Spirit City – We're All Insane – Plastic Albino Records

Spirit City
We’re All Insane

Plastic Albino Records
Street: 09.09
Spirit City = Death Cab for Cutie + PlayRadioPlay! + Innerpartysystem

Finding an album that has the ability to lead its listener through every emotion and back again is difficult—finding one that does this while its listener is dancing and singing along? That’s a challenge. Powerful lyrics with upbeat musical elements are my jam, and bandmates Nate Young (lead vocals, guitar), Austin Young (keyboard/synths) and Cori Place (bass) know how to please indie-pop lovers like myself.

The album’s title song is catchy, upbeat and repeats a true, universal theme: “We’re All Insane.” However, amid dancing and singing along with the song, the lyrics creep up quickly: “We’re all the same / We’re all the same / And all I wanna do is get away from you—break away.” Much of the song focuses on being an “oddity”—and how that’s actually a good thing. The last repeated lyrics, sounding almost like a mantra, are, “I got a mind of my own.” Hell yes—I just found my new motivational song.

“Do What You Want” has fun, electronic elements that brought me back to some of my favorite ’80s tunes. I found myself easily singing along to the track and couldn’t help but dance to the music. “Make Me Whole” brings it down a notch with a slow-swaying song that stays fixed in the groove of the overall album.

“Stillness” is my favorite track to listen to. It is a lovely electronic piece that halted my dancing-groove mode and made me just sit down, relax and really listen to the music. Obsessed with the harmonies in the song and caught off-guard by the sheer emotion in the lyrics—“Time is sinking in the nothingness, in the nothingness”—I played the song over and over on repeat.

We’re All Insane is a demanding album—in a brilliant way. It demands that you listen, that you dance, that you soak in nostalgia from the past and that you truly think about your life in the present. As it leads you through a river of emotions and an array of dance-grooves, We’re All Insane carries some heavy, human elements with its indie-pop music. Spirit City will definitely be on my radar from now on. –Alex Vermillion

Merzbow | Aodron | Automation Records


Automation Records
Street: 01.27
Merzbow = Nordvargr + Hanatarash + Masonna

Merzbow is the result of synth, industrial and grungy guitar soundscapes thrown into a blender—a fucking delicious harsh-noise smoothie. His latest album, Aodron, has familiar elements that represent a traditional Merzbow sound, this time adding a bit more junk metal and effects into the mix. Although there are only five songs on the album, each track is six or more minutes long, and brings its own flavor to the entirety of the album.

Aodron starts off just right with “Ao Part 1,” an alien-sounding entrance that moves straight into Merzbow’s signature white noise background with looping helicopter effects.

“Ao Part 2” is my favorite track on the album, comprising of various sounds that resemble a heartbeat. This one has a distinct rhythm to it, bringing industrial dance vibes into the picture, while in the background, there is a sound reminiscent of a fast-paced heart monitor. The 12-minute track is eerily calming, even though the noise and effects themselves can almost be anxiety-inducing. The rhythm of the song, combined with the low tonal emissions from the guitar, create an ambience that is almost meditative. Merzbow introduces what seems like arcade music from Galaga here, adding to the album’s initial introduction of alien and otherworldly noises.

“Ao Part 3” continues the hospital monitor with more distortion, outputting white noise with a harsh screaming sound in the foreground of the track. Later, he drops a deep bass in sporadic intervals, creating a nearly disorienting effect. The ending of this track is the best part, startling its listener with sudden shifts in sound from trash metal to grunge guitar to looped industrial pieces once again.

“Tetsu TO” has the most bass out of all the tracks. It’s an 18-minute song filled with deep bass that varies its tone at random frequencies. “Tetsu TO” does not incorporate a lot of high-pitched noises; rather, it stays deep—so much so, I could feel the bass in my chest while listening to the song in my car. This track is a close second favorite of the album.

Merzbow rounds off the end of his album with “Melo,” a track that makes you want to dance and relax and scream—all at the same time. It loops all of the distinct sounds from each track into one final piece, even adding a bit of keyboard and harmony into the song. It is both doomsday and alien, ending abruptly and leaving its listener needing more.

Overall, Aodron is a fantastic album for those who enjoy meditating to harsh noise. I could easily listen to it on repeat, both wanting to dance and escape into the music. Longtime Merzbow fans will enjoy the familiar aspects and can appreciate the new sounds and experimental portions throughout the album. And for those of you who have always wanted to listen to harsh noise but haven’t known where to start: Merzbow is one grungy artist who won’t let your expectations down. –Alex Vermillion

Red Sleeves

Street: 07.21
Red Sleeves = Metro Station + twenty øne piløts + OneRepublic

Every year, I rush to complete my cosplays for Salt Lake Comic Con, and with that rush always surmounts a heap of stress. After throwing Red Sleeves’ OK on my sound system, however, my stress levels were swiped by their lively indie pop-rock. Mixing great basslines, danceable drums and innocent lyrics with polished electronics, Red Sleeves are a band that makes you feel good instantly.

Starting off the album is “I’m Ok,” with lyrics that proclaim that they “only write these songs to make you smile.” Red Sleeves brings their listeners back to the early and mid-2000s—and for me, that means to high school and high-school sweethearts. Lyrics that inspire laid-back confidence, such as “we’re okay—I made mistakes, but that’s okay, who hasn’t?” and cheesy-but-cute lyrics like “You’re everything that I wanted to kill me / You don’t even know, but that’s just how it goes” combine to create the perfect blend of lovestruck and happy-go-lucky moods. I found myself humming the tunes of the album all week, smiling as I’d get to the song’s delightful chorus.

If there were ever a theme song created for eating ice cream in 80-degree weather on a first date, it would be “Brainstorm.” “Brainstorm” has that fun blend of Motion City Soundtrack with twenty øne piløts, complete with cute lyrics and an upbeat dance background. But my favorite song is “Thursday,” a song that is impossible not to dance to and play on repeat over and over again. With a fast drumline, solid harmonies and Metro Station–like electronics, Red Sleeves had me singing the lyrics “I’m terrified, terrified, of everything falling apart / I must have been electrified—this one has my heart / I’m far away from here / I’m far away from everything.” The guitar in this song is my favorite, creating a California vibe that contrasts well with the song’s danceable quality.

These guys really know what it’s like to have major crushes—but they also know how to have a good time, even if love gets you down. For some end-of-the-summer jams, OK is a great pick to dance to, sing along to with your loved one and let yourself just relax. –Alex Vermillion

Temples | Volcano | Heavenly Records


Heavenly Recordings
Street: 03.03
Temples = Allah-Las + Pond +  The Growlers

For years, Sun Structures has been my go-to album whenever I’ve wanted to manifest a chill-out-and-relax atmosphere. During the entire summer of 2014, no matter where I drove, that album played on repeat in my car. When I heard that the Temples had released their second studio album, Volcano, I had to know what they had in store for their listeners and hoped that I would be just as madly in love with it as I was Sun Structures. Luckily, Temples didn’t disappoint. They have produced another psychedelic adventure, this time incorporating more alternative rock and electronic synth than its predecessor. Volcano is a pleasurable mixture of ’70s kaleidoscopic tunes and magical ’80s soundtracks, leveling up the dreamscape genre in 12 solid tracks.

The album starts off strong with “Certainty,” a buoyant song that immediately puts the listener in a happy-go-lucky mood. Once Volcano catches your attention and delivers endorphin-worthy tunes, the album slides into the dreamlike world that Temples are famous for. In fact, a few of the tracks on the album sound like they could easily be incorporated into The Neverending Story, including “All Join In” and “(I Wanna Be Your) Mirror”—and coming from a super geek, that’s a major compliment. Many of the tracks, such as “Open Air,” have a bit of a disco vibe, making it near impossible not to get up and groove while listening. The album is inescapably happy, and many of the songs send you into a hallucinatory mood. “Born Into the Sunset,” for instance, brings its listeners on a visual trip with uplifting vocals, cloud-like imagery and dreamy yet slightly distorted vocals that coin the Temples’ sound.

Other tracks, while still lending feel-good vibes, are a bit more serious in their lyrics. “How Would You Go” quickly became one of my favorites, with James Bagshaw singing, “How would you like to go? Would you want to know? Would you like to know? … All the strangers walk by / All the strangers passing by.” The beginning of “In My Pocket” seems like it will be the cutest love song you’ve ever heard: “I want to put you in my pocket / Put you in my pocket each day / And watch the clouds.” But it eerily twists into a darker mood: “We are the empty people waiting / Empty people waiting for love.” The Temples have a fine way of combining honest lyrics with upbeat music. Volcano guides its listeners through an introspective journey, be it pleasant or confronting, while still lingering in a phantasmal world that the Temples have created. Interestingly, even with lyrics that discuss misfortune and loneliness, the songs never feel depressing due to the musical quality and tone of each track. Instead, the lyrics ask their listeners down-to-earth questions, allowing for deep thought without the misfortune of feeling bogged down by internal emotional warfare.

Volcano ends on a terrific note with the track “Strange or Be Forgotten,” which essentially tells its listeners that being strange is better than being forgotten. Nothing warms my heart more than a shout-out to all the lovely weirdos in the world—those who dare to be different, to be odd, to be strange. Temples, you’ve won once again with the success of another album that’ll be playing in my car on repeat for many months to come. Cheers to you! –Alex Vermillion

Sóley | Endless Summer

Endless Summer

Morr Music
Street: 05.05
Sóley = Sigur Rós + Mogwai + CoCoRosie

Sóley Stefánsdóttir, or simply known as Sóley, is an indie singer, songwriter and multi-instrumentalist from Iceland whose music is as devastating as it is alluring and elegant. I’ve been a fan of Sóley for many years, and I’m happy to say that Endless Summer is, to put it quite simply, flawless.

The album starts off with the track “Úa,” which is much like the piano intro in We Sink (2011). I felt right at home musically when I heard the sounds of the accordion, soft piano and the elegant yet eerie harmonies of Sóley’s voice fill my headphones. This album has much less of the distorted sounds and unsettling piano thrums than its predecessor, but still captures the icy, delicate atmosphere of her previous albums.

“Sing Wood To Silence” unravels a sad yet familiar story. Sóley’s voice cries out while a piano duet trapezes over her harmonic vocals. “Do you understand there’s nothing to fear?” she says, while guitar and violin pick up the pace. It’s a lovely story that takes its time to reveal the happy ending—which is not something Sóley typically allows in her music. But the happy ending doesn’t stay long, as “Never Cry Moon” undoubtedly alludes to the traditional Sóley lyrics: “Nothing to find / Empty as forest / No one can hear … / Stay for a while / Bid me away from the death / I’ll make you happy.” Later, she sings about the ocean as the violins play in soft, assured waves.

“Grow” is one of my favorite tracks on the album. Sóley begins the song by asking if “I can grow back to you? Little by little, together?” but ends it with a strong, repetitive chorus of “We grow and then we die.” It is a solemn yet honest reminder of our mortality and how much time can be taken up by longing for what we do not have. In this track, I can almost hear the changing of the seasons, a lifetime of wishing for a moment, an outreached hand; the sound of the ocean.

“Before Falling” keeps up the imagery of the ocean as Sóley’s voice crashes on top of piano keys and fades away, only to crash once again. The effect is a stunning piece of musical art. “Traveler” has an unexpected electric organ in the midst of it, adding weight and comfort to the song, which will eventually welcome distorted piano noises, a few bass hums and whispery vocals. The indie-electronic, circus-like sounds that make up a majority of Sóley’s previous albums are most prevalent in this track. The organ ends on a note that is appropriate for a modern-day Dracula film, but the song ends overall on the soft fade of a violin.

The album concludes with its title, “Endless Summer,” a six-minute track of fluttering piano keys and Sóley’s contorted yet controlled vocals. “Did you see the sun come up? / You can find me in the flowers / You can find yourself some peace.” Here, Sóley cleverly alludes to her tracks “Sun is Going Down,” and “Sun is Going Down II” from We Sink.

Sóley has created yet another beautiful work of art. Endless Summer is similar enough to Sóley’s previous albums that fans won’t be dissuaded from it, but it is also different enough to draw a new kind of audience to her music. Endless Summer is a lovely album, filled with a mature kind of longing that leads its listeners into a realm of nostalgia, of “dreamlike,” of sehnsucht. –Alex Vermillion

Elytra – Embers and Stardust

Embers and Stardust

Release Date: 08.25.16
Elytra = Adele + Amy Winehouse + Florence and The Machine

It’s no shocker that Elytra would quickly become successful in the local music scene, especially after opening for Grimes at the Twilight Concert Series. Elytra’s bandmates are powerhouses—each masters of their instruments—and it’s obvious while listening to Embers and Stardust. Scotty Ray has the vocal and lyrical prowess of the group. Secily Saunders creates soothing sounds on guitar while Janet Chotia provides a more somber mood on bass. Lindsay Heath brilliantly plays percussion, including piano and the plethora of various drums present in the album. Chris Murphy adds both funk and new-age vibes on synth, acoustic guitar and keys. Adding a unique touch to the album while enriching the new-age, gothic element is Tanner Crawford on cello. With each song, I thought to myself, ‘This one is my favorite.’ Elytra boldly brings up tough subjects such as addiction, mental illness and gender dysphoria—but does so without depressing or upsetting their listeners. In fact, Elytra is a much-needed burst of optimism and love. They combine ballad songs with new age lyrics and mix it in with groovy pop music. Each song is chilling, inspiring, heartbreaking and hopeful.

Scotty Ray’s lyrics are especially powerful. “Afraid of Me,” is a song that alludes to mental illness and gender dysphoria and is extremely heartbreaking to listen to. Lyrics such as, “Can you feel time?/It’s slipping quickly./Is this your truth?/A scar from your youth? Well that’s an excuse, cuz your cuts, they bruise me.” Questions of youth, potent memories and glimpses of hope escape through the cracks of the song’s words. Surrounding the lyrics is a symphony —a symphony that invites you to embrace the song, the singer and yourself. However, “The Maze,” another song about addiction and mental health, takes a different approach. “The Maze” demands that its listener have hope for their future and well-being. I love this song immensely and its lyrics, such as, “When history comes crawling back and all you wanna do is run, run/Plant both your feet and break the binding rope to fleeting demons/ Cuz you are the only hope, the final stroke of artwork/ Where you go, you’ll only if you keep moving forward.”

“To the Sky” is another one of my favorites. Saunders plays a fun, tropical sounding beat that pairs well with Heath’s bongos. In the background, Ray sings, “We belong to the sky/ We belong to the sky/ As the doves pass on by, we’ve never been so high/The moon waves goodbye and we sail through the night.” This song is my favorite to throw on and dance to, but even more, I love the imagery of this ‘trip.’ “Crash,” is another powerhouse ballad that starts off with an alluring blend of synth and guitar that reminded me of waves, which are a central theme to this clever song. And, of course, there’s “Embers and Stardust,” a song that strongly reminds me of Amy Winehouse. The cello in this song is absolutely gorgeous, and Elytra has managed to find a way for fast-paced drums to blend flawlessly with the cello. This song also has my new favorite lyric, short but sweet: “Hello, wanderer. Is your moon Aquarius?”

If you haven’t heard Elytra’s music before, you’re missing out. Not only is this album on par with some of the best-selling nationals out there, they’re also killer live. Check out Elytra’s music at elytra.bandcamp.com/releases or visit their Facebook page. I look forward to their next concert and future albums! –Alex Vermillion

Strange Familia | Self-titled | Self-Released

Strange Familia

Street: 04.21
Strange Familia = Panic! At the Disco’s Too Weird to Live, Too Rare to Die! + Echosmith + Imagine Dragons

If you haven’t discovered their greatness already, you MUST check out local band Strange Familia this spring. Their self-titled album combines synthesizers, funky bass thrums and electronic beats to create a sound that is rare in the local scene but jams well with top-40s music.

This energetic album is so upbeat, it practically makes me forget the stormy weather we’ve experienced in Utah, and it allows me to enjoy the sounds of summer through my stereo. Many of these tracks sound like they’d be perfect for the latest indie film, especially if there’s a slow-motion party scene involved. “Lines” has a thrilling dance beat, adding a variety of percussion that makes the album begin to pop with colorful tunes. “Motel” is similar, but it lays down thick bass tones that give weight to an otherwise synth-heavy track. Similar sounding is “Red Lipstick,” which brings out the latest Panic! At the Disco synth sounds.

“Breathe” starts off with a sci-fi space aesthetic, completed by a booming bass that echoes in your ears. “Another day in the sunshine comes my way,” repeat the lyrics, nicely circling back to the album’s sunny theme. The album makes a 360 with “The Wreck,” which begins with acoustic guitar, echoey vocals and a somber-sweet story. This song made me swoon, plucking my vulnerable heart strings. “Love is a Terrace” is another of my favorites, a song that begs its listener to get up despite the times you’re feeling lonely and down. It starts off with a sweet piano run that picks up as it introduces other instruments, including the keyboard, drums and bass.

“Sleep” is a bit more experimental—it is a noise track of harmonic synth tones and recorded sound clips that nearly lull me into a calm space before introducing a 30-second drum-and-vocal interlude. Strange Familia ends with “Odes,” combining all of the album’s elements to create one of its strongest tracks.

I’m sure a concert from Strange Familia would be a blast. I’d expect nothing less than a glitter cannon, some fire tricks and neon lights. Strange Familia has to be one of the most fun albums I’ve listened to all year, and I can definitely say that I’ll be headed to one of their shows as soon as possible. We’ve got a local gem here, so you’d better grab their music before a national label grabs hold of them! –Alex Vermillion

Beats Antique | Shadowbox | Beats Antique Records

Beats Antique

Beats Antique Records
Street: 10.05
Beats Antique = Balkan Beat Box +

If you’ve listened to Beats Antique before, you’ll know how diverse and unique their music is, and how difficult it is to pin down exactly what “genre” they belong in. They’re a group that’s heavy with electronic and percussion but deeply inspired by and infused with Tribal Fusion dance. The group—comprising David Satori, Tommy “Sidecar” Cappel and Zoe Jakes—is releasing their tenth album this year to celebrate their 10 years as a band/performance group. As a longtime Beats Antique fan, I will say I was looking forward to listening to this album—and strongly hoped it wouldn’t let me down.

“Killer Bee,” featuring Lafa Taylor, is a fun combination of hip-hop and tribal fusion music that strongly reminded me of Balkan Beat Box’s gypsy-punk sound. “Let It All Go” has more jazz influences than I was expecting to hear on a Beats Antique album. “Burn Dub” took on too much dubstep for my taste, while “The Block” had an annoying overload of trumpets that overwhelmed every other aspect of the song. The majority of the songs on Shadowbox were similar to this: out of context for Beats Antique and incorporating unexpected feature artists.

“Vesper Star,” featuring Alam Khan, definitely brought me back to old-school Beats Antique with electronic belly dance sounds, and was one of my favorite tracks on the entire album. “Semblance” is a close second-favorite, with more strings and percussion play than most of the other tracks. “Le Refuge” was the song I’d been hoping for: dark vocals, heavy strings and a sensual dance beat. These tracks just might be the saving grace for the entire album and, in my honest opinion, better encompass the feel and sound of Beats Antique than do the other tracks.

Although Shadowbox has a couple of good tracks and is an album that caters to a larger audience, I think it’s one of Beats’ weaker albums. It’s as if the group decided to try out a whole slew of genres they hadn’t before—and the experiment didn’t go as planned. “Sideswipe” tried its best to incorporate electric guitar and rock vibes to an epic-sounding, trumpet-overpowered song—but the combination’s fail was about as epic as the song gets. I can’t say that the album took me on a journey as much as I can say it felt like being given a Music 101 lecture by a professor with bad coffee breath and a two-day-old stained shirt—but it’s still a music class, so it can’t all be terrible?

My love and appreciation for Beats Antique has not diminished. I just hope that their next album is more inspiring and thoughtful than this. This won’t stop me from listening to older albums on repeat or attending any of the group’s incredible live performances. If you’re someone who’s into unique-sounding music that takes you through a trip of multiple genres every three minutes, this just might be the album for you. —Alex Vermillion

Batty Blue | Peeling an Orange or Flattening a Sphere

Batty Blue
Peeling an Orange or Flattening a Sphere

Street: 08.18
Batty Blue = (Soley X Princess Chelsea) + Cat Power

I cannot believe I’ve spent so much time living in Utah without having heard Batty Blue. Peeling an Orange or Flattening a Sphere is one of the best local albums I’ve heard in a long time, mixing a folk-indie sound with metatrash, mythical imagery and impressive poetry. Straight from Provo, Utah, Batty Blues’ bandmates—Jess Perry, Tess Bybee, Paula Bravo and Cat Leavy—have truly created a powerful album that makes for relaxed yet contemplative listening.

The album starts off with “Cadmium Red,” a slow intro with the steady trill of an accordion playing. In come Bybee’s raspy vocals singing about some intense shit: artists and heroes of the past who have died in various brutal ways (“It’s an endless cycle of ego suicide, and I can’t get off this ride”). Immediately, I was taken aback by the sheer power of the poetry that synced bewitchingly with the new wave music and grungy vocals. “Snake (a Canto in the Grass)” brings in the myth of Icarus while “Silver Tooth” takes us on a ride of symbolism and poetry: “Crown of thorns on my head. I died for your sins over and over again. You pulled a red ribbon from my heart. I’ll pull a silver tooth from my mouth—watch as the roots leave the gum.”

I melted while listening to “Chocolate,” its echoey vocals and moving beat almost hypnotic. The instruments in this album are so incredibly fun. The guitar is always playing something different; the keyboard and synth lend the album a ’70s vibe; and the accordion is one of my favorite aspects, lending Peeling an Orange a unique lens. Religious and mythical imagery floods this album, especially in “Small Even.” Unlike the others, though, “Magic Pearl Power” is a song truly dedicated to love and loss, opening with “I often picture myself tracing over the lines in your palms, like the grain of some antique wood. I’ve caught myself in your splinters,” but ending on a much darker note. “Ukiyo” and “Milk Fangs” have some of the most intense lyrics in the entire album.

My favorite song must be “Precious Twin,” because it has such a groovy vibe that blends well with the spooky vocals that wail, “I feel my fingertips split and then open. My skeleton tries to leave my body.” I think, at some point, we have all been at this level, one way or another. “Hedon” has an appearance with local Baby Ghosts that I absolutely love, as it hinges off “Precious Twin” and sounds incredible. I had to stop listening to my headphones for this one and share it with people around me.

Batty Blue’s Peeling an Orange or Flattening a Sphere will be an album I listen to obsessively. I’m glad to know now that there’s a band in Utah that caters to my taste for the strange, the mythical and the spooky mixed with grunge-indie. Check out more of their music at battyblue.bandcamp.com. –Alex Vermillion

Alyxandri Jupiter | Out of Body Experience | Self-Released

Alyxandri Jupiter
Out of Body Experience

Street: 02.23
Alyxandri Jupiter = Cecil Otter + Glass Animals + Hiatus Kaiyote

Alyxandri Jupiter is a local hip-hop and house artist that wants to transport her listeners to a dreamlike plane. Her latest EP release, Out of Body Experience, takes listeners on a funky “space trip” with psychedelic tracks that discuss out-of-body experiences and lucid dreaming.

Out of Body Experience opens with “Lionsgate” and then into “Lucid Dreams,” a track that has sexy waves of low-dropped notes and a heavy dance beat. The background music repeats trance-like electronics as Jupiter sings about psychedelics and their various effects. It’s a Queen of the Damned dream mixed with disco club feels that leaves the listener feeling vibrant and confident. The lyrics, “Step into the circle / All I see is purple … / Start to feel anxiety but then I let go / I let go,” invite listeners to join  Jupiter in her hypnagogic experience.

“Lucid Dreams” combines a disco vibe with a bit of electronic funk. The track incorporates various percussion, adding variety and flavor to classic disco beats. Jupiter’s vocals are top-notch, and this track also has a great section of rap near the end. The sounds of “The Summit” are reminiscent of Madonna’s “Vogue.” Jupiter’s confidence craftily sneaks into her songs, including lyrics, “After all, life is just a test / And I’ma ace it. / I’ma ace it.” Jupiter adds more disco to each track, morphing the listener’s psychedelic experience into a groovy, energetic dance party.

The final track is “Found Between Sound (Soul Searchin’),” which feels like the end of a great night of clubbing, drinking and dancing. It alludes back to “Lucid Dreams” with a slower beat, the gravity of which pulls the album back down to earth after its elaborate trip to outer space.

Alyxandri Jupiter is definitely going to be a name we hear more of in the future. Her combined education in turntablism, vocal and musical talent and overall outlook on life are a triple threat in the hip-hop communities. Take your mind on a space trip with Out of Body Experience, which can be listened to at alyxandrijupitermusic.bandcamp.com or visit Jupiter’s website at alyxandrijupiter.com. Don’t miss SLUG Magazine’s exclusive podcast interview with Jupiter (http://www.slugmag.com/soundwaves/episode-261-alyxandri-jupiter/), which details how Jupiter creates her own fantasy world within and around her music. –Alex Vermillion