INTERVIEW: SIGN ‘O’ THE TIMES — POST-PUNK ACT ‘LOSSES’ REVEALS NEW EP, ‘SPIRIT CRUSHER’

 

“...there is definitely some intent there, but I also don’t know that I could do anything other than this.”

— LOSSES

This has been a busy month for Darkness Calling with the launch of our Cult, the reveal of our charity compilation YOU ARE NOT ALONE, and several additions to our flagship playlist.

With all of that said, we knew we couldn’t pass up the chance to learn more about LOSSES — a post-punk act that just unleashed its new EP, Spirit Crusher.

We featured the titular track last Friday, and we were instantly hooked. There’s a playfulness to LOSSES’ sound, but also a gripping sense of dread that’s hard to put a finger on. It’s post-punk at its finest.

Darkness Calling was happy when the artist behind LOSSES agreed to speak more about his process and the inspirations behind his innovative sound. Read on below, and be sure to listen to his EP in full wherever you get your music. 

 

 

DARKNESS CALLING: Thanks again for chatting with us! I know you've been making music since at least 2018 as "LOSSES." What can you tell us about the origins of this project and your musical experiences prior to LOSSES?

LOSSES: Thank you for taking an interest in my work and for featuring me on your playlist; I really appreciate it. Also, again, I loved the NIN article you guys did. [Editor’s note: You can check that out on our Cult page.] Pretty Hate Machine was the first "rock" record I got as a kid. My older sister gave it to me when I was in 5th grade and I didn't know what any of the lyrics meant [Laughs]. But I've had a soft spot for Nine Inch Nails and that record ever since.

Anyway, yeah, I put the first EP out in 2018, but I had actually been tinkering with some of the songs as early as 2016. “Don't Cut Off The Heads Of Human Beings” was the first track that I wrote, but it wasn't with the intention of making a project or anything. I was just messing around in the garage with my equipment and ripped off a Rudimentary Peni bass riff (“The Horrors In The Museum”) and started singing over it. When I did, it felt very cathartic. I was able to put my anxiety and anger and outrage into this silly, repetitive thing. So this put the seed in my mind that I wanted to make more music like this.

Prior to LOSSES becoming a fully formed project, I played (and still play) synths in a punk band called Danger Friends. It's really fun, high-energy stuff. I also played live synths in LA band De Lux. Playing live with them was an honor because I legitimately love their music; it is really danceable, but they would push it at their live shows into a more punk kind of realm that had so much energy and antics and humor to it. 

 

DARKNESS CALLING: Speaking of which, you have a great post-punk sound, but there's also a certain frenzy or fun to the sound that I don't feel like many acts are pursuing right now. A lot of this "goth" influenced music is very somber or plodding, whereas you seem to really lean into the whole "punk" element of "post-punk." Was there any intention behind this approach, or is it just what comes naturally to you? Are there certain musical influences that shaped this sound?

LOSSES: Thank you. Yeah, there is definitely some intent there, but I also don't know that I could do anything other than this. I love punk music; it's always in my rotation, so that informs it 100%. I mean, I also love dark, melodramatic stuff too, so maybe it's some attempt at combining these two things. When I think of "goth," I think of melodrama and kind of teen angst. I guess those are the pieces of it that I use; not necessarily the "spooky" stuff. The real world is already spooky. I feel like my "despair" and teen angst have never really gone away [Laughs]. It's just that now they are directed at the cruel idiocy we have to face in the world every day. I would hope that everyone is filled with anxiety and dread at what is happening around us. How can you not be? So I think that's where I focus the somber aspects of "goth" and "post-punk." As for musical influences, I would just say it's a mishmash of punk, synthesizer music, and depressing melodramatic music.

 

 

 

DARKNESS CALLING: Your new EP, Spirit Crusher, has just been released today (October 30). What can you tell us about its production? Were there any challenges that arose as a result of COVID, or did the isolation actually lend itself to creativity?

LOSSES: This was the first time I wrote some of the songs on my computer first. Normally, I just work with my drum machines and synths to come up with the tracks in the garage — very hands-on — and then record them, and that's it. This time, it was more of a combination. I bought a midi-controller that came with Ableton, so I was able to sketch ideas in there first, then (when it was time to record) run midi out to all of my hardware synths, find sounds that I liked, and record the audio back in.

There really weren't any challenges resulting from COVID. If anything, it pushed me to make the record. I had spent the first part of the year building up a rig to be able to play live, and then live shows all went away, so I had to refocus all that energy on something. It also gave me the extra time to read Mutations by Sam McPheeters (which is amazing) and which is where I got turned on to No Trend, and decided to cover their song. It feels shitty to try and say, “Hey, this terrible virus that we handled so poorly, and 200,000+ people have died from, helped me make a record.” It's like, I'm glad I have some sort of creative outlet that I can use to process the horror of times like these, but I also don't want to trivialize it. I don't know. I don't know what I'm trying to say [Laughs].

[Editor’s note: For the record, we totally get it. It’s important to find any kind of silver lining in these crazy, fucked up times.]

  

“...I’m glad I have some sort of creative outlet that I can use to process the horror of times like these, but I also don’t want to trivialize it.”

— LOSSES

DARKNESS CALLING: Do you have your eyes on any other indie acts at the moment, or do you try to keep your head down and avoid other new music when creating your own?

LOSSES: I'm always open to finding something that might be inspiring. I recently got turned on to Special Interest, who are really awesome. I love their energy, and the anger and political lyrics. I love that they are doing it all over electronics and stuff. It's awesome. I also like Glitterer a lot; I think he is doing something really cool. I also love De Lux, of course. I did some artwork for their last single "Dancing Is Dangerous In Los Angeles,” which is a good documentation of the early days of the pandemic. It's a really good song. They should be putting a new record out soon.

DARKNESS CALLING: What's next for LOSSES? Do you have any livestreams/videos/other news planned that you can share with us?

LOSSES: Right now, I'm in the process of programming some of the new songs into my live rig and getting back into rehearsing for something live. I'm not really sure what that will be yet. I'm kind of nervous about livestreams, but I might make a live video or something. I'll let you know when I figure it out [Laughs.]

INTERVIEW: JACKSON VANHORN DEFIES CATEGORIZATION WITH “AFTER THE REHEARSAL”

 

“...everyone is ultimately being led and fed by the same hand.”

— JACKSON VANHORN

Of all the artists we’ve listened to while curating our Darkness Calling playlist, Jackson VanHorn is certainly one of the best.

His music fits wonderfully on our post-punk-adjacent collection of tracks, but his songs could do just as well through another lens. In particular, VanHorn seems to have a strong grasp of the pop sensibilities that today’s mainstream pop acts have been lacking — instead taking cues from legends like David Bowie, who could walk the tightrope between radio-friendly hooks and avant-garde experimentation.

Listen to Jackson VanHorn’s “Another World” on Darkness Calling, then read on to learn more about his quasi-debut album After the Rehearsal.

 

DARKNESS CALLING: Thanks again for chatting with us! I did some research and saw that you were previously in a band called TV Ghost. My introduction to you is your latest work on After the Rehearsal, though I know you've had a solo album and EP before that, as well. How have your experiences as a solo artist differed from being part of a band — good and bad? Also, when it comes to your latest album, how many pairs of shoes do you have to fill (guitarist, drummer, keyboardist, etc.)?

JACKSON: Thank you, and I appreciate it. I think the main difference has been exactly that — the shift to filling every role myself, which is a lot of work, but also permits me to have creative control and the freedom to work at my own pace. I will say that the negative side to this has been the difficulty in keeping and maintaining a live band. So, I suppose that might be an upside of COVID.

DARKNESS CALLING: What can listeners expect to hear on After the Rehearsal that may be a departure from your previous solo work?

“In a sense, I’m viewing ‘After the Rehearsal’ as my first album. It’s the first thing I’ve done that feels really cohesive.”

— JACKSON VANHORN

JACKSON: In a sense, I’m viewing After the Rehearsal as my first album. It’s the first thing I’ve done that feels really cohesive. I think that the music, lyrics, production, etc. all have improved from my previous recordings, and I’ve finally landed at the start of something that I feel confident about. The album title After the Rehearsal (the rehearsal being everything prior) reflects that feeling. There are actually several different meanings to the title, the most obvious being the Bergman film of the same title, which references Strindberg's A Dream Play, which although surreal, expresses realistic concerns with human suffering, and this is what the album aims to do.

There are philosophical themes of disillusionment with capitalism, religion, politics, war, and themes of class struggle, poverty, mental illness, isolation, addiction, family life — the ideologies that come with some of these, as well as the hopelessness, cynicism, and dark humor that may come in response to the despondency. It may or may not be so clear at times throughout the record, but this is a lot of what was going on inside of my head at the time. 

 

DARKNESS CALLING: We've featured both "Pierrot" and "Sunday" on the playlist. Both are fantastic songs. I know you released "Saturnine" as a single, as well. What can you tell us about these single choices and how a decision like that comes together? Were there any interesting moments in the production of these songs — lightbulb moments where you knew "this is the one," so to speak?

JACKSON: I knew that I wanted “Sunday” and “Pierrot” to be singles soon after those were finished, and the labels (Icy Cold/Manic Depression) chose “Saturnine.” “Saturnine” was released as a teaser single. Its lyrical content is pretty pessimistic; really just disappointed in the current state of political affairs — the hypocrisy and ideology motivated by political bias and the bullshit of everything on all sides — because everyone is ultimately being led and fed by the same hand. I want to reject all of it, but I also don’t see any avoiding it or anything really ever changing.

“I value genuineness, and it’s unfortunate that it seems so rare.”

— JACKSON VANHORN

“Pierrot” and most of the other tracks are an extension of this, sharing these sentiments and my general existential dread. Beyond that, it’s about the façade of life, the idea that nothing is ever how it appears and how one might crumble when confronted with oneself in isolation. And after the storm and when the dust settles — what’s left, what is the meaning? There is none. It also pertains to the fascism, conformity, and compliance with the superficialities of the music industry. And it’s not just within the music industry; it exists in all industries. It’s upsetting. I value genuineness, and it’s unfortunate that it seems so rare.

“Sunday,” lyrically, was partly inspired by a Bergman interview where he basically talks about embracing internal demons and working them to your advantage. But it’s taken on other meanings to me that don’t seem to stray far from the aforementioned, especially given all of the current madness. My lyrics tend to unfold subconsciously, and often it’s not until I’ve read them back that the imagery appears fully formed. Overall, at times it’s a more passive apathetic observation, and other times direct disillusionment. 

 

 

DARKNESS CALLING: We really love your style at Darkness Calling. Describing your sound is a bit of a challenge. It's dark, but it's also got this sort of pop sensibility to it — and pop in the best sense of the word, like the kind of pop music we haven't had in decades, when it really stood for something. "Post punk" seems too simplistic, but there's some of that in there, too. What can you tell us about some of your influences and the process of developing this sonic palette?

JACKSON: Thank you, and I really appreciate it. I also find it challenging, and I'm never quite sure how to describe it. I suppose it could be considered dark, hopeless, somber pop. The pop structures are often there. But it is music that stands for something. I agree that this has been missing, possibly for decades. I definitely raised myself with quite a lot of post-punk, various forms of experimental and avant-garde music, but also a lot of Leonard Cohen. Plenty of other music as well. So, musically, I imagine it’s quite a culmination of things that end up coming out in the process. It’s one reason why I’ve been a bit stubborn about keeping my name for the project — so not to constrain myself with a branded artist/band name where it might be expected that I make the same kind of record over and over again. Bowie and Cohen never really made the same record twice.

“Bowie and Cohen never really made the same record twice.”

— JACKSON VANHORN

DARKNESS CALLING: Your sound definitely gets pretty experimental at times. "Mantra" is one such example. I noticed there is a prominent female vocal on that track (a nice touch). Can you tell us more about that artist and the process of recording that song?

JACKSON: The guest vocal on “Mantra” is actually my partner, Heather. I had originally recorded the repetitive vocals that you hear, but I thought it would be more interesting if I could get her to record it instead, and it is. We’ve actually formed a project together called Katherine. It’s maybe a bit of a departure from After the Rehearsal. We’ve teased a couple of tracks and are planning a proper release for early next year. So, keep an eye out for that.

 

DARKNESS CALLING: I always like to ask at least one potentially stupid or cliché question. If you could work with any musician — living or dead — who would it be, and what kind of project do you envision it being?

JACKSON: It may be ambitious, but I can envision working with a producer or engineer like Alan Moulder or Flood. I’d love to get into a studio with someone like that and share some of the workload and make a huge-sounding record.

If I had to choose any one musician, the first that comes to mind is David Tibet (Current 93). I’d be honored to contribute anything musically to any project involving him. He’s one of my favorites and has such a distinct and unique voice and style. There are plenty of artists (dead and living) that I truly respect and find inspiring that I’d mostly like to appreciate from afar. If any interesting opportunities were to arise with any contemporaries, I wouldn’t say no. I think that could be a fun experience.

“It may be ambitious, but I can envision working with a producer or engineer like Alan Moulder or Flood.”

— JACKSON VANHORN

DARKNESS CALLING: Finally, what's next for Jackson VanHorn? A break after finally releasing the album? Already working on new material? Any livestreams in the future?

JACKSON: No break; I actually just finished a follow-up record that I’m excited about. I’m aiming to have it mastered as soon as possible, and hoping to release sometime in 2021. There will be a few re-worked tracks from After the Rehearsal released after the album, and potentially a one-off single before the year’s end. As far as livestreams, I’m looking into it. If the interest is there, it’s possible.

INTERVIEW: SHADOWHOUSE TALKS “A YEAR TODAY” — THEIR HEARTWRENCHING NEW SINGLE

 

“...I went through a very dark period and dealt with a lot of lies...”

— SHANE, SHADOWHOUSE

A steady hi-hat beat.

A grooving bass.

Jangly guitars.

Then the vocals kick in — big and dreamy.

We’re talking about “A Year Today,” the latest single from Portland post-punk outfit Shadowhouse. We listen to a lot of gothy tunes when curating our playlists, so trust us when we say that this is one of the most authentic recreations of an 80’s post-punk sound that we’ve heard. Everything that you could want from that era is here. It’s moody. Atmospheric. Romantic and hopeless. “My heart keeps asking me, how can this be so?” croons Shadowhouse frontman Shane, who was kind enough to chat with DarknessCalling.net about his latest work. Read on below.

 

 

DARKNESS CALLING: Thanks for chatting with us! Please tell us anything you can about "A Year Today" in terms of its production or inspirations. We were really impressed with the mood you managed to capture in this song, and we really feel it is one of the most authentic encapsulations of that great 80's post-punk sound, without sounding like it belongs to any other band. To capture this sound, do you use any dated instruments/techniques, or is it just how the music comes out?

SHANE: The single was recorded by Mike Lastra of Smegma Studios here in Portland. Since I was a teenager (I'm 39 now), I've always wanted to record there. A lot of my favorite punk records were made there back in the day: great acts like Poison Idea, Greg Sage/The Wipers, and even Kurt Cobain have recorded there. Our drummer Niff at the time was good friends with Mike and actually got him to come out of retirement and record us. It then went to Felix Fung of Little Red Sounds in New Westminster, BC, for mixing. Felix is very much a sixth member of the band. We've been working with him since our “Conformity” single. He put in a lot of hard work with the mixing, and you can hear it.

As for equipment, nothing's too old except our amps, which are 1979 Roland Jazz Chorus 160’s. The best I can answer for the encapsulation of 80's sound is that I went through a very dark period and dealt with a lot of lies, rumors, heartbreak, and manipulative people. The isolation helped me write the music that you hear today.

 

DARKNESS CALLING: If I understand correctly, this is the first single from your upcoming album Forsaken Forgotten. What can your listeners expect from this album in comparison to your previous efforts?

SHANE: Originally, the single “Conformity” was for the album Forsaken Forgotten, but things got tangled up, members quit, and so we've been working on that second album with fixes and mixes.

As for what to expect? Songs on a more personal level of events over the past couple years. The album will be available through Icy Cold Records out of Paris, France, on CD and LP.

 

DARKNESS CALLING: You've been in this band for over eight years at this point. Can you tell me more about the challenges you’ve encountered in trying to maintain Shadowhouse as a musical entity?

SHANE: The interpersonal stuff was a big struggle. Two line ups have come and gone. At this point and time, the members actually consist of mostly old friends: Tapani on bass; Tom on drums; Andrea on keys, strings, and backing vocals; and Carl on guitar (who really is my biggest support and co-writes with me).

 

DARKNESS CALLING: On that note, how has the Coronavirus impacted your ability to practice together, etc.? Did you find it difficult to be creative back in March, or is that what spurred this new batch of songs?

SHANE: We've been able to have a few practices here and there. We're actually going to practice, I believe, next week or after that. We're working on a handful of new songs, and also on some collaborations coming up, as well.

DARKNESS CALLING: A final fun question — are there any surprising favorites on your personal playlists? Artists or bands that no one would expect you to listen to, but you can't resist?

SHANE: I listen to so much stuff and had to ask my girlfriend Noel this question for her opinion. The answer is Queen. I love 80’s Queen, especially the It's A Kinda Magic album. So over the top! Synth-pop-rock perfection!

INTERVIEW: LEVINSKY’S ‘NOCTURNES’ — A SYMPHONY OF EERIE DELIGHTS

 

“One thing that’s very important to me always is that the songwriting must always be rock solid, and that’s certainly something I will never let go of.”

— LEVINSKY

Levinsky, Finland’s “auteur of dark and dreamlike electronic music” certainly lives up to his title. One glance at his Bandcamp page, and you’ll be treated to a visual feast of bizarre-yet-beautiful imagery that would fit right in on a 70’s Italian horror film poster.

Talking to Levinsky about his influences, it seems the comparison is appropriate. This is a musician who’s captured the weird beauty of Claudio Simonetti's Goblin and layered it with dashes of world music, hints of 80’s pop, and other sounds we shouldn’t even begin to classify.

Nocturnes, the artist’s latest release, is a startling reminder that indie music can be just as well-produced and visionary as anything else — if not more so. Read on to learn more about this unique Finnish soundsmith and his latest concoction. 

 

 

DARKNESS CALLING: Your first album, Electra Complex, was released just last year, and you already have a new album, Nocturnes, releasing today (October 2nd). Did the pandemic provide you with extra creative time (locked indoors), or are you a bit of a workaholic when it comes to your craft?

LEVINSKY: In between these two albums, there was a period of approximately fifteen months, and I did start writing Nocturnes pretty much right after Electra Complex was finalized (Factually, that was early June 2019). I'm a firm believer in putting out only work of highest quality, with great attention to detail. Releasing singles every month is really not my cup of tea, as I prefer to present careful, considerate, and complete pieces — as was the case with Electra and what is very much the case with Nocturnes, as well. Looking at the "synthwave" scene in general, I think a lot of artists are way too preoccupied in churning out releases monthly in some kind of forced illusion that it will keep them relevant to the scene. I find this, as an idea, off-putting and somewhat in contrast with releasing quality work. I like to be totally immersed when I compose, and that takes its time. In my book, art should drive art instead of any kind of artificial external pressure or validation from self-renowned authorities or gatekeepers (This is also a trait that the "synthwave" scene suffers quite a bit from, in my opinion).

 

DARKNESS CALLING: What can listeners expect to hear in Nocturnes that might be different from the previous album? Or is this an exploration of a similar sound palette?

LEVINSKY: Nocturnes has matured and refined my style further, and I believe many listeners will find this album more progressive in terms of composition and approach. One thing that's very important to me always is that the songwriting must always be rock solid, and that's certainly something I will never let go of.

Thematically, the album presents the listeners with variety, whilst the underlying motif is the one of the night. Soundwise, the album is more organic than its predecessor — live guitar and bass are introduced to some songs (played by my engineer) and the drum arrangements are much more natural than you'd usually expect in the synth genre. My trademark of layered melody structures and rhythms is also more defined and prominent on this album. Also, there are three absolutely outstanding vocal tracks featuring super talented, original vocalists (Enlia from France, Witch Of The Vale from Scotland, and Bara Hari from USA). The vocal tracks flow perfectly with the instrumental ones, and a lot of consideration was put into making the album a well-thought out, solid entity that can be enjoyed from the start to the end, in one listening session during which you can immerse yourself in the beautiful, uncanny, and darkly stimulating nocturnal dreamscape of the album.

DARKNESS CALLING: In general, what are some of your musical influences? I'm sure you have some neat ones — including bands and film composers.

LEVINSKY: Ah, this is a great question, as always! My first and foremost musical influence is Kate Bush — she's such a pioneering and innovative, boundary-pushing artist with a great sense of style and all that unique originality. I simply love all of her work and her music is the kind of "origo" to which I always find myself returning to when I need to calibrate my musical senses and find artistic guidance.

In general, I enjoy a wide range of music. Some other artists to mention that usually find their place in my frequent rotation are Umberto, Claudio Simonetti's Goblin, Goldfrapp, Air, Mylène Farmer, Ulver, Alcest, Zombi, Pink Floyd, Perturbator, Jean-Michel Jarre, The Alan Parsons Project, Peter Gabriel, Tears For Fears, Visage... I also do enjoy some classical, jazz, and even avantgarde music.

Speaking of film composers, I'd like to name Claudio Simonetti, Vangelis, Ennio Morricone, Nino Rota, Ruyichi Sakamoto, Bruno Nicolai, Angelo Badalamenti, John Carpenter, Cliff Martinez, and Yann Tiersen — just to give a few names influential to me.

“...a lot of consideration was put into making the album a well-thought out, solid entity that can be enjoyed from the start to the end, in one listening session...”

— LEVINSKY

DARKNESS CALLING: To call your music "synth" music might be selling it short. You incorporate a wide variety of real instruments in your music, as you’ve mentioned. Did any of them present a challenge for you?

LEVINSKY: The album closing track "The Tapestry Of Fantasies" is a pretty progressive, trippy, and even a jazzy piece (with some saxophone in the outro). The instruments themselves were not a challenge — some of the tracks have an abundance of aural information in terms of layered instrumentation and rhythms, and a significant amount of time was spent to get all the elements of the mix just right and to get each instrument to "speak" its part as originally intended. My engineer did a splendid job in this aspect, and you can really hear that things were done very meticulously.

 

 

DARKNESS CALLING: I've read that your live performances with Susanna Leinivaara [pictured above, right] are a sight to behold. Are there any live shows on the horizon for you two, or possibly livestreams online?

LEVINSKY: Yes, she's a professional ballet teacher, and her style in my performances combines elements of contemporary dance, ballet, and butoh. You can find some live clips on my YouTube channel. As you know, the situation with live shows is pretty restricted globally; the last show we did was on August 21st, and we've done a livestream show in June. Most likely, we'll be doing a live stream show in the near future with some of the fellow artists from the Helsinki Synth City scene (Check out our Facebook page here).

DARKNESS CALLING: Thanks again! Is there anything else you'd like to share with the readers?

LEVINSKY: I hope you enjoy the album as much as I did writing it (Physical editions on vinyl and cassette will follow)! Do your own thing and believe in it — it will carry you far! Stay safe and take care.

INTERVIEW: DARK DUO ‘SOME FAITH’ STRIKE BACK WITH “LIMINAL” — AND A SPOOKY VIDEO, TOO

 

“First of all, the demonic talisman is made with chocolate syrup.”

— INDIGO BALOCH, SOME FAITH

Last time we wrote about these guys, we asked ourselves, “Can Some Faith get any cooler?”

Apparently, the answer is, “Duh.”

The duo’s latest single “Liminal” is strong in its own right, but the video might even outshine it. Much like the members of Some Faith themselves, this video strikes the perfect balance between darkness and light — legitimately scary at times, and a little funny at others. Watch it yourself, then read on to learn some un-”bee”-lievable behind-the-scenes secrets.

 

 

DARKNESS CALLING: First, I'd like to ask you about the song "Liminal" itself. Can you shed some light on the production and recording process of this song? Do any memories stand out in regard to challenges, or the way it all came together?

INDIGO: So this was actually the first song we ever wrote together, and it came together quite quickly from what I remember! It was the process where Brian came up with the music and sent it my way. I listened to it on repeat for a while and the words started coming together. I’d do these terrible voice memo recordings on my phone of me singing over it playing on my laptop. And we built it from there and then started recording at Brian’s. Lyrically, the song, for me, is a lot about loss and guilt and regret. It’s a longing to repair harm and be heard.

BRIAN:  It’s funny now looking back on it now because, to me, it already feels like “old school” Some Faith. Even though the project is only a year old and we’re just beginning to release stuff now, there’s a surprising sense of nostalgia already attached to this track for me.

In terms of the production for this song, it pretty much set the stage for how we have produced every single track since. Just sharing ideas and files back and forth online until we could find time to link up and put it all together in person at my place. It’s been a really simple and very relaxed process, honestly. We record, mix, and master everything ourselves, which is cool because it gives us a lot of flexibility with trying different things out. As Indigo already mentioned, this was the first track we wrote together, so it really just became the foundation for everything.

“...this was the first track we wrote together, so it really just became the foundation for everything.”

— BRIAN SIKES HOWE, SOME FAITH

DARKNESS CALLING:  The video is incredible. I noticed that Indigo developed the story concept. While it's clear what's happening in the video, I imagine there are some things going on beneath the surface, as well. Indigo, could you tell us a bit about the story from your point of view?

INDIGO:  The video was actually something I had started imagining from day one. As I wrote the lyrics, I felt like I could see this story coming together – I think a lot in images if that makes sense. So there's a connection that gets disrupted in life, and in this video, I wanted to portray that disruption as demonic (for, you know, the spookiness).

It’s really just a big metaphor – you lose someone you care about and don’t know how to fix it. You’re desperate and then you realize that sometimes you just need to accept that you’re the bad guy. When I take the demon into myself at the end, it’s meant to represent that sort of acceptance.

The timeline is a little back and forth because, let’s be real, time isn’t always linear. Time is this strange fluid entity. We’re always repeating ourselves. It’s like Groundhog Day. You need to figure out what you’ve done and hold yourself accountable and change if you ever want to break the chain. The fog scenes are a bridge in time – taking you backwards and forwards in the story. But obviously, on a surface level, it’s a spooky exorcism, which is also cool.

 

 

DARKNESS CALLING:  From your IGTV videos, it's clear that you both have really vibrant, fun personalities. I feel like some of that came across in the video, despite its spooky tone. There's some humor to it, with Brian doing his best to exorcise the evil spirits, and Indigo, you do a great job of acting in this, as well. I think it's safe to say that you're a "performer" and not just a singer. Can you tell us what it was like bringing out these "characters" on video, as opposed to just being anonymous people behind the music?

INDIGO:  Okay, because it’s you, I do feel the need to divulge just how seriously goofy this video was behind the scenes. First of all, the demonic talisman is made with chocolate syrup. Second, in the folder Brian has of exorcism notes and information, you will also find the Bee Movie script because that’s kind of our little inside joke. Whenever I’m checking the mic at practice I got bored of saying “check” and “test” so I just started reciting the Bee Movie script. We felt it had to make its way into the video somehow. During some of the talking scenes, he’s even reading or shouting it, and we couldn’t stop cracking up. Really the whole day was just such a blast. One of the best days I’ve had in a long time.

And thank you! I’ve done a fair bit of acting in the past in college mostly – so it was fun to flex those muscles again. Behind the scenes, to be honest, I kept running around with the cross and doing kickflips saying I was Buffy the Vampire Slayer, and I think that’s the most embarrassing thing I’ve ever said to a journalist, but here we are. To be honest, everyone who was involved were good friends of ours, so it just felt like being a kid again and making weird videos with your friends (but with more props and more planning). I think that kept us grounded in ourselves. I imagine this video is exactly how it would unfold if Brian and I were demon-hunting and Eric got possessed. Probably. Maybe more kickflips.

BRIAN:  We’re just a couple of nerds having fun, honestly. I think a major motivator for both of us and our commitment to Some Faith is just being able to be ourselves 110%. I’ve always loved dark, alternative music but I’ve also always been a bit of a goofball and at times, have found myself disconnected from the community and how “serious” it can be. I understand where the whole “outcast mentality” comes from, especially in this genre, but that’s just not us. I think it’s possible to take your art seriously and maintain a dark aesthetic while still being welcoming to other people from all walks of life. Regardless of our style/sound, we’re really trying to make music for everyone.

“I understand where the whole ‘outcast mentality’ comes from, especially in this genre, but that’s just not us.”

— BRIAN SIKES HOWE, SOME FAITH

DARKNESS CALLING:  Brian, I noticed you did the editing on this music video. It looks amazing, and I think you and the director did a fantastic job. I feel like I've seen big-budget music videos that didn't turn out so well. Please feel free to share any thoughts or comments on the production.

BRIAN:  Thank you! After Indigo developed the story, I helped her put together the storyboard and get the timeline all straightened out. The hardest thing about music videos with a continuous narrative is that you only have the length of the song to really tell your story, but we made it work! We shot it all in one location and it only took us maybe 6 or 7 hours to set up and film the whole thing.

Our friend Nathan King, who filmed the video, is a total badass and honestly one of the most talented people I know. The two of us have collaborated on several other videos in the past for different projects, so we have a pretty solid working relationship. I should also mention that he releases his own music under the name Slowhaunt and I 1000% recommend it for anyone into dark, cinematic landscapes with the occasional synth-drenched dance track thrown in. He has done a lot of photography, short film stuff, and other cool video content as well. Look him up!

 

DARKNESS CALLING:  Lastly, you've been telling listeners to subscribe to your YouTube channel. Between this video and your others (IGTV, the lyric video for "The Pain Has A Purpose"), I have no doubt that you have some high-quality stuff on the way. Can you tell us any hints of what's to come, or share any surprises with us?

INDIGO:  Well, we COULD be posting compilations of my favorite baseball fights OR it could be a secret. Who knows.

BRIAN:  I still got a whole heckin’ lot of footage to edit and that’s all I’m going to say for now!