by Dylan Naumann
Queen Wolf has been kicking ass and taking names since blasting out of the city of Baltimore back in 2012. Brick-thick riffs, kick-ass bangers, and a bleeding passion for the craft are shown during their live shows and on those computer machines. The pack of four is patiently waiting for the final touches to come together for their new LP, Comedy Gold. The album doesn’t arrive until early 2020, but don’t let those pants get bunched quite yet. Your precious earholes will be entertained in the meantime with the recently released lyric video for the single “Moon Tooth.” It has a mouth-watering crunch and is packed with refreshing breakdowns and dirty, rich tone. “Swim” and “Tinkerbelle,” two tracks released back in late February, contain emotional vocals juxtaposed with melodic freak-outs and bottom-crushing low ends. Always a crowd-pleaser for the morning commute.
Though writing catchy bangers is Queen Wolf’s strong suit, they are well versed in other areas as well, such as composing scores for plays and films. In early 2019, the band was asked to compose their first-ever score for a new project the Cohesion Theatre Company was putting together, a new adaption of Mary Wollstonecraft Shelley’s Frankenstein. The band did not hesitate to accept the challenge. The 29-track album features over 2½ hours of music that employs the concept behind Peter and the Wolf, in which each character is referenced by a specific instrument or sound, in this case one representing death and the other life.
Queen Wolf has gone through a number of line-up changes throughout the years, but what band hasn’t. Their resilience may have been pounded by hardships and failures, but they are determined to see it to the end (or whenever climate change swallows us whole). The pack of four features: Mike Walls, vocals and guitar; Christie Macdonald, vocals and lead guitar; Annie Bailey, bass and vocals; and Chuck Hannan, drums.
Dylan Naumann is a freelance musician, composer, writer, and improviser. Born and raised in Towson, Maryland, he’s currently finishing up his degree from Towson University for jazz commercial performance. He enjoys wondering around town, from local venue to venue, trying to find the inspiring sounds from local artists.
Flow-bending artist aSanTIS discusses art, culture, and whether sound can solve the world’s problems in celebration of Hispanic Heritage Month.
My interview with Amy Santis aka aSanTIS began in the most unexpected way. The Maryland-based flow-bending artist and lyrical storyteller came prepared to engage in conversation around questions I had posed – and she also brought one or two of her own thoughtful prompts based on her curiosities around my view of learning.
This practice of taking in her surroundings deeply through observation and inquiry has come naturally to aSanTIS ever since she was a young child. In terms of her early starts in music, she notes that she began as a discerning listener. “Just listening to music from my mom, on the radio, just being a consumer in the world of sound. But I think mainly, my mom has always loved dancing and listening to music, so that was sort of like second nature. We play music at gatherings, we play music in the car, and these songs are sort of like diaries that take us into a specific place.”
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