September 2020

Despite popular belief, many musicians have careers outside of the studio. For singer-songwriter Jon Reynolds, that is something that helps to keep him grounded while providing real world inspiration for the subjects he writes about.

“The starving artist is romanticized but the working artist isn’t,” he said in an exclusive interview with TrunkSpace.

Reynolds latest EP, Petrichor, is available soon, but in the meantime, you can check out the singles “Come Now Spring” and “Love Blind.”

We recently sat down with Reynolds to discuss sharp changes, the Nashville community, and art speaking for the people.

TrunkSpace: A lot of artists and musicians have been creatively-inspired during this extended period of isolation. As we understand it, our societal pause gave you the motivation to put this collection of songs out to the masses. Would Petrichor be here today had it not been for what has been a very strange and difficult 2020?
Reynolds: The short answer is no. I cannot say that it would be here without the shut down. I think that some form of this EP would exist, but not at the artistic level and not with the same songs. Having this break gave me clarity and focus which turned into growth and opportunity. I certainly don’t think I would be answering these questions right now if it weren’t for that sharp change.

TrunkSpace: You are very busy outside of music. Does a career away from songwriting refuel the creative tank and keep the songs flowing?
Reynolds: My non-artistic work definitely keeps me in touch with very real things to write about, but that’s not to say it never gets in the way (forgive my double negative). Over the last couple years, it certainly tipped over into the “getting in the way” realm as opposed to the “inspiring” mode. It’s a part of being an artist that isn’t talked about that much – the fact that most of us also work and live in the non-artistic world. The starving artist is romanticized but the working artist isn’t. Finding the balance between allowing the realities of life to inspire your art and not allowing those realities overwhelm you is something I’m still learning. Right now, though, I feel closer to that balance than ever before.

TrunkSpace: You moved to Nashville to pursue music, but we can’t help but wonder, does being in such a musically-rich city have its drawbacks? As much as that creativity can inspire your own, can it also be overwhelming knowing that so many people are running the same race and looking for the same end goal?
Reynolds: HA! I think if I were anywhere else in the world, the answer would be “yes”. But I’m in Nashville, so, no. Nashville is a community of supporters, not attention seekers. We are all going for the same goal, but there is a sense here that we are only able to achieve that together. I mean, I wouldn’t be where I’m at if it weren’t for other writers, artists, musicians, etc. And, I look forward to sharing any success I have with the people who have stuck with me.

TrunkSpace: Petrichor is set for release in the near future. What kind of emotions do you juggle with when releasing new material to the masses? Does this one feel different given the current state of the country/world?
Reynolds: I think I usually have a 50/50 split of fear and excitement. This time around I think I may have tipped the scales in favor of excitement because I really feel like these songs hold their own on a lot of levels. With the current state of things, I have a weird mix of worry that I’m selfishly seeking attention while at the same time feel like the audience has finally arrived for my kind of artistry. I have always written about social issues. I think the world is in a place where they want their art to speak to those topics.

TrunkSpace: If someone sat down to listen to the EP front to back, what would they learn about you both as an artist and as a person?
Reynolds: As an artist, I think they’ll learn I appreciate the way a song makes a person feel. These days I focus so much on the vibe and arrangement of a song – even more than the lyrics sometimes. I like to use my songs’ music to make connections. The feeling you get when you hear something that grips you is impossible to ignore and can even be healing. I think listening to the whole EP from top to bottom will leave you with a very grounded feeling.

There are a lot of things you can learn about me as a person from this EP, but it’s hard to make that judgment myself. I definitely think a person can pick up on the range of experiences I try to include in my life. I cover lots of topics in five songs. Hopefully, that’s a good thing!

TrunkSpace: What are you most proud of with the songs on Petrichor?
Reynolds: By far – the production. I worked so hard with my engineer/assistant producer Owen Lewis to get every detail right. These songs really sound like me. It’s so easy to second guess yourself in this industry, but at the end of the day, I pushed through the exhaustion and doubt and stuck with my gut. I think what came of it was something very lyrically human and sonically dense.

TrunkSpace: Would 10-year-old Jon be surprised by the artist he would one day become? Are you writing songs now that the kid version of yourself couldn’t even get his head around?
Reynolds: Oh yeah! Ten-year-old me did not see this coming. Back then, I was mostly playing classical piano pieces and arranged hymns with the introduction of some classic rock tunes. But, there has always been a part of me that knew music was central to who I was. As for songwriting, I didn’t really pick it up till my mid teens – I’m definitely writing circles around my younger self… thankfully! He wasn’t that good.

TrunkSpace: Where would you be without music in your life? Is it possible to imagine a time when you would call it quits and hang up the guitar for good?
Reynolds: There have been moments where I entertained the thought, but it always feels like I’d be letting a part of me dissolve. That doesn’t seem… healthy… if that makes sense. I know that music helps me be a better person, a better friend, and a better husband. It keeps me focused on those values. If I didn’t have it, I think I would be a much worse version of myself – like I wasn’t living up to my potential to create good in the world. Even when I try, I can’t imagine hanging up music.

TrunkSpace: What is the most rewarding portion of the creative process for you and why?
Reynolds: Usually it’s the songwriting – to create something out of nothing that will stick with people is so gratifying. But in this project, the most rewarding thing was the additional tracking I did with Owen. We were both in the trenches getting every tone, every sound, every expression, and every mix just right. It was creativity at its finest. It’s the first time I felt like I got exactly what I wanted out of a recording.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Reynolds: I would! I am really optimistic about my journey in music. This EP has given me a lot of confidence and a lot of determination. I think the future holds a lot of good things for me!

Name: Marte Gracia

Website: Here or Here

Marte Gracia is one of the top colorists at Marvel, and we had the chance to sit down and talk a little bit about his career, his love for the medium and much more!

Perhaps this is a question you’ve been asked hundreds of times, but I’d love to ask anyway: Why do you love comic books?
What a nice question! When I was very young, on our way home from the kindergarten –which was within walking distance from our house – we used to pass in front of a newsstand, and my parents bought me any comic book available to keep me entertained, normally three times a week. Spider-Man was a regular, some Batman books, and a Mexican comic book called Karmatron, among many others. I have three older brothers, who loved comic books as well, and as I grew up, I discovered their books, so I read all kinds of comics: from younger reader’s appropriate comics to more “adult” stuff. By the time I was 10 years old, I was already reading Heavy Metal!

There was a breaking point in my life, in which I decided I wanted to make comics as a living. In the late ‘80s – early ‘90s? – there was an anthology book in Mexico called Spider-Man Presents, a biweekly book featuring reprints of different American titles, such as Fantastic Four and Avengers, along with additional content like a letters’ page, articles, etc. One day, they started to print two or three pages per issue of the famous “How to Draw Comics the Marvel Way” by Lee and Buscema. I collected every issue, cut out the pages and made my own manual. That was the spark I needed.

How did you break into the world of comic books?
During the ‘90s there was a huge boom for comic books in Monterrey, Mexico – where I still live to this day – that inspired a lot of people to create their own comics. Take Cygnus Studios, for example, and many other fine folks, like Dono Sanchez, Francisco Ruiz Velasco and Edgar Delgado. I started hanging around in a small local publisher, called “Neurona C” along with some of those guys, and later I got a job in a marketing studio, doing commercial illustration. We did storyboards, text books… the works. At some point, the owner ended up owing me a lot of money, and she said: “What would you say if instead of money, I print a comic book for you?” And I said yes, and that way I self-published my first comic called Chuck, which in hindsight was not very good. (Laughs) It had a very dark sense of humor, in the vein of Johnny: The Homicidal Maniac, by Johnen Vazquez.

Once I finished college, around 2002, I started working with Studio F. They were already working for American publishers, I used to hang around with them, and that was when I got intrigued by the work of a colorist, and I decided there and then that that was my thing. I dedicated myself to learn Photoshop like crazy, until one day, Dono Sanchez emailed me saying they’ve got too much work from Marvel and they needed all the help they could get. They sent me four pages from four different artists and said “Well, rock and roll!” I painted all four pages and they liked them because – as I was told later – I tried to paint every page according to each artist’s style. That’s how I got to work with Studio F. One of my first assignments was helping Edgar Delgado coloring some pages for a Venom regular series (penciled by Francisco Herrera). I was not credited in that book, though, but I learned a lot from Edgar. He was my teacher and guide, he led me to the right places using nice and hard words when needed, I owe that guy a lot and I’ll always love him.

What was your first solo work as a colorist?
My first solo book was Hell published by Dark Horse Comics through an imprint called Rocket Comics. That’s curious. I think that’s my only professional work outside of Marvel.

My first Marvel book was Marvel Team-Up, with Robert Kirkman and Scott Collins. I had a lot of fun with that book, but now I look at those pages and I go “jeez!”. (Laughs) I remained in that book until #37. During that run I got the chance of working with people like Paco Medina and Juan Vlasco (RIP).

Which artists do you feel more comfortable to work with?
Aside from Stuart Immonen – one of my all-time favorites – I’m blessed for working with Pepe Larraz and R.B. Silva. It was a blast working with them in House of X / Powers of X. Pepe and I are working on X of Swords and I’m loving it. I also enjoyed coloring Joe Madureira in Inhumans, where we did some really cool visuals. And even though I’ve only done a couple of covers, I feel in awe when I color Ryan Ottley.

In your own words, what does a colorist do in terms of comic books?
That’s a beautiful question. You see, the goal of every cartoonist is to tell a story in the best possible way, without your work being noticed for getting in the way of the story. My job is very similar to that of a Director of Cinematography in movies. I need to tell a story using colors as a baton for feelings and emotions, trying to keep consistency between what’s going on in the page with the colors I choose. For example, If I paint a funeral, I will use colors suited for the mood of the scene, maybe muted or darker. But perhaps the most important thing is to guide the reader to the most important parts of both the panels and the page, by using color values, lights and shadows, to enhance what we want the reader to see. If you look at a page, filled with colors and textures and you don´t get lost, if you are immediately aware of who’s talking or doing something, if your eyes are drawn to where they need to be, then we can say both the artist and the colorist did a good job.

What advice would you give another young aspiring artist who is considering a career in the comic industry?
Just one thing: please, don’t deprive the world of what you have inside your head. Make comics. Write if you are a writer. Draw if you are an artist. If you do inks or colors, keep it going. But please, don’t let the world miss on what you have to offer. Share your stuff with the world. There are more comics to make, more stories to tell, because this is the most beautiful thing in life.

MediEvil

Initial Release Date: October 25, 2019

Developer: Other Ocean Emeryville

Publisher: Sony Interactive Entertainment

Platform: PlayStation 4

Genre: Action Adventure Arcade, Hack and Slash

Why We’re Playing It: The days are getting shorter, the air is growing crisper and pumpkin-spiced everything has hit the store shelves, so we are in search of games that give us ALL of the Halloween feels. MediEvil delivers and fills your pixelated candy bucket to the brim with gaming goodness!

What It’s All About?: This is a remake of the original Playstation game from 1998. It stays true to the original storyline of our undead hero, Sir Daniel Fortesque (AKA Sir Dan), coming back from the grave to rescue the kingdom of Gallowmere from the forces of evil.

That’s Worth A Power-Up!: Visually, this rendition of the classic game presents a spectacularly spooky polished revamp of the original. It still embodies the dark humor and creepy ambiance, but it elevates the gaming experience to new levels with the advances in technology available. You won’t see any pixelated or vanishing polygons here.

Bonus Level: MediEvil delivered with putting us in the Halloween frame of mind, but it also tugged our nostalgic heart strings on two levels. One, which we expected, reminding us of the original Playstation days, but the other was how much this game felt like the classic arcade-style hack and slash games that you powered through with your friends in shopping mall arcades.

And that’s why this game is a certified quarter muncher!

With other creative endeavors winding down, the two parts that make up the synth-pop duo 88/89 (listed simply as Jack and Michael) found each other in the right place and at the right time.

“We bumped into each other at a very similar time in our life when we were open to do what’s necessary in a creative partnership,” they said in an exclusive interview with TrunkSpace. “We trust each other creatively even if at times something doesn’t sit right at the beginning.”

88/89 just released the La Felix remix of their single, “Hit Me”, available here.

We recently sat down with the duo to discuss a different kind of time machine, balancing on a seesaw, and getting creative during lockdown.

TrunkSpace: You guys dropped the track “Hit Me” on August 21, and the La Felix remix of the same track just last week. What does this single say about where you are musically in 2020?
88/89: “Hit Me” represents the path musically that we want to go down. We experimented with a few different sounds and this was the first time we started using drum machines, which changed how we approached the writing process.

TrunkSpace: What are you most proud of with the single?
88/89: This is where we came together musically and found a common ground. Before, we were focused more on rock music. “Hit Me” is the track where we branched out with regards to our influences.

TrunkSpace: First impressions mean everything. If someone had never heard your music before and “Hit Me” was their first exposure to the 88/89 sound – would they get a full sense of what they’d hear at 88/89 show? What would they not experience with their headphones on that they would front-and-center in a club seeing you perform?
88/89: Sonically they’d get a good snapshot of 88/89. Musically “Hit Me” represents the beginning of something; the rest of the songs on the EP we wanted to fit together like a puzzle and have their own identity and energy.

With regards to the live show, it’s gonna be a very different experience. There’s only two of us on stage so we wanted to create an atmosphere and for everything to make sense as engaging as we could make it. So all of the organic sounds: voices, guitars etc., come from us and all of the synthetic sounding instruments: synths, drum machines etc., come out of a giant box we built called the Time Machine. It acts as the 3rd member of the band and also lights up in time with the music.

TrunkSpace: From what we understand, you guys came together after different creative endeavors outside of each other came to an end. What did you guys find in one another creatively that lit the fuse to form 88/89?
88/89: We could go into a lot of detail but essentially we both have our strengths and our weaknesses and we seem to balance each other out. We bumped into each other at a very similar time in our life when we were open to do what’s necessary in a creative partnership. We trust each other creatively even if at times something doesn’t sit right at the beginning. The creative process is a bit like balancing on a seesaw. We’re never both down at the same time but most of the time we sit in the middle.

TrunkSpace: Is there such a thing as creative soulmates, and if so, have you guys found that in each other and with the project 88/89?
88/89: One-hundred percent.

TrunkSpace: What does the writing process look like for you guys? How does an 88/89 song go from core concept to completion?
88/89: We rarely approach a song the same way twice. There are so many different ways a song can start. From who instigates a song or idea to what instruments we start using and end up with. We try not to overthink it and just go with our instincts. We regard it creatively as a 50/50 partnership. So pinpointing exactly who wrote what and when gets quite blurry and doesn’t really matter to us.

TrunkSpace: We would imagine that one of the benefits of working with someone else on any creative endeavor is having the immediate springboard at your disposal to bounce ideas off of and know what works and what doesn’t? What are some other benefits of creating alongside someone that going solo doesn’t allow for?
88/89: The creative process is very individual. What works for one person might not work for another; for some working alone works well, and for others working in a band of six works better. Making the discovery of what works for you is 90% of the battle because making music should not be a laborious process.

TrunkSpace: Where do you draw your creative energy from and what fuels that fire when the flames start to flicker out?
88/89: The seesaw between keeps the fire going.

TrunkSpace: 2020 has been a long, strange year. With all of the social distancing and need for quarantine, how have you guys stayed active together creatively? As society shut down, did the writing slow down as well, or did you find a way to maintain the creative back-and-forth?
88/89: Creatively nothing really changed for us because our studio is our home. If we had a creative task to do outside of songwriting, we improvised and used other skills that we have to make things happen. For example, we needed a music video for “Hit Me” right in the middle of lockdown. Obviously everywhere was shut, so we bought a green screen and shot it on an iPhone in our living room.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
88/89: No way. We’d miss all the fun. We don’t know where this is gonna take us and if we did know we’d probably fuck it up.

“Hit Me” and the La Felix remix are both available now.

We all cope with the difficulties of life in different ways. For singer-songwriter Ryan Hamilton, a “crushing” divorce inspired him to take to the road where he embarked on an adventure of self discovery and healing. The miles of asphalt that passed beneath his tires also lead to his latest album, Nowhere To Go But Everywhere, available tomorrow on Wicked Cool Records.

“Taking that road trip changed me, and the course of my life, in the most incredible way,” he said in an exclusive interview with TrunkSpace. “Forever thankful.”

We recently sat down with Hamilton to discuss getting truthful, shedding pressure, and why forced isolation has been a struggle for him.

TrunkSpace: Your new album, Nowhere To Go But Everywhere, was written during a road trip across the USA. We love ourselves a good highways and byways journey of self-discovery. Outside of this collection of songs, what was the best thing that came out of that trip for you?
Hamilton: I went on the road trip in the wake of my divorce. Divorce is a CRUSHING thing to go through. Getting the hell out of there, and hitting the open road was my way of facing my demons, and emotionally processing everything. I spent nights in the desert, in the mountains… everywhere. The solitude, the quiet, the beauty… not only was it the perfect setting, for me, to deal with the emotional aftermath of divorce, it became an overwhelming adventure of self discovery, healing, and learning things about myself I never knew. I didn’t plan to, or even think about writing any new songs ‘til about halfway through that trip. Taking that road trip changed me, and the course of my life, in the most incredible way. Forever thankful.

TrunkSpace: How did being on the road influence your writing? Where did it impact you the most?
Hamilton: The solitude, the beauty, and the lack of distractions seemed to make things more raw… more real. I found myself just telling the truth, all the way, without trying to be clever during the songwriting process. I just wrote what I felt, and being on the road lent itself to writing that way. The songs came out different. It felt like therapy.

TrunkSpace: Nowhere To Go But Everywhere is the follow up to This Is The Sound, which won the Independent Music Award for Best Indie Album. Did you feel any creative pressure heading into the follow up?
Hamilton: Yeah, I did! (Laughter) Truth is, I wasn’t planning on writing/recording another album anytime soon. But, life happened, and these songs started appearing. So, in a way, it took the pressure off – because this new album came out of nowhere, and the songs came from a very unexpected place.

TrunkSpace: The album is due to drop September 18. What kind of emotions do you juggle with when releasing new material to the masses, and is the experience different this time around given that the entire world, essentially, has ground to a halt?
Hamilton: It does feel a little different. But I’m proud of us, and our label for going for it. Music has a healing power, and we need it more than ever right now. I always juggle the emotions of hoping I’m working as hard as I can, to do everything I can, to make the album as successful as it can be. I feel that pressure more than ever right now, because I know this is the best album I’ve ever made.

TrunkSpace: Normally you would tour to support a new release, but that is not something that is possible in every state right now. How has promoting the upcoming album changed? How do you get the word out when people can’t get out themselves?
Hamilton: Thankfully we live in a time where digital, online promotion is possible. Now that touring is off the table, we focus more attention to promotion online. Fingers crossed! And may I just add: I CAN’T WAIT TO TOUR AGAIN. I miss it so much.

TrunkSpace: Jack Kerouac’s belt is featured on the back of the album. “On The Road” obviously impacted you at some point in your life as it has countless others – which makes us wonder, what would it mean to you to have Nowhere To Go But Everywhere be the inspiration for others to go out and find themselves on the road? Why is it the perfect companion piece to a long stretch of open sky highway?
Hamilton: Several people have said things along the line: “It’s the perfect Road Trip album”. I find that fascinating. Ya know, since it was written on a road trip. (Laughter) Being the owner of Jack’s belt is an unexpected honor, and I will treasure his belt forever. Reading “On the Road” changed me. I was in college, and not too long after that, I found myself dropping out of school, and going on tour for the first time. Jack’s writing gave me inspiration to go for it. That’s pretty damn powerful.

TrunkSpace: If someone sat down to listen to Nowhere To Go But Everywhere front to back, what would they learn about you both as an artist and as a person?
Hamilton: That I’m broken, but I’m still full of hope.

TrunkSpace: What are you most proud of with the album?
Hamilton: Its honesty, and the quality of the songwriting. I pushed myself harder than ever.

TrunkSpace: We have all been in some form of lockdown for the majority of 2020. How much of your time spent social distancing has also been spent creating? Have you experienced a creative jolt during this period – and will it lead to another album?
Hamilton: I haven’t really had any creative jolts. I find myself forcing myself to stay creative, to keep the depression at bay. The loneliness, and isolation-inspired sadness is a struggle for me.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Hamilton: Damn straight I would! I’ve spent a decade operating in the middle… PRAYING for a break. At this point, I’ll take any clues to get me to that ever illusive “next level’ in this fucked up backwards business of music.

Nowhere To Go But Everywhere is available tomorrow via Wicked Cool Records.

We have all found ways to occupy our time in 2020. For actress Alison Araya, that included reintroducing herself to her green thumb. When not talking to her plants and establishing a balcony garden, she can be seen starring as Aunt Victoria in the new Netflix series Julie and the Phantoms, a role she is quite literally kicking up her heels over.

“Anyone who knows me knows my obsession with a great shoe and the costume designers and I had loads of fun creating Victoria’s look, which includes some killer shoes,” she said in an exclusive interview with TrunkSpace.

We recently sat down with Araya to discuss finding comfort in the new, embracing cultural nuances, and why she takes time to BREATHE.

TrunkSpace: Your new project, Julie and the Phantoms is a musical. Music has always been a great escape for people, and an escape is what people need this year more than ever. Does it feel like this series could be hitting at the right time for people? Will the combination of storytelling and music be just what the doctor ordered for those looking to “check out” mentally for a few hours and be entertained again?
Araya: Julie and the Phantoms is a show with so much spirit and heart. It promises to be entertaining and the music is out of this world catchy and cool! At this uncertain time in our collective history, we have all turned to the arts for comfort. Many have discovered new shows, movies, books and music to help cope with the multitude of feelings we are all experiencing. Some stories help us escape and others help us connect. I believe JATP is a show that will connect audiences, through the family, music, the personal journeys of the characters. And it couldn’t come at a better time!

TrunkSpace: In the series you play Aunt Victoria. What was it about this character that offered you something new that you had yet to experience on camera before? What part of your journey with Victoria felt like the biggest “first”?
Araya: Aunt Victoria was a first in many ways. As a woman, Aunt Victoria is a little larger than life, a little flamboyant and extra! I tend to play professionals so it was so much fun to step into Victoria’s shoes. Literally! Anyone who knows me knows my obsession with a great shoe and the costume designers and I had loads of fun creating Victoria’s look, which includes some killer shoes! But most importantly, being a part of an onscreen LatinX family and having the opportunity to fully step into embracing the cultural nuances of representing a LatinX family, is something I am deeply proud of.

TrunkSpace: Julie and the Phantoms hit Netflix on September 10. As an actress, how does having a series premiere on a streaming platform all at once change the roll out experience? Does it make exploring audience feedback online more rewarding them they can binge through an entire season in one sitting and then give their opinion on it?
Araya: Media platforms have evolved and shifted so much in recent years, audiences have had to adapt. The beauty of online streaming is the convenience and the ability to watch at will. As an actress, one of the most exciting aspects of being involved in a Netflix show is that my friends and family all over the world can watch! JATP streamed to over 190 countries on September 10th, which is amazing! Fans will be able to decide whether to watch one at a time or all at once or many times over! I’m so proud of this show and excited to hear how audiences respond!

TrunkSpace: For fans, the final product of a film or series is always the most memorable part, but for those involved in a project, we’d imagine it goes much deeper than that. For you, what is something about your time working on Julie and the Phantoms that you’ll carry with you through the course of your life?
Araya: JATP was an incredible experience for many reasons. Working with the legendary Kenny Ortega was awesome and a dream come true! Something I will always remember about my experience filming JATP was the first time I heard one of the songs recorded by Madison and Charlie. I had mentioned that I hadn’t heard any of the songs yet and Charlie let me listen to one of the songs, as I sat there waiting for the next set up, I was weeping. The music was so incredibly beautiful, I was literally moved to tears. I’ll always remember that moment.

TrunkSpace: We’re in a bit of a weird time for the entertainment industry right now. While many films have been pushed back and production delays are setting up a pretty quiet fall TV season, some big projects are going right into homes, like Mulan and Bill & Ted Face the Music. How do you think COVID-19 will impact your industry as a whole moving forward?
Araya: No doubt the world at large has been impacted by the challenges of 2020. The entertainment industry has certainly felt the blow, however, the ‘biz’ is made up of highly resilient and adaptable people. In BC alone the local industry has been impacted by tax cuts, US dollar, writers strike and a host of other challenges over the years but we have always come back and have come back stronger! I am of this mind that this moment in our collective history is an opportunity for us as storytellers to do better and represent a greater cross-section of humanity through our stories.

TrunkSpace: As an actress – a profession where you generally are required to work directly with other people in a scene – how have you kept the tools in your toolbox sharp during this extended period of isolation?
Araya: Quarantine definitely forced us to get creative! I went back to my old acting books and rewatched some of my favorite films. I watched a lot of actors roundtables to stay connected to my craft. Also, thanks to Zoom I was able to participate in play readings which fill the creative tank! But the greatest gift was the time to go within and the space to grow.

TrunkSpace: Outside of acting, how have you kept yourself busy during quarantine? We know you are a plant lover – has gardening been an outlet that you’ve turned to during this time?
Araya: My plant babies definitely got me through quarantine. I’m always on the go, so being home and talking (yes, I talk to my plants!) they did so well! I also grew a garden on my balcony. It was the first time I attempted it and I can’t believe I didn’t do it sooner. I grew my garden from seeds and to watch the garden grow was so rewarding. Once my kale and chard came in, my morning routine consisted of harvesting my greens, making my smoothie and sitting out on the balcony watching the world and admiring my green thumb! It definitely helped keep the quarantine blues away.

TrunkSpace: What has been the biggest surprise to come out of a career as an actress that you could have never anticipated? What have you achieved/received by venturing down this path that otherwise you would have missed out on?
Araya: Being able to do what I love is such a gift. A career as an actor is not a linear path and I have been at this for a loooong time. Each year is different, some more rewarding than others, but along the way, I have met some of the most beautiful and inspiring people. Acting has also allowed me to investigate myself on a deeper level; I believe the better you know yourself the more you can give as an artist. That journey is a lifelong one and I’m grateful to continue it.

TrunkSpace: Where are you hardest on yourself as an actress/artist and how do you overcome those insecurities when they make an appearance?
Araya: I like to hold myself to a high standard at work and in life. But we are human and fallible and we make mistakes. Any time I have come into an insecure moment on set, whether it’s flubbing a line or getting caught up in your head, I know, from years of doing this, the inner critic has no place in that moment. I’ve worked with actors as a coach and have seen actors shut down and I’ll talk them through it. I’ve learned to be that same voice for myself. Instead of allowing myself to spiral, I’ll acknowledge whatever is challenging me in the moment, remind myself that I got this and BREATHE.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Araya: Tough question! I am so curious by nature and love to be two steps ahead of the game but if given the chance to travel forward and get a glimpse of my future, I’d pass. I know for me, had someone said “this is where you’d be 10 years from now” I couldn’t have imagined it. But I know that every experience big or small has shaped my present. So, I’ll keep on enjoying the moments and stay open to all the possibilities the future has!

Julie and the Phantoms is available now on Netflix.

With her sixth full-length album, Liz Longley is venturing into a new chapter of her musical journey, one that gifted her the independence to release her music on her own terms. Due this Friday, Funeral For My Past was fully funded through her fan base, leading to her becoming the fourth-most funded female solo artist on Kickstarter of all time.

“How my fans came together and contributed to Funeral For My Past is nothing short of extraordinary,” she said in an exclusive interview with TrunkSpace. “I am still in awe every time I think back on the journey this album has been on and how they completely changed my journey as an artist.”

We recently sat down with Longley to discuss mutual musical understandings, presidential playlists, and the evolution of “making it”.

TrunkSpace: What we love about your music is that it just makes us feel good – and feeling good is something that is in short supply this year. Does releasing Funeral For My Past feel different than previous albums given the state of the country/world? Because in a way, you’re serving as a facilitator of escape.
Longley: Releasing Funeral For My Past this month feels vastly different from any album release I’ve had in the past. Most of us are not only looking for an escape, but to feel less alone in what we’re experiencing. Without the ability to gather for live music like we did before, putting out this music is an outreach to listeners… it’s a way to say, “Hey, you’re not alone. Take a breath. You got this.”

TrunkSpace: For many people, music is like therapy. When you experience the way people connect to your music – oftentimes in ways that you could probably never imagine – what does that do for you creatively? Is it a well that you go to when inspiration is running dry?
Longley: The ability to connect with someone through music is the “why” behind what I do. That’s what keeps me going… hearing stories of people relating to my music. But the actual process of creating music is such an intimate thing, that to allow any outside influence, whether positive or negative, would only muddy the water.

TrunkSpace: That fan connection was probably never more apparent than when you were propelled to the fourth most-funded solo female artist of all time on Kickstarter. Does the fan contribution to Funeral For My Past make it feel extra special? When you look back on this period in 10 or 20 years, what will bring the biggest smile to your face?
Longley: How my fans came together and contributed to Funeral For My Past is nothing short of extraordinary. I am still in awe every time I think back on the journey this album has been on and how they completely changed my journey as an artist. It allowed me to be independent and release my music on my own terms. That will always make me smile!

TrunkSpace: What do you get writing and performing that you can’t achieve as a listener alone? What does that extra creative bump do for your brain that drifting off to another artist’s album is unable to achieve?
Longley: Simply the vibration of music is healing. It’s one thing to put music in your ears, but to create the resonance yourself does something for the mind, body and spirit. Still, I get a rush from listening to music, and hearing other people express themselves in a new way. Nothing is better than hearing a song that so perfectly sums up something you’re feeling.

TrunkSpace: We spoke last in 2017 just after the release of Weightless. Are you a different songwriter today than you were then and if so, why?
Longley: Ya know, I’m now reflecting on the titles of these records and realizing how much they point to where I was in my life. With Weightless I wanted to escape how I was feeling… cut the strings, and float above it all. In Funeral For My Past, I’m like okay… let’s dig into the feelings, try to understand them, heal the pain, and move on empowered. I still write songs from the same place, but as my outlook on life changed, so did the message in the songs.

TrunkSpace: If you sat down with 10-year-old Liz for a conversation, what would surprise that young girl most about the artist you are today?
Longley: I think she’d be shocked that she “made” it… and that “making it” is nothing like she had imagined. When you’re a kid, gosh, even when you’re a young adult, you have an idea of what success means. Now I know that success has nothing to do with big stages, or flashy production. Success has everything to do with whether or not you believe you’re making a difference in people’s lives.

TrunkSpace: Normally you would tour to support a new album, but that is not something that is possible in every state right now. How do you get the word out for Funeral For My Past when people can’t get out themselves?
Longley: Good question. Let me know if you find the answer. For now, I’m playing shows online and working to get more radio play. I’ve also just launched a Patreon page where I share behind the scenes for everything album related, which is fun! I’m doing my best to stay connected to the people that care. Word of mouth is a powerful tool… so if I just keep showing up, hopefully the word will get out. Also, if Obama could put me on his next playlist that’d be great, too.

TrunkSpace: What are you most proud of with the album?
Longley: With this record, I’m most proud of how authentically it captures who I am as an artist. So often in the recording process, you can lose the heart of the music in search for perfection. Working with producer Paul Moak, I learned that a perfect vocal recording has nothing to do with how much people FEEL what you’re singing. When I got lost in search of perfection, he constantly led me back to who I am as an artist and what really matters when you’re making an album.

TrunkSpace: Touring musicians tend to lead nomadic lives. What has being stationary for much of 2020 done for you emotionally? Has it been a welcome distraction or is the road calling you?
Longley: Staying home has left me feeling a mix of things. I often feel stuck in a box, missing the outside world and the stimulation from the ever-changing scenery of being a touring musician. At the same time, it’s been a good reminder that you don’t always have to be moving full speed ahead. This year was going to be the biggest year of my life. I was supposed to get married, release my best record, tour the country… but I’m humbly sitting at home and making the most of the precious moments that exist between the chaos of the outside world.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Longley: I think I’d rather not know… the mystery of it keeps me going.

Funeral For My Past is available this Friday.

Originally An American Pickle was destined for a theatrical release, but 2020 had other plans. When theaters closed due to COVID-19, the film’s star Molly Evensen wondered if people would ever see her hard work play out on screen, but thankfully it found a home beyond the megaplexes and premiered on HBO Max. In the end An American Pickle not only ensured its summer release, but it gave people self-quarantining at home a much needed escape.

“I’m honored to have it come out during this time and grateful that people can watch it from the comfort and safety of their own homes,” she said in an exclusive interview with TrunkSpace. “Hopefully it brings some joy and escapism in a time where both of those things are greatly needed.”

We recently sat down with Evensen to discuss managing expectations, taking leaps of faith, and her favorite literary escapes of 2020.

TrunkSpace: New England raised here. Dunkin’ Donuts (aka, Dunks or Dunkies) is like the air we breathe here. And then… we read that you were once IN a Dunkies’ ad? You’re blowing our minds! Tell us you got some “wicked awesome” free munchkins out of the deal!?
Evensen: New England is beautiful and Dunkin’ Donuts is great! They were such a treat to work with. But alas, there were no “munchkins.” It was still a very fun and silly day so I suppose I’ll let it slide.

TrunkSpace: In all seriousness, the far more impressive project you are currently promoting is An American Pickle, which for us, arrived at the perfect time because we needed a mental escape from the realities of, well, reality. Did it feel kind of special to have this film come out at a time when there wasn’t a lot of other new content circulating? In a way, it was just the “check out” people needed.
Evensen: It does feel very special to have it released during this strange time we’re living in. We shot the film almost two years ago and never did I ever think the world would look the way it does right now. The initial plan was for a theatrical release and when the theaters shut down and so many films were being pushed and rescheduled, I was a little worried that An American Pickle would be scrapped all together. I definitely sighed a huge sigh of relief when they made the HBO Max announcement. I’m honored to have it come out during this time and grateful that people can watch it from the comfort and safety of their own homes. Hopefully it brings some joy and escapism in a time where both of those things are greatly needed.

TrunkSpace: You worked alongside Seth Rogen in the project, which was the first HBO Max original release. Is it difficult to not assign expectations to a project of this size and how it could impact the rest of your career? How do you temper those “what ifs” with each project you take on?
Evensen: This is a great question. I’d say yes and no. Is that a cop out to say both? Yes, because it’s such a huge and cool opportunity overall. But also no, because I learned pretty early on that nothing is a guarantee. I was edited out of my first big commercial after telling all of my friends and family to watch for it… that was a humbling experience. I also booked an episode on a new series last year and my character wound up being written out in script rewrites. That’s just business, it’s nothing personal. Having had those experiences, I’d like to say I’m cautiously optimistic about things, but also hesitant to assign too much expectation from the get go. I think it’s human nature to get excited and to daydream, but trying to approach it from a more businesslike mindset saves a lot of mental energy in the long run. I also find I’m more productive when I focus on the present instead of daydreaming about the future.

TrunkSpace: We would imagine that a project of this size and scope would be just as much of a learning experience as it would be a job. What did you learn by observing or by osmosis on the An American Pickle set that you’ll apply to the rest of your career going forward?
Evensen: I think this is the first set where I really experienced what it’s like to have a scene partner who actually listens to you. And let me tell you, that is a game changer. So in that regard, I learned how to be an effective and giving scene partner.

TrunkSpace: What are you most proud of with your on-screen performance as Clara?
Evensen: Without giving too much away, there’s a crowd scene where I mouth the words, “I’m sorry.” I improvised that and have received a lot of great feedback about it, which is cool.

TrunkSpace: For the viewer, the end product is always the most memorable, but for those involved in the project it must go much further than that. What’s the most memorable aspect of getting to work on An American Pickle that you’ll carry with you through the rest of your life and career?
Evensen: I’d say the moment I answered the phone and found out I booked the job was quite memorable. The film came at a very transitional time in life for me. I had just taken a leap of faith and quit my serving job a week before I booked the film. Now, I’m not saying go out and quit your job, but I think this is a great example of trusting your gut and taking a leap.

TrunkSpace: What has been an unexpected bonus or reward – something you could have never anticipated when you first started your journey as an actress – to a career in the arts? What is an aspect of your life that you wouldn’t have now had you not taken this path, but at the same time, one that you can’t imagine your life without now?
Evensen: I think as someone in the arts you have to have some degree of empathy in order to understand characters and to experience emotions. I think I’ve always been fairly empathetic, but my empathy has grown over the years. And because of that I think my world view has grown and shifted so much by simply by being curious and listening to those around me. I love staring out at city lights and thinking about how there are millions of people living where those lights are who I will never meet, but they all have their own unique lives with people who love them and goals and dreams and things that are important to them. So I’d say overall a deeper curiosity for others’ experiences and a desire to listen and to understand. I know this doesn’t just apply to actors, but it has certainly been a bonus for me.\

TrunkSpace: There are ups and downs in any career, but certainly the entertainment industry is known for delivering peaks and valleys. Was there ever a moment where you considered walking away from acting, and if so, what kept you on your path and looking forward?
Evensen: I have never considered walking away from acting. I’m a very stubborn person. The more I hear no, the harder I work to hear the word yes. No is not an option for me. I will say there have been some very discouraging times and times where my patience and determination have been greatly tested. I’m fortunate to have a very large supportive immediate and extended family. They have pushed me forward on the days where I’ve struggled.

TrunkSpace: We read that you enjoy reading. What good books have you dove into this year to escape?
Evensen: This list could go on for a while, so I’ll keep it to the most recent. I just finished reading “On Earth We’re Briefly Gorgeous.” Wow, it was a beautiful book. Before that, I read the new Hunger Games prequel. I enjoyed it, but it also made me mad and that’s all I will say about that. Currently I’m reading a collection of short stories by Ted Chiang called “Stories of Your Life.” I’m a big fan of the film Arrival and it’s based on a short story in this book.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Evensen: As tempting as it would be, I’d politely decline. I’ve had plans and ideas for how I’d like things to go, but I’m continuously surprised by how much better everything turns out when it just unfolds. Currently working on finding peace in going with the flow and allowing life to surprise me.

An American Pickle is available now on HBO Max.

Name: Eduardo Ancer

Website: Here or Here

How did you break into the world of comic books?
My first foray into comic books was an indie comic called La Tierra Que Cubre (The Land Over All) in 2004 that I created with some friends. The idea was to produce a miniseries, but we were kind of young, and we could only deliver the first issue. This book was penciled by a good friend of mine who goes by the nickname “Rampant” and it was colored by Dono Sanchez – colorist for Marvel comics – and Tato Caballero. It was a true labor of love, I had to sell my car in order to pay a top colorist and print it in full color. The book performed pretty well by the standards of the market at that time, but not enough to carry on.

Later on, I met Carlos Gutierrez, from Metacube – an animation studio – where I had the chance to land a full time job. Under the Metacube umbrella, René Cordova and I produced another book, a 4-issue miniseries called Republica de Lucha (“Lucha Republic”).

At Metacube I had the chance of meeting folks like Carlos Villa (currently working for Marvel) and Pablo Polanco – Aztlan´s penciller – while working on an animated film that was released a couple of years back, Dia de Muertos (Day of The Dead). Long story short, while we were discussing the many projects we had, that’s when the idea for Aztlan was born.

Please, tell us about the Aztlan project.
Technically, Aztlan is a sort of sequel in spirit to The Land Over All. The concept was developed between 2010-2013, and we knew Pablo Polanco was just the right guy to pencil it. In 2014, he started working on the first volume, which was released until 2017 at the FIL (International Book Fair) of Guadalajara. The book performed really well, and we started to work on volume two right away.

Since its inception, we knew Aztlan had to be developed as a comic book, but we didn’t want to publish it in floppies. We pushed for the format it was released: A European sized hardcover book, that we could even export to other markets. The first book had a small, but decent print run, and now it is sold out.

How would you describe what Aztlan is about?
Aztlan is a Mesoamerican fantasy, based on the Legend of the Five Suns of the Aztec Calendar. It is said that the world we live in is the Fifth Sun, or the fifth era if you will, and there was four Suns before that, and all of them were destroyed. Aztlan is the story of the Fourth Sun, and the heroes that tried to prevent its cataclysm. I think it is a beautiful story; what the heroes have to face and live through is something very human, and I think everyone, regardless of their culture, could relate to it, especially in this year, in which the end of the world is a constant thought in many people’s minds. Our heroes have to make a choice: do nothing, stay in their comfort zone, or try to do their best to save their world. That’s a very universal theme, something any person in the world could relate to.

The fact that the story is set in a different world allows the story to portrait lots of fantastical things and creatures, it doesn’t have to be historically accurate, right?
Yeah, we even have some megaterium running around, and some people told us “but the megaterium wasn’t alive during the time of the Aztecs”. And of course we are aware of it, and many other historical inaccuracies, but you have to keep in mind that this story is set in a different time and a different world, and above all, that it is a fantasy book. In a way, it is an essay to speculate what a world, in which Mesoamerican cultures thrived, could be like. A Mesoamerican world that went through a cultural, artistic and even technological revolution, unlike the Aztecs from the Fifth Sun, whose development was brutally halted by the Spanish Conquest.

The art looks gorgeous. What can you tell us about Pablo Polanco’s artwork?
We were really lucky to find him. If you’ve ever pictured and artist living in a studio, with the blinds down, painting on a canvas and not even owning a bed –because in Pablo’s words “it makes you feel too comfortable”- that’s Pablo. And the most amazing thing is that he had never, ever penciled a comic book in his life before Aztlan!!! In fact, when he started working on the book, he wasn´t too keen on drawing digitally, he needed to feel the pencil, the paper, the inks and colors, but two weeks after he touched a Cintiq for the first time, he just rocked those pages. He’s a monster in the very best sense of the word.

A funny thing is that he wanted to treat every panel as an individual painting. He draws in a large format and tends to add an insane amount of detail into every panel. We always told him “You don´t have to do it, we are going to scale it down and some parts will be covered with text bubbles. Those houses you spent two days working on? I’m going to put text over them!” But he just didn’t care. And now we are thankful he didn’t listen to us, because the level of detail he puts into every page is breathtaking. He told us he even drew an actual cellphone hidden somewhere in the art just for fun (laughs). I’m trying to convince him to draw a Starbucks cup for the readers to find, just like in that infamous scene in the last season of Game of Thrones. (Laughter)

Please tell us about the Kickstarter campaign for Aztlan Volume 2
This second volume will be released simultaneously with a reprint of the first volume with a new and revised edition that will be available in four languages: Spanish, English, French and even Nahuatl, the language the real Aztecs spoke and that many indigenous people still speak to this day. The Nahuatl edition will only have a limited print run of 500 copies, by the way. The second volume will be available only in Spanish and English, for now, due to print and delivery costs.

Now, the book is done, and we are taking care of every detail in order to have a top notch final product. That’s why we need all the help we can get through this Kickstarter campaign. There are many tiers with different rewards. If you want both books, we are offering a special package price, among other cool perks. And yes, we can deliver worldwide. If you´re anywhere in the US, be sure we are working on offering an affordable delivery option.

The Kickstarter campaign ends on September 20^th, so you still have time – but don´t wait until the very end – to reserve your copy!

For the Americana band Two Bird Stone, the magic isn’t only in the music, but in its members. Having known each other for two decades, there is a kinship in their creativeness that translates into the songwriting, a fact that is apparent when listening to their latest album, Hands And Knees, set for release tomorrow via Soundly Music.

“Collaborations are second nature for us, but the secret sauce is the fact that we’ve known and loved each other for over 20 years,” said lead singer Liam Thomas Bailey in an exclusive interview with TrunkSpace.

We recently sat down with Bailey to discuss releasing a record in the middle of a pandemic, the evolution of lyrical literacy, and non-duel concepts.

TrunkSpace: Americana has been enjoying a real resurgence in recent years. Why do you think the genre is connecting with audiences in 2020?
Bailey: I think the understated production, more acoustic instrumentation, and less commercial nature of Americana provides a nice balance for anyone who feels overwhelmed by the amount of information, vitriol, and sensationalism we face on any given day. I also think the growing popularity reflects another side of our increasing connectivity: older music enthusiasts have more access to platforms that help them find new music!

TrunkSpace: This has been a difficult year for many and music has become a much-needed distraction from a real world that is sometimes too real. What do you hope people will find in Two Bird Stone’s music when they press play?
Bailey: I hope folks find our music reassuring. We sing songs about love, hope, the nature of change, and the beauty of the experience change will provide. I also feel that there is a sense of reassurance embedded in the very essence of the timeless fiddle tunes we quote within our songs. Fiddle tunes are great evidence that we go on; we modify and we create.

TrunkSpace: There’s such great instrumentation in your songs. How do the Two Bird Stone songs come to life? Is it music first and then lyrics or does the creative inspiration come from different places?
Bailey: This record was all about development. I provided the song material and the band piled on as they came into the project. We’ve all played for many other artists professionally. Collaborations are second nature for us, but the secret sauce is the fact that we’ve known and loved each other for over 20 years.

TrunkSpace: Your album, Hands And Knees, is due on September 11. What kind of emotions do you juggle with when releasing new material to the masses, and is the experience different this time around given that the entire world, essentially, has ground to a halt?
Bailey: Wow, what great question. Of course, it’s always very daunting to dangle your creative efforts in front of the public for the edification of strangers, but now that you mention it, it feels less so in the midst of the pandemic. I don’t think it’s ever been easier to throw my hands up and say, “What the hell?! It’s not like I’m going to make things any worse!!”

TrunkSpace: Normally you would tour to support a new release, but that is not something that is possible in every state right now. How has promoting the upcoming music changed?
Bailey: Streaming shows, no radio tour, no definitive release-related performances; things are so far out of one’s control that there’s no use in the feeling of disappointment. I don’t really think about it.

TrunkSpace: How do you get the word out when people can’t get out themselves?
Bailey: I’ve been lucky enough to experience the thrill of playing enormous tours supporting international acts as a sideman without ever having to maintain ANY social media platforms. Of course, now I wish I had been active on Instagram and Facebook through those years, but in light of the fact that I wasn’t, I’ve been using this time to learn what I can about socials to develop a presence I can maintain. We also have a small team of folks that are close to the project that help get the word out.

TrunkSpace: If someone sat down and listened to your upcoming Hands And Knees front to back, what would they learn about you and where you’re at as a band and as songwriters in 2020?
Bailey: Our reviews have been glowing, but I feel like the writers share an understanding that this music (and this band) have been developing throughout the production of our first record and that the future holds a fully realized Two Bird Stone. If you love music, this album will absolutely make your ears perk up and get you involved, but we won’t have the problem of the “difficult second record” – our next album will be our punchiest and most definitive.

TrunkSpace: What are you most proud of with the album?
Bailey: I’m most proud of the writing. My writing suffered on my earlier records because it wasn’t a priority for me. That may sound ridiculous, but I was always preoccupied with the actual music, and dropping words into my music was just a way to get a song done. I’m very far from that approach these days. If I can’t find a clearly stated message in a song then I know it won’t function properly. People will recognize potential in this case, but they won’t attach to the music.

TrunkSpace: There is a rich history of music-making in Two Bird Stone and you have all created with other musicians prior to this project. What made this one so special and when did you know it was?
Bailey: Judd Fuller was always a part of the early visions I had for this band, but I knew it was special when Chad Kelly joined us on accordion. Things came into focus very quickly after that. Another old friend and deep musical collaborator, Rohin Khemani from Red Baraat, joined very shortly after. He subbed on drums and world percussion for a run of shows in New England and we asked him to join on the ferry ride home from Martha’s Vineyard. We’ve all known each other for over 20 years.

TrunkSpace: What has been the most rewarding aspect of creating together thus far?
Bailey: Developing the material in our live performances has far and away been the most rewarding and revealing aspect of our work together. That’s where I’ve been getting a tremendous sense of what this is becoming. It’s a shame our formative efforts were cut short as a result of the outbreak, but I’m not worried. Two Bird Stone is here now, and we aren’t going away.

TrunkSpace: What has this project done for you personally that you felt was a missing component from those you participated in previously?
Bailey: I’ve always played with great musicians, but hyper-musicianship is different. That’s what each of these boys bring to Two Bird Stone. Though they each have staggering levels of experience and talent, what they bring to this project is something that no amount of practice or performance can manifest. It is a shared sense of how we see the universe and how music fits into it. They are the finest musicians I know as a result of the fresh musical choices they make.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Bailey: I’m experienced enough to know that whatever the future holds is stranger than I could imagine and the journey will be plenty surprising without time travel. I have somehow developed a very non-dual sensibility and time isn’t exempt from the “one-ness” in my view. When you can see everything with a “300-year view,” 10 years is the blink of an eye. If you go a little further, then all time is happening at once. I know I sound like a nut when I articulate non-dual concepts, but I’m not alone in feeling this way.

Hands And Knees arrives tomorrow via Soundly Music.