Artist Focus

2016 Tomme Suab Artist of the Year: Justin Vernon

Artist Focus

I know, I know. This feels like it could have been impacted at least slightly by the artist’s hometown. Yes, I live in Eau Claire, Wisconsin and Justin Vernon resides in the area. But I swear, this recognition has only been indirectly influenced by that reality.

The truth is, like many of us Chippewa Valley denizens (let alone people around the globe), I have been aware of Vernon’s various music projects for years. And, I have appreciated his earlier Bon Iver work, as well as his work with Shouting Matches, Gayngs, Volcano Choir, and others. He is clearly talented and committed to his art and his craft. None of that changed in 2016.

What changed for me this year, regarding Justin Vernon, has everything to do with my own personal experience of Vernon’s genius. That experience began at the second annual Eaux Claires. I won’t recount too much of what that weekend was like for me, as I shared it some time ago in my post, The Eaux Claires Impact: Connection and Belonging. But, without trying to sensationalize anything, it was in some ways a life-changing experience for me. And Vernon’s imprint, obviously, was all over those two days.

Certainly, my initial Eaux Claires experience in and of itself was enough to make me a bona fide fan. But it was Bon Iver’s 2016 release, 22, A Million, that cemented the deal. That record, of course, was also ingrained into Eaux Claires. Vernon debuted the entire album live during the first night of the festival. That was my first time hearing Vernon/Bon Iver play live, and it was absolutely incredible. The new music was mesmerizing, and I felt like I was a part of something important that night.

22, A Million is an amazing record. Again, I wrote about that a while back as well, in my post, Caught in Bon Iver’s Web… 22, A Million. Just like the Eaux Claires experience and the Bon Iver live show, this album has captivated me in ways I would have never expected. Because of all these factors, as well as Vernon’s inarguable influence on the cultural path of the Chippewa Valley and western Wisconsin, Justin Vernon is this year’s Tomme Suab Artist of the Year.

Caught in Bon Iver’s Web… 22, A Million

Album Releases, Artist Focus

There’s a pretty good chance my feelings about Bon Iver’s new album are a bit tainted. Certainly, I’ve enjoyed Justin Vernon’s music for a while, whether it’s Bon Iver, Shouting Matches, Volcano Choir, or any other of his projects. However, in August of this year, I truly became a fan when I experienced Bon Iver live at Eaux Claires. Not only was it my first time seeing him perform live, but it was the debut of all the songs that make up his new record, 22, A Million. And, admittedly, every time I listen to the first track on the album, 22 (Over Soon), I am immediately emotionally transported to that moment, to that amazing experience. So, I bring some baggage into first impressions of Vernon’s most recent creation.

Those considerations aside, the most definitive thing I can say about the album is that it moves me deeply. I resonate with the words of one of my favorite artists, Derek Webb, who when describing 22, A Million, simply stated, “mind/heart blown.” Yep. I get that. Me too, brother. Me too, brother.

Frankly, in a vacuum, it would be surprising to me that I am so drawn to this music. Vernon employs so much Autotune and constantly manipulates everything electronically. There are times when it seems like I’m listening to a warped cassette tape. I’ve gathered that’s what he was trying to create, but that kind of stuff usually grates on me. For instance, one of my favorite tracks on the album is 29 #Strafford Apts. It builds a little and offers a high-note crescendo, with emotive movements throughout. But, just as we’re getting to the main crescendo, the payoff is muddled by that warped tape sound. Again, this would normally turn me off… and yet I continue to be drawn in. And then there’s the whole principle of using current technology to make sounds reminiscent of older technology, and specifically it’s failings. Yeah, usually, that’s not for me… and yet I can’t walk away.

There is something magnetic and provocative about 22, A Million that I can’t even really describe. Certainly, Vernon and his team have worked hard to build some mystique and intrigue around its release. When he debuted the album at Eaux Claires, each song was accompanied by vivid, yet distorted video imagery. And as each song began, the official Eaux Claires app would inform us of the name of the song. Throughout the first day of the festival, Sam Amidon and his Guitarkestra walked the grounds, teaching everyone the words and melody of the album’s finale, 1000000 Million, “where the days have no numbers…” so we could all sing along later that night. Then, there were the “unique” listening parties a couple of days before the release in which hundreds of people would show up to catch an audible glimpse of the album as it was played on a small boombox (a fairly fruitless venture, from my personal experience). Certainly, the cryptic artwork on the cover/liner notes add to the mystique as well.

Another element contributing to this mystique is the utter unpredictability of the album. I mean, seriously, the first few times I listened, I had little idea what was coming next, not only between songs, but in the middle of each individual track. It is all over the place in the most precise, intentional manner. It leverages unique samples, traditional rock/pop instrumentation, incredible creativity, and Vernon’s signature falsetto to create a meandering, yet purposeful work of art.

I don’t know what the lyrics are really about, other than to say it certainly seems as though Vernon is tackling some deep and heady subjects. There’s God, the Devil, numerology, hope, and despair, among other such issues. All of this seems to come together in a central message. I’m not sure what that message is yet…but it seems to be something powerful. Something meaningful. Maybe I’m wrong, but I don’t think so.

As an Eau Clairian, it is incumbent upon me to be at least interested in Bon Iver. I’ve gone from being interested, to liking, to being an all-out fan. My 22, A Million experience has solidified that. And even now, as I listen to the emotive closing anthem of the album, 1000000 Million, my heart is captured and held in suspense. The emotional tension and grip is almost palpable. I expect that captivity, suspense, tension, and grip to hang on for a while to come.

 

Latifah Phillips’ Moda Spira: An Emotional Journey

Album Releases, Artist Focus

 

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From Moda Spira’s Facebook page

I first became aware of Latifah Phillips a few years ago when I began listening to her project, The Autumn Film. I fell in love with that music. It was heart-on-the-sleeve, emotive stuff. The lyrical content, which spoke of deep issues like experiencing abuse, hiding from the world, and overall brokenness, was matched beautifully by emotive, driving, and building melodies. One of the essential pieces of what drew me into The Autumn Film was Phillips’ voice. Her tone and style consistently seemed to capture and authenticate the emotionality in those songs. My fandom was solidified in 2012 when she collaborated with Derek Webb on the SOLA-MI project’s Nexus record, a concept album in which Phillips’ voice represents a machine that has been brought to life with AI. Again, she was able to sing and project the character in such a way that you can sense this being’s struggle to process what’s happening and to respond, even emotionally, to all the new stimuli. So, yeah, I love Latifah Phillips’ voice.

Therefore, I have highly anticipated her new solo project, Moda Spira, and recently released self-titled album. And it has not disappointed me in the least.  I expected a melancholic, emotional record and that’s what she has made. But, let me be clear: Moda Spira is not The Autumn Film or SOLA-MI. And it’s definitely not Page CXVI (her hymns-based project). This is something new, even though it distinctively sounds like Phillips.

There is a deeper level of soulfulness in this record. That’s not to say her previous work has been devoid of soul… not at all. But there is a different soulful quality to this music that’s difficult to qualify. Certainly, the song What You Need is a great example of this. It is easily the most overt example in its deep emotional pull as the lyrics offer aid to someone in desperate need. But this “soul” is not limited to that song. No, I feel it throughout the record. It is a part of the connective tissue that binds the record together. The songwriting, melodies, and instrumentation all carry that soul, but the dominant soul-conveyer is once again Phillips’ vocals. In my opinion, they are more captivating and emotionally evocative in this project than any I’ve heard before.

Combined with this strain of soul is an ethereal feel to the album. At various times, the songs have an otherworldly dynamic. I don’t understand the technical aspects of music well enough to speak to how Phillips makes that happen, but I think it has to do with instrumentation (beautiful use of synthesizer/keyboard) and mixing. At times, certain instruments are muted or sound like they are a little further back in the background of a song. This dynamic adds a depth to the record and certainly plays an elemental role in that ethereal feel.

One thing I hear on this record which fits with Phillips’ patterns in her previous music is her penchant for songs to build slowly into a crescendo. She is, in my opinion, a master of meaningful repetition. And that repetition will build gradually, adding different instruments or other elements with each repetition. Eventually, it all leads to a satisfying climax. I hear some of that on this record as well, and I still love it. It never gets old for me. Whenever I listen to one of Phillips’ songs containing that specific dynamic/movement, and I let myself engage with it, it takes me somewhere emotionally, usually somewhere I need to go.

Moda Spira is a beautiful record. It holds onto the elements of Phillips’ previous work while establishing new ground. This record has been a long time in the works for this gifted artist, and the time has been well invested. It is an emotional journey worth taking.

Diving in Deep with Jonathan Sunde

Artist Focus, Music and Healing, Poignant Songs

 

I will never forget my introduction to The Daredevil Christopher Wright’s music. First off, I knew if I was going to be a well-rounded local music appreciator, I would need to know their stuff. So, I got a hold of The Nature of Things a few years ago. As I first listened, while sitting in my van in the Festival Foods parking lot, I knew I was diving into deep waters. And those waters were not only deep; they were unpredictable. Beautiful vocals and craftsmanship sealed the deal for me (and I still smile when I listen to the extended, super-long dramatic pause in Blood Brother, one of the great, unpredictable moments on the album).

I was, of course, bummed to learn that the band was going on a hiatus, but also excited to hear what one of their members, Jonathan Sunde was going to produce as he ventured out as a solo artist. I had a chance to hear him play during Adelyn Rose’s album release show for Ordinary Fantasy at Eau Claire’s House of Rock a couple of years ago, and I was mesmerized by the guy’s immense talent, story-telling, and, honestly, his between-song banter. I especially remember him describing the process of writing a particular song and he ended by saying, “Follow the muse. Follow the muse.” As I’ve engaged with his music more over the last couple of years, it is evident that he is still following the muse, because his writing and music are certainly inspired.

In 2014, he released his first solo record, Shapes that Kiss the Lips of God (I wrote about it here). It’s one of those records I can always go back to. I never get tired of it. And I never get tired of hearing him play songs from it. In fact, I had the privilege of seeing him perform recently at The Cabin at UW-Eau Claire and he played a bunch of those songs that night. The most memorable song of the night for me was his haunting, acoustic rendition of Blinding Flash of Light, an already soul-rending, sober meandering of faith, doubt, and what exists in between them. His quiet, somber approach to the song that night drew me in and broke my heart.

Again, Sunde swims in deep rivers lyrically and musically. I’ve long been curious about his inspiration and motivation for diving in so deep. I recently asked him about this and the theological and philosophical themes in his music, especially his mentions of Jesus and Christian ideas. Sunde replied,

Well, I am motivated and shaped by my attempt to follow Jesus. The big questions have always been present for me and a source of curiosity, frustration, excitement and peace. How people have explored those questions and the philosophical and spiritual conclusions that they have come to, fascinate me. In and overarching way and sometimes in a more pointed and specific way, my songs are an expression of my wrestling with these spiritual and philosophical questions. Over time and for a host of reasons, I’ve come to the conclusion that I can trust in the explanation of the nature of things that Jesus presented. As such, when I’m speaking most intimately about trust and fear and doubt and love it comes from that perspective.

Sunde’s response was refreshing to me. The reason for this is simple, and it’s not motivated solely by my own efforts to follow Jesus. It’s because Sunde doesn’t write about God, theology, or deep philosophical issues from the standpoint of an unengaged bystander. For many of us, it is easy to investigate these issues and themes without letting them impact us personally. I don’t get that vibe from Sunde. It seems to me his wrestling with God, as it were, not only impacts his life, but informs it. For me, it is deeply meaningful when I listen to someone sing or talk about lofty subjects that are practically influencing how they live, act, think, and speak… and that’s the vibe I get from Sunde.

This honest, personal wrestling and his willingness to share openly about them is one of the reasons I’ve become such a fan over the years. It’s why I want to share his music with whoever will listen. It’s rare that you get such honesty, talent, craftsmanship, and humanity in one package, and that’s what I see in Sunde and his art.

Hence, I’m glad to hear he’ll get to play at the inaugural Daytrotter Downs in Davenport, Iowa on Saturday, February 20. This new festival is featuring some great artists, such as John Paul White, Lizzo, Shane Leonard/Kalispell, Liza Anne, and Sun Club. Sunde is pumped to be a part of this:

It feels great to take part in the inaugural Daytrotter Downs. I’ve had the privilege to get to know that community of folks really well over the last 10 years. My label, Cartouche Records, is from that community. I really believe in the honesty and example of people in out of the way places working really hard and making beautiful things that have an impact on the wider world. I believe that Daytrotter has done just that and so I’m stoked to participate in their continuing evolution.

And speaking of Shane Leonard, I’ve been personally pulling for more collaboration between Leonard and Sunde. They’ve toured together and Leonard contributed his talents to the recording of Shapes That Kiss the Lips of God. So, of course, I was excited when the “J.E. Sunde Trio” debuted and toured in early 2016. The trio includes Sunde, Leonard, and Har-di-Har’s Andrew Thoreen. Sunde’s pretty excited about this new entity as well:

It’s been something that Shane Leonard and I have talked about since our collaboration on my first record. The thought was to explore that material and new songs in a more lean ensemble. It took some time to get schedules in order, and there is still more of that to sort out, but with the addition of Andrew Thoreen to the equation and an enormously encouraging first tour under our belts, we’re all excited to make this into something. So, yes, it definitely has a future. On top of performing, the ensemble will play a large role in the new record that I’m working on.

And, oh yeah, there’s a new record on the horizon. More good stuff coming from Mr. Sunde in the future.

I’m glad I had a chance to catch up with Sunde at the Cabin show and via email in recent days. Aside from being an incredible artist, he also happens to be a genuinely nice guy. He’s one of those folks you just want to root for. As for me, I think the art he’s created has already made him a winner, but I would certainly love for more people to connect with his music. His songs and his talent deserve to be heard.

 

Project 86: 20 Years of Push, Challenge, and Raw

Artist Focus, TS10

I have this friend named Josh. I’ve known Josh since 1995. When we first met, I was an addicted, self-absorbed jerk. Some folks who knew me then may not have seen me that way, but I know the junk that lived inside me back then. It was ugly. One of the manifestations of that ugly stuff was how I was strongly opinionated about what was good and what was not. I was the measuring stick. What I liked was good and what I didn’t like was bad. There is no better example of this personal dynamic than in my musical tastes. Basically, the way it worked was that other folks, like Josh, would talk about music they were into and I would immediately dismiss whatever they had to say about that music.

In those first few years I knew Josh, he was drawn to groups like Creed, Project 86, P.O.D., and Every Day Life. Of course, I assumed he had little taste and didn’t know what he was talking about. Thankfully, that didn’t last. In 2003 or so (yes, eight years after meeting Josh), I finally started paying some attention to some of those bands, one of which was Project 86. I was enrolling in one of the music clubs (like BMG or Columbia House) and Drawing Black Lines by P86 was one of the options for the introductory offer and I took the risk. SO glad I did.

I loved the raw authenticity I heard in the album. Project 86 made it’s break in the CCM (Contemporary Christian Music) world, but they sang about things that weren’t often fodder for CCM songs. References to suicide attempts and inward contempt were not normal for that milieu. Aside from the subject matter, I was immediately drawn to the intensity of their sound. I was a fan. And for me, their music pulled me in more and more as the next few albums came out. Truthless Heroes, Songs to Burn Bridges By, and …And the Rest Will Follow were all tremendous. …And the Rest Will Follow is one of my favorite albums of all time, period. These guys had lots to say about art, the music “industry,” God, the church, abuse, and various other controversial and/or provocative issues and they said it loudly and intensely.

I’ve never cared as much for their follow up to …And the Rest Will Follow, entitled Rival Factions. There are definitely highlights on the album, but I was honestly spoiled by its predecessor. However, I’ve always loved the song featured on this week’s TS10, The Forces of Radio Have Dropped a Viper in the Rhythm Section. It is so raucous and out of control. I think that’s the appeal for me, especially on an album that feels much more under control otherwise.

If you have followed Tomme Suab for a while and listen to the TS10 on a semi-regular basis, you may have notices there have been a few Project 86 songs featured. Don’t expect that to change. This is a band that has been screaming change and inviting listeners into deep introspection with an emotive and raucous style for two decades now and more of us ought to give them a listen. So, listen to them on the TS10, and if you’re interested in hearing more, click the links in this post or check out their site: www.project86.com.

2015 Tomme Suab Artist of the Year: Lizzy Diane

Artist Focus

 

One of the characteristics of so many artists I admire is malleability. Specifically, I love witnessing or listening to musicians evolve. They allow themselves to be influenced, pushed, challenged… in other words, they embrace growth personally and musically. It has been my honor to see this dynamic in play with the 2015 Tomme Suab Artist of the Year, Lizzy Diane.

If you listen to Lizzy Diane’s first two records, Encompass Rose and Otherkin, you can certainly hear the evolution between those two albums. However, the evolution has continued since Otherkin was released in late 2014. She continues to experiment vocally and musically. She continues to work through and process life, art, and their intermingling. And these dynamics produce compelling and poignant songs and performances.

Along with all of this creative development, Lizzy’s commitment to performing live is evident. From headlining WHYS’s Girrrls with Guitars event in October to playing multiple shows in various venues around Eau Claire, she stayed busy in 2015. And, personally, I’m glad, because Lizzy Diane’s music should be heard.

While I wholeheartedly believe the best is yet to come for this young performer, I am pleased to name Lizzy Diane the initial recipient of the Tomme Suab Artist of the Year title.

2015 Tomme Suab Song of the Year: “Raising the Skate” by Speedy Ortiz

Artist Focus, Poignant Songs

 

A couple of years ago, a friend of mine told me about a band called Speedy Ortiz. I checked them out on Spotify, liked them right away, and then proceeded to (basically) forget them. That is, until this year…

Early in 2015, I downloaded a compilation album from artists who would be playing at the Forecastle Festival in Louisville, Kentucky later in the year. One of the tracks was Raising the Skate by Speedy Ortiz. I was immediately in love. It’s funky, sassy, and provocative. Easily my favorite line is from the chorus: I’m not bossy; I’m the boss. Talk about setting a tone… And that tone is pervasive throughout Raising the Skate.

No matter how many times I’ve listened to this song, I keep going back to it and it still makes me giggle every time. So, I’m pleased to name Raising the Skate by Speedy Ortiz as the 2015 Tomme Suab Song of the Year.

2015 Tomme Suab Album of the Year: Aero Flynn

Artist Focus

 

I’ve only lived in Eau Claire for a little over ten years. The legend of Josh Scott was unknown to me until just the last year. I’d never heard of Amateur Love or known of his work with Justin Vernon, Christopher Porterfield, Phil Cook, and other locally-rooted stalwarts of the Chippewa Valley’s music scene. From what I understand, there are folks who have been waiting longer than I’ve even been in the area to hear something new from Scott. In 2015, he finally reemerged with his Aero Flynn project. I can’t speak for those who knew him in days past, but it would seem it has been worth the wait.

Aero Flynn’s self-titled album is compelling, provocative, eclectic, and just plain good. It is an amazing blend of acoustic and electronic. It feels both aloof and emotive at the same time, which doesn’t seem like a particularly easy thing to pull off. The album speaks on deep levels and quickly became a TS favorite upon its release.

TS is not alone in singing Aero Flynn’s praise. First Avenue has named it one of the Best New Bands of 2015. It has received a similar honor from City Pages (Minneapolis). After receiving such accolades and engaging in successful widespread touring in 2015, it would seem Aero Flynn is here to stay. Josh Scott… thanks for coming back. And congratulations on your record being named the 2015 Tomme Suab Album of the Year.

The Unassuming Authenticity of Lizzy Diane

Album Releases, Artist Focus, Music and Healing, TS10

 

My relationship with Lizzy Diane’s music has been an interesting one. If you have been listening to the TS10 playlist on weekly basis, you know we have featured several songs off her new album, Otherkin. If you are connected with Tomme Suab or me personally on Facebook or Twitter, I have been actively promoting her for a while now. However, when I first listened to her, specifically her debut EP, Encompass Rose, I’m not sure I could have envisioned myself becoming a big Lizzy Diane fan. Thankfully, first impressions do not always tell the whole tale.

Here’s the thing… Lizzy has a very distinct vocal style. When I first listened to her, I honestly couldn’t tell if this was her natural voice, if it was an authentic outgrowth of what’s in her, or if he she was just trying to sound unique. That threw me off and I really wasn’t all that interested in hearing more. When I sense any possible lack of authenticity, it is easy for me to get all judgy and just walk away. That’s what I did with Lizzy Diane’s music.

And then, something happened. I started getting to know Lizzy. We connected via social media and as I would read her updates and posts, I was drawn to her. There was something about her that I couldn’t define. All I know is that it is evident she has something very special and unique living in her. As she began to mention the imminent release of her first full-length album, I was all in. When the album was released in early December and accompanied by a release show at Stone’s Throw here in Eau Claire, I promoted it actively and was incredibly disappointed that I couldn’t be there myself. In fact, there had been several opportunities to see her perform that I had missed out on. The only way I had experienced her music (and whatever that special thing that lives in her is) was through listening to Otherkin and through our social media connection.

Regarding the album, I enjoyed it from first listen. There is an otherworldly, ethereal feel to the whole record. This feel is created by a cohesive blend of sober melodies, gentle but poignant vocals, somber lyrical content, and an almost mystical-sounding combination of instrumentation. And yet, while the album certainly leads the listener to that otherworldliness, the power in the album is its thoroughly humanizing effect. I wrote about that dynamic in my short review of the album for Volume One. Ironically, I was a little concerned when I wrote about that humanizing dynamic in the V1 piece. After all, Lizzy called the album “Otherkin.” This is a mystical, metaphysical reference. I wasn’t sure if she would appreciate the fact that I am saying her supernaturally-themed album was essentially not supernatural. Regardless, that’s where the record took me personally, so I stood by that thought.

One of the humanizing elements of the album is the lyrical content itself. The themes are pretty dark, and they cover all kinds of relational woes. These are not typical heartbreak songs. These are deeply-felt personal experiences painted in creative ways on a melodic canvas. They not only speak honestly about how Lizzy has been hurt by others, but how she has hurt them too. It is profoundly honest and raw, and there is little that will draw me to an artist more than that.

In her song, Monster’s Lullaby, she shares a couple of lines that illustrate the depth, emotion, and honesty that can be found throughout the album. The song woefully describes an interaction between Lizzy and someone she cares deeply about. The relational backdrop seems to include a history of mutually-destructive behavior, including abusing alcohol. In this context, the listener finds what I consider the most poignant lines on the album:

I’ll drink it all, so you won’t

I’ll be the monster, so you won’t

At first glance, it would be easy to gloss over these lines. But, spend a moment in them. Think about what she is offering to this person. Think about the history that is indicated here. Think about how she is willing to engage in self-destructive behavior to save the other person from the same. There so much relational history and deep emotion, so much brokenness, in these two simple lines. This is the kind of poignancy that can be found throughout Otherkin.

While I really like what I hear in Otherkin, I know there is more and bigger stuff in Lizzy Diane. I’m listening to the album as I write this, and, yes, I am drawn in. Yet, what I hear is just a glimpse of the significant art and self-expression that is yet to come. That idea was confirmed when I finally had the opportunity to hear Lizzy play live and meet her in person. When I found out that Lizzy would be playing live at House of Rock at the end of January, I made sure that I could attend. I am indeed glad that I made being there a priority.

When she took the stage,  it was just her and her guitar. And, honestly, it was enchanting. There was a purity to her vocals and guitar-playing that struck me immediately. Otherkin has a really full feel to it. Lots of instrumentation with lots going on in each song. While I like that, I have to confess that the special something that lives in this artist seemed much freer to come out in this live and stripped-down setting. Her performance was really beautiful.

We were able to chat a little bit that night, but I felt like we needed to finish our conversation. So, I invited her to meet with me last week, and she graciously accepted. The short time helped me better, more clearly, see the significance of what lives in her. Now, I’m still not in a position to put actual words to it, but I can say that she is as genuine and unassuming as any artist I have met. It was clear to me that her music is an organic outgrowth of who she is and her experiences. Of anything I would personally ask of an artist, there would be nothing more important than this kind of authenticity.

Eventually, over the course of conversation, she made reference to the Volume One piece. Thankfully, she appreciated the comment about the “humanizing” effect of the album. For her, the idea of “otherkin” itself is a thoroughly humanizing thing. The legend of otherkin is that there are supernatural beings, often taking the form of animals, that humans identify themselves with (more on that here). When Lizzy was talking about this, she likened it to our fascination with superheroes. While we may like the flashy costumes, big muscles, and superhuman powers they possess, ultimately, it is their human ways of relating, their flaws, and their frailties that draw us in. In other words, it’s what we have in common with such supernatural or superhuman beings that really resonates with us. So, for her, the connection between the mystical and human is organic and about as connected as it gets.

For me, it is not at all unlike how God is creative, and has built us to be creative as well. These are both spiritual and natural realities that mesh together seamlessly. Lizzy’s self-expression and creativity contain both of these realities. So, yes, Otherkin is a significant expression of what it is to be human, while feeling otherworldly at the same time.

Lizzy Diane is the real deal. After our meeting, I walked away even more certain that the best is yet to come for her. Yeah, there may be some commercial success. More to the point, however, I believe she has even more significant art sitting on the tip of her heart, the kind of art and self-expression that not only helps her to feel more whole, more fully who she was built to be, but can have the very same effect on her listeners.