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Diagram of Suburban Chaos


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There may be a million stories in the naked city, but William Collin Snavely believes they’ve got nothing on the weirdness that thrives on the periphery of every great metropolis. “I’ve grown up in suburbs my whole life, and witnessed so many strange-ass things; all these people concocting bizarre ideas in their basements – and accomplishing them,” explains the San Diego denizen, who has also lived in and around Milwaukee, Seattle, and Dayton.

But there are also countless dreams that go unfulfilled, and undercurrents of “despair and loneliness” that run just as strong in the land of two-car garages and manicured lawns. “Regardless of all the people who don’t really think about that kind of thing, I can honestly say there’s more emotion in the suburbs than a big city,” he adds. These conflicting emotions form the crux of Status Negatives.

The music of DOSC features ear-catching, otherworldly timbres and skittering, erratic lines of tactile, textured beats (“it’s a very percussive album”) set against backdrops of three- and four-note motifs fashioned from tone colors as vivid as any hues found in Georgia O’Keefe’s painting, stretched into hypnotic vapor trails. The vivid imagery that seems to imbue each of the fifteen tracks is just as essential to the DOSC aesthetic as the specific sounds that suggest the pictures.


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