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Year of Storms, Chptr 5 – Xperience Fiction

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Year of Storms, Chptr 5 – Xperience Fiction – by Liam Sweeny.

Cellie’s hands and arms were filled with airgel bags that wrapped around the refuse she’d accumulated since she got out of jail, which admittedly, wasn’t much. Unity, like all cities in the world, survived by creating within themselves a delicate ecosystem of rationing, minimizing, and above all, recycling. Only the very important could have first-run items made for them; the rest of the population started with second-run items and lower, until the items came up from recycling as ‘last-run’ and upon its lifetime of use, usually short, it would be discarded, or ‘retired,’ its components broken down to whatever raw materials could still be salvaged. By the time something was ‘last-run,’ it was practically dust.

She caught the elevator down to the cylinder’s sub-basement, where the recycling chutes stood in a row against the cylinder’s core. The other wall contained seating, since the sub-basement contained all of the living services equipment; the laundry, the simple medical station, and the entrance to the transport area, all of which occupied the bulk of the sub-basement. The seats were filled, not by laundry-goers, for there were far too many seats for the facilities, but by those who residents of the cylinders collectively referred to as “specs,” short for “spectators.”

“Hey girl.” An old Black woman with thick braids tucked under a scarf and deep cracks for features sat one leg over another, both covered by a flower print dress stitched together with silver-colored knitting yarn. Cellie tilted her head because her hands were filled with bags.

“Girl you ain’t been down,” the woman said. “They can site you for that much trash in your unit, you know, don’t ya?”

“I know, Miss Ezzie,” Cellie said. “Just got a little sidetracked.”

Miss Ezzie was ostensibly the leader of the specs, though Cellie learned that outside the cylinders, she cleaned ExP ports at hypno banks, which was equivalent to cleaning hypodermic needles at a heroin dealer’s house. But in the sub-basement, it was she that told all the other specs what dinner fork went with what dish.

“You know, honey, I seen your boy wand’rin the hall on your floor. You gotta’ be careful he don’t wander over to the east none. You know Mr. Tawley, lives by the status pad? He got a story on him, a kid story.”

“If he had a kid story, he wouldn’t be able to live around kids.”

“He ain’t,” Ezzie said. “Well, he wasn’t. But your little one’s here now, he’s likely to have to move.”

“What do you want me to do?” Cellie said. She picked apart her refuse, tossing each item in its appropriate chute. She frequently had to get 2nd and 3rd-run items for her art, and she hated to get rid of them, but her apartment was already at twenty-eight percent capacity by habitat regulation. Thirty percent would make her eligible for a charge of hoarding, which would make her less in the eyes of Post society than the kid story made Mr. Tawley. She found it odd that possessing a trunk full of child pornography could be tolerated more than two trunks of papier Mache costume masks.

Cellie finished depositing her refuse and waited for the system to update her unit capacity. Some people didn’t bother to wait around for confirmation, a luxury Cellie didn’t have, being so close to the other side of what was really the cardinal law.

Since the Year of Storms caused the Collapse, the cities held close to ninety-nine percent of the global population. The rest of the planet had only one purpose, reforestation, trees and vegetation planted over nearly every surface to pull the carbon out of the air. None of this could be possible if people kept living the way they did before the Collapse. Greed, gluttony; so prized in the world before, was a direct threat to the health of the few dozen cities that held everybody. The city could survive an illegal gambling operation or a narcotic distribution network, even a molested child before it could survive even a handful of people holding onto things and filling up their living spaces.

“Celli, honey, you still doing blue feeds?” Ezzie said. “You so pretty, you don’t have to do blue. How’s a man to marry a blue feed girl?”

“I’m already married, Ezzie.” Was. “And I don’t work blue. I don’t take my clothes off. No smut, just doing fun stuff and sharing it, that’s all.”

Ezzie cast her eyes beyond Cellie as she spoke. “You know that woman Camda in apartment W17, she can’t be more than a couple doors down your way. You know she jacks her dreams, right?”

“No, didn’t know that,” Cellie said. “Good for her.”

“I can’t imagine jackin’ my dreams. You know she tried to offer me a dream she had about me, said she only wanted two hours hypno for it. Can you image two hours for a dream, like she’s some kind of psychic or whatnot?”

“Maybe she is,” Cellie said as she drummed her fingers on the edge of one of the chutes, wondering what the hell was taking the system so long to update. So what if her neighbor was jacking her dreams? It was risky, since no one knew what embarrassments they were going to trawl up and put in the Exchange. But some people, especially lucid dreamers, took the chance. It was seen as a pretty low-brow way to earn hypno.

The status panel over the chutes refreshed, which meant it had updated. She only went down point-five percent of capacity. She knew what was coming; a good old fashioned unit sale. If she was going to have Podre, and she was, she’d need new stuff. Different stuff.

“You ready for the new Exchange list, honey?”

Cellie turned around. “They’re doing it today?” She said. “I thought it wasn’t for another week.”

“It was on the news today, this morning,” Ezzie said. “They had to move it up on account of something in the supply line. City President was talking shared sacrifice, so we know that means the hypno going weaker.”

Cellie hadn’t heard the news that morning, and as much a busybody as Ezzie was, Cellie knew she was right. Whenever the City President had a bitter pill to sell, he wrapped it in municipal patriotism and sacrifice.

“Maybe you’ll do okay” Ezzie said. “If you want to sell yourself to keep ends meeting, you’re already in the right feeds.”

 

 

More from Liam Sweeny…

Tied by Fate @ Empire Live, 3/22/2026

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Tied by Fate acts and sounds like a band that has been together much longer than a year, as they opened up for Biohazard at Empire Live.

Photography by Stephanie J Bartik.

More from the show here …

 

Silence Equals Death @ Empire Live, 3/22/2026

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Silence Equals Death built anticipation for their new album, From the Ashes, supporting Biohazard at Empire Live.  The album drops next month.

Photography by Stephanie J Bartik.

More from Empire Live here …

GWAR / Soulfly / King Parrot @ Empire Live, 3/21/2026

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The inimitable GWAR kept things current at a sold-out show at Empire Live on Saturday night, with Soulfly and King Parrot providing powerful support.

Photography by Joshua Scarselli.

More from Empire Live here …

 

Let’s Sing Taylor Comes to Troy Music Hall on March 28th

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TROY, NEW YORK:     Get your Swiftie fix at a Taylor Swift celebration at Let’s Sing Taylor Saturday, March 28th!  Now with a pre-show Selfie Station.  6:30pm-7:15pm in our upper lobby.  Must be a ticket holder to participate.  Taylor inspired cookies by local bakery Flour Bender Bakeshop will also be available.  Limited quantities first come first serve.  Check out the clip at the link below for a look at the show!  Find more details about the concert below

Let’s Sing Taylor –March 28th

Let’s Sing Taylor – A Live Band Experience – is the ultimate tribute to the music of Taylor Swift. 

We can show you incredible things, including the most faithful and lively covers of Queen Taylor’s expansive and sacred catalog. Taking the country by storm, we’re bringing the communal experience of celebrating Taylor’s music in a live setting to Swifties near and far. So, let the games begin. Calling all Swifties to sing your hearts out and sport your Taylor- inspired attire. You can show up at our party any time.

WMHT Commemorates 150 year of the Troy Savings Bank Music Hall with Documentary

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WMHT Public Media Commemorates 150 Years of the Troy Savings Bank Music Hall with Original Documentary; Premiere Screening Event

Troy, NY – WMHT Public Media is set to premiere the original, locally-produced documentary The Music Hall: Troy NY’s Monument to Sound at a premiere screening event on May 19th at 7:00 pm at the historic venue. A broadcast premiere on WMHT follows the next day on May 20th at 7:30pm on-air, online, and on the free PBS App.

Established in 1875, the Troy Savings Bank Music Hall reshaped the downtown landscape of Troy, NY, drawing global musical talent to this small but mighty city. The Music Hall: Troy NY’s Monument to Sound celebrates the history, architecture, acoustics, storied performances, and future of the music hall and features the Albany Symphony, Albany Pro Musica, RPI, and the Hart Cluett Museum.

“For 150 years, the Troy Savings Bank Music Hall has been a cornerstone of the region’s artistic heritage,” said Jon Elbaum, Executive Director of the Troy Savings Bank Music Hall. “This film celebrates our history while inspiring the next chapter of performances, partnerships, and community engagement, and we thank WMHT Public Media for bringing this story to life.”

Experience why this celebrated hall is considered to be one of the best acoustical venues in the world during a live screening event on May 19th at 7:00 pm in the hall itself.

President & CEO Anthony V Hayes shared,  “WMHT Public Media is proud to highlight the rich contributions of the Troy Savings Bank Music Hall to the artistic culture of our region through this original documentary. These stories will help usher in the next 150 years with the newly renovated hall.”

Support for The Music Hall: Troy NY’s Monument to Sound has been generously provided by Fagan Associates, Architecture+, Troy Savings Bank Music Hall Charitable Foundation, AIA NYS, and WM Fagan + Sons.

Tickets for the premiere screening are on sale now via phone, (518) 273-0038, in person, or online at TroyMusicHall.org.

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About Troy Savings Bank Music Hall

The Troy Savings Bank Music Hall, a National Historic Landmark, has been in use since opening in 1875. World renowned for its incredible acoustics, it has hosted performances by legions of world-renowned artists, from legends like Dizzy Gillespie, Ella Fitzgerald, Isaac Stern, Yo-Yo Ma, and Vladimir Horowitz, to the best on today’s music scene, including Boz Scaggs, India Arie, Lake Street Dive, Trey Anastasio, and many more. For information, visit www.troymusichall.org.

About WMHT Public Media

WMHT Public Media is an essential service for education, entertainment, and inspiration, producing award-winning local programming and documentaries. WMHT-FM is your classical companion, with nationally-recognized hosts presenting curated music selections, composer interviews, and exclusive concert events.

Additional information can be found at wmht.org.

Follow WMHT on Facebook, Instagram, and LinkedIn.

 

Contact

Allison Valiquette

VP, Marketing & Communications

WMHT Public Media

avaliquette@wmht.org

518-880-3523

Caffe Lena – Week at a Glance – 3/23

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Greetings – What a classic Caffe Lena week we have for you! Looking for world-class music in an intimate listening room? Every show this week meets that standard, from the bedrock acoustic blues of Cohen, Ellis & Ellis, to the bouyant bluegrass of The Night Drivers, and the chart-topping jazz of Catherine Russell.

Or maybe you’re looking for a place to share your own creative work? Open Mic, Poetry Night and the Slow Jam will connect you with a community of fellow hobbyists.

Or maybe you’d like to improve your skills? If you’re 2 years old, Folk Club Kids is your place to practice your happy dance! If you’re a hardworking adult, Wednesday evening classes are timed to fit your schedule.

There’s a place for everyone at Caffe Lena, and we look forward to helping you find the one that’s right for you.

See you at the show,
Sarah

Monday
7:00 PM – Open Mic Night


Tuesday
7:00 PM –  POETRY OPEN MIC FEATURING NATALYA SUKHONOS
8:00 PM – “Live From Caffè Lena” on WEXT 97.7 or 106.1 FM


Wednesday
10:30 AM – Folk Club Kids: Stories, Songs & Sing-Alongs (Infants to Pre-K)
2:30 PM – After School Folk Ensemble with James Gascoyne & Oona Grady
7:00 PM – Music Theory For Jammers with Bruce Thompson
7:00 PM & 12:00 AM – “Live From Caffè Lena” on Folk Music Notebook


Thursday
1:00 PM – Slow Jam
7:00 PM – FOLK HERITAGE SERIES: ANDY COHEN, ELEANOR ELLIS & BILL ELLIS


Friday
12:00 PM – CAPTAIN FUN LUNCHTIME LISTENING HOUR
8:00 PM – CHRIS JONES & THE NIGHT DRIVERS


Saturday
10:00 AM – 5TH ANNUAL PANCAKE BREAKFAST FUNDRAISER FOR THE SCHOOL OF MUSIC
5:00 PM – PEAK JAZZ SERIES: CATHERINE RUSSELL
8:00 PM – PEAK JAZZ SERIES: CATHERINE RUSSELL


Sunday
7:00 PM – LARRY CAMPBELL & TERESA WILLIAMS  SOLDOUT

Faith Kelly – On the Road 2026 – An Xperience Interview

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Faith Kelly – On the Road 2026 – An Xperience Interview – by Liam Sweeny.

We first met Faith Kelly during our second issue, when she was co-starring in an independent film. Since then, she’s been all over the country, and she’s found all of the cool scenes. Welcome Faith,

RRX: Let’s go back. So eight year years, let’s just say 8 years. 8 years ago you’re, you’re in a film while you guys are filming a film, and then we interviewed you. So, uh, take it from there and, uh, and I’ll interject if I have any questions.

FK: Cool, well, I mean, let’s see, I think that was like 2018-ish, um, maybe 2019. I think it’s like winter February ‘19, so I won’t give you all the details because then it would be very long,

RRX: Right, true.

FK: I went on and I shot Walk Away, which is a feature film, and that was a horror movie. That one did pretty good. That one’s out now. I think I did a few other short films in that area, but pretty much right after I did two feature films in 2019 and after that. So the one didn’t come out yet though, that’s called Family Values. It should be out soon, which is funny because it’s so many years later. Mid-September 2021, I was invited to some open mics out in the Catskills, which is where I’m living now and eventually I went out to one and I met my now fiance, Casin Moon. Ultimately through that whole situation, everyone was going through life changes around 2021, and the band disbanded, and we went separate ways. I went on to do the solo thing. Basically what happened is in 2021, you know,

I met Caswyn and we started loving playing music together, but we’re two separate entities. We’re two solo musicians who write original music and we’ve been in bands before and we didn’t really wanna start a band together. We just started playing together. So he would start the set and then I’d end the set. And the music I’m making now is Faith Kelly. I call it spacey folk rock and roll with an Appalachian twist. So during COVID, I wanted to get back to my Appalachian roots because I’ve been on the psychedelic bus for so long. Like folk music, it’s still me, so it’s still kinda weird. And you can’t get rid of, you can’t shake the trippiness that I’d have. And basically, it’s, it’s turned into that. So For F*ck’s Sake came out in 2020.  Caz and I got together and our first tour was in February 2022, and that was a 10-day tour down to Florida. And then we’re like, ‘hey, we like touring, we like playing shows together.’ So then we’re like ‘let’s see if we could do a month.’ So we did a month, August of 2022 and then we were like, ‘well that was fun. Can we do six weeks?’ So we did six

RRX: Do you think being on the road so much and going so many different places every year impacts the music? Do you think that has any effect on the music itself?

FK: My new album Halfway Decent is a lot of songs about being on the road. It informs a lot of the music and it also informs us about how it gives you a better idea of what’s really going on. So you can hear word of mouth from friends and you can watch the news and all this other bull. Or you can go out, and see it for yourself. Yeah, that’s kind of what we did when we went on our first tour to Florida, Politics aside, everyone’s like, ‘oh, be careful down there because they didn’t like the politics or whatever,’ and I’m like, ‘I’m trying to go to the beach, you know, I was trying to go to the beach and play some shows. I’ve never been to Florida, so I was like, ‘I just wanna go check it out. When we came back with all these great stories and a lot of people were just like, ‘oh really? In a pocket full of friends you get out of your fish bowl and actually go. ‘See, you realise that people are actually pretty cool.’

Yeah. It’s not as scary and, and horrible as it, it’s being made out to be. And then also every little town and every state or city, small town, small city, big cities, there’s always a cool little scene and sometimes it takes some digging to find it, but there’s cool people everywhere just trying to do cool sh*t, you know, like the whole journey was like let’s just go see what’s going on.

And then you end up finding yourself jamming with a lot of new people and discovering new music, and then that informs how you play. Here’s a lot of different venues that we play. We’ll play a gay bar one night and then a punk bar, and then a hillbilly bar, and then a group Brewery and then a bistro and they’re like, ‘OK, keep it down so alright, tonight’s show I’m gonna go full rock and roll and head bang and do the back bend and then, okay, today’s show we’re gonna pull it back a little bit, lean more into the folkineness.

CM: Because our music is really different right now. We’re two individual artists. We don’t write together. She does her thing. I’ve been doing mine. We go on a tour and she comes back with a whole album, but it takes me like a decade to write a 3 chord song. Yeah, but I’m better towards an older crowd too, so if it’s a mellower kind of atmosphere. I more or less take the lead on what’s going on, but if it’s more of a funk venue and you know. Super high energy, then that’s when she’ll take over the main although you we have some rockers we stay with you too so it’s kind of cool, because you get with what we do you get two completely different styles that actually work together.

FK: That’s awesome. Yeah, we’ve been called time capsules because we don’t do a lot of covers. It’s all originals, but it’s different. I don’t know how else to describe it, just a different sound.

RRX: Being that you guys have been all over the place, is there any place that has a really kick ass scene that is unsung or underrated?

FK: Oh, Bisbee, Arizona. People think of Arizona, they think of Tucson or Phoenix. It’s like you drive, you get off Highway 10, drive 45 minutes down to the border, and there’s this little town that’s just awesome music scene, a lot of music venues. You can go walk around town any night and find music. Then holy smoke, you know, Florida. It’s funny because people have a view of Florida, what it is,  Margaritaville, blah blah blah. There is a punk scene in Florida that is unrivalled and it’s just so underground. There’s a little town called Stewart, Florida, and they got this place called The Stand. And you’re in this rich Florida looking neighbourhood. And all these punks come rolling out and there’s this really cool music scene. And so you get a lot of these towns, you know, a lot of states to get these raps. Then you really get in there. And you’re like, holy smokes, like Texas, man, we have a lot of fun in Texas too. Texas has Corpus Christi, which has an awesome music scene. We played with the band up in Hoosick Falls, New York. Mallet Brothers I think from these pockets that I would have never heard of these guys unless we played a show with them. And then all of a sudden we played a show with the Mallet Brothers and this whole music scene opens up that we didn’t know about. Another awesome music scene is up in Minot, North Dakota. That’s a place that we try to get to.

 

 

 

More from Liam Sweeny…

Shannon Tehya @ Lost & Found, 3/14/2026

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Shannon Tehya brought her trio to Lost & Found Saturday night, which was absolutely packed with post-parade revelers.

Photography by Timothy Reidy.

More from Lost & Found here …

 

Bailey Bennett – Xperience History

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Bailey Bennett – Xperience History – by Joshua Reedy.

Originally published in August 2021.

Bailey Bennett is the exceedingly kind, humble and eloquent mastermind behind several mostly unnamed solo experimental noise projects. On top of using twisted tape loops to create churning, stunning walls of texture with which to accompany himself; Bennett also lives in and operates an intimate basement venue in New Paltz alongside several similarly talented roommates. After attending my very first post-COVID basement show, Bailey and I sat down for my first in-person interview since the lockdown to discuss his style of performance, the New Paltz scene and why noise music is deserving of a higher level of recognition.

RRX: I want to start things by just asking you, because this is a totally new scene for me, to tell me a bit about the New Paltz scene having spent time here in college. I know that’s a big question.

BB: I feel like if I were to give one comparison band, that people would know, to the New Paltz scene it would be King Gizzard (and the Lizard Wizard). A lot of bands here have that sort of jazz influence, a lot of people here get it just from being music students who study with the jazz professors. You get a lot of kids who love the heavy-metal and/or psych-rock scene. I think a band like Kablamo! who played last tonight is a really solid example of the quintessential New Paltz band. The noise scene, which is what I am a part of, is sort of non-representative; my whole goal is to promote that and the weird and not shown artists.

RRX: So, like, outsider music that normally isn’t accepted.

BB: Yeah, and I live with six other people but my goal with the venue is to uplift bands that don’t really get to play here. And we can really push the boundaries on what is unrepresented in New Paltz. I think it’s important to the health of the scene, to have a well-rounded lineup of bands. Yes, it’s important to have those psych-rock bands but it’s also important to have that fucking weirdo, prurient-type noise artist included.

RRX: Right. And before I get into what you do as an artist, I want to touch on the venue here itself. I want you to describe what living in a house with a bunch of other musicians and running a venue out of the basement means to you.

BB: It’s really liberating. We’ve just utilized this power. And I threw together this bill, without much of a democratic process (laughs), because On Pink was looking for any shows they could play on July 12th and I just said “You guys wanna play my house on the 14th?” and they were like, “Yeah!” I threw together most of the acts, but it really became a collaborative effort and to me it’s really intoxicating to be able to have, not only really talented musicians in our space giving their all sweating their ass off in this basement, but also having people want to be there and experience it all is amazing. I love music and performers, so being able to act as the intersection of where music becomes performance and visual art that people can engage with is great.

RRX: And it’s no doubt we were all sweating our asses off tonight (laughs). But I’d say having this kind of performance go on in a basement definitely brings a new layer of intimacy and I’m sure the bands would agree.

BB: Yeah! And I think that that intimacy that’s strived for is owed to a lot of the pre-existing house venues here in New Paltz; Nacho House is one that comes to mind. Nacho House had a great festival my freshman year here, but they’ve had a really great four to five years of band performance and audience attendance that was really impressive for a small intimate basement. Seeing that, I really strive for that level of community which I don’t think can really exist without the proprietors of the scene despite the differences in taste and music.

RRX: And that’s a good segue because I was going to ask you about other venues around here and what kind of community there is here. In Albany, it can be very limiting at times with different sides of the scene feeling opposed to each other and trying to bridge that gap can be tough. I feel there may be a tighter sense of community here just due to the sheer amount of art being pumped out by the college scene.

BB: Yeah that’s a really good topic. Post-COVID has created a new canvas that all of these artists now have to fill; that may be a pretentious way to frame it (laughs) but I think there was an emotion that was felt tonight. Very few of us have had this opportunity to sweat together in a basement; I think that’s what makes the cornerstone of the community. I remember being here as a freshman and having venues like Crazy Dan or Nacho House which I mentioned, or the Groove Grove who got a ton of great bands. Laveda has played Groove Grove, which blew me away. There are so many venues that I couldn’t name them all.

RRX: And this is the first live show I’ve been to since COVID and first in person interview I’ve done since COVID as well. We can have a little bit of a collective sigh of relief for this very recent return to normalcy.

BB: It really is like a blessing. I feel so lucky that this could happen at my house with my friends and people that I know and care about. With all of us being vaccinated and some of the fears of COVID being sort of subdued, we were able to have this really excellent experience, and to be the epicenter of that is phenomenal.

RRX: So now I’d like to get into what you do with art personally. To start things broad, I’d like you to try and summarize what your goal with music.

BB: First of all, I can’t exist without Swans (laughs).

RRX: They are a great reference point!

BB: A lot of people will pick up on that. Public Castration Is a Good Idea is one of my favorite records.

RRX: He’s not just saying that folks, it’s the name of an album!

BB: Right (laughs). That record; it was incredible for me to hear as a longtime Swans fan. The first time I heard it I just felt that they had perfected this industrial style that had already been minimized to a point where it’s almost solely percussion. And they use rock instruments to create that sound. What I do couldn’t exist without Swans and their live performance. I’ve never been in a band, it’s always been my dream to but I can only sort of do my solo stuff right now. I have a tascam 464, which is a great piece of machinery that I’m so lucky to have; to me, that is my bandmate. I will play something, and I’ll stop the recording and I’ll just be like “What is this?”

RRX: You must be like, “Nice work tascam! I love what you did with that last part!”

BB: (laughs) Yeah, it really just either cuts a high end or boosts a low end that sort of makes it this team effort. Listening to an album like that Swans record, it shows you how to take a piece and simplify it down to those very angry, primal roots. And the world itself is angry, despite whether or not you want it, the world is angry and violent.

RRX: So now that we’ve talked a bit about your goals, let’s get more into what exactly it is that you do. You mentioned the tascam already but tell me more about the tape manipulation setup.

BB: So, tape is inherently organic; It’s a vessel that contains a sound that otherwise cannot be captured. If you have a tape, and you play it ten years later it will sound different. With the tascam it has built-in pitch modulation, it has a switch that activates a high and normal speed, which a lot of tape machines don’t have access to. Access to these features creates a very organic relationship with guitar, which I already feel is a very dynamic instrument. Taking a visceral style of guitar playing and filtering it through an analog system creates a very intriguing setup. There was actually a time tonight where I played a melody, and I stopped recording, listened back and I was like, “did I just fucking play this?” It’s a humbling situation where I don’t feel like that master.

RRX: You’re being guided by the sound instead.

BB: It feels very spiritual and cathartic.

RRX: I want to talk about some of the unconventional ways that you play the guitar. Tonight we saw you using a bow and rusty nails to get some crazy sounds.

BB: Listening to an artist who decides to take an object and uses it to play guitar and create these textures is always cool. I was working with my dad one summer in my hometown of Saratoga and I found all these really big, old rusty nails. To me, they were gorgeous.

RRX: So, you didn’t pick those up at Guitar Center?

BB: (laughs) No, but I really enjoy the Fluxus movement because they did not care about the outcome; to them it was the tools and the process that made up the art. When I use those old nails, using the rust and the dirt, it creates a different feeling.

RRX: As we come to a close, why don’t you talk about some other New Paltz bands and the bill tonight. I know On Pink is made up of some of your buddies.

BB: Yes, and shoutout to Lip Critic, they’re incredible as well. Nazca Plate played tonight as well as Kablamo! who are also in another band called Bby Carrots.

RRX: Yes! They played the Byrdhouse in Albany.

BB: Right! Shout out also to Delphino and Proximity Crush and the Byrdhouse people. Oh, and Jack Lynch of course, who also did a set tonight.

RRX: Do you have a stage name you’d like down or should it just be you?

BB: (laughs) I don’t know, I struggle a lot with ego stuff so I suppose it should just be my name.

Follow Bailey on social media:

https://www.instagram.com/bee_person1800/

 

 

More from Joshua Reedy…