I'm a self made wire wrapper been making pendants since I felt like people got lost at parties without them... sexy lovey wubbs all day & dnb rules ma world but I'm all about that deep dub dnb space bass collab mode let's bring back glitch hop!!!

Wink and the Signal started out officially as a “last stop of the night”. Lydia had been practicing for her Masters jury at Duquesne Conservatory, while Barrett had been working on a movie in upstate Pennsylvania; a movie about the viability of a small college town when the students leave after the semester is over. Clearly, both of them were in need of a cocktail.

They proceeded, from literally different parts of the state, to end up in the City of Pittsburgh, at the same bar, the THUNDERBIRD, known for its Underground Railroad roots, hipster mustaches, and women who still knew the pertinence of the leather mini-skirt.

It was Barrett who, of course, was at the bar ordering a drink when he looked to his right. There was Lydia, sitting demurely, fielding questions from three rather overzealous bluegrass musicians with very limited understanding of the words “personal space”, with a look on her face that literally translated to : WE need to talk. The discussion? Music. The beer? Railbender ale. The mood? Boredom from the constant trappings of the mediocre bar gig, the lassez-faire jazz club, the constant “oosh-oosh-oosh” of the techo-transient mood muzak that people pay top dollar for.

Lydia and Barrett wanted to explore more with music; to travel the world studying, interacting, and performing a genre that they would create, known ONLY as AFRO-COUNTRY.  

Trance End, Okay Alright, Yardsailin, Last Black Gunslinger, Hootenanny for your Children, and Fall Back, were recorded at theliveroom.org 
Drums: Chris Gavrelis Slide guitar: Kraig Kenning

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