Just released a new solo single this past Friday entitled “Treacherous Weather.” It’s available on all major streaming platforms (some links below). Written, performed, recorded, produced, mixed, and mastered by me.
October 2019. That was the last time I photographed a live concert. So, I was very curious (maybe a little anxious, too) how successful I’d be going into photographing Sleigh Bells, N3PTUNE (with Rusty Steve), and EU1OGY this past Saturday, August 27th, at Theatre of Living Arts in Philadelphia. It was a venue I had never been to before, and I was shooting the show with a camera that, while I had plenty of experience with, had never used in low light environments — and it’s not a camera particularly known for performing well without adequate lighting. I won’t wax on past that, but, suffice to say, I was really, really stoked with what I came out of the show with. You can see the selects from all three sets below.
EU1OGY
Full disclosure: this is a friend of mine. We just got connected this year, but we’ve become good friends through our love of music, art, culture, etc. So I was honored when he invited me to join him for his opening set at the 9:30 Club in Washington, D.C. on Tuesday, August 23rd, and then again in Philly. EU1OGY is an experience…a focused blast of punk, metal, noise, hip-hop, raw emotion, angst, happiness, joy. There is something for everyone in his set, and he made it a point in-between songs to show love and voice the power of coming together. Having seen him (for the 1st time) in DC and then again this night in Philly, I can attest to the fact that he is great at winning over crowds — even when there are technical difficulties. So, it’s not hard to believe me when I say he plays every set like it might be his last. Hopefully, I did my friend justice with the frames you’ll see below.
N3PTUNE (with Rusty Steve)
Hailing from Denver, CO, you would be hard-pressed to find a newer act as genuinely exciting as this one. They might be newer to the scene, but I can promise you they sound like they have BEEN THROUGH SOME STUFF. I said it before on Instagram, but Prince came to mind seeing them live with how heavy, soulful, and captivating the whole thing was — especially since it was just N3PTUNE and Rusty Steve and no crazy stage set or anything! I can’t wait to see them live again.
SLEIGH BELLS
I had never seen Sleigh Bells live despite being quite familiar with them since they came out over a decade ago. Luckily, this particular week I was fortunate enough to see them in DC and here at the “Texis” tour closer in Philly. If you want to be reminded why it’s worth celebrating just being alive — no matter how bad things seem — see Sleigh Bells live. You will NOT be disappointed. The addition of Kate Steinberg on keys and backup vocals as well as Jharis Yokley on drums made songs I’ve come to love sound even better — and more massive — live. Hearing Sleigh Bells on record, you might think they’re a studio band, but, I can assure you, they are very much a live band when you see them like this. Can’t wait to see them live again, as well. Congrats on the “Texis” tour!
It’s Monday, May 3, 2021.
I had just received an email with a link to the masters for the debut LP by ALEK FIN. The email did not have an album release date listed. I was receiving it early as a gauge of whether or not I was interested in working on a video for any songs on the album. Did any strike me? I knew several would before I even hit play, because I had a long history of being a fan of ALEK FIN’s music. The excitement of potentially developing original video content for ALEK FIN was only matched by the nerves of ensuring I’d do the work justice — after all, this new album was a culmination of a year’s worth of work to craft an absolutely stellar debut LP.
I first met Adam (ALEK FIN) over a decade ago when his song “Waiting Like A Wolf” was featured on Jay-Z’s now-defunct music and culture website Life+Times. I was so captivated by the world he had built sonically — and how he sounded almost like Jeff Buckley fronting Radiohead. Back then, I was running a music site called Mixtape Muse and immediately wrote my own feature on the track purely inspired by the love of what I was hearing.
Fast forward a few years to 2019 and I was tapped to develop, produce, and direct a music video for the title-track off of ALEK FIN’s “LMG” EP. Now, while I’d love to dive deep into that project here, suffice to say, it was the success of that collaboration that lead to this moment in May 2021.
Early camera test when stop-motion was considered as a technique. Picasso once said, “Inspiration exists but it must find you working.”
Throughout the remainder of 2021, ALEK and I would have many phone calls diving deep into the inspiration and intention of this new body of work. Put simply, it was very much about deconstructing the world around us, pushing people to find new avenues of awareness, “unlearning” to rediscover everyday things – from traffic patterns to a blade of grass – seeing everything with new eyes. What new perspective and meaning could you find in the minutiae of the simplest of things, things that you passed everyday but never really noticed?
Over several phone and Zoom calls — and many quiet sessions of ideation — many concepts were considered, discussed, abandoned, and/or exercised to a degree before arriving at what would be the final treatment that was greenlit and went into production at the beginning of 2022. Over a few months, I received various forms of imagery for inspiration.
An early idea played with the concept of visually paralleling seemingly disparate elements of the everyday by placing them in a frame built from the ALEK FIN logomark. How might the human eye, in its maze of color and lines find similarity with an aerial shot of traffic dancing around a circular intersection? Or how might the pedals of a flower mimic the leading lines of an eye’s iris? This concept first came about when the initial scope of the project was making some short videos for social to promote the album — focusing more on visualizers than something with any real narrative. I asked about imagery that spoke to him as well as a color palette that, in his mind, felt closest to the tone of the music — from warm to cold.
Even before the moment I knew I’d be working on shooting original content for ALEK FIN, I already knew I’d be asking my good friend Daniel St. Ours, a professional DP, if he’d be interested in working on the project. And from early conversations with him, it was decided that building a lot of the treatment around a probe lens was going to be pivotal in hitting the “deconstruction” direction of the overall project. Because without manipulating reality, this lens would allow us to capture what was in front of us from a totally unique, honest perspective that we would otherwise be unable to see with our own eyes.
On February 1, 2022, Dan and I shot all principal photography for the video in a day. Over the course of the next two months, I worked on the edit outside of my day job until we called V7 our final cut at the end of March. And while I’d love to get into more of the behind-the-scenes, what is used to create the imagery in the final cut, etc….I really don’t want to ruin the experience. Plus, I’ve waxed on enough already and today, this moment, is more about the work of ALEK FIN. So, if you haven’t seen it already, without further adieu…