Sarah Pray is Madison, WI-based singer/songwriter and musician, who can trace much of the origins of her music career to growing up in a musical household: Pray’s father taught her piano and by the time she turned five, she was learning jazz chords and music theory.
As a teenager, Pray interned at recording studios in Madison and Minneapolis — and then she started writing her own original music. Pray started her career as as solo artist, releasing her first few releases under her name. She then made a name for herself as one-half of folk duo Kivi & Pray with her ex-husband Thomas Kivi, an act that toured across much of Europe and the States.
During both the pandemic and divorce, Pray wanted to experiment — and return to her roots. “I am a big fan of female artists like Bjork, Angel Olsen, Fiona Apple, and PJ Harvey, who constantly evolve. I feel more in touch with myself more than ever since the divorce.” Pray’s latest project Carrellee sees the Wisconsin-born singer/songwriter and musician working with Brett Bullion to fine tune her songs, giving them a sleek, modern air.
Pray’s Carrellee debut, Scale of Dreams is slated for a November 18, 2022 release through Negative Gain Productions. Thematically, the album is heavily informed by Pray’s divorce with the album evoking the heartache, longing, frustration, regret and bitterness of a major relationship’s end. Sonically, the material draws from Cocteau Twins, Kate Bush and a wide variety of Italo disco and synthwave with each instrument being processed through crumped and fried analog tape.
Scale of Dreams‘ first single “Morning Sun” is a dark and seductive synthesis of Giorgio Moroder-like Italo disco, industrial electronic and pop featuring thumping and skittering beats, glistening synth arpeggios paired with razor sharp hooks and Pray’s sultry delivery expressing aching longing — and the song’s narrator’s realization that their relationship has irrevocably changed.
“Morning Sun” came to Pray during a dream she had as she was getting divorced. The next morning, she quickly transcribed it from her home studio, and shared the demo video on Facebook, where it has amassed over 370,000 views.
The accompanying video features Pray wearing different wigs in superimposed or directly in neon light and explosive bursts of light in a variety of sexually-charged scenarios.
If you’ve been frequenting this site over the past year or so, you might recall that the Finnish outfit had a collaborated with Welsh-born, Finnish-based singer/songwriter and musician Jenny Stevens, a.k.a. The Ukelele Girl over the course of a handful of singles including:
“Beneath Smooth Waters,” a slow-burning , Dummy era Portishead like song featuring glistening, reverb-drenched synth arpeggios and sinuous bass lines paired with Stevens’ plaintive vocals.
“Unfinished Conversations,” a track that saw the rest lessly experimental Finnish outfit pushing their sound in a new direction — towards the dance floor, while retaining their unerring knack for sharp hooks.
Their latest single “Who Knows Where The Time Goes” is a slow-burning A Storm in Heaven-meets-4AD Records like song centered around shimmering and swirling guitars, atmospheric synths and a propulsive rhythm section. Adding to the dreamy feel of the entire affair, Glasgow-based, Hungarian-British singer/songwriter and multi-instrumentalist Robert Severin contributes his gentle and vulnerable crooned delivery. The end result is a wistful and aching meditation on time, aging and mortality that feels like a gentle lullaby.
Throughout 2019, I spilled quite a bit of virtual ink covering Baltimore-born multi-instrumentalist, singer/songwriter, producer and college student Julien Chang (pronounced Chong). Initially only thought of as “just a trombone player,” the Baltimore-born artist surprised his peers when he quietly began releasing original music saw him playing multiple instruments while meshing psych rock, pop-inspired melodicism and jazz fusion-like experimentation and improvisation with a sophistication and self-assuredness that belied his youth. Thematically, Chang’s work sees him tunneling towards deeper truths, while touching upon everyday existentialism, love, life, art — and his own life as a human and artist.
Chang’s highly-anticipated — and long-awaited — sophomore album The Sale is slated for a November 4, 2022 release through Transgressive Records. Partially recorded in Baltimore and partially in his Princeton dorm room, The Sale is a DIY effort with Chang playing all instruments — with the exception of a few notable cameos from some Baltimore locals, classmates and old friends. Thematically, The Sale‘s material sees the rising Baltimore artist exploring the discrepancy between two worlds, a struggle to get comfortable in either one of them, and an artistic fascination with that very struggle.
So far, I’ve written about two of the album’s singles:
“Marmalade,” a decidedly lo-fi indie pop song featuring glistening guitar lines, punchy drums, Chang’s layered, ethereal falsetto and some remarkably infectious hooks, underpinned by Chang’s long-held penchant for expansive, psych pop-influenced song structures.
Interestingly, “Marmalade” isn’t as much of a love song, as much as it is about the way one’s memory makes sense of love — and the experience of being in and out of love. “I think the point is that memory runs up against certain limits in sense-making and then has to start relying on fictions,” Chang says. “I wrote ‘Marmalade’ at a time in which this feeling of passionate regret had just finished transforming into something domesticated, incorporated, and basically mundane — a part of everyday life, something that pops up in the mind from time to time and causes me to scrunch my nose.”
Chang continues, “The verses are the positive struggle of trying to make sense of a past romantic experience; the choruses are the ensuing confrontation with non-sense (“I nearly lost my name!”); and the euphoric outro is the resulting victory of a false memory (“I remember falling in love! I remember falling in love! I remember falling in love!”).
“Snakebit,” an effortless synthesis of smooth jazz, jazz fusion, Tame Impala-like psych pop and straightforward pop in what may arguably be the most lush, funkiest and introspective song of Chang’s growing catalog.
“‘Snakebit’ emerged during a period of transformation. This was around the time I left Baltimore for University in the middle of New Jersey,” Chang explains in press notes. “The awkwardness of the transition and the discomfort of ‘growing pains’ provoked in me a kind of creative agitation which found its outlet most decisively in this song. But the song is not only about changing. It is also about encountering change: in a reflective turn, encountering myself who is changing and then interrogating him, testing the limits of the ‘new me’ before finding that I am really not so different.”
“Competition’s Friend,” The Sale‘s latest single sees Chang crafting a cinematic track that sonically seems like one-part Sgt. Pepper-era Beatles, one-part Dark Side of the Moon and Wish You Were Here-era Pink Floyd and built around an expansive song structure and arrangement paired with some remarkably introspective and incisive lyricism.
“’Competition’s Friend’ can be seen as the soundtrack to a last ditch effort to overcome the deadlock of self-alienation: ecstasy against ambivalence,” Chang explains. “The setting is a world of resumes, interviews, internships, ‘networks’ –in other words, a world of papers in which one is always examining oneself, not really as a ‘self,’ but rather as a symbolic outward-facing figure, of whose virtue and competency someone else must always still be convinced. The song tries to work through these frustrations before coming finally to a fantastic escape: in the last two minutes we reach the ecstatic heights from which such small and detailed self-scrutiny can be overcome, if not forgotten.”
Emerging Barcelona-born singer/songwriter and musician Uma is the daughter of a British-born performance artist, who studied art and at Farnham and moved to Spain in 1987. Along with her work as a performance artist, Uma’s mother Denys has been organizing festivals since the emerging Barcelona-born and-based was a little girl. Uma’s father Tew was born in Bangkok to a diplomatic family. He studied economics at Cambridge and eventually returned to Bangkok, where he worked for a non profit hospice and orphanage that took care of those suffering from HIV. — He also taught tai chi course on the side.
Because of her parents’ work, Uma grew up traveling and spending lengthy periods of time in different countries, including Thailand, Greenland and Canada.
Uma received classical violin training when she was four. Along with a musical upbringing that included Joni Mitchell, Buika, Nico, and Ella Fitzgerald, the Spanish-born artist credits her experience traveling and growing up around several different cultures as informing much of her work.
She emerged into the scene in 2020: She collaborated with her partner Salpa on 2020’s “Bring Me The Mountain” double A side. She also has released two EPs, 2020’s debut EP Bel-li and last year’s The Moth & The Dove, which received attention from media outlets like Clash Magazine, Loud & Quiet, The Needle Drop, DIY Magazine, The Line of Best Fit, and Gigwise. She also released two stand-alone singles “Maybe We’ll Wake Up” and a new version of “Nebula” with London‘s Amy May Ellis.
2022 has been busy for the Spanish-born artist: She started the year touring with rising artist Puma Blue. Building upon that momentum, she released “Crocodile,” an atmospheric and swaggering banger that draws from Spanish flamenco guitar, jazz and contemporary pop.
Her latest single, the brooding and breathtakingly gorgeous “Granada” is sonically is one-part dreamy Nick Drake-like psych folk, one-part confessional, troubadour pop centered around strummed, acoustic guitar, Uma’s achingly tender delivery, bursts of atmospheric synths and reverb-drenched percussion. At its core, “Granada” is a swooning, old-fashioned love song that captures the longing, the sick ache, the uneasiness and joy of love.
Interestingly, the song mirrors Uma’s own love story with that of her mother’s. “’Granada’ is the sound of the Underworld, a moody ode to the places we go in love”, Uma explains.
“In a way”, Uma adds, “’Granada’ is as much about their love story as my own, a moment in time where you have nothing left to do but surrender to the journey you are on.”
The album artwork is a photograph of Uma’s mother Denys, in her 20s, taken by a friend around the time that her parents met.
Gaumar is a nomadic French singer/songwriter, who started her career as the eldest of a sibling group that toured across France. After graduating from the Cours Florent Music School, the young and rising French artist released her full-length debut in 2019, an album that received attention and praise from its songwriting, which saw her meshing elements of contemporary pop, hip-hop and French chanson.
The young and rising French artist’s latest single “Follow” is a slickly produced bop featuring glistening synths, a woozy bass line and skittering trap beats paired with an anthemic, sing-along worthy hook. The production serves as a silky bed for Guamar’s boldly, self-assured delivery, which sees her alternating between spitting fiery, staccato bars in French and sultry, pop hooks in English.
But at its core, the song is a defiantly feminist tribute to all women — in particular, a mother, sister, friend or even better half, who can guide you, accompany you, hold your hand through the difficult times or with a simple look can make you understand that everything has a meaning. As the French artist explains, the song is inspired by strong personal experience, and yet is rooted in universal experience.
Directed by Théo Massart and Joshua Gopee, the accompanying video for “Follow” is an incredibly cinematic visual that follows the young and rising French artist trekking through a difficult pass in the French mountains by herself. Essentially, the French artist forging a path for herself — and in turn, for others.
Currently based in Richmond, VA, singer/songwriter Randy Bryan spent his formative years split between rural South Carolina and Southwestern Virginia’s Cumberland Mountains. Last year, Bryan found himself working in a local kitchen alongside producer, beatmaker and bassist e. flamingo — and the pair quickly started a musical partnership rooted in sonic exploration.
Bryan’s latest single “Here, Another Day” is a slick, seamless synthesis of Violator-era Depeche Mode-like synth pop and confessional singer/songwriter ballad centered around chiming and glistening synths, a sinuous bass line, handclaps and thumping beats paired with Bryan’s crooned vocals and a razor sharp hook. But underneath the effortless genre-blurring sound is a song built around deeply personal experience.
“In 2018, I wrote a song as I got sober . . . 6 months later, I started drinking again,” Bryan explains. Fast forward to 2022 and once again I got sober and reconnected with this song. This song feels like sobriety feels — fresh, new, and exciting. A song that blends 80’s and 90’s dance pop with progressive indie texture. A song that eyes the future while squarely acknowledging the past.”
Singer/songwriter, musician and Kallista Records label head Carla dal Forno has spent the better part of a decade or so moving, writing, recording and touring out our Berlin and London, before recently relocating to Castlemaine, Victoria, Australia, where she wrote and recorded her third album Come Around.
Slated for November 4, 2022 release through her own Kallista Records, Come Aroundreportedly sees dal Forno grappling with ideas of home, disorder and insomnia with self-assured, enlightened songwriting and pop hooks.
Earlier this year, I wrote about album title track “Come Around,” a narcoleptic, meandering, dub-like take on indie pop centered around reverb and delay-drenched guitar and drums paired with dal Forno’s inviting, easy-going delivery and a well-placed, infectious hook. The end result is a song that feels like an open-ended invitation to stop by and stay awhile, to make yourself at home.
Come Around‘s latest single “Side By Side” is a dreamy and slow-burning, dub-inspired take on indie pop centered around a sinuous bass line, reverb and delay-drenched beats and bursts of twinkling, buzzing and atmospheric synths paired with dal Forno’s yearning, come hither delivery. It’s a slinky and sultry song, full of nocturnal desire.
“‘Side By Side’ is about the anticipation of hooking up with someone and the feelings of inevitability, transparency and impatience,” dal Forno explains. “It’s all in the lyric, ‘Make your move / I recognise the method you use.’ I’ve been sitting on this track for a few years. The production was really slow at first, leaning towards ‘ballad’ territory but it really seemed to find its groove when I increased the tempo and leaned into the bassline hook.”
Directed by Ludovic Sauvage, the haunting accompanying video complements the track’s nocturnal longing as it features a shadowy, blue-lit dal Forno superimposed over a shot of blooming, pink tulips in a stark, black backdrop.
2022 has been a massive year for 22 year-old producer, singer/songwriter, multi-instrumentalist and pop Jordana: Earlier this year, she released her sophomore album Face The Wall, which she has supported with non-stop touring both as a headliner and as an opener for the likes of Local Natives and Wallows.
Building upon a momentous year so far, the rising, young multi-hyphenate will be releasing a new EP, I’m Doing Well Thanks For Asking. Slated for a November 11, 2022 release through Grand Jury Music, I’m Doing Well Thanks For Asking reportedly sees the New York-based artist and producer getting to know her various selves. During her relatively young career, Jordana has quickly developed a reputation for being a shapeshifter: 2020’s Classical Notions of Happiness was an album of homespun indie folk. It’s follow-up Something To Say To You EP was spindly bedroom pop. The following year’s collaboration with TV Girl, Summer’s Over saw her veering into a dreamy haze. While Face The Wall saw Jordana crafting glossy pop.
As a result of the constant touring, I’m Doing Well Thanks For Asking sees the rising young, multi-hyphenate pulling from and synthesizing a little bit of everything that came before. Thematically, the material remains obsessed with love and neuroses, being left and leaving, pitying yourself and learning to stop.
The EP’s latest single “SYT” is an indie rock-tinged pop banger featuring glistening synth arpeggios, blown-out boom bap-like beats, bursts of slashing guitars and an enormous, catharsis-inducing hook paired with Jordana’s heartbroken yet resilient delivery. The song’s narrator may be jilted and hurt, but they’ve dug deep to tell that lover off. If you’ve been there, you’ve likely sung along lustily to the song, dreaming off how your unworthy flame would respond.
“It channels the feelings of empowerment and emotional awareness after a tough breakup,” Jordana says.
Directed by Graham Epstein, the accompanying video for “SYT” is shot with a lysergic haze as it follows the rising multi-hyphenate through a series of fantastic set ups.
Transatlantic indie duo Luminous Wavez — British-born artist Leaone (pronounced Lee-own) and Patience Gloria‘s Mike Dobbins — can trace their origins back to the long days and nights of COVID pandemic lockdowns.
Their sophomore EP together, Ashes of the Artists features Dobbins penned lyrics informed by binge listening sessions of Johnny Cash, Chris Cornell,Leonard Cohen, and Nick Cave and demonstrate the hard-won maturity from lived-in experience. This is paired with Leaone’s haunting baritone delivery and remarkable knack for catchy melodies.
Ashes of the Artist EP‘s latest single, “Have No Fear” is a Nick Cave meets The National-like track built around a hauntingly sparse and cinematic arrangement of sharply arpeggiated strings, strummed acoustic guitar and dramatic, padded drumming paired with Leanoe’s brooding baritone. Interestingly, “Have No Fear” may arguably be the most hopeful song on the EP as it features a narrator, who manages to persevere in the face of a variety of obstacles.
Sloan Struble is the 20-something Aledo, TX-born, Austin, TX-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the critically applauded and rapidly rising indie rock/indie pop project Dayglow. Dayglow can trace its origins to when Struble was a teen, growing up in a Fort Worth suburb that he has referred to as a “small football-crazed town,” where he felt irrevocably out of place.
Much like countless other other hopelessly out of place young people across both this country and the globe, Struble turned to music as an escape from his surroundings. “I didn’t really feel connected to what everyone else in my school was into, so making music became an obsession for me, and sort of like therapy in a way,” Struble recalled in press notes. “I’d dream about it all day in class, and then come home and for on songs instead of doing homework. After a while I realized I’d made an album.”
Working completely on his own with a minuscule collection of gear that included his guitar, his computer and some secondhand keyboards he picked up at Goodwill, Struble worked on transforming his privately kept outpouring into a batch of songs — often grandiose in scale. “Usually artists will have demos they’ll bounce off other people to get some feedback, but nobody except for my parents down the hall really heard much of the album until I put it out,” Struble recalled. With the self-release of 2018’s Fuzzybrain, the Aledo-born, Austin-based singer/songwriter, multi-instrumentalist and producer received widespread attention and an ardent online following — with countess listeners praising the material’s overwhelming positivity.
In 2019, Struble re-released a fully realized version of Fuzzybrain that featured Can I Call You Tonight,” a track that wound up being a smash-hit back in 2020, as well as two previously unreleased singles “Nicknames” and “Listerine.”
Continuing upon that momentum, Struble released his Dayglow sophomore album Harmony House, an album that was inspired by the 70s and 80s piano-driven soft rock that he had captured his ears. Interestingly, around the same time, he had been watching a lot of Cheers. “At the very beginning, I was writing a soundtrack to a sitcom that doesn’t exist,” Struble recalls. And while actively attempting to generate nostalgia for something that hadn’t ever been real, as well as something most of his listeners had never really experienced. Thematically, the album concerns itself with a deeply universal theme — growing up and coping with change as being an inevitable aspect of life.
Struble’s third Dayglow album, People In Motion is slated for an October 7, 2022 release through AWAL. Entirely written, played and produced by Struble, the 10-song album continues upon the JOVM mainstay’s reputation for crafting upbeat, optimistic, hook-driven pop rooted in his desire to steer clear of conflict and offering someone something to love.
People In Motion‘s third and latest single “Second Nature” may arguably be the funkiest and most dance floor friendly single Struble has released to date. Sonically seeming like a synthesis of 80s pop, Daft Punk, The 1975, and LCD Soundsystem, “Second Nature” is centered around glistening synth arpeggios, Struble’s plaintive vocals, an infectious vocoder’ed vocal-driven hook and an irresistible feel good vibe meant to get your ass on the dance floor.
“‘Second Nature’ is one of the most ambitious songs I’ve made so far. I didn’t think it would be a ‘Dayglow’ song until the rest of People in Motion started to take shape,” Struble says in press notes. “I made so many versions of it— I just kept writing more and more melodies and ideas. The Logic file ended up being like this 15 minute jam that I eventually condensed to be the near 6 min song it is.
I was really inspired by songs like Lionel Richie’s ‘All Night Long,’ Michael Jackson’s ‘Wanna Be Starting Somethin’, and of course Daft Punk. I just love songs that have repeatable chord progressions that never seem to even reach their potential— they just keep going on and on. Lyrically and musically I wanted to create a song that felt like that. A song that just celebrates itself and the joy of dancing and making music. It doesn’t even feel like ‘Second Nature’— it feels completely innate and natural to make music to me. I love it more than anything and it feels like what I was made to do, and ‘Second Nature’ just grasps that idea and runs with it confidently.”
After a sold-out Australian tour and a packed house set at this year’s Outside Lands, Struble will be embarking on a North American tour that includes a November 7, 2022 stop at Terminal 5. Check out rest of the tour dates below.
Throughout 2019, I spilled quite a bit of virtual ink covering Baltimore-born multi-instrumentalist, singer/songwriter, producer and college student Julien Chang (pronounced Chong). Initially only thought of as “just a trombone player,” the Baltimore-born artist surprised his peers when he quietly began releasing original music saw him playing multiple instruments while meshing psych rock, pop-inspired melodicism and jazz fusion-like experimentation and improvisation with a sophistication and self-assuredness that belied his youth. Thematically, Chang’s work sees him tunneling towards deeper truths, while touching upon everyday existentialism, love, life, art — and his own life as a human and artist.
Those early releases caught the attention of Transgressive Records, who signed Chang and released his acclaimed full-length debut, 2019’s Jules, which featured:
“Of The Past,” a sleek, early 80s-like synth funk-based track centered around dexterous musicianship and pop melodicisim
“Memory Loss” an 80s synth funk inspired song that continued a remarkable run of self-assured material centered around dazzling musicianship and big hooks.
Chang’s highly-anticipated — and long-awaited — sophomore album The Sale is slated for a November 4, 2022 release through Transgressive Records. Partially recorded in Baltimore and partially in his Princeton dorm room, The Sale is a DIY effort with Chang playing all instruments — with the odd exception of a few notable cameos from some Baltimore locals, classmates and old friends. Thematically, The Sale‘s material sees the rising Baltimore artist exploring the discrepancy between two worlds, a struggle to get comfortable in either one of them, and an artistic fascination with that very struggle.
Earlier this year, I wrote about “Marmalade,” a single that found the Baltimore-born artist leaning heavily into lo-fi indie pop with the song featuring glistening guitar lines, punchy drums, Chang’s layered, ethereal falsetto and some remarkably infectious hooks. But the song is underpinned by Chang’s long-held penchant for expansive, psych pop-influenced song structures.
Interestingly, “Marmalade” isn’t as much of a love song, as much as it is about the way one’s memory makes sense of love — and the experience of being in and out of love. “I think the point is that memory runs up against certain limits in sense-making and then has to start relying on fictions,” Chang says. “I wrote ‘Marmalade’ at a time in which this feeling of passionate regret had just finished transforming into something domesticated, incorporated, and basically mundane — a part of everyday life, something that pops up in the mind from time to time and causes me to scrunch my nose.”
Chang continues, “The verses are the positive struggle of trying to make sense of a past romantic experience; the choruses are the ensuing confrontation with non-sense (“I nearly lost my name!”); and the euphoric outro is the resulting victory of a false memory (“I remember falling in love! I remember falling in love! I remember falling in love!”).
The Sale‘s third and latest single “Snakebite” sees Chang effortlessly meshing elements of smooth jazz, jazz fusion, Tame Impala-like psych pop and pop in what may arguably be the lush, funkiest and yet most introspective song of Chang’s growing catalog.
“‘Snakebit’ emerged during a period of transformation. This was around the time I left Baltimore for University in the middle of New Jersey,” Chang explains in press notes. “The awkwardness of the transition and the discomfort of ‘growing pains’ provoked in me a kind of creative agitation which found its outlet most decisively in this song. But the song is not only about changing. It is also about encountering change: in a reflective turn, encountering myself who is changing and then interrogating him, testing the limits of the ‘new me’ before finding that I am really not so different.”
Created by multidisciplinary artist Vaughn Taormina, the accompanying video for “Snakebit” draws from an eclectic array of influences including Jacques Tati’s Playtime, 80s Japanese advertisements, the concept of dopplegängers and more. The video also begins with “Snakebite Side,” a cinematic and jazzier, kissing cousin to the original single.
“The song takes the form of a self-interrogation. I have changed, but how? and when? Why? This video simulates the fragmented, unfocused, and self-contradictory search for clues that one falls into trying to answer,” Chang says of the video. “Taken as a whole, the animations all seem to go together on a single string, but examined individually, it is clear that what binds them is not any logical order. In this sense, the video has the structure of a dream. While dreaming, a rapid sequence of freely-associated images and events seems to make perfect sense. It is only upon sober reflection the following morning that these images and events become absurd, random, and nonsensical.”
clo is an emerging, 20-year-old, San Francisco-born, Brussels-raised, neo-soul/R&B and jazz singer/songwriter, who’s currently splitting her time between New York and Paris, where she’s simultaneously pursuing studies in Neuroscience while modeling, and starting a professional music career.
The emerging Belgian-born artist can trace the origins of her music career to when she started receiving classical and jazz training in piano when she turned four. Since then, clo has spent much of her formative years creating her own original music, inspired by Etta James, Ella Fitzgerald, Snoh Aalegra, and CELESTE.
Earlier this year, I wrote about clo’s debut single “room,” a slow-burning and vibey ballad centered around the young Belgian-born artist’s sultry vocals paired with a brooding production featuring skittering, tweeter and woofer rattling trap beats, twinkling jazz piano and atmospheric synths. The song reveals an artist, who’s remarkably self-assured beyond her relative youth — while showcasing an artist, with an uncanny knack for mature, lived-in lyricism and a well-placed, razor sharp hook.
Her second single “Big Smile” is a vibey, neo-soul-like ballad that finds the emerging young artist collaborating with a live band, which gives the song a lush, cinematic sound and a vibrant, you’re-there-in-the-studio immediacy — all while continuing to reveal a singer/songwriter with a mature beyond her years self-assuredness.
The accompanying video for “Big Smile” primarily features home video shot footage of the young San Francisco-born artist as a small child. The video hints at the very origins of the young artist’s passion and career and a loss of innocence and simplicity.
