Today, Phoenix-based electronic music artist Raindust releases his powerful debut single “If Tomorrow Never Comes”. The song is the first of a series of three singles slated for release by Raindust. A downtempo dance track, it features bass-driven synths, overlapping melodies, and layers of vocal harmonies that lend themselves to an ambient connection to the song’s emotional theme. “If Tomorrow Never Comes” is available to order here.
“If Tomorrow Never Comes” Lyric Video
While many artists default to the cliche of love songs, Raindust wrote “If Tomorrow Never Comes” with the perspective of a father who, through divorce, loses his children. He struggles with grief, and the realization that his time with them had been taken for granted. He had been consumed with himself and his negative self-image, resulting in a deficiency of mental space for others — including his own kids.
Coming to terms with the fact that he had not given them the quality of relationship they deserved from their parent, and realizing that nothing could be gained from wallowing in self-pity, he dedicates himself to turning things around and taking advantage of the time he’s been given, ensuring that no matter what happens, his children will certainly know that he loves them.
“Instead of going, ‘If I’m going to die tomorrow,’” says Raindust, “I say, ‘If today is my last day, how can I make it better? Can I call them? Tell them I love them?’”
He continues, “I remember seeing a quote on social media that said “When children have a bad day, they don’t say, ‘Hey, can we talk?’ They say, ‘Hey, can you come play with me?’ When you ‘not right now’ them because you have too much going on… for all you know, they could be having as bad of a day as you’re having. No one really stops to think about it from the child’s perspective.”
Raindust’s musical arrangements surfaced after he had spent days locked away, outpouring his emotions, forming them into lyrics. Following the composition of the lines and the melody, the rest of the musical arrangement naturally flowed from him. Unlike many dance tunes, the song does not rely on speed or bass to ramp up the energy. Raindust spent years perfecting the instrumentals, arrangements, and production of the deeply personal, moving track. Heartache translates through the chords of the melody and vocals, making “If Tomorrow Never Comes” a riveting listen that tugs at the heartstrings.“
Raindust – the pseudonym of lyricist, multi-instrumentalist, and music producer Iain Greene – is an artist who flawlessly combines elements of pop and electronic music, along with highly personal themes, to promote positivity and global awareness.
Greene has a knack for extracting components from various genres and building upon them to create his own unique sounds. Inspired by artists such as Alan Walker, Lady Gaga, Demi Lovato, and Linkin Park, he composes compelling lyrics, creates “club music” while remaining in the shadows, and recruits captivating vocalists who add powerful, authentic emotion to the tracks. Being what might be referred to as an “empathetic musician”, he embraces being in the position to breed feelings within the listener and make a unifying impact in a divided world.
Raindust is the second solo project from Greene, its predecessor being music under his proper name. This gifted musician is able to pick up any instrument and instinctively play. The Arizona native has previously been a member of four local bands, ranging from pop rock to death metal. It was seeing Iron Maiden perform live that encouraged him to want to be amidst the energy and interact with others.
Quoting Hans Christian Anderson, Greene says “When words fail, music speaks” resonates with him. Raindust developed when he cathartically immersed himself in music while dealing with loss and hardship. Employing cinematic melodies and futuristic beats in musical compositions that combine darkness and light, Raindust reveals that through music, relief can be found in a seemingly desolate environment.
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Legendary SoCal artists (HED) P.E. have revealed details for their twelfth studio album, Class of 2020, set for release on August 21 via legendary Californian independent label Suburban Noize Records. The date also marks the 20th anniversary of the group’s breakthrough album, Broke.
On Class of 2020, (HED) P.E. gets back to the raw essentials, utilizing old-school punk-rock guitar tones and aggressive, unfiltered vocal stylings at the core of their trademark sound. Longtime fans will find that Class of 2020 is a return to the classic sound of early (HED) P.E. albums.
“We were on the road in the middle of a tour when the COVID-19 pandemic hit full force,” comments frontman Jared Gomes. “Like everyone else on the planet, we were faced with some unprecedented challenges. As a small business owner of an independent band, I was faced with an additional set of challenges with the tour being canceled and making it back home from Rhode Island to Idaho. When I got home, I immediately got inspired creatively and hit the studio to smash out this record. For this one, we took it all back to our roots with a back-to-basics approach to try and capture that true G-Punk sound of our earlier albums.”
In an effort to bring Class of 2020 around full circle and connect it with (Hed) P.E’s impressive back catalog, the album cover is an homage to the group’s breakthrough album Broke, which celebrates its 20th anniversary a day after the new studio album is released. While planning to the milestone anniversary for (Hed) P.E., Jared was able to connect with former members DJ Product and original guitarist Chad “Chizad” Benekos and rekindle their creative flame. DJ Product created artwork for the Class of 2020 album and added his trademark scratching over some tracks, while original (Hed) P.E. guitarist Chizad blessed the band with a blazing solo on “Greedy Girl“. The unholy union that many fans never thought possible came together to connect the past and present incarnations of (Hed) P.E. and to enhance Class of 2020 in a meaningful way.
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When discussing the album, Gomes talks about the moniker “Class of 2020” having dual meaning for him and the band. “I had the title ‘Class of 2020’ as a working title for some time now,” he explains. “We had made hoodies with the Class of 2020 on them, but it was originally intended to be a statement about the band being here 20 years later. A whole new Class of (HED) P.E., so to speak. Once the pandemic broke out, this title took on a new profound meaning. The Class of 2020 never really graduated. The Class of 2020 will go down in history for several different reasons.”
(HED) P.E. are the pioneers of the G-Punk sound, which fuses together punk-rock, metal, hip-hop and reggae. The band has toured the world for 20 years sharing the stage with the likes of Suicidal Tendencies, System of a Down, KORN, Tech N9ne, Tool as well as the original Black Sabbath on the iconic Ozzfest tour. (HED) P.E. experienced a creative resurgence after signing with Suburban Noize Records in the early 2000s and was instrumental in developing the booming underground scene.
Preorders for Class of 2020 are available now here.
In addition, Rockshots Records and Victoria K will replay the release live set stream on Twitch directly to your home on Friday 17th July, at 11p.m. CEST! The show will be streamed on the official Rockshots Records’ Twitch channel, check it out and subscribe here.
This is the only way to see new songs from Victoria K’s debut album Essentia live for the foreseeable future, so don’t miss out!
Essentia was produced by Lee Bradshaw and features special guest Michalina Malisz (Eluveitie).
Victoria K Is:
Victoria K – Vocals
Sheri Vengeance – Extreme Vocals (Black Like Vengeance, ex. Ne Obliviscaris)
Julia Mammone – Guitar (Enlight)
Martin Kawaler – Bass (Black Like Vengeance, ex Ten Thousand)
Theatrical metal band Raven Black has revealed a poignant new video for the song “Hear Me Cry,” from their upcoming third album, The Key. “Hear Me Cry” is making its debut today along with a full feature in UK heavy music bible Kerranghere:
“‘Hear Me Cry’ is about the chaotic and deeply disturbing thoughts when I once attempted suicide,” Raven explains. “The inner battle of wanting to give up and yet wanting to fight and change your own life. The personal psychosis and finally calling out for help, which ultimately saved my life. This song hopefully inspires those who struggle with suicidal thoughts to speak up and seek help. Someone is always ready to help. Suicide is not the answer. You can change your life and you can survive.”
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A lyric video for “Darkest Pit,” also from The Key, was recently released. Check it out here:
The Key, produced by Ulrich Wild (Static-X, White Zombie, Deftones), is scheduled for release this year via WurmGroup. Prior to its cancellation due to COVID-19, Raven Black was slated to perform on the nearly two-month-long The In-Between Tour with In This Moment, Black Veil Brides and DED this spring.
Together since 2012, Raven Black has created a soundtrack to their own Dark Metal Carnival, releasing the 2016 EP Seven Sins and the 2018 album 13. The band has toured extensively, perfecting a creepy live show that unifies the visual and aural aspects of Raven Black.
Legendary NYC musician (Birdland, The Rattlers, etc) and acclaimed author (I Slept with Joey Ramone) Mickey Leigh is debuting “Two Kinds of Law” a powerful and timely new single with his band Mutated Music.
The track (inspired by a line in Truman Capote’s In Cold Blood and a quote from a Martin Luther King Jr. speech) and its newly-released music video are now streaming everywhere.
Written & Produced by Mickey Leigh Performed by Mickey Leigh’s Mutated Music: Vox/Guitar – Mickey Leigh • Drums – Pat Carpenter • Bass/Vox – Westley Crawford
Of the new single, Mickey tells Spin, “Music is magical in so many ways. Rock n roll is one form of it that, magically, can be purely fun, but, at the same time can be a way to spread a message. And, aside from having a lot of fun with it, me and my fellow Mutated musicians think both are equally important – as long as it’s an important message.
“The concept that there are “two kinds of law – one for the rich, and one for the poor,” is not exactly one that came about recently. I first heard those words many decades ago, in a book and film called “In Cold Blood”, and, though said in different words, in a speech by Martin Luther King Jr. I just, recently, felt compelled to write a song about it. Very compelled.
“The importance of “equality” and “justice for all” has come to the forefront of our lives like never before. and, it’s a message that needs to be repeated …repeatedly. There aren’t many ways to repeat a message repeatedly without boring people to tears, aside from immersing it in a catchy chorus and irresistible rhythm.”
With the release of a slew of singles with his band Mutated Music, Mickey Leigh is taking steps. A longtime figure in the influential downtown New York City music scene, Mickey is no longer content with being in the shadows. He’s stepping into the spotlight with punk-pop-country-jazz and blues-infused tracks that tell stories of colorful rock and roll lives. “These are ‘The Stories That Never Got Told’, so they never got old,” states one of the key tracks. Of the heroine in “Little Cristine,” Mickey says “No. She ain’t no ten. She’s a number one.” His modernized, “mutated” reworking of the classic civil rights/social-awakening song “If I Had A Hammer” boldly blares the powerful message calling for “justice, freedom and love between our brothers and our sisters” which is perfect for these troubled, frenetic and divisive times.
As he explained in his 2009 autobiographical family memoir I Slept With Joey Ramone, Mickey is inspired by his love of the music of the ’60s. His life-long fever for rock & roll has never dampened, remains pure, and continues to fuel his drive to create great music. Mickey Leigh’s Mutated Music is brimming with tracks that have been called: “…instantly memorable, lyrically compelling, deceptively simple, hard-ass, life-loving songs full of emotional depth that deliver a punch far more intense than anyone could or would have expected…written with passion, played with precision, produced with perfection.” Mickey has been credited with “…the power-pop instincts of a Tom Petty and the street smarts of a Jim Carroll…not to mention a bit of The Who, Dylan, Springsteen and…Elvis.”
Starting his first group at age 10 in 1965, hitting the stage of CBGB in 1977 with Birdland, the band he formed with literary legend/music journalist Lester Bangs, Mickey is accustomed to having a front-row seat at musical revolutions. Replacing Lester on vocals, Birdland morphed into the prototype pop/punk band The Rattlers. His next band, STOP, saw 5 songs from their 1996 album ‘Never’ in rotation on BBC Radio. Mickey has continually been the recipient of favorable media coverage, credited with being “…one of those people who influenced successful bands but remained relatively unheralded himself.”
Featuring interviews with Jim Adkins (Jimmy Eat World), Chris Conley (Saves the Day), Bob Nanna (Braid) and many more…
Author, podcaster, and music industry veteran Tom Mullen has announced a September 7, 2020 release date for Anthology of Emo Volume 2, the highly anticipated follow-up to 2017’s acclaimed Anthology of Emo Volume 1, which sold out in less than a year and garnered praise and coverage from the likes of Vice/Noisey, The New York Times, Brooklyn Vegan, Kerrang, UPROXX, Billboard, SiriusXM, Alternative Press and many more.
Volume 1 To Get 2nd Printing after a Sold Out First Run in 2017
Volume 1 will also be re-released in early September, the title’s first reprint in 3 years. The books are now available to pre-order separately or as a specially-priced bundle with a limited poster here.
“If there was a course called Emo 101, this book would be on the required reading list.”-Alternative Press on Anthology of Emo Volume 1.
Anthology of Emo Volume 2 continues what the first volume started, with interviews from heavyweights in the music genre including Jim Adkins (Jimmy Eat World), Chris Conley (Saves the Day), Bob Nanna (Braid), authors and scene veterans Trevor Kelley and Leslie Simon, and the final interview of emo scene legend, Jon Bunch (Sense Field) prior to his untimely death in 2017. The book includes rare photographs and printed ephemera, an introduction by Tom Mullen, and a forward by writer and author Luke O’Neil (Welcome to Hell World). Pre-order here.
Featuring Interviews With:
About Anthology of Emo Volume 2
In 2017, after 100+ interviews with artists and those involved with the emo and hardcore scene for the critically acclaimed Washed Up Emo Podcast, Tom Mullen, on the 10th anniversary of WashedUpEmo.com, introduced Anthology of Emo. The book, selling out in less than a year, compiled the best stories from the podcast and features rare and unseen photos and ephemera. The follow-up, Volume 2, picks up where the previous book left off and features interviews, quotes, and more from key figures and veterans of the scene.
For a word that’s often misunderstood, the Anthology of Emo series is an informative companion and faithful guide to the genre of emo. Tom Mullen is a music industry executive and veteran podcaster. He’s spent time at Atlantic, Equal Vision, Vagrant, TVT, EMI and Sony, where he was a 2016 Clio and Cannes Lions winner for his work with Bob Dylan.
In 2007, he founded WashedUpEmo.com, a destination for the entire history of emo. The site and podcast has been featured in The New Yorker, AV Club, Pitchfork, The New York Times, Paste, Billboard, Spin, Village Voice, Stereogum, Chicago Reader, Noisey, and Brooklyn Vegan. In 2011, it expanded to a podcast and DJ night in NYC. In 2014, he launched IsThisBandEmo.com, a site helping the world understand which bands are emo or not with a smile and a wink.
A proud native of Vermont, he lives in Los Angeles and spends his free time documenting and archiving the emo genre for future generations. A now popular outlet, audio, proved fruitful almost instantly in 2011. The Washed Up Emo Podcast started after Tom realized a noticeable void of podcasts from the genre. Utilizing music industry connections and his background as a college radio DJ, it quickly snowballed with critical acclaim after a few episodes and now has over 1 million plays and continues to be the definitive podcast for the emo genre.
The never-ending mountain of guests over the almost decade of episodes have included Jawbreaker, The Promise Ring, Thursday, Taking Back Sunday, Piebald, The Get Up Kids, Jimmy Eat World, Mineral, and American Football. Now, after 170+ episodes, the Washed Up Emo Podcast still has one goal. To represent and document the entire history of emo for all fans of the genre.
Ska punk luminaries Less Than Jake will be launching their third creative installment ofLost At Home Sessions. Volume Three“The Sit Around” goes on sale today at 12pm EST over at Bandcamp.
“I was ‘sitting around’ watching the news one day,” describes saxophonist and vocalist JR Wasilewski. “I thought about how me and my group of friends used to joke when we were kids working summer jobs, how awesome it would be to just be able to sit around all day and do nothing besides play video games and go to the beach without a care in the world. But when presented with that situation, everybody quickly realized how incredibly impossible it seemed to actually just sit around.”
The lyrics for “The Sit Around” were written by Wasilewski and it’s also the very first song that he sings the lead. “We’d been punting around the idea of me singing leads on a song for years,” Wasilewski explains. “To be frank, I always said no thanks. I felt (and still feel) Less Than Jake is most identifiable by those two voices (Chris and Roger). Adding a third voice beyond just a background vocal, to me, seems to mud up the waters. I like to sing, I just never saw myself as a lead vocalist.
“We talked about it for this song and I said I’d entertain the idea of a lead vocal, mostly because this Lost At Home project is allowing us to test the waters creatively. It’s not a proper album, just songs composed during a strange time in history. I figured if there was ever a time for me to sing, why not now?”
Those who purchase the song at the current price will automatically be entered to win a prize pack (pictured above) that includes an old and rare glow-in-the-dark bobblehead and some out of print vinyl. Contest entries close on July 24th.
Proceeds Benefit Bread of the Mighty
A portion of the proceeds will benefit Bread of the Mighty Food Bank, a North Florida-based food bank that has been serving the community for over 32 years. They collect, sort, store and distribute donated food and basic essentials to over 190 non-profit agency partners such as food pantries, churches, homeless shelters and other organizations who then distribute food in their communities to directly feed the hungry. For every dollar donated, they can provide up to ten meals.
Continuing to play over 150 dates a year while also writing and recording new material has kept the band fresh in a time when “ska” has become something of a four letter word. The list of acts they have supported is staggering (Bon Jovi, Linkin Park, Snoop Dogg), while the list of bands that have supported them makes even the most hardened music industry veteran do a double take (Fall Out Boy, Paramore, Yellowcard). All the while the band has held firm to its punk rock roots and have managed to live through many musical trends simply by just being Less Than Jake.
With well over 300 releases on various labels under their belt, most would think their legacy is already in tact, but the status quo has never interested Less Than Jake. They continue to write and perform new material and have no thoughts of letting up. With the energy and exuberance of a band half its age and the determination of savvy veterans, there is seemingly no end point to this enduring and entertaining band.
LOS ANGELES – Failure have released a newly recorded cover of the Depeche Mode classic, “Enjoy The Silence”. Listen here:
“We originally recorded a cover of ‘Enjoy The Silence’ for the 1998 Depeche Mode tribute, For The Masses,” says Ken Andrews. “That album has all but disappeared, no longer in print and not available via streaming platforms but we as a band are proud of our take on that song and had wanted to re-record it for some time. With the blessing of both Martin Gore and Depeche Mode, we re-addressed our version and came up with this new version for 2020.”
The digital single arrives at a time when Failure had been slated to perform a series of live residencies in Chicago, Los Angeles, and New York City. Those dates have since been cancelled due to COVID-19.
FAILURE 1992-1996 Preorder Available
The band is taking pre-orders here for FAILURE 1992-1996, a four-piece vinyl box set featuring the three ‘90s-era albums. With the original masters finally being unearthed, Comfort, Magnified, and Fantastic Planet have been meticulously restored, remixed, and remastered by Ken Andrews to a new level of sonic fidelity that eclipses all previous iterations of the band’s early work.
“Almost everything people have heard from these albums has been sourced from 16bit digital files made in the ‘90s, which was state of the art at the time,” explains Andrews. “But when we found out we were getting our hands on the original analog master tapes, and with all the confusion and lack of quality control on several of the previous iterations, we set out to create the definitive versions of Comfort, Magnified and Fantastic Planet. Everything has been sourced directly from first generation multitrack and stereo master tapes. This is us finally getting to present our early work the way we’ve always wanted to.”
In addition to all the originally released songs from the three albums, the band has discovered several unreleased songs which have also been restored and will be included in the box set.
“These new versions have all the magic from the originals, but now, instead of looking through a hazy pane of glass, the window has been completely opened and you can hear all the elements in their full glory,” explains drummer Kellii Scott.
“Listening to the b-sides and outtakes from that first year of being a band takes me right back to playing the tiny stage at Jabberjaw in Los Angeles,” adds bassist/guitarist Greg Edwards. “It’s always surprising to me how much of the expansiveness and atmosphere of the later records exist in embryonic form on those earliest stripped-down recordings.”
“Stuck On You” was recently remastered both visually and sonically, and can be viewed here:
KID DAD’s new track “Limbo” is a song that deals with feeling unsafe, hassled, or even abused. As vocalist and guitarist Marius Vieth says, it’s about being “caught between uncertainty and fear, searching for something real to hold on to, in search of hope.”
The band has chosen to convey this in a music video that tells the story of a child trying to escape domestic violence. Part of what initiated this concept was the fact that, due to Covid-19 and the regulations put in place to battle the pandemic, there has been a surge in cases of domestic violence worldwide. Being trapped at home, a place that should be a haven of safety, can turn into a living hell for far too many people with the detection rate for young victims being shockingly low.
Band Announces ‘SAFE In A Box’ Campaign to Raise Awareness Around Child Abuse / Domestic Violence
Says the band: “We address feelings of isolation and entrapment on our debut album ‘In A Box’ and feel obliged to call attention to this situation. We want to raise awareness of the prevalence of domestic violence cases worldwide and encourage people to donate to SOS-Kinderdorf & NSPCC in order to support the work they are doing in preventing such violence and supporting victims.”
Kid Dad has set up a website with information, donation links and merch items with 100% of the proceeds to be donated, here: www.kid-dad.com/safeinabox.
"After a lot of research and brainstorming on how we can actually help, we decided to produce some small merch articles of which 100% of the proceeds will be donated to SOS Kinderdörfer and NSPCC. In addition to this we will pay 100% of the producing and shipping costs so every single cent you pay will find its way to the organizations.We know we can’t change the world with this, but even if a single child will be helped, then this whole campaign will be worth it!If you have the means we deeply encourage you to make a donation directly to the organizations:
Help us to make a change here: www.kid-dad.com/shop. Please notice that all the donation items are marked with a little house!Thank you so much,Marius, Max, Michael & Joshua
Debut Full-Length In A Box To Be Released August 21
“Limbo” was written on a trip Marius took to London in collaboration with Welsh singer-songwriter Sarah Howells (Bryde). In A Box was fueled by these songwriting trips to England, as well as to China and Switzerland, and much time spent in Berlin. Regarding the experience of recording the album over a prolonged period of time, Marius says “I really enjoyed working with so many different setups. You absorb everything when you’re young – I want to take advantage of that.“
In A Box will be released 21 August via Long Branch Records. KID DAD hail from Paderborn in Germany and have played shows across the continent with the likes of Taking Back Sunday, Marmozets and Fatherson.
Just two days after sharing the Tommie Sunshine & MureKian Remix of his track “Overs”, The Guidance – properly known as Stefan Pruett – was found to have passed away peacefully overnight. Pruett was open about his lifelong heart condition — his pacemaker, his three open-heart surgeries, and one closed-heart surgery. He was formerly the lead vocalist of Phoenix electro pop group Peachcake, which was founded by him and vocalist/multi-instrumentalist John O’Keefe, who was most identifiable as the keytar player.
Nothing could have prepared me for the first time I was exposed to Peachcake. Considering the line-up, it was likely the May 18, 2005 “Suicide Prevention Show” at now-defuct Tempe, Arizona venue The Clubhouse; this would have made me 18 years old when I was introduced to them. I had ventured out to catch a band named My Darling Murder, after drummer Elias Mallin reached out to me on Myspace and sold me a ticket. MDM was influenced by industrial music — I recall Mallin (formerly of Opiate for the Masses) mentioning Nine Inch Nails in particular while chatting it up with him at The Graffiti Shop off of Mill Ave.
Peachcake was absolutely nothing like MDM whatsoever, and how these two acts were included in the same line-up that night is beyond me (probably the theme of the night), but in some odd way it worked. At this point in my life, I was still developing my identity and beginning to cross from goth into raver culture; you can thank my introduction to the movie Party Monster and the frequent spillover between cultures in the widely spread and yet surprisingly small city of Phoenix.
Peachcake brought mammoth-sized energy and a psychedelic atmosphere into the room from the moment they struck up their instruments. It looked like a party store had exploded all over the stage.
The impressively energetic performer was not an extraordinary vocalist, and it didn’t matter because that’s not what it was about; it was about the experience. He had an unapologetic, inherently confident stage presence — somehow very pure and innocent-feeling despite frequent thrusting and convulsing, sometimes wearing as little as little as pink satin boxer-briefs.
Looking back on all of the exhilarating dance parties, he was giving us permission to let our inner children run free amidst a society constantly pressuring us to conform to a conveniently capitalist idea of what being an “adult” looks like. Pruett had a gift for inspiring even the most timid in the crowd to leave their comfort zones, go nuts and participate in oddball activities.
Combining hippie and punk elements in both sound and lyrics, the artists cultivated a community that demonstrated a tone of universal acceptance and unconditional love while challenging the status quo. Many years later, I learned of The Flaming Lips, who had an unquestionable influence on the church of Peachcake, with a similar ethos.
Making a great impact, Peachcake performed at countless interesting venues across the valley, continuously toured, played festivals, performed with noteworthy acts, released their debut full-length What Year Will You Have The World?.., held drum circles in downtown Tempe, and participated in political causes on topics such as demilitarization and opposing anti-immigration.
They cycled through a handful of live band members over the years. O’Keefe departed from the group in 2009, and Pruett continued on with Mike McHale (guitar, synthesizers, percussion, backing vocals), Henri Benard (drums, percussion), and David Jackman (programming, beats, production, soft synths, vocals).
They worked on retooling the band, their sound was refined with the help of producer/engineer Jalipaz Nelson (Audioconfusion), and the 2012 album Unbelievable Souls was released.
“Everything’s out there, we’re climbing up these walls, Falling down the stairs laced with sweat and tears, It’s time to pick ourselves back up, show the world we’re tough Stop running on an engine of fear. Because something is out there waiting for you to find it, And when you do, it may hit you oh so blindly. Pick yourself back up, show the world you’re tough Stop running on an engine of fear.”
On April 13, 2013, Peachcake performed their final show at Crescent Ballroom. Unfortunately, after this show I never had the opportunity to witness the glory of Pruett and Peachcake again.
He went on to relocate to Los Angeles and start his new “Darkwave Pajama Pop” musical project, The Guidance — its Facebook bio currently reads:
“In an effort to escape the monotony of electro pop, Stefan Pruett moved from Phoenix, Arizona to Los Angeles to begin his solo project ‘The Guidance’. As The Guidance, Stefan wants to craft a reflective approach to making electronic music that he has termed “Future Grunge”. This aural concoction is the convergence of electronic synth sounds, driving beats, and dance elements representing the aesthetic and energy of 90s grunge, but all sequenced digitally instead of live instrumentation.”
When I learned of The Guidance late (thanks, Facebook algorithms) I was thrilled. I planned to see him perform at a show in Phoenix at the Valley Bar in 2016, which ended up being canceled. Pruett’s impressive energy was like a much-needed supplement for a deficient world. I feel that no words can properly convey how meaningful and refreshing the experience of Peachcake’s live performances was. It is wonderful that he continued to perform and uplift fans and strangers until the end.
Despite all of the light in a dark world that Pruett brought to countless individuals, on his Facebook profile mini-bio, he left us with the words, “I haven’t done shit with my life yet.” But beneath all of the layers of weirdness that he wore existed a profound musician with an insightful mind, a quirky sense of humor, and a big heart. I believe that those inspired and supported by Stefan Pruett’s music, performances, words, and deeds will always carry some of his light deep in their souls.
Stefan Bennett Pruett
Mar 8, 1985 – Jun 14, 2020
“They put us in little cubes and tell us how to do our jobs, Saying that there’s no more left for revolution. But I’m sorry sir, I’m going to have to stand and disagree , Cause no matter what, you’ll never ever ever ever get to me. I’ll always have my light, my will, my creativity, To shine bright upon you and all the world you see. What would happen if we spent out time creating harmony Instead of all the destructive, lost, calamity?
The clock is ticking away, what are you doing today?”