Hello magical friends, and welcome to episode 96 of WZRD Radio! I’m your hostwitch Bess, and I had a wild thought.
What if we try to get WZRD to 100 reviews by our 100th episode? I’ll leave a few links in the transcript to places where you can leave a quick star or review, or you can use whatever you’re listening to this episode on. I’m told reviews really help, and 100 feels like a monumental number.
[Spotify]
[Audible]
[GoodPods]
And while you do that, here’s a music block for you, followed by a really wonderful interview, starting with “Christopher the Hufflepuff” by Muggle Snuggle.
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That was “Christopher the Hufflepuff” by Muggle Snuggle, Nevilles and the Trevor with “How to Win This War,” and Nagini and Alastor singing “Petunia’s Song.”
“Christopher the Hufflepuff” was a special request from my dear patron Moritz, who dedicated it to Muggle Snuggle. He recently moved to a new city and “Christopher the Hufflepuff” was the right song at the right time to help him through a lonely patch.
To continue that beautiful theme of wizard rock connecting us across time and space, here’s my conversation with Chris of Sonorus.
Welcome to the show, Chris of Sonorus! I am so excited to talk with you today.
Chris: Thanks very much for having me.
Now, as I was saying that intro, I realized I wasn’t sure if I should have said “Chris of Sonorus” or “Chris of Gyantess,” since I believe one is a side project. And that seems like a great place to start with your history with wizard rock.
Chris: Yeah, you’re right. I, I got into wizard rock late, uh, I think I first heard of it, uh, in late 2013 or maybe early 2014 maybe, because I was not really in the fandom as such. I loved the books and the movies to, to an extent, but, uh, I was not really aware of any sort of fan work or fan community around that at all. And it hadn’t really occurred to me that that might even be a thing. So, uh, yeah, for the first sort of 10-plus years of wizard rock, I, I was completely unaware of it. So, the way I kind of discovered it was in late, as I say, I think late 2013, I, um, took on care duties for a a relative and I was, um…I dunno if you’ve had sort of care duties in that sense, but my experience of it was that, while there’re obviously sort of quite, quite full on bits, quite intense bits, there was also quite a lot of sort of waiting around, waiting for something to, to have to be done. And, you know, I wasn’t going out to work very much and I was kind of looking for, for something to… Ways to kill the time. And one of the ways was joining a Harry Potter forum, and there I saw a thread about wizard rock and was like, “how have I missed this? This is something I need to get in on.” And that’s how Gyantess initially, uh, sort of came into being.
My previous interview was with Georgia of RiddleTM. So did you end up going to or performing at any of the uh, UK shows?
Chris: No, no. I mean I’ve never performed wizard rock at all. It’s been purely like a, a recording project. The impression that I got from sort of reading old blog posts and stuff was that the, the UK scene seemed to be sort of fizzling out at around the time that I heard of, of wizard rock. So, by the time I’d sort of got my bearings and started looking for things, they were kind of all pretty much done, it seemed. So, um, no, I had no, uh, sort of involvement in the fandom community over, over here. I, I think my relationship with Harry Potter as it were is first and foremost between sort of me and the books, me and the movies, it’s, I’ve not really been a sort of convention- going person at all. So it was kind of, um, on my own to an extent doing what I’ve been doing.
From that thread you mentioned, do you remember the first band that you listened to or maybe like a song that really made a strong impact?
Chris: I can’t remember particular, like I, I’m not sure I can remember particular songs, but like among the first bands I would’ve been listening to would would’ve been Draco and the Malfoys; Miranda Puffskein, I think it was called The Puffskein Experience at that time, and I think the name changed later; Oliver Boyd and The Remembralls; Split Seven Ways. They would’ve been like among the first artists that I remember listening to. Can’t remember what the, like, the very first thing was.
All the classics then.
Chris: Yeah, for sure. Good selection there, I think.
So, speaking of name changes, Gyantess was originally called something else entirely. So, how did all of your band names happen?
Chris: I’m impressed that you knew that, ’cause I, I actually only remembered that when I was sort of thinking things through for this interview. Yeah, so the EP, Gyantesss EP, was One-Eyed Witch, but that was originally the name of the band. And quite late in the recording process of that EP, I discovered a, uh, I think Greek band. Not in any way related to Harry Potter, but uh, a Greek band who were sort of not far enough away stylistically that it would be clear which one was which. They were also a sort-of bluesy, stoner-ish kind of band. So I thought “yeah, no, that’s too close. Uh, it’s gonna have to change.” So that’s how, yeah, the name Gyantess came about. I chose it because obviously it’s somewhat related to, to Harry Potter, but it just has that kind of stoner rock band name vibe to it, sort of one word, you know, kind of Baroness, Sasquatch; it kind of seemed to fit that vibe of band names in that genre.
As with all of my seemingly impressive wizard rock knowledge, that came from Susannah and Your Wizard Rock Resource.
Chris: <laugh>. Cool.
So where did One-Eyed Witch come from initially?
Chris: That’s a, a statue I think. So it’s sort of a, not exactly a character, but a, a, something that’s mentioned in passing in the books. There’s a statue of of One-Eyed Witch that’s, maybe it’s in book six, Harry Potter hides something behind it? Yeah, it’s something that’s mentioned in passing in in the books.
Did it beat out any other name options, or was that immediately it for you?
Chris: No, I think there weren’t that, uh, that many other options considered. So it was, yeah, it was straight away One-Eyed Witch, uh, until it wasn’t.
And what about Sonorus? How did that name happen?
Chris: So, Sonorus I quite like, because it’s quite a neutral name, so it’s like a, the sort of amplification like voice amplification spell, but it’s, it doesn’t give too many clues as to genre, which is ideal really because even though Sonorus has now become the main thing, really it was intended to be just a side project where I put anything that wasn’t stoner or grunge. So kind of anything else that I felt like writing would go in, in Sonorus, so I wanted something that didn’t peg it too strongly to a particular style of music.
That makes sense. There seem to be two paths with wizard rock bands, where you either pick a name that narrows the scope of your songwriting or something that gives you the freedom to cover whatever subject you like.
Chris: Yeah, for sure. And in, sort of latterly, I’m quite glad that I’ve made that choice, kind of thinking ahead to the future and possibly sort of writing about other, you know, other stories. It’s uh, it does leave a, a big scope and it’s just sort of, it’s a sound-related spell, so it’s um, yeah, kind of leaves me a lot of room I think.
Now, you touched on this a little bit already, but I was wondering, how did you decide what songs would be Sonorus and which ones would be Gyantess?
Chris: Yeah, it really just is about the style. Uh, so Gyantess is, is heavy and draws in influences of uh, you know, stoner rock and doom, sludge, grunge, a bit of prog metal, bit of post metal. I mean, I say this like, it’s a sort of well-established thing. There are like five Gyantess songs so far that have actually been released. But um, yeah, Gyantess, as I mentioned was the, the first project and even when Sonorus had started, it was still the intention for Gyantess to be the main project and to maintain that musical identity of sort of heavy, grungy stuff. And Sonorus isn’t anything like that. It can encompass anything else. I mean, one thing that I have really enjoyed about wizard rock is there’s a common thread built in by the subject matter, which maybe gives you a bit more freedom to go wherever you like musically without it just seeming random.
Like realistically, I probably don’t have, for example, a whole album’s worth – and certainly not a whole career’s worth – of things to say via the medium of like two-tone ska. But because, uh, you know, any recording I make is like, it’s a Harry Potter record, not a this or that genre record, I can throw in, you know, Arthur Weasley, uh, a song like that and hopefully without it seeming like “what’s this doing here?” So yeah, so Sonorus is, is anything that isn’t heavy and yeah, I mean it’s not really been a case of sort of deciding which song goes with which project, ’cause I would write particular songs for that project. I already kind of know which project it’s going to when I’m writing the song. That’s sort of where the line is.
That was the perfect segue into my next question, which was, what does creating wizard rock look like for you?
Chris: I am kind of a, a process nerd, which makes it difficult to answer ’cause it really sort of changes according to the challenges of, of a particular project. I think usually the overall concept tends, so I, I guess I tend to think in albums as like the fundamental unit rather than songs. So that tends to mean that the concept comes first. So I will decide, you know, initially I want to do a eighties, nineties EP or whatever, or Christmas EP, because that kind of overall idea grabs me, and then start exploring where I can go within that. It’s not usually the case that I’ll kind of have a bunch of ideas and go “okay, we can put all of, all of those together into, into an album.” I guess I, I tend to have kind of an overall picture of, of the album to begin with and do almost like a, a profile of it with like quick notes on each song.
Even before I’ve necessarily written the song, I might know sort of roughly, you know, the song lengths, you know, kind of where I went, want the longest songs, where I want the shorter ones, where I want certain tempos within the album, songs with a particular emotional character, where I want those within the album, keys… The process often involves like an overall profile of the album and a profile of each song before or kind of alongside starting to, to actually write the actual notes of the, the song or the words. I do jam a lot just for, you know, not just for wizard rock, just for any music that, that I work on. So I do have kind of folders of ideas and there is a certain amount of sort of going through that on a regular basis and seeing, have I got anything that could match or that could fit with projects that I’ve kind of got in, in the pipeline?
But quite often it’s, it’s not a case of going back to old material but sort of writing from scratch once I’ve decided, “okay, you know, I want track three to be bit of, a bit of a slower song” or whatever, then kind of start working on a new, a slower song to, to fit that requirement. Having said all that, one of the things that I am now working on is like a case of the opposite where I did just realize that I have a bunch of partial songs that could sort of reasonably go together as an album. So there are elements that often happen, but I wouldn’t say there’s an element that always happens. The process changes for whatever task at hand is I, I suppose.
That’s really cool. I don’t think I’ve heard, uh, that sort of method before, sort of outside in. This might be a silly question, but I am very open to demonstrating my lack of musical understanding. Your music – do you like play each instrument? Is it all digital?
Chris: No, it’s not. It is, I mean, it’s not digital. I mean I use, uh, I’m not a drummer so, um, the drums have never been an actual drum kit, that’s been either like a BST, Jamstix or played in via keyboard. But yeah, other than that I play, I play all of the instruments, the exception being the saxophone solo on on “Butterbeer,” which is my friend Missy B who played that solo.
That’s so cool. How many different instruments do you play?
Chris: I would say I play three instruments well and then some others okay, and then I sing badly. So trombone, keys, bass guitar, I’ve played professionally and, you know, other, other brass instruments and, and guitar are okay, good enough for my own purposes. And, to be fair, even, you know, sort of guitar playing, singing… I mean I’m a lot better than I was and that really is thanks to wizard rock because I would just have no cause to be playing guitar certainly as much or singing were it not for having an outlet, ’cause it’s not, those are not things that I would do professionally. And I mean I still don’t think I’m that good a singer, but uh definitely better than when I started. And yeah, really the opportunity of doing it in wizard rock is, is why. So that’s, you know, another, another cool thing that I’ve found about working in, in this genre.
I see some more music on the horizon, and The Sorting Hat is leading the charge with “The Riddle That is Tom.”
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You just heard “The Riddle That is Tom” by The Sorting Hat [lyrics], The Squibs singing “Tonks and Lupin,” and “Bloody Hell, Hermione’s A Girl” from The Unexpected Patronums.
And here’s some more of my chat with Chris!
You mentioned a variety of styles of music, a whole bunch of metal sub-genres, the stoner one. My patrons were curious about your specific musical influences: bands, performers.
Chris: Sure, yeah. Yeah, I mean it’s, it is a lot easier to name direct influences for Gyantess than for Sonorus. So for Gyantess it would be bands like Alice in Chains; Layne Staley is is one of my favorite singers of all time, and badly as though I may do it, he is probably the singer that I try to emulate the most for, for Gyantess. And yeah, a couple of others that I’ve mentioned. So yeah, Baroness and Sasquatch, Kylesa, ISIS, a little bit of Opeth maybe. At the time of, of starting One-Eyed Witch, I was playing in a, a muggle band that was that same kind of style and it was just really kind of soaking in a ton of stuff besides those artists that I mentioned. So it was almost just with this sort of totality of, of that sound that I was just trying to sort of assimilate as much as as possible for this other band as well.
And yeah, so for, for Sonorus, because it’s covering so much ground, it’s difficult to say kind of specifically, but like… So like jazz is my first love musically. One of my first, certainly my first coherent memory is listening to jazz and Bill Evans is, is huge for me. His phrasing and his harmonic ideas, I just absolutely love and his sound. I think in, in my kind of, uh, harmonic writing maybe that sort of seeped into, uh, some things. There’s a Japanese singer, uh, called Lisa, or that’s how her name is sort of stylized, and she and her band are, are just amazing and they’re kind of what I aspire to with Sonorus, not in imitating the style, but they managed to be sort of technically really interesting. Each instrument has a really interesting and kind of meaty part. It’s not playing by numbers. They can, you know, you listen to the bass lines at the end, “well that sounds really fun to play.” You can hear that they’re stretching their legs, everyone’s having a really great time. Yet they haven’t forgotten that you are there as a listener. They’re sort of bringing you along and it’s not really kind of dense and serious. So that managing to combine the technicality with just sort of approachability I guess is something that I really admire in them and, and hope to achieve with Sonorus. And um, actually the <laugh>, I, I’m also gonna say the Wombles, I dunno if you have the Wombles in the US. It’s, it was like a kid’s TV show here in the seventies. I think it came back a bit more recently. It’s like these big kind of… So imagine like giant rats dressed like the Doobie Brothers that kind of browbeat you in their TV show and in song form about not littering, like not throwing crisp packets on the ground and stuff.
And they’ve got like one or maybe two songs that are reasonably well known over here, which is the TV theme tune and one other. But they’ve actually got several albums worth of like really incredibly good pop music. Genuinely, I’ve got a four-album box set, like vinyl, that was my auntie’s when she was little. I think it’s all on Spotify now, but like, it’s, it’s really good pop music. It was done by Mike Batt who wrote Bright Eyes, that Art Garfunkel song from Watership Down, and a bunch of session musicians in rat suits. And the reason that I kind of, I think it’s a a a great model for music, sort of jumping off from a story and about various characters because it’s got songs from the perspective of, of different characters. It’s quite, so it’s a themed band, it’s like musically very eclectic and nearly all of the songs are about wombling, which seems to encompass pretty much picking up litter and getting in people’s faces about them throwing their cigarette ends on the ground. Yeah, it’s just, again, not really about emulating the style, but just kind of like a really, a really strong model for sort of making music about something that’s kind of adjacent to that, I guess?
I’m having to fight the urge to go down a, uh, Womble rabbit hole.
Chris: Oh, please do. It’s–
Hostwitch Bess:
<laugh>
Chris: –it’s, it’s incredible.
A couple times you’ve mentioned influences being groups of musicians having fun and drawing you in, and you mentioned a friend who played, I think you just said, I should remember this better, but saxophone–
Chris: Yeah, that’s right.
–on one of your songs. And you also did “God Rest Ye Merry Hippogriffs.”
Chris: Yeah, that’s right. With uh, with Jim Best, uh, singing.
Do you do a lot of collabs or?
Chris: No, those are, those are the, the only two. I mean it’s definitely something I’m interested in doing more. I think I’m quite a cautious person in general, but a cautious collaborator I guess as well. So like Jim and Missy B are people who I’ve known for, you know, over 10 years and, and worked with in, you know, a session context and kind of other musical contexts. So they, you know, I know them well. I know their playing really well, so I could, I could kind of see straight away that like, “oh yeah, that would be really great if they would do that, It would fit the thing really well.” And yeah, I think that’s my approach to, to collaboration, which is possibly a bit of a barrier with my involvement in wizard rock, being in a completely different continent from most current practitioners and and being completely online. Yeah, I mean it’s something that I would like to, to explore but would need to kind of think it through. I’m not, I’m not someone who kind of easily jumps into, uh, you know, “hey let’s do a thing” and then, you know, a week later it’s done.
You are much more of a planner.
Chris: I am very much a planner, yes.
There are a couple other bands in your general vicinity. Romilda Vane and the Chocolate Cauldrons is over there. And I just spoke with RiddleTM who is just starting to come back into wizard rock.
Chris: Yeah, no, I listened to the RiddleTM episode and, and uh, that was really cool because they would’ve been as well one of the kind of early bands that I listened to and they’re, they’ve got such a distinctive sound in wizard rock, you know, you know immediately that it’s RiddleTM. And I really enjoyed a couple of years ago mastering the Comp Club. I think that edition was called Wizard Rock Revival. And I, yeah, I, I really enjoyed mastering that and in particularly their song, from a sort of mastering engineer point of view, this is going down a very nerdy route now, but just was a really satisfying experience to master that song. So it was sort of great to to hear that, um, interview.
I’m just saying, maybe we could put them on your, uh, collab spreadsheet to start thinking about and planning something.
Chris: That would be so cool. Yeah, <laugh>.
But please, by all means, do go down the nerdy rabbit hole of mastering. ‘Cause the next question is what is your best advice for new wizard rockers? And things like mastering are probably very good to hear a little more about.
Chris: Yeah, I guess with regard to mastering, so there’s a, a podcast, I think it’s just called The Mastering Show, actually, that’s a, a great resource if you wanna know more about mastering. I think one of the things that mastering can bring to the table is like a fresh perspective. And if you’re doing your own mastering, that can be quite difficult. So I guess another tip would be, if you’re mastering your own stuff, you know, leave a good gap between you’ve finished your mix and then set it aside for, you know, a month if possible, listen to anything other than your, you know, your album, and then come back to it fresh, because if you’ve been sort of digging in to the level of detail that you might have been in a mix situation, then trying to sort of reset your ears in a short period of time and look at the overall picture is nigh-on impossible.
And I should say I’m not like a professional mastering engineer, but that, yeah, Mastering Show is a, is a great resource, uh, and really sort of well explained I think. And yeah, just, I suppose general advice for, for people starting out is, with my sort of piano-teacher hat on, I guess, I, ’cause I think a significant percentage of people starting out in wizard rock are also starting their journey as musicians full stop. Obviously some are kind of, do have, you know, very good sort of pre-existing musical skills, but a lot of people are, you know, start learning an instrument in order to make wizard rock, which I think is really amazing and really kind of brave, but it’s, it’s more pressure I think than in most genres because people in, in more maybe kind of mainstream music, tend to, if if that’s the route they’re trying to go down, then people tend to sort of have their early struggles with their instruments in private.
So I think wizard rockers put themselves out there on the whole perhaps, you know, more than average, which is pretty amazing. But the thing to bear in mind is, I think it’s tempting to listen to what people have recorded and be a little bit overawed by it. But first of all, you don’t need to attain any kind of particular level of proficiency as normally conceived in order for your wizard rock to be valid and valuable and appreciated. Whatever you make, people are gonna appreciate that you’ve done it and and cheer you on. But also if, if you are kind of hearing something and going, “wow, that’s a bit intimidating,” it is literally just because the person you’re listening to has done it for longer than you. There’s nothing kind of inherent between like what they’re capable of and what you’re capable of. It is literally just, you haven’t done it as long and if you do it as long you’ll get there.
Normally this is the part where I ask for more specific detailed advice, like on, oh, buying your equipment or the best button in a DAW, but you did already give us The Mastering Show so we can skip that.
Chris: <laugh>. Yeah, I um, I, I was all geared up to, uh, ’cause I, I was aware that you kind of have the practical question. I was sort of ready to recommend a free DAW that I use because Audacity is the one that gets mentioned the most and I have to admit I’m not really a fan so I was gonna recommend another one, but then annoyingly saw that it’s actually no longer free as of like last year, or can sort of no longer be downloaded free. So that sucks. So yeah, I’m glad the uh, opportunity for other practical suggestions came up ’cause that one was, uh, was a no go.
How devastating for that uh, DAW audience though.
Chris: Yeah.
Did you have anything else you wanted to mention?
Chris: So, I guess I can say one more practical thing, which it’s something my composition professor got me into in college, which is like having a bunch of different format options in which to do your writing. So if you have a default way of doing it, let’s say you’re mostly getting ideas down in voice notes and putting them in a DAW, and you find you’re getting stuck, something isn’t working for a song, just switch to another format. So get some paper and like write a, you know, a verbal description of of what you want the guitar to sound like and you know, draw a squiggly line of how you want the sort of emotional peaks and plateaus and uh, of in the song to be sort of positioned and moved throughout the song. Or you know, get some crayons and do a blob of color that makes you feel how you want the song to make you feel. And just try different formats and different mediums and it can kind of get you unstuck. It’s not really practical in the way of like, “use this button,” but I think of it as just like a tool to help your brain do what you want it to do. So I guess it’s practical in that sense.
I like that, approaching it from other angles. That makes a lot of sense.
Chris: It can help for sure.
Now you mentioned sort of vaguely, but this is the time specifically to find out what you are currently working on.
Chris: Yeah, so I mean the way I’m thinking of it is I’m sort of clearing the board a little bit of Harry Potter stuff and preparing to write about other stories as well. I mean, there’s the Harry Potter stories, the books in particular, will always be sort of a comfort object for me, but I kind of reached the point where I, ah, I don’t really want to spend a bunch more energy engaging directly with JK Rowling’s work in search of, you know, kind of further angles and interpretations. So I will finish the things that I’m working on that that I’ve started, which to be fair is quite a few things, but um, I guess the ones that are closest to completion is yeah, the one that I kind of vaguely mentioned earlier of, that is, is a rare case of just like a bunch of disparate ideas coming together to make an album.
And yeah, it’s difficult to know what to say about that. It’s a bit of a mixed bag. I mean some of it is is sort of character based I guess you would say. But yeah, I guess the term would be like meta rock, maybe not quite, because it’s not songs about wizard rock, but it’s songs about sort of, I guess like the process of, of interpreting Harry Potter. So yeah, that was, could be quite an interesting one lyrically. And then there’s another one which is much more fun. Like, I think most of my sort of lyrics are not exactly like funny and I wouldn’t say these are exactly comedy songs, but it’s much more lighthearted I guess than stuff I’ve done before. So those are the two things that are closest to completion, but they’re also things that take like a fair amount of practice of the actual musical, the instrumental part, so. And, you know, life is happening as well, annoyingly. I go to work sometimes, I guess. So I no longer kind of give timelines in advance because I don’t want to, to miss them and to disappoint people. So I guess it’ll just be a case of it’s, it’s done when it’s done, but hopefully within the next year something will be, will be out.
Are we likely to see anything from you on the Sampler?
Chris: Oh yeah, hopefully. Hopefully a track from one or other of those will make it to the Sampler. Yeah.
I’m devastated you come here to the wizard rock show to say “I’m leaving wizard rock.”
Chris: I know, I mean like <laugh>, I think I will always, even when I’m done with original wizard rock, and as I said, there are, like I say I’m clearing the board, there’s like, there’s a lot on the board, that’s one thing. But I think even when that’s done, I’ll still be engaged with it to the extent that I am now. I for sure will still be listening to it and looking out for new artists. And I think wizard rock folks will still be possibly my main audience if they, you know, if they will consent to be. For one thing, I think a lot of the other books that I want to write about are a bit obscure, certainly outside the UK, and don’t have maybe like a fandom as such that would be kind of looking for music about those books. But I think a lot of them might be in the right area to still be of interest to a wi, a wizard rock audience.
You know, most of it is kind of old or old-ish, uh, you know, British kids fantasy or sci-fi kind of things. And besides that, I would also, as I say, even when I’m done with kind of original stuff, I have so many covers that I want to do. I really enjoy doing covers. I think I’m at heart an arranger at least as much as a composer or you know, songwriter or whatever. And I’ve got a whole list of covers that I would love to do, not maybe as like an official kind of for-sale release on Bandcamp, just like putting them on social media as like a, a pretty low key thing. But yeah, I-I-I-I don’t think I will be, you know, leaving the community anytime soon as, as much as I am kind of in the community at present.
I think it was Autumn that said wizard rock is more than just the subject matter, it’s a community.
Chris: Yeah, as I say, I’m a little bit far away from it over here, but I would definitely agree with that.
So can we expect some Wombles filk from you perhaps?
Chris: Well, I think they kind of do their own, but um, yeah, you never know. It’s certainly in the right time period for a lot of the, the other things I might be writing about. So maybe a, a sly reference might make it in.
You know, the Womble motto is, “Make good use of bad rubbish,” and uh, that could also be a sort of wizard rock vibe.
Chris: Yeah, <laugh>, yeah, for sure.
Our last bit of music has arrived, starting with “The Night They Burned It Down” by Ludo Bagman and the Trash.
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That was Ludo Bagman and the Trash with “The Night They Burned It Down” [lyrics], The Butterbeer Experience with “Death Eaters Rejoice” [lyrics], and “Voldemort’s Return” by The Dumbledore’s Army Band.
Here’s the final part of my conversation with Chris of Sonorus.
Thank you so much for talking with me today. This has been a lot of fun. Uh, and we’ve covered subjects I never would’ve expected. Where can WZRD listeners find you online?
Chris: Thank you for having me. No, it has been a lot of fun. So I’ve got a, a band, two BandCamps in fact. So Sonorus Studio is one and Gyantess is the other. And I do have a Facebook page, which is Sonorus Studio, which pretty much just anytime something goes up on bandcamp, I post it on there. But yeah, BandCamp’s the main one, I guess.
And now, magical friends, Sonorus!
Chris: This is a Sonorus track from the Songs Between Two Wars EP. I wanted to do, uh, something a little bit different with it to how it is on, on the recording. And it was a lot of fun working on this interpretation. So thank you for the opportunity. I hope you enjoy it, with sincere apologies to Victor Wooten. Those who are familiar with Victor Wooten will know what I’m talking about. This is “Wizard.”
WZRD Radio Podcast 