Matt O'Connor recently started a record label inspired by the need to help trans youth, creating Worry Beads Records' first release, a compilation of 18 different bands called True Names: A Benefit for Trans Youth. We talked about how we can create space to honor and support trans youth, while not only with fundraising, but also through the impact of literature and music. We also talked about literature, the origin of True Names, and learning how to open the self by letting go of control.

Trans Youth Emergency Project Website

True Names: A Benefit for Trans Youth compilation on Bandcamp

Worry Bead Records Instagram

I tracked down David Schellenberg after listening to the new record of his band Tunic, A Harmony of Loss Has Been Sung. Listening to the album was an intense experience and a pleasure for me. I liked listening to this record in my car the best, surrounded by the dark tones, the grief and pain in the lyrics, and the absolutely stunning composition of instruments, dragging me into the depths of this loss. The deep bass, the wretched pain in Schellenberg's voice, wails of loss, and a cathartic expression through dissonant sounds and distorted guitars. The album is a gut punch, and it hurts so good.

We talk about the Winnipeg music scene, creating and growing as an artist, composition, communication, pain, and grief.

Tunic - Ordinary Unique Pain (Official Visualizer)

Tunic Instagram

Tunic Website

In this interview, I hang out with Ian Kelly, a versatile rapper and storyteller from Oakland, California. We talk about community, the artist's evolution, intentionality, and of course, all of this involves music.

As I’ve continued to talk to artists recently, I’ve noticed that there are certain things a few have in common in their growth. It’s part of being intentional and part of letting go. This can seem strange because it’s contradictory, but it also seems true. Ian and I discussed this relation to his evolution. I don’t know; we’ll see where this goes as I interview more artists.

Something unique I appreciated about Kelly’s process is this idea of motion and imagery. He says that he “creates in motion” and that he takes opportunities to create, to imagine, while walking in the park or in the ideal passenger seat of the car. This is when he imagines, sees, and conceptualizes. He’s an imagery person, and I like it when sentences, bars, lines, and words produce images in my brain. I don’t always think about this, but it’s nice when I hear someone's words, and a scene is laid out in front of me, in my head. It’s funny how image and imagine are so closely related because one is so concrete, and the other extremely expansive.

Kelly has a few singles out, leading up to his Concrete Ocean EP, which will be released this May (2025). He also has three LPs.

Here are a couple of the latest singles:

WTA, featuring DJ D Sharp

SLIDIN, featuring DJ D Sharp and Iamsu!

You can also hear Kelly freestyling on Sway in the Morning HERE.

Ian Kelly website: https://www.firstnameian.com/about

PHOTO BY Lara Kaur

Lara Kaur Linktree

I recently reviewed Friedman's debut album, New Thing, in Post-Trash magazine. Knowing she had limited time because it was the week of the album's release, I came up with three questions that focused mainly on community and performance.

This interview with my OLYMPUS Digital Voice Recorder VN-7200 was recorded over the phone, so it's fuzzy. To me, it feels like one of those voice memos on a Midwest emo song, where someone is playing some slow single-string notes on a guitar, and someone is talking over it, contemplating something.

Check out the Album HERE

Check out the Album Review HERE

In the early 2000s, I lived in Ypsilanti, Michigan, a few blocks away from Mark Paffi. Through friends of friends, I ended up going to these Wednesday night parties Paffi threw, hosting friends in the community. I remember meeting John Gaviglio there, and we were sitting on a couch. We talked about music, and he told me he was in a band named Bear vs. Shark. I was excited when he mentioned that one of their many influences was At the Drive-In, as I was enamoured with that band at the time. I started going to Bear vs. Shark shows right after that moment, which were a string of basements, punk houses, and small venues.

The spacing in their songs was unique to me. Not everything was in 4/4 timing; the sound each guitar player made was unique, different, and unfamiliar. Paffi would periodically shove the microphone in his mouth, gyrate his body, press his head onto fans' heads while singing, and perform as a conduit for some unseen energy. They’d switch instruments for different songs throughout the set. There were so many moving parts. It felt good to watch them. It felt exciting and explosive. The sound they produced was expansive, energetic, and coordinated, while unpredictable. I went to every show of theirs I could because I wanted to keep feeling all of those feelings.

I always got those feelings when I saw them through the years—in the Los Angeles area a few times after Michigan, mostly because I lived there for a long time—and I still got those feelings when I saw them on 2025 April 13, 2025, in Philadelphia.

For the first time, it dawned on me when I saw them play at this recent show, that Bear vs. Shark carried with them through the years this raw, anamalistic, charged energy. And it reminded me of literal bears and sharks, the power of music, and the desire for self-expression - to burn white hot with instinct, and what organized energy can become.

I’m grateful that I got to interview Marc Paffi and John Gaviglio of Bear vs. Shark in one of the many greenrooms backstage at Union Transfer. We talk about intention, composition, life, Fugazi, and music in general. Thank you guys! Much love!

Jonah