Flesh & Bone Vol. 20

FLESH & BONE

in the pursuit of artistic passion

vol 20

LISSY LARICCHIA - COLDFRONT - SAMEUL ACFORD - SLED ISLAND

hover & click names for portfolios

INQUIRIES & SUBMISSIONS

fleshbonemagazine@gmail.com

WEBSITE

fleshbonemagazine.com

FACEBOOK

/fleshandbonemagazine

FLESH & BONE M A G A Z I N E

V O L . 2 0

F l e sh & B o n e M agazin e is a bi-m on th ly c re ativ e ar ts p u b l i c a t i o n p ro d u c e d by ar tists wh o are c on stan tly i n sp i re d b y o t h e r ar tists. O u r goal is to sh are an d i n t ro d u c e o t h e r p e ople wh o are in te re ste d in ar t or i n t h e p u rs u i t o f ar t to oth e r c re ativ e in div idu als.

E a c h i ssu e h i g h l igh ts ar tists of an y ar tistic m e diu m , wh o t h e y a re , wh at th e y do, an d th e ir v ie w poin ts on t h e c o n si s te n t l y growin g ar tistic m ov e m e n t.

T H E T E AM FOUNDER / EDITOR-IN-CHIEF

Brandynn L. Pope

COPY EDITOR

Donald Kimber

DESIGN & LAYOUT

Brandynn L. Pope

COVER PHOTO

Lissy Elle

WRITING TEAM

Ashley Atlus Donald Kimber Brandynn L. Pope James Liam Ward

PHOTOGRAPHY TEAM

Ashley Atlus Brandynn L. Pope Brittney Tambeau

July & August LETTER FROM THE EDITOR

This summer has been full of festivals, whether it be indoor or outdoor. There has been a plethora of them taking place across North America. This issue we are excited to of been a part of MazzFest (Saskatoon, SK) and Sled Island (Calgary, AB). Among that, there has been a great amount of touring bands with brilliant shows that have proven to be more than emotional. While covering Brand New, I cannot deny the couple of tears that snuck their way across my face during “Limousine�.

If you have been following Flesh & Bone for the last two years you may have noticed the numerous changes that have taken place in the last couple of issues. Our main focus has always been to show off creative, passionate, individuals and now we are making sure to do that without division of the craft.

Everything has beauty and artistry behind it and we are hoping to highlight even more artists than before across the globe while also showing off the work of our readers.

I hope that you enjoy some of the hard working artists we have featured this month as well as the photographic experiences that our team is sharing with all of you.

BRANDYNN L. POPE FOUNDER / EDITOR

Consistently inspired by every one and every visual that passes by, Brandynn decided to create a magazine that shows off the little bits of beautiful inside of an often chaotic world. She has her Bachelors in Design & Photography and uses it to consistently push for more photographic work, often working with musicians and occupying every waking moment she can spare. Besides horror movies, Pokémon and wood burning, her job is her greatest interest, allowing it to finance her addiction for tea and coffee.

DONALD KIMBER

COPY EDITOR / WRITER

Finding his greatest passion in poetry, Donald is working towards his Masters in Literature. He is a beautiful and critical writer with experiences in the most desolate of locations as well as the busier of cities. When Donald isn’t writing or working towards his Masters he is busy playing video games or hanging out with his cats, enjoying the simple experiences of life.

JAMES LIAM WARD WRITER

James describes himself as a twenty-one year old nerd who obsesses over things such as Pokémon, and 1980s era horror movies. His primary obsession, though, is music. Listening to music, creating music, he loves it all, but ever since joining Flesh & Bone Magazine he has also found a new love for critiquing it. He respects all artists and genres, regardless of if his thoughts are critical and often not always the most “respectful” and tries to approach every project with an open mind. Typically, he will find himself gravitating towards the unique, the macabre, and the “totally whacked out” – while also still bumping the Beibs when no one else is around.

ASHLEY ATLUS PHOTOGRAPHER

Ashley is a storyteller who uses photography, video, text and code in order to bring her story to life. She has a deep passion for photography, specifically in live music where she waits for that perfect decisive moment in order to capture the mood of the event. It was at the Medill School of Journalism of Northwestern University where she received her Masters Degree in journalism and now finds herself photographing and writing for Flesh & Bone Magazine.

BRITTNEY TAMBEAU PHOTOGRAPHER

Fun loving and food loving, Brittney is an experienced photographer and graphic designer from the East Coast. She has found a way to mend together her love for music and adventure with her talents in photography. Now she is a part of the Flesh & Bone team documenting the moments of other artists and sharing the true experience of an event through her photographs.

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CONTENTS 08

Readers Submissions

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Albums In Review

James Liam Ward

GA L L E R I E S & R E VI E WS 10

Twenty One Pilots

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Sled Island

Gallery | Brittney Tambeau

Review & Photographs | Brandynn L. Pope

24 MazzFest

Gallery | Brandynn L. Pope

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Brand New

Review & Photographs | Brandynn L. Pope

A R T I C LE S 32

Samuel Acford

Interview | Brandynn L. Pope

38 Coldfront

Interview & Photography | Brandynn L. Pope

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Lissy Laricchia

Interview | Brandynn L. Pope

SUBM I S S I ON S STORY TIME IN THE SUMMER

LEIGH-ANN ROHDE PA I N T I N G

The morning sun flooded your car but you were already easy to see in the hours that had passed by to cancel out my previous misery. The warmth in your voice had my heart easy to read, easy to see just how easy love could be.

JAY RIVERA POEM

ROAD TRIP READY 4

Tear Me Apart Capsize

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Shed Light Coldfront

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Jamie All Over Mayday Parade

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27 Flowers Colour In The Clouds

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Girlfriend Hungover

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Wedding Singer Modern Baseball

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Cold Water Major Lazer ft. Justin Bieber

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Planetory (GO!) My Chemical Romance

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Losing Myself State Champs

Twent y On e P ilo t s G A L L E R Y: B R I T T N E Y TA M B E A U JUNE 17th, MOHEGAN SUN

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Sled Island W E B S I T E - FA C E B O O K - I N S TA G R A M

I once remember hearing people question why the National Music Center was built in Calgary, Alberta. For many, they imagine Canada’s city of arts being a city like Vancouver, Montreal, or Toronto. Those people are often unaware of how dynamic the art scene in Calgary is across all of art’s various mediums. One of the greatest examples of this is the festival Sled Island.

Since 2007 Sled Island has brought local artists, as well as artists from across the globe, to Alberta in order to bring a form of youthful, energetic entertainment to the city. Venues across the city open their doors to musicians, comedians, and visual artists, hoping to draw in people seeking new experiences. The whole event will feel unique to those comparing it to familiar, larger festivals with a tented stage who run just a few musicians for a couple of hours. For Sled Island, the entire central part of the city comes alive with art and music.

S P E E D Y O R I T Z @ O LY M P I C P L A Z A

S U U N S @ O LY M P I C P L A Z A

“ A Flicke r, A F lo o d ” A R T I S T: B E C K Y R U S S E L L JUNE 22nd, MARIAN NICOLL GALLERY (HALL)

For 2016’s festival, we made sure to spread out and experience as much as we could in order to share it with you, including the visual arts scene as well as the expansive music offerings.

Outdoor venues, indoor venues, all of them, were well travelled by curious attendees and die-hard fans of the various bands alike.

Baring blue wrist bands, you could see the attendees walking from one venue into the next to check out the different shows, while few stayed located at one venue for too long. Possibly some of the most anticipated artists of the festival included Sonics, Kaytranada, Deafheaven, and Peaches. For some, there was a distinct plan of where to go and when to be there by, in order to be able to get into the venue. For others, they were just there for the experience, and hopped around just to find different bands that were playing the festival.

This year, Sled Island featured a plethora of film-based art work that varied in length from five minutes to a near feature-film of seventy minutes. We were able to see what was displayed for, “A Flicker, A Flood,” by Becky Russell, set up in the LRT Hallway of the Marion Nichol Gallery. It featured a narrative that made use of the artist’s background in animation, along with her signature masked characters. To those unfamiliar with Becky Russell, she has previously featured her comic styled imagery in our very first volume of Flesh & Bone. Though there was no verbal dialogue in place, there was text drawn up in ink on the screen, creating an eerie tension for the viewer as they tried to understand the

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DID I TELL Y OU H OW I FE LT INSIDE & OUT ?

A R T I S T ( S ) : S U S A N A A LT O N E N , H A L I E F I N N E Y, E M I LY L I N D L JUNE 22nd, MARIAN NICOLL GALLERY

relationship of the narrative forming in front of them. Further into the Alberta College of Art + Design, there was an additional set-up to the Marion Nichol Gallery. This set-up included mixed media work by Susan Aaltonen, Halie Finney, and Emily Lendl under the title, “Did I Tell You How I felt Inside And Out?� Aaltonen is an artist that mixes her old collection of photographs taken of her with her own paintings. Her work explores levels of nostalgia and grief, as well as the inherent tension in contrasting photographs with paintings. Finney is an artist that is currently working within the Alberta College of Art + Design who enjoys telling visual tales inspired by inherited stories and local tales. As for Lendl, her sculpture work has brought a lot of surreal figures into our life, as seen in the documented images. Other visual artists had their work displayed next to venues that were also showcasing musicians.

For those who had their work projected in the Legion it became a well circulated gallery space, allowing people waiting for the shows to have some shelter from the rain while also taking in what was there before the music started.

With all of the shows happening across downtown, it becomes hard to try to decide which one you want to attend. Typically, you can rely on the different genres that you are interested in remaining under one venue at a time.

Regardless of venue, musical genre, or the hard falling rain that intruded the weekend’s festivities, the spaces were always full of people. It was common to see the same people at shows one day, and then at completely different ones the next, displaying how artistically diverse and involved Calgarians are in music overall. This is the strength behind Sled Island: its ability to bring together multiple genres and crafts to create one large community.

Now that it is over again for the year, the website is up and running, counting down the days until Sled Island 2017 will come out with a new artistic collective on display.

S U U NS O LY M P I C P L A Z A

Advances BAMBOO TIKI ROOM

Deafheav en LEGION #1

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MazzFest W E B S I T E - FA C E B O O K

Anchored in Saskatoon, Saskatchewan comes MazzFest, a music festival that has come to be a haven for musicians across Canada and anyone else who ventures into the country. The day is spent listening to bands within a varying alternative and hardcore scene with a two-stage set up. Once one band is done with the main stage the next band starts up on the side stage. This allows a seamless flow of music throughout the day, with the exception of the dinner break in the middle of the whole event. At this event musicians are able to expand their circles across the country as well as show off their music to people that they previously might not of been able to. This festival is one for musicians across Canada to look forward to every year at the end of the spring, jump starting the festival season.

FALL CITY FALL AEGAEON DEPTHS OF HATRED BETWEEN NOW AND THEN THE GRACEFUL ELORA SONS OF SIRENS EVOLUTION COOKIN’ WITH GRANDMA MURDRUM WHY MARILYN COLOUR IN THE CLOUDS HONEST FRIENDS ALMOST ALIEN

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B rand New

The last time that Brand New came through Canada was in 2012, but besides that, only the occasional show in Toronto or Vancouver was to follow on any of their other tours. When it was announced that Brand New would be coming again, there was an instant panic amoungst fans who worried they might not be able to travel to see the band they so greatly valued. To add to this, the recent media announcements made by the band were too concerning, leading many fans to believe that this might be the final time to see them live in Canada. Talking to different attendees it was easy to find people who had followed different legs of the tour: starting in Vancouver, working their way to Edmonton, Calgary and then Saskatoon.

The tour package included the smaller band, Greater Pyrenees, and legacy band, mewithoutyou. The two bands complimented the musical spirit and energy that Brand New would bring, and the crowd seemed to agree, swaying along to the chilling music of the different bands, taking in the sorrows of the guitars, and sharing in the woes of the lyrics. By the time that Brand New was prepared to get on stage, the crowd was already anxiously ready and waiting to hear their favourite tracks.

First the microphone stands were brought out, already decorated in Brand New’s well-known fresh flowers. The flowery display brought a subtle organic life to the room already pumped full of fog and spotlights. The lights went black while the band positioned themselves on the stage.

Then, Jesse Lacey, the band’s frontman, stepped in front

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of the microphone and two spotlights snapped their focus onto Lacey alone, silhouetting him as he sung out, “Soco Amaretta Lime.” Being a part of the bands earlier work, the song felt like foreshadowing to the rest of the evening.

People sang along softly until finally erupting into the chorus, “I’m gonna stay eighteen forever . . .” which only got louder until their concluding fade-away: “You’re just jealous ‘cause we’re young and in love.” Once finishing the first track, the group jumped right into the first song from their newest album Mene. This provoked more aggressive performances, as Lacey yelled into the microphone and guitarist Vincent Accardi ran all across the stage showing his enthusiasm.

While the band held their own physical and emotional presence, the screens that played in the background of their set were an art form of their own. It projected different images of abstracted lights, landscapes and scenes. The imagery was clearly tailored to suit whatever song was playing, as often times they seemed to inject different atmospheric feelings into the crowd.

Although the setlist remained fairly consistent, there were a few alterations made due to the time constraints given for each set. The Calgary tour date specifically, kicked off with the band’s track “Mile Stone,” as well as having a few more differences from the various other dates on the tour. However, despite constraints the band was able to play multiple tracks from each album, but tended to focus more on The Devil And God Are Raging Inside Me and Deja Entendeu. The entire night the crowd sang along

with the band, showing proof of how emotionally invested Brand New’s fans are to their music. They closed down their set with the celebrated song, “Limousine,” bringing tears to the eyes of many of the attendees due to the gut-wrenching emotion being delivered through the song’s content and performance.

The crowd waited expectantly to hear the encore songs, which many thought would be “Sealed To Me,” and their newest track by that date, “I Am A Nightmare.” Instead however, the band came out to perform “Play Crack The Sky.” While there would have been a strange excitement in hearing the band’s newest pieces, there was a yet still greater satisfaction in hearing the classic Deja closing track.

At the end of it all the room faded to black before projection screens showed Saint Peter’s Cross wreathed flowers and the caption: “Brand New 2000 – 2018.” This brought the show full-circle, harkening back to their first song, “Soco Amaretta Lime,” and the hypothetical death of the band, Brand New, leaving them eighteen forever.

While no one can be certain of what will come for the band after their last bit of touring and succeeding album release, it is the mystery behind it all that keeps people waiting patiently for the next great reveal and their possible resurrection.

S ameul A c f o rd POCKETS FULL OF SAWDUST S H O P - I N S TA G R A M

“ My name is Samuel James Acford. I’m a woodworker

who’s been in the construction trade for the last twelve years of his life. Four years ago I decided I no longer wanted to do residential framing/ new house builds/ etc. so I decided to start pursuing a new direction and that’s when Pockets Full Of Sawdust Wood Shop was born. ” Why are you so passionate about wood and wood working? What is it about what you are doing that is so personal and important to you?

For me, it comes down to honouring nature which may sound a bit hippy but I really can’t think of a better way to describe it. To take a piece of raw wood and work with it until you find it’s usable shape is a joy to me. There’s something irresistible about working with your hands and creating something with them.

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What is something that you like to remind people, or for them to consider, when they are looking through your portfolio?

That the stuff I make is hand made, that there is sweat, blood and tears behind each piece and that no computers or CNC or lasers were used to make it.

Is there an underlying theme you find yourself standing behind with the work that you are creating?

How do you usually collect your work? Do you find yourself scavenging for it more than anything?

As of lately I’d say my work is taking me in the direction of water studies and fluidity. Again, it all draws back to honouring nature for me. I think that humanity has become too obsessed with technology and all the distractions that come with it. I’d rather look at some burl grain and carve then sit down and watch another TV show or movie any day of the week.

I’m fortunate to be in an area where logging was the predominant industry for a very long time which means there is a great network of old loggers I can tap into when I’m needing new material. I do some bush salvage as well but it’s fewer and farther between due to only being able to get wind downed trees and to make sure I’m not harvesting anything on crown or park land.

What traits of different wood make you decide to use it for a specific project?

Right now I’m in love with walnut burl for my water study pieces. The darker material is a pleasure to work with and really works for adding depths and visual trickery to. A lot of the time though, when it comes to material, I will walk into my shop, pick up a random piece of wood and look at it for a little bit. Usually within the first five to ten minutes an idea will form and I start laying it out. I never force my work onto a material but prefer to let the material speak for itself.

Do you find yourself more focused on making pieces for the sake of art or items that are functional?

For the art - first and foremost. There’s enough functional items in the world at this point. If an item I make ends up being functional then it’s an extra win but shape and form come first for me every time.

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What are some of the most exciting projects for you?

Collaborations with other artists or BIG projects. Big bowls, big wall hangings, dining tables - stuff that allows me to fall into the work for days on end. The type of projects that keep me up at night cause all I can do is think about them when I’m not working on them.

In the past you have done some collaborations with Karrie Arthurs. Is there anyone else that you would want to collaborate with in the future?

Yeah, Karrie is the best. She took a chance on me when I was first starting out and I couldn’t be more grateful. Tattoo culture and art has always held a very special place in my heart and I plan to do some more collaborations with artists of that nature in the future. I’ve got some more stuff in the works with Karrie and am hoping to work with Matt Kerley, Steve Moore and Heather McClean, to name a few, on some projects in the next year.

Where do you want wood working to take you?

Is it what you want your main focus to be on at the end of it all?

Honestly, woodworking has already taken me farther then I ever expected it would. My entire life I have been searching for my creative outlet. For a long while I was worried I was just going to bounce from menial job to menial job, just existing. I’m now surrounded by a supportive and wonderful community of like minded people and am able to live out my dreams of creating things for a living. Woodworking saved my life. I’m just grateful to be along for the ride.

C OLDFRO NT FA C E B O O K - I N S TA G R A M -

TWITTER

Ontario currently is bringing the heat for musical talent showing off more and more genuine Canadian artists.

One of these artists include the guys in Coldfront, a pop punk band from the town of Oakville. Recently, the guys have been picked up by the team of Equal Vision and New Damage, hopping on tours such as Seaway and Rarity while also playing Silverstein’s Stay Warm festival.

They have released a new EP by the title of Is This Where They Found You? and are gearing up to release a full length to share with all of their fans. We were able to catch up with them during the tour with Seaway to discuss their new EP and what to expect next from them.

More than anything the guys in Coldfront just want to be able to play their music. In the beginning days of coming together that was their number one intention, find

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an escape in the music and just enjoy what they were doing among the community. They had never meant for it to become serious part of their life but after a while they found themselves with a following and realized that they could actually do this on a serious level. The guys remember the scene in Ontario, Canada as a thriving one with shows every weekend, packed with kids who were there out of genuine interest as well as for the fact that they had nothing better to do. During that time places like Oakville saw huge shows with bands such as Misery Signals and Suicide Silence, shows that since then would have more prominence in Hamilton. Guitarist and vocalist, Chris Casarin, states that “in southern Ontario the scene sort of bounces from town to town. These giant shows would happen in Burlington and Oakville, towns that no one has heard of. Now they have shifted to Hamilton and

even more so Toronto. When we play ‘hometown shows’ we don’t play them in Oakville, we play them in Hamilton.

It’s still enough where people are going to come out from everywhere else.”

On July 8th, the band released Is This Where They Found You?, an EP that they were more than eager to have out and listened to by the public. The process spanned something near to two years though guitarist, Jared Cipak, makes a comment on how he personally felt a little more rushed in the process. Over the time of writing and recording they wanted to make sure that they could do something more with this EP. There had always been the option of releasing it DIY again but for them, they knew it would be worth the push to find someone willing to help them out. This most certainly worked in their favour as Equal Vision picked them up. Now when asked about the EP vocalist, Thomas Stewart states “I like to think back on it but it’s almost impossible. I don’t remember anything about recording at this point.” Now the band is ready for that new big push: the full length. As much as an EP can be short, sweet, and to the point, they know that it’s time to pull together and push through, especially now with a label backing them.

“It’s like night and day. I don’t know if I have a good metaphor for it but it’s like going from doing every single thing by yourself to not really having to do anything but play music,” Stewart comments about the support of their labels. Now they find themselves with less pressure in writing music, figuring out where they are and how long it’s going to take them to get to the next place, who would be playing that night or even if a show will go through the way that they hope for. Cipak added, “there’s definitely pressure of if the label wants the full length then we got to get that full length out but it’s an easy pressure. It’s not crazy or anything.”

For many musicians the idea of the dream coming true starts and ends with getting signed and being recognized on whatever they were able to start collaborating with but there is always a lot more to it than that. Stewart went on to explain this similar idea when he was younger but that “when the day actually came it didn’t feel like our dreams came true, for me specifically. It was more like we are now just starting. So i still have to chase that dream. There’s still a lot of work to be done but it’s now a lot easier.”

Whether or not it is by the influence of the label the band has already started working towards the new album.

Though they are still staying true to their pop-punk foundation they have found influence across the board.

Each one of them is interested in different genres and artists and now those pieces of inspiration are being put together to layer the flesh and skin of whatever skeleton of a son that someone brings to the table. Casarin goes on to say that, “you can definitely still hear our old songs in new songs but you can also hear a little more to the songs instead of just what we had when we started: poppunk. Now we are exploring different things. Thing that we like to play and listen to are starting to shine through more than just the pop punk.” That’s not the only thing that the guys are working on as well. With finances on their side they are finally able to show off more conceptual representations in their songs for their music videos.

Previously they had been limited to live performance videos working with their friends over at Yeah! Films. At that time the visual was completely up to the film creatives for the visual appeal but now there is the option of hiring actors to convey something different. Casarin uses their latest track as an example, “when it’s something like ‘Shed Light’ we want it to be powerful and for people to actually think about. When it’s content like that we like to up our game. It was our first story line video.” They have a lot of room for more creative advances, specifically since they write about stories that revolve around their own experiences Whether the song calls to be written about a girl, domestic abuse, or even a member of their family, the lyrical content will come from the authentic voice of either Tom or Chris in what they feel the song is asking to be about. Stewart finalizes that “Honesty is important to us, especially in the lyrics.”

Now that Coldfront has wrapped up their tour with Seaway they are ready to buckle down and find their main focus in a new full length record. They have every intention on continuing to playing shows and tour as much as they can but before all else they know that they have more to say and share with the world.

Liss y E l le

PHOTOGRAPHER W E B S I T E - FA C E B O O K - I N S TA G R A M My name is Lissy Elle and I grew up between a cornfield and a tall forest in rural Canada. I was born in a body built of creative bones; I played music, wrote stories, sewed, sculpted, spent hours arranging furniture and knickknacks in specific ways on my dresser. At 13 however I found the passion that would consume me: photography. Shortly after my 18th birthday I decided to move to NYC where I freelance as both a fine art/commercial photographer and as a set designer.

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Your move from small town Canada to New York was drastic for multiple reasons, for one you went from the rural to the urban really quickly as well as from one country into another. How did this move affect you and your pursuit of photography?

This was something that was very tricky for me, and I see a lot of the photographers that come from the same rural background struggle with. I feel that New York really broke me out of my “landscape dependency”. I used to have constant access to forests and swamps and open fields and hills and sometimes mountains if I drove far enough.

And I missed that ease when I first moved to the city, to be able to wander off on my own and create something that would be pretty, but only because my surroundings were pretty. I feel like being in an urban atmosphere has done nothing but improve my photography and more importantly how I go about shooting it. It is less spontaneous, more thought out. If I want to shoot in the woods I have to pull a wardrobe, pack my props, haul my equipment, find a model and somehow get all of these things up to Queens, and however more “difficult” that sounded to 18-year-old me, that’s how it’s done in the real world. I can’t show up on set unprepared and expect the location to save me. It’s made my art a lot more about the concept, the idea, and the importance of the message rather than a pretty girl at a waterfall at sunset.

Being completely self taught, what are some of the things that you learned quickly, and what are some things that took you a while to catch onto? In what ways do you find that your style has adjusted itself?

When I first started I was very overwhelmed by the functions of my camera. I just wanted to make art. I didn’t want to do anything technical, or figure out how that little mirror made an image on my SD card. I’m pretty certain I shot all my work from the first 3 years on aperture priority, because I didn’t know how to shoot on full manual.

Photos from that series are still some of my top sellers regardless of my technical expertise. I feel like composition came very easily to me, I like to shoot very symmetrically and this is something that hasn’t really change since I was a child fiddling with my parent’s point-and-shoot. However the advancement in my style and overall quality after really learning how my camera functions was dramatic, if only because I could shoot much more often and in whatever condition I needed to without relying on autofocus, autometering, and small jpeg files.

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A lot of your work includes more postprocessing. When you know this is going to be a part of the project you are pursuing how do you plan out the project?

This really depends on the concept at hand. I have many photos I do not edit at all, of course not including adjustments in Camera RAW. I very carefully plan out intricate post work before it is shot, and often shoot extra just in case, as I cannot see the final product until a few hours later after a lot of work in Photoshop. I will include in my shot-list each plate that needs to be shot as well for the scene at hand. I don’t feel like I rely on post-work, I feel like it is a tool I utilize to create the impossible for the purpose of a great story, and it can really speed up the shooting process if you’re on a tight schedule when you know you can composite some hair movement onto that image, or that expression onto that body: it creates limitless combinations within a finite number of photographs.

Why did you make the decision to switch from a larger aperture to a smaller aperture? What are the benefits of an f/22 over a f/1.8?

From the beginning I have always been interested in story-telling, but my earlier work I feel seems more closed off because I never worked much with the background.

I would have my subject, and then at f/1.8 blur out the rest. The work I’m trying to create now I would term surreal realism. I feel it came more around the time I became interested in set design and would create imaginary scenes for my subjects to interact with instead of the subject being the entire focus of the image. I want my images to be as close to something the human eye can observe, as if you’ve opened a door to my world. In focus eyes don’t see bokeh.

CONCRETE JUNGLE

A lot of your work has a child-like wonder to it. Is there a specific theme you are pursuing behind this? Is there a motif that you catch yourself using in the majority of your images?

What are some projects that you have worked on in the past that you were most excited about? What about them made you excited to do them?

Since I started photography so young, initially these themes were an exploration of my own fleeting childhood.

I was on the cusp of adult(teen)hood at 13, but I desperately didn’t want to be. My friends started to enter high school and only want to talk about boys, or booze, or being popular and I just didn’t care about those things. It was isolating. I still played dress up and wandered around my forest after it rained getting muddy in a pair of my fathers old boots, catching butterflies in jars and observing them, having tea parties with my stuffed animals and making up stories about castles guarded by fire-breathing dragons. As a somewhat adult now these themes have always stuck by me, in fact I think they are even more important. The struggle to maintain a positive outlook and see the magic in the world through a set of 22-year-old eyes instead of 13-year-old eyes is even harder. I wake up every day and strive to have the sense of wonderment and passion and curiosity of a small child, because I think it is such a waste of life not to. And that is what my photographs are about, even if it is for the briefest of moments I want to help other people shake hands with their inner child today.

I have an ongoing project that I am working on entitled “The Concrete Jungle”, it was created about a year into living in New York, when I realized I really needed to start shooting some personal work again. I was still very heavily influenced by landscapes, like the forests where I grew up. I had shot a few look books at this time and maybe an album cover or two in my urban jungle, but I didn’t feel like I could create the work I wanted to anywhere. I was lost.

I lived in a big loft building in Brooklyn at the time, and in a moment of creative desperation decided I would create my childlike concepts up on my rooftop. I fell in love with these contrasting ideas. Because I do not live in the forest anymore, I live in the jungle, and this series helped me fall in love with the concrete.

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What do you find is the biggest difference when you are working on a personal project than when you are working on something that was based from commission? How do you approach each of them?

I like to think I approach them similarly, normally starting with an overload of lists. Things that need to be bought, things that need to be rented, things that need to be made, and a detailed as possible shot list. The main difference is mindset. You are working for someone else, therefore above everything else, your client has to be satisfied even if you are not.

I don’t take work where I’m being asked to shoot something so out of my element that anyone could shoot it, and I was clearly just a name on a list; but If you’re being hired for your art that means they are seeing something in your art that speaks to them, but it is your job to figure out what that is. It’s a lot more communication and a lot less trial and error, because there is no time or money for that. I love working commissions because it pushes me, it pushes me to use my skills in a way I may never have anticipated, or shoot concepts I may never have thought of, but to keep it as true to my vision and style as possible.

Is there anything that you have noticed in the artistic movement the last few years in comparison to when you first started as a photographer? Is there any part of this movement that you have found yourself joining in with or, the opposite, are uncertain of?

I think one of the biggest things that came out between when I started and now is Instagram. I, like a lot of photographers I know, at first saw it as a bit of a threat to our lifestyles. That people were now taking images and editing them and posting them and thinking that photography is that easy, but I realized this must be how the generation before us saw the digital camera, when they spent their whole lives in darkrooms. There is no wrong way to make art, wether it be on a phone, a DSLR, or film, as long as the passion is there. After joining the community begrudgingly (as I think in this day and age social media is so important to have -as a creative or notit would be foolish not to) I found it is an amazing tool to connect with other photographers, models, producers, and agencies, wether they’re taking their photos on their camera or their iPhones. I’ve also found from speaking to people not in the visual arts that Instagram has actually heightened their appreciation for photography, as they now have unlimited access to the easiest form of photo editing, and decent quality cameras right in their pockets, and yet they are still baffled at how to make their photos look good.

Your photography has been used for multiple outlets (fashion, books, magazines, galleries), but is there a specific way you wish to see your photography exhibited?

Since I was 15 I’ve wanted to publish my own art book. I have something very large that has been in the works for a very long time, and it is still a very long way to go; but I know with a tremendous amount of perseverance and vision, anything is possible.

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Albums In Review

5.2

BILLY TALENT

AFRAID OF HEIGHTS

WARNER MUSIC CANADA 29.07.16

I love Billy Talent. I grew up listening to this band, and Billy Talent I was one of the first CDs I ever purchased. Since then, I have listened to and enjoyed every Billy Talent record the band has put out, until now.

Billy Talent has essentially been working with the same mix for their entire careers - having the standard hardrock sound with loud guitars, prominent bass and punchy drums has never been a weakness because the band was still writing good songs. But because both the songwriting and instrumentation is really lacking on Afraid of Heights, and Frontman Ben Kowalewicz has delivered a lot of his weakest melodies yet, these songs just sound like a bland, watered down Billy Talent. The opening track would be a decent cut if it weren’t for the ridiculous background vocals on the chorus, and “Ghost Ship of Cannibal Rats” isn’t terrible either, but the most interesting thing about the song is the title. “Louder Than the DJ” appears to be Billy Talent’s middle finger to popular music, which is hilariously ironic because I find this song to be just as annoying and repetitive as most generic radio pop songs. This album isn’t all terrible however; “The Crutch” is a hard cut with a groovy main riff, badass guitar solo and some surprisingly gritty vocals coming from the frontman.

It was also cool to hear some new instruments in Billy Talent songs; the warbled synths on “Horses & Chariots” actually work quite well with the band and this makes for one of the most exciting tracks on the album. Even though “Down the Rabbit Hole” was a bit long winded, it was cool to finally hear some good acoustic work on a Billy Talent Project.

The last couple Billy Talent records haven’t had amazing endings, but Afraid of Heights doesn’t end well at all.

The title track was a decent cut but there was nothing on that song that was great enough to justify reprising the entire thing with just some additional pianos. It breaks my heart to see Billy Talent put out such a bland record, but I suppose every band has their ups and downs.

BEST TRACK: “The Crutch” WORST TRACK: “Louder Than The DJ”

4.7

BLINK-182

CALIFORNIA

BMG 01.07.16

I’m going to start this off by saying that I am a blink-182 fan, and I was hesitantly looking forward to seeing what the band could bring to the table with newly recruited singer/guitarist Matt Skiba. California is the first album that blink-182 has released in half a decade, and is honestly the worst collection of tracks the band has delivered over their two-decade career.

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California begins with its strong foot forward; “Cynical” is an energetic, catchy song with passionate vocals and a fantastic performance from drummer Travis Barker. Matt Skiba barely makes his presence known instrumentally, as I cannot pick out a single memorable guitar lead or lick anywhere on this record. The lead single “Bored To Death” is decent but the resolving chorus lyric “Life is too short to last long” still makes no sense to me, unless Mark Hoppus is on a whole new level of lyrical deepness that I just cant seem to grasp. Beyond the chorus of “Los Angeles” I find most of the tracks in the middle of this album aren’t even worth mentioning. Songs like “Kings of the Weekend” aren’t bad if pulled out of context and listened to individually, but going through all of these songs in a shitty gauntlet of sterile production, mediocre choruses and seemingly endless “na-na’s” and “woah-oh’s” makes this album incredibly grating. The best things about California are the album artwork and the refreshingly reprised joke songs, which pass by in less than thirty seconds. The ballad “Home is Such a Lonely Place” would be decent if it wasn’t overproduced to the point where all of the emotion is sucked right out of the song, and tracks like “She’s Out of Her Mind” are so sickeningly sweet that they would fit better on a 5 Seconds of Summer album. Occasionally Travis is able to spice up the instrumental with his great percussion, but there isn’t much he can do to make up for the lackluster songwriting and uninteresting performances from Mark and Matt. For example, Travis’s rattling hi-hats and the pleasant vocal harmonies make moments on the title track “California” pretty great, but as soon as the “nana’s” and “Woah-oh’s” come in, the song is ruined. One moment I did enjoy at the end of this album was the fun and catchy vocal trade-offs between Matt and Mark on “The Only Thing That Matters”. Between this cut and the joke tracks, it seems that the best moments on California are the ones that sound the most like the old blink.

It seems that blink-182 has few original ideas left, as a lot of the better tracks on here sound like rip-offs of their poprock contemporaries. The worst thing about this album actually has nothing to do with the band themselves, but the fact that as I am writing this review, California is the #1 on the Billboard 200.

BEST TRACK: “Cynical” WORST TRACK: “Sober”

6.4 EMAROSA 131

HOPELESS 08.07.16

Despite multiple lineup changes, rock band Emarosa has remained surprisingly consistent with regards to their melodic sound and powerful vocal delivery. The most significant of these changes was the departure of vocalist Jonny Craig and his subsequent replacement

by Bradley Walden a few years ago. Personally, I was very pleased with this change-up because Jonny Craig is a total ass hat and his replacement is a much better

fit for the band. Bradley writes great melodies, has a more emotive delivery and overall I think he is a better fit for Emarosa’s sound. As a result of this, I have enjoyed Emarosa’s Versus as well as 131 more than any of the band’s previous output, although I still find their albums to be slightly unfulfilling as a whole.

The opening track of 131 blossoms with rich, layered harmonies that remind me a bit of Mariana’s Trench; this track is a great start and builds up a lot of momentum.

This momentum is killed rather quickly as the next track “One Car Garage” features a pretty bland performance both vocally and instrumentally, but the album quickly picks back up. “Miracle” has a fantastic chorus with a more sinister vibe and an incredible vocal ascension at the climax of the track, while “Helpless” is catchy as hell and seems almost funk-inspired. Beyond the halfway point this album hits a bit of a lull; the piano ballad “Porcelain” doesn’t do much for me mostly because Bradley played it frustratingly safe on this track, considering what an intense and passionate singer he usually is. The band introduces some underwhelming new dynamics on the track “Never”, with a boring female vocal feature and arranged instrumentation that does little to add to the songs. Even though their poppy writing style works great for catchy tracks like “Sure”, it does get repetitive to the point where even when the band is experimenting with new ideas, they still come off as one-dimensional. Things pick up again on the song “Blue”, where the band puts on its best vocal and instrumental performances. This track has a beautiful chorus and verses with an intoxicating and groovy swing. I have mixed feelings about 131’s closer “Re”; it is impressive hearing Bradley reprise a number of choruses from prior tracks, and it gives the album a good sense of finality, but the ascending lead melody is nowhere near cool enough to justify its repeating throughout the track’s entire run-time.

Front to back I think this is definitely one of the better Emarosa records and aside from a few bland performances, the band delivers a lot of memorable tracks. The main thing that is missing from this band is diversity, and while that is coming through sonically, the songwriting is still incredibly by the numbers. All I can hope for is that Emarosa takes more compelling risks in their songwriting, because the band certainly has the ability to pull them off.

BEST TRACK: “Blue” WORST TRACK: “Porcelain”

5.8 GATES PARALLEL LIVES

PURE NOISE 06.06.16

Gates is a rock band from New Brunswick (no, not the Canadian one) and following their signing to Pure Noise Records in 2014 the band released one of my favorite albums of that year, Bloom & Breathe. I loved the flow of this record; blissful interludes making way for hulking,

beautiful songs that felt almost cinematic in nature, with their soaring vocals and overwhelming crescendos.

Needless to say I was anticipating a sonic sequel Bloom & Breathe, but to my disappointment Parallel Lives bears little resemblance to its predecessor. However, I’m not salty because this Gates album isn’t the same as their last; I’m salty because this is not a good Gates album.

The band has made a few changes in their sound with this new release; instead of belting out melodies at the top of his range, the frontman keeps it very low-key and his delivery rarely exceeds an airy whisper. Not only does this lack of vocal dynamics get boring very quickly, it makes me miss his delivery on Bloom & Breathe that had a nice mix of gentle and powerful. Songs like “House and Home” as well as the opening cut are blissful and pleasant, but they aren’t exactly engaging – more something I’d like to fall asleep to. In fact, with the exception of a few tracks, I find the first two-thirds of this record to be downright boring; “Eyes” sees Gates dabbling in some darker tones both lyrically and instrumentally that go over well, and “Shiver” is a catchy tune with a colorful solo over its bridge, but other than that I’m struggling to find any material that really stuck with me. I find that Parallel Lives pales in comparison to Bloom & Breathe in many other aspects as well, particularly in flow. Compared to its predecessor, Parallel Lives seems to jump from one song to another without any real transitions that works sometimes, but for the most part this album feel pretty disjointed. Looking at the track listing I was excited for “Color Worn” considering it was the longest song on the record, but the vocals just do not sit well with me on this track. This has happened before on gates songs where I think the singer just didn’t write a good melody to match with the music, and it comes off as awkward and almost off key. Another overall disappointment was the guitar work on this album; leads from Bloom & Breathe would be stuck in my head for weeks upon initial listens, but on Parallel Lives I can barely pick out a guitar melody that I genuinely enjoy. This is a serious problem considering the band has three dedicated guitarists! Thankfully this record picks up towards the end with the somber and beautiful “Fade”, as well as the song “Penny” which is very upbeat and sounds like Gates’ attempt at writing a pop-punk song. The penultimate “Left Behind” is the climax of the album and by far my favorite song; the epic crescendo and intense drum work finally deliver the cinematic sound I was hoping to hear from Gates on Parallel Lives.

I’d be lying if I said this album didn’t disappoint me, it seems like Gates is taking one step forward and two steps back when it comes to their vocal delivery, instrumentation and the assembly of their records. I hope with their next release, the band refers to their older material to focus on what made them so great to listen to in the first place, and then work from there.

BEST TRACK: “Left Behind” WORST TRACK: “Color Worn”

6.7

LETLIVE.

IF I’M THE DEVIL

EPITAPH 10.06.16

After three years of studio silence, Jason Butler and co. are back with a new letlive record that is unlike anything listeners have heard before. As a teenager I was drawn to letlive because of the band’s chaotic take on rock music; their last effort The Blackest Beautiful was both gritty and heavy while still being incredibly catchy. If I’m the Devil sees letlive making some significant sonic departures from their last record; this time around the band is working with a shiny new mix where every instrument is clear as a bell, which starkly contrasts the messy, lo-fi production on The Blackest Beautiful.

The songwriting hasn’t changed much; letlive is still a very chorus driven band, but because of the crystal clear production the album comes off as very commercial. For example the track “Who You Are Not” sounds shockingly radio ready with its arena friendly, sing-along chorus.

Jason Butler is still the star of the show here, but he has taken a pass on screaming for a lot of these songs.

The few tracks that have screaming on If I’m The Devil are definitely the most energetic, like the bouncy lead single “Good Mourning America” or the token heavy joint “Another Offensive Song”. I’d be lying if I said I didn’t miss Jason’s screams, but on a majority of the cuts off If I’m The Devil, it wouldn’t even work because so many of the songs are quite laid back (by letlive standards). A screamo-less album is not without its highlights however; one of my favorites is “A Weak Ago” which is a really fun track with a sort of Spanish flair that weirdly reminds me of something off of a Santana record. “Foreign Cab Rides” is the ballad with a nice ¾ groove, but I can’t help feeling like this song is just a less impactful rehash of the song “Muther”. One thing this album is not guilty of is being one-dimensional; letlive experiments with a few different sounds and some with great success. The orchestral intro with its military style drums as well as the tension building title track show letlive going for an epic, larger than life sound and pulling it off rather well. I feel like If I’m the Devil could have ended on the title track as well; “Copper Colored Quiet” isn’t terrible, and the gang vocals would be pretty cool live, but recorded the song comes off pretty boring and uneventful.

This isn’t a bad letlive album, but it is a different letlive album. I imagine many listeners will be turned off upon initial listens because of the more commercial sound, but the band is still delivering catchy, energetic rock tunes. I absolutely saw this coming - letlive is a talented bunch of dudes and they needed an album that would push them into the mainstream, and I think If I’m The Devil will be the album that does exactly that.

BEST TRACK: “A Weak Ago” WORST TRACK: “Elephant”

7.2

MY IRON LUNG

LEARN TO LEAVE

PURE NOISE 05.08.16

Learn to Leave is the sophomore album from Californian post-hardcore outfit My Iron Lung. While I enjoyed their debut, I had my reservations – a lot of the band’s songs

sounded the same and I felt that My Iron Lung pulled a bit too heavily from their influences. While Learn To Leave makes some definite improvements from Relief, I still have the same issues on this new record as I did with their debut.

All over this album, you will find very emotional, throatshredding yells, backed by energetic drums and jangly melodic guitars. This sound is presented most elegantly on the album opener “In Hiding”. My Iron Lung manages to keep up the energy on the title track while introducing some new sonic ideas; the tapping leads on this song are awesome and the clean vocals work surprisingly well.

I find that My Iron Lung mixes clean and harsh vocals quite tastefully – while the frontman’s delivery is a little lethargic and his melodies aren’t exactly ear grabbing, they fit the band’s sound just fine. I also think that the female vocals coming through sound great, and are a nice way to separate My Iron Lung from other bands that are using this sound. The issue is there are a lot of bands using this sound, and track for track My Iron Lung continues to come off as very one-dimensional; most of their songs sort of blend together for me and little sticks out as original or creative. This is especially the case with the guitar-work, where the dynamics simply aren’t there. Now there are exceptions such as the atmospheric tremolo on “Reason To Worry”, as well as the song “Anchorage” where the laid-back vocals pair nicely with the instrumentation to create a shoegazey vibe. But there are moments where I think the vocals do not work, such as the deadpan delivery on the lead single “Damage”.

Another instance is the song “Mend” which is nowhere near eventful enough to justify its length, and the chorus is incredibly underwhelming for it to be repeated three times – the band seems to have A.D.D. on every track except this one, where they unfortunately repeat one of the most boring melodies on the entire record. Another moment that doesn’t work for me is the key change on “When Tragedy Strikes”; it just sounds like the band didn’t know at all what to do with the riff, especially since they just drop it back to the original key right after.

Even though there are some good ideas presented here, it doesn’t sound like My Iron Lung has been able to properly set themselves apart from their influences on Learn To Leave. With bands like Touché Amoré already working with this post-hardcore sound really well, My Iron lung needs to find more ways to set themselves apart or continue to sound redundant.

BEST TRACK: “A Reason To Worry” WORST TRACK: “Mendt”

8.0 ScHoolboy Q BLANK FACE LP

TOP DAWG ENTERTAINMENT / INTERSCOPE 08.07.16

ScHoolboy Q is a west-coast rapper and member of the hip-hop collective Black Hippy. I always thought Q was decent, I enjoyed “Collared Greens” as much as everyone else, but I was never really impressed with his album game until Blank Face. I liked the teaser tracks leading up to this record’s release, and I was more than intrigued to hear what Q could bring to the table on these seventeen tracks. For the most part, I really enjoy this record – Blank Face serves up some of the grittiest, darkest and catchiest hip hop music I have heard all year.

Blank Face starts off strong; the ascending bass line and

driving groove on the opening cut “TorcH” is fantastic, and I was surprised by the chemistry that Q and Anderson .Paak have together. “THat Part’ was one of the first singles released from this album and while I love the beat, the hook is repeated to redundancy and Kanye’s whacked out verse is decent at best. Thankfully this dank beat is actually done justice as Jay Rock, Kendrick Lamar, Ab Soul and especially ScHoolboy Q drop absolutely fire verses on the Black Hippy remix. Continuing through the track listing, “Groovy Tony – Eddie Kane” is a two-part hip-hop masterpiece that quickly became my favorite song on the album. The beat on this thing is grimy as hell and all of the features come together fantastically – the absolute standout on this track is Jadakiss, who delivers a terrifically chilling and vivid verse just before a flawlessly executed beat change. The total banger “Ride Out” with Vince Staples showcases a surprisingly unique quality about Blank Face, which is the prominence and excellent use of guitarwork.

This is emphasized further on the beautifully melodic title track, where Anderson .Paak once again makes a powerful and entertaining appearance. “Dope Dealer” is another highlight for me; Metro Boomin’ and Southside put together one of the best bangers of the year and E-40’s verse is both unique and charismatic. This record isn’t straight bangers though; “JoHn Muir” is a laid back joint with a pleasant and soulful chorus – the jazzy vibe of this track makes me wish that Kendrick Lamar had a verse on it instead of just some underwhelming singing on “By Any Means”. The lyrics all over Blank Face typically concern the usual gangbangin’ shenanigans, but ScHoolboy Q isn’t afraid of dropping the occasional knowledge bomb either.

Take the smooth and spacey “Black THougHts”, where his final line “All lives matter, both sides” reveals that Q is intent on looking past gang rivalry and focusing on the bigger, more important picture of equality in modern society.

I do love a lot of songs on Blank Face, but there are plenty of moments that I’m not feeling on this record as well. I think the vocal performance on “Kno Ya Wrong” was very poor, and there is a streak of about four songs later in the record whose quality pales in comparison to the rest of the track listing. There are also songs like “WHateva U Want” which sound painfully commercial compared to the rest of the album, and really pull me out of the gritty vibe that is so well established at the beginning of Blank Face. This is also the case with “Overtime”, a track that was apparently lobbied onto the album by Q’s label. I find this ironic because not only is the song absolute trash, but Blank Face would be a much better album if it cut the fat and focused on the darkness that envelops a lot of these songs. Luckily after that pile of garbage, the album closes out with one of the most gangsta songs ever; “Tookie Knows Pt. II” There is a lot to love about this album, but it’s tragically far from perfect. Blank Face had the potential to be a modern west coast classic, but unfortunately due to an excess of tracks and Interscope imposing on ScHoolboy Q’s creative will, this project feels longwinded and slightly unfocused overall.

BEST TRACK: “Groovy Tony” ft. Eddie Kane WORST TRACK: “Overtime”

7.2

SILENT PLANET

adored by the metalcore community for its unique sound, lyrical depth, and musical technicality. I found the band’s mix of metalcore and ambient music to be intriguing and although I didn’t love The Night God Slept, I think Silent Planet are definitely the most worthwhile up-and-comers in the metalcore scene right now. Their new album Everything Was Sound does not depart from the vibes that their previous album established, but rather enhances them – bringing deeper ambience, heavier breakdowns and even more impressive technicality.

The introductory track “Inherit The Earth” opens with cavernous spacey guitars and quickly explodes into a blaring, djent inspired guitar riff. The band switches back and forth between these two dynamics elegantly throughout the song and it makes for a larger than life beginning to Everything Was Sound. The second track “Psychescape” brings an incredible instrumental of dizzying guitars and groovy rhythms, but I find the vocal performances to be hit and miss. Frontman and screamer Garrett Russell is on point as usual, and guest vocalist Spencer Chamberlain of Underoath does a good job too even though he sounds a lot like Anthony Green, but I find the clean vocals from the band’s bassist to be annoying and unnecessary. This is an issue that I have on songs later in the track listing like “Orphan” and on The Night God Slept as well. Silent Planet has been a band for over 5 years and I can’t believe that no one has had the gonads to tell the clean vocalist that he sucks. Garrett can more than hold his own on all of these tracks and the addition of some whiney clean vocals just seems like the band’s attempt at being trendy – which makes no sense since The Devil Wears Prada hasn’t been relevant in over half a decade. After these first two tracks the album falls into a bit of a lull; the performances are forgettable and after multiple listens, very little of this material is sticking with me.

This lull is quickly ended by the lead single “Panic Room” which starts with an spooky, tension building intro and proves to become one of the band’s best mixes of brutal drop-tuned metalcore and ambient music. Garrett’s vocal delivery is particularly striking towards the end of this track, and its lyrical focus on PTSD makes the track even more powerful. The highlights continue on the song “Nervosa” with its atmospheric, eerie instrumental and haunting lyrics that focus on the struggles of bulimia. The guest vocal performance by Norma Jean’s Cory Putman screaming “I am not my own reflection” is incredibly powerful and makes for my favorite chorus on the record. The closer bears some thematic resemblance to the opening track, and for the first time I actually find the clean vocals to be almost intoxicating and really well done - this is an instance where I think clean vocals really add to the song rather than take away from it.

Silent Planet has delivered another good record with Everything Was Sound, but they need to realize that the clean vocals are not an integral part of their sound, and they rarely add anything of worth to the compelling songs they have written. If the band cuts the cleans and allows more room for Garrett to explore and experiment, I could see myself really loving the next Silent Planet record.

BEST TRACK: “Nervosa” WORST TRACK: “Understanding Love As Loss”

EVERYTHING WAS SOUND

SOLID STATE 01.07.16

Silent Planet made their full-length debut two years ago with The Night God Slept, an album that became rapidly

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FLESH & BONE in the pursuit of artistic passion

FIN