Ten years ago, over three hundred men, women and children disappeared from a small town in Tennessee, never to be heard from again.

In this podcast, American Public Radio reporter Lia Haddock asks the question once more,  "What happened to the people of Limetown?"

www.limetown.com

Just attempting to learn this music thing.

The Collective Podcast brings you bi-weekly episodes of entertaining, informative, honest discussions with creative industry professionals from around the world. Created and hosted by designer/director Ash Thorp, he aims to explore the struggles of work/life balance and to share the experiences of influential creatives from all realms of media, including (but not limited to) designers, illustrators, visual effects artists, writers, painters, and programmers.

Did you see it too, up on the mountain?
Was it the sword of Orion, cutting through the night,
or was it some dark eye, reflected by the light?

http://www.mexicansummer.com/shop/ford-lopatin-channel-pressure/


Laryssa Birdseye is a Portland-based alt-pop singer, songwriter, and performer known for her unflinching honesty, electric live shows, and a voice that can break your heart in a whisper or set a room on fire in a scream. Blending driving alt-rock, bratty electro-pop, and the raw intimacy of her folk roots, Birdseye’s music shapeshifts between rage, humor, and heartbreak — always anchored in fearless storytelling.
Emerging from Portland’s underground scene, she has built her career entirely independently: self-booking international tours, producing and directing her own visuals, and building a fan base that stretches continents. Her songs have carried her from intimate Portland clubs to packed Tokyo live houses, where her vulnerability and fire transcend language and land on a visceral level.

Following the haunting intimacy of 2025’s I Used to Be Funny and the gut-punch of Flashbacks — both explorations of life after capital-T trauma — Birdseye’s next chapter dives into witchy electro-pop, gothic desire, and emotional resurrection. Her newest single Scared to Death blurs the sacred and the profane: a glittering horror-pop invocation of lust, danger, and reclaimed power.

At the core of Birdseye’s artistry is radical self-reliance and truth. Every lyric, photo, and visual concept comes directly from her hands. A decade into her journey, she’s built a body of work that’s equal parts devastation, defiance, and triumph — now finding new life in sync and film placements.

For fans of Courtney Love, Hayley Williams, Fiona Apple, Halsey, and BANKS, Laryssa Birdseye is the sound of survival alchemized into beautiful defiance: independent, unfiltered, and utterly alive.

Sparrow Orange (a.k.a. Aaron Boot) started his artistic career on the now-defunct label, Noise Factory Records out of Toronto, Ontario. From that humble label sprung the likes of Beef Terminal, K.C. Accidental, Robin Judge, Hexes & Ohs, Lowfish and the debut album from Broken Social Scene, Feel Good Lost. Sparrow Orange released two albums during the early 2000s, The Beauty of Strangeness which was quickly followed up by Hands and Knees Music—using layered cinematic explorations of sound which are overlayed with thick, experimental beats. It feels like a soundtrack of the mind, best listed to while one is drifting away.

Of Hands and Knees Music:

“Sparrow Orange introduces complex rhythmic layers but understating them as not to overshadow the other sounds. Drenched in atmospheric sweeps, this album encompasses a variety of emotions, articulating his music with a cinematic flair. [...] From the chillingly eerie to the sweetly sentimental, Sparrow Orange is undergoing a metamorphosis in technique and I look forward to new developments on his next album.” —Exclaim! Media

Sparrow Orange is now reintroducing himself with two albums entitled “The Hidden Tracks”, due to be released in the Spring of 2024. These albums are bringing back the original sound—tracks that were never released, now remixed and remastered. Sparrow Orange plans to release more sounds, using layered synths and relying heavily on house-made crackles, pops, and beats using common, everyday reverberations.

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