How long have you been living in Reading & favorite things about the area?
Not all that long actually – just over two years. I’m from Coatesville, PA originally, and I’ve lived in a few different places around the state including Philly, but I also lived in California for years and Paris, France for a while. I’ve always liked Pennsylvania for its woods and pervasive working-class; Reading has both those things in abundance.
How old & first song and/or album you fell in love with?
I was raised on a vinyl diet. My mom had a crate of records we’d shuffle through usually when we were cleaning house. I was young, but the records I kept putting on were Creedence Clearwater Revival’s Green River, Cat Stevens’ Tea for the Tillerman, Black Sabbath’s Masters of Reality, David Bowie’s Hunky Dory, The Who’s Quadophrenia (my mom’s favorite) and T. Rex’s Electric Warrior, so it’d have to be one of them. Then again, I have a visceral memory of bringing a tin of tapes with me on a family vacation and getting really into The Beatles.
What were the main inspirations for starting Tlooth and your debut s/t album ?
Tlooth came about as two other bands I was in were ending. I had a handful of songs that neither band would ever use, so I figured it was a good time to look for another outlet. I asked my friend Pat (Chiseled Lilies, the Squonks) if he was interested since we shared a lot of music interests. My inspirations at the start were bands like Unwound, Sonic Youth, Polvo, PJ Harvey, the Breeders; I don’t think we really sound like any of those bands though. The rest kind of fell in our laps a bit.
As for the album – with all of us being the age we are – we wanted to assemble something that felt very much like an album we’d have loved as teens. (Do we really love anything the same way we did then, when things could be new, your first? I don’t know.) We didn’t overthink it or focus on that goal, but I think we all had it in mind from the start. We knew the feel, we knew where the songs made sense, and we knew it’d all have to work together. We’re very grateful that it seems to do what we set out to do.
What does your songwriting process look like?
Typically, David (vocals, guitar, synth) or I bring an idea. We figure it out as a band. Often we’ll end up recording it only a few weeks later. The recording process is still very much part of the songwriting process. Often, I’ll solidify my guitar parts while recording. I think David does this as well. I’ve surrendered my writing of lyrics, and it’s wonderful to have someone like David to trust with the voice of the band. From beginning to end, it’s pretty straightforward. Then again, almost every song starts with an odd jazz feel or something that might be a joke and just lingers. You never know really.
Favorite piece of gear?
I’m not a gearhead at all. I like my amp, and I like my guitar. My amp has tubes, and my guitar has six strings. That’s good enough for me. I have some pedals, and I feel like people would joke that it’s my delay pedal I love the most, but they would be wrong because I have two delay pedals that run in unison, and I cannot split my love in two.
What motivated you to open a DIY venue?
I run Pleasuretone with some friends. Two of them, Nick and D’Arcy run Cloud 10. For years before Pleasuretone, it was a solid DIY basement (and still is). Basements have their limitations, and Nick yearned for more space. We somehow found some, and we knew we could host more shows. I’d been booking my own bands for a few years by then and had a good sense of who was around. I organized the backend – calendar, emails, socials, booking – and Nick took on the backline. So I suppose the motivation was simply that we could, and together we all have the skillsets to run it smoothly and pivot when things don’t go according to plan. We really wouldn’t be able to do what we do outside Reading or outside some other city like Reading. So, again, we saw a void and filled it.
How long did it take to set up and book your first show?
First ever ever? My first booking was done by phone while I was a freshman in high school. As a booking band member and an adult, it only took only long enough for me to realize other people in bands are very much just other people in bands. You have more in common than not typically. As for Pleasuretone, we took two months to clean up the space and make it usable. We had the first show booked a few weeks into those 2 months. Between bands I’d played with and bands I knew, it was pretty straightforward.
Do you have a dream venue to play and/or artist to host?
My dream venue would be Fennario’s in West Chester in 2002. It’s no longer called that, and I don’t think they have shows anymore. I know this isn’t what you meant. When it comes to hosting, I’m a realist, so I’m going to name a lot of artists I’d like to host that would likely play Pleasuretone. We’ve been fortunate to have had bands that have gone on to do a lot of great things (see Porcelain touring with Chat Pile, Agriculture and Pelican), and we’ve got a few more “big ones” to announce soon. DIY is a vital part of music and many “big musician’s” history, so real ones recognize and love to play smaller rooms like ours sometimes. Anyway, here’s my list of bands I’d like to host one day: Nightosphere, Twisted Teens, Flooding, Bondo, Sister Agnes, Landowner, Alvilda, Gloop, Muscle, Fell Omen, Editrix, Open Head, Claire Cronin, Pardoner, Halloween, Clifford, Pleaser, Lùlù, Mopar Stars, Irnini Mons, Marathon 77, Krill, Science Man, Pile, Ovlov, Alpha Hopper…
Top 3 most memorable moments?
Eating really good falafel at Dan Angel’s old studio (Near Boner 4ever) while recording Canid’s last album New Planet Radio. The falafel was really good.
Sean (Bad History Month) playing solo on a too small stool in the very hot gallery at Pleasuretone with no fans – he insisted we turn them off so there was no ambient noise. We all knew the stool would break, and it did. He just laughed and kept going. Ben (Dust from 1000 Years) got it all on video.
Every time I get to announce a bill I’m very excited about or give away
Top 3 lessons learned?
Don’t host or play shows you’re not excited about.
Support DIY spaces, and they’ll support you.
Email, don’t DM. Even if the band/booker initiates over DM, finalize everything in an email with a subject line that includes the date, location and venue name so it is easy to find. Scheduling email reminders is your friend.
What is your advice for someone thinking about starting to book and/or host DIY shows?
Do it because you love it. If you’re planning to make money, don’t do it. Consider your backline and setup; make it simple for the bands you host. Swing big but be realistic too. Include locals, support locals. Hire artists if you can or make your own flyers. Have high standards. You don’t need to say yes to everything. In fact, say no more often.
What does the PA music scene mean to you?
Coming back to PA and starting a band in 2019, I was grateful to quickly find like-minded people, and we all strived to support each other – and still do. In those early days, it was DD Moon/RA!D/Pale Fang, Nick from Cloud 10/Faux Fear, the boys in Hover, Diego at Impetus Records, Seismic… We all were in it for the fun of it, and it was equally nice to support and to be supported. So, if PA can do that, I’m with it; it means it’s sustainable practice even if the outcome is friendships as an adult. Since Pleasuretone’s opening, we’ve all been very lucky to host great bands and even better people. I think a lot of music scenes anywhere do the same thing: remind you you’ve got a community, big or small.
How long have you been living in Central PA & favorite things about the area?
I’ve lived in central PA my entire life. My favorite thing about the area is the different types of food I can get around here and the accessibility to get to major cities easily and still make it home for work on Monday.
How old & first song and/or album you fell in love with?
The first album I ever fell in love with was American Idiot by Green Day. I was 5 years old when it came out and my dad played it in the car all the time. He didn’t mean to, but exposing me to that album at such a young age turned me emo 100% lol
Who were your earliest favorite drag queens & how did they help inspire Ashley Jack Tabernacle?
My OG favorite drag queen was Alaska Thunderfuck 5000. When her season first came out I was pretty young and new to the idea of drag, I just remember thinking that her style was so strange and ethereal that I wanted to be beautiful and off putting like that. Eventually I discovered Katya when her season came out, and that character definitely shaped Ashley Jack in the way of being kooky while still looking flawless. I also met peppermint in college and fell in love with the kindness and care free motherly energy she gave off while hosting.
What motivated you to start creating original music?
I got in to folk punk around 15 years old and I just really enjoyed the idea that some dude (Pat the bunny lol) could record something on his phone and put it out and it didn’t matter what the sound quality was, people could see the importance of it past the recording. I guess that gave me the “hey, I can do it too” kick that inspired me to give it a try.
What does your songwriting process look like?
I only write about things that have affected me emotionally. And I turn them into a story. I always wished I could just pull stuff out my ass but alas, I guess only some people have that gift. I listen to songs I enjoy and capture my feelings well and try to see what chord progressions feel like a good accompaniment to the stories I have to tell.
Favorite pre-show ritual?
For music shows - probably just joking with April, my bandmate, until I feel the courage to step out and socialize. For drag shows - doing my makeup with my bestie and making each other laugh listening to the worst beats we can find.
Top 3 most memorable moments?
First, would be the sold out shows in London I played in 2024. Absolute insanity to fly 6 hours across an ocean and people know who you are.
Second, would be driving back from a show in Rhode Island to April’s parents house in Staten Island and Moth, Pigeon, Ness, Dan, and April coming up with horrible Irish drinking songs and informercial music to keep us awake. We were going insane with just improvising tag lines.
Last, would be getting recognized as my music project by a security guard at a reel big fish concert like 6 years ago lmao
Top 3 lessons learned?
If you make it, someone out there will like it. Literally the lady Gaga thing where’s shes like 100 people in a room who don’t believe in you yadadada. You only get better with experience. Doing things in your home and doing them on stage with an audience are completely different things. Learned that the hard way with drag. Get a guitar with a pickup. Having to soundcheck with a mixed up acoustic guitar so many times will give you tinnitus so bad that you go to urgent care because you think you popped an ear drum.
What advice would you give someone looking to start an original music project or drag/hosting drag shows?
Literally just fucking do it, and be a bother to promoters and constantly pester to get on shows. That’s the only way sometimes. Once you get a foot in the door and make friends things will come to you a whole lot easier. Be respectful of the chances you’re given.
What does the Central PA music & arts scene mean to you?
I’m probably biased because I grew up with it. I have a infinite love for it but the scene has also seen me at worst, whether it’s drinking too much, in psychosis, or just immaturity. I don’t usually play shows in my hometown. It’s always a delightful surprise when people still come out to support, even if they knew me during the harder times in my life. . A lot of artists I respect are from here and a lot of artists I despise are from here. I’m sure it’s the same for every scene. But it gives an outlet to artists that everyone needs.
In a world that is incredibly sterile and manufactured for internet, marketing and smarmy newspaper write-ups, on March 21st, Derek Zanetti threw an art show at West Art that blew the doors off. Along with Jill Good, these two Lancaster residents tirelessly toiled to promote their event, for months in advance, hoping to share their respective art with an interested community of art enthusiasts. This show is special in the way that everything is an original one of one, with no prints or copies being made.
At present, there is an ongoing war between handmade original art and computer generated, artificially manufactured images known as AI “art”. This is due to ever-greedy billionaires looking to usurp the power of human creativity. Zanetti and Good wanted the public to bear witness to their humanity and ask if human made art was still important to them. Thanks to their valiant efforts, the overwhelming response from the local art community left them dumbfounded.
By the time the second round of charcuterie boards were brought up from the cooler, the tables and chairs were filled and West Art was standing room only. People were milling about in the hallways and beginning to spill into City Hall. Fast forward to 8:30 and Derek’s animated short film Human Meat Soup debuted, along with a live musical score, performed by the man himself. The film is a series of short animation loops made over the course of six months, by making analog animations for one hour each day. The film felt human, in a way that no AI generated images ever could, and the live music was a wonderful accompaniment that held your attention throughout. As the 12 minute film came to a close, the room erupted with a rousing round of applause. The boisterous cheers and shouts whirled the room into gales of merriment.
Jill Good showed a bevy of handmade quilts in different sizes, shapes and color patterns and the support for her efforts was overwhelming. Both artists knocked it out of the park and sold 70% of the entire show on opening night!
As readers of this zine know, there is a robust, electric undercurrent rippling through Lancaster. It is vibrant, exciting, and happening organically. For a long time, the means to show art in Lancaster have been difficult to engage with and often come with upwardly mobile limitations. However, a new era is dawning here at West Art, and elsewhere in basements and living rooms across town. Artists are throwing amazing shows for, and by, themselves. The community has been doing their part by showing out, in great numbers, to give outstanding support. If you’re not paying attention, start paying attention. It would be a shame to miss such a sensational moment in our town’s history.
Derek and Jill have their art hanging in West Art until the end of June, when a new class of artists will hang their artwork for the summer season.
How long have you lived in Lancaster and what is your favorite thing about the city?
I’ve lived in Lancaster for five years in May of this year. My favorite thing is how wonderful and easy it is to make real friends, in a new town, in your 40s. Lancaster has been so welcoming to us and has provided so many amazing community activities and opportunities to engage. From puppet night at Zoetropolis, to record listening parties at A Day In The Life records, to West Art, to the magic that was ESO Arts, I’ve made so many wonderful friends and feel like I’ve lived here my entire life. I’m very thankful.
What were your earliest artistic influences?
I would have to say that Daniel Johnson plays a huge role in what I think is good and cool and interesting and weird. I’m also hyper obsessed with Mr. Rogers Neighbourhood and the art and imagery that goes along with that television program. Pee-wee Herman as well. I also am obsessed with the album art from They Might Be Giants self titled debut album and artwork from the band Tom Tom Club. I have been obsessed with this specific type of art for a very long time and use its influence, and my own thoughts and style, to create art that I also would want to consume. I guess I just want to make the art that if I walked into an art gallery, and I saw it on the wall, I would be blown away and want to purchase it.
How did you meet Jill Good?
Jill and her partner Matt are friends with Dan and Katie Zdilla who are my good buddies and co-founders of The Diorama Club (more on that at another time). We’ve been hanging out in the same circles for the last few years and I was absolutely blown away by her quilting and dedication to her process. She also has the massive, community sourced quilt in the Amtrak station, behind glass, that I donated a few T-shirts from my old punk band towards, which she used with gladness.
What are the top 3 most memorable moments in your art career?
When I first showed Patterns in Déjà Vu at Eso Arts in 2024. I hung 24 original paintings and showed my art here in Lancaster for the very first time. The art show was an overwhelming success and nearly sold out, in less than a month.
I had an opportunity to paint the elevator floor at West Art with world famous graffiti celebrity and local legend Crumbs. We would go out to my garage in the blistering cold of January of this year and work together on finishing this floor. After 30 coats of lacquer and two months of airing out that stink. The elevator floor at West Art looks 1000% sick.
My most favorite moment of my artistic career was after the Patterns in Déjà Vu show when Tom, from one of my most favorite bands MXPX, bought one of my paintings and I shipped it to him on the West Coast. I officially felt like I’d arrived as an artist to have somebody that I looked up to my entire life and one of my favorite band dudes ever, liked my art so much that he bought a painting and that it’s now hanging in his home. I’m still flabbergasted by that every time I think about it.
What is an important lesson learned?
The greatest lesson I’ve learned in making art is that if you make it and you believe in it, there is no amount of gatekeeping or hipster policing that will hold you back. If there’s something that you want to do, but not a lane provided for you to do it in, it’s your responsibility to make it happen in the way that you want to do it. That goes the same with publishing literature. That goes the same with being in a band. Opening a bakery. Owning a bookstore. If there’s something that you want to see in your community and it doesn’t exist, it’s your responsibility to birth it. That’s what this art show here at West Art, that is hanging right now, has taught me. If you have an idea in your mind and the thing that you make is good and you believe in it, you absolutely can’t take no for an answer. Because if you don't do it for yourself, it will never happen by accident.
How long have you been living in Lancaster & favorite things about the area?
I moved here in fall 2013 to work for LNP’s advertising department (lol), so I guess 13 years? Dang. Before I moved here, my now-spouse/then-partner had been here a couple years and described it as an intersectional oasis in the middle of a weird red county. A decade later, that is still true; we just understand it also has little asterisks attached to it. You know the kind: “yes, we love our queers and artists but we love our 55+ communities that no one asked for more!!”; the Josh Parsons of it all, etc. etc.
I love what the people here are doing and every day I walk downtown, I find a new reason to fall in love with Lancaster and its unhinged, thoughtful, compassionate, brilliant artists of all walks who are always down to clown and collaborate.
Also, as a Taurus who doesn’t believe in anything about astrology, I do need to self-own for a moment and say that we are surrounded by amazing food. I love you, Cocina Mexicana. Never change.
What was the first song and/or album you fell in love with?
With the full power of retrospect, the first full albums I loved were either Linkin Park’s Hybrid Theory or Nine Inch Nails’ The Downward Spiral. I found Linkin Park through the power of VH1 (I wasn’t allowed MTV but VH1 was ok?). As for NIN, my brother is 10 years older and I’d often sneak into his room and take CDs from their cases thinking he didn’t notice. One day he was basically like “stop stealing my stuff, burn a copy of this, and come back later”. It wasn’t my first Nine Inch Nails (thanks, Tomb Raider); it’s not my favorite Nine Inch Nails. I didn’t even stop nicking my brother’s CDs. But that album got me and my burgeoning depression in a way nothing and no one else did at a time when I had absolutely zero support the way I needed it. I finally saw NIN with my fave DJ-producer, Boys Noize, on Valentine’s Day after almost 25 years of being a fan. Dream show. No notes, just exclamation points.
Who were your earliest DJ inspirations and current faves?
The first time I saw Philly’s DJ Mighty Mike Saga, he was spinning around Combichrist and some other bands in 2008. I’d never seen a DJ carry the vibe between bands at a show and I was so struck by how it made the whole night feel like a party beyond the usual ebb and flow of a concert’s patrons between the floor, bar, and bathroom. At the end of the night, I got one of his mix CDs from his “Driving Out of Darkness” series. I think it was Vol. III and I think I still have it somewhere even though the stamp’s smudged - but I was floored listening to him float between tracks and make all my favorite futurepop and industrial tracks sound like one. If you told 18-year-old Kris he’d work with Mike Saga in a little over a decade, he would not fucking believe you. :)
Beyond that, Dave Ghoul - one of the founders of Shadowland - often integrated pop and EDM into his industrial and darkwave sets. He directly influenced me by demonstrating yes, you CAN do that and, yes, people will turn up for that if you earn their trust and manage expectations. And some folks won’t like it - and that’s also ok. He taught me the risk is sometimes the reward in and of itself.
I didn’t set out wanting to DJ - I stumbled into it, and in that regard I don’t have a lot of big name or historical DJs to point at as informing my personal journey. There are a lot of hands who’ve helped, though, from local folks who’ve been an ear or lent a hand like the Shadowland OGs, Major Vibes, and Sky Society to my DJ dad Brad Scott out in Easton.
As far as like, style inspos? Boys Noize, LSDXOXO, Honey Dijon, Miss Kittin, Marie Davidson.
How did Shadowland start & what motivated you to take the reins as host & resident DJ?
Shadowland predates me ever starting to DJ. It was started in Philly in the mid-00s by Kiltboy, Dave Ghoul, a gent named John who since passed away, and I think maybe one or two others. When its venue shuttered, it moved to Bube’s Brewery for a spell, then eventually wound up at the Chameleon Club in 2007-ish thanks to, I think, local DJ Jay Diesel. We basically credit him as an OG for that hookup, too. The intent was a dark alternative dance party melding all the myriad sounds commonly designated as “goth/industrial” and beyond - a place for the folks who live in the shadows (or find comfort in them) to groove and connect over the sounds we share.
Dave Ghoul got long COVID and the significant/severe complications from that caused him to step back from DJing in 2020/21. By that time, I’d been DJing locally and in the region for about 4 years and the team agreed I was the best culture/DJ/organizational fit to co-pilot with Eric. After a year, Eric decided to focus on his family and I was given ownership of the night in 2023. Eric, Dave, and Jay are my gentle shadow council I can go to when I want help or perspective on a situation. Dave has been a graphic artist for decades and makes our poster art as a way of re-honing his art skills post-COVID. I’m grateful to have them in my corner as a resource when nightlife throws curveballs my way.
What is your process for putting a set together?
I start with the intent or format of the event/party, if there is one. I’ll pull some tracks within that format I fuck heavy with, a few recent/popular tracks, and a couple “classics” as a foundation, then build out from there. If it’s a guest set elsewhere, I’m making sure I’m considerate of the format extra-hard while still trying to play songs that represent my happy music place of horny and heavy. If it’s Shadowland, I’m also thinking a lot about how to round out the night with sounds that complement the other DJ’s style… while still offering the attendees a diverse selection of genres and energy shifts. I encourage guests to play what speaks to their own little goth journey, which means I focus a lot on being the consistent, grounding force.
Once I’ve got those considerations in place, I’m riding the vibe while combing through all my music and adding to the setlist. I personally look at whether I’ve pulled a lot of a certain type of key or range of beats per minute to inform what to pull on subsequent passes to keep things diverse, complementary, and interesting, but I don’t stress over it too hard, either. I’m trying to remind myself to have fun lately, and not being too firm on the guardrails while still being organized has been a huge part of that.
Fave turntables, gear or software?
So many DJs hate on VirtualDJ as software but I’ve used it since 2020 and find its consistency, customizability, and stems better than anyone else’s - and it’s had better-sounding stems longer than other software, IMO, which I used to care about a lot. Plus they don’t seem to fully fuck their clients over every 2.4 months the way Pioneer/AlphaTheta/WhatTheFuckEver does. I’ve tried DJay, I’ve tried Rekordbox, I’ve tried Serato - VirtualDJ just always seems to do exactly what I want, how I want, and is also great for streaming sets. Lotta AI integration lately, though… which I’m just turning off.
I currently use an XDJ-XZ for all my DJing but definitely need to pick up something smaller for travel gigs where I need to bring gear. But at least I now know I can carry half my body weight in gear.
Top 3 most memorable moments?
I played a show with Front 242 on their final US tour, and not a lot of people get to say that. I didn’t even get to meet them but that show was such a blast, start to finish. Huge thanks to Gregg at Phantom Power for having me out for that and for a number of other concerts!!
Finally DJing with Dave Ghoul in March after 4 years of him being gone. He was afraid no one would care or remember him, but a ton of folks from all over the tri-state area came to Shadowland for him SPECIFICALLY. A bunch of the younger folks who started coming after he stepped back immediately made him their new Goth Dad, too. Personally, it meant a lot to me for him to see how Shadowland has grown since we landed at Zoetropolis last year. How it feels like a community at last, how it feels like a party at your friend’s house where you can lounge or dance or chat or disassociate on your phone. I always want to leave this thing better than I found it and struggle to self validate, but in that moment? It felt like doing something right.
My first paid DJ gig was the last LARP I ever ran. We were working with White Wolf to launch the Changeling: The Dreaming 2.0 ruleset over a full weekend at the Showboat Casino in Atlantic city… which was still partially flooded/gutted post-Hurricane Sandy. I was hired to organize the team handling harassment/safety and to DJ the parties both nights and because of a lot of bullshit wound up having to help run the entire game with a team of friends. It was a game about Fae magic and it was fucking magic that we pulled it off. I played a Redcap DJ named STYGIAN who was torn between mortality and murderous immortality on her journey to fame (it was real goth Lady Gaga hours) and… well, I’m still here, and that event was easily the most challenging, magical thing I’ve ever helped pull off. I kept the name even though no one fucking uses that word.
Top 3 lessons learned?
Expectations management goes a long way toward creating the space you want to see. Tell attendees what to expect - do you want them to face each other instead of the DJ? Put their phones away? Adhere to a certain social contract/code of conduct? Put it out there. Make it widely, readily available and accessible. When they don’t come correct, you have a sign to point at as a springboard for a hard conversation about what is and isn’t acceptable in your space. I pull this and so much of my harm reduction info from Shawna Potter’s book Making Space Safer, and I’ve referred tens of friends in nightlife, concerts, and promoted this book as an easy, fast resource in this regard.
Do your best. Even if your best will not be your best, do it. That means watching the crowd and connecting with them when eye contact is hard and scary. It means fucking up in public over and over and over again and knowing it’s ok and they probably didn’t notice. It means knowing when an event isn’t a good fit for you and knowing you can recommend someone who’s PERFECT with no ego.
Collaborate, don’t compete. Someone getting a gig you want is not a reflection of you, even when it feels like it might be; if you can learn to celebrate others’ wins, you will build more bridges than if you view them as a slight. A rising tide really does lift all ships, and I think our local DJs collaborating in new and fun ways is a testament to that!
What advice would you give someone looking to learn & start dj’ing?
Go to events and note what makes you move. Start exploring those songs/artists. Show up and dance and make human connections before you start asking to DJ. I personally love dancing, so I pay particular attention to how a song hits in that regard.
Honestly? Ask yourself what you want out of DJing every now and then. Do you envision playing events with a lot of intentional curation, tailoring to others’ tastes to meet a desired vision, and “special day” energy? Maybe you want to do private events and weddings. Do you want to make people dance, fuck, or something else? Maybe clubs, raves, and small fests or other types of alt lifestyle parties are where you wanna end up. Do you want to mix the two? Maybe you’ll enjoy theme nights and bar-centric events where you’re gonna play what you want but also get a boatload of requests. A lot of DJs float between these genres, and having an idea of what you want might help you find events to start checking out as you start your journey. I wish I’d done this more earlier on so I’d have learned I hate doing weddings sooner.
What does the Central PA music scene mean to you?
Oftentimes, it’s my escape. There aren’t a ton of bands nearby in my usual DJ niches, so checking out local acts like Weird Mirror or Pink i or Autumn and the Afterthoughts lets me engage the broader palette of music I love. I spend a lot of time in a very specific set of music mines, so going out on a rare free night and catching something that Is Not Dance Music is a balm on my soul. I’m still on the hunt for local black metal so please! Someone! Hit me with your best recs for a little Satanic trans guy who wants to blegggggh and know he won’t get hate crimed!!