Sunlight Magazine Featuring
From Indian Lakes
Review Emma ivy Half moon run Bruise lee Kevin Garrett Photo Common holly Third eye blind Banks Smallpools
Issue 5
January 2020
Artwork by Anthony Sennett 2
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Table of Contents
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Meet the Team
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Josephine Baker
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The Dead Licks
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The Songs that Made Us
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Common Holly
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The Brazen Youth
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Third Eye Blind
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Smallpools
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Madison Cunningham
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Banks & Kevin Garrett
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From Indian Lakes
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Wolf Culture
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Emma Ivy
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Half Moon Run
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No Song Left Behind
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Our Favorite of 2019
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A Soul At Peace
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Bruise Lee
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Nasty Woman
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Gentle
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Ghost of You
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35mm
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Borders in Film
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K Bodrock Feature
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cleveland, oh / chicago, il
sunlightmag.com
Sophie Minello
@sunlightmagazine / @sunlightmagazine
This is Sunlight Magazine
Founder/Editor @soph.ix
Sunlight Magazine is the passion project of Sophie Minello and Sophie Sand Kannberg. The Sophie’s and the team aim to illuminate artists who deserve the attention. They have a deep care for sharing the beauty of art and music with those around them, and hope that the hours, research, and heart they put into this publication will help you - the reader - feel expanded in this vast world.
Sophie Sand Kannberg Art Director
@sophiesandmedia
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Anthony Sennett
Kat De Barros
@anthonymsennettt
@kat.deba
Artist/Writer
Jade Pike
Photographer
Photographer
Cayla Coomer
Kristen Roberts
Alec Smith
@caylacoomer
@kristen.412
@alecmsmith94
Photographer
@daylily.jade
Artist/Writer
Anabel Pederson Writer
@alp.pederson
Writer
K Bodrock
Featured Photographer @kbodrock
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Josephine Baker 1906 -1975 Article by Anabel Pederson
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J
osephine Baker has been best known for her high energy live jazz performances, swaying vocals, and sensational dances. A token of the jazz age, Freda Josephine McDonald was born in St. Louis, Missouri. She worked hard when she was growing up, taking jobs as live-in help for wealthier families and performing dances on the street. She began dancing in chorus lines and vaudeville shows. Her music and performances were the marvels
of the 1920’s. Sensational, stunning, and sensual, Josephine Baker wowed audiences with her risquÊ outfits and energetic dance routines. Perhaps most famously was her Danse Sauvage, where she performed in a skirt made out of bananas. After touring in Europe, she eventually settled in France. Josephine struggled in America, being an African
American woman in entertainment was full of constant challenges. She gained permanent citizenship in France, and seldom returned to the U.S. in her later years. During World War II, she was an intelligence operative for France, using her status and connections as a celebrity to attend parties with Japanese and Italian officers and relay that information to the Free France movement. She was awarded French
military honors for her service, the first American-born woman to do so. Baker’s stage presence was enrapturing, her rise to fame came alongside the arrival of art deco and a revival of African art styles. She was a supporter of the American Civil Rights Movement despite living in France, refusing to perform for segregated audiences while in America and
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speaking at the March on Washington. When Dr. Martin Luther King Jr. was assassinated, his wife Coretta Scott King asked Baker to take over as leader for the Civil Rights movement, but she declined because she did not want her children to lose their mother when they were so young. Baker’s children were just as sensational as she was known to be. She adopted twelve children from ten different countries, and called them the Rainbow Tribe. Her children were used as a metaphor in the face of racism, Baker wanted to prove that “children of different ethnicities and religions could still be brothers�. While some aspects of this family were problematic, Baker still held good intentions in making it. Baker was married six times, though multiple were publicity stunts and not legally binding. She was also bisexual and had several relationships with women, including even a rumored affair with Frida Kahlo. Josephine Baker was a beautiful, bold woman who inserted herself in the musical world with unapologetic charisma. She had a strong sense of self in a time where her identity might have made the world look the other way. As a LBGT+, African American woman, Josephine Baker rose to unprecedented revere in the world by being an example of strength, beauty, and courage through her music and performances.
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Baker in her banana costume
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Local Listen: The Dead Licks Photos & Article by Sophie Minello
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he Dead Licks were created in Dayton, Ohio with members Tom, Jack, Jimmy, and Johnny.
2017 started off their career at the University of Dayton, where they gained a following and stunned people with their guitar heavy tracks. Graduation brought a realization that the four boys wanted to be a part of the Dead Licks as a full time job. They decided to lock in to the band. With this, they moved to Chicago, knowing that the music scene was strong and the city gave them more opportunity than the little town of Dayton. 2018 was spent figuring things out. They played shows in a multitude of venues, finding favorites in Reggies, House of Blues, Subterranean, and Tonic Room. Though their Chicago shows have been smaller than the ones they played in college, these rooms are always filled with interested people, reday to fill their ears with some good and loud rock and roll. The South Side has welcomed them kindly, the band stating that shows “go pretty strong down there.” Now, they’re ready to start opening up for bigger bands to build up a fan base. Fans can expect rowdy Chicago shows and head slamming new tunes in the new year. chicago, illinois thedeadlicks.com @thedeadlicks 12
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The Songs That Made Us Art & Article by Kristen Roberts
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e all know that music can have a massive impact on our lives and how we view the world, but what about the songs that stick with us through an entire decade? Through the late nights, the heartbreaks, the bonfires, and road trips, these songs make up the soundtrack to at least half of my life. For many of us, the end of this decade marks the end of our childhoods. So as we step into a new chapter of our lives, let’s reflect on the songs that have been there for us over the past ten years. These five songs were released over the past decade and have been a great success, viral hit, started conversations, or defined the era as a whole. Music has power and these, along with many others, are the songs that made us.
This decade featured many happy-sad anthems and it seems like it all started with Robyn. The Swedish singer-songwriter started a pop revolution with her album Body Talk, which featured “Dancing On My Own” and “Call Your Girlfriend.” Her success and courage gave other artists the freedom to branch out and be more authentic in both lyrics and sound. Singer-songwriter, Lorde, has even spoken about how Robyn has heavily influenced her most recent album, Melodrama. Robyn’s breakout single “Dancing On My Own” was originally released in June 2010 at the very beginning of the decade. This song is a perfect representation of the phrase “crying in the club.” With a blend of independence, sadness, and funk, this is a tune for any occasion. The sweet-sad mix quickly became the anthem of millions. In 2016, several years after its debut, the song was covered by Calum Scott, which gave the song a whole new life and audience. Iconic line: “I'm giving it my all, but I'm not the girl you're taking home.” 14
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Wouter “Wally” De Backer, also known as Gotye, originally released his viral hit “Somebody That I Used To Know” in July of 2011. The song is a collaboration with New Zealand artist Kimbra and it is an absolute smash. The song uniquely displays a breakup from two points of view, a rarity in the romantic song department. The famous instrumental portion of the song actually samples Luiz Bonfa’s “Seville.” Gotye focused on the guitar from “Seville” to open his song and then added other instruments and beats to create a whole new track. ”Somebody That I Used To Know” had a bit of a resurgence in 2019 thanks to musical apps like Tik Tok and Spotify, which frequently feature the song. Although many think Gotye has left the music world behind due to mainstream inactivity, the artist has actually been working with his band The Basics. There have been rumors of the artist releasing another album under the Gotye name, but we’ll have to wait until the next decade to see if these whispers come to fruition.
present me cannot get enough. This band brought a blue-rock style to the mainstream and I am forever grateful. The anger and passion and power of Brittany Howard is unmatched in the current music scene. In “Gimme All Your Love,” Howard’s vocals relay so much emotion and capability, it is unbelievable. Even the instrumentals in this song are wild. It begins by moving in steady waves and complimenting Howard’s verses then builds up to a final storm to close out the song. Although Alabama Shakes has not released any new music since 2015, Brittany Howard released her first solo album in late 2019. Iconic line: “You say, the world, it doesn’t fit with you”
In 2018, the revolutionary song “This Is America” was released. Donald Glover, also known as Childish Gambino, has the ability to relay both fight and facts so magnificently when speaking about the lack of gun control and blatant racism in America. In 2019 alone, there have been forty-five school shootings in America Iconic line: “Make out like it never happened and that and yet no changes have been made to stop these we were nothing” tragedies. It is amazing to see artists, such as Childish Gambino, continue creating while facing the violence “Royals” was New Zealand artist, Lorde's first major and hate that persist all throughout America. “This hit. The single was a viral sensation almost overnight. Is America” not only struck a chord with millions, From the beginning Lorde has put her fans first, but also earned multiply Grammy awards, including releasing her debut EP for free on Soundcloud because song of the year. While the song itself is powerful, young people most likely would not have access to a the visuals in the music video are especially striking. credit card. However, by 2013 the song was being sold The video is an incredibly well thought out piece of online and played on radio stations around the world. art. Each prop, dance move, and costume choice is “Royals” is an infectious song, with the hard snaps strategic. I’ve watched this video countless times and keeping a steady beat and Lorde’s unique tone pulling each time I have noticed another one of the intricate you into the song from the first second. The lyrics are details within the video. full of social commentary on wealth and status and how it can affect one’s lifestyle and actions. Lorde has Iconic line: “This is America, guns in my area” always had a very vulnerable style of writing and that is why so many fans can easily connect with her music. Obviously this collection of songs is completely Luckily, “Royals” was just the first taste of Lorde’s subjective, but luckily these tunes are just a taste of unique style and wondrous lyricism and the artist is all of the amazing music we were blessed with over currently working on her third studio album. the last ten years. Take a moment to listen to some of your favorite songs from the past ten years because Iconic line: “Let me live that fantasy.” you might be surprised with what has stuck with you through it all. The pop hits, the deep cuts, and After finding success with their first album Boys & the guilty pleasures have changed us all one way or Girls, Alabama Shakes took a three year gap to write another. As of right now, who knows what will stick and record their bold album Sound & Color. The with us for the next ten years? Probably something standout single on this album, “Gimme All Your Love,” from Harry Styles’ new album. is basically a beautifully presented threat. Alabama Shakes was my introduction to the modern blues scene and although 2015 me was not ready for it, Sunlight Magazine
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montreal, quebec commonholly.com @commonholly
Live Photos: Common Holly
Schubas Tavern in Chicago, IL
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Photos by Sophie Minello
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Live Photos: The Brazen Youth Schubas Tavern in Chicago, IL
Photos by Sophie Minello
lyme, connecticut thebrazenyouth.com @thebrazenyouth
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san francisco, california thirdeyeblind.com @thirdeyeblind
Live Photos: Third Eye Blind
Seminole Casino in Coconut Creek, FL
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Photos by Kat De Barros
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nashville, tennessee smallpoolsmusic.com @smallpools
Live Photos: Small Pools Seminole Casino in Coconut Creek, FL
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Photos by Kat De Barros
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orange county, california madisoncunningham.com @madisoncunningham
Photos by Sophie Minello
Live Photos: Madison Cunningham Fourth Presprytarian Church in Chicago, IL
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House of Blues in Orlando, FL
Review:
The III Tour Article & Photos by Jade Pike
los angeles, california hernameisbanks.com @hernameisbanks
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s the sun set over Disney Springs in Orlando, Florida, fans lined up outside of the House of Blues for one of the final dates of The III Tour.
Starting the night on the softer side, singer-songwriter Kevin Garrett took the stage. As he walked on, he wore Mickey ears to represent the city he stood in front of. Many artists seem to find confusion in playing the House of Blues at Disney Springs, and he definitely fell among that group. He wasn’t quite sure what to call the city since the venue falls in between city lines, but he was clearly happy to be playing for this Central Florida crowd. His voice sent chills across the venue with his original song “Coloring”. His stage presence brought silence to the audience as he sang with passion, backed with only his acoustic guitar and a drummer. About midway through his set, he incorporated a cover of Billie Eilish’s “When The Party’s Over”. This proved to be a crowd favorite as he was applauded with shouts and cheers all around. Sending shivers down everyone’s spine, he filled the room with his energy and grew the excitement for the act to follow. Soon enough, the room went dark and the stage illuminated a vibrant red. The silhouette of BANKS was revealed as she sang the beginning notes 26
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to her opening track “Till Now”. Two dancers strode onto the stage, flowing with the sound of her voice. They seemed to be muses surrounding the singer. After a few songs, BANKS was left by herself in the center of the stage. The lights softened to a hue of with the pulsing beats and the three blue and the beginning chords of her moved in unison to the track. As song “Contaminated” sung out. It was the night came to an end, the crowd an emotional moment for the crowd. I jumped and screamed along to singles could sense chills coming over me as she sang and the crowd stood admiring “Gimme” and “Beggin For Thread”. her presence. Further into the set, her Anyone that attended a date muses rejoined her at the front of the on the III Tour would agree that stage. She took a moment to sit in BANKS put on an unforgettable show. front of the crowd, performing the From the lighting production to the sassy, groovy “Alaska”. This has the choreography and setlist, every element whole room dancing along. Although came together to create a mystical much of her set came from her latest atmosphere. She is quite the goddess album, the addition of the fan favorite, after all, with a stage presence unlike “Poltergeist”, was no surprise. Likely the most intense choreography of the night, any other. BANKS put on a stunning performance alongside her muses. The lights strobed
pittsburgh, pennsylvania kevingarrettmusic.com @kevinogarrett
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From Indian Lakes Article & Photos by Sophie Minello
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T
hree years. Three years was what it took for Joey Vannucchi of From Indian Lakes to open up a coffee shop in New York, adopt an energetic puppy from Social Tees Animal Rescue, and create a masterpiece 16 track independent album. Dimly Lit was highly anticipated after the 2016 album Everything Feels Better Now. What’s so special about this band is that every album From Indian Lakes puts out feels like an entirely fresh entity from the next, though they each play off one another. Always experimenting, it’s amazing how Vannucchi’s music has grown since the 2009 release of The Man With Wooden Legs, an album ridden with angst and uncertainty. Ten years later, Vannucchi has cut ties with the label that supported his latest two albums, Triple Crown Records, and made the rare decision to go off as a solo artist more than a decade into his career. Now, he embraces the freedom and takes the small victories to heart. You wouldn’t guess that Dimly Lit was recorded almost fully in a tiny Harlem apartment, but that’s how it happened. Vannucchi
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explains, “Some sessions were older from the studio that I worked out of for the last album. I wanted to see how much I could do myself, I thought I was going to try to master it but throughout the process of meeting with labels and different people I was introduced to mixers and master-ers and one of them was really adamant about working with the mixing. I’m really glad that happened. I realize that you learn a little more every album, but I couldn’t have made it the way it sounds now. I can hear it now, but [I couldn’t] hear it then because [I was] too close to the songs.” Things just fell into place the way they were meant to. Dimly Lit differentiates highly from its proceeding album because of the aspect of collaboration in the vocals. So many powerful female vocals showed up as not only background vocals, but with solos of their own. You can recognize Soren Bryce of Tummyache, Miriam Devora of Queen of Jeans, Nandi Rose Plunkett of Half Waif, Megan Grandall of Lemolo, and Lynn Gunn of PVRIS. These poised voices bring a whole new dimension to the music. “It was really crazy how the songs turned out.” Vannucchi laughs, “[The singers were] all so amazing I was in shock. I was trying to pick people who weren’t so obvious and some who were to show people that the industry shapes listeners to think certain ways, when in reality anyone can do anything. You have someone like Lynn sing on a song that is essentially a pop song, but also in an odd time signature. I hear it with her in it and I’m like ‘okay, I just sound like some dude’ when she comes in. As soon as she sings, it sounds like a huge radio verse. It’s interesting because it doesn’t sound out of place.” And Vannucchi was right. Despite big changes, nothing seemed out of place. The album artwork was one thing that set this album apart from the others. Sporting nature references and muted beiges and greens, all prior four albums held the same type of style. The last two were created by May Xiong, an unbelievable multi-artist from Seattle, Washington. For Dimly Lit, Vannucchi employed Raman Djafari. This visual artist created some absolutely stunning pieces that are sure to catch anyone’s eyes. “An artist at this point of their career doesn’t usually decide to independently release an album,” Vannucchi explains about his career, “No one can call you a sellout, so might as well take these songs that are more pop and
polish them and make them as big as possible and the artwork just completely depart from the scene that people always lump you in with. Do it in a way that is as bright and colorful as possible. No one can accuse you of trying to be famous. I really enjoyed that idea and the artwork is perfect. It’s super stand out and there are no green plants or outdoor vibes, it’s very psychedelic.” Not only was this album for his followers, but it was also for himself. He wanted to make something that he could be entirely proud of, an album that sounded like something he himself could listen to on repeat. Especially with no big money or label behind it, Vannucchi wanted to create this album as a reminder of what was possible. No matter how far you are in your career, you can still continue to make things that you can be proud of without tailoring it to fit some upper man’s opinion. Given this, sometimes it can be difficult to fund and work on a big project by yourself. “It’s very crazy when it’s all on you. It’s awesome. because all the small victories are huge, but it’s all on you so it’s kind of scary... But whatever, it’s just money,” he shrugs.
“Do it in a way
that is as bright and coloful as possible.”
Vannucchi remarks on taking a year off of touring and playing shows for the first time since he was 11 or 12 years old. The tour that came with the album release proved to be a freeing one. With 365+ days of recuperation, the band was embracing the road once again. “The shows were cool and the bands were cool, but mainly we enjoyed the tour so much because we felt like our tour manager, Trey, was just giving the green light to do anything, like get an airbnb on the river with canoes.” Vannucchi laughs and shrugs. When touring, it’s important to do what makes sense, and what will make the experience the most enjoyable. Joey mostly calls upon his friends to jump onto tour with him. Guitarist Justin Stanphil has been a part of the band since the beginning. But since ex-drummer Tohm Ifergan decided to break from the band when expecting his first child, and keyboardist Enrique Gutierrez became a professional tattoo artist in California, things have been changing. Soren Bryce has since stepped up as the energetic keys player, while friends John Rowe and Christian Orozco took over Sunlight Magazine
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bass and drums for this tour. Openers Queen of Jeans and Yummm also prove to be good friends, Vannucchi joking that he will fight anyone who messes with the Queen of Jeans members. With the loving community of artists and fans, From Indian Lakes shows are at the best they’ve ever been. 10 years into touring, Vannucchi is ready to step back from the grueling aspects of tour and optimize it to be the best it can be. Furthermore, despite the gap in touring, the band was able to sell out and fill rooms with caring listeners. Joey puts his energy into the things that matter, like connecting with the crowd as friends instead of fans. He’s surely one to crack a joke into the microphone despite his initial stage fright. The new year is sure to bring lots of prosperity for this New York City band. The touring season is back on, and Joey hopes to bring a new kind of experience with some solo tours in the new year. With just Vannucchi and his guitar, and maybe Justin, a more solid connection is formed with the room of fans. Additionally, more music videos are sure to be popping up, giving listeners a good visual into Vannucchi’s world. Remixes are on the horizon. Vannucchi ends the interview with some words of wisdom, “If you’re not going to be exposed to a million more fans, what you can do is to stay in front of the people who already follow you.”
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Beat Kitchen in Chicago, IL
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Interview:
Wolf Culture Article by Sophie Minello
Hailing from Bournemouth, England, Wolf Culture are ready to take over the world. Starting in 2016, they are now comprised of Jay Dervan, Max Dervan, Jake Daniels, and newest member Reece Collins. As of now, the band is throwing themselves into the release of their sophomore album. The new single “Spite” released in December 2019, and it is only the beginning of an exciting journey. In their process of writing and recording the best songs they possibly can, they took a moment to chat with us about what’s to come in the new year.
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The introduction of your newest single “Spite” was very cryptic. You kind of rebranded yourselves around this single. What can fans expect from this new and exciting era?
Who are some of your musical inspirations?
New bassist Reece was officially added to the band in November. How does it feel to have a nice solidified set of members again?
As a band, it’s crazy some of the shit we listen to. Our teenage years were undoubtedly shaped by alternative/ It was like losing a brother when we Well, cheers for saying it’s exciting, that’s punk music but we don’t like to limit lost Josh, our previous bassist, but he our ears to that. Personally, I like definitely what we want to hear. We couldn’t have left on a higher note wanted to usher in a new era for the anything as long as its catchy. It can be (coming back off the EU tour). Reece band with a poem Max wrote called due to incredibly intricate guitar parts has surpassed expectations and has “Floods”. It happened completely by or someone blowing their vocal chords already became a member of the Wolf accident but summed up exactly what to shit – it doesn’t matter – a good song Culture family. Only legends can we wanted to say to our listeners. We is a good song; even if its in the pop replace legends. won’t ruin it by explaining the meaning charts. Although that’s rare as fuck. What are some of your new year’s but we wanted to wipe the slate clean You’ve opened for some pretty great resolutions? so that we can get on with evolving. punk bands: Tonight Alive, ROAM, Max’s is to try and make it through a There’s nothing that scares us more than Hawthorne Heights, Trophy Eyes, tour without getting a cold and crying stagnating and we promise that’s not etc. What has been your experience about it all the time. happening any time soon. “Spite” is the opening for shows like these? sharpened tip of the iceberg. We’ve been lucky to play with bands Can you tell us anything about your that we loved and have learned to love. upcoming sophomore release All we can ever hope to do is learn and in 2020? ensure people have a good time whether We can only tell you that we’re here headlining or opening. to try and make you feel in an era of So far, what has been your favorite humanity that has us brainwashed to show and why? feel numb all the live-long day. Max That’s a tough one. Whilst on tour with writes from the heart and if he doesn’t Tonight Alive last year, we found out want to punch a wall or break down late the night before that we would after playing a track then he’s not be playing an acoustic set to a sold out playing a Wolf Culture song. Expect us show at Bush Hall in London. Despite to go far deeper than we ever thought bournemouth, england the fact that we had only played was possible when writing Devil’s Plans. wolfculture.co.uk @wolfcultureuk through the songs acoustically once What has your writing process been before, I really think we aced it which like for this album? was the best feeling in the world at a “Spite” is about being pissed off and it’s sold out show. You bet your ass, we never hard to get in the right headspace practice all day and night before yours to write a song like that. That’s how now. the verses and pre-chorus came about. What are your must-go places to tour? The hard part was breaking through Wherever there is Weatherspoon’s. I’m all those muddy and spiteful moments and creating a chorus that conveys how not joking. sometimes you just want the world to STFU for a second.
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Photos by Sophie Minello Article by Kristen Roberts
Review:
My Dog
Single by Emma Ivy
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hile the dreary winter season sets in, it is time to search for songs that can still make us feel warm on the chilliest of afternoons. Songwriters often write about their environment or life experiences, but it is rare that the actual feeling of the artist’s space bleeds into their music. Emma Ivy’s latest single feels like the forest during Spring, alive and breezy. The blossoming singer-songwriter is currently residing in Chicago, but clearly takes inspiration from her childhood stomping grounds of New England. Her DIY style of music allows for complete freedom and control when it comes to her content. She let’s her own influences and artistry completely take over her songs, giving each note or word a purpose. Though her instrumental manner is more subdued, Emma Ivy’s lyrical style mirrors that of an early Maggie Rogers, raw, honest, and powerful. Emma Ivy’s most recent single, “My Dog,” is a beautiful commentary on life and solitude. Though the song does have a bedroom pop type of sound, Emma Ivy brings such a pure tone to it with her flowering voice. The stunning backing vocals that carry you through
the entire song are peaceful, yet enticing. The lyrics balance on the edge of finding comfort in the loneliness. Almost like floating on your back in the middle of a lake, yet knowing there are things lurking just underneath you. Overall, the track has a very nostalgic tone, which gives the song a more tender, classic feeling. Emma Ivy’s music truly celebrates the highs and lows of life. She possesses all the qualities of a beautiful storyteller, which is really all you can ask for from a songwriter. Although Emma Ivy’s musical career is just beginning, her passion and talent easily push her to the forefront of the ever-growing DIY music scene. Her debut album, “Aphid,” is set to release in February 2020 and we will all be able to walk through the woods with Emma Ivy’s soothing melodies by our sides.
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Review: A Blemish in the Great Light Album by Half Moon Run
Article by Alec Smith
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Blemish in the Great Light is the third album from Montreal-based rock band, Half Moon Run. The Canadian quartet’s latest release brings back the band’s classic sound, complete with their signature dream-like harmonization to layer lead singer Devon Portielje’s vocals. The album opens with “Then Again,” introducing a theme of hardpressed questions about moving on; a theme that laces itself throughout the rest of the record. “It’s gotta take a lot to learn to love/How I wish I knew what it was,” Portielje reflects on in “Flesh and Blood.” The record’s standout comes at its second track “Favorite Boy,” the all-too-familiar story in life about the ending of a relationship, dressed up in an ‘80s psychedelic melody complete with dreamy synths, a funky bass line, phaser-drenched guitar licks, and the band’s most textured harmonies to date. “I don’t know how it started/I don’t know what to believe/My head on your shoulders/Or the ringing in my ears,” the singer confesses from the perspective of someone desperately trying to hold onto a love at the end of its run.
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“Razorblade,” one of the album’s most complex songs, driven by light acoustic guitars juxtaposed against the line, “You could be my razorblade,” describes someone struggling not to succumb to the darkness of a crumbling world, and instead opting to “look the other way.” The airiness does not last long before the dream dives into a night terror of distortion and heavy percussion with Portielje’s vocals, reaching their climax of the entire record. What follows is a wistful two-minute piano instrumental, “Undercurrents,” squeezing out the last lingering melancholy before leading into the catchy three-chord groove of “Jello on My Mind,” a seductive metaphor that’s easy to figure out upon any listen. While the music that makes up A Blemish in the Great Light is a product of the band’s continued dedication to precision and craft, it’s imagery invokes the feelings of messiness and confusion that come with deteriorating companionships, and the unknowing of what to do when it’s all over.
montreal, quebec halfmoonrun.com @halfmoonrun
Playlist by Kristen Roberts Photo by Cayla Coomer
Playlist: No Song Left Behind When You Were Young
The Killers
When Did Your Heart Go Missing
Rooney
I Wanna Get Better
Bleachers
Thinkin Bout You
Frank Ocean
Weight in Gold
Gallant
SUBURBIA
Troye Sivan
Lovebug
Jonas Brothers
Chocolate
The 1975
Fluorescent Adolescent
Arctic Monkeys
Cooler Than Me
Mike Posner, Big Sean
Run This Town
JAY-Z, Rihanna
In Too Deep
Sum 41
Tighten Up
The Black Keys
Last Nite
The Strokes
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Florida Guilt by Bay Faction
Hallucinations EP by PVRIS
I Can Fool Anybody in This Town by Liily
Hard to Imagine the Neighbourhood Ever Changing by the Neighbourhood
Phases by Chase Atlantic A Modern Tragedy Vol. 3 by Grandson
Now, Not Yet by Half Alive
Nothing Happens by Wallows Heard It In A Past Life by Maggie Rogers
When I Say To You Black Lightning by Common Holly
Feeding Seahorses by Hand by Billie Marten If You’re Not Afriad, I’m Not Afraid by Queen of Jeans
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III by Banks
When We All Fall Asleep, Where Do We Go? by Billie Eilish
Dimly Lit by From Indian Lakes
Living Mirage by The Head and The Heart
Norman Fucking Rockwell! by Lana Del Rey
Charli by Charli XCX
Closer Than Together by The Avett Brothers
Safe and Also No Fear by Slaughter Beach, Dog
Magdalene by FKA Twigs
Better Oblivion Community Center by Better Oblivion Community Center
A Blemish in the Great Light by Half Moon Run
When I Get Home by Solange
Vagabon by Vagabon
Death of the Neon by String Machine
Adventure by Twain
All Mirrors by Angel Olsen
III by The Lumineers
Our Favorite Realeases of
2019
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Playlist by Sophie Minello Photos by Cayla Coomer
Playlist: A Soul At Peace
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Though You Gleam
The Brazen Youth
Baby’s Arms
Kule Vile, The Sadies
Warned You
Good Morning
Those Girls
Big Thief
Ragged Wood - Transition Basement Sketch
Fleet Foxes
Walking On a String - Alt Version
Matt Berninger, Phoebe Bridgers
When It’s Love You Want
From Indian Lakes
When You Learn
The Avett Brothers
Anything
Slaughter Beach, Dog
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Happy Ears:
Bruise Lee
Indianapolis, Indiana @bruiselee_
Article by Daniel Cango
“C
ommunication” came from a time where I was attempting to write a new song for a band that I was playing in, and still play in now. I wanted to capture a different vibe, intentionally deviating from writing the reverbladen indie rock we were making at the time. I wanted to explore the idea of the consistency of a voice despite the medium that the writer attempts to explore. Thus came “Communication.”
Funny thing; I didn’t even have lyrics written out until I recorded the vocal tracks, which came last. When we’d perform I’d just kind of mumble shit that relates to the general theme. But like most things, I believe the best things come naturally, and so the lyrics just flowed when I was put on pressure to record the vocal parts.
Lyrically, “Communication” explores the failure Happy Ears: A piece It kind of has this of communication pseudo-disco vibe that due to distance. It’s a in which a musician originated from a chord pessimistic reflection explains their creative progression I stumbled on my failed attempts process behind a song. to stay in touch with upon when attempting to get some ideas down. I friends and family fell in love with the chord progression, that have been displaced by geography. but had no idea how to write a song It’s my anxiety-ridden perspective on around it. I let the chord progression how poorly I’ve treated the ones I fade into obscurity for a little bit until I claim to love. The upbeat nature of the stumbled upon it again; months later in instrumental contradicting with the a little phone memo I recorded. From downcast lyrics is a reflection on how there I knew I wanted to make it upbeat much I mask my honest feelings in and really catchy. After performing a order to perform like people want me few times with the band, one of my to. Funny how you can be sad and want good friends approached me, wanting to dance at the same time. to produce the song and suggested the song be the beginning of a solo project On the bright side, I feel rather than a track for the band. That’s like this stuff is what comes the most how “Bruise Lee” came to be. Over the naturally for me, and I’m really pumped course of two months, we threw ideas to really feel like I’m making what I’m back and forth about the trajectory supposed to. of the song in his little home studio.
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Photos by Ariannie Delos Reyes
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Happy Ears:
Nasty Woman Earrings Article by Grace Offerdal
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Photos by Romond Duval
started Nasty Woman Earrings as that I like. It usually depends on my just a fun hobby to relieve some of mood that day, but I tend to lean my stress. I’m a full-time student with towards brighter colors because I want an internship and a job, so I had a lot them to be fun and bold. Once I choose of stress to relieve. It the colors, I run them Happy Eyes: A piece through a clay pasta brought me so much joy to share something in which a visual artist machine (yes, that does I made with my friends, exist) to flatten it out so explains their creative and I wanted to take it a it’s ready to work with. step further. I saw a lot of process behind a very creative people on Then comes the shapes. body of work. my Instagram feed, even I use a variety of different some earring creators, tools to cut the clay into and I felt really inspired to try and make shapes; clay cutters, cookie cutters, something myself. I never intended for knives, scissors, X-acto knives, bottle it to go farther than just me and my caps, and anything else I can find with a friends, but then people started asking fun shape and sharp edge. I like round me where they could buy them, so how edges more than sharp ones, so most of could I refuse that? my pieces are circular rather than square. I don’t usually plan out any shapes or All of the earrings are made color combinations beforehand, I tend out of polymer clay, which is a very to improvise once I’m sitting down and lightweight, semi-flexible material. In staring at the clay. After everything is addition to the clay, I use jump rings, cut and ready to go, they go into the earring backs, cutting tools, metal oven to bake. When they come out, charms, and my oven! The process they’re flexible but still retain their begins by choosing the colors I want to shape, which makes for an easier wear. I work with. I usually just lay out all of usually make one collection per session, the colors that I have, and then mix and which could be anywhere from 5 to 20 match them until I find a combination pairs of earrings. After they’re baked comes the assembling, which is the longest, but most rewarding, part of the process. I use jump rings to connect all of the pieces together and add any charms if the earring calls for it. I take all of my photos before I attach the backs, so the pieces lay flat for the photo. After my mini photoshoots, I attach the backs with jewelry glue and upload all of the photos to my website! This whole journey has really served as a creative Sunlight Magazine
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outlet for me that I haven’t had in a long time. It’s only been a few months and there’s been some ups and downs, but it’s really been something I didn’t know I needed. It’s been really hard to balance school and my internship and work and making earrings, but I dedicate all the spare time I can to Nasty Woman. I don’t really see myself as a small business owner and I still think it’s weird when people call me that, but I guess I sort of am. I just want to put something fun into the world that has a meaning, which is where the name comes from. I wanted something that made a statement and something that could empower woman to be bold. It may sound silly because it’s just jewelry but being able to express yourself is the most freeing thing you can experience, even if it is just a pair of earrings. It’s the best feeling in the world to see someone love something that you created.
pittsburgh, pennsylvania nastywomanearrings.com @shopnastywoman 48
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Editorial:
The Ghost of You
Photos & Writing by Sophie Sand Kannberg
I
have had this idea for a photo series for over a year now. I loosely based it off of Eleanor Antin’s visual narrative series titled “100 Boots”, (1971-1973). So, Mom, if you’re reading this, I am not currently on the verge of an emotional breakdown, and I don’t have a nicotine addiction. Thank you.
“The Ghost of You” is that feeling after a friendship or relationship ends, or after someone passes. It’s the way you still see them everywhere, even though they’re not really there. You see their essence in every song, every corner, everywhere. Even though they are not physically there, they still find a way to haunt you. You have to take a different way home from work because you don’t want to drive by their house. You change your bed sheets because you can’t sleep in them anymore without the thought of their nose in the nape of your neck. You can’t hear the same songs anymore without feeling them mixed in between each lyrical line. For me, “The Ghost of You” is about telling myself that they’re not really there, and that it’s time to heal and let go.
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35mm Photos by Cayla Coomer
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Borders in Film Article by Anthony Sennett
B
American Honey (2016)
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y December 31st, a nearly innumerable collection of films will be crammed into a memory box. No matter the artistic pedigree, intent, or cultural value, any work from these past ten years will be concretely related to one another. While the age of the superhero will most likely define this era of American cinema in retrospect, a beautiful array of voices were heard outside of the Marvel cinematic universe. Mid-decade, indie audiences witnessed the birth of a boldly deconstructed and raw form of realism from the likes of American Honey (2016), Tangerine (2015), and Heaven Knows What (2014), in tandem with the hyper-stylized revelations of Sorry to Bother You (2018), The Love Witch (2015), Anomalisa (2015), and the good and bad of Nicholas Winding Refn’s neon-soaked world. A renaissance in horror came to fruition due to the likes of Robert Eggers, Jordan Peele, and Ari Aster, and sci-fi reached new heights with Denis Villenueve’s Arrival (2016) and Blade Runner 2049 (2017) and Alex Garland’s Ex
Machina (2014) and Annihilation (2018). Reasserting their unyielding talent, David Fincher, Wes Anderson, and Paul Thomas Anderson cemented their status as masters. Along with all this, the heartwarming hug Lady Bird (2017) provided was equalized by the stomach wound inflicted by Suspiria (2018). Although there is an abundance of realized and budding talent within the states, there is no reason to remain within the boundaries of the english language. No matter how great of a selection America boasts, the need for outside perspectives is essential to sustaining a diverse and well-rounded artistic atmosphere. While the 2000’s were prevalently filled with escapist fantasies of middle earth and wizard kids, there was an emergence of films extraneous to America growing more accessible and popular. From Spirited Away to Pan’s Labyrinth, a more diverse spectrum of voices and styles were beginning to share the spotlight with the likes of James Bond and Tom Cruise playing the character of Tom Cruise. In 2009, on a strip of land along the Mediterranean Sea, director Yorgos Lanthimos introduced the Greek New Wave to the world. Releasing his second feature film Dogtooth, Lanthimos’ style was mundanely surreal, providing an unsettlingly raw lens through which to view the human condition. The following year, he would star in Athina Rachel Tsangari’s Attenberg. As Tsangari stated, “I thought it would be interesting to observe Marina (the main character) the way Attenborough observes his subject, with a kind of scientific tenderness.” This approach is reflected in the opening scene, focusing on an emotionless, uncomfortably prolonged make out session. This audaciously bleak presentation is the defining characteristic that would
Tangerine (2015)
Heaven Knows What (2014)
The Lobster (2015)
remained constant in her’s and Yorgos’s artistic evolutions. While the collaborative nature of their relationship brought out the best in each other, their dependency on one another was also out of necessity. Living in a country continuously plunging deeper into economic disaster, these artists’ micro-budgeted self expressions are stifled by the very place that inspires them. With family being at the forefront of societal importance in Greece, Lanthimos and Tsangari’s stories subvert the expectations their homeland had set for so long. While Athina pledged to stay and explore said disastrous state through her art further, Yorgos moved away from the wreckage, importing their unorthodox style for an American audience, releasing one more Greek-language film Alps (2011) before his first English-language feature The Lobster (2015). With a larger budget and star-appeal, the indie hit breathed even more fresh air into an increasingly multifarious market, with a writer proclaiming “it opens [one’s] eyes to a new way of storytelling.” While the Greek New Wave honed a singular style through which citizens of a country express themselves, the opposite is true of France, a powerhouse of innovate and distinctive cinema home to the infamously provocative Gaspar Noé. His two releases this decade withheld nothing, with the ultra-erotic Love (2015) and nightmarish Climax (2019) pushing boundaries no other director or region had previously attempted. Julia Ducournau’s Raw (2016) provides a graphic tale of a vegetarian tasting meat for the first time, spawning a need for human flesh. Her vision is so unabashedly unique it transcends any horror or coming of age trope previously set in place, garnering controversy for its truly unfiltered Sunlight Magazine
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presentation. This level of artistic audiences to explore. woman ‘walking alone’ and the fact expression is not new to the country, as that this very character is a predator proven by its rich catalog of work from While France has cemented “speaks to America’s strange tendency Jean Cocteau to Agnes Varda. Using itself as a center of the arts, every to read the chador as a symbol of both his countries’ artistic past to frame country has a valuable cinematic voice victimization and threat.” This decade the present, Ladj Ly’s Les Miserables to offer. There is a beautiful quality also saw famed Iranian director Abbas (2019) provides an unflinching look at to films that resonate beyond the Kiarostami’s creating a french-based police brutality in impoverished areas borders of their land, yet still tell a film with Certified Copy (2010), around Paris. Using child actors from story uncompromisingly specific to the centering around a discussion on the the very slum Ladj himself had lived region they originate from. Stemming value of originality yielding beautiful in, this autobiographical directorial from the turmoil of gender politics results. While Pawel Pawlikowski’s debut explodes with urgency, even in Turkey, Deniz Gamze Erguven’s phenomenal Cold War (2018) could being screened for the president amidst Mustang (2015) highlights the horrible be simplified as a story of undying widespread riots due to the same issues. conditions women of all ages endure love, it is an inherently Polish film, On the other end of the spectrum, films in her country, rightfully comparing grounding itself in the harsh realities of such as Oliver Assayas’s Clouds of Sils their standard of living to “the middle post-war life, with the rhythm of their Maria (2014) and Celine Sciamma’s ages.” Managing to work around relationship evolving out of history Portrait of a Lady on Fire (2019) the censorships Iran has placed on itself. In 2013, a king of Japanese present themselves with beautiful cinema, Asghar Farhadi’s A Separation filmmaking, Hayao Miyazaki, released ambiguity, grounded in reality yet (2011) provides another unflinching his most mature film The Wind Rises, elevated by their stunning presentations view of gender relationships and the a story fueled by the corruption of and subtle surrealist imagery. French investigative system in Iran, vividly capitalism using pacifist ideology. By cinema shows no sign of slowing down, depicting what is banal to their critiquing his countries’ hubristic and and a vast horizon of impossibly eclectic culture yet so foreign from a modern damning attitude in World War II, and uncharted art is ready for global American perspective. With a narrative Miyazaki was met with opposition from comparable to Blue the political right. Drawing from the Les Miserables (2019) Valentine (2010) and modern day insight on poverty in Japan, Marriage Story (2019), Hirokazu Kore-eda created an equally the complexities of honest depiction of the struggles of his A Separation’s failing culture in Shoplifters (2018). Stating “I marriage are universally don’t portray people or make movies understood. Three years where viewers can easily find hope,” this later in Iran, however, a philosophy gave way to one of the most film inherently tied to raw portrayals of the evils of capitalism, western art surfaced; a message easily translatable across Ana Lily Amirpour’s A borders. Girl Walk Home Alone at Night. Inspired by In the end, due to the old spaghetti westerns widespread influence of western and nosferatu, this tale culture and the domineering presence of a lonely vampire of American filmmaking, making an subverts the genres it english language film has been the most originated out of. The accessible way for artists to create work jarring amalgamation with universal impact. Sebastian Lelio, of cultures makes it Claire Denis, Pablo Larrain, Yorgos inherently political. As Lanthimos, and Denis Villeneuve writer Moze Halperin are a handful of directors who have believes, the contrast made their english language debut this between the presentation decade, spawning their most widely of the female lead being notable films to date. While there a vulnerable, lonely is beauty in bringing the expansive 60
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viewpoints and singular voices of foreign directors to the ideology and culture of the United States, there is, thankfully, a larger cultural shift taking place. With the widespread acclaim of both Roma (2018) and Parasite (2019), international art is becoming more accepted and revered by the masses. Both of the films previously mentioned are created by masterful directors after a long run of english-language films. With Roma being helmed by such a renowned artist as Alfonso Cuaron, he took his success and created a Spanish language narrative centered around a soft-spoken live-in maid in Mexico City. The platform he gave this intimately stunning work of art led to Yalitza Aparicio, the film’s star, becoming the first Indigenous American woman to receive an Oscar nomination. Being amongst the best reviewed films of the decade on top of its record breaking screening attendance statistics, the Korean language film Parasite
further attenuates the shift in artistic (2016), and A Fantastic Woman (2017). consumption. The reason for its success While Parasite is far from the first and ability to transcend the barriers international film to resonate deeply inherently restraining its success was put amidst so many different societies, it most eloquently by Bong Joon Ho, the serves as a beacon of hope for what director, himself: “I tried to express a is to come in the 20’s. With Disney sentiment specific to Korean culture, all continuing to rapidly reveal itself as a the responses from different countries lifeless, cash-grabbing monster, now were pretty much the same. Essentially, is a more vital time than ever to bring we all live in the same country called international directors to the forefront. capitalism.” Tying in with the same appeal Shoplifters held a year earlier, the desire for truth is as strong as ever. With themes of spirituality explored in Alice Rohrwacher’s Corpus Celeste (2011), Ida (2013), and Uncle Boonmee Recalls his Past Life (2010), these core human interests are not something divided by regions. While it is integral to call for more diversity within the American Hollywood system, we can find representation outside this country as well, with, for example, the LGBTQ+ narratives of Xavier Dolan, Thelma (2017), The Handmaiden
Roma (2018)
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Photos by K Bodrock for Fusion Magazine
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