me, "Oh, man, like beast mode," and I’d respond, "There’s only one mode." There’s only one way to do things, and that’s with everything you’ve got. “Only One Mode” could have been the title of any Speed record.

Yeah, the next three could be Only One Mode—but, you know, volume 1, 2, and 3. Having said that, we never thought we’d ever do an album. I never thought we’d stay alive this long or reach a point where we’d be good enough to do it. So, releasing an album now is wild. It was never part of the plan initially.

When you talk about how, when you were younger, you’d change things about yourself to conform to what others expected, a lot of rejecting that comes with time. As you get older, you reach that potential. What advice would you give to younger bands or people who are new to the scene and want to start a band or a project?

One of the most profound lessons this band has taught me is that when you put your identity into your art, that’s when you make your greatest work. The idea of identity is a journey, and it’s not something that I or the other guys have fully figured out. It’s a constantly evolving process, but it did take years for us to be comfortable with who we are, to accept the many facets that make up who we are as individuals, and to embrace that.

A big part of that comes from having a support network—a community or a circle of friends who bring out the best in you. That’s embodied in the spirit of Speed. We’re not the best musicians, we’re not the most talented performers, but we’re five amazing friends. The chemistry that comes from that is something special.

That’s something I can definitely stand behind. We’re a product of a larger friendship circle in Sydney that we’re very proud of. It’s from that support and understanding with my friends that I am the way I am, and we channel that into our music. That’s the most important thing in being a band—making music and creating art with people you deeply love. It’s not a business; it’s not a company. We’re friends on a journey together, doing something special and meaningful. The bond we have always comes first.

That’s true, especially in the music scene. There’s a lot that goes with it—good and bad. So, having people who have your back and can push you in the right direction is crucial.

I agree. In our experience, this is just normal for being a hardcore kid. You go to shows, meet people, see others playing on stage, and realize you can do the same thing. You start a band, go on stage, and make memories together. Especially in something as underground as this, where there’s no money in it, the only thing we have to gain is the experiences we create together. It’s a labor of love, a selfless endeavor. That’s the experience we knew.

When you’re involved in a space like this, which rewards such a high level of participation and commitment, it creates strong bonds. There are ups and downs, like driving in a van for 20 hours with your best mates, playing for five people, then turning around and driving home, getting paid nothing—but those are some of the best experiences of my life. For someone playing a different style of music for different reasons, it might not be worth it, but for us, it absolutely was.

You've touched on this in previous interviews—how you pay homage to hardcore's roots and traditions, but also push boundaries musically. I watched a YouTube video of THE FIRST TEST song, and the comments were really interesting, especially since you play the flute in it. There’s a funky bass line, too. How do you balance honoring the genre’s traditions while also innovating and creating your own sound?

I think sonically, there’s a path we follow that respects the confines of tradition. A lot of our inspiration comes from 90s New York metallic hardcore, so we naturally operate within that framework. But from a more holistic approach to creating art, I don't see any rules. That’s part of our mission as a band—embracing who we are. With THE FIRST TEST, I wanted to write an instrumental part, something we could really jam to, like a groove that’s different from the usual hardcore mosh intros. We already had a mosh instrumental, so I aimed for something groovier. I also wanted to write something my brother could dance to since he’s a hip-hop dancer. That’s why the drum beats are the way they are.

The song's structure reflects this approach. The first half is all about the lyrics and the vocals, while the second half focuses on the instruments and the music itself. When we first wrote it, the gaps weren't filled in, and the sound wasn’t complete. But when I listened back, I heard this flute trill in my head. I’ve played the flute since I was a kid, so it just felt right. What you hear on the track is exactly what popped into my mind. I recorded it and sent it to the guys, and they were on board. It was organic, and it became a talking point. People were surprised, but to me, it was just natural—music is music, instruments are instruments. It’s part of who I am.

I think the night we played that song in Pittsburgh, just before it was released, was the last time I ever played a set with the flute. The reaction was overwhelming, and I realized this instrument was now part of our gear permanently. It’s funny because I’ve played in bands since I was 13 or 14, and it never crossed my mind before. It was just normal for me, but I didn’t anticipate how it would resonate with others.

Aside from the new record, I think it's equally important to talk about being from Sydney. How has being a Sydney hardcore band influenced your music, this record, and your perspective on the Australian and American hardcore scenes?

Yeah, definitely. I grew up in Sydney. We come from a really small scene, even within Australia, which hasn’t been well-represented globally or really recognized. We played in bands for years before Speed, and Dennis and Kane still play in a band called Relentless, which we consider legendary in the Sydney hardcore scene. About 10 or 11 years ago, they actually went to America and played shows there. It wasn't a massive band, but they still managed to go and play. That was a big deal.

They even opened This Is Hardcore in 2012 or 2013, and they toured with Ringworm in the U.S. They’ve done some crazy stuff. To us, that’s always been absolutely legendary. But for the rest of us in the band, none of our other bands ever made it to America or achieved global recognition. When we started this band, I was 27 or 28, and I was so aware of the ceiling in terms of what hardcore could achieve. We’ve been so isolated from the rest of the world, but that isolation helped us cultivate our own culture in Sydney—the way we do things, the way we think, and how we support each other. It created a framework for how hardcore operates here—it's humble, low-level, and community-based. It’s also been more accepting than some larger scenes I’ve experienced elsewhere.

You know, I’m 31 now—I already know who my friends are and who my people are. Meeting others around the world has been one of the best parts of this band, but even beyond that, we’re so happy with what we have in Sydney. This band isn't trying to do anything beyond being a hardcore band. We’ve already played with Turnstile and Trapped Under Ice. We’ve done Sound and Fury twice and This Is Hardcore. What more is there? It was a dream for us just to play one show on American soil, even if it was just opening a local show.

Australia’s hardcore scene is reflective of a small-town vibe. It's in a bit of a renaissance right now, with a lot of new people getting involved. There’s a lot of excitement, but we’re still waiting for more bands to start. Despite the scene's growth, the fact that many of us lived through a time when it nearly died out has created a stronger sense of unity across the board. Most people in Australia want the same things for hardcore, even if beef and drama still exist. The ethics and ethos in Australian hardcore are something I’m really proud of.

So, how has maintaining a DIY ethos shaped your artistic integrity and approach to the music industry?

I would just add that, like I mentioned before, the band started with our friends and our people, and that mindset extends to the entire Speed team. As we’ve grown, we’ve continued to work with people we’ve known for a long time—people who share the same vision as us. There’s no auditioning for band members or other roles; it’s a very close-knit group.

We’re also extremely hands-on with everything. For us, it’s about managing and running everything ourselves. We only ever work with people who are part of our family. That’s how we keep the DIY ethos alive—we’re in control of what we do and don’t sacrifice our vision for anything.

As guys who have grown up in the hardcore scene, and dedicate their musical careers towards keeping the genre alive in all aspects, style of moshing style of music and ethos, how do you perceive the genre's evolution over the years, and where do you see it heading in the future?

We got into hardcore in a time that I think was a lot harder to penetrate. It was a lot more underground. It wasn't this thing that was proliferated all through the internet. We didn't really have social media even when we got into hardcore. Also, I think a lot of the attitudes that surrounded the scene helped keep it underground because it was very protected. In a way a lot of us had to earn our stripes. I think there is some merit to that because being so counterculture, this space I mean, it is meant to exist aside from mainstream society. That’s the point of it, because it’s meant for people who don’t feel like they fit in. Me and the guys struggled in almost every other sphere in our lives, yet we found acceptance in the space, here in hardcore. Flash Forward almost twenty years now, the accessibility and pint of entry for hardcore seems so much easier because you can literally open up an app on your phone and see it in front of you. I think that there are many, many ways in which the scene has progressed positively. It is much more accepting and understanding of most people. I think that it also recognized that a lot of people share this experience of feeling like an outsider. Which is great because having that experience validated in a space like this gave me a place to express ourselves and gave me and my friends an opportunity to create something meaningful with our lives in a world that feels so helpless. But I think the biggest threat to what’s happening with hardcore is that our culture in many ways may become diluted. This is a tricky thing because as important as it is to be accepting and inclusive, hardcore is inherently dangerous. It is inherently violent. I think that overall it’s heading in the direction that’s a net positive for sure, but right now we are at a point where the space is growing so feverishly, that culture is taking some time to catch up. People are reckoning with the fact that it is so big and a lot of people are a part of it, there are a lot of people trying to protect it and keep it going, and there are a lot of new people who are coming in and are trying to give their own impression on it who maybe don’t understand tradition. It’s a tricky balancing thing. But I do believe that overall it is heading the right way. Hardcore is 100% still preserved and will be preserved. It's just that I think we are moving into a space where hardcore is becoming more dynamic and more diverse. [...] When Speed set out we had no other ambition aside from being a hardcore band. Now our greatest challenge is being able to navigate an opportunity that seems bigger than hardcore in many ways while still remaining true to what we know. I think if hardcore bands nowadays that are getting bigger don’t honor the ethics, I think that’s when you will start to see it change more drastically.  

Touring across North America and Europe must have been transformative. Can you share a specific moment or experience that profoundly impacted the bands’ perspective on music and community?

Yeah, definitely. We had the opportunity to play in Gothenburg last year, which wasn’t really on our radar as a hardcore hotspot. But when we arrived, it was at a youth center with a 200-capacity show that was sold out. What blew us away was that more than half the crowd was under 18. The promoters were older dudes, in their late 30s to 40s, working alongside 16 and 17-year-old kids who were helping put the show together.

The energy was insane—kids were moshing from start to finish. The entire lineup was made up of Swedish local bands, and every single one of them killed it. The show was run by volunteers, and there was this incredible unity between generations, from the new kids to the old heads. It was exactly what we believe hardcore is all about.

To be on the other side of the world, in a place so removed from what we’re used to, and see such a thriving hardcore culture that’s built on and intertwined with the youth was incredible. It was the first time in a long time that I saw my own experience from 15, 16 years ago reflected in another scene. For us, that’s the most exciting thing about hardcore—seeing how the culture manifests in different places, how people digest and shape it within their own context. Gothenburg hardcore was fucking awesome.

Thank you so much to Jem from Speed for participating in this interview, and for all the thoughtful responses. Stream ONLY ONE MODE, out now on all platforms and catch them at a gig if they’re in a city near you. This interview was partially summarized for print formatting and a comprehensible read! 

On All Street Gallery’s My Need for Tender Loving Care

Rambler: On All Street Gallery’s My Need for Tender Loving Care

By Bella Lipayon

East Village and Bowery streets, once home to sweat-stained punk artists of the ‘80s, now stand relatively tame in this age; vintage pop-up shops and high-end coffee businesses occupy historic stoops, attracting one or maybe two passing spectators at a time into white air-conditioned rooms. You could miss it –the life that rang through the same walls, only existing now in stories. Those of a bookshop owner with silvering hair that was undoubtedly once another, more vibrant color. But once in a while there is evidence of movement painted in tags and murals up and down crumbling brick. And on one corner of 3rd street sits a pocket that holds the very essence of community and varied inventions I often start to believe no longer exist.    

“The common thread through all of these pieces, I think, is this inescapable desire to be understood,”

in the words of Bow Young, one of two curators (along with Eden Chinn) of All Street Gallery’s group exhibition My Need for Tender Loving Care. The opening reception was held on a hot summer day in July of 2024. Inconspicuous on some afternoons, the small room spilled over with attendees, young and bubbly and chatty, even out through its glass doors. The very experience of the place seemed to speak to what the different pieces and collective were about: a kind of closeness and immediate vulnerability in their stories –a stark, welcoming, contrast to a cavernous museum. The exhibit included 12 artists and a range of mediums, each one memorable in a unique way. I had the chance to speak to a few of them who mixed among the lively viewers, about their respective pieces and processes. 

The bright red that looks more like a glowing liquid than oil on canvas is easily the first thing that catches the eye in Livia Weiner’s Lonely 1. Once you are past marveling at the interplay of colors, the image of a young girl clutching a blue and green life-sized rabbit emerges amongst a scattering of objects: a trophy, a plaid blanket, an arm. The child sleeps on a wrinkled bed, brought to life by the large canvas itself, which is left unstretched at certain corners, scratched and textured with paper towels in others. Livia shares that this detail was, initially, an accident that later lent itself to the deteriorating effect she wanted to give the painting. She tells me about her process of trying to replicate the unsettling experience of a childhood memory changing with the realizations and understanding one gains with time. From the feverish color palette to the towering scale of the piece, one is almost left with no choice but to enter into this strange place where naïvety and remembrance are all rolled into one.

Bow walks me through more pieces, such as a pink textile, a tiny painted cut of wood, and, notably, a portrait of a person with wet hair, caving inwards, by Faith Mikolajczyk. The photograph, taken in 2022, was processed with Kallitype, an alternative iron-silver development method that results in a layered play of shadows and light. The figure as the subject of, Carmen Casks, “elicits a feeling of being in throws of deep irreparable distress and discomfort permeating from within outwardly to their physical existence. The body depicts the many ways in which this struggle of our nature against assigned identity exists not only in our communities but also internally.”

Farther down stood the work of Emma June Jones, who I spoke with briefly about thrifted slip dresses and her piece titled, The Male Gaze. She talks about a college friend who eventually became a muse for the female figures she began sketching and photographing more and more often. The women in this particular painting are being crashed upon by rolling waves so vivid you feel like you, too, are drowning next to them. We discuss the partial nudity of the girl draped in a wet dress and the idea of the waves acting upon her body as the agent of unclothing.

Rabbits and women, wet garments, crying babies. All Street’s My Need for Tender Loving Care is a living portal of feeling. This tiny room in the East Village holds a world of vulnerability and the most human parts that one can visually represent, where subjects from colonial filters to gender and class struggle, can for one rare instance reach out to one another in this shared place.  

Rejoicing in the Reverie–Interview with Jared from State Faults on upcoming album, religious symbolism and personal growth.

State Faults from Santa Rosa, Calif., (ex-Brother Bear) on tour for the release of their upcoming (now available) album Children Of The Moon delivered a righteously evocative performance at 1720 Warehouse just a few months ago. SF showcased an all-consuming energy that remains consistent with their esoteric approach to modern day post-hardcore, highlighting their previously released singles and sharing songs (at the timed) unheard off the COTM album. Anticipating the release of a full-length after five years of seemingly passive silence, we needed an insider look into what would turn out to be a most ambitious, viscerally immersive listening experience and massively infectious album. We met up with drummer Jared Wallace, after their set for a reflection on the past that brought SF to the heights they’re at now, and exclusives on the album, Children Of The Moon. 

Allie: If you would like to start off with introductions and tell us your name and maybe a fact about you or something people don’t know that you’d like them to. 

Sure, I'm Jared, and I play drums in the band. Johnny and I started this journey together back in 2010, and we've been rocking ever since.

India: I have been listening to you guys for a while now, and it seems like even since your first release, your music has always been so distinctively “State Faults.” What would you consider some of the strongest elements that make up your sound? 

That's a tough question. We like a lot of different styles of music. When we started, Johnny was into a lot of Midwestern emo, which influenced us early on. We were inspired by bands like Pianos Become the Teeth and Suis La Lune. We've always been big fans of Underøath and Thrice, and our sound is a mix of those influences. We try to create music that evokes the same emotions we feel when we listen to our favorite bands.

Allie: So at least on Spotify and with releases there’s a pretty noticeable gap from 2015-2019. I wanted to know what was going on during that time–personally, relationally as a band, etc. 

In 2015, we had most of our record Clairvoyant written, but we decided to take a break. We needed some time away from State Faults to explore new ideas, so we started another band called Slow Bloom. We released an EP titled Hex Hex Hex with No Sleep and Dog Knights, the same label we worked with on Clairvoyant. We were focused on Slow Bloom from 2015 to 2018, but then we felt the itch to get back to State Faults. We wrote some new songs, which eventually became Clairvoyant. Timmy, our other bandmate who also records our music videos (he plays in another band called Bite the Hand), was in Slow Bloom with us, but we ended on good terms. We might revisit Slow Bloom in the future, but for now, we're focused on State Faults.

Clairvoyant is such a great album, truly no skips.

I appreciate that. We sat on those songs for so long that I practically got burnt out on them. But when I listened to the album again recently, it felt fresh. We didn’t change much from the original recordings, but if I could, I’d definitely tweak some of my drum parts. [...]

Allie: So you guys started in 2010, and have wildly grown since then even being listed as No. 16 out of 50 on a list of Best American Hardcore Bands right now. What’s next for State Faults? Are there any notable plans for the foreseeable future?

We are? Damn. Yeah, we have a new record coming out on July 26, and we just released a new song. We're excited about our upcoming tour from July 6 through the 14th with Frail Body. We just played a couple of shows with them, and it's been great. We're also working on some East Coast dates for October. Lots of exciting stuff coming up!

India: How has it been balancing your personal lives while maintaining musical careers? Have you found pursuing music to be all or nothing?

We used to have an all-or-nothing mindset, which didn’t work well for us. That’s part of why we took a break in 2015. We’ve learned a lot over the years. During the pandemic in 2020, we recorded our latest record and took time to refine it. It took four years to slowly craft it, teaching us to work smarter, not harder. We all have jobs and families, so we do what we can within our means, making sure not to stretch ourselves too thin. Burnout doesn’t help anyone, especially when you're on tour with no money and 15 more shows to go.

Was it hard to shift away from that mindset, especially as you gained more listeners?

The traction hasn’t affected us as much as you might think. Last year, we played a show in San Francisco that was almost our last (we were at a breakup point), but it reignited our momentum. We realized we needed to change how we operated, and getting support from other bands helped. It's about working smarter and making sustainable choices. 

Has the support you've received helped you get out of that grind mindset?

Definitely. We’re not great at gauging our support, but that show was eye-opening. We met people who wanted to help us, like James from Rolo Tomassi, who’s helping us with European dates. That kind of support has been encouraging and helped us move forward. We realized we can’t do it all alone, and having people who care makes a huge difference.

It must be nice to see personal connections making such an impact.

It really is. When we released the new song, we were surprised by how much people still care. I’m not great with compliments, but it’s cool to see that people are interested in our music.

Allie: How have you progressed individually with your own instruments and your own musical background, in making music that’s so intricate while also being cohesive with the other members?

I always feel like I can be better, but I’m lucky to have bandmates that I gel with. Johnny and I started the band together, and we have a great chemistry. He brings ideas, and I help piece them together. Jeff and Michael add so much during practice. We speak the same musical language, which is rare. Personal growth comes from working with these guys and trusting each other’s instincts. It’s about putting egos aside and trusting that everyone has great ideas. So sometimes you think you might know what the answer is, but you just trust that they have an idea, and they know what they're doing, so I should listen to them. Then it winds up working out. You know, and you get surprised, so learning to trust each other, I think that's been my biggest takeaway, with my personal growth as a musician. 

India: I notice a lot of spirituality prevalent in album cover art like the horoscope featured on your album Clairvoyant, or other mentions of spirituality with dream catcher and incantation references, the song “Moon Sign Gemini,” or even with your upcoming single “Paulo Santo” and album Children Of The Moon. Do you have any ties to spirituality or religion that may explain why it’s seemingly prevalent in your musical atmosphere? 

Definitely. Johnny grew up in a Mormon family, and I grew up Christian. While neither of us are religious now, those backgrounds influence our work. Johnny’s lyrics and my art often reflect those themes. We leaned into it a bit with Clairvoyant, drawing from witchcraft and the Satanic Panic of the ‘70s, which was big for me at least visually with my art. It’s about exploring that conflict of having religious roots but not Music is an outlet for expressing that journey. 

Allie: Just to wrap things up, do you want to take a moment to promote the album and the new single? Maybe share some inspirations or themes behind them to get people excited?

Yeah! Our new album drops on July 26, and we just released a single from it. We’re excited for everyone to hear it. We have a tour in July and are planning East Coast dates for October. The upcoming album, Children Of The Moon, was recorded in 2020. We went out to Burlington, Connecticut, to work with Chris Teti from The World is a Beautiful Place & I am No Longer Afraid to Die. It was a lot of fun collaborating with him. Although we finished recording in late 2020, we made some tweaks along the way and officially wrapped up the album late last year. We re-recorded some parts, had it remastered, and sent it out for pressing. It’s finally coming out in July. 

I wish Johnny were here to talk more about the lyrics, but I can say there are some religious themes. Johnny was going through a lot of personal stuff at the time. I won't go into too much detail, but the lyrics reflect the personal turmoil he was experiencing. Many of the songs on the album serve as an outlet for his feelings during that difficult period. Despite the themes of dread, Johnny always makes sure to include hopeful messages in his music. He uses it as a way to process negative emotions while promoting hope and positivity to the listeners.

That's really powerful. It's always refreshing when music can convey hope despite adversity.

Absolutely. We want people to walk away with something positive from our music. When fans tell us they found hope and positivity in our songs, it feels incredible. That's the big message for us—positive vibes all around.

India: Alright, the last question we have for you is: what advice would you have to offer new-comers in the scene or those wanting to start a band?

Play music any way you can. If you want to learn an instrument, borrow gear or save up to buy your own. I've wanted to play drums since I was a kid. I first started playing in my church band, which was an unexpected opportunity. Even though my views on church and religion have evolved, I wouldn't be here without that experience. You never know where life might take you. Music can be a rescue, even if you can't afford an instrument right away.

Also, support your local music scene. Go to shows, connect with people who love music, and support local venues and bands. Music scenes ebb and flow, and in our hometown of Santa Rosa, we’ve seen lots of ups and downs. Sometimes you have to carry the torch and put in the effort to keep the scene alive. It might mean stepping out of your comfort zone—I know I can be a hermit, but I make the effort to go out, bring friends, and enjoy live music. It’s all about being part of the community.

Biggest thanks to Jared from State Faults for hanging out with Out of Spite & Rambler Magazine at the 1720 show back in May. This interview was partially summarized for print formatting and a comprehensible read! 

Children Of The Moon is out now, click here to stream!

Dublin Music Spotlight

Interview by Róisín Mckeown

Efé (Eff-ay) is one of the biggest names in the Dublin music scene right now. Her bedroom pop blend of guitars, drums, keys, and airy vocals singing beautiful melodies is infectious. 

The first song I heard from Efé must have been “Seven”; an R&B led track released in 2020. Since then, she’s put out two EP’s; 

“What Should We Do This Summer?” in 2020, and “Vitamin C” in 2022 (which includes my favorite song of hers; “Loving Girl”), as well as releasing several music videos, and playing lots of gigs; opening for Still Woozy on tour in the autumn of 2022, and building up a dedicated following in Dublin and abroad. 

Here’s what she had to share about her journey so far, and what’s to come…

Róisín: To start off; how are you doing? What’s taking up most of your time these days? 

Efé: I’m doing good, I’ve been in the process of releasing a new song coming out in June, and also making new music. I’m sort of having artist's block at the moment cause I’m trying to figure out what I want to do. I also just got signed, so I’m really happy about that but feeling some pressure to make the best music I can. It’s hard to find the right people to help make what I want to make. 

Róisín: Yeah, finding the right people can be tough. 

Efé: Yeah 100%, I just wanna execute what I have in my head and bring them to life. 

Róisín: Could you give an introduction, to someone who’s never heard of you; where you’re from, what got you into music, what kind of songwriter or storyteller you are? 

Efé: Well I’m Efe, I’m from Dublin, and I make sort of an accumulation of genres of music. At the start, I was very inspired by SoundCloud artists and Clairo, Rex Orange County, SZA… Eventually, I wanted to make my own music and started doing bedroom pop, indie, now I’m more doing rock kinda stuff so I’m kind of in a rock world right now. I listen to a lot of genres so it's hard to stick to just one. 

Róisín: That sounds like a lyric in itself; “I’m in a rock world”. You’ve got a unique and established kind of style; musically as well as visually; when you watch one of your music videos you can tell it’s you. I love the ‘Lime’ video with all the people in wigs. Can you talk about that, what inspires you and how did you find your style? 

Efé: I think since I was younger I always wanted to stand out, whether it was me preferring Bratz over Barbie, or in like 2014 being into Tumblr, and I guess growing up with the internet and being exposed to different cultures, like Japanese pop culture has really been important musically and visually. I really gravitate towards it with photography and videos. I always say that the reason I started making music was to have my own music video, so it's always been important. Also to have someone that looks like me in these colors, and making the music I’m making. It’s cool that I can be that person for others. SZA was that person for me, she’s so cool and really inspired me. I’m glad what I’m doing resonates with others cause I’m just having fun really. 

Róisín: Yeah that’s great. When you’re so unapologetically yourself, it inspires others to do the same. 

Efé: Yeah 100%, I think you’re rewarded more for being yourself. 

Róisín: Can you talk a bit about the Dublin music scene and how you’ve found your place in it? 

Efé: Yeah it’s been growing rapidly, I’m like damn slow down y’all. No but it’s amazing cause there was a point where everyone was like Ireland what are you on? And now there’s been so many incredible artists coming out. I think for a while I was scared to be bubbled in like being an ‘Irish artist’, just cause it felt like you were almost limiting yourself to Ireland, so I wanted to push my name forward. To an extent I do think it can keep you in a bubble, but now it does feel like we’re building a force, cause we’re all trying to make it. I’ve always kind of done my own thing, what I will say about the Irish scene is everyone’s very supportive and nice, it’s a lot of people wanting to work together. 

Róisín: What are you most proud of / highlights so far? Things you look back on.

Efé: I’m very proud of my performance at Longitude, I’d been wanting to do that since I was like 15. That was the summer of ‘22. It was just really fun, I got to be creative, I brought all my friends out on stage and they were all in wigs from ‘Lime’. We were jumping around, it was really fun. That’s something I look back on. 

Also, one of the recent videos I put out, the ‘Truth’ promo. My friend came from Paris and wanted to make a video. We found a location, a cinematographer and edited it all within about a week, we pulled it off. The response on TikTok was insane. I loved how people could see where my references were from. I was inspired by Tommy February 6, who’s a Japanese artist. 

I also did a tour opening for Still Woozy so I was really proud of that. 

Róisín: What’s been your favorite show to date if you have one?

Efé: I think either the Longitude one or the Still Woozy London show, cause before the gig everyone was telling me like, “Don’t be disappointed if the crowd doesn’t react cause every big artist goes to London, don’t take it personal”, and I was pretty nervous thinking nobody was gonna care. I did two shows and the crowd was amazing. It felt great, it was a good vibe. 

Róisín: Yeah that’s great especially as an opener, when you get a good crowd. How long was the Still Woozy tour?

Efé: It was a three week tour, back to back tours around Europe and the UK. It was so crazy, we got an email but for some reason my managers didn’t see the email, and then I was randomly scrolling through our inbox, and I think the email was already a week old or something, and then we were on it. Then it got suspended by a few months because of Covid but yeah, it worked out in the end. 

Róisín: Yeah that’s amazing. What's the most challenging aspect of what you do & what excites you the most?

Efé: Hmm that’s a good question. I think finding people to work with is quite difficult. Also mixing, I just don’t like it. I’m like ‘release the song I’m over it.’ You have to be around for the person that’s mixing to send drafts and references. I don’t look forward to mixing at all. It’s so tedious and annoying. I love when I’m in a flow of making music and just feeling good about it. I love brainstorming, I love Pinterest and Canva, making visual boards of ideas I have. 

Róisín: Yeah I’m definitely a visual person too. I like to set the scene. 

What are some of your biggest goals going forward or upcoming shows and projects? 

Efé: Well I have a song coming out in June. I also really wanna do an Efe show before the end of the year. For right now though I want to release some more singles and videos. 

Róisín: Great I can’t wait to hear, thanks so much for doing this. 

Efé: Thank you! 

A Day in the Rain with Earthship & Couch Dog

A few days before we left Northern California, we got an email from Shabang organizers that Saturday would likely bring us a soggy sky.

The festival signified a new bliss period regarding what California’s Rambler chapters are getting involved in and cross-chapter unity, and that began to fruit months before we were even invited out. Last fall, a spunky girl showed up to a Berkeley show and a list of names was written on her palm. A San Diego team member in attendance connected her to a Santa Cruz member, and she told us all about her escapades in San Louis Obispo’s music scene. Her name is Cadence, and you should check out her show on KZSC.

We met Couch Dog through Cadence at a Crepe Place show in Santa Cruz. We chatted about Shabang and an interest in working together. Their easy-going warmth came through immediately. Pablo offered to lend us an easy-up to house our booth for Shabang weekend.

On Thursday, the San Diego and Santa Cruz teams met at a historical home in downtown SLO rented out by friends of Cadence. We slept in the trunks of our cars after fetching the easy-up from Couch Dog. Friday was sweet and dry. The rain came as predicted on Saturday afternoon after a damp morning.

---

We booked it from our little HQ at the Silent Disco to the main stage to catch Earthship, a group of SLO locals, right after their set.

RAMBLER: Welcome back to Shabang! How does Shabang 2024 compare to the last one - vibes, crowds, energy?

Eli : I wasn't here at the last one so I have no basis for comparison, but I will say it is very cool playing here for the first time. Everybody's super nice. And I like the rain too. I mean, it might get all muddy and dirty, but I feel like it kind of fits our vibe.

Spencer: Well, now that we’re done playing our gear will be fine. Last year, we had maybe three-quarters of the people. Bigger stage. Better sound.

Cadence: Adoring crowd.

Lauren: I like flaunting the artist pass this year. Been really into that, like feeling real confident. I was really scared last year. This year was more chill. So it was nice.

Eli

Spencer

RAMBLER: You guys were invited to perform at Shabang again this year. Did that feel validating in a way— like, “Oh, like they want us back again”?

Lauren: Yeah, I was definitely confused though. 

Caitlyn: It was a big surprise but we’re so grateful. 

Lauren: We're probably just nepo babies, but that's no big deal.

Chloe: Greg Golf is actually my uncle. 

Lauren

Caitlyn

RAMBLER: What do you think is essential to creating a music community in a town like SLO?

Eli: Cigarettes. No, I think the scene here has become really healthy and it's because people are doing it themselves. Having a healthy DIY scene is, I think, crucial to having good music all around. There's a lot of bands and lots of bands popping up, throwing shows in backyards and doing their own thing. And I think that's the best thing that you could possibly do.

Lauren: I think that it's cool that there's less boy bands than before. There's a little more diversity this year too.

Cadence: Yeah, I was here in school for the last couple of years and then moved up to Santa Cruz. The shows that I've come back and seen this year have become genre-wise a lot more diverse.

Lauren: Yeah, less house show rock.

Caitlyn: It’s nice because there’s people that wanna listen, so it makes it easier to not fall into the same genre. 

Lauren: There’s been a lot more acoustic shows, which I love.

Spencer: We’ve been playing for two years, and when we first started playing, a lot of interactions we had with bands were opening for whatever were kind of strange. It wasn't the friendliest feeling, but as time has gone on, it seems like people are friendlier now.

Lauren: We didn’t have any band friends, and now we’re band friends with Chloe.

Chloe

Spencer: Shoutout Amttrak.

Chloe : I’m Amttrak. 

Lauren: Amttrak- Earthship merge.. Pretty sweet.

Caitlyn: That’s what was today.

RAMBLER: How does creating music in the SLO environment shape the sound, lyrics, etcetera of your music?

Lauren: Maybe the hills, the nature, but not the music scene.

Cadence: Two of the best house shows that I ever went to in SLO were you guys. Two backyard shows. They were fucking awesome. Thank you so much for being out here with us.

BIG UPS - EARTHSHIP

---

Our interview with Couch Dog took place under a cluster of umbrellas next to a hot dog stand. By 4 , the drizzle was steady and we had hidden our magazine copies.

Tasha

RAMBLER: So our first question: How did the tradition of the boxing gloves in the pit come about?

Pablo: So it was Battle of the Bands 2023, and we wanted to do something memorable. And we were like, “What the fuck are we going to do to stand out?” So we came up with the idea of giving someone boxing gloves and staging a fight in the middle of the pit, and it was a lot of fun.

Tasha: We did it for the song “Punch Drunk”. Our whole roll-out was boxing-themed. The cover was a boxer. We did little boxing promo posters. So we thought it was a good way to really amp up the theme.

Mac: Yeah, we've all been talking about how badly we want to fight in the Couch Dog pit.

Max: Rule one of the Couch Dog pit is you don't talk about the Couch Dog pit.

Cadence: Aw man, we’re gonna get fired.

RAMBLER: How does playing a festival compare to the type of shit that you guys normally play? Is it more like smaller venues and house shows, or has shit been changing?

Max: It's nice to feel important. We get treated like little princesses and we get to ride around on golf carts and have free drinks and that's really fun and nice.

Tasha: Speaking of this festival performance in particular, we're doing our same old shit but amped up like times three. We always have like one little fun Couch Dog surprise trick at our shows, but we have a lot for today because this is a special occasion. We want to really make it super memorable, and we were stoked about the five o'clock slot. We think that's an awesome time. So we really want to make the most of it. If you miss it, I'm sorry for you. Also, a lot of new music we've been working on is debuting today.

Pablo: It's been a lot of hard work and we're excited to finally play it.

Mac: Yeah, I have a feeling someone's gonna die in this Sofa Canine crowd.

RAMBLER: What do you think is most essential to creating a music community in a town like San Luis Obispo?

Josh

Pablo & Max

Josh: Inclusivity and safety.

Max: Number one, being nice to each other,

Tasha: I think, partially, the type of people in SLO lend themselves to that. It’s a town full of, pretty much just like old folks, and then the college students, and there's not a ton of stuff to do. It's not like a big city or anything. So the climate is like, a lot of people go to shows because that's one of the main things that's popping. People wanna go to them on weekends because it's, in my opinion, the best thing that's happening here.

Max: A good mix of being professional and responsible but not taking shit too seriously, at the same time.

Cadence: You guys find that balance really well. I think you guys have your shit together, but not in an annoying way.

Max: I appreciate that very much. I think it's important to be well rehearsed and well practiced and to know your shit, but also to be prepared for shit to go sideways because it probably will. And as long as that's not a big deal, then you could still have a good time.

Pablo: We're literally getting rained down right now, 13 minutes before our set.

Max: Our set is not in 13 minutes. We have 50 minutes.

Pablo: Fuck.

RAMBLER: What has been the best part of your weekend so far?

Max: We got to talk with Chris from Peach Pit, and Mikey as well. And they're super cool guys. Even though it's raining, I really hope they show up today.

Tasha: My favorite was seeing George Clanton on the side stage. He was so funny.

Cadence: We only saw like a couple of minutes of him. We really wanted to see Livin’ Loose. And then as we were walking away he was just cussing some guy out.

Tasha: He was like, he was completely off the rails. The music was great. And then in between each song he'd just stop for two minutes and say the most unhinged shit ever. But it was so funny.

Pablo: He was, like, doing standup. I'm a fan of his and it was cool to be in the front row. And then he poured a big bottle of water on me and I was really cold for the rest of the evening. But I loved it. I gave him permission.

Josh: I also love the Wilt set. Wilt was so amazing.

Pablo: Wilt. If you're hearing this, I want to play a show with you.

RAMBLER: How does creating music in the SLO environment shape the sound, lyrics, and energy of your music?

Max: If you look at the last album we released, it really is a microcosm of experiences I had throughout my time in college, in SLO. There's some other stuff sprinkled in there, and obviously I think the band as a whole brings together a lot of really unique influences which helps to create the Couch Dog sound. But the fact that SLO is a college town and there's nothing to do helps. My friends and Couch Dog, we kind of have to make our own fun.

Pablo: That's a lot of the spirit of what you hear. Most of us live together. So it's also very fun to be in that college thing, but not really. We're adults, but we still live together and we're making music. Josh comes and visits us every day. He does not live with us but it feels like it.

Mac: Yeah, honorary housemate! Every house needs one. It’s the fixture of a loving home.

Tasha: We got a couple of those. We have a small collection. We have a bunch of people staying over this weekend for the festival and I'm having so much fun. I love having a full house.

Max: Sleeeepover!

Josh: I'm excited for you all to hear the new music. It’s everything we got in store. So I'm sorry if you missed this set.

Cadence: We will have heard them first and we'll feel really honored. I'm so stoked to see you guys. Thank you so, so much.

RAMBLER: Any closing remarks?

Couch Dog: Woof, woof, bark, ruff.

---

Photos by Mario Fierro.

Earthship interview and edits by Cadence Baker and Mac Rogers.

Couch Dog interview by Cadence Baker and Mac Rogers. Edits by Cadence Baker.

Our thanks to Shabang for the support and wonderful opportunities.

Published on May 18th, 2024

Kate Bollinger: Shabang x Rambler

For a second year, the folks at Shabang very kindly invited us out to San Louis Obispo for a weekend in the hills scored by the likes of Thundercat, Peach Pit, and indie-folk musician Kate Bollinger.

We called Kate a few weeks before the festival to talk about change, an upcoming album release, and artmaking in communion with our loved ones.

Photo by CJ Harvey.

Mac: When did you discover your creative spirit?

Kate: My mom is a musician and a music therapist. So growing up, she was just always playing guitar and writing songs and singing. She also released nine children's music albums throughout my childhood. So she had kids singing on her records. And I was always included in that. Since I was old enough to sing, I was a part of her project. It was just a really musical household. I have two older brothers and both of them are musicians.

Mac: Have you had any standout experiences making music with friends lately?

Kate: I live in L A now. I moved from Virginia like year and a half ago. But, I have a group of really good friends here who all make music and have their own music projects. My friend Emma is a historical costume maker, so she makes costumes and sells patterns and stuff like that. And then my friend Eve has her own thing. She does a lot of production design and she paints a lot of things for my music.

It's what I had hoped would happen in my life. It's happening now, which is I have a group of friends all doing creative things.

My friends, Emma and Al and I started sharing our songs with each other. So I shared a song that I wrote with them and then I was like, let's record it. And so he played bass, my friend Emma sang harmonies and we just recorded it on the spot, which is kind of like what I used to do. But I feel like I wasn't doing that at first when I got to L A because everyone's trying to, like, make their career happen or whatever. And it just felt like I was sort of getting back to what I like doing in the first place, which is just like playing music with friends.

Mac: Would you say that friendship is part of your inspiration when it comes to what you’re making art about?

Kate: Definitely. Pretty much all my music is just about relationships that I have and every song is just like a little vignette. I feel like every song that I have is just like a moment that's been captured. Like most songs,, but yeah, I moved across the country like a year and a half ago.

So a lot of this music that I have on this record that's coming out later this year is kind of about that. Also different experiences with growing up. 

Mac: I’ve been listening to your music since high school, about 5 years now. Has the way you make music changed at all?

Kate: I feel like it's changed a lot. My approach to songwriting has been pretty consistent. Five years ago is probably when I met my friend John , who is a producer, that I met when I was in college.

We were both in school together. When we met, he started recording songs that I had already written that I would just bring to him. Then we started writing together and from there, he would send me a song that he made and I would write to it, and we tried out all these different modes of songwriting. Which was amazing at the time because it kind of helped me find my voice during that time. I don't know if I would have found my voice as quickly had I not had somebody else there to bounce ideas off of constantly.

But I also think now that I'm here in L A, I'm back to writing on my own a little bit more. I think that I go about it a little bit differently. At that time, it kind of felt in a way like we were a duo or something because we were writing together so much. This album that I have recorded now that's coming out this year, it feels a bit more like my first solo effort.  Whereas the stuff that I did with John felt a little bit like a band even though it wasn't.

Photo by CJ Harvey.

Mac: What elements of the new album are you excited to share?

Kate: After I moved here, I did a lot of trial sessions and recording days with different producers. I didn't really understand why things didn't sound the way that I wanted to. A lot of the music that I love is music from the late sixties, that's just friends or people that know each other intimately or have played together for a long time.

And I was like, why doesn't my music sound like that? Everything I was trying to do sounded so cold and sterile. And then I started working with Sam Evian. He's a songwriter but also a producer who lives in upstate New York. I went up there with my drummer Jacob, who's my friend from high school , Sam, who played bass, and then this guy Adam played guitar. We made this little band for a week and recorded 11 songs in five days or something.

And then I stayed after everybody else left with Sam; we recorded all the extra overdubs and stuff like that. But I'm really excited about this album because it feels that way that I was hoping for, for so long. We didn't use click tracks really. We didn't really use headphones. It's pretty much all recorded live. So it just sounds really natural and the essence that I've wanted for a long time. 

And I'm working on a bunch of music videos right now. It's with that same group of friends. Emma and Eve are gonna be starring in pretty much all the videos, which I'm excited about. Emma does a lot of costumes for the videos. Eve hand-painted the signs that are part of the album cover. Just a lot of art stuff that I'm psyched about.

Mac: How has the shift from working on EPS to an album been?

Kate: I mean, it's been really fun because I like all of the work that goes into it. It’s just like gathering different pieces of art. But it's definitely a lot more work than with my EPS. It feels like the difference between making a short film and a feature. It just takes so much more time, and so many different little things that you kind of can't anticipate will be part of it are part of it.

But I'm excited to finally have a bigger statement out there rather than just an EP . I feel like in the past I haven't been very patient with putting things out. I just wanted to do something and put it out, which I love and I love when other artists do that, but this feels a little bit more like an intentional piece.

Sincere thanks to Shabang and Shelby with ListenUp press for helping us secure the interview and Kate's publicity team for providing photos.

More Shabang - Rambler yumminess coming soon..

(ﾉ>ω<)ﾉ :｡･:*:･ﾟ’★,｡･:*:･ﾟ’☆

Written & edited by: Mac Rogers

Published on : May 17th, 2024

Shabang x Rambler: In Conversation with Founder Greg Golf

In early April, we chatted with core Shabang team member Greg Golf, who’s been involved in Shabang since the festival's genesis in 2014. With the electric San Luis Obispo creative scene crackling, a chance to direct it somewhere special was spotted by a group of college kids. That was ten years ago. Now, Shabang cycles back to its beginnings through warmth and intentionality, time and change.

This article is the first installment of a series in collaboration with Shabang.

Shabang started out as a renegade-style festival, right?

Our roots are in the California DIY scene. Myself and a couple of friends that I still run Shabang with to this day, back in 2014 at the end of the school year, we were like, let’s do one last show on this mountain. Let’s get H Clink, our friend’s band, to play, and we’ll have a sick time. So we did it one time and had 20 people come. The second time, we had a second band come. It’s always been us figuring it out, meeting rad bands from across California and inviting them to play. We book larger talent now, but we’re super stoked on supporting young creators that are fucking awesome and might not have a chance to play at a festival like Shabang.

Alex Zinger of William H Clink, from a 2014 Shabang. Courtesy of Greg Golf.

How has Shabang held onto the DIY ethos while going through, major air quotes here, the legitimization process that just happens when you throw larger-scale festivals and events?

To grow and make things sustainable, you have to do certain things that can take you away from being grounded. For us, every decision we try to make in a silo. What’s the right decision, but also in the context of , does this make us super corporate and lame?

And if we do make a decision, like oh, we can't do ins and outs. So people can't go back to their car and booze because our insurance company won't insure us. OK fuck, well is there something else we can do?

And so there's been a couple of decisions where we build almost everything out of wood. Most festivals just roll everything in and it's all scaffolding and things that you can just quickly build on site. But it wouldn't be us sitting there building the festival for two weeks before it happens and that's not something we're willing to let go of. This keeps us who we wanna be, and it’s kind of the same thing with Battle of the Bands. Gosh, we're booking bigger bands, but every bigger band we book means a smaller band from California doesn’t get booked. How do we change that?

I really liked that. Elbow grease makes these projects true, and true to the way organizers come to understand their own capabilities.

My favorite thing is going on the first day to the festival site and there are the same people that have helped build our festival now for like six or seven years. Seeing those homies and catching up with them feels like a crazy roller coaster. It's worth it at the end of the day.

How many people are on the core Shabang team?

Since the festival first started 10 years ago, all three people that started it. Then we brought on three more people. We have six core people who work year-round on it.

Wow. Since when has Shabang become more of a year-round planning-type venture?

Greg: Starting at about after the 2022 festival. The city basically told us “Hey, we don't have the resources to handle what you guys need at your current venue,” which was a park on city property. That’s when we had to start getting a new venue, working on booking, working on permits. Dairy Creek feels really good for us right now.

Do you have a favorite year out of the earlier years of Shabang?

I would say Shabang Four was really, really special to me. And Shabang in 2019. We call it Shabang Reborn.

What about Shabang was reborn?

I think we were in a little bit of a creative rut. But 2019 was the year that we were like, ok, we can only do one (previously, there were multiple festivals a year) and let's use that extra time to focus on nailing the experience. So people didn't have to wait to pee, and people got there and were immediately able to enter the festival. We added yoga and stand-up comedy, static dance and different shops, just more wholesome holistic stuff. We focused on art.

We had this room that was completely sideways, the upside-down room. We had a secret dinner party in the woods where people who usually were on drugs and just needed to chill would stumble upon this dinner party setup where everything was crocheted. We added a tent where if you weren't feeling good, you could just go in and essentially pet the furry wall. And I feel like after that year we got so much feedback, we kind of understood who we are a little more.

Yeah, hosting is special. It’s something you give to people.

Yeah, we try to look at it as an opportunity and a responsibility and something to be grateful for. We do this big meeting before the festival [where] everyone putting it on meets, and we talk like, “We are a group of people that, over the course of this weekend, are committed to providing people the best experience we can. And this is something we don't have to do. This is something we get to do.”

Men I Trust at Shabang 2023. Photo by @artbygoldie

Is anyone in the core Shabang team an artist in their own right?

Oh my god! Yeah. Our music director Sawyer is spinning a set at the Funk Safari on Saturday. I think he’s on at like 2 to 3 pm. He DJs, he plays in bands.

Our build director Schwinn plays guitar and has played in several different bands over the years. And Alex Schwinn was in the first band that ever played at Shabang, William H Klink.

Nate, our media director, does a ton of videography and experience curation. So he produces and works with a lot of different festivals.

Cassidy, our branding director, is a graphic designer, so she does a lot of art in general.

I’m gathering a for artists, by artists type-deal here. It’s really cool to see. Like wow, this is a festival put on by people knee-deep in this shit. It was great talking to you!

Sincere thanks to Greg , the Shabang team, and folks over at ListenUp for being so receptive to our interest and supportive of our project.

Tickets for Shabang 2024 are currently on sale. Check out www.shabangslo.com for more information. See you there ;)

𓆝 𓆟 𓆞 𓆝 𓆟

Written by : Mac Rogers

Edits: Cadence Baker

Published on: April 28th, 2024

Uncropped Film: Exclusive with Young & Hamilton

D.W. Young

Can you share a pivotal moment in your artistic journey that significantly influenced your approach to filmmaking?

My experience shooting my first narrative feature film was one pivotal moment. It was a micro budget horror film titled The Happy House. Absurdly under budgeted, we made it caught between two different modes of filmmaking. On the one hand it was too big and conventionally dramatic not to require most aspects of a traditional set and crew. On the other, it couldn't possibly be pulled off with our resources without tremendous creative improvising and cutting corners. Which I generally thrive on but which can only take you so far.

These two modes came into conflict more than I anticipated and caused me much frustration. Every film finds its own method, but clearly the more experimental or low budget the project the more particular that method usually is. Since then I’ve learned better to balance these considerations. I make devising the process to suit the project far more integral. The particulars vary, but what matters is that the film and the method are more organic and joined. This has since made the shooting process far more enjoyable and productive.

Certainly Uncropped was like this, as is a narrative short I shot recently titled Dancing on the Silk Razor. The short is without dialogue or diagetic sound - it's just visuals, voiceover and music. We shot it on 35mm film (extremely parsimoniously) with me, our DP Arlene Muller, her 1st AC and our producer/actor Dan Wechsler composing one mobile unit that roamed around NYC in a single car. We never could have been so nimble or fit so much in or done it for the cost we did with a more traditional apparatus.

In the end I think all good films, no matter the scope, have this essential need to find the right method for their madness. And to bring it back to Uncropped, the two directors James worked with most closely - George Romero and Wes Anderson - both exemplify this in their quite different ways.

How do you navigate the balance between capturing authenticity in your subjects while maintaining your own artistic vision?

Authenticity is a slippery concept when it comes to people and identity. Is the persona we project publicly, and above all for a camera, any more or less authentic than our private one? There has of course been much discussion about the performative element in documentaries and how to contend with it, but I also think it’s a never ending question. As such, I usually feel it's necessary to capture both components of a subject to more honestly present them: what they want to show and what they reveal unselfconsciously. Inevitably it’s a matter of degree which depends on the individual and the context. I certainly don't believe in any hard and fast rules. And celebrities or accomplished figures who are very accustomed to public speaking are often much harder to draw out from behind their polished armor. Vice-versa people who are very nervous and unaccustomed to being on camera can easily clam up.

Either way, the best approach for me is usually a simple one: to achieve a real conversation with the subject. If you're shooting verité then spending extensive time together can accomplish a similar, deeper connection. Of course sometimes you only can only briefly speak with someone and capture one facet of them. In such cases, if that limitation is seen or understood in the film’s context it can really help frame the nature of the response.

These considerations apply mainly to documentary, but not entirely, and in many ways working with documentary subjects isn't so different from working with actors. But for documentary, if you feel the person on screen is a real person, not just some mouthpiece, then that is usually a good sign. And provides much more credibility to what they're saying and how they're saying it and how that relates to whatever sort of film we're making. And the more surprising or unexpected or challenging the better. I hate the idea of simply going to people to be told what you're looking for. Being surprised and discovering things along the way is so much more interesting and valuable.

As a director, what draws you to telling stories through film, and how does your background inform your filmmaking process?

I came to filmmaking late, almost in my mid thirties, after hitting the wall writing fiction for over a decade. I realized very quickly I was far more suited to it. Because for me, it's engaging the combined mediums that make up filmmaking that makes it so exciting and also liberating as a form.

That said, I think I'm drawn to narrative and documentary work a bit differently. For the former, since I write the script, it's a much more personal and interior and planned process. For documentary, it's more open ended and fluid and about crafting the work along the way and not closing it off prematurely. In both cases though, the essential element is that I need to have a strong sense of what the film could be. Or perhaps a better way to put it is that I need to believe there's a worthwhile film there to be made and also one that I want to make.

Considering the evolving landscape of both photography and filmmaking, how do you stay inspired and relevant in your creative pursuits?

As it gets easier to make movies it also only gets harder to get people to watch them. And as independent movies make ever less money it's also only getting ever harder to find a way to fund them. So contending with this quandary is one of the great challenges of the moment. Because so much of filmmaking does fundamentally require substantial money. Even on a relatively small scale. I don't only want to watch films shot on iPhones. Not that they aren’t legitimate. And as of right now, as an almost exclusively corporate product, I don't see adequate artistic freedom in television, which is where most funding is being allocated now.

Hopefully new opportunities and models present themselves in due time. Until then, I'm personally ever more enthusiastic about work that combines mediums and pushes out the boundaries of what a film is or how it's watched and where. Work that isn't totally beholden to the crumbling distribution models of the past for its success.  

Lastly, it seems to me that knowing how to make things on a very small budget is - for documentaries at least - ever more valuable. Because you can potentially still make something that has a chance of getting to a wider audience without compromise in a way that is far harder with narrative films.

James Hamilton

As an artist, what legacy do you hope to leave behind with your photography and how do you feel about the creatives today who take inspiration from your photos. How could they elevate beyond admiration?

I have always felt extremely fortunate in my career. I knew from childhood that I would be involved in some sort of visual medium but I almost accidentally fell into making photos. Most of my early inspirations were from films and paintings and my interest in photography was mostly about the way it portrayed history. When I was twenty and finally picked up a camera I realized that it was the best way to record my own history and that eventually led me to journalism. Whatever I am leaving behind is what I was allowed to pursue which was a very personal kind of photojournalism. I was the staff photographer for five very different publications, all in NYC, and I worked with wonderful writers and editors. I processed and owned all my photos and as a journalist I was always able to present and share my own point of view within that work. I have photographed for 58 years, making pictures for myself and for the stories handed to me. An enormous amount of work appeared on the printed page and if it inspired anyone to seek and find the opportunities and adventures such as I had then that’s my legacy.

In what ways would you describe the process of becoming comfortable with the creation of your art? The act of taking photographs of everyday people requires a certain level of vulnerability. Was this ever a challenge for you?

Except in war zones I have always been comfortable making photos and whether I photographed strangers on the street or well known people in rooms it has just been a matter of either finding pictures or setting them up. Since I always had a camera in my hand I would make photos in the street on the way to covering stories or making portraits. I carried the same attitude and point of view everywhere and while I usually caught rather than engaged on the street I very much had to engage when I made portraits. In the street I was very quick and, in a day, I would make many photos. With portrait subjects I usually took more time in conversation than making pictures. I made all of it fun and it all came easily to me.

Can you share a pivotal moment in your artistic journey that significantly influenced your approach to photography?

After I bought my first camera I knew that I wanted to be a photographer but I had no idea if I would be good enough to make a living and I had to find a way into photography as a career. I had made many photos on the streets of NYC but I thought that I should venture out so I spent what turned out to be five months hitchhiking around the states in the summer and autumn of 1969. When I returned to the city I built a darkroom in my kitchen and began processing the enormous amount of film. I made some prints and summoned the nerve to show them to a photographer that I had long admired but never met - W. Eugene Smith. I didn’t know how to contact him but I knew where his studio was. He let me in and I pulled out the photos from my trip. He lingered over them for a long time and said that anyone who could make those pictures should be telling stories with photographs. I walked out deciding to become a photojournalist.

How do you navigate the balance between capturing authenticity in your subjects while maintaining your own artistic vision?

Authenticity ends up being subjective. If I am making random photos of people in the street my choices and viewpoint determine everything spontaneously. But in making formal portraits it becomes more difficult to balance whether the end picture is more about the subject or me and my idea of the subject. My favorite photos of people wherever and however I find them, are the ones that reveal both my point of view and, in some way, the subjects themselves.

Considering the evolving landscape of both photography and filmmaking, how do you stay inspired and relevant in your creative pursuits?

Since I rarely work for anyone anymore I have to inspire myself, which has never been difficult. I carry a camera everywhere and I love making photographs for myself.

Catch Uncropped at a debut screening this weekend, April 25 through 27th, at IFC Center in New York City.

Boundaries released record, Death is Little More, will be echoed in eternity.

Debuting March 29, 2024, Boundaries dropped a beautifully vicious, physical incarnation of what it means to be encompassed in the presence of death, and feel nothing but apathy in response. Straight from Connecticut, fusing metallic hardcore with moving melodies fueled by unspoken confessions about the reality of our world, Boundaries is one of the most promising bands in the current scene. 

Connecting over the phone with guitarist, Cory Emond, to discuss evolution and next steps for Boundaries as well as the released record, offered a glimpse into the voices behind the band. Read on… 

If you’d like to start off with your name, role in the band, and maybe something you would want readers or fans to know about you that they don't already know, like a fun fact kinda kind of thing.

Cory: I'm Cory and I play guitar in the band Boundaries from Connecticut. Something fun about me, I guess, is that I play video games for like 16 hours a day…Recently, I've been playing this game called Teamfight Tactics a whole lot. 

Allie: So there's obviously a lot to talk about with everything that's coming up for you guys—it’s just absolutely insane. I wanted to get some basics out of the way if you wanted to talk about your first hardcore or metalcore show experience that kind of got you into music, that inspired you to start participating in a band or going down a path dominated by music. Is there anything you wanted to say about that? Notable venues, bands that put you on etc.

Cory: I mean, yeah, so like, what got me into this music is I started with bands like Avenged Sevenfold and Slipknot, which was really cool. To branch out more to the core aspect, I kind of hooked onto The Devil Wears Prada type which was so gnarly. Very early bands like that drew me in. Those kinds of bands played this venue called the Webster in Hartford all the time and I would be there every weekend for years, honestly. Eventually, I started working there. I worked there for like, eight or nine years, and I just recently quit. That venue really started everything for me. [...] My first show was actually Mayday Parade and All Time Low. 

Allie: I personally feel like this is an awesome time to be a part of the music scene. And it's exciting, you know, to watch your favorite bands kind of grow up and get big and even more so to some extent, being a part of a culture where young kids, teenagers and young adults are pursuing music so heavily. So being from Connecticut, what are your thoughts about the current East Coast metalcore and hardcore scene, kind of going hand in hand? What do you love about it? Or what would you wish for the scene based on the direction that it's seemingly going in?

Cory: Honestly, like the Northeast and specifically Connecticut and Massachusetts, I literally think it's the best heavy music scene in the entire country. Like speaking from experience and maybe it's because we're from here, but it's always been the best. It was weird, it started off pretty divided and there wasn't really a scene for metalcore (the hardcore scene has always been thriving here), but we kind of just built our own fan base over the past eight years… It's grown into a really cool, metalcore scene that now other local bands can thrive from.

Allie: To kind of add on to the last question about the general and current state of the scene–you guys have really managed to include the youth in your scene, in a really meaningful way. People feel welcome to start bands and get involved in any form, regardless of how long they've been around. How does it feel to see that happening? Or is that not something you notice often even with the younger kids showing out to your shows?

Cory: Yeah, at our shows straight up (because I've been going to the Webster my whole life), when we played there, I didn’t even know anybody in the crowd… It was just a bunch of random young kids, which is really cool. Some of them are in bands and they asked us if they could open our shows. When I was working there I’d have to book local bands to open for touring acts and stuff, right? It was always cool to have just like younger bands to put on. 

Allie: What are your favorite bands in the scene right now to play with, that you're inspired by, or that you love to listen to? Even bands that you just want to shout out in the Connecticut scene currently. 

Cory: My favorite band to listen to in our realm of music has definitely been Misery Signals. There's a bunch of cool smaller-ish bands I love touring with that are awesome like Orthodox who we have on our headlining tour–we’ve literally played 100 plus shows with them. They're super sick. Mouth for War is an awesome band full of friends. A band from California, Castaway, they rule.

Allie: Speaking of tour, the last one that you guys did with Roman Candle, Dying Wish, and Foreign Hands, was insane. I was at the Midnight Hour show, it seems like your sets have so much energy and involve the scene as a community. It's amazing to be in the same room with you guys in a space like that. How was that tour for you? Was there anything impactful that happened or noteworthy now that’s over?

Cory: We've done the bigger room tours and they're cool and all but that tour was the best one we did by far like reaction wise. Speaking on Midnight Hour, we’ve played LA before (Chain Reaction always rules), but it was lackluster, mediocre–we were like yeah, this is fine. So we weren't expecting much from the Midnight Hour. Then we played that. It felt like a Connecticut show. It was awesome. 

Allie: You guys are currently working on an album and just released a few new singles that are so gnarly. What new things, if at all, are you all trying to do with this record compared to previous ones content wise, musically, or even with mastering and producing?

Cory: For this record, we went into it immediately. One, we wanted it to be a heavier and scarier record. So that was one point that we brought up. The next point was we wanted it to sound a little cleaner and more polished than the older stuff. We worked pretty hard on getting it to sound how we wanted with our producer. We've been doing a lot more content stuff like guitar playthroughs and drum playthroughs and we're more focused on music videos this time around just so we have more to post. We're doing more stuff like this–more press. We're just trying to really push it because the response from the first two singles so far has been overwhelming. The first single already has more streams than a couple songs on the last record we put out two years ago.

Allie: So you guys have a feature with the vocalist from Alpha Wolf, and also Kublai Khan TX features. What was that experience like working with those artists? Do you have anyone in mind that you would want to collaborate with in the future?

Cory: That was awesome. We went into this record wanting features because we haven't really done it before. When we were picking people, we were just picking who would sound best in the already written spot [Lochie Keogh] was the person we landed on for that. Such a good choice. For Matt Honeycutt from Kublai Khan TX, we had an open spot. We were like, ‘if you want to do this, just go for it.’ We said, “You can do whatever you want.” It turned out awesome. 

Allie: With the album dropping in like two weeks on March 29th and the tour that's coming up, do you have any expectations for the release? 

Cory: I have no expectations. Yeah, no idea how it's gonna go. We leave for Europe, like two days after the record comes out. We get back for like, a week and then we do our first headliner. That is doing well so far, so expectations are there for that. 

Allie: So knowingly metalcore speaks on a more emotional side to a genre of heavier music. There’s a lot of focusing on death and the struggling pursuit of life amidst the surrounding chaos. Personally, I feel it can get fairly cliche at least content-wise. On that note, what would you say makes Boundaries any different? 

Cory: For us, at least in the past (and kind of with this record too), the lyrics are very personal/experience based. Everything [involves] a time and place that happened. This record is more just written on a general feeling. I definitely align ourselves way more with the metalcore side of things, but that's what I would say differs us. I mean, at this point, we have deathcore breakdowns.

Allie: Are there certain morals or a theme that you guys are trying to push onto listeners through your content or even through the press you’re more proactive in, based on who you are as people/performers on and off stage?

Cory: The way we've talked about it before is like the way that people can digest music, even if it's written about one thing specifically… It could mean a thousand different things. We would like people to take it in, in the way that helps them, so they can relate to it in their own experience.

Allie: With the upcoming tour, what are you hoping to get out of this experience? You're hitting a bunch of cities that you haven't been to/played at before, and also for the first time headlining the U.S.

Cory: I'm very excited to obviously play Connecticut again. We don't play there as often as I wish we could. But I love playing in places like Colorado. Very cool. Chain Reaction will be awesome. [...] For Tampa, we luckily got to pick this venue, Crowbar, that we like a lot that we haven't played at in a couple of years. It's exciting to headline the venues that we've been supporting. 

Allie: I wanted to know, if you have a story that you would like to share, what's the worst thing that's ever happened to you in the band? Like, fan or gig experience, or even on tour? And if you have more than one, just go for it.

Cory: Oh, God, maybe the worst one was in like 2017. Yeah, we had this old van and the transmission broke on it. So we’re gonna replace it before we leave for tour, right? So we replace it. It costs us like two grand at that point. That was so much to us because we were broke. We all just piled together money and did it. First show was in Texas, and we start to drive. We're like a day and a half into the drive. We get an hour and a half from the venue and the transmission blows up again. You know, in the middle of nowhere, Texas. Sulphur Springs was the name of the place. So we get towed to a transmission shop and the dude was like, the fastest I can get this done is five days. And we're like, all right, whatever. So we put up merch for sale, raised some money luckily, and bought a hotel for five days. Our vocalist Matt just played Resident Evil 4 the whole time. So we got that fixed, that was really terrible. We did like the remaining two weeks of shows. The last show’s in Florida. On the way to that show, the transmission breaks, again. So we had to drive 30 miles an hour to that show. The hour drive turns into like three and people were mad at us for being late, which is crazy. And then we finished the tour. We have to drive from Florida to Connecticut going like forty five miles an hour. Normally, it's like a 22 hour drive, and it took us like two days, I think. So that might have been the worst ever. [...] With touring, we have just had such bad luck with vehicles. 

Allie: One of the last things I wanted to talk about was the chemistry between everyone, and how you've grown as people and musicians with each other for 4 records and nearly 8 years. How has the journey been so far? Are there any regrets or changes you'd want to make, or any praise or thanks that you want to give to the rest of your band?

Cory: So really, it was me and our vocalist, Matt, we didn't start it technically, but I guess you would call us original members, but it was me and him. We went through countless member changes. Just with people who weren't down or weren't in it, or we had disagreements, and it took forever. Our bassist, Nathan, filled in for us for like two full U.S. tours and then Covid happened. Then he did merch for us and toured with us. So he's been touring with us for a long time now. So when our bassist left, we were like, you got to do this. Then our guitarist left at the same time, but Tim (our drummer) was in another band called In Good Nature with our guitarist, Cody. And he was like, I'm having him join because I know he's a great fit. So that happened like the same day, essentially. Ever since we got those two, it's been like the perfect fit. It’s really awesome. 

Allie: Is there anything else you'd like to add, or anything you want to say to your fans or readers?

Cory: I just want to show appreciation really, for everyone, because like I said, the response has been really, really crazy for these two new songs. There's a trajectory there that I can now see, that I hope can continue because of everyone who's been supporting us. So really, just thanks and appreciation, everybody. 

With such honest depictions of pain and loss that’s both mournfully poetic and mercilessly brutal, fans and new listeners can expect nothing but veracity from listening to this release. Stream now on all platforms and follow Boundaries on social media for succeeding tour updates! Thank you to Cory for being so amazing, see you on tour. 

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Written by: Allie Payne (@alliepaynex_)

Published on: April 18th, 2024

Anxious Unplugged: Blink-182’s Echo in the New Wave of Pop Punk and Emo Revival

From Fairfield County in Connecticut, the 5 piece emo punk band, Anxious, brings a breath of fresh air to what has been known as mainstream emo. Releasing their first full-length album, “Little Green House” (2022) and with an overwhelmingly positive response from the scene, Anxious quickly became the forefront?? of the East Coast scene. With new music on the way and exciting plans to start this year off, I connected with vocalist, Grady Allen, who offered insight into the journey of the rapidly-grown band that can only continue to dominate the pop punk scene and leave fans and new-listeners utterly “speechless.” Read on to get the latest on their upcoming album, 2024 tour, and other important news you won’t want to miss out on. 

To start off if you could introduce yourself and your role in the band. Maybe a fact about you? 

Grady: My name’s Grady, I sing in Anxious. Fun fact about me… What’s fun about me uhm….

Allie: Maybe something people don’t know about you?!

Grady: Something people don’t know about me. I’ve lived in Connecticut my whole life, but I was originally born in Oklahoma. My entire family is from Oklahoma, our bass player Sam (who’s last name is Allen, my last name is Allen), is also from Oklahoma! 

I also am really interested in what your first show experience was like, that sort of pushed you into wanting to fully pursue music? Notable venues, bands that put you on etc. 

Grady: Sure. I’ll do the first live music I got to see, and then I’ll do first ‘oh my gosh,’ this is it. First show I ever saw was an awesome one; it was Blink-182 with Taking Back Sunday in 2011 or 2012. It was at Mohegan Sun Arena in Connecticut, and it was incredible. Before arriving at ‘I’m into hardcore and this specific style of emo,’ listening to Blink-182 was like ‘I don’t care what I do, but I have to be playing guitar because this band is the best thing in the world. So that was my first concert, and it really blew my mind. I remember thinking that Taking Back Sunday was really cool too… Now at this point in my life I even think of references of them with Anxious to a certain extent, but at the time I was just like you’re not Blink-182, which was a shitty show-going-to perspective, but I was 11 so I have to give myself some slack. My first hardcore show I ever went to was Bane, Backtrack and Malfunction in New York City at Webster Hall and that was the very beginning of my freshman year of high school. From Blink-182 I really got into the punk starter pack: Misfits, Dead Kennedys etc., and then I got into hardcore– experiencing that live was unlike anything. It was crazy because I had seen punk shows and legacy bands and the energy was just so different. People jumping on each other, I feel like the bands had more to say and it felt way more poignant and real. I just gravitated towards that. It felt so tangible in that way… it was a sold out show in New York City, it felt so personal and so real in a way that going and seeing a show in NYC even, if it was a punk band or something like that–was unlike anything I’ve experienced before. 

So you guys are from Connecticut, what is the current state of the scene out there, and how has it evolved since you started participating? 

Grady: Connecticut is experiencing something that I think is universally being experienced in a lot of scenes– there’s just this influx of so many young kids. The scene has just grown astronomically within a period of 18 months to two years. When I first started going to shows in Connecticut, they were kind of few and far between. They were happening but I felt like  I was traveling way more to see shows consistently. Also, at the time I was by far the youngest kid that was going to shows. Now, it’s crazy I’m 23 and to now be at this point where I’m no longer the youngest person going to shows, and with there being so many young heads that are going… The scene is a lot bigger. There are a lot of kids who are super interested and invested. There’s also an influx of tons of great bands in different styles. A lot of great bands from Connecticut: Wreckage (our bass player Sam he plays in that band), Balmora I feel like is making waves right now, [,,,] Almighty Watching, there’s a lot of great bands and a lot of people who are really committed to making Connecticut pop right now. Connecticut is in a great spot. It’s really cool to see Connecticut go from being somewhat of a passover state, to a real destination spot for hardcore kids to come and play. 

You all have done some pretty insane things in, you know, a short amount of time. Millions of streams on some of your most popular songs, tons of touring, sold out shows, was this the reaction you all were expecting when you put out your demo and first started putting out music together? 

Grady: I don’t know if that’s something we were thinking about when we were getting started. I feel like being in a band you move into different eschelants pretty naturally, and I feel like when we put out our demo, like seven years ago, all I wanted to do was play music, just to go play a VFW hall and if 10 kids came that was the coolest thing in the world. There was a certain amount of ‘there’s kids in my town who are at home writing an English paper right now, and I’m driving to Boston and playing a show,’ and it doesn’t matter if 13 people come. Even if someone said, ‘hey we don’t have any money to pay you,’ like that doesn’t even matter I was just so thrilled to be doing it. Thinking about things now, I’m so excited that we get to tour all the time and we get to go to Japan, and Australia, and tour the country and have friends all over, that’s really, really cool. But was that our expectation from the demo? That’s just too hard a question because I wasn’t even thinking like that. 

So I wanted to spend some time on one of the seemingly more popular albums, “Little Green House,” which was so well received by the scene, what was the creative process like for that? Inspiration musically, content-wise, personally etc. 

Grady: It’s funny thinking back about working on that record, because we completed it over the pandemic and it was done for a few years before we released it. It was really interesting because the pandemic sucked in so many ways for bands– touring went out the window and playing shows too. The way that it was really positive was that it gave us so much time to work on this record. Writing that record for about four or five months, me and our guitarist Dante and our drummer Johnny would just meet up every day and just be in the basement of his dad’s house, just writing songs, and we’d go get a little bit of food and come back and just do it. It also felt like that record came at a really interesting time of all of us moving into new spaces personally. Everybody was experiencing similar things. As far as inspiration, our biggest goal was to do something that was authentically us. I think there’s a thing, more specific to hardcore or punk, where it’s like: ‘let’s capture a sound or a place in time…’ for Anxious we wanted to just create the best possible record that was just us and not try to be scared about anything, and that’s what we did… I think. I hope. 

With dropping, “Down, Down,” and an album on the way!? What new things were you aiming to do with that single, and on the upcoming album, in comparison to older LPs and releases, and why? 

Grady: We are working on an album. I think it will come out this year. Hopefully it will come out this year… it will come out this year. We were just working on ten songs, and then we’re going to go on tour, and when that wraps up we are going to head back and do another month of tracking for it. It’s really great, I’m really stoked about it. With “Down, Down,” we just wanted to put music out. We had like a quarter of the record written and we weren’t going to have some record done in time to put it out at the end of the year, so we wanted to put a song out. That song is originally from Dante, when we were writing “Little Green House.” I think we tried a lot of different things with the new singles we had put out a year prior, and that was really cool, but I think for the most part we wanted to stay true to the sound we worked on for “Little Green House.” As far as the new record, it stops being a game of ‘well we’re really trying to sound like this, or incorporate this vibe,” and we go, “how can we make the best version of what we are.” So, Anxious, with this new album it’s about how we can deliver the best versions of what this band is and what “Little Green House" is.” I would say the pop-py elements are pop-pier and shinier in that way, in ways it’s hard, it’s the hardest that it’s ever been. It’s really great. I’m really excited. 

Allie: Is it the same person or studio producing and mastering it as with previous releases, or someone new?

Grady: It’s a different guy, it’s Brett Romnes who plays in I Am the Avalanche, he’s done like all of the Hot Mulligan records. 

There’s a new wave of emo breaking through the scene—with Anxious and their peers leading the movement it’s becoming one of the best moments to watch in modern music history. Translating early 2000s style lyrics of simplicity, with clean and punchy production, exciting energy, and a melancholy undertone to match the likeness of classic pop-punk, is seemingly executed perfectly by Anxious. Fans and listeners can only look forward to the upcoming release, anticipating an album that will continue to transcend boundaries in an otherwise close-minded genre. 

Can you talk about some major influences or inspirations on the album? 

Grady: Our guitarist Dante did a lot of writing for this record, and it was a very collaborative process, but I think a lot of the ideas stem from him, the first thing I would say, touching back on ‘how can we create the best version of what Anxious is,’ so I think we were looking a lot more inwardly. We’ve been listening to a ton of Fall Out Boy on this record. I think we’ve also been pretty inspired by what a lot of peers are doing too. Thinking a lot about Drug Church, and Militarie Gun, bands that are our friends but there’s several moments I can think of ‘that really has an energy of them to it or how that part is played.’ One of the very best songs on the record has a very Radiohead vibe. I think “Little Green House” has a lot of turmoil in it and it’s very aggressive, I think right now feels like a positive space of discovery… The lyrics have that sort of energy. It’s a record about discovery and growth. 

What would you say are some of the themes lyrically that you’re trying to convey on this upcoming album?

Grady: So far, because a lot of the record lyrically isn’t done, a lot of it both me and our guitarist Dante who writes portions of the lyrics, we’ve both been in long term relationships for some time now, and I think we’ve both been writing about exploring those relationships in the ways that they’re positive, but the negative aspects as well. And the things that are neither negative nor positive, but what life looks like with that person. I think I’ve also been trying to tackle at 23 years old, where am I heading, what does my life look like, and where does Anxious fit into it. So writing a lot about that. The last thing, it’s aspirational because I don’t think I’ve gotten the song quite right yet, but I have been wanting to write about some of my relationships with some of the members of Anxious. It’s interesting to write about your friends and Dante has been writing a little bit about his partner– we’re kind of exploring it all. 

You guys have some big things in motion for this year already, the album, but even the upcoming tour with Koyo and One Step Closer— do you have any expectations? Or what are you most looking forward to from this experience?

Grady: I’m super stoked on this tour that we’re about to do. It’s going to a bunch of places that we’ve never gone to, or I feel like other bands never go to, so that’s really cool. The cool thing about doing a tour and hitting a bunch of spots that others don’t really go to, those shows often being the coolest because kids are so stoked that we’re there. It’s also really cool–Koyo and One Step Closer, those are truly our closest friends that we’ve made through music. 

It seems like you guys are on a path where a lot of young musicians hope to follow suit. What is some advice to bands who are starting out and wanting to get involved in the scene in a similar way to Anxious/you guys? 

Grady: It’s funny, we get asked this more consistently now, but it’s hard because Anxious comes from the hardcore world, which has a heavy emphasis on DIY, and supporting local bands in a way that genres like hardcore touches like pop-punk or something don’t have. So I think in a way that we are hardcore kids and come from that world of putting on shows ourselves and going to shows, I think that gave us a lot that bands that sound like us but aren’t from that world don’t have. It’s just different. So, I guess a universal thing is just to be involved. Go to shows, make zines, make friends, put on your own shows, it doesn’t matter if it sucks– being a band or doing anything in the space is a losing money ordeal. Like I hear some kids talk about ‘what if we lose money or something,’ and that’s just part of it. 

Allie: And should that be the point? That you shouldn’t be in it for the money?

Grady: Exactly. That’s just part of it. Align yourself with like-minded people, have something to say, you know hardcore and alternative music, I think kids get attracted because of the energy, but there’s a lot more substance to it than that. Use it as a means to express yourself and be receptive to what people have to say, and you’ll arrive at the point you want to be at. 

Any final words or something to say to viewers/readers?! 

Grady: Much love to Rambler Magazine and Allie for having us, shoutout Rambler, shoutout Connecticut hardcore, shoutout 405, and much love to anyone that rocks with the Anxious squadron. 

Talking with Grady only affirmed the personal reach that Anxious denotes to listeners through their music—it’s only a genuine and an honest reflection of the musicians as people. With noteworthy things in store for the rest of this year, stream Anxious on all platforms as a preface for what’s to come. Stay tuned.

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Written by: Allie Payne (@alliepaynex_)

Published on: March 7th, 2024

A Conversation With Stupid Set Of Headphones!

Last month I sat down and caught up with the SUNY Purchase band, Stupid Set Of Headphones after their first ever D.I.Y. show in the schools music building. Here’s a peak into our conversation about life, the Purchase College music scene, and their debut E.P., “Choose Your Own Adventure Novel”…

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Who are you?

MATT: Stupid Set Of Headphones.

How was your first D.I.Y. show?

MATT: It was great, we had a great turnout. 

A Lot of people showed up.

I think a lot of people had fun.

HOLLY: Once you can see that people are moving, it's like yeah we did it.

So who is stupid set of headphones?

MATT: I guess you can say me.

HOLLY: I’d say Matt.

TUNK: Primarily Matt.

Where did Stupid Set Of Headphones meet?

TUNK: Purchase College!

MATT: Well Danny was my roommate, we met Holly within the first few weeks of school. I feel like we met June by sorta just seeing them around alot. 

JUNE: I saw you guys at stretching.

TUNK: Yeah we had mutual friends, and then we grew closer.

JUNE: Yeah, it wasn’t until the Lacquer Head and Flat Wings show that we started talking with Matt and Holly.

Tell me a bit about Purchase and its music scene.

MATT: It’s kinda spotty…

HOLLY: And eccentric…

I feel like Purchase College is a school where everyones got a punk rock band, everyones got their alternative-indie thing. 

And I feel like if you're one of those bands at Purchase College and someone asks what you sound like, you’d say “I sound like a band at Purchase College” and then they'll understand exactly what you mean.

So I feel like it's easy to foster your creativity, but it's hard to make it stick out.

Where did the name “Stupid Set Of Headphones” come from?

TUNK: I had some headphones and I hated them, they were stupid as fuck.

MATT: I honestly don't know, it's mainly because of Koss Porta Pros.

HOLLY: Yeah Koss Porta Pros like… they're stupid, they dumb.

What are a few of your inspirations for music?

TUNK: Jimmy Chamberlain of The Smashing Pumpkins because he's my favorite drummer of all time, and I take away from a lot of the techniques he has and a lot of the things he does, and I love him and I love his drumming. 

Also Smokey Joe, he was in Matthew's old band and he was a great drummer, and he can write some cool beats and I took a lot of inspiration from those. And that's what you hear in a lot of the first ep’s drumming sections, Smokey Joe. 

Ode to Smokey Joe.

JUNE: Honestly I don't have a specific inspiration but a lot of punk and harcore, I'm not exactly sure how much of that subconsciously gets into what I write, through bass lines. But a lot of the inspiration comes from Matt, and Tunk, and Holly, like what are they doing and then how can I accent that and make what they're doing sound even better

HOLLY: The guitarist of Don Caballero and All The Pretty Things.

MATT: My friends!

What is your favorite song to perform?

MATT: Probably Log Lady Intro because I like the sample at the beginning.

HOLLY: I like New Jeans, I always liked New Jeans. It was the first one I learned how to play and it’s definitely stayed with me, especially with actually playing it live and the amount of shit I can do with it.

TUNK: It's gotta be ‘i'll admit’, it's a classic, it's nostalgic, and it's fun to play.

What are some places I can find Stupid Set Of Headphones when not performing?

TUNK: Third floor of the dining hall.

HOLLY: The music building, Matt and Danny’s dorm, probably watching curb or some shit.

JUNE: The bathroom.

HOLLY: Purchase College.

TUNK: Anywhere and everywhere.

JUNE: In your heart, in the darkest places where there's a light.

What is the pre-concert routine?

TUNK: For me it's a cigarette, a couple sips of water, and Where's Your Head At by 100 gecs.

HOLLY: I personally opt for a v8 and Where's Your Head At by 100 gecs.

MATT: Don't think about anything.

What are some things that makes Stupid Set Of Headphones smile?

HOLLY: Pretty things, my friends, Garfield.

MATT: Garfield for sure…

HOLLY: The funniest on the sunday paper.

MATT: Garfield, Sonic-

HOLLY: Sonic is awesome, Sonic’s hot as fuck.

MATT: Don't get me started on Pac-Man…

TUNK: I'm gonna have to say The Cocteau Twins and Temu.com.

What are some things we can expect from Stupid Set Of Headphones in the future?

TUNK: Projectile Vomit.

MATT: We have an E.P. called “Choose Your Own Adventure Novel” coming out, we recorded it with our friend Aidan.

HOLLY: –of Mildly Allergic–

More shows- More D.I.Y. shows to be specific. A lot of fucking around and finding out

TUNK: Joining Drain Gang. 

MATT: And maybe more nakedness.

HOLLY: Especially on stage.

Enjoyed this article? Check out the Stupid Set Of Headphones instagram page and ours for current updates on the band and local music scene information. Don’t forget to stream Choose Your Own Adventure Novel by Stupid Set of Headphones, dropping March 15th!

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A Conversation With Stupid Set Of Headphones!

(@stupidsetofheadphones)

Written/Photos by Benjamin Joseph

Camping In Alaska’s Homecoming:

Unexpected response to Please Be Nice, Homestead in Alabama, and Upcoming Album Release!

The five-piece alt/emo-rock band from Alabama, known as Camping In Alaska, has hit over one million streams on their debut album, Please Be Nice, that elicited their career and status as underground emo legends. Entirely deserving of praise after (semi) recently reuniting, members and I connected last week to discuss the current state of the band, and shout-out the things that got them here. Read on for behind the scenes covering the journey from subversive YouTube-only sensations to all-around influential musicians, why Please Be Nice was just an era, and what to look forward to and expect from our 2000s exemplars.

To start off–introduce yourself, and your role in the band!

Dani:  I’m Dani, I play bass. 

Austin: I’m Austin, I play guitar and sing. 

Jacob S: I’m Jacob, I play drums. 

Jacob: I’m also Jacob, I play guitar. 

What are some of the inspirations for Camping In Alaska, either musical or nonmusical?

Austin: Me and Jacob met in a Taekwondo class when we were 11, and we bonded because we listened to Dead Kennedys. I’d say both of us, and most of us, come from a pretty punk background originally, we listened to Green Day, and Minor Threat, and you know all that kind of stuff growing up. Then I branched off specifically to Jawbreaker, and Samiam, and that’s still a lot of what I listen to is 90s emo and post-hardcore. Like Fugazi, and Pavement, and stuff like that, kind of forms a lot of our music, for me, personally. We also like stuff like System of A Down, and heavy metal. Jacob and I listen to a bunch of rap too. Just kind of from a lot of places. 

What was the scene like in Alabama when you guys first formed Camping In Alaska, versus how it is now?

Jacob S: To me, there’s not really a scene here as much as there’s a couple of bands that play together and know each other. It’s not mean or anything, but it is clique-y. When we first started, there were a bunch of Christian metalcore bands that were playing shows together, like Victory Records type stuff, and then there were these garage-y punk type bands that were a little bit older, and those two things never crossed paths at all. But that was pretty much all there was, you know what I mean. We could not play a show, at all, unless we put in on ourselves. 

Austin: Well honestly, the Christian metalcore and hardcore, they would book us with them sometimes, it’d just always be weird?! The ‘cool kids’ who ran the punk thing, [...] they just wouldn’t even give us the time of day. They’d just act like we were a bunch of kids.

Jacob S: We’re a lot more well-received now then we were then, but to me there wasn’t really a scene. I wouldn’t even say that it’s evolved a lot. It’s still very much about heavy music, which is cool, and the bands around here have definitely gotten a lot better than they were since we started. 

Midwest Emo/Indie-Rock has a pretty strong DIY ethos. Can you share any memorable experiences from your journey as a DIY band, and how it shaped your identity within the scene?

Austin: I mean honestly, we’ve always done pretty much everything ourselves. We haven’t done anything with anybody up until very recently, and it’s still mostly DIY. Actually our manager, she would do everything for us. Our t-shirts back in the day, I mean she’d just thrift a bunch of t-shirts, cut out a pattern with cardboard, and spray paint them. Our friend, Brad, printed out some CD inserts for us back in the day, and then we just burned CDs and wrote with Sharpie, you know. We only very recently went to companies to make t-shirts and stuff like that. I mean we had to do it all ourselves, nobody wanted to fuck with us. 

When you guys wrote and produced, Please Be Nice, what were your expectations? Did you know the impact your music would have on the post-emo fanbase or your local scene, or what did you hope to accomplish by sharing your music?

Austin: Hell no, we never thought it would do anything. I mean, we were literally sixteen when we were writing that album, seventeen when we recorded it. We were still in high school. Me and Jacob had been playing in my garage since we were fourteen, and we just wanted to record some songs. We saved up some money and went to this guy who had a home studio. “c u in da ballpit,” we had bought a certain amount of days, and we finished the songs in the beginning of the first day, so I wrote that song in like two hours and we just recorded it. I wrote the lyrics in like ten minutes, they don’t mean anything. We didn’t know what we were doing when we were kids, we just tracked it the best we could. The guy who recorded us did a lot of Christian metalcore, so he had never heard anything like what we were trying to do–we tried to show him Snowing, and Modest Mouse, and he just didn’t get it. He thought the vocals sounded really bad. He’s really great at stuff in his style for sure, but when we recorded it and then played it live, it had a bunch of distortion, I was screaming, it was a lot more punk-y than it turned out to be. Honestly, the reason I think it got popular was because he made everything clean, and punchy. 

Jacob: I remember when a friend of ours uploaded that album to YouTube, and it had like 2,000 views after it had been up for a few months, and I was like, ‘hell yeah, we did it.’ 

With some of the earlier tracks specifically from Please Be Nice, hitting over a million streams, which would you say reflects the overall vibe of your band, or what track should new listeners stream if they wanted a glimpse of what your music sounds like, and why?

Austin: Please Be Nice was something we did when we were teenagers and it didn’t necessarily turn out even the way we intended it to at the time, I mean, all of the albums after that and the ones we’re working on don’t share much with it anymore [...] other than maybe some song structure and vocal things. All the clean production was not our choice on that, so all the ones after don’t have that (which I feel a lot of people were disappointed by) but we’re not going to go try and do what we did when we were teenagers. It would be weird; I wouldn’t feel happy doing that. 

Dani: Yeah, it’d be dishonest.

Austin: All of our later stuff and the stuff we’re doing now, if you wanted to hear something like that, I would suggest “ICARUS.” What do you guys think?

Jacob S: “Reaching Heaven By Violence” off the new EP. 

With Please Be Nice being amateur and lighthearted in content and overall style, in contrast with the depth by the personal experiences that inspired WELCOME HOME SON (2016), it’s important to understand and accept that a band is bound to grow both musically and personally, and the reflection of that journey from lyrics to melodies will be prevalent in future releases. In my opinion it’s what makes the experience of listening to a band for years, most dynamic, immersive and interesting. Camping In Alaska's progression, spanning from their initial demo to the latest release in 2023, "Hollow Eyes," stands as a captivating illustration of graceful evolution within an ever-shifting musical landscape. I am anticipating this upcoming release! 

With you guys getting back together fairly recently (2019 playing shows), how has this reunion been? Both musically and relationally with each other? Has it been an easy transition to just hitting the road and play shows together?

Jacob S: No, we’re loving it. 

Austin: I mean honestly, it kind of never feels like we take a break because every time we start again it’s just like how it always is. We’re all best friends. This is my wife who plays bass [Dani]. 

Jacob: During those times apart, I would always be like: ‘man I wish we were still playing music.’

Austin: I’m always writing songs too even on the breaks. Every time we would bring one to practice, they’re just always making it better. 

What can fans expect from Camping in Alaska in the next year?

Austin: We are currently recording the new LP, and it will be out within the next year! 

Jacob S: And tour announcement soon.

Austin: Yeah, we’re literally starting to record next weekend. 

Any final words to your fans or anything to add?! 

Austin: Thank everybody for all the success we’ve had–we wouldn’t be doing any of this without y’all. Thank you for interviewing us, we really appreciate it! 

All: Thank you!

There is no question that Camping In Alaska continues to exact a resounding and uncompromising, alternative/emo sound–that has ultimately soared them to new heights. With the promising deliverance of an LP this year, and a tour to follow, fans can expect a packed year. Tune in and stay updated! 

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Written by: Allison Payne (@alliepaynex_)

Published on: February 7, 2024

Modern Color, In Passing, With Rambler Magazine

Bringing a distinctive energy and personal flair to alternative rock, Modern Color from the greater South Bay area, sat down with me to talk new takes on the upcoming record, unique approaches to songwriting, and upcoming tour with Fleshwater! Follow along for the revealed journey of this relentlessly DIY focused band, and what’s coming next for them. 

To start off if you could introduce yourselves and your role in the band. 

Fleming: I’m the lead singer and I play guitar in Modern Color.

Vince: I’m Vince, I play drums, and I do backup vocals. 

I also am really interested in what your first show experience (that ultimately got you interested in pursuing music as a career) was like?! Who played, notable venues etc.

Vince: I can’t remember the exact moment, I just remember that I moved elementary schools in the South Bay where we’re from, and there was a group of kids that already had a band and they were kind of already in the swing of it (as much as kids can be), they were doing covers and just playing shows in their backyard kind of thing, so it felt like I was just thrown into it and I wanted to really fit in with them, and just be a part of it. So yeah, it was really just meeting them and being introduced to all the music they listened to, seeing that they already had a band, they played music, and they made it seem like [...] it was the coolest thing ever. 

Fleming: My family was always pretty into music, and I always wanted to play guitar as a little kid, I think when I was like thirteen or fourteen and we were going to some venue in L.A. to see my first scene show with some post-hardcore bands. It was like ‘oh my god this is crazy.’ You know, you’re at a venue for the first time, you see the lights, you feel like live music in a space where you’re excited about the genre and what you’re seeing, it’s not just like what your parents are into, that was a pretty big and exciting moment for me. But, I don’t know, Vince and I were kind of just into this pretty young and I think it was just at the right age where we were like ‘I;m going to let this consume me.’ We were just going to play music, that’s all we really wanted to do. 

Vince: I feel like where we grew up in the South Bay, has a pretty insulated little scene where we grew up directly next to other kids in our town or in surrounding towns had bands already, and there was already a pre-made culture it felt like, and we were just going into it. There was nothing that we had to make ourselves, [...] and it was cool. 

What are some of the inspirations for Modern Color either musical or nonmusical?

Fleming: I think the general motivation behind Modern Color originally, and I think it’s still kind of true, is Vince and I kind of grew up playing metal and metalcore, and really this band was kind of a project to say ‘let’s just do whatever we want to.’ Let’s create the kind of music that we’ve always really wanted to either because of not fitting into certain genre boundaries or whatever, we were just kind of fed up with what we were doing at a certain point. We were like let’s just have the creative expression that we’ve always wanted to have, which is just do whatever we want. I think once we jumped off and held that, that’s what really motivated the band to take all these weird steps and sound changes to really rebel us. 

Vince: I feel like we’ve always been really inspired by an amalgamation of things, and before we were playing mostly metalcore and metal music, and at a certain point it just got stale. It felt like what we were trying to do wasn’t fully expressed in just metal or heavy music. Modern Color was just a reaction to just wanting to have more fun with playing, and I think we wanted to play more melodic music at the time too, and stuff that wasn’t so outright aggressive or technical or whatever. A lot of the bands that we were listening to specifically at the time were like: Deafheaven, Dinosaur Jr., Turnover, and Title Fight. I wouldn’t say Title Fight was the main inspiration behind the band, but it was a band that paved a way for us to be like ‘oh, that’s doable. We can do that and we can have fun with that, and that’s a way for us to express ourselves that feels closer to what we can achieve (at the time).’ This was like seven years ago now. 

One of the strongest parts of Modern Color as a whole is the lyrical content - you all are great storytellers, and it makes the songs really immersive to listen to. What is the writing process like?

Vince: It’s funny that you say that because one of the things that we consciously tried to work on, on the new record, was the way that we tell stories through the lyrics, and try to really narrow in on what makes MC, MC…not that what we had written before was not us, but it wasn’t as personal as it could’ve been. We were trying to shoot for expressing something that we were feeling at the time, but I feel like on this upcoming record, Fleming took more of a lead in writing the lyrics. Before it was about 75/25, I wrote some of it and Fleming wrote the majority of it, and then I came in and I just changed tiny things according to how it feels. This new record moreso, I think Fleming took the most lead on writing than before, as well as telling more personal stories. 

Fleming: A lot of the lyrics leading up to this were definitely very personal and emotional moments, but I don’t think I had a great grasp on how to articulate that in a way that’s more accessible, but I think with this new record and going forward it was like, ‘I want to tell specific stories in time of growing up where we grew up etc.’ I feel like that’s where we’re at now– a little more mature. 

Vince: Our earlier stuff was us talking about things in a lens that was fitting for the type of music we were playing. Not that it was driven by the music, but I feel like now more so we’re actually telling real stories from our past experiences rather than trying to metaphorically express it or poetically express it– we’re more direct I feel like. 

Listening to Modern Color it’s clear the experimental sound you all have, blending styles of rock, & with one of your most popular songs at the moment, “Pale,” from the 2020 album, pulling more of a seemingly post-hardcore post-rock vibe, compared to other tracks, is there an aim to continue to transcend and explore different genres as an established Modern Color sound? Or even just with the upcoming album? 

Vince: I think what’s always driven Modern Color, is what we’re listening to at the time of writing the music, as well as just us playing together in a room and how it feels when we do that. A lot of the writing that we do is with all of us together in a room. I’d say with “Pale” specifically and a lot of the earlier music, especially in regards to how we handled vocals, I feel like a lot of people are really attached to the screaming. It’s not something that we’re trying to move away from, but it’s definitely something that we’re trying to use more tastefully. When we were writing “Pale,” we were screaming because we didn’t know how to sing. Because I feel like we were trying to find what to do with vocals and Fleming and I were like ‘okay, let’s just do it ourselves.’ Like a lot of the earlier vocals were pretty much all screaming. As Fleming is finding his voice so to say, I think we’re getting more comfortable with learning how to express ourselves more melodically. This album more than ever is more songwriting and more Fleming-forward. I feel like we brought back old MC tricks in a more tasteful way. 

Yeah, with your guys’ growth as people and even as bandmates together, you’re bound to experience some sort of stylistic changes. 

Vince: Yeah, we’ve had this talk before where we feel like this is our most rock or alt-rock inspired album. Most people would consider us an emo band through and through. I feel like each of our releases have a little something different based on what we were going through at the time, but this is definitely the most rock influenced album and I’m excited to get it out!

Fleming: I think Vince kind of hit it on the head, maybe it’s from coming from punk and hardcore, but as a musician I’ve always felt a little bit of imposter syndrome just because the style of music isn’t as traditional as what you see all around you. So I think as we’ve gotten better individually and together, it’s really helped us express ourselves. So the genres in between I think is just the vehicle for expressing what we’re trying to express, so whatever shape that takes is what it takes, but it’s been fun. I think I’ve been trying to make the simplest song sound interesting– you listen to all these great rock songs and it’s just simplicity but it’s effective and emotional, and how do we get to that? How do we become the most effective songwriters that we can? I think that’s my biggest push at least when it comes to all this. 

You guys have some big things in store for 2024, like the upcoming tour with Fleshwater! Do you have any expectations for the tour, or what are you most looking forward to from this experience?

Fleming: I’m just excited to rock. Every tour that comes up, I’m just like: ‘cool, I get to play music live for a month.’ This one specifically will be a little more exciting, we toured with Vein.fm a couple years ago so it will be fun to hangout with them. The shows are pretty much all sold out so we just have to show up and have some fun. I’m excited.

Vince: Something happened during the pandemic and I feel like every time we’ve played since then our expectations are kind of shattered. So I think we’re going in with no expectations other than to have fun and play the best we can. It’s all going to be good. 

Speaking of tour and upcoming plans for this year, with the single, “Fortress,” coming out in October, and an album on the way, what new things are you aiming to do with this record, if any?

Vince: This album is the most rock influenced album, so I think we’re excited to just show a different side of Modern Color. I feel like over the pandemic people really latched onto “From the Leaves of Your Garden,” which was cool we really appreciate it because it’s only given us success and some of the best times we’ve had over the past few years, but we’re excited to expand what people think of us and not be so solely defined by “From the Leaves…” I feel like this is a really personal album in the way that we wanted to tell more direct stories as well as write more direct songs, and kind of try to be deep and expressive in a way that is cool and simple and not over-complicated. I’m excited to get that out, and in our minds it’s only a step to writing more music– like we’re already working on music beyond this LP and a lot of it is sounding, just super cool. 

Fleming: I think the only thing I can add to that is I really hope to offer an honest inside into who we are as people and musicians and especially with this record with the storytelling and the subtle changes to our songwriting– I want to tell more stories and I want to have this record hit people in a way that helps or is impactful. That’s all I want to do. 

If there could be one track you recommend or promote to a new-listener, to pull them into the Modern Color community, what track would it be, and why?

Vince: I mean probably right now, “Fortress,” because it’s our newest track and it’s what’s going to be on the front lines of Modern Color.

Fleming: If I had to indoctrinate someone, through all of our music in one song, it would probably have to be “Jacaranda.” I feel like that is the song that is upbeat and has a lot of our style and flavor that’s like Modern Color in two minutes. 

Can you share the story behind your band name, "Modern Color," and what it represents to you?

Vince: Yeah I remember the specific time and place that we were at– we were trying to figure out a band name for one of our metal bands and at the time our bassist, Chris now, was throwing out random names. I’m pretty sure this was a joke (at the time it was really popular to throw together like an adjective and a color) but we were putting out joke pairings. It got around to like Vintage something and then it was just Modern Color. We were like, ‘oh that sounds cool.’ So, we pocketed it. I think maybe two years later that was when Modern Color formed, and we brought that back because it felt more fitting at the time. 

Any final thoughts or words to share to listeners and readers? 

Vince: I’m excited to play shows and I’m excited to put this album out. The music will be out before the tour, so yeah, I’m excited.

Fleming: Listen to Modern Color! Come to a show, come say hi!

With obvious inspirations like Dinosaur Jr. and the Pixies, Superheaven-esque heart-on-sleeve style lyricism, and an upcoming album transcending previous releases, fans and even new-listeners can see Modern Color is a band to watch. Follow their Spotify and socials for insider information on what’s next!

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Written by: Allie Payne (@alliepaynex_)

Published on: March 7th, 2024

Cody Dewald of Serration on Breakthrough Album, Straight edge, and Calgary Hardcore

Canadian Metalcore band, Serration, released “Simulations of Hell” (2023), breaking through the scene with its utterly chaotic and immensely engrossing, sound and lyricism. For insight on Serration X Dying Wish Split / features with Emma Boster, behind the music of the scene-shaking album, and upcoming plans, read on…

To start off if you could introduce yourself/your role in the band, and if you wanted to share with readers something people don’t know about you? 

Cody: My name’s Cody, I do vocals in Serration. My full-time job is a tattoo artist, that’s pretty much it. 

I also am really interested in what your first hardcore show was like!? Notable venues, bands that out you on etc. 

Cody: Totally. So where I’m from it’s sort of like the Texas of Canada, that didn’t really lead up to what brought me into music, but country music was huge in my household. I got into bands like KISS, I honestly didn’t get into hardcore or anything until I was thirteen or fourteen. My gateway into hardcore was more of the metal side, bands like: Poison the Well, Bleeding Through, and Zao. 

Can you tell us about the current state of Calgary hardcore? What’s the scene like? How long have you been a part of the scene and how has it changed since you started getting involved? 

Cody: I started going to shows around 2005/2006. The scene out here was absolutely booming at that point. When I was going to shows, a ‘bad show’ would’ve had like 175 people. I’d go to some local shows and there would be 350 kids there, and that was prior, back in the MySpace days. That probably lasted from ‘05/’06-2010. After that for a solid four years, we were lucky if we got 50 kids to a show. Around that time people just started scratching their heads trying to figure out what we could do to bring people out. In 2016 I joined the crew of people to book Wild Rose hardcore fest, and that’s been going great. It’s one thing to book shows for a touring band, but to be a part of a group of a few people to book big bands to come to Calgary, it’s crazy, but it’s a lot harder. States like Florida or New York it’s easy for bands to maneuver around, you have to make it worth their while. Then in 2018 basically when Serration got started, and yeah we’ve been just doing it ever since. 

So, you guys share some members with World of Pleasure/Mortality Rate if I’m not mistaken— how did that crossover come to be, or if you want to share how Serration met and started?

Cody: All the members that kind of share each other: me and Jake we were both in Mortality Rate, along with Jess, who’s also in World of Pleasure, so Serration started before I was even in the band, so they had another vocalist. I hit them up and they had put a video up on Instagram, and I hit them up like ‘yo if you guys need a vocalist, I’d love to do vocals in a band.’ They were like ‘oh we already have a guy.’ I just said if worse comes to worse if you ever need somebody let me know… two weeks later Colter hit me up asking if I was still interested. During Covid, Colter joined Mortality Rate, and myself, Jess, and and Colter went up to where the first World of Pleasure record was recorded, which is where all that started. Jose is in Serration and World of Pleasure, and Jess is in Mortality Rate etc. 

Speaking on your guys’ album drop from last year, “Simulations of Hell,” that’s got to be one of the most insane albums I heard all year, and it seems to be entirely well received by the scene. What was the creative or writing process like for that album? 

Cody: Old Serration stuff–the band would get together, and we’d kind of write some things. Now, Colter takes a big reign on all of that. If he has something on his mind from drums or bass to guitar, he’ll sit down and write it all, and then he’ll send it to the group chat and we’ll talk about what we want to change. Once we kind of finalize it, he’ll send it to me and I’ll start writing over the tracks. I was overseas when they went to go record it, so I was on vacation trying to write lyrics for it. There were some songs I already knew were going to be on the record, and some that I heard for the first time that were new to me. That’s kind of the whole process as far as getting new songs written, but as far as influence, Zao is a big inspiration. With Colter I can’t think of the bands off the top of my head that inspired him, because there’s so many, and [same with] Jose, our guitar player, who recorded the acoustic part on the record and piano. As far as lyricism, a lot of it is personal stuff. The first song off the record, “Boreal Serpent,” yeah that whole thing has to do with people feeding off the media and just reading the headlines and not digging into it. I used to write a lot more personal stuff, but now I’m branching out and viewing the world now. 

So let’s talk about the collab with Emma from Dying Wish on, “A Suicide Note in Midi Format,” what was that experience like, and do you have any other artists you’d like to work with again? 

Cody: We did a split with Dying Wish in 2018, and we did a quick tour with them too. Asking Emma was a no-brainer as far as asking someone to sing like that. Love her. I think on that split with Dying Wish, I had John Pettibone from Himsa, so getting him was kind of the end-all be-all for me. He’s practically (Himsa) what got me into hardcore aside from discovering straight edge at fifteen. [...] As far as down the road goes, getting anyone from Zao to do anything, or I’ve kind of been thinking about asking (and this is just in a perfect world) getting Morgan from Kittie, I love Kittie. That’s me just shooting a shot out there because I think that would be awesome. 

If there could be one track you recommend or promote to a new-listener, to put them into Serration, if they’ve never heard you before, what track would it be, and why?

Cody: I would say “Birthing of Golden Ash.” That song has a little bit of everything. It’s pretty chaotic, there's mosh parts, there’s guest vocals. I feel like you could play it if you’re at a hardcore show, or a metalcore show, and it’ll just fit. I love playing that song live. 

With the album drop last year, are there any plans for new music this year, or tour etc.? 

Cody: No music has been put together or anything. [...] We have a few shows coming up locally. If there are any bands that want to do something and put something together [...] they don’t have to be some gigantic headliner band they could be homies or just fun stuff, but hit us up. [...] We’ve never been out to the East Coast, so we’re looking to play Florida, New York, Georgia etc. 

Could you share how claiming Straight Edge has impacted or influenced your music.. or if you wanted to share some thoughts on how that goes hand-in-hand with Serration and being involved in the hardcore scene?

Cody: Absolutely. I’m trying to think of off the top of my head what songs are influenced–”Chaos Demon,” off the new record has to do with people that I know that were Straight Edge or were never straight edge and have passed away from addiction, and about just reaching out, and sometimes people just don’t want help. You do you, right. [...] Every once in a while if I’m playing a show I’ll throw the X’s on my hands, but I’m not super vocal about being Straight Edge. [...] I claimed edge when I was fifteen years old, and I’m 35 now. 

Any final thoughts, advice, or something to say to fans and readers?! 

Cody: If there’s any bands that potentially want to do a run whether that’s in Canada or the U.S., or overseas, let me know. Shoutout DAZE Records. Other than that, if you’re a band looking to play Canada, let us know because we can definitely set you up from Winnipeg to Vancouver. Don’t be discouraged if you can’t find shows, we can definitely get it set up for you. 

Serration, with their dueling participation in both hardcore and metalcore, release of a top album complete with essentials like: fevered screaming, ruthlessly expressive tracks, and pummeling breakdowns—some of the most brutal of 2023, are only going up. Follow their socials and stay-tuned for when they (fingers crossed) come to the US, or drop some new music. 

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Written by: Allie Payne (@alliepaynex_)

Published on: March 7th, 2024

Breaking Through It All with Death Before Dishonor:

Brian on touring for 15 years, hardcore morality, and upcoming tour! 

2000s hardcore heroes known as Death Before Dishonor, with their demiurgic approach to East Coast style hardcore, and unrelenting commitment to their music/the hardcore community, have continued to impact the scene in a similar setting to when they first got together. With never-let-up behavior and steadfast momentum, the musicians are keeping that pace on the upcoming tour with Outta Pocket and Twist of Cain. For more information and a breakdown on the journey of DBD, read on…

To start off if you could introduce yourself and your role in the band.

Brian: Absolutely. This is Brian, I sing for Death Before Dishonor–hardcore band out of Boston if you don’t know. 

I also am really interested in what your first hardcore show experience was like! 

Brian: It was a long time ago, back in 1993 in Boston, with Biohazard, this band Stompbox from Boston, and this band Reason Enough at a club called Axis (which is no longer there). That was my first hardcore show, and I don’t know if it made me want to pursue music, but it sucked me into going to shows. I soon realized that you could just start a band. I don’t think I have any musical talents other than I can scream, but the first step was going to a show and [experiencing] the wild energy, it was a different place compared to what was going on in high school.. and then I started a band, but it wouldn’t be until at least another 6 years before I started my first band. 

Can you tell us about the current state of Boston hardcore? How long have you been a part of the scene and how has it changed since you started getting involved? 

Brian: It’s definitely evolved quite a bit. So obviously the first show was in ‘93, and I’ve been going to shows ever since, [the scene has] had many ebbs and flows. Aside from everybody acknowledging Boston as blue-collar and working class, realistically it’s a big college city. People will come in and go to shows and start bands in different waves so that’s why I feel like there’s highs and lows. There’s bands that have come in and will do amazing things but maybe don’t tour a lot because they started a band in college and moved on. I feel like in ‘93 it’s evolved to where it’s easier to find shows with social media, and I think that’s a positive thing. It’s very diverse. [...] There’s a lot of great bands, and cool venues that are throwing shows. In Boston when a venue shuts down, the scene struggles a bit. 

What is the inspiration for Death Before Dishonor, either musical or nonmusical? 

Brian: Even our sound has kind of evolved. When we started the band we were a lot heavier. When we started we were in other local bands and we wanted to do more than just play in just our city or one state away, so back in 2001 Hatebreed was out, and there were just a lot of other heavy bands–we wanted to be a heavy band. We kind of matured over time and our influences changed too. If you asked me in 2000 what my influences were I’d be like: Merauder or Hatebreed, and they still are big influences but then we went on our first tour and played with Agnostic Front and I learned about more than just the band, they taught us how to tour. So that was another really big influence for us. As I said there are a bunch of legendary bands from Boston but a lot of them tend to break up, and at this point, I think the inspiration is still pushing hard for Boston, and what we feel hardcore is. I don’t have this is what hardcore is, it’s just ‘go out there, have fun, bring some energy.” 

From what I’ve gathered, you have been a part of DBD since the early 2000s, and barring some member changes throughout the years, you’ve played with other insane bands like Terror and Agnostic Front through your career. How has Death Before Dishonor changed or evolved since getting together? What has that journey been like? 

Brian: When the band started in 2000 we were just kids. We put out a demo almost immediately, and then we put out a full-length, and we did weekends. This was like 20 years ago. We mature as people and musicians, your ears open up a little more or you get more comfortable with what you’re playing and want to experiment with writing. Then we wrote “Friends Family Forever” that came out in 2005 on Bridge Nine (which was a big deal to have a record come out on Bridge Nine at the time), and up until that point we were ‘weekend warriors,’ and we did a week long tour in California, but nothing crazy. We’d play shows on the weekends, and then go to work. There was something about “Friends Family Forever…” the recording and songs were better than the old stuff because we were maturing and learning how to play our instruments. [Fast forward…] we ended up going on tour with Agnostic Front in Europe for six weeks when we had never toured for more than a week, that turned into six more weeks in the states. We ended up just being on the road. From 2006-2010 we were on the road for 250 days a year. We went from being a band where we wanted to be heavy and people to know our lyrics and play shows, to okay well we got this opportunity to go to Europe, and then this opportunity to tour the states, and all of a sudden we had to write another record and go on tour. That kind of burns you out too. At first you’re like: ‘so appreciative and this is so cool and we’re going back to Europe and people know our words and we’re playing festivals with bands I never would’ve even thought of. Then it’s like you’re on tour all the time, but really you’re not making any money, you’re surviving.’ Then people start having kids or need to get married and that’s where the lineup changes in the band, and I just kept it going. I’ve always had such a passion for this band. There was something about it when we started (and I have a different outlook on it now because I’m much older and in a comfortable place in life) [...] but now we’re at a place where I’m probably the only original member of the band. [...] There was a huge gap between 2008-2019. We never stopped touring but personal life took effect on me; now you go through band changes because people are growing up. After 2019, we put out a new record after 10 years and it went really well and we were back on the road. We just recorded a 7-inch last year. Aside from the pandemic we’ve been busier than we were in 2014 or 2018, but in a healthy way. 

Given that DBD is a hardcore band promoting OG hardcore values, what morals/beliefs are important to the band as a whole, and how do you try to keep those prevalent in your music? 

Brian: Boston hardcore-wise has always, ethically, kind of been like: we look out for each other, when someone gets hurt we try to support them (do a benefit), kind of look out for our own community just in general. I kind of conduct my life like that in everyday life, and the band is the same. If a friend’s band is down and out and there’s a benefit show, we’re going to go do it. If I’m at a show and somebody’s treating somebody like shit, I’m going to say something. Even more so now that I’m older, I’m going to make sure that all the stuff that the ‘elders’ taught me when I was going to shows… I kind of keep that relevant. I think that’s the biggest thing about our culture. [...] This is our community, we look out for each other. 

I know there was an album drop last year for the 20th anniversary, of some remastered 2000s tracks, are there any plans for new music this year? 

Brian: The band is a super big focus right now. We put out a 7-inch super quick like last May, with a new song and a cover song. We have nine songs written and our plan is to record a full-length album in, hopefully, May. I was just talking to the dude that’s going to record it and we’re going to try and record in May, and it will probably come out sometime this year. We have that California run coming up, and two weeks after that we go to Europe, and then we’re home for a little bit when we’ll try to record. We’re shooting for October/November when the new record will be out on Bridge Nine. 

You guys have some big things in store for 2024, like the upcoming tour with Outta Pocket and Twist of Cain! Do you have any expectations for the tour, or what are you most looking forward to from this experience?

Brian: The last time we were in the West Coast, I flew home like literally four days before the pandemic happened. We were out there with Madball. So it’s been awhile. [...] Outta Pocket is killing it, Twist of Cain, Hold my Own they’re doing like three of the shows. As far as expectations, I feel like it’s going to be good, I feel super confident just because of the bands that are on it. I’m psyched that these bands want to do it with us. It’s been a minute since we’ve been out to the West Coast and it’s always good having younger bands to connect to the younger kids that are out there. It’ll be cool. I’m looking forward to it. 

If there could be one track you recommend or promote to a new listener, to pull them into the DBD community, what track would it be, and why?

Brian: I’m going to say, “Born From Misery,” it’s the first track off of “Friends Family Forever,” it’s a quick in-your-face, it’s one of my favorite songs and always has been playing it. 

Any final thoughts or words to share to listeners and readers? 

Brian: First of all thanks for taking the time to interview us, it’s always cool when we’re doing a tour and someone from the community wants to interview us, so I’m super appreciative. If you’re out in California, check out the tour. Yeah, I don’t know, just support bands. I would say the most important thing is to support your local bands and your local venues. Anytime you can go out and support, it makes a world of difference. 

Speaking with Brian offered a look into Boston hardcore, and the means to “see it through.” Stream Death Before Dishonor on all platforms and follow their socials to stay up to date on what’s upcoming for them! 

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Written by: Allie Payne (@alliepaynex_)

Published on: March 7th, 2024

After Thoughts: Matt of Twist of Cain on California Hardcore and Upcoming Tour!

Dominating SoCal, from the Bay to San Diego, the 5-piece metallic hardcore band known as Twist of Cain offers a loathsome manipulation of classic hardcore comparable to obvious influences of Merauder or Dying Breed. Sitting down with vox/guitarist, Matt, we talked about inspiration for the rising band, face value of the scene, and the upcoming tour with Death Before Dishonor and Outta Pocket. 

To start off if you could introduce yourself and your role in the band.

Matt: My name is Matt and I play guitar in the band. 

I also am really interested in what your first hardcore show experience was like, that brought you into the culture of wanting to pursue music!

Matt: So, my first hardcore show when I was in high school was a bunch of local bands. I remember one of the bands was called Nightcrawler, and it was in this small dance studio. Because it was a dance studio there were a bunch of mirrors everywhere, I’ll never forget this dude was trying to mosh and he fell on the mirror with his hands and just shattered it. But as far as what inspired me to play music, I’ve been playing since I was 13 or 14, but Guns N’ Roses actually inspired me to pick up an instrument. I was already used to playing music, and going to shows I would always tell my friends, ‘hey we need to start a hardcore band,’ but ironically my first band was a pop-punk band. 

Can you tell us about the current state of California hardcore? How long have you been a part of the scene and how has it changed since you started getting involved? 

Matt: I’ve been going to shows since I was thirteen. As far as how the scene is right now, it’s definitely boomin. I think after Covid things changed and you see a lot more kids now.I think TikTok has a lot to do with it since it’s been providing a lot of exposure for different bands, that maybe wouldn’t have gotten as much exposure. It is crazy because I’m 30 now, and the kids you see at shows are like 15 year olds, and they’re the driving boards of the scene right now. It’s cool, you can almost see the torch being passed down. My old heads, they’re still there, but they’re kind of in the background, and then looking at all my friends now– we were once those kids in the crowd too looking up to the guys that came before us. It’s cool, it’s growing. 

What is the inspiration for Twist of Cain, either musical or nonmusical? 

Matt: So, Josh and I had started talking about this band back in 2015. When you start playing music you realize that not everybody has the same sound as you, so I went to Josh specifically because I knew he had the sound I was trying to go for. Unfortunately we never started the band because I moved to Santa Barbara, started working, and stopped going to shows as often, and he hit me up a few years later to start the band. We were talking like ‘okay, what sound do we want to go for, and do you want to do vocals or play guitar.’ The sound that we were going for, my vocals would have been ideal but I suck at writing lyrics, so I stuck with guitar. When we were writing the demo out, I wanted to do it very Dying Breed, Stigmata influenced. Listening to the album there’s a very obvious Hatebreed influence, but believe it or not a hint of Crowbar too. It’s just like all our favorite bands, we just kind of mixed them up in there. 

California has a rich history of punk and hardcore. How do you see Twist of Cain contributing to or diverging from that tradition?

Matt: I feel like we have our own sound; we don’t sound like every other hardcore band that’s come out. I also feel like SoCal hardcore in general, there’s something for everybody, and as far as the scene goes out here, we cater to more of the East Coast style that maybe not a lot of bands out here are doing. [...] It took us 9 months to write a 4-song demo for that reason. We’re currently writing a new EP, and it’s been two years since we released the demo. We released a single last year because we needed to put something out, but aside from our busy schedules, we’ll take our time. Sometimes it takes us one month to work on one song. We’ll write it and then circle back. 

I wanted to spend some time talking about the EP you guys have out: your “Demo” from 22’. what was the writing/recording process like? What’s your favorite track? Or a track you would recommend for new  listeners to stream, to get into the real culture of twist of Cain? What are some of your favorite things off the album— gnarly riffs, favorite lyrics, etc. and what, if anything, would you want to do differently on future releases?

Matt: Alright so the writing process for that was just Josh and I. I would drive up to Josh’s house because we don’t like writing in the recording studio, it’s like too many cooks are in the kitchen. It’s too many opinions at once, and we tried it before but never got anything done. So our way of writing the demo was a little different than writing the new EP now. When Josh and I wrote the demo just he and I, we would write the guitar parts, and he would program drums on the computer. Once we would finish a song we’d send it to the group chat and be like, “what do you guys think? Any changes?” Any suggestions anyone made we would talk about it and make any changes that needed to be made. Once we got the music like the guitar, bass, and drums dialed in we would start writing lyrics for it. Our bass player Adrian, is actually the one who writes all the lyrics. That was the writing process for the demo. Now for our EP, it’s Josh, Adam and I. Adrian had written a few riffs and he’ll send it to the group chat, and Josh and I will build upon whatever he wrote. So we’re including the whole band a little more this time around, and I think you’ll be able to hear it in the new EP. It’s obviously us, but you’re getting different flavors and styles now as opposed to just me and Josh. 

What are the upcoming plans for Twist of Cain, and are there any goals you want to accomplish with your band in the next year? Maybe an album on the way coming after the latest “Built to Last” single from last year?

Matt: So we are still finishing the EP. Technically we have enough material, but Josh and I are going to work on 1 or 2 more songs and pick the best ones out of the bunch and we’ll be recording with Taylor Young– we don’t have a date yet. We haven’t written all the lyrics for the songs, we have to go back and adjust some things. I don’t have the exact date as far as when that release will be, but what I do know is that we want to record as soon as possible. As far as goals go for the band: we want to tour more. We haven’t hit the East Coast, so we’re hoping to be able to do that soon. [...] We don’t want to make any plans without getting the EP done. 

How has the band evolved since its formation, both musically and personally?

Matt: As far as the sound goes, I feel like we’ve definitely dialed in, and we’ve all grown individually as musicians. I’m not the best song writer.. Josh I feel like has better music theory etc. and writing with him has been my favorite thing as it’s helped me grow as a musician. All around as a band, I really don’t know. I’ll tell you that we look back on our old pictures and are like ‘damn we were babies.’ It’s only been 2 years but we can see the difference.

Are there any specific artists or bands that have significantly influenced Twist of Cain's sound and style?

Matt: Dying Breed is definitely one of the main blueprints of the sound. It’s them, Stigmata– even though you can’t really hear it, we’ll add a few notes here and there. Crowbar definitely is a big influence, and Merauder. In the new EP there’s also a little bit of Neglect in there. Those are some of our top favorite bands.

Any final thoughts or shout-outs or even advice for people in the scene? Something to say to fans/readers?  

Matt: Just shoutout LA hardcore, all the homies; as far as advice goes to anyone younger– if you want to start a band, just do it. Keep trying, and do your research. Look into the bands that came before you. [...] Respect the history and dig deeper because you might find your favorite band. If you just look at what’s in front of you in that moment, you won’t know about what came before. 

By the time this is published, the tour will be nearly over! Don’t skip out on the next one. Follow Twist of Cain’s socials and on streaming platforms for more information on the band to be the next Merauder.

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Written by: Allie Payne (@alliepaynex_)

Published on: March 7th, 2024

A Conversation With Frank Dorrey!

Recently I had the chance to sit down and chat with the explosive and wildly interesting, Frank Dorrey. During our conversation the New York City artist revealed a bit about his inspirations, creative process, and more! Here’s a peak into a conversation with Frank Dorrey…

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Who are you and what do you do?
My name is Frank Dorrey, I make art and anything I can do.

How would you describe your art style?

I would say explosive, visceral, interesting.

How did you discover you can do what you do?

My early years… Just drawing on anything I could find around the house, coloring, anything expressive.

It went from there, trying to piece together whatever made sense to me.

Tell me more about your creative journey and how you got into art.

I wanna say it starts with influences.

I was big on movies, TV, just media. I watched a lot of reality tv with my sisters. The oldest that I was living with, she would always put on music videos, reality tv, MTV, Rocket Love, Flavor of Love, New York— all that stuff. I think that influenced my personality and it sorta just trickled into the work and things like that. But Disney, Cartoon Network, Nickelodeon, all that stuff, shit was just in a rotation.

What are some of the first forms of art you made growing up?

Drawing.

Drawing was like the first thing I really tapped into, I was doing comics and stories and stuff like that based off stuff I was watching or seeing.

The fine art route was abstract to me at a young age so I just was kinda doing what I was seeing.

What are some other places you drew inspiration from?

The people in my life, my life…

Inspiration is just so broad in the way that it could grab you. Jersey itself was a big impact in the way I express stuff.

What is your creative process like?

It varies for sure, depending on what i'm doing, depending on what i'm doing it for, and what i'm feeling.

When I said explosion earlier, it feels alot like that in the beginning. Something just hits me conceptually or visually- or both. It's like “damn, let's start working” y’know? Other times it's like I have to dig for that, but usually the start is something will just hit me, and from there on it's just going and going, ups [and] downs.

Out of your collaborations which ones have stood out the most to you and why?

I don't know if there's a ‘most’ for anything in regards to projects that i've done. But in the past year I did some artwork for Noname and that was really good.

It felt like full circle for me because I'm a big fan of her work.

Being able to meet minds, somebody I really respect creatively and as a person, i've just been grateful for it.

The cover for Noname’s Sundial album, illustrated by Frank Dorrey.

Where are some places you want to take your art in the future?

As much as I end up doing.

You never know what's gonna happen, life just be hittin’.

Are there any pieces you've made that hold significant value to you?

‘Brown Eyed Dragon’ by Frank Dorrey.

The title “Brown Eyed Dragon” its based off a Yu-Gi-Oh card. —I was crazy about Yu-Gi-Oh growing up.

I just think about it sometimes, it just feels like a hug y’know?

I like this one a lot because it reminds me of my sister, she just has this kind of smile where it's just in your face.

Growing up, my whole household, we were so afraid of a lot, and I feel like she always had things about her that she just vocally expressed. I always appreciated and loved her for everything that she is, inside and out.

That kind of energy I try to reflect that onto myself, and this image reminds me of that kind of spirit: Taking everything that it is. Not trying to force any kind of image that's not there. 

How do you make your art?

I make it on this thing called picsart, its just adding and taking out and drawing on top. The app is super generic, you edit photos you're gonna post on IG.

I was doing that and I was like wait, “I draw, and I paint. I do stuff like that so why can't I do that on here”

What's something that's overlooked about your artwork or that you want people to know about your artwork?

People always have ideas of what's going on. Regardless of who you are, you have some preconceived assumptions.

One thing I would like to remind people that support my work is that I don’t always know what I'm doing, this shit just be happening. I'm just really grateful to be here, that shit just means everything.

we’re all figuring it out together. 

If your art could speak to us what would it say?

“Whats up, how you doing”

“how was your day” type shit.

It would just check up on you.

What can we expect from you in the future?

A movie.

Enjoyed this article? Check out Dorrey’s Instagram and ours for current updates on art and local scene information!

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A Conversation With Frank Dorrey!

(@frankdorrey)

Written/Photos by Benjamin Joseph

A Conversation With Jae Jung About DOOR!

In December of 2023, I crossed paths with Jae Jung, the head of DOOR—a brand that transcends physical clothing, into a world full of vibrant colors, unique textures, and east Asian culture etc. Here is a peak into my conversation with Jung about life, fashion, and DOOR.

Tell me about yourself, how you grew up. What got you into fashion?

Jae: I grew up in Seoul, Korea and my family immigrated to LA when I was about 12 years old, we moved to LA for the pursuit of better education, better livelihood, really the same story you hear from other immigrant families.

I remember as a kid being super stoked I would live in America, even as a kid there was this idea of the American dream, a sort of dream that everyone was after. Of course, moving here came with a lot of culture shock, I only knew the way that I lived in Korea, the values, the culture, the food.

 I was a bit of a loner when I moved here, and English was my second language. my middle school/high school years were pretty like: figuring my way out, figuring out who I am, where I belong. and there was kind of this idea that I never really felt like I belonged to any group, I was still chasing my identity. Funny enough, because I wanted to acclimate, I didn't make any Asian friends, I avoided the Asians. It wasn't until my 20’s I figured I needed to get back in touch with my roots.

My family had been in the fashion business when I was younger, my parents ran a textile factory back in Korea, supplying fabrics to brands locally and some internationally, so I've always been around fashion.

I've always cared about myself expression through clothing. I've always been into hip pop, more so the clothes than the music, and growing up in Korea kpop was huge, they had a huge influence in the way i dress, like baggy pants, I was wearing baggy ass pants as young as 11 and 12.

Who or What inspired your fashion sense?

Jae: Seo Taiji and boys, The hip hop movement [In the United States], they brought it over to Korea. They were the first to do it and there was a huge backlash from the government, saying like “this isn't music, this is like bad gangster culture whatever” and i was just into that stuff.

I've always had long hair. Going back hundreds of years, men always had long hair. Cutting your hair was like a disgrace… not so much any more, but I embrace those values. I think that's what differentiates me, my identity from everyone else, that’s what I wanna see in my clothing, bringing a lot of those influences as a kid.

Anime is another thing. The anime, evangelion, I grew up with that, I was obsessed with that stuff, I was building figurines and those robots as a kid, and recently all those things have made it back into my life, and those things have influenced this collection that I put together for door.

When did you transition from just enjoying fashion to making it

Jae: I would say my 20s. It was a late realization, I didn't think this could be a career. I think a lot of immigrant families will tell you, the parents want their kids to be typical doctors, lawyers, and have this white-collar job in an office, and I was always conflicted, in fact I went to university for communications before going back to school for fashion because I wanted to please my parents, and i thought that was the way to live. And I realized like no! that's not my passion. my passion is clothes, fashion. I've always been around this, I grew up with this, so let me see if I can find a way to make this work, and so I went to FIT in my mid 20s. I studied fashion design, and I did about a year of education and I figured “you know what, I don't need to do any more studies, I wanna jump right in, get my hands dirty, get my feet wet and see what I can create.” And I was very naive, but I did have huge ambition and drive, and right after school I put a collection together -looking back I'm like what the hell was I doing.

 I started pitching, I took my clothes to opening ceremony, this really cool concept store that was around maybe up until 2016. I got my foot in the door and shared my collection with the owners through connections that I had, I unfortunately didn't get in, but they were interested.

I took that collection and went to CHCM, which is another store on Bond st, that still exists. So that's where I started; at that store. The founder gave me the opportunity, he saw what I was wearing, and he was really into it, so he bought my first collection, and that started DOOR.

DOOR was created with whatever money I could gather… paychecks here and there, I'd put it together and produce a collection. I've never been very consistent, even now, it’s because I have a full-time job, but I consider it more like a passion project. until I can fully dedicate my time to door it’ll always be this project where I experiment, where I'm expressing myself in a way that I can’t at places like The North Face or Ralph Lauren.

What exactly is DOOR?

Jae: DOOR is an acronym. I read a book at FIT:  some British traveler from the 1800s traveled to Korea… We Koreans used to wear this traditional clothing called hanbok -it's like kimono. We wore this type of clothing for hundreds of thousands of years, and hanbok literally translates to “our clothes.”

So, in the book she translated it as “dress of our race” and I was like “that's really interesting, this could be a cool acronym, DOOR.” and door also has its meanings, like door that opens to opportunities.

When I first heard DOOR, I thought “oh you're stepping through a new door, you're introducing a new sort of fashion.”

Jae: That too, like a portal.

What would you say is DOOR’s design philosophy and/or aesthetic is?

Jae: Firstly, DOOR is for everyone, all genders, all ethnicities, all ages. I would say DOOR is useful, it’s anime, it's also touching on popular culture and technical garments. Those are some of the key words that come to mind.

What makes DOOR, DOOR? What is the essence of the brand?

Jae: It's me essentially, I think DOOR is very much me. It's everything that I love, that's been translated into clothes.

Season 2. What's new? What's improved? What have you refined since season 1?

jae: It's less serious, I'm literally just doing me this season, and moving forward I'm just gonna do me. I feel like in the past, I've looked at what other people were doing, and I'd do my take on the things that I saw. Rather than looking externally I'm looking inward, what speaks to me and what do I wanna express.

Do you have any stories about where any of the pieces came from?

Jae: Yeah, I think the Genesis Moto Pant are exciting. it's made of 100% rubber, and I was inspired by Evangelion, the suits that they wear. I wanted to create a pant that kinda resembled that, so the motor pants that are made with rubber kinda gives that vibe.

I also love the Anime Mesh Tank Top, just taking an old Japanese anime magazine cover and putting that on the shirt, and that's something I wanna introduce just as a series.

I also love the Girl Pixel tee that I made, that's an easy piece that anyone could enjoy. I just saw this image that was a girl with long hair, headphones, and I was like “this is DOOR girl, this is the girl that I want” and she represents DOOR. Because of the copyright issue I knew I couldn't just use the image, so I had to do something to it. So, I just thought it'd be really interesting to pixelate the whole graphic to the point where it's not recognizable, but what's fun is from a distance you can clearly see what it is.

What are some emotions you hope to evoke in people that come across DOOR and this season of clothes?

Jae: I want people to feel elated, this feeling of ecstasy, I want people to feel like they're part of something beyond just clothes.

 I think that's my hope, that this isn't just another cool brand that does interesting silhouettes. It's more than just clothes, there's people out there I'm sure that are into the same sort of things that I'm into and I want to carve out my own space for those people to be a part of that community that I'm trying to create.

Whether you're a weeb, or you're into hip hop, or just a casual anime fan, I want to create a place for them.

 If you're into Rick Owens you're into Rick, and other high fashion labels that are on that level, but for me there aren't levels, this is for everyone who understands the things I’m into or [is] into the things I’m into, that’s what’s important to me.

What can we expect from you and DOOR in the future?

Jae: Things are moving really slowly but it's coming. I'm working on my website, I'm working on refining my ideas and putting out a small capsule next season.

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A Conversation With Jae Jung About DOOR!

(@d.door.r)

Written by: Benjamin Joseph

(@frenchkissvomit)

Photos by: Benjamin & Keenan

Styling by: Keenan

(@hahahahahahaha5719)